Роберт Льюис Стивенсон: The Works of Robert Louis Stevenson – Swanston Edition, Volume 1

Throughout life, he always played his part, as in childhood, with full conscious and picturesque effect, as did the great Montrose and the English Admirals, in whom he notes this dramatic trait. He was not a poseur ; he was merely sensitively conscious of himself and of life as an art. As a little boy with curls and a velvet tunic, he read "Ministering Children," and yearned to be a ministering child. An opportunity seemed to present itself; the class of boys called "keelies" by the more comfortable boys in Edinburgh, used to play in the street under the windows of his father's house. One lame boy, a baker's son, could only look on. Here was a chance to minister! Louis, with a beating heart, walked out on his angelic mission.

"Little boy, would you like to play with me?" he asked.

"You go to –!" was the answer of the independent son of the hardy baker.

It is difficult to pass from the enchanted childhood of this eternal child, with its imaginative playing at everything, broken only by fevers whereof the dreams were the nightmares of unconscious genius. He has told of all this as only he could tell it.

As a boy, despite his interrupted education, he laid the foundations of a knowledge of French and German, acquired Latin, and was not like that other boy who, Euclide viso, cohorruit et evasit. He was a mathematician! He never played cricket, I deeply regret to say, and his early love of football deserted him. He was no golfer, and a good day's trout-fishing, during which he neglected to kill each trout as it was taken, caused remorse, and made him abandon the contemplative boy's recreation. Boating, riding, and walking were his exercises. He read the good books that never lose their charm—Scott, Dumas, Shakespeare, "The Arabian Nights"; when very young he was delighted with "The Book of Snobs"; he also read Mayne Reid and "Ballantyne the Brave," and any story that contained Skeltica , cloaks, swords, wigs on the green, pirates and great adventures. He lived in literature, for Romance.

His doings at Edinburgh University, and as a budding engineer, he has chronicled; he took part in snowball rows, in the debates of the Speculative Society, and in private dramatic performances, organized by his senior and friend, Professor Fleeming Jenkin. To "dress up" in old costumes always pleased him. He happened to praise the acting of a girl of fourteen, who, in her family circle, said, "Perhaps when I am old, like the lady in Ronsard, I will say 'R. L. Stevenson sang of me.'" His gambols "with the wild Prince and Poins" are not unrecorded. These were his Fergussonian years. Perhaps he might have expressed Burns's esteem for the "class of men called black-guards," as far as their unconventionality is concerned. He saw a great deal of life in many varieties; like Scott in Liddesdale, "he was making himsel' a' the time." With his cousin R. A. M. Stevenson, Walter Ferrier, Mr. Charles Baxter, and Sir Walter Simpson (a good golfer and not a bad bat), he performed "acts of Libbelism," and discussed all things in the universe. He was wildly gay, and profoundly serious, he had the earnestness of the Covenanter in forming speculations more or less unorthodox. It is needless to dwell on the strain caused by his theological ideals and those of a loving but sternly Calvinistic sire, to whom his love was ever loyal.

These things bred melancholy, of necessity, and melancholy was purged by an almost unexampled interest, not in literature alone, but in the technique of style, and the construction of sentences and periods. Few of his confessions are better known than those on his apprenticeship in style to the great authors of the past. He gave himself up to the schools of Hazlitt, Lamb, Wordsworth, Sir Thomas Browne, Defoe, Hawthorne, Montaigne, Baudelaire, William Morris, and Obermann (De Senancour).

This he did when he was aged about eighteen, when other lads are trying to write Latin prose like Cicero, or Livy, or Tacitus (Tacitus is the easiest to ape, in a way), and Latin verse like Ovid, or Horace, or Virgil. This they do because it is "part of the curricoolum," as the Scottish baronet said, of school and college. But I do not remember anecdotes of other boys with a genius for English prose who set themselves to acquire style before they deemed that they had anything in particular to say.

In English essays at college a young fellow may be told by his tutor not to imitate Carlyle or Macaulay: the attempt to repeat the tones of Thackeray is most incident to youth. But to aim, like Stevenson while a student of Edinburgh University, at "the choice of the essential note and the right word," in exercises written for his own improvement, is a thing so original that it keeps me wondering. Like most of us, I have always thought, with Mr. Froude, when asked how he acquired his style, that a man sits down and says what he has to say, and there is an end of it. We must not write like Clarendon now, even if we could; our sentences must be brief. It would be affectation to write like Sir Thomas Browne, if we could; or like de Quincey; and nobody can write like Mr. Ruskin, when he is simple, or like the late Master of Balliol, Mr. Jowett.

How far and how early Stevenson succeeded in the pursuit of style may be seen in his "Juvenilia": for example, in the essay on the Old Gardener. But one is inclined to think that he succeeded because he had a very keen natural perception of all things, was a most minute observer, knew what told in the matter of words, in fact, had a genius of his own; and that these graces came to him, though he says that they did not, by nature. He tells us how often he wrote and rewrote some of his chapters, some of his books. His prima cura we have not seen; perhaps it was as good as his most polished copy. "Prince Otto" has even seemed to me, in places, over-written. He now and then ran near the rock of preciosity, though he very seldom piled up his barque on that reef. His style is, to the right reader, a perpetual feast, "a dreiping roast," and his style cannot be parodied. I never saw a parody that came within a league of the jest it aimed at, save one burlesque of the deliberately stilted manner of his "New Arabian Nights." This triumph was achieved by Mr. Walter Pollock.

Stevenson's manner was too appropriate to his matter for parody: for nobody could reproduce his matter and the vividness of his visualization. When his characters were Scots, Lowlanders or Highlanders, it seems to me that their style has no rival except in the talk of Sir Walter's countrymen. A minute student who knew Stevenson, has told me that he once suggested "chafts," where Louis had written "cheeks" or "jaws," and that the emendation was accepted, but his Scots always use "the right word," and never (in prose) say "tae" for "to," I think. Theirs is the good Scots.

Perhaps I am biased in my doubt concerning the usefulness of his persistence in re-writing, by my regret that he destroyed so many of his romances, as not worthy of him. "King's chaff is better than other folk's corn" says our proverb. In his day, I bored him by pressing him to write more, and more rapidly; he never could have been commonplace, he never could have been less than excellent. But his conscience was adamant: no man was less of an improviser, as, fortunately, Scott was; had he not been, there would not be so many Waverley Novels.

Stevenson was hard on Scott, who wrote much as he himself did in boyhood. "I forgot to say," remarks the early Stevensonian hero, after describing a day full of adventures with Red Indians, "that I had made love to a beautiful girl." There is a faint resemblance to this over-sight in a long sentence of "Guy Mannering," which Stevenson criticized; but "Guy Mannering" was written in about six weeks, "to refresh the machine." Fastidious himself, conscientious almost to a fault in style, Stevenson's joy was in the romances of Xavier de Montépin and Fortuné du Boisgobey, names which suggest