Essays of Robert Louis Stevenson — 05 - Talk and Talkers, part two

II[29]

In the last paper there was perhaps too much about mere debate; and there was nothing said at all about that kind of talk which is merely luminous and restful, a higher power of silence, the quiet of the evening shared by ruminating friends.

There is something, aside from personal preference, to be alleged in support of this omission.

Those who are no chimney-cornerers, who rejoice in the social thunderstorm, have a ground in reason for their choice.

They get little rest indeed;

but restfulness is a quality for cattle; the virtues are all active, life is alert, and it is in repose that men prepare themselves for evil.

On the other hand, they are bruised into a knowledge of themselves and others; they have in a high degree the fencer's pleasure in dexterity displayed and proved; what they get they get upon life's terms, paying for it as they go; and once the talk is launched, they are assured of honest dealing from an adversary eager like themselves.

The aboriginal man within us, the cave-dweller, still lusty as when he fought tooth and nail for roots and berries, scents this kind of equal battle from afar; it is like his old primaeval days upon the crags, a return to the sincerity of savage life from the comfortable fictions of the civilised.

And if it be delightful to the Old Man, it is none the less profitable to his younger brother, the conscientious gentleman.

I feel never quite sure of your urbane and smiling coteries; I fear they indulge a man's vanities in silence, suffer him to encroach, encourage him on to be an ass, and send him forth again, not merely contemned for the moment, but radically more contemptible than when he entered.

But if I have a flushed, blustering fellow for my opposite, bent on carrying a point, my vanity is sure to have its ears rubbed, once at least, in the course of the debate.

He will not spare me when we differ; he will not fear to demonstrate my folly to my face.

For many natures there is not much charm in the still, chambered society, the circle of bland countenances, the digestive silence, the admired remark, the flutter of affectionate approval.

They demand more atmosphere and exercise; "a gale upon their spirits," as our pious ancestors would phrase it; to have their wits well breathed in an uproarious Valhalla.

[30] And I suspect that the choice, given their character and faults, is one to be defended.

The purely wise are silenced by facts; they talk in a clear atmosphere, problems lying around them like a view in nature; if they can be shown to be somewhat in the wrong, they digest the reproof like a thrashing, and make better intellectual blood.

They stand corrected by a whisper; a word or a glance reminds them of the great eternal law.

But it is not so with all.

Others in conversation seek rather contact with their fellow-men than increase of knowledge or clarity of thought.

The drama, not the philosophy, of life is the sphere of their intellectual activity.

Even when they pursue truth, they desire as much as possible of what we may call human scenery along the road they follow.

They dwell in the heart of life; the blood sounding in their ears, their eyes laying hold of what delights them with a brutal avidity that makes them blind to all besides, their interest riveted on people, living, loving, talking, tangible people.

To a man of this description, the sphere of argument seems very pale and ghostly.

By a strong expression, a perturbed countenance, floods of tears, an insult which his conscience obliges him to swallow, he is brought round to knowledge which no syllogism would have conveyed to him.

His own experience is so vivid, he is so superlatively conscious of himself, that if, day after day, he is allowed to hector and hear nothing but approving echoes, he will lose his hold on the soberness of things and take himself in earnest for a god.

Talk might be to such an one the very way of moral ruin; the school where he might learn to be at once intolerable and ridiculous.

This character is perhaps commoner than philosophers suppose.

And for persons of that stamp to learn much by conversation, they must speak with their superiors, not in intellect, for that is a superiority that must be proved, but in station.

If they cannot find a friend to bully them for their good, they must find either an old man, a woman, or some one so far below them in the artificial order of society, that courtesy may be particularly exercised.

The best teachers are the aged.

To the old our mouths are always partly closed; we must swallow our obvious retorts and listen.

They sit above our heads, on life's raised dais, and appeal at once to our respect and pity.

A flavour of the old school, a touch of something different in their manner--which is freer and rounder, if they come of what is called a good family, and often more timid and precise if they are of the middle class--serves, in these days, to accentuate the difference of age and add a distinction to gray hairs.

But their superiority is founded more deeply than by outward marks or gestures.

They are before us in the march of man; they have more or less solved the irking problem; they have battled through the equinox of life; in good and evil they have held their course; and now, without open shame, they near the crown and harbour.

It may be we have been struck with one of fortune's darts; we can scarce be civil, so cruelly is our spirit tossed.

Yet long before we were so much as thought upon, the like calamity befell the old man or woman that now, with pleasant humour, rallies us upon our inattention, sitting composed in the holy evening of man's life, in the clear shining after rain.

We grow ashamed of our distresses new and hot and coarse, like villainous roadside brandy; we see life in aerial perspective, under the heavens of faith; and out of the worst, in the mere presence of contented elders, look forward and take patience.

Fear shrinks before them "like a thing reproved," not the flitting and ineffectual fear of death, but the instant, dwelling terror of the responsibilities and revenges of life.

Their speech, indeed, is timid; they report lions in the path;

they counsel a meticulous[31] footing; but their serene, marred faces are more eloquent and tell another story.

Where they have gone, we will go also, not very greatly fearing; what they have endured unbroken, we also, God helping us, will make a shift to bear.

Not only is the presence of the aged in itself remedial, but their minds are stored with antidotes, wisdom's simples, plain considerations overlooked by youth.

They have matter to communicate, be they never so stupid.

Their talk is not merely literature, it is great literature; classic in virtue of the speaker's detachment, studded, like a book of travel, with things we should not otherwise have learnt.

In virtue, I have said, of the speaker's detachment--and this is why, of two old men, the one who is not your father speaks to you with the more sensible authority; for in the paternal relation the oldest have lively interests and remain still young.

Thus I have known two young men great friends; each swore by the other's father; the father of each swore by the other lad; and yet each pair of parent and child were perpetually by the ears.

This is typical: it reads like the germ of some kindly[32] comedy.

The old appear in conversation in two characters: the critically silent and the garrulous anecdotic.

The last is perhaps what we look for; it is perhaps the more instructive.

An old gentleman, well on in years, sits handsomely and naturally in the bow-window of his age, scanning experience with reverted eye; and chirping and smiling, communicates the accidents and reads the lesson of his long career.

Opinions are strengthened, indeed, but they are also weeded out in the course of years.

What remains steadily present to the eye of the retired veteran in his hermitage, what still ministers to his content, what still quickens his old honest heart--these are "the real long-lived things"[33] that Whitman tells us to prefer.

Where youth agrees with age, not where they differ, wisdom lies; and it is when the young disciple finds his heart to beat in tune with his grey-bearded teacher's that a lesson may be learned.

I have known one old gentleman, whom I may name, for he is now gathered to his stock--Robert Hunter, Sheriff of Dumbarton,[34] and author of an excellent law-book still re-edited and republished.

Whether he was originally big or little is more than I can guess.

When I knew him he was all fallen away and fallen in; crooked and shrunken; buckled into a stiff waistcoat for support; troubled by ailments, which kept him hobbling in and out of the room; one foot gouty; a wig for decency, not for deception, on his head; close shaved, except under his chin--and for that he never failed to apologise, for it went sore against the traditions of his life.

You can imagine how he would fare in a novel by Miss Mather;[35] yet this rag of a Chelsea[36] veteran lived to his last year in the plenitude of all that is best in man, brimming with human kindness, and staunch as a Roman soldier under his manifold infirmities.

You could not say that he had lost his memory, for he would repeat Shakespeare and Webster and Jeremy Taylor and Burke[37] by the page together; but the parchment was filled up, there was no room for fresh inscriptions, and he was capable of repeating the same anecdote on many successive visits.

His voice survived in its full power, and he took a pride in using it.

On his last voyage as Commissioner of Lighthouses, he hailed a ship at sea and made himself clearly audible without a speaking trumpet, ruffing the while with a proper vanity in his achievement.

He had a habit of eking out his words with interrogative hems, which was puzzling and a little wearisome, suited ill with his appearance, and seemed a survival from some former stage of bodily portliness.

Of yore, when he was a great pedestrian and no enemy to good claret, he may have pointed with these minute guns his allocutions to the bench.

His humour was perfectly equable, set beyond the reach of fate; gout, rheumatism, stone and gravel might have combined their forces against that frail tabernacle, but when I came round on Sunday evening, he would lay aside Jeremy Taylor's _Life of Christ_ and greet me with the same open brow, the same kind formality of manner.

His opinions and sympathies dated the man almost to a decade.

He had begun life, under his mother's influence, as an admirer of Junius,[38] but on maturer knowledge had transferred his admiration to Burke.

He cautioned me, with entire gravity, to be punctilious in writing English; never to forget that I was a Scotchman, that English was a foreign tongue, and that if I attempted the colloquial, I should certainly be shamed: the remark was apposite, I suppose, in the days of David Hume.

[39] Scott was too new for him; he had known the author--known him, too, for a Tory; and to the genuine classic a contemporary is always something of a trouble.

He had the old, serious love of the play; had even, as he was proud to tell, played a certain part in the history of Shakespearian revivals, for he had successfully pressed on Murray, of the old Edinburgh Theatre, the idea of producing Shakespeare's fairy pieces with great scenic display.

[40] A moderate in religion, he was much struck in the last years of his life by a conversation with two young lads, revivalists.

"H'm," he would say--"new to me.

I have had--h'm--no such experience."

It struck him, not with pain, rather with a solemn philosophic interest, that he, a Christian as he hoped, and a Christian of so old a standing, should hear these young fellows talking of his own subject, his own weapons that he had fought the battle of life with,--"and--h'm--not understand."

In this wise and grateful attitude he did justice to himself and others, reposed unshaken in his old beliefs, and recognised their limits without anger or alarm.

His last recorded remark, on the last night of his life, was after he had been arguing against Calvinism[41] with his minister and was interrupted by an intolerable pang.

"After all," he said, "of all the 'isms, I know none so bad as rheumatism."

My own last sight of him was some time before, when we dined together at an inn; he had been on circuit, for he stuck to his duties like a chief part of his existence; and I remember it as the only occasion on which he ever soiled his lips with slang--a thing he loathed.

We were both Roberts;

and as we took our places at table, he addressed me with a twinkle: "We are just what you would call two bob."

[42] He offered me port, I remember, as the proper milk of youth; spoke of "twenty-shilling notes"; and throughout the meal was full of old-world pleasantry and quaintness, like an ancient boy on a holiday.

But what I recall chiefly was his confession that he had never read _Othello_ to an end.

[43] Shakespeare was his continual study.

He loved nothing better than to display his knowledge and memory by adducing parallel passages from Shakespeare, passages where the same word was employed, or the same idea differently treated.

But _Othello_ had beaten him.

"That noble gentleman and that noble lady--h'm--too painful for me."

The same night the boardings were covered with posters, "Burlesque of _Othello_," and the contrast blazed up in my mind like a bonfire.

An unforgettable look it gave me into that kind man's soul.

His acquaintance was indeed a liberal and pious education.

[44] All the humanities were taught in that bare dining-room beside his gouty footstool.

He was a piece of good advice; he was himself the instance that pointed and adorned his various talk.

Nor could a young man have found elsewhere a place so set apart from envy, fear, discontent, or any of the passions that debase; a life so honest and composed; a soul like an ancient violin, so subdued to harmony, responding to a touch in music--as in that dining-room, with Mr. Hunter chatting at the eleventh hour, under the shadow of eternity, fearless and gentle.

The second class of old people are not anecdotic; they are rather hearers than talkers, listening to the young with an amused and critical attention.

To have this sort of intercourse to perfection, I think we must go to old ladies.

Women are better hearers than men, to begin with; they learn, I fear in anguish, to bear with the tedious and infantile vanity of the other sex; and we will take more from a woman than even from the oldest man in the way of biting comment.

Biting comment is the chief part, whether for profit or amusement, in this business.

The old lady that I have in my eye is a very caustic speaker, her tongue, after years of practice, in absolute command, whether for silence or attack.

If she chance to dislike you, you will be tempted to curse the malignity of age.

But if you chance to please even slightly, you will be listened to with a particular laughing grace of sympathy, and from time to time chastised, as if in play, with a parasol as heavy as a pole-axe.

It requires a singular art, as well as the vantage-ground of age, to deal these stunning corrections among the coxcombs of the young.

The pill is disguised in sugar of wit; it is administered as a compliment--if you had not pleased, you would not have been censured; it is a personal affair--a hyphen, _a trait d'union,_[45] between you and your censor; age's philandering, for her pleasure and your good.

Incontestably the young man feels very much of a fool; but he must be a perfect Malvolio,[46] sick with self-love, if he cannot take an open buffet and still smile.

The correction of silence is what kills; when you know you have transgressed, and your friend says nothing and avoids your eye.

If a man were made of gutta-percha, his heart would quail at such a moment.

But when the word is out, the worst is over; and a fellow with any good-humour at all may pass through a perfect hail of witty criticism, every bare place on his soul hit to the quick with a shrewd missile, and reappear, as if after a dive, tingling with a fine moral reaction, and ready, with a shrinking readiness, one-third loath, for a repetition of the discipline.

There are few women, not well sunned and ripened, and perhaps toughened, who can thus stand apart from a man and say the true thing with a kind of genial cruelty.

Still there are some--and I doubt if there be any man who can return the compliment.

The class of men represented by Vernon Whitford in _The Egoist_,[47] says, indeed, the true thing, but he says it stockishly.

Vernon is a noble fellow, and makes, by the way, a noble and instructive contrast to Daniel Deronda; his conduct is the conduct of a man of honour; but we agree with him, against our consciences, when he remorsefully considers "its astonishing dryness."

He is the best of men, but the best of women manage to combine all that and something more.

Their very faults assist them; they are helped even by the falseness of their position in life.

They can retire into the fortified camp of the proprieties.

They can touch a subject and suppress it.

The most adroit employ a somewhat elaborate reserve as a means to be frank, much as they wear gloves when they shake hands.

But a man has the full responsibility of his freedom, cannot evade a question, can scarce be silent without rudeness, must answer for his words upon the moment, and is not seldom left face to face with a damning choice, between the more or less dishonourable wriggling of Deronda and the downright woodenness of Vernon Whitford.

But the superiority of women is perpetually menaced; they do not sit throned on infirmities like the old; they are suitors as well as sovereigns; their vanity is engaged, their affections are too apt to follow; and hence much of the talk between the sexes degenerates into something unworthy of the name.

The desire to please, to shine with a certain softness of lustre and to draw a fascinating picture of oneself, banishes from conversation all that is sterling and most of what is humorous.

As soon as a strong current of mutual admiration begins to flow, the human interest triumphs entirely over the intellectual, and the commerce of words, consciously or not, becomes secondary to the commercing of eyes.

But even where this ridiculous danger is avoided, and a man and woman converse equally and honestly, something in their nature or their education falsifies the strain.

An instinct prompts them to agree; and where that is impossible, to agree to differ.

Should they neglect the warning, at the first suspicion of an argument, they find themselves in different hemispheres.

About any point of business or conduct, any actual affair demanding settlement, a woman will speak and listen, hear and answer arguments, not only with natural wisdom, but with candour and logical honesty.

But if the subject of debate be something in the air, an abstraction, an excuse for talk, a logical Aunt Sally, then may the male debater instantly abandon hope; he may employ reason, adduce facts, be supple, be smiling, be angry, all shall avail him nothing; what the woman said first, that (unless she has forgotten it) she will repeat at the end.

Hence, at the very junctures when a talk between men grows brighter and quicker and begins to promise to bear fruit, talk between the sexes is menaced with dissolution.

The point of difference, the point of interest, is evaded by the brilliant woman, under a shower of irrelevant conversational rockets; it is bridged by the discreet woman with a rustle of silk, as she passes smoothly forward to the nearest point of safety.

And this sort of prestidigitation, juggling the dangerous topic out of sight until it can be reintroduced with safety in an altered shape, is a piece of tactics among the true drawing-room queens.

The drawing-room is, indeed, an artificial place; it is so by our choice and for our sins.

The subjection of women; the ideal imposed upon them from the cradle; and worn, like a hair-shirt, with so much constancy; their motherly, superior tenderness to man's vanity and self-importance; their managing arts--the arts of a civilised slave among good-natured barbarians--are all painful ingredients and all help to falsify relations.

It is not till we get clear of that amusing artificial scene that genuine relations are founded, or ideas honestly compared.

In the garden, on the road or the hillside, or _tête-à-tête_ and apart from interruptions, occasions arise when we may learn much from any single woman; and nowhere more often than in, married life.

Marriage is one long conversation, chequered by disputes.

The disputes are valueless; they but ingrain the difference; the heroic heart of woman prompting her at once to nail her colours to the mast.

But in the intervals, almost unconsciously and with no desire to shine, the whole material of life is turned over and over, ideas are struck out and shared, the two persons more and more adapt their notions one to suit the other, and in process of time, without sound of trumpet, they conduct each, other into new worlds of thought.

NOTES

The two papers on _Talk and Talkers_ first appeared in the _Cornhill Magazine_, for April and for August, 1882, Vol. XLV, pp. 410-418, Vol. XLVI, pp. 151-158. The second paper had the title, _Talk and Talkers_.

(_A Sequel_.

) For Stevenson's relations with the Editor, see our note to _An Apology for Idlers_.

With the publication of the second part, Stevenson's connection with the _Cornhill_ ceased, as the magazine in 1883 passed from the hands of Leslie Stephen into those of James Payn.

The two papers next appeared in the volume _Memories and Portraits_ (1887).

The first was composed during the winter of 1881-2 at Davos in the Alps, whither he had gone for his health, the second a few months later.

Writing to Charles Baxter, 22 Feb.

1882, he said, "In an article which will appear sometime in the Cornhill, 'Talk and Talkers,' and where I have full-lengthened the conversation of Bob, Henley, Jenkin, Simpson, Symonds, and Gosse, I have at the end one single word about yourself.

It may amuse you to see it."

(_Letters_, I, 268.

) Writing from Bournemouth, England, in February 1885 to Sidney Colvin, he said, "See how my 'Talk and Talkers' went; every one liked his own portrait, and shrieked about other people's; so it will be with yours.

If you are the least true to the essential, the sitter will be pleased; very likely not his friends, and that from various motives."

(_Letters_, I, 413. ) In a letter to his mother from Davos, dated 9 April 1882, he gives the real names opposite each character in the first paper, and adds, "But pray regard these as secrets."

The art of conversation, like the art of letter-writing, reached its highest point in the eighteenth century; cheap postage destroyed the latter, and the hurly-burly of modern life has been almost too strong for the former.

In the French Salons of the eighteenth century, and in the coffeehouses and drawing-rooms of England, good conversation was regarded as a most desirable accomplishment, and was practised by many with extraordinary wit and skill.

Swift's satire on _Polite Conversation_ (1738) as well as the number of times he discusses the art of conversation in other places, shows how seriously he actually regarded it.

Stevenson, like many persons who are forced away from active life, loved a good talk.

Good writers are perhaps now more common than good talkers.

FIRST PAPER

[Note 1: _Sir, we had a good talk_.

This remark was made by the Doctor in 1768, the morning after a memorable meeting at the Crown and Anchor tavern, where he had been engaged in conversation with seven or eight notable literary men.

"When I called upon Dr. Johnson next morning," says Boswell, "I found him highly satisfied with his colloquial prowess the preceding evening.

'Well,' said he, 'we had good talk.'

BOSWELL: 'Yes, sir, you tossed and gored several persons.'

"] [Note 2: _As we must account_.

This remark of Franklin's occurs in _Poor Richard's Almanac_ for 1738. ] [Note 3: _Flies ...

in the amber_.

Bartlett gives Martial.

] "The bee enclosed and through the amber shown, Seems buried in the juice which was his own."

Bacon, Donne, Herrick, Pope and many other authors speak of flies in amber.

] [Note 4: _Fancy free_.

See _Midsummer Night's Dream_, Act II, Sc.

2. "And the imperial votaress passed on, In maiden meditation, fancy-free."

This has been called the most graceful among all the countless compliments received by Queen Elizabeth.

The word "fancy" in the Shaksperian quotation means simply "love."

] [Note 5: _A spade a spade_.

The phrase really comes from Aristophanes, and is quoted by Plutarch, as Philip's description of the rudeness of the Macedonians.

_Kudos_.

Greek word for "pride", used as slang by school-boys in England.

] [Note 6: _Trailing clouds of glory_.

_Trailing with him clouds of glory.

_ This passage, from Wordsworth's _Ode on the Intimations of Immortality_ (1807), was a favorite one with Stevenson, and he quotes it several times in various essays.

] [Note 7: _The Flying Dutchman_.

Wagner's _Der Fliegende Holländer_ (1843), one of his earliest, shortest, and most beautiful operas.

Many German performances are given in the afternoon, and many German theatres have pretty gardens attached, where, during the long intervals (_grosse Pause_) between the acts, one may refresh himself with food, drink, tobacco, and the open air.

Germany and German art, however, did not have anything like the influence on Stevenson exerted by the French country, language, and literature.

] [Note 8: _Theophrastus_.

A Greek philosopher who died 287-B. C.

His most influential work was his _Characters_, which, subsequently translated into many modern languages, produced a whole school of literature known as the "Character Books," of which the best are perhaps Sir Thomas Overbury's _Characters_ (1614), John Earle's _Microcosmographie_ (1628), and the _Caractères_ (1688) of the great French writer, La Bruyère.

] [Note 9: _Consuelo, Clarissa Harlowe, Vautrin, Steenie Steenson_.

_Consuelo_ is the title of one of the most notable novels by the famous French authoress, George Sand, (1804-1876), whose real name was Aurore Dupin.

_Consuelo_ appeared in 1842....

_Clarissa_ (1747-8) was the masterpiece of the novelist Samuel Richardson (1689-1761).

This great novel, in seven fat volumes, was a warm favorite with Stevenson, as it has been with most English writers from Dr. Johnson to Macaulay.

Writing to a friend in December 1877, Stevenson said, "Please, if you have not, and I don't suppose you have, already read it, institute a search in all Melbourne for one of the rarest and certainly one of the best of books--_Clarissa Harlowe.

_ For any man who takes an interest in the problems of the two sexes, that book is a perfect mine of documents.

And it is written, sir, with the pen of an angel."

(_Letters_, I, 141. ) Editions of _Clarissa_ are not so scarce now as they were thirty years ago; several have appeared within the last few years....

_Vautrin_ is one of the most remarkable characters in several novels of Balzac; see especially _Pere Goriot_ (1834) ...

_Steenie Steenson_ in Scott's novel _Redgauntlet_ (1824).

] [Note 10: _No human being, etc_.

Stevenson loved action in novels, and was impatient, as many readers are, when long-drawn descriptions of scenery were introduced.

Furthermore, the love for wild scenery has become as fashionable as the love for music; the result being a very general hypocrisy in assumed ecstatic raptures.

] [Note 11: _You can keep no men long, nor Scotchmen at all_.

Every Scotchman is a born theologian.

Franklin says in his _Autobiography_, "I had caught this by reading my father's books of dispute on Religion.

Persons of good sense, I have since observed seldom fall into it, except lawyers, university men, and generally men of all sorts who have been bred at Edinburgh."

(Chap.

I.

)] [Note 12: _A court of love_.

A mediaeval institution of chivalry, where questions of knight-errantry, constancy in love, etc. , were discussed and for the time being, decided.

] [Note 13: _Spring-Heel'd Jack_.

This is Stevenson's cousin "Bob," Robert Alan Mowbray Stevenson (1847-1900), an artist and later Professor of Fine Arts at University College, Liverpool.

He was one of the best conversationalists in England.

Stevenson said of him, "My cousin Bob, ...

is the man likest and most unlike to me that I have ever met....

What was specially his, and genuine, was his faculty for turning over a subject in conversation.

There was an insane lucidity in his conclusions; a singular, humorous eloquence in his language, and a power of method, bringing the whole of life into the focus of the subject under hand; none of which I have ever heard equalled or even approached by any other talker."

(Balfour's _Life of Stevenson_, I, 103. For further remarks on the cousin, see note to page 104 of the _Life_.

)] [Note 14: _From Shakespeare to Kant, from Kant to Major Dyngwell_.

Immanuel Kant, the foremost philosopher of the eighteenth century, born at Königsberg in 1724, died 1804. His greatest work, the _Critique of Pure Reason_ (_Kritick der reinen Vernunft_, 1781), produced about the same revolutionary effect on metaphysics as that produced by Copernicus in astronomy, or by Darwin in natural science....

_Major Dyngwell I know not_.

] [Note 15: _Burly_.

Burly is Stevenson's friend, the poet William Ernest Henley, who died in 1903. His sonnet on our author may be found in the introduction to this book.

Leslie Stephen introduced the two men on 13 Feb.

1875, when Henley was in the hospital, and a very close and intimate friendship began.

Henley's personality was exceedingly robust, in contrast with his health, and in his writings and talk he delighted in shocking people.

His philosophy of life is seen clearly in his most characteristic poem: "Out of the night that covers me, Black as the Pit from pole to pole, I thank whatever Gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud.

Under the bludgeonings of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds, and shall find, me unafraid.

It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate: I am the Captain of my soul."

After the publication of Balfour's _Life of Stevenson_ (1901), Mr. Henley contributed to the _Pall Mall Magazine_ in December of that year an article called _R.

L. S.

_, which made a tremendous sensation.

It was regarded by many of Stevenson's friends as a wanton assault on his private character.

Whether justified or not, it certainly damaged Henley more than the dead author.

For further accounts of the relations between the two men, see index to Balfour's _Life_, under the title _Henley_.

] [Note 16: _Pistol has been out-Pistol'd_.

The burlesque character in Shakspere's _King Henry IV_ and _V_.

] [Note 17: _Cockshot_.

(The Late Fleeming Jenkin.

) As the note says, this was Professor Fleeming Jenkin, who died 12 June 1885. He exercised a great influence over the younger man.

Stevenson paid the debt of gratitude he owed him by writing the _Memoir of Fleeming Jenkin_, published first in America by Charles Scribner's Sons, in 1887. ] [Note 18: _Synthetic gusto; something of a Herbert Spencer_.

The English philosopher, Herbert Spencer (1820-1903), whose many volumes in various fields of science and metaphysics were called by their author the _Synthetic Philosophy_.

His most popular book is _First Principles_ (1862), which has exercised an enormous influence in the direction of agnosticism.

His _Autobiography_, two big volumes, was published in 1904, and fell rather flat.

] [Note 19: _Like a thorough "glutton."

_ This is still the slang of the prize-ring.

When a man is able to stand a great deal of punching without losing consciousness or courage, he is called a "glutton for punishment."

] [Note 20: _Athelred_.

Sir Walter Simpson, who was Stevenson's companion on the _Inland Voyage_.

For a good account of him, see Balfour's _Life of Stevenson_, I, 106. ] [Note 21: "_Dry light_."

"The more perfect soul," says Heraclitus, "is a dry light, which flies out of the body as lightning breaks from a cloud."

Plutarch, _Life of Romulus_.

] [Note 22: _Opalstein_.

This was the writer and art critic, John Addington Symonds (1840-1893).

Like Stevenson, he was afflicted with lung trouble, and spent much of his time at Davos, Switzerland, where a good part of his literary work was done.

"The great feature of the place for Stevenson was the presence of John Addington Symonds, who, having come there three years before on his way to Egypt, had taken up his abode in Davos, and was now building himself a house.

To him the newcomer bore a letter of introduction from Mr. Gosse.

On November 5th (1880) Louis wrote to his mother: 'We got to Davos last evening; and I feel sure we shall like it greatly.

I saw Symonds this morning, and already like him; it is such sport to have a literary man around....

Symonds is like a Tait to me; eternal interest in the same topics, eternal cross-causewaying of special knowledge.

That makes hours to fly.'

And a little later he wrote: 'Beyond its splendid climate, Davos has but one advantage--the neighbourhood of J. A.

Symonds.

I dare say you know his work, but the man is far more interesting.'

" (Balfour's _Life of Stevenson_, I, 214. ) When Symonds first read the essay _Talk and Talkers_, he pretended to be angry, and said, "Louis Stevenson, what do you mean by describing me as a moonlight serenader?"

(_Life_, I, 233.

)] [Note 23: _Proxime accessit_.

"He comes very near to it."

] [Note 24: _Sirens ...

Sphinx Byronic ...

Horatian ...

Don Giovanni ...

Beethoven_.

The Sirens were the famous women of Greek mythology, who lured mariners to destruction by the overpowering sweetness of their songs.

How Ulysses outwitted them is well-known to all readers of the _Odyssey_.

One of Tennyson's earlier poems, _The Sea-Fairies_, deals with the same theme, and indeed it has appeared constantly in the literature of the world....

The _Sphinx_, a familiar subject in Egyptian art, had a lion's body, the head of some other animal (sometimes man) and wings.

It was a symbolical figure.

The most famous example is of course the gigantic Sphinx near the Pyramids in Egypt, which has proved to be an inexhaustible theme for speculation and for poetry....

The theatrically tragic mood of _Byron_ is contrasted with the easy-going, somewhat cynical epicureanism of Horace....

_Don Giovanni_ (1787) the greatest opera of the great composer Mozart (1756-1791), tells the same story told by Molière and so many others.

The French composer, Gounod, said that Mozart's _Don Giovanni_ was the greatest musical composition that the world has ever seen....

_Beethoven_ (1770-1827) occupies in general estimation about the same place in the history of music that Shakspere fills in the history of literature.

] [Note 25: _Purcel_.

This stands for Mr. Edmund Gosse (born 1849), a poet and critic of some note, who writes pleasantly on many topics.

Many of Stevenson's letters were addressed to him.

The two friends first met in London in 1877, and the impression made by the novelist on the critic may be seen in Mr. Gosse's book of essays, _Critical Kitcats_ (1896).

] [Note 26: _I know another person_.

This is undoubtedly Stevenson's friend Charles Baxter.

See the quotation from a letter to him in our introductory note to this essay.

Compare what Stevenson elsewhere said of him: "I cannot characterise a personality so unusual in the little space that I can here afford.

I have never known one of so mingled a strain....

He is the only man I ever heard of who could give and take in conversation with the wit and polish of style that we find in Congreve's comedies."

(Balfour's _Life of Stevenson_, I, 105. )] [Note 27: _Restoration comedy ...

Congreve_.

Restoration comedy is a general name applied to the plays acted in England between 1660, the year of the restoration of Charles II to the throne, and 1700, the year of the death of Dryden.

This comedy is as remarkable for the brilliant wit of its dialogue as for its gross licentiousness.

Perhaps the wittiest dramatist of the whole group was William Congreve (1670-1729).

] [Note 28: _Falstaff ...

Mercutio ...

Sir Toby ...

Cordelia ...

Protean_.

Sir John Falstaff, who appears in Shakspere's _King Henry IV_, and again in the _Merry Wives of Windsor_, is generally regarded as the greatest comic character in literature....