LITMIR.BIZ

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divided in opinion; some preferring his essays, and his two books of sentimental travel, "An Inland Voyage" (1878) and "Travels with a Donkey" (1879). These were, indeed, admirable in style, humour, description, and incident, but the creative imagination in the stories of Villon's night and of the Sieur de Malétroit's door, the painting of character, the romance, the vividness, were worth many such volumes. They were well received by the Press, these sketches of travel, but, as Monsieur Got says in his "Journal" (1857), "Les succès des délicats sont, même quand ils s'établissent, trop lents à s'établir. La foule s'est tellement démocratisée qu'il n'a pas de salut si l'on ne frappe brutalement." The needful brutality was not employed till Stevenson "knocked them" with "Jekyll and Hyde."

      "The world is so full of a number of things," that a few essays, two or three short stories in a magazine, a little book of sketches in prose, may be masterpieces in their three several ways, but they escape the notice of all but a few amateurs. Mr. Kipling's knock was much more insistent; he could not be unheard. It was not by essays on Burns and Knox, however independently done, that Stevenson could make his mark.

      Concerning these heroes, Scotland has a vision of her own, and no man must undo it; no man must tell, about Knox, facts ignored by Professors of Church History. Indeed, to study Knox afresh demands research for which Stevenson had not the opportunity. The Covenanting side of his nature appeared in his study of the moral aspect of Burns; his feet of clay. It is agreed that we must veil the feet of clay. As Lockhart says, Scott infuriated Mr. Alexander Peterkin by remarking that Burns "was not chivalrous." Stevenson went further, and annoyed the Peterkins of his day. His task required courage: it was not found wanting.

      In 1877, Stevenson had a new, if very narrow, opening. A friend of his at Edinburgh University, a young Mr. Caldwell Brown (so Stevenson named him to me; his real name seems to have been Glasgow Brown), came to the great metropolis to found a Conservative weekly journal. "London" was its name, but Edinburgh was its nature, and base, if a base it had. The editor was "in the air"; he knew nothing of his business and its difficulties; nothing of what the Conservative public, with sixpences to spend, was likely to want. He approached some of Stevenson's friends, and he gave the Conservative party scores of lively ballades, villanelles, and rondeaux. They were brilliant. Stevenson would not tell me the author's name; he proved to be Mr. Henley, who came to town, and, on the death of Mr. Brown, edited this unread periodical. There were "Society" notes, although Mr. Henley's haunts were not those of that kind of society, and one occasional contributor ventured to remonstrate about the chatter on the "professional beauties" of that distant day.

      The "New Arabian Nights," with all their humour, and horror, all their intellectual high spirits, and reckless absurdity, were poured by Stevenson into this outcast flutterer of a Tory paper, to the great joy of some of the very irregular contributors. (It was an honest flutterer—its contributors received their wages.)

      Then "London" died, and then seriousness enough came into the life of our Arabian author. In August, 1879, he disappeared; he went to America to marry the lady whom he had first met at Fontainebleau, whom he wedded at San Francisco (1880), and loved with all his heart.

      Reconciled to his father, he returned to Scotland. His health had been anew impaired by troubles and privations, and the rest of his life in the Old World was occupied by a series of maladies, vain roamings in search of climate, and hard work constantly interrupted.

      From his early childhood onwards, an army of maladies surrounded him, invested him, cut him off if, in an hour of health, he ventured on any sally; but they never overcame his invincible resolution. He was, as one of his favourite old authors says about I forget what emperor, "an entertainer of fortune by the day," making the most of every sunny hour, and the best of every hour passed under the shadow of imminent death. I remember that, soon after his marriage, he was staying in London at the house of a friend. Going to see him, I noted in him a somewhat anxious look, and I did not wonder at it! Mr. Henley was seated in a great chair, the whole of his face, from the eyes downwards, muffled in a huge crimson silk pocket handkerchief, of which the point covered his aureate beard.

      The room was a large room, and as Louis flitted about it, more suo, he managed to tell me privily that Henley had a very bad cold, and that he himself caught every cold which came within a limited radius. He did catch that cold, I heard, and when once such an invader entered his system, nobody knew what the end of it might be. His lungs usually suffered; hemorrhage was frequent and often alarming. In one of these accesses, unable to speak, he wrote, "Do not be frightened. If this is the end it is an easy one."

      Many scraps written by him in circumstances like these used to exist; some of them, though brief, were rich in the simple eloquence of indignation.

      Almost no climate did him any good: in 1880-1881, he chiefly suffered at Davos, and in the tempests of September, in Braemar. At Davos he had few consolations except the society of Mr. J. A. Symonds (the Opalstein of his essay on "Talk and Talkers") and his family. He was still attached to the indigent Muse of History: meditating a "History of the Highlands," and another book on that much trampled topic, the Union of 1707. When one thinks of the commercial statistics necessary to the student of the Union—to take that grim aspect of it alone—enfin, "I have been there, and would not go." In the nature of things the History of the Union would have become a romance, with that impudent, entertaining rogue, Ker of Kersland, and his bewildered Cameronians, for the heroes: with Hamilton the waverer, and the dark, sardonic Lockhart of Carnwath, and Daniel Defoe as the English looker-on. The study of Highland history led to the reading of the Trial of James of the Glens, and the vain hunt for Alan Breck, and so to "Kidnapped."

      Stevenson felt and described the exhilaration of Alpine mornings, but his style was as sensitive as his bronchial apparatus, and he declares that when he tried to write, the style suffered from "yeasty inflation," while his nights were haunted by the nightmares of his childhood.

      The next change carried him to a cottage near Pitlochry, whence he wrote that he was engaged in the composition of "crawlers." The first and best of these, "Thrawn Janet," was (with his "Tod Lapraik" in "Kidnapped") the only pendant to Scott's "Wandering Willie's Tale," in the northern vernacular. The tale has a limited circle; no Southern can appreciate all its merits, the thing is so absolutely and essentially Scots; especially the atmosphere. He said that it was "true for a hill parish in Scotland in old days, not true for mankind and the world." So it is fortunate to be a native of a hill parish in Scotland!

      "The Merry Men," as "a fantasia or vision of the sea," is excellent; the poor negro never was, to myself, "convincing." However, knowing Stevenson's taste in art, I designed for him, in Skeltic taste, an illustration (coloured) of the negro pursuing the wicked uncle (in the philabeg) over the crests of Ben Mor, Mull.

      Descending from these heights, Stevenson, like every bookish Scot, "ettled at" a professorial chair—that of "History and Constitutional Law," in the University of Edinburgh.

      The election was in the winter, the legist and historian occupied the autumn in composing the first half of "Treasure Island" (originally "The Sea Cook").

      Everyone knows the story: how, playing with his stepson, Stevenson drew a map of an island—an island like a dragon seyant; considered the caves and hills and streams, and thought of the place as a haunt of these serviceable pirates, who always dumped down their hard-earned swag on distant and on deadly shores, which they carefully abstained from revisiting. The legends of Captain Kidd's caches have long haunted the imagination; the idea of Hidden Treasure has its eternal charm, and the story thereof was told, once for all, by Poe. Soon after "Treasure Island" appeared there was a real treasure hunt. The deposit, so I was informed, was "put down by a Fin," and Mr. Rider Haggard and I were actually paying (at least Mr. Haggard sent me a cheque) for shares in this alluring enterprise, when I learned that the Fin (or Finn? a native of Finland), had looted the church plate of some Spanish cathedral in America. Knowing this, I returned his cheque to Mr. Haggard; happily, for the isle was the playroom of young earthquakes, which had upset the soil and the landmarks to such a degree that the gentleman adventurer returned—bredouille! I hope Stevenson had nothing on.

      In the Highland cottage, during the rain eternal, he amused himself with writing his story, as Shelley, Byron, Polidori, and Mary Godwin had diverted themselves in Swiss wet weather, with their ghost stories,

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