to Alison Cunningham
La Solitude, Hyères [Summer 1883].
MY DEAR CUMMY,—Yes, I own I am a real bad correspondent, and am as bad as can be in most directions.
I have been adding some more poems to your book. I wish they would look sharp about it; but, you see, they are trying to find a good artist to make the illustrations, without which no child would give a kick for it. It will be quite a fine work, I hope. The dedication is a poem too, and has been quite a long while written, but I do not mean you to see it till you get the book; keep the jelly for the last, you know, as you would often recommend in former days, so now you can take your own medicine.
I am very sorry to hear you have been so poorly; I have been very well; it used to be quite the other way, used it not? Do you remember making the whistle at Mount Chessie? I do not think it was my knife; I believe it was yours; but rhyme is a very great monarch, and goes before honesty, in these affairs at least. Do you remember, at Warriston, one autumn Sunday, when the beech nuts were on the ground, seeing heaven open? I would like to make a rhyme of that, but cannot.
Is it not strange to think of all the changes: Bob, Cramond, Delhi, Minnie, and Henrietta, all married, and fathers and mothers, and your humble servant just the one point better off? And such a little while ago all children together! The time goes swift and wonderfully even; and if we are no worse than we are, we should be grateful to the power that guides us. For more than a generation I have now been to the fore in this rough world, and been most tenderly helped, and done cruelly wrong, and yet escaped; and here I am still, the worse for wear, but with some fight in me still, and not unthankful—no, surely not unthankful, or I were then the worst of human beings!
My little dog is a very much better child in every way, both more loving and more amiable; but he is not fond of strangers, and is, like most of his kind, a great, specious humbug.
Fanny has been ill, but is much better again; she now goes donkey rides with an old woman, who compliments her on her French. That old woman—seventy odd—is in a parlous spiritual state.
Pretty soon, in the new sixpenny illustrated magazine, Wogg’s picture is to appear: this is a great honour! And the poor soul whose vanity would just explode if he could understand it, will never be a bit the wiser!—With much love, in which Fanny joins, believe me, your affectionate boy,
Robert Louis Stevenson.
to W. E. Henley
La Solitude, Hyères, Summer 1883.
DEAR LAD,—Snatches in return for yours; for this little once, I’m well to windward of you.
Seventeen chapters of Otto are now drafted, and finding I was working through my voice and getting screechy, I have turned back again to rewrite the earlier part. It has, I do believe, some merit: of what order, of course, I am the last to know; and, triumph of triumphs, my wife—my wife who hates and loathes and slates my women—admits a great part of my Countess to be on the spot.
Yes, I could borrow, but it is the joy of being before the public, for once. Really, £100 is a sight more than Treasure Island is worth.
The reason of my dèche? Well, if you begin one house, have to desert it, begin another, and are eight months without doing any work, you will be in a dèche too. I am not in a dèche, however; distinguo—I would fain distinguish; I am rather a swell, but not solvent. At a touch the edifice, ædificium, might collapse. If my creditors began to babble around me, I would sink with a slow strain of music into the crimson west. The difficulty in my elegant villa is to find oil, oleum, for the dam axles. But I’ve paid my rent until September; and beyond the chemist, the grocer, the baker, the doctor, the gardener, Lloyd’s teacher, and the great thief creditor Death, I can snap my fingers at all men. Why will people spring bills on you? I try to make ’em charge me at the moment; they won’t, the money goes, the debt remains.—The Required Play is in the Merry Men.
Q. E. F.
I thus render honour to your flair; it came on me of a clap; I do not see it yet beyond a kind of sunset glory. But it’s there: passion, romance, the picturesque, involved: startling, simple, horrid: a sea-pink in sea-froth! S’agit de la désenterrer. ‘Help!’ cries a buried masterpiece.
Once I see my way to the year’s end, clear, I turn to plays; till then I grind at letters; finish Otto; write, say, a couple of my Traveller’s Tales; and then, if all my ships come home, I will attack the drama in earnest. I cannot mix the skeins. Thus, though I’m morally sure there is a play in Otto, I dare not look for it: I shoot straight at the story.
As a story, a comedy, I think Otto very well constructed; the echoes are very good, all the sentiments change round, and the points of view are continually, and, I think (if you please), happily contrasted. None of it is exactly funny, but some of it is smiling.
R. L. S.