"A plague o' these Sundays! How the Church bells ring up the sleeping past! Here has a maddening memory broken into my brain. To the door, to the door, with the naked lunatic thought! Once it is forth we may talk of what we dare not entertain; once the intriguing thought has been put to the door I can watch it out of the loophole where, with its fellows, it raves and threatens in dumb show. Years ago when that thought was young, it was dearer to me than all others, and I would speak with it always when I had an hour alone. These rags that so dismally trick forth its madness were once the splendid livery my favour wrought for it on my bed at night. Can you see the device on the badge? I dare not read it there myself, yet have a guess-'bad ware nicht'-is not that the humour of it?

"A plague o' these Sundays! How the Church bells ring up the sleeping past! If I were a dove and dwelt in the monstrous chestnuts, where the bees murmur all day about the flowers; if I were a sheep and lay on the field there under my comely fleece; if I were one of the quiet dead in the kirkyard-some homespun farmer dead for a long age, some dull hind who followed the plough and handled the sickle for threescore years and ten in the distant past; if I were anything but what I am out here, under the sultry noon, between the deep chestnuts, among the graves, where the fervent voice of the preacher comes to me, thin and solitary, through the open windows; if I were what I was yesterday, and what, before G.o.d, I shall be again to-morrow, how should I outface these brazen memories, how live down this unclean resurrection of dead hopes!"

Close a.s.sociated with this always is the moralising faculty, which is a.s.sertive. Take here the cunning sentences on Selfishness and Egotism, very Hawthornian yet quite original:

"An unconscious, easy, selfish person shocks less, and is more easily loved, than one who is laboriously and egotistically unselfish. There is at least no fuss about the first; but the other parades his sacrifices, and so sells his favours too dear. Selfishness is calm, a force of nature; you might say the trees were selfish. But egotism is a piece of vanity; it must always take you into its confidence; it is uneasy, troublesome, seeking; it can do good, but not handsomely; it is uglier, because less dignified, than selfishness itself."

If Mr Henley had but had this clear in his mind he might well have quoted it in one connection against Stevenson himself in the Pall Mall Magazine article. He could hardly have quoted anything more apparently apt to the purpose.

In the sphere of minor morals there is no more important topic. Unselfishness is too often only the most exasperating form of selfishness. Here is another very characteristic bit:

"You will always do wrong: you must try to get used to that, my son. It is a small matter to make a work about, when all the world is in the same case. I meant when I was a young man to write a great poem; and now I am cobbling little prose articles and in excellent good spirits. I thank you... . Our business in life is not to succeed, but to continue to fail, in good spirits."

Again:

"It is the mark of good action that it appears inevitable in the retrospect. We should have been cut-throats to do otherwise. And there's an end. We ought to know distinctly that we are d.a.m.ned for what we do wrong; but when we have done right, we have only been gentlemen, after all. There is nothing to make a work about."

The moral to The House of Eld is incisive writ out of true experience-phantasy there becomes solemn, if not, for the nonce, tragic:-

"Old is the tree and the fruit good, Very old and thick the wood.

Woodman, is your courage stout?

Beware! the root is wrapped about Your mother's heart, your father's bones; And, like the mandrake, comes with groans."

The phantastic moralist is supreme, jauntily serious, facetiously earnest, most gravely funny in the whole series of Moral Emblems.

"Reader, your soul upraise to see, In yon fair cut designed by me, The pauper by the highwayside Vainly soliciting from pride.

Mark how the Beau with easy air Contemns the anxious rustic's prayer And casting a disdainful eye Goes gaily gallivanting by.

He from the poor averts his head ...

He will regret it when he's dead."

Now, the man who would trace out step by step and point by point, clearly and faithfully, the process by which Stevenson worked himself so far free of this his besetting tendency to moralised symbolism or allegory into the freer air of life and real character, would do more to throw light on Stevenson's genius, and the obstacles he had had to contend with in becoming a novelist eager to interpret definite times and character, than has yet been done or even faithfully attempted. This would show at once Stevenson's wonderful growth and the saving grace and elasticity of his temperament and genius. Few men who have by force of native genius gone into allegory or moralised phantasy ever depart out of that fateful and enchanted region. They are as it were at once lost and imprisoned in it and kept there as by a spell-the more they struggle for freedom the more surely is the bewitching charm laid upon them-they are but like the fly in amber. It was so with Ludwig Tieck; it was so with Nathaniel Hawthorne; it was so with our own George MacDonald, whose professedly real pictures of life are all informed of this phantasy, which spoils them for what they profess to be, and yet to the discerning cannot disguise what they really are-the attempts of a mystic poet and phantasy writer and allegoristic moralist to walk in the ways of Anthony Trollope or of Mrs Oliphant, and, like a stranger in a new land always looking back (at least by a side-glance, an averted or half-averted face which keeps him from seeing steadily and seeing whole the real world with which now he is fain to deal), to the country from which he came.

Stevenson did largely free himself, that is his great achievement-had he lived, we verily believe, so marked was his progress, he would have been a great and true realist, a profound interpreter of human life and its tragic laws and wondrous compensations-he would have shown how to make the full retreat from fairyland without penalty of too early an escape from it, as was the case with Thomas the Rymer of Ercildoune, and with one other told of by him, and proved that to have been a dreamer need not absolutely close the door to insight into the real world and to art. This side of the subject, never even glanced at by Mr Henley or Mr Zangwill or their confreres, yet demands, and will well reward the closest and most careful attention and thought that can be given to it.

The parabolic element, with the whimsical humour and turn for paradoxical inversion, comes out fully in such a work as Dr Jekyll and Mr Hyde. There his humour gives body to his fancy, and reality to the half-whimsical forms in which he embodies the results of deep and earnest speculations on human nature and motive. But even when he is professedly concerned with incident and adventure merely, he manages to communicate to his pages some touch of universality, as of unconscious parable or allegory, so that the reader feels now and then as though some thought, or motive, or aspiration, or weakness of his own were being there cunningly unveiled or presented; and not seldom you feel he has also unveiled and presented some of yours, secret and unacknowledged too.

Hence the interest which young and old alike have felt in Treasure Island, Kidnapped, and The Wrecker-a something which suffices decisively to mark off these books from the ma.s.s with which superficially they might be cla.s.sed.

CHAPTER XIX-EDMUND CLARENCE STEDMAN'S ESTIMATE

It should be clearly remembered that Stevenson died at a little over forty-the age at which severity and simplicity and breadth in art but begin to be attained. If Scott had died at the age when Stevenson was taken from us, the world would have lacked the Waverley Novels; if a like fate had overtaken d.i.c.kens, we should not have had A Tale of Two Cities; and under a similar stroke, Goldsmith could not have written Retaliation, or tasted the bitter-sweet first night of She Stoops to Conquer. At the age of forty-four Mr Thomas Hardy had probably not dreamt of Tess of the D'Urbervilles. But what a man has already done at forty years is likely, I am afraid, to be a gauge as well as a promise of what he will do in the future; and from Stevenson we were ent.i.tled to expect perfect form and continued variety of subject, rather than a measurable dynamic gain.

This is the point of view which my friend and correspondent of years ago, Mr Edmund Clarence Stedman, of New York, set out by emphasising in his address, as President of the meeting under the auspices of the Uncut Leaves Society in New York, in the beginning of 1895, on the death of Stevenson, and to honour the memory of the great romancer, as reported in the New York Tribune:

"We are brought together by tidings, almost from the Antipodes, of the death of a beloved writer in his early prime. The work of a romancer and poet, of a man of insight and feeling, which may be said to have begun but fifteen years ago, has ended, through fortune's sternest cynicism, just as it seemed entering upon even more splendid achievement. A star surely rising, as we thought, has suddenly gone out. A radiant invention shines no more; the voice is hushed of a creative mind, expressing its fine imagining in this, our peerless English tongue. His expression was so original and fresh from Nature's treasure-house, so prodigal and various, its too brief flow so consummate through an inborn gift made perfect by unsparing toil, that mastery of the art by which Robert Louis Stevenson conveyed those imaginings to us so picturesque, yet wisely ordered, his own romantic life-and now, at last, so pathetic a loss which renews

"'The Virgilian cry, The sense of tears in mortal things,'

that this a.s.semblage has gathered at the first summons, in tribute to a beautiful genius, and to avow that with the putting out of that bright intelligence the reading world experiences a more than wonted grief.

"Judged by the sum of his interrupted work, Stevenson had his limitations. But the work was adjusted to the scale of a possibly long career. As it was, the good fairies brought all gifts, save that of health, to his cradle, and the gift-spoiler wrapped them in a shroud. Thinking of what his art seemed leading to-for things that would be the crowning efforts of other men seemed prentice-work in his case-it was not safe to bound his limitations. And now it is as if Sir Walter, for example, had died at forty-four, with the Waverley Novels just begun! In originality, in the conception of action and situation, which, however phantastic, are seemingly within reason, once we breathe the air of his Fancyland; in the union of bracing and heroic character and adventure; in all that belongs to tale-writing pure and simple, his gift was exhaustless. No other such charmer, in this wise, has appeared in his generation. We thought the stories, the fairy tales, had all been told, but 'Once upon a time' meant for him our own time, and the grave and gay magic of Prince Florizel in dingy London or sunny France. All this is but one of his provinces, however distinctive. Besides, how he b.u.t.tressed his romance with apparent truth! Since Defoe, none had a better right to say: 'There was one thing I determined to do when I began this long story, and that was to tell out everything as it befell.'

"I remember delighting in two fascinating stories of Paris in the time of Francois Villon, anonymously reprinted by a New York paper from a London magazine. They had all the quality, all the distinction, of which I speak. Shortly afterward I met Mr Stevenson, then in his twenty-ninth year, at a London club, where we chanced to be the only loungers in an upper room. To my surprise he opened a conversation-you know there could be nothing more unexpected than that in London-and thereby I guessed that he was as much, if not as far, away from home as I was. He asked many questions concerning 'the States'; in fact, this was but a few months before he took his steerage pa.s.sage for our sh.o.r.es. I was drawn to the young Scotsman at once. He seemed more like a New-Englander of Holmes's Brahmin caste, who might have come from Harvard or Yale. But as he grew animated I thought, as others have thought, and as one would suspect from his name, that he must have Scandinavian blood in his veins-that he was of the heroic, restless, strong and tender Viking strain, and certainly from that day his works and wanderings have not belied the surmise. He told me that he was the author of that charming book of gipsying in the Cevennes which just then had gained for him some attentions from the literary set. But if I had known that he had written those two stories of sixteenth-century Paris-as I learned afterwards when they reappeared in the New Arabian Nights-I would not have bidden him good-bye as to an 'unfledged comrade,' but would have wished indeed to 'grapple him to my soul with hooks of steel.'

"Another point is made clear as crystal by his life itself. He had the instinct, and he had the courage, to make it the servant, and not the master, of the faculty within him. I say he had the courage, but so potent was his birth-spell that doubtless he could not otherwise. Nothing commonplace sufficed him. A regulation stay-at-home life would have been fatal to his art. The ancient mandate, 'Follow thy Genius,' was well obeyed. Unshackled freedom of person and habit was a prerequisite; as an imaginary artist he felt-nature keeps her poets and story-tellers children to the last-he felt, if he ever reasoned it out, that he must gang his own gait, whether it seemed promising, or the reverse, to kith, kin, or alien. So his wanderings were not only in the most natural but in the wisest consonance with his creative dreams. Wherever he went, he found something essential for his use, breathed upon it, and returned it fourfold in beauty and worth. The longing of the Norseman for the tropic, of the pine for the palm, took him to the South Seas. There, too, strange secrets were at once revealed to him, and every island became an 'Isle of Voices.' Yes, an additional proof of Stevenson's artistic mission lay in his careless, careful, liberty of life; in that he was an artist no less than in his work. He trusted to the impulse which possessed him-that which so many of us have conscientiously disobeyed and too late have found ourselves in reputable bondage to circ.u.mstances.

"But those whom you are waiting to hear will speak more fully of all this-some of them with the interest of their personal remembrance-with the strength of their affection for the man beloved by young and old. In the strange and sudden intimacy with an author's record which death makes sure, we realise how notable the list of Stevenson's works produced since 1878; more than a score of books-not fiction alone, but also essays, criticism, biography, drama, even history, and, as I need not remind you, that spontaneous poetry which comes only from a true poet. None can have failed to observe that, having recreated the story of adventure, he seemed in his later fiction to interfuse a subtler purpose-the search for character, the a.n.a.lysis of mind and soul. Just here his summons came. Between the sunrise of one day and the sunset of the next he exchanged the forest study for the mountain grave. There, as he had sung his own wish, he lies 'under the wide and starry sky.' If there was something of his own romance, so exquisitely capricious, in the life of Robert Louis Stevenson, so, also, the poetic conditions are satisfied in his death, and in the choice of his burial-place upon the top of Pala. As for the splendour of that maturity upon which we counted, now never to be fulfilled on sea or land, I say-as once before, when the great New-England romancer pa.s.sed in the stillness of the night:

"'What though his work unfinished lies? Half bent The rainbow's arch fades out in upper air, The shining cataract half-way down the height Breaks into mist; the haunting strain, that fell On listeners unaware, Ends incomplete, but through the starry night The ear still waits for what it did not tell.'"

Dr Edward Eggleston finely sounded the personal note, and told of having met Stevenson at a hotel in New York. Stevenson was ill when the landlord came to Dr Eggleston and asked him if he should like to meet him. Continuing, he said:

"He was flat on his back when I entered, but I think I never saw anybody grow well in so short a time. It was a soul rather than a body that lay there, ablaze with spiritual fire, good will shining through everywhere. He did not pay me any compliment about my work, and I didn't pay him any about his. We did not burn any of the incense before each other which authors so often think it necessary to do, but we were friends instantly. I am not given to speedy intimacies, but I could not help my heart going out to him. It was a wonderfully invested soul, no hedges or fences across his fields, no concealment. He was a romanticist; I was-well, I don't know exactly what. But he let me into the springs of his romanticism then and there.

"'You go in your boat every day?' he asked. 'You sail? Oh! to write a novel a man must take his life in his hands. He must not live in the town.' And so he spoke, in his broad way, of course, according to the enthusiasm of the moment.

"I can't sound any note of pathos here to-night. Some lives are so brave and sweet and joyous and well-rounded, with such a completeness about them that death does not leave imperfection. He never had the air of sitting up with his own reputation. He let his books toss in the waves of criticism and make their ports if they deserve to. He had no claptrap, no great cause, none of the disease of pruriency which came into fashion with Flaubert and Guy de Maupa.s.sant. He simply told his story, with no condescension, taking the readers into his heart and his confidence."

CHAPTER XX-EGOTISTIC ELEMENT AND ITS EFFECTS

From these sources now traced out by us-his youthfulness of spirit, his mystical bias, and tendency to dream-symbolisms leading to disregard of common feelings-flows too often the indeterminateness of Stevenson's work, at the very points where for direct interest there should be decision. In The Master of Ballantrae this leads him to try to bring the balances even as regards our interest in the two brothers, in so far justifying from one point of view what Mr Zangwill said in the quotation we have given, or, as Sir Leslie Stephen had it in his second series of the Studies of a Biographer:

"The younger brother in The Master of Ballantrae, who is black-mailed by the utterly reprobate master, ought surely to be interesting instead of being simply sullen and dogged. In the later adventures, we are invited to forgive him on the ground that his brain has been affected: but the impression upon me is that he is sacrificed throughout to the interests of the story [or more strictly for the working out of the problem as originally conceived by the author]. The curious exclusion of women is natural in the purely boyish stories, since to a boy woman is simply an inc.u.mbrance upon reasonable modes of life. When in Catriona Stevenson introduces a love story, it is still unsatisfactory, because David Balfour is so much the undeveloped animal that his pa.s.sion is clumsy, and his charm for the girl unintelligible. I cannot feel, to say the truth, that in any of these stories I am really among living human beings with whom, apart from their adventures, I can feel any very lively affection or antipathy."

In the Ebb-Tide it is, in this respect, yet worse: the three heroes choke each other off all too literally.

In his excess of impartiality he tones down the points and lines that would give the attraction of true individuality to his characters, and instead, would fain have us contented with his liberal, and even over-sympathetic views of them and allowances for them. But instead of thus furthering his object, he sacrifices the whole-and his story becomes, instead of a broad and faithful human record, really a curiosity of autobiographic perversion, and of overweening, if not extravagant egotism of the more refined, but yet over-obtrusive kind.

Mr Baildon thus. .h.i.ts the subjective tendency, out of which mainly this defect-a serious defect in view of interest-arises.

"That we can none of us be sure to what crime we might not descend, if only our temptation were sufficiently acute, lies at the root of his fondness and toleration for wrong-doers (p. 74).

Thus he practically declines to do for us what we are unwilling or unable to do for ourselves. Interest in two characters in fiction can never, in this artificial way, and if they are real characters truly conceived, be made equal, nor can one element of claim be balanced against another, even at the beck of the greatest artist. The common sentiment, as we have seen, resents it even as it resents lack of guidance elsewhere. After all, the novelist is bound to give guidance: he is an authority in his own world, where he is an autocrat indeed; and can work out issues as he pleases, even as the Pope is an authority in the Roman Catholic world: he abdicates his functions when he declines to lead: we depend on him from the human point of view to guide us right, according to the heart, if not according to any conventional notion or opinion. Stevenson's pause in individual presentation in the desire now to raise our sympathy for the one, and then for the other in The Master of Ballantrae, admits us too far into Stevenson's secret or trick of affected self-withdrawal in order to work his problem and to signify his theories, to the loss and utter confusion of his aims from the point of common dramatic and human interest. It is the same in Catriona in much of the treatment of James Mohr or More; it is still more so in not a little of the treatment of Weir of Hermiston and his son, though there, happily for him and for us, there were the direct restrictions of known fact and history, and clearly an attempt at a truer and broader human conception unburdened by theory or egotistic conception.

Everywhere the problem due to the desire to be overjust, so to say, emerges; and exactly in the measure it does so the source of true dramatic directness and variety is lost. It is just as though Shakespeare were to invent a chorus to cry out at intervals about Iago-"a villain, bad lot, you see, still there's a great deal to be said for him-victim of inheritance, this, that and the other; and considering everything how could you really expect anything else now." Thackeray was often weak from this same tendency-he meant Becky Sharp to be largely excused by the reader on these grounds, as he tries to excuse several others of his characters; but his endeavours in this way to gloss over "wickedness" in a way, do not succeed-the reader does not carry clear in mind as he goes along, the suggestions Thackeray has ineffectually set out and the "healthy hatred of scoundrels" Carlyle talked about has its full play in spite of Thackeray's suggested excuses and palliations, and all in his own favour, too, as a story-wright.

Stevenson's constant habit of putting himself in the place of another, and asking himself how would I have borne myself here or there, thus limited his field of dramatic interest, where the subject should have been made pre-eminently in aid of this effect. Even in Long John Silver we see it, as in various others of his characters, though there, owing to the demand for adventure, and action contributory to it, the defect is not so emphasised. The sense as of a projection of certain features of the writer into all and sundry of his important characters, thus imparts, if not an air of egotism, then most certainly a somewhat constrained, if not somewhat artificial, autobiographical air-in the very midst of action, questions of ethical or casuistical character arise, all contributing to submerging individual character and its dramatic interests under a wave of but half-disguised autobiography. Let Stevenson do his very best-let him adopt all the artificial disguises he may, as writing narrative in the first person, etc., as in Kidnapped and Catriona, nevertheless, the attentive reader's mind is constantly called off to the man who is actually writing the story. It is as though, after all, all the artistic or artificial disguises were a mere mask, as more than once Thackeray represented himself, the mask partially moved aside, just enough to show a chubby, childish kind of transformed Thackeray face below. This belongs, after all, to the order of self-revelation though under many disguises: it is creation only in its manner of work, not in its essential being-the spirit does not so to us go clean forth of itself, it stops at home, and, as if from a remote and shadowy cave or recess, projects its own colour on all on which it looks.

This is essentially the character of the mystic; and hence the justification for this word as applied expressly to Stevenson by Mr Chesterton and others.

"The inner life like rings of light Goes forth of us, transfiguring all we see."

The effect of these early days, with the peculiar tint due to the questionings raised by religious stress and strain, persists with Stevenson; he grows, but he never escapes from that peculiar something which tells of childish influences-of boyish perversions and troubled self-examinations due to Shorter Catechism-any one who would view Stevenson without thought of this, would view him only from the outside-see him merely in dress and outer oddities. Here I see definite and clear heredity. Much as he differed from his worthy father in many things, he was like him in this-the old man like the son, bore on him the marks of early excesses of wistful self-questionings and painful wrestlings with religious problems, that perpetuated themselves in a quaint kind of self-revelation often masked by an a.s.sumed self-withdrawal or indifference which to the keen eye only the more revealed the real case. Stevenson never, any more than his father, ceased to be interested in the religious questions for which Scotland has always had a penchant-and so much is this the case that I could wish Professor Sidney Colvin would even yet attempt to show the bearing of certain things in that Address to the Scottish Clergy written when Stevenson was yet but a young man, on all that he afterwards said and did. It starts in the Edinburgh Edition without any note, comment, or explanation whatever, but in that respect the Edinburgh Edition is not quite so complete as it might have been made. In view of the point now before us, it is far more important than many of the other trifles there given, and wants explanation and its relation to much in the novels brought out and ill.u.s.trated. Were this adequately done, only new ground would be got for holding that Stevenson, instead of, as has been said, "seeing only the visible world," was, in truth, a mystical moralist, once and always, whose thoughts ran all too easily into parable and fable, and who, indeed, never escaped wholly from that atmosphere, even when writing of things and characters that seemed of themselves to be wholly outside that sphere. This was the tendency, indeed, that militated against the complete detachment in his case from moral problems and mystical thought, so as to enable him to paint, as it were, with a free hand exactly as he saw; and most certainly not that he saw only the visible world. The mystical element is not directly favourable to creative art. You see in Tolstoy how it arrests and perplexes-how it lays a disturbing check on real presentation-hindering the action, and is not favourable to the loving and faithful representation, which, as Goethe said, all true and high art should be. To some extent you see exactly the same thing in Nathaniel Hawthorne as in Tolstoy. Hawthorne's preoccupations in this way militated against his character-power; his healthy characters who would never have been influenced as he describes by morbid ones yet are not only influenced according to him, but suffer sadly. Phoebe Pyncheon in The House of the Seven Gables, gives sunshine to poor Hepzibah Clifford, but is herself never merry again, though joyousness was her natural element. So, doubtless, it would have been with Pansie in Doctor Dolliver, as indeed it was with Zen.o.bia and with the hero in the Marble Faun. "We all go wrong," said Hawthorne, "by a too strenuous resolution to go right." Lady Byron was to him an intolerably irreproachable person, just as Stevenson felt a little of the same towards Th.o.r.eau; notwithstanding that he was the "sunnily-ascetic," the asceticism and its corollary, as he puts it: the pa.s.sion for individual self-improvement was alien in a way to Stevenson. This is the position of the casuistic mystic moralist and not of the man who sees only the visible world.