IX
ROBERT LOUIS STEVENSON
Stevenson spent his life, like an only and lonely child, in playing games with himself. Most boys who read romances have the dramatic instinct; they must forthwith incarnate the memories of their reading, and anything will do for a mise en scene. The mudpuddle becomes an ocean, where the pirate ship is launched; a scrubby apple tree has infinite possibilities. Armed with a wooden sword, the child sallies forth in the rain, and fiercely cuts down the mulleins; could we only see him without being seen, we should observe the wild light in his eye, and the frown of battle on his brow. He walks cautiously in the underbrush, to surprise the ambushed foe; and it is with rapture that he goes to sleep in a tent, pitched six yards from the kitchen door. This spirit of adventure remains in some men's hearts, even after the hair has grown grey or gone; they hear the call of the wild, lock up the desk, go into the woods, and there rejoice in a process of decivilisation.
In order to enjoy life, one must love it; and nobody ever loved life more than Stevenson. "It is better to be a fool than to be dead," said he. To him the world was always picturesque, whether he saw it through the mists of Edinburgh, or amid the snows of Davos, or in the tropical heat of Samoa. "Where is Samoa?" asked a friend. "Go out of the Golden Gate," replied Stevenson, "and take the first turn to the left." This counsel makes up in joyous imagination what it lacks in latitude and longitude. Everything in Stevenson's bodily and mental life was an adventure, to be begun in a spirit of reckless enthusiasm. In his travels with a donkey, he was a beloved vagabond, whose wayside acquaintances are to be envied; in compulsory expeditions in search of health, he set out with as much zest as though he were after buried treasure; everything was an adventure, and his marriage was the greatest adventure of all. He read books with the same enthusiasm with which he tramped, or paddled in a canoe; every new novel he opened with the spirit of an explorer, for who knows in its pages what people one may meet? William Archer sent him a copy of Bernard Shaw's story, Cashel Byron's Profession, and Stevenson wrote in reply from Saranac Lake, "Over Bashville the footman I howled with derision and delight; I dote on Bashville—I could read of him for ever; de Bashville je suis le fervent—there is only one Bashville, and I am his devoted slave.... It is all mad, mad and deliriously delightful.... It is Horrid Fun.... (I say, Archer, my God, what women!)" What would authors give for a reading public like that?
Prone in bed, when his attention was not diverted by a hemorrhage, he lived amid the pageantry of gorgeous day-dreams, presented on the stage of his brain. We know that Ben Jonson saw the Romans and Carthaginians fighting, marching and countermarching, across his great toe. Stevenson would have understood this perfectly. No pain or sickness ever daunted him, or held him captive; his mind was always in some picturesque or immensely interesting place. In composition, he seemed to have a double consciousness; he moulded his sentences with the fastidious care of a great artist; at the same moment he felt the growing sea-breeze, and knew that his hero would very soon have to shorten sail.
It is pleasant to remember that a man who had such genius for friendship, who so generously admired the literary work of his contemporaries, and who loved the whole world of saints and sinners, received such widespread homage in return. His career as a man of letters extended over twenty years; and during the last eight his name was actually a household word. To be sure, he published much work of a high order without getting even a hearing; his Inland Voyage, Travels with a Donkey, Virginibus Puerisque, Familiar Studies, New Arabian Nights, and even Treasure Island, attracted very little attention; he remained in obscurity. But when, in the year 1886, appeared the Strange Case of Dr. Jekyll and Mr. Hyde, he found himself famous; the thrilling excitement of the story, combined with its powerful moral appeal, simply conquered the world. And although his own plays were failures, he had the satisfaction of knowing that thousands of people in theatres were spellbound by the modern Morality made out of his novel. Few writers have become "classics" in so short a time; during the years that remained to him, he was compelled to prepare a superb edition of his Complete Works. Without ever appealing to the animal nature of humanity, he had the keen satisfaction of reigning in the hearts of uncultivated readers, and of receiving the almost universal tribute of refined critics. There are authors who are the delight of a bookish few, and there are authors with an enormous public and no reputation. There are poets like Donne, and prose-masters like Browne, precious to the men and women of patrician taste; and there are some familiar examples of the other kind, needless to call by name. Stevenson pleases us all; for he always has a good story, and the subtlety of his art gives to his narrative imperishable beauty.
Stevenson's appearance as a novelist was in itself an adventure. He seemed at first as obsolete as a soldier of fortune. He was as unexpected and as picturesque among contemporary writers of fiction as an Elizabethan knight in a modern drawing-room. When he placed Treasure Island on the literary map, Realism was at its height in some localities, and at its depth in others. But it was everywhere the standard form, in which young writers strove to embody their visions. Zola had just made an address in which he remarked that Walter Scott was dead, and that the fashion of his style had passed away. The experimental novel would go hand in hand with the advance of scientific thought. And there were many who believed that Zola spoke the truth. This state of affairs was a tremendous challenge to Stevenson, and he accepted it in the spirit of chivalry. The very name of his first novel, Treasure Island, was like the flying of a flag. Those critics who saw it must have smiled, and shaken their wise heads, for had not the time for such follies gone by? Stevenson was fully aware of what he was doing; in the midst of contemporary fiction he felt as impatient and as ill at ease as a boy, imprisoned in a circle of elders, whose conversation does not in the least interest him. His sentiments are clearly shown in a letter to the late Mr. Henley, written shortly after the appearance of Treasure Island, and which is important enough to quote somewhat fully:—
"I do desire a book of adventure—a romance—and no man will get or write me one. Dumas I have read and reread too often; Scott, too, and I am short. I want to hear swords clash. I want a book to begin in a good way; a book, I guess, like Treasure Island, alas! which I have never read, and cannot though I live to ninety. I would God that someone else had written it! By all that I can learn, it is the very book for my complaint. I like the way I hear it opens; and they tell me John Silver is good fun. And to me it is, and must ever be, a dream unrealised, a book unwritten. O my sighings after romance, or even Skeltery, and O! the weary age which will produce me neither!
Chapter I
The night was damp and cloudy, the ways foul. The single horseman, cloaked and booted, who pursued his way across Willesden Common, had not met a traveller, when the sound of wheels—
Chapter I
'Yes, sir,' said the old pilot, 'she must have dropped into the bay a little afore dawn. A queer craft she looks.'
'She shows no colours,' returned the young gentleman, musingly.
'They're a-lowering of a quarter-boat, Mr. Mark,' resumed the old salt. 'We shall soon know more of her.'
'Ay,' replied the young gentleman called Mark, 'and here, Mr. Seadrift, comes your sweet daughter Nancy tripping down the cliff.'
'God bless her kind heart, sir,' ejaculated old Seadrift.