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

The sale by auction of the wreck, which, by arrangement, is to be Pinkerton's prey, the mysterious opposition of the other bidder, so determined to win an object apparently so worthless, is no less thrilling than the sale of the fur coat in Boisgobey's "Crime de l'Opéra." But the reader knows why the fur coat is so much desired, whereas I remember being driven so wild by curiosity about the value of the wreck that I wrote to Louis, desiring to learn the secret. He would not divulge it, and when, after the voyage to the island and the excitement of knocking the wreck to pieces were over—when the secret came out, it was neither pleasant nor probable. That a mild British amateur of water-colour drawing should have taken part in a massacre of men, shot painfully with cheap revolvers, was an example of "the possible improbable," and much more of a tax on belief than the transformation of Dr. Jekyll. When I mildly urged this criticism, I learned, by return of post, from a correspondent usually as dilatory as Wordsworth, that I was a stay-at-home person ignorant of the world, and of life as it is lived by full-blooded men on the high seas. That was very true, but the amateur in water-colour was also a mild kind of good being. "What would I have done with the crew who were such compromising witnesses, and were butchered?" I would have marooned them.

"The Beach of Falesá" is a revelation of unfamiliar life and character, and one is attached to the little brown heroine. There was to have been "a supernatural element," better, probably, than the device of the Æolian harps hung in the thicket. "I have got the smell and the look of the thing a good deal," he said, and he had got the style of his rough English narrator, who was, as he told the missionary, "what you call a sinner, what I call a sweep," but repented in time.

A period of many projects followed; one, "The Young Chevalier," had a germ in "The Letter of Henry Goring" (1749-1750), with which I brought him acquainted, not knowing then that it was merely a romance by the prolific Eliza Heywood. It was in this tale that the Master of Ballantrae was to come to the rescue, and I think that a Scottish assassin (who lurks obscure in real history) and Mandrin, the famed French robber, were to appear, but only a chapter is published among other fragments. As it stands, Prince Charles's eyes are alternately blue and brown; brown was their actual colour—they were like Stevenson's own.

Fortunately, the "Chevalier" was deserted for the continuation of "Kidnapped," a sequel which is as good as, or, thanks to the two heroines, Catriona and Barbara Grant, is even better than, the original. To think of it is to wish to take it from the shelf and read it again. It is all excellent, from the scenes where Alan is hiding under a haystack (suggested by an adventure of the Chevalier Johnstone after Culloden), and the first meeting with that good daughter of Clan Alpine and of James Mor, onwards.

Stevenson excited a good deal of odium among fiery Celts by his scoundrel Master of Lovat. There is no reason, as far as I am aware, to suppose that Simon was a scoundrel, but, as a figure in fiction, he is very firmly drawn. The abortive duel of Balfour with the Highland Ensign, who conceives high esteem of "Palfour," is in the author's best manner, as are the days of prison in that "unco place, the Bass," and he was justly proud of the wizard tale of Tod Lapraik. The bristling demeanour of Alan Breck and James Mor (a very gallant but distinctly unfortunate son of Rob Roy), seems a correct picture. Indeed, James Mor was correctly divined, probably from letters of his published in Scott's "Rob Roy." It does not appear that Stevenson ever saw a number of James's letters in the character of a spy (a spy who appears to be carefully bamboozling his employers), which exist in the Newcastle MSS. in the British Museum. But the James of these letters is the James of "Catriona." The scenes with the advocates of James of the Glens, at Inveraray, read as if they had been recorded in shorthand, at the moment. David himself is, of course, the Lowland prig he is meant to be, but Catriona, at last, was a moving heroine, though Stevenson, justly, preferred to her the beautiful Miss Grant, and entirely overcame the difficulty of making us realise her beauty. The Princess, in "Prince Otto," is a fair shadow, compared to Miss Grant, and Stevenson at last convinced most readers that if he had omitted the interest of womanhood, it was not from incompetence—though it may have been from diffidence.

At this time we used to receive letters from him not infrequently; he sent me the "Luck of Apemama," which he sacrilegiously purchased from its holder. This fetish, the palladium of the island, was in one point remarkable—a very ordinary shell in a perfectly new box of native make. Why it was thought "great medicine" and ignorantly worshipped, the pale-face student of magic and religion could not understand. However, it was the Luck of the island, and when it crossed the sea to Europe a pestilence of measles fell on the native population. There was no manifest connection of cause and effect.

Stevenson's letters to me were merely such notes as he might have written had we both been living within the four-mile radius; usually notes about books which he needed, always brightened with a quip and some original application of slang. Occasionally there were rhymes. One was about a lady:

Another had the refrain:

One long and lively piece was on the Achaean hero of a fantastic romance by Mr. Rider Haggard and myself: the Ithacan, the Stormer of the City. Stevenson exclaimed:

How variously excellent he was as a letter-writer the readers of his correspondence know, and how vast, considering his labours and his health, that correspondence is! Often it is freakish, often it is serious, but except in some epistles of the period of his apprenticeship, it is never written as if he anticipated the publisher and the editor. Good examples are his letters to a reviewer, who, criticizing him without knowing him, wrote as if he were either an insensible athletic optimist, or a sufferer who was a poseur. "The fact is, consciously or not, you doubt my honesty.... Any brave man may make out a life which shall be happy for himself, and, by so being, beneficent to those about him. And if he fail, why should I hear him weeping?" Why, indeed? Think of Mr. Carlyle! "Did I groan loud, or did I groan low, Wackford?" said Mr. Squeers. Mr. Carlyle groaned loud, sometimes with fair reason. Stevenson did not groan at all. If he posed, if his silence was a pose, it was heroic. But his intellectual high spirits were almost invincible. If he had a pen in his hand, the follet of Molière rode it. Mr. Thomas Emmett, that famous Yorkshire cricketer, has spoken words of gold: "I was always happy as long as I was bowling." Stevenson, I think, was almost always happy when he was writing, when the instrument of his art was in his fingers.

Consider the deliberate and self-conscious glumness; the willful making the worst of things (in themselves pretty bad, I admit), that mark the novels of eminent moderns who thrive on their inexpensive pessimism, and have a name as Psychologues! Ohé, les Psychologues ! Does anyone suppose that Stevenson could not have dipped his pencil in squalor and gloom, and psychology, and "oppositions of science falsely so-called," as St. Paul, in the spirit of prophecy, remarks? "Ugliness is only the prose of horror," he said. "It is when you are not able to write 'Macbeth' that you write 'Thérèse Raquin' … In any case, and under any fashion, the great man produces beauty, terror, and mirth, and the little man produces–" We know what he produces, and though his books may be praised as if the little man were a Sophocles up to date, he and his works are a weariness to think upon. In them is neither beauty, mirth, nor terror, except the terror of illimitable ennui.