Complete Works of Robert Louis Stevenson, page 755
I see his coral waistcoat studs that he wore the first time he dined in my house; I see his attitude, leaning back a little, already with something of a portly air, and laughing internally. How I admired him! And now in the West Kirk.
I am trying to write out this haunting bodily sense of absence; besides, what else should I write of?
Yes, looking back, I think of him as one who was good, though sometimes clouded. He was the only gentle one of all my friends, save perhaps the other Walter. And he was certainly the only modest man among the lot. He never gave himself away; he kept back his secret; there was always a gentle problem behind all. Dear, dear, what a wreck; and yet how pleasant is the retrospect! God doeth all things well, though by what strange, solemn, and murderous contrivances!
It is strange: he was the only man I ever loved who did not habitually interrupt. The fact draws my own portrait. And it is one of the many reasons why I count myself honoured by his friendship. A man like you HAD to like me; you could not help yourself; but Ferrier was above me, we were not equals; his true self humoured and smiled paternally upon my failings, even as I humoured and sorrowed over his.
Well, first his mother, then himself, they are gone: ‘in their resting graves.’
When I come to think of it, I do not know what I said to his sister, and I fear to try again. Could you send her this? There is too much both about yourself and me in it; but that, if you do not mind, is but a mark of sincerity. It would let her know how entirely, in the mind of (I suppose) his oldest friend, the good, true Ferrier obliterates the memory of the other, who was only his ‘lunatic brother.’
Judge of this for me, and do as you please; anyway, I will try to write to her again; my last was some kind of scrawl that I could not see for crying. This came upon me, remember, with terrible suddenness; I was surprised by this death; and it is fifteen or sixteen years since first I saw the handsome face in the SPEC. I made sure, besides, to have died first. Love to you, your wife, and her sisters.
- Ever yours, dear boy,
R. L. S.
I never knew any man so superior to himself as poor James Walter. The best of him only came as a vision, like Corsica from the Corniche. He never gave his measure either morally or intellectually. The curse was on him. Even his friends did not know him but by fits. I have passed hours with him when he was so wise, good, and sweet, that I never knew the like of it in any other. And for a beautiful good humour he had no match. I remember breaking in upon him once with a whole red-hot story (in my worst manner), pouring words upon him by the hour about some truck not worth an egg that had befallen me; and suddenly, some half hour after, finding that the sweet fellow had some concern of his own of infinitely greater import, that he was patiently and smilingly waiting to consult me on. It sounds nothing; but the courtesy and the unselfishness were perfect. It makes me rage to think how few knew him, and how many had the chance to sneer at their better.
Well, he was not wasted, that we know; though if anything looked liker irony than this fitting of a man out with these rich qualities and faculties to be wrecked and aborted from the very stocks, I do not know the name of it. Yet we see that he has left an influence; the memory of his patient courtesy has often checked me in rudeness; has it not you?
You can form no idea of how handsome Walter was. At twenty he was splendid to see; then, too, he had the sense of power in him, and great hopes; he looked forward, ever jesting of course, but he looked to see himself where he had the right to expect. He believed in himself profoundly; but HE NEVER DISBELIEVED IN OTHERS. To the roughest Highland student he always had his fine, kind, open dignity of manner; and a good word behind his back.
The last time that I saw him before leaving for America - it was a sad blow to both of us. When he heard I was leaving, and that might be the last time we might meet - it almost was so - he was terribly upset, and came round at once. We sat late, in Baxter’s empty house, where I was sleeping. My dear friend Walter Ferrier: O if I had only written to him more! if only one of us in these last days had been well! But I ever cherished the honour of his friendship, and now when he is gone, I know what I have lost still better. We live on, meaning to meet; but when the hope is gone, the, pang comes.
R. L. S.
Letter: TO EDMUND GOSSE
LA SOLITUDE, HYERES-LES-PALMIERS, 26TH SEPTEMBER 1883.
MY DEAR GOSSE, - It appears a bolt from Transatlantica is necessary to produce four lines from you. It is not flattering; but as I was always a bad correspondent, ’tis a vice to which I am lenient. I give you to know, however, that I have already twice (this makes three times) sent you what I please to call a letter, and received from you in return a subterfuge - or nothing. . . .
My present purpose, however, which must not be postponed, is to ask you to telegraph to the Americans.
After a summer of good health of a very radiant order, toothache and the death of a very old friend, which came upon me like a thunderclap, have rather shelved my powers. I stare upon the paper, not write. I wish I could write like your Sculptors; yet I am well aware that I should not try in that direction. A certain warmth (tepid enough) and a certain dash of the picturesque are my poor essential qualities; and if I went fooling after the too classical, I might lose even these. But I envied you that page.
I am, of course, deep in schemes; I was so ever. Execution alone somewhat halts. How much do you make per annum, I wonder? This year, for the first time, I shall pass 300 pounds; I may even get halfway to the next milestone. This seems but a faint remuneration; and the devil of it is, that I manage, with sickness, and moves, and education, and the like, to keep steadily in front of my income. However, I console myself with this, that if I were anything else under God’s Heaven, and had the same crank health, I should make an even zero. If I had, with my present knowledge, twelve months of my old health, I would, could, and should do something neat. As it is, I have to tinker at my things in little sittings; and the rent, or the butcher, or something, is always calling me off to rattle up a pot-boiler. And then comes a back- set of my health, and I have to twiddle my fingers and play patience.
Well, I do not complain, but I do envy strong health where it is squandered. Treasure your strength, and may you never learn by experience the profound ENNUI and irritation of the shelved artist. For then, what is life? All that one has done to make one’s life effective then doubles the itch of inefficiency.
I trust also you may be long without finding out the devil that there is in a bereavement. After love it is the one great surprise that life preserves for us. Now I don’t think I can be astonished any more. - Yours affectionately,
R. L. S.
Letter: TO SIDNEY COLVIN
LA SOLITUDE, HYERES-LES-PALMIERS, VAR [OCTOBER 1883].
COLVIN, COLVIN, COLVIN, - Yours received; also interesting copy of P. WHISTLES. ‘In the multitude of councillors the Bible declares there is wisdom,’ said my great-uncle, ‘but I have always found in them distraction.’ It is extraordinary how tastes vary: these proofs have been handed about, it appears, and I have had several letters; and - distraction. ‘AEsop: the Miller and the Ass.’ Notes on details:-
1. I love the occasional trochaic line; and so did many excellent writers before me.
2. If you don’t like ‘A Good Boy,’ I do.
3. In ‘Escape at Bedtime,’ I found two suggestions. ‘Shove’ for ‘above’ is a correction of the press; it was so written. ‘Twinkled’ is just the error; to the child the stars appear to be there; any word that suggests illusion is a horror.
4. I don’t care; I take a different view of the vocative.
5. Bewildering and childering are good enough for me. These are rhymes, jingles; I don’t go for eternity and the three unities.
I will delete some of those condemned, but not all. I don’t care for the name Penny Whistles; I sent a sheaf to Henley when I sent ‘em. But I’ve forgot the others. I would just as soon call ’em ‘Rimes for Children’ as anything else. I am not proud nor particular.
Your remarks on the BLACK ARROW are to the point. I am pleased you liked Crookback; he is a fellow whose hellish energy has always fired my attention. I wish Shakespeare had written the play after he had learned some of the rudiments of literature and art rather than before. Some day, I will re-tickle the Sable Missile, and shoot it, MOYENNANT FINANCES, once more into the air; I can lighten it of much, and devote some more attention to Dick o’ Gloucester. It’s great sport to write tushery.
By this I reckon you will have heard of my proposed excursiolorum to the Isles of Greece, the Isles of Greece, and kindred sites. If the excursiolorum goes on, that is, if MOYENNANT FINANCES comes off, I shall write to beg you to collect introductiolorums for me.
Distinguo: 1. SILVERADO was not written in America, but in Switzerland’s icy mountains. 2. What you read is the bleeding and disembowelled remains of what I wrote. 3. The good stuff is all to come - so I think. ‘The Sea Fogs,’ ‘The Hunter’s Family,’ ‘Toils and Pleasures’ - BELLES PAGES. - Yours ever,
RAMNUGGER.
O! - Seeley is too clever to live, and the book a gem. But why has he read too much Arnold? Why will he avoid - obviously avoid - fine writing up to which he has led? This is a winking, curled- and-oiled, ultra-cultured, Oxford-don sort of an affectation that infuriates my honest soul. ‘You see’ - they say - ‘how unbombastic WE are; we come right up to eloquence, and, when it’s hanging on the pen, dammy, we scorn it!’ It is literary Deronda-ism. If you don’t want the woman, the image, or the phrase, mortify your vanity and avoid the appearance of wanting them.
Letter: TO W. H. LOW
LA SOLITUDE, HYERES, OCTOBER .
MY DEAR LOW, - . . . Some day or other, in Cassell’s MAGAZINE OF ART, you will see a paper which will interest you, and where your name appears. It is called ‘Fontainebleau: Village Communities of Artists,’ and the signature of R. L. Stevenson will be found annexed
Please tell the editor of MANHATTAN the following secrets for me: 1ST, That I am a beast; 2ND, that I owe him a letter; 3RD, that I have lost his, and cannot recall either his name or address; 4TH, that I am very deep in engagements, which my absurd health makes it hard for me to overtake; but 5TH, that I will bear him in mind; 6TH and last, that I am a brute.
My address is still the same, and I live in a most sweet corner of the universe, sea and fine hills before me, and a rich variegated plain; and at my back a craggy hill, loaded with vast feudal ruins. I am very quiet; a person passing by my door half startles me; but I enjoy the most aromatic airs, and at night the most wonderful view into a moonlit garden. By day this garden fades into nothing, overpowered by its surroundings and the luminous distance; but at night and when the moon is out, that garden, the arbour, the flight of stairs that mount the artificial hillock, the plumed blue gum- trees that hang trembling, become the very skirts of Paradise. Angels I know frequent it; and it thrills all night with the flutes of silence. Damn that garden;- and by day it is gone.
Continue to testify boldly against realism. Down with Dagon, the fish god! All art swings down towards imitation, in these days, fatally. But the man who loves art with wisdom sees the joke; it is the lustful that tremble and respect her ladyship; but the honest and romantic lovers of the Muse can see a joke and sit down to laugh with Apollo.
The prospect of your return to Europe is very agreeable; and I was pleased by what you said about your parents. One of my oldest friends died recently, and this has given me new thoughts of death. Up to now I had rather thought of him as a mere personal enemy of my own; but now that I see him hunting after my friends, he looks altogether darker. My own father is not well; and Henley, of whom you must have heard me speak, is in a questionable state of health. These things are very solemn, and take some of the colour out of life. It is a great thing, after all, to be a man of reasonable honour and kindness. Do you remember once consulting me in Paris whether you had not better sacrifice honesty to art; and how, after much confabulation, we agreed that your art would suffer if you did? We decided better than we knew. In this strange welter where we live, all hangs together by a million filaments; and to do reasonably well by others, is the first prerequisite of art. Art is a virtue; and if I were the man I should be, my art would rise in the proportion of my life.
If you were privileged to give some happiness to your parents, I know your art will gain by it. BY GOD, IT WILL! SIC SUBSCRIBITUR,
R. L. S.
Letter: TO R. A. M. STEVENSON
LA SOLITUDE, HYERES-LES-PALMIERS [OCTOBER 1883].
MY DEAR BOB, - Yes, I got both your letters at Lyons, but have been since then decading in several steps Toothache; fever; Ferrier’s death; lung. Now it is decided I am to leave to-morrow, penniless, for Nice to see Dr. Williams.
I was much struck by your last. I have written a breathless note on Realism for Henley; a fifth part of the subject, hurriedly touched, which will show you how my thoughts are driving. You are now at last beginning to think upon the problems of executive, plastic art, for you are now for the first time attacking them. Hitherto you have spoken and thought of two things - technique and the ARS ARTIUM, or common background of all arts. Studio work is the real touch. That is the genial error of the present French teaching. Realism I regard as a mere question of method. The ‘brown foreground,’ ‘old mastery,’ and the like, ranking with villanelles, as technical sports and pastimes. Real art, whether ideal or realistic, addresses precisely the same feeling, and seeks the same qualities - significance or charm. And the same - very same - inspiration is only methodically differentiated according as the artist is an arrant realist or an arrant idealist. Each, by his own method, seeks to save and perpetuate the same significance or charm; the one by suppressing, the other by forcing, detail. All other idealism is the brown foreground over again, and hence only art in the sense of a game, like cup and ball. All other realism is not art at all - but not at all. It is, then, an insincere and showy handicraft.
Were you to re-read some Balzac, as I have been doing, it would greatly help to clear your eyes. He was a man who never found his method. An inarticulate Shakespeare, smothered under forcible- feeble detail. It is astounding to the riper mind how bad he is, how feeble, how untrue, how tedious; and, of course, when he surrendered to his temperament, how good and powerful. And yet never plain nor clear. He could not consent to be dull, and thus became so. He would leave nothing undeveloped, and thus drowned out of sight of land amid the multitude of crying and incongruous details. There is but one art - to omit! O if I knew how to omit, I would ask no other knowledge. A man who knew how to omit would make an ILIAD of a daily paper.
Your definition of seeing is quite right. It is the first part of omission to be partly blind. Artistic sight is judicious blindness. Sam Bough must have been a jolly blind old boy. He would turn a corner, look for one-half or quarter minute, and then say, ‘This’ll do, lad.’ Down he sat, there and then, with whole artistic plan, scheme of colour, and the like, and begin by laying a foundation of powerful and seemingly incongruous colour on the block. He saw, not the scene, but the water-colour sketch. Every artist by sixty should so behold nature. Where does he learn that? In the studio, I swear. He goes to nature for facts, relations, values - material; as a man, before writing a historical novel, reads up memoirs. But it is not by reading memoirs that he has learned the selective criterion. He has learned that in the practice of his art; and he will never learn it well, but when disengaged from the ardent struggle of immediate representation, of realistic and EX FACTO art. He learns it in the crystallisation of day-dreams; in changing, not in copying, fact; in the pursuit of the ideal, not in the study of nature. These temples of art are, as you say, inaccessible to the realistic climber. It is not by looking at the sea that you get
‘The multitudinous seas incarnadine,’
nor by looking at Mont Blanc that you find
‘And visited all night by troops of stars.’
A kind of ardour of the blood is the mother of all this; and according as this ardour is swayed by knowledge and seconded by craft, the art expression flows clear, and significance and charm, like a moon rising, are born above the barren juggle of mere symbols.
The painter must study more from nature than the man of words. But why? Because literature deals with men’s business and passions which, in the game of life, we are irresistibly obliged to study; but painting with relations of light, and colour, and significances, and form, which, from the immemorial habit of the race, we pass over with an unregardful eye. Hence this crouching upon camp-stools, and these crusts. But neither one nor other is a part of art, only preliminary studies.
I want you to help me to get people to understand that realism is a method, and only methodic in its consequences; when the realist is an artist, that is, and supposing the idealist with whom you compare him to be anything but a FARCEUR and a DILETTANTE. The two schools of working do, and should, lead to the choice of different subjects. But that is a consequence, not a cause. See my chaotic note, which will appear, I fancy, in November in Henley’s sheet.
Poor Ferrier, it bust me horrid. He was, after you, the oldest of my friends.
I am now very tired, and will go to bed having prelected freely.
Fanny will finish.
R. L. S.
Letter: TO THOMAS STEVENSON
LA SOLITUDE, HYERES-LES-PALMIERS, VAR, 12TH OCTOBER 1883.
MY DEAR FATHER, - I have just lunched; the day is exquisite, the air comes though the open window rich with odour, and I am by no means spiritually minded. Your letter, however, was very much valued, and has been read oftener than once. What you say about yourself I was glad to hear; a little decent resignation is not only becoming a Christian, but is likely to be excellent for the health of a Stevenson. To fret and fume is undignified, suicidally foolish, and theologically unpardonable; we are here not to make, but to tread predestined, pathways; we are the foam of a wave, and to preserve a proper equanimity is not merely the first part of submission to God, but the chief of possible kindnesses to those about us. I am lecturing myself, but you also. To do our best is one part, but to wash our hands smilingly of the consequence is the next part, of any sensible virtue.
