FRANCIS RICHARD STOCKTON.
FRANCIS RICHARD STOCKTON
At a dinner given in honor of Mr. Frank R. Stockton by the Authors' Club of New York, early in the year 1901, Mr. Richard Watson Gilder, the editor of The Century, said: "A young man once came to me and said he would like to contribute to the magazine every month. I asked him what he wanted to write. 'Oh,' he said, 'I'd like to send you each month a story like The Lady or the Tiger?'" Mr. Gilder said at the end of his speech: "When I think of the immense amount of pleasure Mr. Stockton brought into the life of Stevenson it seems to me that alone would be to him a benediction forever."
The editor of The Century thus happily illustrated the attitude of the reading world toward Mr. Stockton: on one side is an eager desire to emulate him, and on the other an equally eager desire to go to him for pleasure or for comfort. There is a natural grace about his stories which has often deceived the inexpert into an attempt to rival him, while the sweet and simple comedy of the stories has for more than a quarter of a century been the delight of young and old. The young man who visited Mr. Gilder, and the brilliant novelist solacing himself with the acquaintance of Pomona, Ardis Claverden, Mrs. Null, and Chipperton, are types.
The object of this variety of admiration was born in Philadelphia on April 5, 1834. On his father's side he is a descendant of the Richard Stockton who signed the Declaration of Independence. His father was notable chiefly for his religious zeal. He married twice, and his second wife was the author's mother. She was a Virginian; and from her side of the family tree was derived the name Ardis, found in "Ardis Claverden." There is a Stocktonian touch in the familiar story that the Christian name of Francis Richard was imposed upon Mr. Stockton by one of his half-sisters, who borrowed half of it from Francis I. of France and half from Richard Cœur de Lion. Some readers will doubtless remember Louise Stockton, Francis's sister, who was given the name of Napoleon's second wife.
It is remarkable, by the way, that with a sister so ready in the choice of names the novelist should himself find denomination a troublesome phase of his art. "The hardest work I have," he once said, "is naming my characters. Many of them are completely made up, others are suggested by something, others are but slightly changed from real names. I seldom use a name that in itself is a description of the character. That was Dickens's way, you remember. Nevertheless, sometimes one of my names does describe the character. Take Tippengray of 'The Squirrel Inn.' Tippengray was a man whose hair was slightly tipped with gray. I always liked that name. Chipperton in 'A Jolly Fellowship' is very descriptive also."
Francis Richard first went to a private school in West Philadelphia. Later he attended the public school, and at the age of eighteen was graduated from the Central High School with the degree of Bachelor of Arts. It was noticed at school that his bent was literary. In fact, this was obvious to his parents when he was only ten, for at that age he began to scribble verses. In spite of this proclivity, however, the boy, after leaving the high school, took up wood-carving as a profession. Just one bond existed between himself and the world of letters, and that was his membership in a high school organization called the "Literary and Forensic Circle." Upon this slight basis has been erected an exceptionally brilliant career, for it was to the Circle that the Ting-a-Ling stories were first read. These stories were collected for his first book. The Circle also heard "Kate" as soon as it was written. This story and "The Story of Champaigne" were published by the Southern Messenger; and it is sufficient to say that they created a demand for more like them. Thereafter, until 1874, Stockton wrote many short stories, his star all the time rising a little higher above the horizon.
But in 1874 the star blazed forth wondrously with the appearance of the first part of "Rudder Grange." From that day the author's place among the famous American humorists has been secure. The primary effect of the remarkable success of the first part of "Rudder Grange" was to encourage the author to write a second part; its next effect was to persuade him to abandon wood-carving for literature.