robert louis stevenson-第13章

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o　retire　in　course　of　a　year。　　A　mask　　might　perhaps　be　worn　for　the　mere　fancy　of　the　thing；　and　to　　terrify　kitchen…maids；　but　no　real　disguise　would　be　needful。'〃


I　would　rather　agree　with　Mr　Chesterton　than　with　Mr　Zangwill　here：


〃Stevenson's　enormous　capacity　for　joy　flowed　directly　out　of　his　　profoundly　religious　temperament。　　He　conceived　himself　as　an　　unimportant　guest　at　one　eternal　and　uproarious　banquet；　and　　instead　of　grumbling　at　the　soup；　he　accepted　it　with　careless　　gratitude。　。　。　。　His　gaiety　was　neither　the　gaiety　of　the　pagan；　　nor　the　gaiety　of　the　BON　VIVANT。　　It　was　the　greater　gaiety　of　the　　mystic。　　He　could　enjoy　trifles　because　there　was　to　him　no　such　　thing　as　a　trifle。　　He　was　a　child　who　respected　his　dolls　because　　they　were　the　images　of　the　image　of　God；　portraits　at　only　two　　removes。〃


Here；　then；　we　have　the　child　crossed　by　the　dreamer　and　the　　mystic；　bred　of　Calvinism　and　speculation　on　human　fate　and　chance；　　and　on　the　mystery　of　temperament　and　inheritance；　and　all　that　　flows　from　these　…　reprobation；　with　its　dire　shadows；　assured　　Election　with　its　joys；　etc。；　etc。

3。　If　such　a　combination　is　in　favour　of　the　story…teller　up　to　a　　certain　point；　it　is　not　favourable　to　the　highest　flights；　and　it　　is　alien　to　dramatic　presentation　pure　and　simple。　　This　implies　　detachment　from　moods　and　characters；　high　as　well　as　low；　that　　complete　justice　in　presentation　may　be　done　to　all　alike；　and　the　　one　balance　that　obtains　in　life　grasped　and　repeated　with　　emphasis。　　But　towards　his　leading　characters　Stevenson　is　　unconsciously　biassed；　because　they　are　more　or　less　shadowy　　projections　of　himself；　or　images　through　which　he　would　reveal　one　　or　other　side　or　aspect　of　his　own　personality。　　Attwater　is　a　　confessed　failure；　because　it；　more　than　any　other；　testifies　this：　　　he　is　but　a　mouth…piece　for　one　side　or　tendency　in　Stevenson。　　If　　the　same　thing　is　not　more　decisively　felt　in　some　other　cases；　it　　is　because　Stevenson　there　showed　the　better　art　o'　hidin'；　and　not　　because　he　was　any　more　truly　detached　or　dramatic。　　〃Of　Hamlet　　most　of　all；〃　wrote　Henley　in　his　sonnet。　　The　Hamlet　in　Stevenson　　…　the　self…questioning；　egotistic；　moralising　Hamlet　…　was；　and　to　　the　end　remained；　a　something　alien　to　bold；　dramatic；　creative　　freedom。　　He　is　great　as　an　artist；　as　a　man　bent　on　giving　to　all　　that　he　did　the　best　and　most　distinguished　form　possible；　but　not　　great　as　a　free　creator　of　dramatic　power。　　〃Mother；〃　he　said　as　a　　mere　child；　〃I've　drawed　a　man。　　Now；　will　I　draw　his　soul？〃　　He　　was　to　the　end　all　too　fond　to　essay　a　picture　of　the　soul；　　separate　and　peculiar。　　All　the　Jekyll　and　Hyde　and　even　Ballantrae　　conceptions　came　out　of　that　…　and　what　is　more；　he　always　mixed　　his　own　soul　with　the　other　soul；　and　could　not　help　doing　so。

4。　When；　therefore；　I　find　Mr　Pinero；　in　lecturing　at　Edinburgh；　　deciding　in　favour　of　Stevenson　as　possessed　of　rare　dramatic　　power；　and　wondering　why　he　did　not　more　effectively　employ　it；　I　　can't　agree　with　him；　and　this　because　of　the　presence　of　a　certain　　atmosphere　in　the　novels；　alien　to　free　play　of　the　individualities　　presented。　　Like　Hawthorne's；　like　the　works　of　our　great　　symbolists；　they　are　restricted　by　a　sense　of　some　obtaining　　conception；　some　weird　metaphysical　WEIRD　or　preconception。　　This　　is　the　ground　〃Ian　MacLaren〃　has　for　saying　that　〃his　kinship　is　　not　with　Boccaccio　and　Rabelais；　but　with　Dante　and　Spenser〃　…　the　　ground　for　many　remarks　by　critics　to　the　effect　that　they　still　　crave　from　him　〃less　symbol　and　more　individuality〃　…　the　ground　　for　the　Rev。　W。　J。　Dawson's　remark　that　〃he　has　a　powerful　and　　persistent　sense　of　the　spiritual　forces　which　move　behind　the　　painted　shows　of　life；　that　he　writes　not　only　as　a　realist　but　as　　a　prophet；　his　meanest　stage　being　set　with　eternity　as　a　　background。〃

Such　expressions　are　fullest　justification　for　what　we　have　here　　said：　　it　adds；　and　can　only　add；　to　our　admiration　of　Stevenson；　　as　a　thinker；　seer；　or　mystic；　but　the　asserting　sense　of　such　　power　can　only　end　in　lessening　the　height　to　which　he　could　attain　　as　a　dramatic　artist；　and　there　is　much　indeed　against　Mr　Pinero's　　own　view　that；　in　the　dramas；　he　finds　that　〃fine　speeches〃　are　　ruinous　to　them　as　acting　plays。　　In　the　strict　sense　overfine　　speeches　are　yet　almost　everywhere。　　David　Balfour　could　never　have　　writ　some　speeches　attributed　to　him　…　they　are　just　R。　L。　　Stevenson　with　a　very　superficial　difference　that；　when　once　　detected；　renders　them　curious　and　quaint　and　interesting；　but　not　　dramatic。



CHAPTER　XIII　…　PREACHER　AND　MYSTIC　FABULIST



IN　reality；　Stevenson　is　always　directly　or　indirectly　preaching　a　　sermon　…　enforcing　a　moral　…　as　though　he　could　not　help　it。　　〃He　　would　rise　from　the　dead　to　preach　a　sermon。〃　　He　wrote　some　first…　rate　fables；　and　might　indeed　have　figured　to　effect　as　a　moralist…　fabulist；　as　truly　he　was　from　beginning　to　end。　　There　was　a　bit　　of　Bunyan　in　him　as　well　as　of　Aesop　and　Rousseau　and　Thoreau　…　the　　mixture　that　found　coherency　in　his　most　peculiarly　patient　and　　forbearing　temper　is　what　gives　at　once　the　quaintness；　the　　freedom；　and　yet　the　odd　didactic　something　that　is　never　wanting。　　　I　remember　a　fable　about　the　Devil　that　might　well　be　brought　in　to　　illustrate　this　here　…　careful　readers　who　neglect　nothing　that　　Stevenson　wrote　will　remember　it　also　and　perhaps　bear　me　out　here。

But　for　the　sake　of　the　young　folks　who　may　yet　have　some　leeway　to　　make　up；　I　shall　indulge　myself　a　little　by　quoting　it：　　and；　since　　I　am　on　that　tack；　follow　it　by　another　which　presents　Stevenson　in　　his　favourite　guise　of　quizzing　his　own　characters；　if　not　for　his　　own　advantage　certainly　for　ours；　if　we　would　in　the　least　　understand　the　fine　moralist…casuistical　qualities　of　his　mind　and　　fancy：


THE　DEVIL　AND　THE　INNKEEPER

Once　upon　a　time　the　devil　stayed　at　an　inn；　where　no　one　knew　him；　　for　they　were　people　whose　education　had　been　neglected。　　He　was　　bent　on　mischief；　and　for　a　time　kept　everybody　by　the　ears。　　But　　at　last　the　innkeeper　set　a　watch　upon　the　devil　and　took　him　in　　the　act。

The　innkeeper　got　a　rope's　end。

〃Now　I　am　going　to　thrash　you；〃　said　the　inn…keeper。

〃You　have　no　right　to　be　angry　with　me；〃　said　the　devil。　　〃I　am　　only　the　devil；　and　it　is　my　nature　to　do　wrong。〃

〃Is　that　so？〃　asked　the　innkeeper。

〃Fact；　I　assure　you；〃　said　the　devil。

〃You　really　cannot　help　doing　ill？〃　asked　the　innkeeper。

〃Not　in　the　smallest；〃　said　the　devil；　〃it　would　be　useless　cruelty　　to　thrash　a　thing　like　me。〃

〃It　would　indeed；〃　said　the　innkeeper。

And　he　made　a　noose　and　hanged　the　devil。

〃There！〃　said　the　innkeeper。


The　deeper　Stevenson　goes；　the　more　happily　is　he　inspired。　　We　　could　scarcely　cite　anything　more　Stevensonian；　alike　in　its　humour　　and　its　philosophy；　than　the　dialogue　between　Captain　Smollett　and　　Long　John　Silver；　entitled　THE　PERSONS　OF　THE　TALE。　　After　chapter　　xxxii。　of　TREASURE　ISLAND；　these　two　puppets　〃strolled　out　to　have　　a　pipe　before　business　should　begin　again；　and　met　in　an　open　space　　not　far　from　the　story。〃　　After　a　few　preliminaries：


〃You're　a　damned　rogue；　my　man；〃　said　the　Captain。

〃Come；　come；　Cap'n；　be　just；〃　returned　the　other。　　〃There's　no　call　　to　be　angry　with　me　in　earnest。　　I'm　on'y　a　character　in　a　sea　　story。　　I　don't　really　exist。〃

〃Well；　I　don't　really　exist　either；〃　says　the　Captain；　〃which　seems　　to　meet　that。〃

〃I　wouldn't　set　no　limits　to　what　a　virtuous　character　might　　consider　argument；〃　responded　Silver。　　〃But　I'm　the　villain　of　the　　tale；　I　am；　and　speaking　as　one　seafaring　man　to　another；　what　I　　want　to　know　is；　what's　the　odds？〃

〃Were　you　never　taught　your　catechism？〃　said　the　Captain。　　〃Don't　　you　know　there's　such　a　thing　as　an　Author？〃

〃Such　a　thing　as　a　Author？〃　returned　John；　derisively。　　〃And　who　　better'n　me？　　And　the　p'int　is；　if　the　Author　made　you；　he　made　　Long　John；　and　he　made　Hands；　and　Pew；　and　George　Merry　…　not　that　　George　is　up　to　much；　for　he's　little　more'n　a　name；　and　he　made　　Flint；　what　there　is　of　him；　and　he　made　this　here　mutiny；　you　keep　　such　a　work　about；　and　he　had　Tom　Redruth　shot；　and　…　well；　if　　that's　a　Author；　give　me　Pew！〃

〃Don't　you　believe　in　a　future　state？〃　said　Smollett。　　〃Do　you　　think　there's　nothing　but　the　present　sorty…paper？〃

〃　I　don't　rightly　know　for　that；〃　said　Silver；　〃and　I　don't　see　　what　it's　got　to　do　with　it；　anyway。　　What　I　know　is　this：　　if　　there　is　sich　a　thing　as　a　Author；　I'm　his　favourite　chara'ter。　　He　　does　me　fathoms　better'n　he　does　you　…　fathoms；　he　does。　　And　he　　likes　doing　me。　　He　keeps　me　on　deck　mostly　all　the　time；　crutch　　and　all；　and　he　leaves　you　measling　in　the　hold；　where　nobody　can't　　see　you；　nor　wants　to；　and　you　may　lay　to　that！　　If　there　is　a　　Author；　by　thunder；　but　he's　on　my　side；　and　you　may　lay　to　it！〃

〃I　see　he's　giving　you　a　long　rope；〃　said　the　Captain。　。　。　。


Stevenson's　stories　…　one　and　all　…　are　too　closely　the　　illustrations　by　characters　of　which　his　essays　furnish　the　texts。　　　You　shall　not　read　the　one　wholly　apart　from　the　other　without　　losing　something　…　without　losing　much　of　the　quaint；　often　　childish；　and　always　insinuating　personality　of　the　writer。　　It　is　　this　if　fully　perceived　which　would　justify　one　writer；　Mr　　Zangwill；　if　I　don't　forget；　in　saying；　as　he　did　say；　that　　Stevenson　would　hold　his　place　by　his　essays　and　not　by　his　novels。　　　Hence　there　is　a　unity　in　all；　but　a　unity　found　in　a　root　which　is　　ultimately　inimical　to　what　is　strictly　free　dramatic　creation　…　　creation；　broad；　natural　and　unmoral　in　the　highest　sense　just　as　　nature　is；　as　it　is　to　us；　for　example；　when　we　speak　of　　Shakespeare；　or　even　Scott；　or　of　Cervantes　or　Fielding。　　If　Mr　　Henley　in　his　irruptive　if　not　spiteful　PALL　MALL　MAGAZINE　article　　had　made　this　clear　from　the　high　critical　ground；　then　some　of　his　　derogatory　remarks　would　not　have　been　quite　so　personal　and　　offensive　as　they　are。

Stevenson's　bohemianism　was　always　restrained　and　coloured　by　this。　　　He　is　a　casuistic　moralist；　if　not　a　Shorter　Catechist；　as　Mr　　Henley　put　it　in　his　clever　sonnet。　　He　is　constantly　asking　　himself　about　moral　laws　and　how　they　work　themselves　out　in　　character；　especially　as　these　suggest　and　involve　the　casuistries　　of　human　nature。　　He　is　often　a　little　like　Nathaniel　Hawthorne；　　but　he　hardly　follows　them　far　enough　and　rests　on　his　own　　preconceptions　and　predilections；　only　he　does　not；　like　him；　get　　into　or　remain　long　in　the　cobwebby　corners　…　his　love　of　the　open　　air　and　exercise　derived　from　generations　of　active　lighthouse　　engineers；　out　at　all　times　on　sea　or　land；　or　from　Scottish　　ministers　who　were　fond　of　composing　their　sermons　and　reflecting　　on　the　backwardness　of　human　nature　as　they　walked　in　their　gardens　　or　along　the　hillsides　even　among　mists　and　storms；　did　something　　to　save　him　here；　reinforcing　natural　cheerfulness　and　the　warm　　desire　to　give　pleasure。　　His　excessive　elaboration　of　style；　which　　grew　upon　him　more　and　more；　giving　throughout　often　a　sense　of　　extreme　artificiality　and　of　the　self…consciousness　usually　bred　of　　it；　is　but　another　incidental　p