He could only repeat the appealing “Kirstie!”
“Kirstie, indeed!” cried the girl, her eyes blazing in her white face. “My name is Miss Christina Elliott, I would have ye to ken, and I daur ye to ca’ me out of it. If I canna get love, I’ll have respect, Mr. Weir. I’m come of decent people, and I’ll have respect. What have I done that ye should lightly me? What have I done? What have I done? O, what have I done?” and her voice rose upon the third repetition. “I thocht—I thocht—I thocht I was sae happy!” and the first sob broke from her like the paroxysm of some mortal sickness.
Archie ran to her. He took the poor child in his arms, and she nestled to his breast as to a mother’s, and clasped him in hands that were strong like vices. He felt her whole body shaken by the throes of distress, and had pity upon her beyond speech. Pity, and at the same time a bewildered fear of this explosive engine in his arms, whose works he did not understand, and yet had been tampering with. There arose from before him the curtains of boyhood, and he saw for the first time the ambiguous face of woman as she is. In vain he looked back over the interview; he saw not where he had offended. It seemed unprovoked, a wilful convulsion of brute nature. . . .
EDITORIAL NOTE
With the words last printed, “a wilful convulsion of brute nature,” the romance of Weir of Hermiston breaks off. They were dictated, I believe, on the very morning of the writer’s sudden seizure and death. Weir of Hermiston thus remains in the work of Stevenson what Edwin Droid is in the work of Dickens or Denis Duval in that of Thackeray: or rather it remains relatively more, for if each of those fragments holds an honourable place among its author’s writings, among Stevenson’s the fragment of Weir holds certainly the highest.
Readers may be divided in opinion on the question whether they would or they would not wish to hear more of the intended course of the story and destinies of the characters. To some, silence may seem best, and that the mind should be left to its own conjectures as to the sequel, with the help of such indications as the text affords. I confess that this is the view which has my sympathy. But since others, and those almost certainly a majority, are anxious to be told all they can, and since editors and publishers join in the request, I can scarce do otherwise than comply. The intended argument, then, so far as it was known at the time of the writer’s death to his step-daughter and devoted amanuensis, Mrs. Strong, was nearly as follows:—
Archie persists in his good resolution of avoiding further conduct compromising to young Kirstie’s good
name. Taking advantage of the situation thus created, and of the girl’s unhappiness and wounded vanity, Frank Innes pursues his purpose of seduction; and Kirstie, though still caring for Archie in her heart, allows herself to become Frank’s victim. Old Kirstie is the first to perceive something amiss with her, and believing Archie to be the culprit, accuses him, thus making him aware for the first time that mischief has happened. He does not at once deny the charge, but seeks out and questions young Kirstie, who confesses the truth to him; and he, still loving her, promises to protect and defend her in her trouble. He then has an interview with Frank Innes on the moor, which ends in a quarrel, and in Archie killing Frank beside the Weaver’s Stone. Meanwhile the Four Black Brothers, having become aware of their sister’s betrayal, are bent on vengeance against Archie as her supposed seducer. They are about to close in upon him with this purpose when he is arrested by the officers of the law for the murder of Frank. He is tried before his own father, the Lord Justice-Clerk, found guilty, and condemned to death. Meanwhile the elder Kirstie, having discovered from the girl how matters really stand, informs her nephews of the truth; and they, in a great revulsion of feeling in Archie’s favour, determine on an action after the ancient manner of their house. They gather a following, and after a great fight break the prison where Archie lies confined, and rescue him. He and young Kirstie thereafter escape to America. But the ordeal of taking part in the trial of his own son has been too much for the Lord Justice-Clerk, who dies of the shock. “I do not know,” adds the amanuensis, “what becomes of old Kirstie, but that character grew and strengthened so in the writing that I am sure he had some dramatic destiny for her.”
The plan of every imaginative work is subject, of course, to change under the artist’s hand as he carries it out; and not merely the character of the elder Kirstie, but other elements of the design no less, might well have deviated from the lines originally traced. It seems certain, however, that the next stage in the relations of Archie and the younger Kirstie would have been as above foreshadowed; and this conception of the lover’s unconventional chivalry and unshaken devotion to his mistress after her fault is very characteristic of the writer’s mind. The vengeance to be taken on the seducer beside the Weaver’s Stone is prepared for in the first words of the Introduction; while the situation and fate of the judge, confronting like a Brutus, but unable to survive, the duty of sending his own son to the gallows, seem clearly to have been destined to furnish the climax and essential tragedy of the tale.
How this last circumstance was to have been brought about, within the limits of legal usage and possibility, seems hard to conjecture; but it was a point to which the author had evidently given careful consideration. Mrs. Strong says simply that the Lord Justice-Clerk, like an old Roman, condemns his son to death; but I am assured on the best legal authority of Scotland that no judge, however powerful either by character or office, could have insisted on presiding at the trial of a near kinsman of his own. The Lord Justice-Clerk was head of the criminal justiciary of the country; he might have insisted on his right of being present on the bench when his son was tried: but he would never have been allowed to preside or to pass sentence. Now in a letter of Stevenson’s to Mr. Baxter, of October 1892, I find him asking for materials in terms which seem to indicate that he knew this quite well:—“I wish Pitcairn’s ‘Criminal Trials,’ quam primum. Also an absolutely correct text