Emerson and Other Essays

by John Jay Chapman

ROBERT LOUIS STEVENSON

In the early eighties, and in an epoch when the ideals of George Eliot were still controlling, the figure of Stevenson rose with a sort of radiance as a writer whose sole object was to entertain. Most of the great novelists were then dead, and the scientific school was in the ascendant. Fiction was entering upon its death grapple with sociology. Stevenson came, with his tales of adventure and intrigue, out-of-door life and old-time romance, and he recalled to every reader his boyhood and the delights of his earliest reading. We had forgotten that novels could be amusing.

Hence it is that the great public not only loves Stevenson as a writer, but regards him with a certain personal gratitude. There was, moreover, in everything he wrote an engaging humorous touch which made friends for him everywhere, and excited an interest in his fragile and somewhat elusive personality supplementary to the appreciation of his books as literature. Toward the end of his life both he and the public discovered this, and his railleries or sermons took on the form of personal talk.

Beneath these matters lay the fact, known to all, that the man was fighting a losing battle against mortal sickness, and that practically the whole of his work was done under conditions which made any productivity seem a miracle. The heroic invalid was seen through all his books, still sitting before his desk or on his bed, turning out with unabated courage, with increasing ability, volume after volume of gayety, of boys' story-book, and of tragic romance.

There is enough in this record to explain the popularity, running at times into hero-worship and at times into drawing-room fatuity, which makes Stevenson and his work a fair subject for study. It is not impossible that a man who met certain needs of the times so fully, and whom large classes of people sprang forward to welcome, may in some particulars give a clew to the age.

Any description of Stevenson's books is unnecessary. We have all read them too recently to need a prompter. The high spirits and elfin humor which play about and support every work justifies them all.

One of his books, The Child's Garden of Verses, is different in kind from the rest. It has no prototype, and is by far the most original thing that he did. The unsophisticated and gay little volume is a work of the greatest value. Stevenson seems to have remembered the impressions of his childhood with accuracy, and he has recorded them without affectation, without sentimentality, without exaggeration. In depicting children he draws from life. He is at home in the mysteries of their play and in the inconsequent operations of their minds, in the golden haze of impressions in which they live. The references to children in his essays and books show the same understanding and sympathy. There is more than mere literary charm in what he says here. In the matter of childhood we must study him with respect. He is an authority.

The slight but serious studies in biography—alas! too few—which Stevenson published, ought also to be mentioned, because their merit is apt to be overlooked by the admirers of his more ambitious works. His understanding of two such opposite types of men as Burns and Thoreau is notable, and no less notable are the courage, truth, and penetration with which he dealt with them. His essay on Burns is the most comprehensible word ever said of Burns. It makes us love Burns less, but understand him more.

The problems suggested by Stevenson are more important than his work itself. We have in him that rare combination,—a man whose theories and whose practice are of a piece. His doctrines are the mere description of his own state of mind while at work.