Lay Morals, and Other Papers

by Robert Louis Stevenson

‘How many Cæsars and Pompeys, by mere inspirations of the names, have been rendered worthy of them? And how many are there, who might have done exceeding well in the world, had not their characters and spirits been totally depressed and Nicodemus’d into nothing?’—Tristram Shandy, vol. i. chap xix.

Such were the views of the late Walter Shandy, Esq., Turkey merchant. To the best of my belief, Mr. Shandy is the first who fairly pointed out the incalculable influence of nomenclature upon the whole life—who seems first to have recognised the one child, happy in an heroic appellation, soaring upwards on the wings of fortune, and the other, like the dead sailor in his shotted hammock, haled down by sheer weight of name into the abysses of social failure. Solomon possibly had his eye on some such theory when he said that ‘a good name is better than precious ointment’; and perhaps we may trace a similar spirit in the compilers of the English Catechism, and the affectionate interest with which they linger round the catechumen’s name at the very threshold of their work. But, be these as they may, I think no one can censure me for appending, in pursuance of the expressed wish of his son, the Turkey merchant’s name to his system, and pronouncing, without further preface, a short epitome of the ‘Shandean Philosophy of Nomenclature.’

To begin, then: the influence of our name makes itself felt from the very cradle. As a schoolboy I remember the pride with which I hailed Robin Hood, Robert Bruce, and Robert le Diable as my name-fellows; and the feeling of sore disappointment that fell on my heart when I found a freebooter or a general who did not share with me a single one of my numerous prænomina. Look at the delight with which two children find they have the same name. They are friends from that moment forth; they have a bond of union stronger than exchange of nuts and sweetmeats. This feeling, I own, wears off in later life. Our names lose their freshness and interest, become trite and indifferent. But this, dear reader, is merely one of the sad effects of those ‘shades of the prison-house’ which come gradually betwixt us and nature with advancing years; it affords no weapon against the philosophy of names.

In after life, although we fail to trace its working, that name which careless godfathers lightly applied to your unconscious infancy will have been moulding your character, and influencing with irresistible power the whole course of your earthly fortunes. But the last name, overlooked by Mr. Shandy, is no whit less important as a condition of success. Family names, we must recollect, are but inherited nicknames; and if the sobriquet were applicable to the ancestor, it is most likely applicable to the descendant also. You would not expect to find Mr. M‘Phun acting as a mute, or Mr. M‘Lumpha excelling as a professor of dancing. Therefore, in what follows, we shall consider names, independent of whether they are first or last. And to begin with, look what a pull Cromwell had over Pym—the one name full of a resonant imperialism, the other, mean, pettifogging, and unheroic to a degree. Who would expect eloquence from Pym—who would read poems by Pym—who would bow to the opinion of Pym? He might have been a dentist, but he should never have aspired to be a statesman. I can only wonder that he succeeded as he did. Pym and Habakkuk stand first upon the roll of men who have triumphed, by sheer force of genius, over the most unfavourable appellations. But even these have suffered; and, had they been more fitly named, the one might have been Lord Protector, and the other have shared the laurels with Isaiah. In this matter we must not forget that all our great poets have borne great names. Chaucer, Spenser, Shakespeare, Milton, Pope, Wordsworth, Shelley—what a constellation of lordly words! Not a single common-place name among them—not a Brown, not a Jones, not a Robinson; they are all names that one would stop and look at on a door-plate. Now, imagine if Pepys had tried to clamber somehow into the enclosure of poetry, what a blot would that word have made upon the list! The thing was impossible. In the first place a certain natural consciousness that men would have held him down to the level of his name, would have prevented him from rising above the Pepsine standard, and so haply withheld him altogether from attempting verse. Next, the booksellers would refuse to publish, and the world to read them, on the mere evidence of the fatal appellation. And now, before I close this section, I must say one word as to punnable names, names that stand alone, that have a significance and life apart from him that bears them. These are the bitterest of all. One friend of mine goes bowed and humbled through life under the weight of this misfortune; for it is an awful thing when a man’s name is a joke, when he cannot be mentioned without exciting merriment, and when even the intimation of his death bids fair to carry laughter into many a home.

So much for people who are badly named. Now for people who are too well named, who go top-heavy from the font, who are baptized into a false position, and find themselves beginning life eclipsed under the fame of some of the great ones of the past. A man, for instance, called William Shakespeare could never dare to write plays. He is thrown into too humbling an apposition with the author of Hamlet. Its own name coming after is such an anti-climax. ‘The plays of William Shakespeare’? says the reader—‘O no! The plays of William Shakespeare Cockerill,’ and he throws the book aside. In wise pursuance of such views, Mr. John Milton Hengler, who not long since delighted us in this favoured town, has never attempted to write an epic, but has chosen a new path, and has excelled upon the tight-rope. A marked example of triumph over this is the case of Mr. Dante Gabriel Rossetti. On the face of the matter, I should have advised him to imitate the pleasing modesty of the last-named gentleman, and confine his ambition to the sawdust. But Mr. Rossetti has triumphed. He has even dared to translate from his mighty name-father; and the voice of fame supports him in his boldness.

Dear readers, one might write a year upon this matter. A lifetime of comparison and research could scarce suffice for its elucidation. So here, if it please you, we shall let it rest. Slight as these notes have been, I would that the great founder of the system had been alive to see them. How he had warmed and brightened, how his persuasive eloquence would have fallen on the ears of Toby; and what a letter of praise and sympathy would not the editor have received before the month was out! Alas, the thing was not to be. Walter Shandy died and was duly buried, while yet his theory lay forgotten and neglected by his fellow-countrymen. But, reader, the day will come, I hope, when a paternal government will stamp out, as seeds of national weakness, all depressing patronymics, and when godfathers and godmothers will soberly and earnestly debate the interest of the nameless one, and not rush blindfold to the christening. In these days there shall be written a ‘Godfather’s Assistant,’ in shape of a dictionary of names, with their concomitant virtues and vices; and this book shall be scattered broadcast through the land, and shall be on the table of every one eligible for godfathership, until such a thing as a vicious or untoward appellation shall have ceased from off the face of the earth.

CRITICISMS

CHAPTER I—LORD LYTTON’S ‘FABLES IN SONG’

It seems as if Lord Lytton, in this new book of his, had found the form most natural to his talent. In some ways, indeed, it may be held inferior to Chronicles and Characters; we look in vain for anything like the terrible intensity of the night-scene in Irene, or for any such passages of massive and memorable writing as appeared, here and there, in the earlier work, and made it not altogether unworthy of its model, Hugo’s Legend of the Ages. But it becomes evident, on the most hasty retrospect, that this earlier work was a step on the way towards the later. It seems as if the author had been feeling about for his definite medium, and was already, in the language of the child’s game, growing hot. There are many pieces in Chronicles and Characters that might be detached from their original setting, and embodied, as they stand, among the Fables in Song.

For the term Fable is not very easy to define rigorously. In the most typical form some moral precept is set forth by means of a conception purely fantastic, and usually somewhat trivial into the bargain; there is something playful about it, that will not support a very exacting criticism, and the lesson must be apprehended by the fancy at half a hint. Such is the great mass of the old stories of wise animals or foolish men that have amused our childhood. But we should expect the fable, in company with other and more important literary forms, to be more and more loosely, or at least largely, comprehended as time went on, and so to degenerate in conception from this original type. That depended for much of its piquancy on the very fact that it was fantastic: the point of the thing lay in a sort of humorous inappropriateness; and it is natural enough that pleasantry of this description should become less common, as men learn to suspect some serious analogy underneath. Thus a comical story of an ape touches us quite differently after the proposition of Mr. Darwin’s theory. Moreover, there lay, perhaps, at the bottom of this primitive sort of fable, a humanity, a tenderness of rough truths; so that at the end of some story, in which vice or folly had met with its destined punishment, the fabulist might be able to assure his auditors, as we have often to assure tearful children on the like occasions, that they may dry their eyes, for none of it was true.