Emerson and Other Essays

by John Jay Chapman

"The French have a romantic evasion for one employment, and call its practitioners the Daughters of Joy. The artist is of the same family, he is of the Sons of Joy, chose his trade to please himself, gains his livelihood by pleasing others, and has parted with something of the sterner dignity of men. The poor Daughter of Joy carrying her smiles and her finery quite unregarded through the crowd, makes a figure which it is impossible to recall without a wounding pity. She is the type of the unsuccessful artist."

These are the doctrines and beliefs which, time out of mind, have brought the arts into contempt. They are as injurious as they are false, and they will checkmate the progress of any man or of any people that believes them. They corrupt and menace not merely the fine arts, but every other form of human expression in an equal degree. They are as insulting to the comic actor as they are to Michael Angelo, for the truth and beauty of low comedy are as dignified, and require of the artist the same primary passion for life for its own sake, as the truth and beauty of The Divine Comedy. The doctrines are the outcome of an Alexandrine age. After art has once learnt to draw its inspiration directly from life and has produced some masterpieces, then imitations begin to creep in. That Stevenson's doctrines tend to produce imitative work is obvious. If the artist is a fisher of men, then we must examine the works of those who have known how to bait their hooks: in fiction,—De Foe, Fielding, Walter Scott, Dumas, Balzac.

To a study of these men, Stevenson had, as we have seen, devoted the most plastic years of his life. The style and even the mannerisms of each of them, he had trained himself to reproduce. One can almost write their names across his pages and assign each as a presiding genius over a share of his work. Not that Stevenson purloined or adopted in a mean spirit, and out of vanity. His enthusiasm was at the bottom of all he did. He was well read in the belles lettres of England and the romanticists of France. These books were his bible. He was steeped in the stage-land and cloud-land of sentimental literature. From time to time, he emerged, trailing clouds of glory and showering sparkles from his hands.

A close inspection shows his clouds and sparkles to be stage properties; but Stevenson did not know it. The public not only does not know it, but does not care whether it be so or not. The doughty old novel readers who knew their Scott and Ainsworth and Wilkie Collins and Charles Reade, their Dumas and their Cooper, were the very people whose hearts were warmed by Stevenson. If you cross-question one of these, he will admit that Stevenson is after all a revival, an echo, an after-glow of the romantic movement, and that he brought nothing new. He will scout any comparison between Stevenson and his old favorites, but he is ready enough to take Stevenson for what he is worth. The most casual reader recognizes a whole department of Stevenson's work as competing in a general way with Walter Scott.

Kidnapped is a romantic fragment whose original is to be found in the Scotch scenes of the Waverley Novels. An incident near the beginning of it, the curse of Jennet Clouston upon the House of Shaws, is transferred from Guy Mannering almost literally. But the curse of Meg Merrilies in Guy Mannering—which is one of the most surprising and powerful scenes Scott ever wrote—is an organic part of the story, whereas the transcript is a thing stuck in for effect, and the curse is put in the mouth of an old woman whose connection with the plot is apocryphal, and who never appears again.

Treasure Island is a piece of astounding ingenuity, in which the manner is taken from Robinson Crusoe, and the plot belongs to the era of the detective story. The Treasure of Franchard is a French farce or light comedy of bourgeois life, of a type already a little old-fashioned, but perfectly authentic. The tone, the mise-en-scène, the wit, the character-drawing, the very language, are all so marvellously reproduced from the French, that we almost see the footlights while we read it.

The Sieur de Maletroit's Door embodies the same idea as a well-known French play in verse and in one act. The version of Stevenson is like an exquisite water-color copy, almost as good as the original.

The Isle of Voices is the production of a man of genius. No one can too much admire the legerdemain of the magician who could produce this thing; for it is a story out of the Arabian Nights, told with a perfection of mannerism, a reproduction of the English in which the later translators of the Arabian Nights have seen fit to deal, a simulation of the movement and detail of the Eastern stories which fairly takes our breath away.

It is "ask and have" with this man. Like Mephistopheles in the Raths-Keller, he gives us what vintage we call for. Olalla is an instance in point. Any one familiar with Mérimée's stories will smile at the naïveté with which Stevenson has taken the leading idea of Lokis, and surrounded it with the Spanish sunshine of Carmen. But we have "fables," moralities, and psychology, Jekyl and Hyde, Markheim, and Will O' the Mill. We have the pasteboard feudal style, in which people say, "Ye can go, boy; for I will keep your good friend and my good gossip company till curfew—aye, and by St. Mary till the Sun get up again." We must have opera bouffe, as in Prince Otto; melodrama, as in The Pavilion on the Links; the essay of almost biblical solemnity in the manner of Sir Thomas Browne, the essay of charming humor in the style of Charles Lamb, the essay of introspection and egotism in the style of Montaigne.

Let us not for a moment imagine that Stevenson has stolen these things and is trying to palm them off on us as his own. He has absorbed them. He does not know their origin. He gives them out again in joy and in good faith with zest and amusement and in the excitement of a new discovery.