;-;:v;-v^::S!i*!!i:;i;?:,:i;;.':- . ,7i/ '/^i ' f f^'i ^A ,/ // ... „ ///^ . ( " /if. / '^X/ , / .f / /* ^7 CORNELL UNIVERSITY ' :' LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1 89 1 BY HENRY WILLIAMS SAGE OLIN L/BRARY-CIRCULATroN DATE DUE Cornell University Library The tine original of tliis book is in Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013553957 Works by Robert Louis Stevenson AN INLAND VOYAGE. EDINBURGH PICTURESQUE NOTES. TRAVELS WITH A DONKEY. I VIRGINIBUS PUERISQUE. . FAMILIAR STUDIES OF MEN AND BOOKS. NEW ARABIAN NIGHTS. TREASURE ISLAND. THE SILVERADO SQUATTERS. A child's GARDEN OF VERSES. PRINCE OTTO. THE STRANGE CASE OF DR. JEKVLL AND MR. HYDE. KIDNAPPED. THE MERRY MEN. UNDERWOODS. MEMORIES AND PORTRAITS. THE BLACK ARROW. THE MASTER OP BALLANTRAE. FATHER DAMIEN: AN OPEN LETTER. BALLADS. ACROSS THE PLAINS. ISLAND NIGHTS ENTERTAINMENTS. A FOOTNOTE TO HISTORY. CATRIONA. WEIR OF HERMISTON. VAILIMA LETTERS. FABLES. SONGS OF TRAVEL. ST, IVES. IN THE SOUTH SEAS. ESSAYS OF TRAVEL. TALES AND FANTASIES. ESSAYS IN THE ART OF WRITING. with Mrs. Stevenson THE DYNAMITER. with Lloyd Osbourne THE WRONG BOX. THE WRECKER. THE EBB-TIDE. ESSAYS IN THE ART OF WRITING ESSAYS IN THE ART OF WRITING BY ROBERT LOUIS STEVENSON LONDON CHATTO & WINDUS 1905 ' CONTENTS I. ON SOME TECHNICAL ELEMENTS OF STYLE LITERATURE II. THE MORALITY LETTERS ...... ...... OF THE PROFESSION III. BOOKS WHICH HAVE INFLUENCED ME IV. A NOTE ON REALISM V. VI. VII. MY IN . 3 OF . ... 47 75 93 . Ill THE GENESIS OF 'THE MASTER OF BALLANTHAE' 135 PREFACE TO 'THE MASTER OF BALLANTRAE 145 FIRST book: 'TREASURE ISLAND* . ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE i Theke is nothing more man than to be shown disenchanting to mechanism of any All our arts and occupations lie art. the springs and wholly on the surface ; it on the surface that we perceive their beauty, fitness, and significance; and to pry below is to be appalled by their emptiness and shocked by the coarseness of the In a similar way, strings and pulleys. psychology itself, when pushed to any is nicety, discovers an abhorrent baldness, but rather from the fault of our analysis 1 First published in the Contemporary Beview, April 1885 3 THE ART OF WRITING 4 than from any poverty native to the mind. And perhaps in aesthetics the' reason is the same: those disclosures which seem fatal to the dignity of art seem so perhaps only in the proportion of our ignorance and ; those conscious and unconscious artifices which artist seems unworthy of the serious to employ were yet, if we had the it power to trace them to their springs, indications of a delicacy of the sense finer than we conceive, and hints of ancient harmonies in nature. least lie We largely irremediable. is never learn the they This ignorance at affinities shall of beauty, for too deep in nature and too far back in the mysterious history of amateur, in grudgingly consequence, The man. will always method, which can be stated but never can wholly be explained; nay, on the principle laid down in Hudihras, that receive ' Still details of the less they understand. The more they admire the sleight-of-hand,' ;; TECHNICAL ELEMENTS OF STYLE many are conscious at each new 5 disclosure of a diminution in the ardour of their pleasure. I must therefore warn that well-known character, the general reader, that I am here embarked upon a most dis- tasteful business : taking down the picture from the wall and looking on the back and, like the inquiring child, pulling the musical cart to pieces. JJ. Choice of Words. —The ture stands apart from art of litera- among its sisters, because the material in which the literary works is the dialect of life hence, on the one hand, a strange freshness and immediacy of address to the public mind, which is ready prepared to understand it but hence, on the other, a singular limiartist tation. ; The sister arts enjoy the use of a plastic and ductile modeller's clay ; demned to work literature in quite rigid words. blocks, material, like alone mosaic with You have dear to the nursery: is finite the con- and seen these this one a THE ART OF WRITING 6 pillar, that a pediment, a third a a vase. It is with blocks of just such arbitrary size and architect condemned is window or figure that the literary Nor palace of his art. is to design this all ; the for since these blocks, or words, are the acknow- ledged currency of our daily affairs, there none of those suppres- are here possible by which other arts obtain relief, and vigour: no hieroglyphic touch, no smoothed impasto, no inscrutable shadow, as in painting no blank wall, sions continuity, ; as in architecture ; but every word, phrase, sentence, and paragraph must move and convey a logical progression, in a definite conventional import. Now the first merit which attracts in the pages of a good writer, or the talk of a brilliant conversationalist, is the apt choice and contrast of the words employed. It is, indeed, a strange art to take these blocks, rudely conceived for the purpose of the market or the bar, and by tact of applica- TECHNICAL ELEMENTS OF STYLE tion touch them 7 to the finest meanings and them their primal energy, wittily shift them to another issue, or make of them a drum to rouse the passions. But though this form of merit is without doubt the most sensible and distinctions, restore to seizing, it is far in all writers. from being equally present The effect of words in Shakespeare, their singular justice, signi- and poetic charm, is different, from the effect of words in Addison or Fielding. Or, to take an example nearer home, the words in Carlyle seem electrified into an energy of linea- ficance, indeed, ment, like the faces moved of men furiously whilst the words in Macaulay, apt ; enough to convey his meaning, harmonious enough in sound, yet glide from the memory like undistinguished elements in writers But the first class of have no monopoly of literary merit. There is a general effect. superior a sense to in Carlyle; which Addison a is sense in which : THE ART OF WRITING 16 matter on what principle the law is based, It may be pure convenso it be a law. tion ; may have no we have that is, it that writer, ; all a right to ask of any prosody it shall lay down neither too easy it is a pattern for the down shall be nor too hard. Hence it much easier for men of and that what comes that inherent beauty it lays equal facility to write fairly pleasing verse than reasonably interesting prose ; for in prose the pattern itself has to be invented, and the difficulties first created before can be solved. they Hence, again, there follows the peculiar greatness of the true versifier such as Shakespeare, Milton, and Victor Hugo, whom fier I place beside them as versi- These not only V merely, not as poet. knit and knot the logical texture of the and strength of up the pattern of style with all the dexterity prose ; they not only fill the verse with infinite variety and sober wit ; but they give special pleasure, us, besides, by the art, a rare and comparable to TECHNICAL ELEMENTS OF STYLE that which of counterpoint, with follow at the same time, and now 17 they contrast, and now combine, the double pattern of the texture and the verse. Here the sounding line concludes on, the well-knit sentence further, and both a ; ; little further and yet a little will reach their solution on the same ringing syllable. The best that can be offered by the best writer of show us the development of the idea and the stylistic pattern proceed hand in hand, sometimes by an obvious and prose is to triumphant air effort, sometimes with a great of ease and nature. verse, by difficulty, virtue delights of triumphs. He of The writer of conquering another us with a follows new series purposes three where his rival followed only two and the change is of precisely the same nature as that from melody to harmony. Or if you ; prefer to return to the juggler, behold him now, to the vastly increased enthusiasm of the spectators, juggling with three oranges THE ART OF WRITING 18 instead of two. Thus it is added : diffi- culty, added beauty and the with every fresh element, becoming more pattern, ; interesting in Yet it itself. must not be thought that simply an addition ; something well as something gained is verse is lost as and there recomparing the ; mains plainly traceable, in best prose with the best verse, a certain broad distinction of method in the web. nTight as the versifier may draw the knot logic, yet for the ear he still of leaves the somewhat In prose, the sentence turns upon a nicely balanced, and fits into itself (tissue of the sentence floating loose. pivot, with an obtrusive neatness like a puzzle. The ear remarks and is singly gratified by this return is all and balance ; while in verse diverted' to the measure. comparable passages is hard ; To it find for either the hugely the superior of the rival, he be not, and still persist in his more delicate enterprise, he fails to be as widely versifier is or, if ^^ TECHNICAL ELEMENTS OF STYLE 19 But let us select them from the pages of the same writer, one who was his inferior. ambidexter; let us take, for instance,/ Rumour's Prologue to the Second Part of Henry IV., a fine flourish of eloquence in Shakespeare's second manner, and set side act by iv. it side with FalstafFs praise of sherris, scene /i. prose beautiful ; spoken Rosalind and Orlando ample, the speech to first compare the throughout by or let us ; compare, for ex- speech of Adam, with what you same all, Orlando's passage it shall —the Seven Ages from please to select the play, or even such a stave of nobility as Othello's farewell to war ; you will be able to perceive, if have an ear for that class of music, a still and you cer- tain superior degree of organisation in the prose ; a compacter fitting of the parts ; a balance in the swing and the return as of a throbbing pendulum. We must things temporal, take from those little, the little that they have ; not, in who have the merits THE ART OF WRITING 20 of prose are inferior, but they are not the same it is ; a little kingdom, but an inde- pendent. — Rhythm of the Phrase. Some way back, I used a word which still awaits an application. Each phrase, I said, was to be comely but what is a comely phrase ? 3. ; In all ideal and material points, being a representative literature, must look art, analogies to painting and the like what is like art, it must seek for Each phrase of each an but in technical and executive, being a temporal music. ; for air or them in sentence, a recitative in music, should be so artfully compounded out of long and and unaccented, short, out of accented And of this to gratify the sensual ear. ear lay is the sole judge. down laws. Even It in is as the impossible to our accentual and rhythmic language no analysis can find the secret of the beauty of a verse how ; much less, prose is then, of those phrases, such as built of, which obey no law but ^ TECHNICAL ELEMENTS OF STYLE The to be lawless and yet to please? little we know of verse (and for my owe it aU to my friend Professor that part I Fleeming Jenkin) is, however, particularly We interesting in the present connection. accustomed been have describe the to heroic line as five iambic feet, and to be with pain and confusion whenever, filled by as 21 the conscientious have heard our own schoolboy, we description put in practice. 'All night I the dre4d | less an gel pursued,' fin | | goes the schoolboy; but though our ears, of its we we close cling to our definition, in spite proved and naked insufficiency. Mr. Jenkin was not so easily pleased, and readily discovered that the heroic line consists of four groups, or, if phrase, contains four pauses ' the dreadless All night I Four groups, each 1 | you prefer the : angel | unpursued.' practically uttered Milton. as THE ART OF WRITING 22 one word : the in this case, first, an iamb ; the second, an amphibrachys; the third, and the fourth, an amphimacer and yet our schoolboy, with no other liberty but that of inflicting pain, had a trochee ; ; scanned triumphantly it five as iambs. Perceive, now, this fresh richness of in- web tricacy in the ; this fourth orange, hitherto unremarked, but it kept flying What had seemed with the others. be one thing still now appears is two ; to and, some puzzle in arithmetic, the verse made at the same time to read in fives like is and to read But do in fours. again, four is not necessary. We not, indeed, find verses in six groups, because there is not room for six in the and we do not find verses of two, because one of the main distinctions of verse from prose resides in the ten syllables ; comparative shortness of the group ; but it is even common to find verses of three. Five is the one forbidden number because ; — — TECHNICAL ELEMENTS OF STYLE five is the number of the feet were chosen, coincide, two the ; and if five would patterns and that opposition which hfe of verse would instantly be 23 is the We lost. have here a clue to the effect of polysyl- above all in Latin, where they are so common and make so brave an archi- lables, tecture in the verse is ; for the polysyllable a group of Nature's making. some Roman would (Martial, for choice), conduct of the If but Hades me by what return from and tell voice these thundering verses should be uttered ' Aut Lacedce- moniuni TarentumJ for a case in point I feel as if I full should enter at last into the enjoyment of the best of human verses. But, again, the five feet are or supposed to be syllables the iambic ; ; all iambic, by the mere count of four groups cannot be as a question of elegance, I all doubt any one of them requires to be so and I am certain that for choice no two of if ; THE ART OF WRITING 24 The them should scan the same. singular beauty of the verse analysed above is due, so far as analysis can carry us, part, indeed, D, and N, to the clever repetition of L, but part to this variety of scansion in the The groups which, groups. like the bar up the verse for utterance, fall uniambically and in declaiming a socalled iambic verse, it may so happen that in music, break ; we never utter one iambic foot. And yet to this neglect of the original beat there is a limit. Athens, the eye of Greece, mother of ' is, with line ; all its eccentricities, for though it a good heroic scarcely can be said to indicate the beat of the iamb, no suggests arts,' ^ it certainly other measure to the ear. But begin ' Mother Athens, eye of Greece,' or merely is ' Mother Athens,' and the game up, for the trochaic beat has been sug1 Milton. : TECHNICAL ELEMENTS OF STYLE The gested. 25 scansion of the eccentric an adornment; but as soon as the original beat has been forgotten, they groups is Variety cease implicitly to be eccentric. is what original is sought ; but if we destroy the mould, one of the terms of this and we fall back on sameness. Thus, both as to the arithmetical measure of the verse, and the degree of variety is lost, we see the laws of have one common purpose regularity in scansion, prosody to to keep alive the opposition of two simultaneously followed; notably apart, though to still schemes keep them coincident; and to balance them with such judicial nicety before the reader, that neither shall be unperceived and neither signally prevail. \-^^^he rule of rhythm in prose intricate. Here, too, we is not so write in groups, or phrases, as I prefer to call them, for the is greatly longer and is much more nonchalantly uttered than the group prose phrase ' THE ART OF WRITING 26 in verse ; so that not only interval of continuous is there a greater sound between the pauses, but, for that very reason, w^ord is more readily to word by a more summary enunciation. Still, the phrase is the strict analogue of the group, and linked successive phrases, like successive groups, must differ openly in length and rhythm. The rule of scansion in verse is to suggest no measure but the one in hand in prose, Prose must to suggest no measure at all. ; be rhythmical, and as It it may be much as so must not be metrical. may be anything, but it must not be you verse. will A ; but it single heroic line may well pass and not disturb the larger stride of the prose style very somewhat ; but one following another will produce an instant impression of poverty, flatness, and dis- enchantment. The same with the measured lines delivered utterance of verse would perhaps seem rich in variety. By the more summary enunciation proper to TECHNICAL ELEMENTS OF STYLE prose, as to a more distant vision, these A niceties of difference are lost. verse ear is uttered as one phrase is 27 ; whole and the soon wearied by a succession of The groups identical in length. writer, in fact, since much he prose allowed to be is condemned to a perpetually fresh variety of movement on a larger scale, and must never disappoint the ear by the trot of an so less harmonious, And accepted metre. is this obligation is the third orange with which he has to juggle, the third quality writer must work into words. this is It which the prose his may be thought pattern of perhaps that a quality of ease rather than a fresh difficulty ; but such is the inherently rhythmical strain of the English language, that the bad writer — and must I example that admired friend of hood. Captain Reid? writer, as Dickens — the take for my boy- inexperienced in his earlier attempts to be impressive, and the jaded wi-iter, as THE ART OF WRITING 28 any one may see for himself, all tend to fall at once into the production of And here it may be bad blank verse. And I pertinently asked, Why bad ? suppose it might be enough to answer that no man ever made good verse by accident, and that no verse can ever sound otherwise than trivial when uttered with But we can go the deUvery of prose. The weak beyond such answers. verse the regularity of the beat, which is in itself is decidedly less impressive than movement of the nobler prose and is just into this weak side, and this the it side of ; alone, that our careless writer falls. A and mass, consequent on the nearness of the pauses, is one of the chief good qualities of verse but this peculiar density ; our accidental versifier, after the swift gait prose, imitate. does not still following and large gestures of so much as aspire to Lastly, since he remains uncon- scious that he is making verse at all, it can TECHNICAL ELEMENTS OF STYLE 29 never occur to him to extract those effects of counterpoint and opposition which have referred to as the grace and final justification of verse, and, I ^ may add, of blank verse in particular. — Contents of the Phrase. Here great deal of talk about rhythm 4. naturally; for rhythm is always at the must not be forgotten languages this element is quite, extinct, and that in probably decaying. — and But it that in some door. almost, if as I should see it bitter as should not be desperate. despair, As element, not even rhythm, so, in not our own it is The even speech of many educated Americans sounds something a our canorous language in note of danger. is go with but I in verse is the no necessary, prose also, other sorts of beauty will arise and take the place and play the part of those that we outlive. The beauty of the expected beat in verse, the beauty in prose of its larger and more lawless ! THE ART OF WRITING 30 melody, patent as they are to English hearing, are already silent in the ears of our next neighbours for in ; France the oratorical accent and the pattern of the web have almost or altogether succeeded places to their and the French prose ; would be astounded at the labours of his brother across the Channel, and how a good quarter of his toil, above all invita Minerva, is to avoid writing verse. So wonderfully far apart have races wandered in spirit, and so hard it is to understand writer the hterature next door Yet French prose all while place is distinctly and French than English; Hugo lives, it upon one side. verse, will What better above not do to is more to our purpose, a phrase or a verse in French is easily uncomely. distinguishable There as comely or then another element of comeliness hitherto overlooked in this analysis Each : the phrase is contents in of literature the is phrase. built of ; TECHNICAL ELEMENTS OF STYLE 31 sounds, as each phrase in music consists One sound of notes. echoes, suggests, demands, and harmonises with another and the art of rightly using these concordances the final art in literature. is It used to be a piece of good advice to young writers to avoid the advice was sound, prevented that, was alliteration in None daubing. ; all and so far as the less it for abominable nonsense, and the it mere raving of those blindest of the blind The beauty of the who will not see. i contents of a phrase, or of a sentence, depends implicitly upon alliteration and upon assonance. ^ The vowel demands to ; the consonant demands to be repeated; and both cry aloud to be be repeated perpetually varied. You may follow the adventures of a letter through any passage that has particularly pleased you ; find it, perhaps, denied a while, to tantalise the ear ; broadside ; or find it you whole pass into congenerous find it fired again at in a — : THE ART OF WRITING 32 sounds, one liquid or labial melting And you into another. away will find another and much stranger circumstance. Literature is written by and for two senses quick to perceive a sort of internal ear, * unheard melodies directs the phrase. ' ; and the eye, which pen and deciphers the printed Well, even as there are rhymes you will find that there are assonances and alliterations that where an author is running the open A, deceived by the eye and our strange English spelling, he will often show a tenderness for the flat A and that where for the eye, so ; ; he running a particular consonant, he will not improbably rejoice to write it is down even when it is mute or bears a different value. Here, then, we have a fresh pattern a pattern, to speak grossly, of letters which makes the fourth preoccupation of the prose writer, and versifier. At times it is the fifth of the very delicate and ; TECHNICAL ELEMENTS OF STYLE 33 hard to perceive, and then perhaps most excellent and winning say perhaps) (I but at times again the elements of this literal melody stand more boldly forward and usurp the ear. It becomes, therefore, somewhat a matter of conscience to select examples ; and as I cannot very well ask the reader to help me, I shall do the next by giving him the reason or the The two first, history of each selection. best one in prose, one in verse, I chose without previous analysis, simply as engaging passages that had long re-echoed in my ear. ' I cannot praise a fugitive and cloistered and unbreathed, that out and sees her adversary, virtue, unexercised never sallies but slinks out of the race where that immortal garland is to be run for, not without Down dust and heat.'^ current S and R to 'virtue,' the announced and repeated unobtrusively, and by way of a are both 1 Milton. c THE ART OF WRITING 34 grace-note that almost inseparable group PVF is The next phrase given entire.^ a period of repose, almost ugly in both S and R still audible, as the last fulfilment of next four phrases, from to 'run for,' the mask ' is and but for a slight repetition of the given In the that never thrown itself, B PVF. is ' down oflF, F and, and V, the whole matter turns, almost too ob- the front, on S and R; first S coming to and then R. In the concluding phrase these favourite letters, and even trusively, the all flat A, a timid preference for which is blow just perceptible, are discarded at a and in a bundle; and to make the break more obvious, every word ends with a dental, and all but one with T, for which we have been cautiously prepared since the beginning. The singular dignity of ' As PVF will continue to haunt us through our English examples, take, by way of comparison, this Latin verse, of which it forms a chief adornment, and do not hold me answerable for the all too Roman freedom of the sense : ' Hanc volo, quae facilis, quse palliolata vagatur." TECHNICAL ELEMENTS OF STYLE the first of the ' this hammer-stroke make the charm sentence. But it is fair go this exquisite own and clause, last, that S and far to of to R are used a little coarsely. Xanadfdid Kubla Khan dome decree, Where Alph the sacred river ran, In A stately pleasure Through caverns measureless to man, (KANDL) (KDLSR) (KANDLSR) (KANLSR) (NDLS) ^ Dovifn to a sunless sea.' ~ 35 Here I have put the analysis of the main group alongside the lines; and the more it is looked at, the more interesting But there are further niceit will seem. In lines two and four, the current ties. In S is most delicately varied with Z. line three, the current flat A is twice A, already suggested two, and both times (' where and varied with the open in line ' 'sacred') in conjunction with the current In the same line F and V (a harmony in themselves, even when shorn of their comrade P) are admirably contrasted. And R. ' Coleridge. — THE ART OF WRITING 36 a marked subsidiary M, which again was announced in line two. I stop from weariness, for more might yet in line four there is be said. My next example was recently quoted from Shakespeare as an example of the Now, poet's colour sense. and * do not think anything to do with colour, literature has anyway the or poets I better of such a sense ; I instantly attacked this passage, since purple was the word that had so pleased ' the writer of the article, might not be some use. to see It will be seen that amply; and I if there literary reason for its am bound I succeeded to say I think the passage exceptional in Shakespeare exceptional, indeed, in literature; but was not ' I who chose it it. The BaRge she sat iN, like a BURNished throNe the water the POOP was BeateN gold, the sails and so PUR * Fumed that * per BURNt oN PURPle The wiNds were : love-sick with them.' Antony and Cleopatra. ^ : : TECHNICAL ELEMENTS OF STYLE It may be asked of 'perfumed' Jn why 37 have put the F and I reply, I capitals; P to F is the B to P, already because this change from completion of that from Indeed, the whole so adroitly carried out. passage genuity is ; a and monument it of curious in- seems scarce worth while and W. In the same article, a second passage from Shakespeare was quoted, once again as an to indicate the subsidiary S, L, example of ' his colour sense A mole cinque-spotted r the bottom of like the crimson drops a cowslip.' ^ It is very curious, very artificial, worth while to analyse at length to the reader. it But and not : I leave before I turn my back on Shakespeare, I should like to quote a passage, for for a very ' my own pleasure, model of every technical and art But in the wind and tempest of her frown, W. Distinction with a loud W. 1 Cymbeline. P. V.2 F. (St) (ow) and powerful ^ fan, P. F. (st) (ow) L. The V is in 'of.' : ; THE ART OF WRITING 38 Puffing at winnows the all, light W. And what hath mass and away P. F. L. matter by W. itself M. A. F. L. Lies rich in virtue and unmingled.' ^ V. L. M. From I these delicate and choice writers turned with some curiosity to a player of the big drum— Macaulay. the two-volume edition, had in hand and I opened at I the beginning of the second volume. was what Here I read 'The violence of revolutions is generally proportioned to the degree of the maladministration which has produced them. It is therefore not strange that the government of Scotland, having been during many years greatly more corrupt than the government of England, should have fallen with a far heavier ruin. The movement against the last king of the house of Stuart was in England conservative, in Scotland destructive. The English complained not of the law, but of the violation of the law.' This was plain-sailing enough ' Troilus and Cresaida. ; it was our ; : TECHNICAL ELEMENTS OF STYLE old friend PVF, by the liquids in read on, and turned the floated a body ; but as I page, and stUl found PVF tendant liquids, I confess gave me utterly. of Macaulay's ; it with his at- my mind mis- This could be no trick must be the nature of the English tongue. I 89 In a kind of despair, turned half-way through the volume and coming upon his lordship dealing with General Cannon, and fresh from Claverhouse and Killiecrankie, here, with elucidative spelling, was my reward 'Meanwhile the disorders of Kannon's Kamp went on inKreasing. He Kalled a Kouncil of war to Konsider what Kourse it would be advisable to taKe. But as soon as the Kouncil had met, a preliminary Kuestion was raised. The army was almost eKsKlusively a Highland army. The recent viKtory had been won eKsKlusively by Highland warriors. Great chie/s who had brought siKs or Seven hundred yighting men into the yield did not think it /air that they should be out»oted by gentlemen yrom Ireland, and /rom the Low Kountries, who bore indeed King James's Kommission, and were Kalled Kolonels and Kaptains, THE ART OF WRITING 40 but who were Kolonels without regiments and Kaptains without Kompanies.' A moment of FV in all this world of was not the English language, then, that was an instrument of one string, but Macaulay that was an incomparable K's! It dauber. was probably from this barbaric love of repeating the same sound, rather than from any design of clearness, that he acIt quired his words; I irritating habit of say the one rather repeating than the other, because such a trick of the ear is deeper-seated and than any logical more original in consideration. man Few writers, indeed, are probably conscious of the length to which they push this melody One, writing very diligently, and only concerned about the meaning of his words and the rhythm of his phrases, was struck into amazement by the eager triumph with which he cancelled one exof letters. pression to substitute another. Neither ; TECHNICAL ELEMENTS OF STYLE changed the sense; syllables, neither both 41 being mono- could affect the scansion was only by looking back on what he had already written that the mystery was solved the second word contained an open A, and for nearly half a page he had been riding that vowel to the death. and it : J In practice, I should add, the ear is not always so exacting; and ordinary writers, in ordinary moments, content themselves is harsh, and here and with avoiding what upon a there, rare occasion, buttressing a two together, with a patch of assonance or a momentary jingle phrase, or linking of alliteration. stant is this preoccupation of even where it is To understand how its results good con- writers, are least obtrusive, only necessary to turn to the bad. There, indeed, you will find cacophony supreme, the rattle of incongruous consonants only relieved by the jaw-breaking and whole phrases not to be by the powers of man. hiatus, lated articu- : ; THE ART OF WRITING 42 Conclusion.— We may now* merate the elements of briefly enu- style. We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical, and pleasing to the ear, without ever allowing them to fall into the strictly metrical peculiar to the versifier, the task of : com- bining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre harmonious in diversity common to both, the task of artfully com- — bining the prime elements of language into phrases that shall be musical in the mouth the task of weaving their argument into a texture of committed phrases and of rounded periods — but binding in the case of prose common particularly this : and, again to both, the task of choosing apt,\ and communicative words. We begin to see now what an intricate affair is any perfect passage how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and explicit, ; . TECHNICAL ELEMENTS OF STYLE why, when it is 43 made, it should afford us so From complete a pleasure. ment of according letters, the arrange- which is alto- gether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which pure is man but has been exercised. not wonder, then, rare, a vigorous act of the intellect, there is scarce a faculty in if We need perfect sentences are and perfect pages rarer. THE MORALITY OF THE PROFESSION OF LETTERS II THE MORALITY OF THE PROFESSION OF LETTERS 1 The profession of letters has been lately debated in the public prints ; and has it been debated, to put the matter mildly, from a point of view that was calculated to surprise high-minded men, and bring a general contempt on books and reading. Some time ago, in particular, a lively, pleasant, popular writer ^ devoted an essay, and pleasant like himself, to a very encouraging view of the profession. We lively may be ing, glad that his experience and we may hope that is so cheer- all others, who 1 First published in the Fortnightly Review, April 1881. 2 Mr. James Payn. 47 THE ART OF WRITING 48 handsomely rewarded but I do not think we need be at all glad to have this question, so important to the public and ourselves, debated solely on the ground of money. The salary in any business under heaven is not the only, nor indeed the first, question. That you deserve it, shall be as ; should continue to exist your own consideration business should be useful, first are points in I refer a matter for but that your ; honest, and second which honour and morality are concerned. whom is If the writer to succeeds in persuading a number of young persons to adopt this way of life with an eye set singly on the livelihood, we must expect them in their works to follow profit only, and we must expect in consequence, me if he will pardon the epithets, a slovenly, base, untrue, and empty literature. self I am clean, and pleasing; periods of Of that writer him- not speaking: we entertainment, he all diligent, is owe him and he has PROFESSION OF LETTERS 49 achieved an amiable popularity which he has adequately deserved. But the truth is, he does not, or did not when he first embraced it, regard his profession from this purely mercenary side. He went into it, I shall venture to say, if not with any noble design, at least in the ardour of a first love ; and he enjoyed its practice long before he paused to calculate the wage. The other day an author was complimented on a piece of work, good in itself and exceptionally good for him, and replied, in terms unworthy of a commercial traveller, that as the book was not briskly selling he did not give a copper farthing for its merit. It must not be supposed that the person whom answer was addressed received he knew, on it as a profession of faith the other hand, that it was only a whifF of irritation ; just as we know, when a respectto this ; able writer talks of literature as a way of shoemaking, but not so useful, that he is only debating one aspect of a life, like THE ART OF WRITING 50 question, and clearly conscious of a still is dozen others more important in themselves and more central to the matter in hand. But while those who treat literature in this and virtue-foolish penny-wise spirit are themselves truly in possession of a better does not follow that the treatment light, it is decent or improving, whether for them- selves or others. To treat all subjects in the highest, the most honourable, and the pluckiest spirit, consistent with the fact, the duty of a first writer. is If he be well am glad to hear he is, this duty becomes the more urgent, the neglect of it paid, as I the more disgraceful. is And perhaps there no subject on which a man should speak so gravely as that industry, whatever it may be, of his which life ; is the occupation or delight which is his tool to earn or and which, if it be unworthy, stamps himself as a mere incubus of dumb and greedy bowels on the shoulders of serve with ; labouring humanity. On that subject alone PROFESSION OF LETTERS 51 even to force the note might lean to virtue's It is to be hoped that a numerous and enterprising generation of writers will follow and surpass the present one but it would be better if the stream were stayed, and the roll of our old, honest English books were closed, than that esurient bookmakers should continue and debase a brave tradition, and lower, in their own eyes, a Better that our serene famous race. than filled with deserted were temples trafficking and juggling priests. There are two just reasons for the choice of any way of life the first is inbred taste in the chooser; the second some high side. ; : utility in the industry selected. ture, any other like art, interesting to the artist peculiar to itself useful to mankind. cient justifications woman ravho his life. ; among is Literasingularly and, in a degree the arts, it is These are the suffifor any young man or adopts it as the business of I shall not say much about the ; 52 THE ART OF WRITING wages. A writer can live by his writing. If not so luxuriously as then by other trades, The nature of the day will more affect his less luxuriously. work he does all happiness than the quality of his dinner Whatever be your calling, and however much it brings you in the year, you could still, you know, get more by at night. cheating. too We all suffer ourselves to much concerned about a little be poverty but such considerations should not move us in the choice of that which is to be the business and justification of so great a portion of our lives ; and like the mis- sionary, the patriot, or the philosopher, should all choose career in which we best for mankind. that we poor and brave can do the most and Now Nature, faithfully followed, proves herself a careful mother. A lad, for some liking to the jingle of words, betakes himself to letters for his life; by-and-by, when he learns more gravity, he finds that he has chosen better PROFESSION OF LETTERS than he is knew earning it ; that amply small wage, he is siderable services ; if he earns that if little, ; he he receives a in a position to that 53 do con- it is in his power, some small measure, to protect the oppressed and to defend the truth. So kindly in is the world arranged, such great profit may from a small degree of human reliance on oneself, and such, in particular, is the happy star of this trade of writing, that it should combine pleasure and profit to both parties, and be at once agreeable, like fiddling, and useful, like good arise preaching. This is speak to of literature at highest; and with the four great who still are its elders spared to our respect and admiration, with Carlyle, Ruskin, Brown- and Tennyson before us, it would be cowardly to consider it at first in any lesser ing, aspect. But while we cannot follow these we may none of us, per- athletes, while haps, be very vigorous, very original, or THE ART OF WRITING 54 very wise, I contend still that, in the humblest sort of literary work, we have it do great harm or great good. may seek merely to please; we may seek, having no higher gift, merely to gratify the idle nine days' in our power either to We curiosity may of essay, our contemporaries; however In each of these we we to instruct. feebly, shall or have to deal with that remarkable art of words which, be- cause it is the dialect of life, comes home so easily and powerfully to the minds of men and ; since that is so, we contribute, in each of these branches, to build sum up the of sentiments and appreciations which name of Public Opinion or Public Feeling. The total of a nation's goes by the reading, in these days of daily papers, greatly modifies the total of the nation's speech ; and the speech and reading, taken together, form the- efficient educational medium of youth. A good man or woman may keep a youth some little while in PROFESSION OF LETTERS clearer air sphere is average ; 55 but the contemporary atmo- all-powerful in the end on the mediocre of characters. The copious Corinthian baseness of the Ameri- can reporter or the Parisian chroniquear, both so lightly readable, must exercise an incalculable influence for upon all subjects, ungenerous hand and on ; they touch ill; all with the same they begin the con- in young and unprepared unworthy spirit on all, they supply some pungency for dull people to The mere body of this ugly quote. matter overwhelms the rare utterances of good men; the sneering, the selfish, and sideration of all, minds, in an ; the cowardly are scattered in broad sheets on every volumes, table, while the antidote, in small lies unread upon the shelf. I have spoken of the American and the French, not because they are so much but so much more readable, than the English ; their evil is done more effectively, baser, in America for the masses, in French for ; THE ART OF WRITING 5S the few that care to read ; but with us as with them, the duties of literature are daily neglected, truth daily perverted and suppressed, and grave subjects daily de- The journalist graded in the treatment. is not reckoned an important officer; yet judge of the good he might do, the harm he does judge of it by one instance only that when we find two journals on the re: ; on the same day, openly garbhng a piece of news for verse sides of politics each, the interest of its own we smile at now !) as over party, the discovery (no discovery good joke and pardonable stratagem. Lying so open is scarce lying, it is true but one of the things that we profess to teach our young is a respect for truth and a ; I cannot think this piece of education will be crowned with any great success, so long as some of us practise and the rest openly approve of public falsehood. There are two duties incumbent upon any man who enters on the business of : PROFESSION OF LETTERS writing : 57 truth to the fact and a good spirit In every department though so low as hardly to in the treatment. of literature, deserve the name, truth to the fact is of importance to the education and comfort of mankind, and so hard to preserve, that the faithful trying to do so will lend some dignity to the man who tries it. Our judgments are based upon two things first, upon the original preferences of our soul but, second, upon the mass of testimony to the nature of God, man, and the universe which reaches us, in divers For the most manners, from without. part these divers manners are reducible ; we learn of past times and much that we learn of our own reaching us through the medium of books or papers, and even he who cannot read to one, all that same source at secondhand and by the report of him who can. Thus the sum of the contemporary knowledge or ignorance of good and evil is, in learning from the THE ART OF WRITING 58 large measure, the handiwork of those who Those who write have to see that each man's knowledge is, as near as they write. make can life ; answerable to the facts of it, that he shall not suppose himself an angel or a monster; nor take this world for a hell nor be suffered to imagine that ; are concentred in his all rights or country, or what is caste his own Each man should learn veracities all parochial creed. own within him, that he in may strive to mend he must be taught what is without him, that he may be kind to others. It ; can never be wrong to for, in his tell him the truth goes his theory of life, steering himself, cheering or reproving others, of the a fact if corrupt him, know importance to first and even ; disputable state, weaving as he it is still it; for it is shall all facts his are conduct; discourage or best that he should in this world as it is, world made easy by educational suppressions, that he must win his and not in a ; PROFESSION OF LETTERS way shame or 59 In one word, it must always be foul to tell what is false and -it can never be safe to suppress what is to true. glory. The very fact that you omit may be the fact which somebody was want- one man's meat is another man's poison, and I have known a person who was cheered by the perusal of Candide. Every fact is a part of that great puzzle we must set together; and none that comes directly in a writer's path but has some nice relations, unperceivable by him, to the totality and bearing of the subject under hand. Yet there are certain classes ing, for eternally more necessary than and it is with these that literaothers, They are ture must first bestir itself. not hard to distinguish, nature once more of fact easily leading us; cause the for the necessary, be- efficacious, facts are those which most interesting to the natural mind Those which are coloured, picof man. turesque, human, and rooted in morahty. are THE ART OF WRITING 60 and those, on the other hand, which are clear, indisputable, and a part of science, are alone vital in importance, seizing their interest, or useful to So far as the writer should principally tell by communicate. merely narrates, he of these He should tell of the kind and wholesome and beauti- ful elements of our life ; he should teU unsparingly of the evil and sorrow of the present, should to tell move us with instances : he of wise and good people in the past, to excite us by example; and of these he should tell soberly and truthfully, not glossing faults, that we may grow discouraged with ourselves nor exacting to our neighbours. So the body of contemporary literature, ephemeral and feeble in itself, touches in the minds of men the springs of thought and kindness, and supports them (for those who will go at all are easily supported) on their way to what is true and right. And neither if, in any degree, it does so now, how much ! PROFESSION OF LETTERS more might There is it not a do so if life in all 61 the writers chose the records of the past but, properly studied, might lend a some contemporary. hint and a help to There is not a juncture in to-day's but some useful word it. Even the may affairs yet be said of reporter has an office, and, may way to with clear eyes and honest language, and point the progress. And for a last word: in all narration there is only one way to be To be clever, and that is to be exact. vivid is a secondary quality which must presuppose the first for vividly to convey a wrong impression is only to make failure unveil injustices ; conspicuous. But a sides; it fact may be viewed on many may be chronicled with rage, tears, laughter, indifference, or admiration, and by each of these the story will be transformed to something else. The newspapers that told of the return of our presentatives from Berlin, even if re- they THE ART OF WRITING 62 had not differed as to the facts, would have sufficiently differed by their spirits; so that the one description would have been a second ovation, and the other a prolonged insult. The subject makes but a trifling part of any piece of literature, and the view of the writer is itself a fact more important because than the others. a subject is Now less disputable this spirit in which regarded, important in all kinds of literary work, becomes all-im- portant in works of fiction, meditation, or rhapsody itself not only colours but chooses the facts; not only modifies ; for there it And but shapes the work. hence, over the far larger proportion of the field of literature, the health or disease of the mind or momentary humour forms not only the leading feature of his work, but is, at bottom, the only thing he can communicate to others. In all works of art, widely speaking, it is first of all the writer's author's attitude that is narrated, though PROFESSION OF LETTERS 63 in the attitude there be implied a whole An author experience and a theory of who in life. has begged the question and reposes some narrow faith cannot, if many express the whole or even of this various existence sides own life he would, ; of the for, his being maim, some of them are not admitted in his theory, and were only dimly and unwillingly recognised in his experience. Hence the smallness, the trite- and the inhumanity ness, merely sectarian religion in works of and hence we equal although unsimilar limitation find in ; works inspired by the spirit of high society. or the despicable taste for So that the to write not, he is the flesh duty of any man who is Designedly or intellectual. first has so far set himself up for a men and he must see that his own mind is kept supple, Everything but charitable, and bright. prejudice should find a voice through him he should see the good in all things leader of the minds of ; ; ; THE ART OF WRITING 64 where he has even a fear that he does not wholly understand, there he should be wholly silent; and he should recognise from the first that he has only one tool in his workshop, and that tool is sympathy. ^ The second duty, far harder to define, There are a thousand different humours in the mind, and about each of is moral. them, when it is uppermost, some ture tends to be deposited. be allowed ? Not litera- Is this to certainly in every case, and yet perhaps in more than rigourists would fancy. It were to be desired that all literary work, and chiefly works of art, issued from sound, human, healthy, and potent impulses, whether grave or laughing, humorous, romantic, or religious. A footnote^ at least, is due to the admirable example set young writers in the width of literary sympathy displayed by Mr. Swinburne. He runs forth to welcome ^ before all merit, whether in Dickens or Trollope, whether in Villon, Milton, or Pope. This is, in criticism, the attitude we should all seek to preserve ; not only in that, but in every branch of literary work. PROFESSION OF LETTERS Yet cannot be denied that some valu- it books able 65 are partially insane; some, mostly religious, partially inhuman; and very many tainted with morbidity and impotence. We do although we We not loathe a masterpiece gird against are not, above all, blemishes. its to look for faults, There is no book perfect, design; but there are many that but merits. even in will delight, reader. On improve, or encourage the the one hand, the Hebrew psalms are the only religious poetry on earth ; yet they contain rankly of the man sallies that savour of blood. On the other hand, Alfred de Musset had a poi- soned and a contorted nature; I am only quoting that generous and frivolous giant, Dumas, when I accuse him of a bad heart yet, when the impulse under which old ; he wrote was purely creative, he could give us works like Carmosine or Fantasia, in which the last note of the romantic comedy seems to have been found again THE ART OF WRITING 66 and please us. When Flaubert wrote Madame Bovary, I believe he thought and chiefly of a somewhat morbid realism into behold the book turned in his hands to touch ; ! But a masterpiece of appalling morality. the truth under is, when books great a stress, are conceived with a soul of ninefold power, nine times heated and electrified by effort, the conditions of our being are seized with such an ample grasp, that, even should the main design be trivial or base, some truth and beauty Out of cannot fail to be expressed. but the strong comes forth sweetness an ill thing poorly done is an ill thing top and bottom. And so this can be no encouragement to knock-kneed, feeble; wristed scribes, who must business conscientiously or be practise take their ashamed to it. Man is imperfect ; yet, in his literature, he must express himself and his own views and preferences for to do anjrthing else is ; PROFESSION OF LETTERS to do a far risk more good one, Vfill is to be sure of it is To ape a sentiment, even a to travesty a sentiment To not be helpful. ; that conceal a senti- you are sure you hold it, is to take liberty with truth. There is probably no ment, a perilous thing than to being immoral: being untrue. 67 if point of view possible to a sane man but some truth and, in the true conmight be profitable to the race. I am not afraid of the truth, if any one could tell it me, but I am afraid of parts of it impertinently uttered. There is a time to dance and a time to mourn to be harsh as contains nection, ; well as to be sentimental ; to be ascetic as well as to glorify the appetites man were to combine his work, each in that its all immorality wrong that if a world's master- piece of morality as well as of is and place and proportion, work would be the tiality ; these extremes into ; for art. Par- any book is gives a misleading picture of the world and life. The trouble is that THE ART OF WRITING 68 the work the weakling must be partial; of one proving dank and depressing another, cheap and vulgar; epileptically sensual; ascetic. ; of of a third, of a fourth, sourly In literature as in conduct, you All can never hope to do exactly right. you can do is to make as sure as possible and for that there is but one rule. Nothing should be done in a hurry that can be done slowly. It is no use to write a book and put it by for nine or even ninety years for in the writing you will have ; ; partly convinced yourself ; the delay precede any beginning; -and tate a roll work of art, if you should must you medifirst the subject under the tongue to long make you like the flavour, before you brew a volume that shall taste of it from end to end or if you propose to enter on the field of controversy, you should first have thought upon the question under all consure ; ditions, in health as well as in sickness, in sorrow as well as in joy. It is this near- PROFESSION OF LETTERS 69 ness of examination necessary for any true and kind writing, that makes the practice of the art a prolonged and noble education for the writer. There is plenty to do, plenty to say, or to say over again, in the meantime. work which conveys literary or pleasing impressions It public. is proud fully is Any faithful facts a service to the even a service to be thankof having The rendered. slightest novels are a blessing to those in distress, not chloroform itself a greater. Our fine old sea-captain's life was justified when Carlyle soothed his mind with The King's Own or Newton Forster. To please being it is is to serve; and so difficult to instruct difiicult to without the far from its while you amuse, do the one thoroughly other. Some part of the writer or his life will crop out in even a vapid book and to read a novel that was conceived with any force is to multiply experience and to exercise the sympathies. ; THE ART OF WRITING 70 Every article, every piece of verse, every essay, every entre-filet, is destined to pass, hovrever swiftly, through the minds of some portion of the public, and to colour, however transiently, their thoughts. When any subject falls to be discussed, some scribbler on a paper has the invaluable opportunity of beginning discussion in a its and human spirit were enough who did so dignified press, neither ment would to ; and in if there our public the public nor the Parlia- find it in their meaner thoughts. The minds to drop writer has the chance to stumble, by the way, on something pleasing, something interesting, something encouraging, were reader. if He will he suit no one. besides, to it only to a single be unfortunate, indeed, He has the chance, stumble on something that a comprehend; have read any- dull person shall be able to and for a dull person to thing and, for that once, comprehended makes a marking epoch in his education. it, ; PROFESSION OF LETTERS 71 work worth doing and worth trying to do well. And so, if I were minded to welcome any great Here, then, is accession to our trade, it should not be from any reason of a higher wage, but because it was a trade which was useful in a very great and in a very high degree which every honest tradesman could make more mankind in his single which was difficult to do well serviceable to strength ; and possible to do better every year; which called for scrupulous thought on the part of all who practised it, and hence became a perpetual education to their and which, pay it as you nobler natures ; please, in the large majority of the best be underpaid. For surely, at this time of day in the nineteenth century, there is nothing that an honest eases will man still should getting deserves. and more timorously than spending more than he fear BOOKS WHICH HAVE INFLUENCED ME Ill BOOKS WHICH HAVE INFLUENCED ME The i Editor ^ has somewhat insidiously laid a trap for his correspondents, the question put appearing at first cutting so deep. It after so innocent, truly is not, indeed, until some reconnaissance and review that the writer awakes to find himself engaged upon something graphy, or, in the nature of autobio- perhaps worse, upon a chapter in the life of that whom we once all little, beautiful brother had, and whom we have and mourned, the man we ought to have been, the man we hoped to be. But when word has been passed (even to an all lost 1 First published in the British Weekly, 2 Ot the May 13, 1887. British Weekly. 76 THE ART OF WRITING 76 editor), it should, if possible, be kept sometimes I am wise and say too and sometimes weak and say too much, the blame must lie at the door of the person who entrapped me. The most influential books, and the truest in their influence, are works of if , and ; little, They do not pin the reader to a dogma, which he must afterwards discover to be inexact; they do not teach him a lesson, which he must afterwards unlearn. They repeat, they rearrange, they clarify fiction. the lessons of life ; they disengage us from ourselves, they constrain us to the acquaint- ance of others ; and they show us the web of experience, not as we can see it for our- — but with a singular change ^that monstrous, consuming ego of ours being, selves, for the nonce, struck out. To be so, they must be reasonably true to the human comedy and any work that is so serves ; the turn of instruction. "our education is But the course of answered best by those THE INFLUENCE OF BOOKS 77 poems and romances where we breathe a magnanimous atmosphere of thought and meet generous and pious characters. Shakespeare has served me Few best. had upon me an influence so strong for good as Hamlet or living friends have The Rosalind. last character, already well beloved in the reading, I had the good fortune to see, I must think, in an impressionable hour, played by Mrs. Scott Nothing has ever more moved, more delighted, more refreshed me nor Sid dons. ; the has influence passed quite away. Kent's brief speech over the dying Lear had a great effect upon my mind, and was the burthen of my reflections for long, so profoundly, so touchingly generous did it appear expression. in sense, Perhaps so my overpowering friend outside of Shakespeare gnan —the elderly more human soul, is D'Artagnan Vicomte de Bragehnne. in dearest and best I nor, in D'Artaof the know not his a way, a ; THE ART OF WRITING 78 be very sorry for the man who is so much of a pedant in morals that he cannot learn from the Captain of finer; I shall Musketeers. Lastly, Pilgrim's Progress, a I must name the book that breathes of every beautiful and valuable emotion. But of works of their influence is art little can profound and the influence of nature contact ; we drink are bettered, yet books more ; be said silent, like they mould by them up like water, know not how. specifically didactic and It is in that we and distinguish and weigh and compare. A book which has been very influential upon me fell early into my hands, and so may stand first, though I think its influence was only sensible later on, and perhaps still keeps growing, for it is a book not easily outlived: the Essais of Montaigne. That temperate and genial picture of life is a great gift to place in the hands of persons can follow out the of to-day ; effect, they will find in these smiling THE INFLUENCE OF BOOKS 79 pages a magazine of heroism and wisdom, all of an antique strain they will have ; and excited ortho(if they have any gift of reading) perceive that these have not been fluttered without some excuse and ground of reason and (again if they have any gift of reading) they will end by seeing that this old gentleman was in a dozen ways a finer fellow, and held in a dozen ways a nobler view of life, than they their ' linen decencies ' doxies fluttered, and will ; or their contemporaries. The next book, in order of time, to in- fluence me, was the New Testament, and the Gospel according to I believe it would startle Matthew. St. and move any one if they could make a certain effort of imagination and read it freshly like a book, not droningly and dully Any one like a portion of the Bible. in particular would then be able to we are know and see in it those truths which all courteously sup- posed to all modestly refrain — THE ART OF WRITING 80 from applying. But upon perhaps better to be this subject it is silent. I come next to Whitman's Leaves of Grass, a book of singular service, a book which tumbled the world upside down for me, blew into space a thousand cobwebs of genteel and ethical illusion, and, having thus shaken my tabernacle of lies, set back again upon a strong foundation of me all the original and manly virtues. But once more, only a book for those who have the gift of reading. I believe except, man it is perhaps, it is, be very frank all good books The average I will so with fiction. and must live, so wholly in convention, that gunpowder charges of the truth are more apt to discompose than to invigorate his creed. Either he cries out upon blasphemy and indecency, and crouches the closer round that little idol of part-truths and part-conveniences which is the contemporary deity, or he is convinced by what is new, forgets what is old, lives, THE INFLUENCE OF BOOKS 81 and becomes truly blasphemous and decent himself. New to supplement the old truth ; in- only useful is rough truth only is wanted to expand, not to destroy, our civil and often elegant conventions. He who cannot judge had better stick to fiction and the daily papers. There he will get little harm, and, in the at first least, some good. Close upon the back of my discovery of Whitman, I came under the influence of Herbert Spencer. No more persuasive How much rabbi exists, and few better. of his vast structure wiU bear the touch of time, how much brass, it is were too curious to his words, how much clay and But manly and inquire. are always if dry, honest; there dwells in his pages a spirit of highly abstract joy, plucked naked like an algebraic symbol but still joyful ; and the reader will find there a caput mortuum of piety, with little but with most of indeed of its loveliness, its essentials ; and these THE ART OF WRITING 82 two make him qualities a wholesome, as makes him a bracing, should be much of a hound if I his intellectual vigour I writer, lost my gratitude to Goethe's Life, importance for my hands I by Lewes, had a great me when first fell into of the man's good and man's evil. —a partiality of Herbert Spencer, strange know no one whom Goethe it instance admire than I less he seems a very epitome of the sins of genius, breaking open the doors of ; private life, and wantonly wound- ing friends, in that crowning offence of Werther, and in his own character a mere pen-and-ink Napoleon, conscious of the and duties of superior talents as a Spanish inquisitor was conscious of the rights and duties of his office. And yet in rights his fine devotion to his art, in his honest and serviceable friendship what lessons are contained usually so false to for ! Schiller, Biography, its office, does here for once perform for us some of the work of THE INFLUENCE OF BOOKS fiction, reminding us, that is, 83 of the truly mingled tissue of man's nature, and how huge faults and shining virtues cohabit and persevere the in same History serves us well to this character. effect, but in the originals, not in the pages of the popular epitomiser, who bound, by the very nature of his task, to is make us feel the difference of epochs instead of the essential identity of man, and even in the only to those human who can virtues and originals recognise their defects in own strange forms, often inverted and under strange names, often interchanged. poet of no good repute, and new thoughts Martial it gives a is a man to read his works dispas- and find unseemly jester's serious passages the image of a kind, wise, and self-respecting gentleman. It is customary, I suppose, in reading Martial, to leave out these pleasant verses; I never heard of them, at least, until I found them for myself; and this partiality is one among sionately, in this : THE ART OF WRITING 84 a thousand things that help to build up our distorted and hysterical conception of the great Roman Empire. This brings us by a natural transition to a book very noble The of Marcus Aurelius. the gravity, noble —the Meditations dispassionate forgetfulness of self, the tenderness of others, that are there expressed and were practised on so great a scale in the life of its writer, make this book a book quite by itself. No one can read it and not be moved. Yet it scarcely or rarely appeals to the feelings —those very mobUe, those not very trusty parts of man. Its address lies further back comes more deeply home when you have read, you carry away with you . its a lesson memory ; of the man himself; it is as though you had touched a loyal hand, looked into brave eyes, and made a noble bond on you thenceforward, binding you to life and to friend ; there is the love of virtue. another THE INFLUENCE OF BOOKS 85 Wordsworth should perhaps come next. Every one has been influenced by Wordsworth, and it is hard to tell precisely how. A a rugged austerity certain innocence, of joy, a sight of the that is in the lonely the cold and give thrill stars, hills,' the silence ' something of of dawn, cling to his work what is best in us. I do not know that you learn a lesson you need not Mill did not agree with any one of his beliefs; and yet the spell is cast. Such are the a particular address to it — ; — best teachers; a new — error good; but a a dogma spirit perpetual possession. climb art ; learned is only the old one was perhaps as communicated is a These best teachers beyond teaching to the plane of it is themselves, and what is best in themselves, that they communicate. should never forgive myself I The it Egoist. It is art, if forgot you hke, but and from the novels I have read (and I have belongs purely to didactic all if I art, THE ART OF WRITING 86 read itself. David Here is here is ; all human in by the modern a place Nathan for a book to send the blood a into men's faces. of stands thousands) angry picture not great art we can Satire, the faults, is ; what be angry with our neighbour; we want is to be shown, not his defects, of which we merits, to which we are too The Egoist allowed is conscious, but his are too a satire much must be so ; And blind. but it is which tells you nothing of that obvious mote, which is engaged from first to last with that invisible beam. It is yourself that is hunted down these are your own faults that are dragged into the day and numbered, with lingering relish, with cruel cunning and precision. a satire of a singular ; quality, ; A young friend of Mr. Meredith's (as I have came to him in an agony. This is too bad of you,' he cried. Willoughby is me No, my dear the story) ' ! ' fellow,' said ' ' the author ; ' he is all of us.' a THE INFLUENCE OF BOOKS I have read The Egoist 87 five or six times mean to read it again for am like the young friend of the anecdote I think Willoughby an unmanly but myself, and I I ; — a very serviceable exposure of myself. I suppose, when I that I have forgotten influential, as am done, I shall find much that was most see already I I have for- gotten Thoreau, and Hazlitt, whose paper On was a turning-point in my life, and Penn, whose little book of aphorisms had a brief but strong effect on me, and Mitford's Tales of Old Japan, wherein I learned for the first time the proper attitude of any ' the rational Spirit man secret found, islands. is That to of Obligations his country's and kept, I should in the ' laws — Asiatic commemorate all more than I can hope or the Editor more to the point, after having said so much upon improving books, to say a word or two about the The gift of reading. improvable reader. could ask. It will be THE ART OF WRITING 88 as have called I it, not very common, is It con- nor very generally understood. sists, first of — a in all, vast endowment call it by which a man — stand that he those from wrong. intellectual a free grace, I find I is must under- rises to not punctually right, nor whom He may he differs hold them passionately absolutely may and he may know hold dogmas ; he ; them but coldly, or hold them differently, or hold them not at all. that others hold Well, if he has the of reading, these gift others will be full of meat for him. They and need not the other side of virtues. change his dogma for that, but he may change his reading of that dogma, and will see the other side of propositions He he must supplement and correct tions from always very life it. A much human truth, deduc- which is much of men who hold \ a he, hides as as it displays. another his truth, It or, perhaps, a dangerous is as lie, it seems to us, can extend who | THE INFLUENCE OF BOOKS our restricted 89 and Something that seems quite new, or that seems infield knowledge, of rouse our drowsy consciences. solently false or very dangerous, means, what truth excuses it the gift, and let him is merely upon or exclaims hurt, or offended, what he has it, If he read. the is If he tries to see test of a reader. his author's folly, he had better take to the daily papers And he will never be a reader. here, with force, after truth, I ; I have must For, after books any man and the ; laid down my step in with we all, limited content. all the aptest illustrative it is its part- opposite. are vessels of a very Not all men can read only in a chosen few that will find his appointed food; most palatable, and make themselves welcome fittest to the mind. and it is A are the writer learns this early, his chief support; down he goes on and he sure at heart that most of what he says unafraid, laying is lessons the law; THE ART OF WRITING 90 is demonstrably mingled very little good for service when his much of a hurtful, and and and some strain, besides that false, ; but he words fall is sure into the hands of any genuine reader, they will be weighed and winnowed, and only that which they suits will fall be assimilated into the hands of one intelligently read, silent ears, and when who cannot ; they come there quite and inarticulate, falling upon deaf and his secret is kept as if he had not written. A NOTE ON REALISM IV A NOTE ON REALISM! Style master the is ; and invariable for the student aspire so high as to be giants, it he is still may improve wisdom, hour of who does not numbered with the the one quality in which himself at creative mystery or mark of any force, Passion, will. the power of are allotted colour, the in and can be neither learned But the just and dexterous birth, nor simulated. use of what qualities we have, the propor- tion of one part to another and to the whole, the elision of the the useless, accentuation of the important, and the preservation of a uniform character from end to end ' — ^these, which taken together First published in the Magazine of Art in 1883. 93 THE ART OF WRITING 94 some degree within the reach of industry and intellectual courage. What to put in and what to leave out whether some parconstitute technical perfection, are to ; ticular fact be purely ornamental organically necessary or purely ornamental, ; whether, it may obscure the general design whether, we if decide if be it not weaken or ; to and finally, use it, we should do so grossly and notably, or some conventional disguise : in are questions of plastic style continually rearising. And the sphinx that patrols the highways of executive art has no more unanswerable riddle to propound. In literature (from which I must draw the great change of the past my instances) century has been effected by the admission was inaugurated by the romantic Scott and at length, by the semi-romantic Balzac and his more or less wholly unromantic followers, bound like a duty on the novelist. For some time it of detail. It ; ;; A NOTE ON REALISM signified 95 and expressed a more ample con- templation of the conditions of man's life but it has recently (at least in France) merely technical and decorative stage, which it is, perhaps, still too fallen into a With harsh to call survival. movement a of alarm, the wiser or more timid begin to fall a little back from these extremities they begin to aspire after a more naked, narrative articulation ; after the the dignified, and the poetic; means to this this, after baggage of succinct, and as a a general lightening of After Scott detail. beheld the starveling story —once, we in the hands of Voltaire, as abstract as a parable —begin to be pampered upon facts. The introduction of these details developed a particular ability of hand ; and that childishly indulged, has led to the ability, works now amaze us on a railway journey. man of the unquestionable force of M. that A Zola spends himself on technical successes. To afford a popular flavour and attract the ; THE ART OF WRITING 96 mob, he adds a steady current of what I may be allowed to call the rancid. That is exciting to the moralist but what more ; particularly interests the artist tendency of the extreme of this is when detail, followed as a principle, to degenerate into The vatre feux-de-joie of literary tricking. other day even M. Daudet was heard of audible colours babbling to be and visible sounds. This odd suicide of one branch of the realists may serve to remind us of the fact which underlies a very dusty conflict of the critics. All representative art, which can be said to live, is both realistic and ideal and the realism about which we quarrel is a matter purely of externals. It is no especial cultus of nature and veracity, but a mere whim of veering fashion, that has made us turn our back upon the larger, more various, yore. logue A is and more romantic art of photographic exactitude in dia- now the exclusive fashion ; but ! A NOTE ON REALISM even in the ablest hands — I think even it Moli^re, wielding it tells us tells his has told to us and to 97 us no less time of Alceste or The Orgon, Dorine or Chrysale. torical novel is —than medium, artificial all more Yet forgotten. his- truth to the conditions of man's nature and the conditions Uterary of man's art, is free the life, of the ages. truth It of may be told us in a carpet comedy, in a novel of adventure, or a fairy tale. The scene may be pitched in London, on the sea-coast of Bohemia, or away on the mountains of Beulah. And by an odd and luminous accident, if there is any page of literature calculated to awake the envy of M. Zola, it must be that Troilus and Cressida which Shakespeare, in a spasm of unmanly anger with the world, grafted on the heroic story of the siege of Troy. This question of realism, let it then be clearly understood, regards not in the least degree the fundamental truth, but only | ; THE ART OF WRITING 98 the technical method, of a work of Be art. you please, none the less veracious but if you be weak, you run the risk of being tedious and inexpressive and if you be very strong and honest, you may chance upon a masterpiece. work of art is first cloudily conceived as ideal or as abstract as ou will be ; ; A in the mind ; tion it stands during the period of gesta- more clearly forward from these swaddling mists, puts on expressive lineaments, and becomes at length that most faultless, but also, alas ! that incom- municable product of the human mind, a perfected design. On the approach to all is changed. The artist must down, don his working clothes, and become the artisan. He now resolutely commits his airy conception, his delicate Ariel, to the touch of matter he must execution now step ; decide, almost in a breath, the scale, the style, the and the particularity of whole design. spirit, execution of his A NOTE ON REALISM The engendering stylistic ; idea of some works is a technical preoccupation stands them instead of life. And some robuster principle of with these the execution play; for the stylistic problem beforehand, and aU large treatment wilfully foregone. verses, intricately designed, learnt to 99 is but is resolved originality of Such are the which we have admire, with a certain smiling admiration, at the hands of Mr. Lang and Mr. Dobson such, too, are those canvases where dexterity or even breadth of plastic ; style takes the place of pictorial nobility of design. easier to So, it begin may be remarked, to write Vanity Fair, since, in the it was Esmond than first, the style was dictated by the nature of the plan and Thackeray, a man probably of some indolence of mind, enjoyed and got good But the profit of this economy of effort. Usually in all works case is exceptional. of art that have been conceived from ; within outwards, and generously nourished THE ART OF WRITING 100 from the author's mind, the moment in which he begins to execute is one of extreme perplexity and strain. Artists of indifferent energy and an imperfect devotion to their own ideal ful effort once for a style, adhere to all ; it make this ungrate- and, having formed through life. But those of a higher order cannot rest content with a process which, as they continue to employ it, must infallibly degenerate to- wards the academic and the cut-and-dried. Every fresh work the signal for which they embark is a fresh engagement of the in whole forces of their mind and the changing views which accompany the growth of ; marked by still more sweeping alterations in the manner of their art. So that criticism loves to dwell upon and distinguish the varying periods of a their experience are Raphael, a Shakespeare, or a Beethoven. It is, decisive then, first of all, moment when and thenceforth only at this initial execution is and begun, in a less degree, that A NOTE ON REALISM 101 the ideal and the real do indeed, like good and evil angels, of the work. contend for the direction Marble, paint, and language, the pen, the needle, and the brush, all have their grossnesses, their ineffable impotences, their hours, if I may insubordination. It so express myself, of is the work and it is a great part of the delight of any artist to contend with these unruly tools, and now by brute energy, now by witty expedient, to drive and coax them to effect his will. Given these means, so laughably inadequate, and given the interest, the intensity, and the multiplicity of the actual sensation whose effect he is to render with their aid, the artist has one main and necessary resource which he must, in every case and upon any theory, employ. He must, that is, suppress much and omit more. He must omit what is tedious or irrelevant, and suppress what is tedious and necessary. But such facts as, in regard to the main design, subserve a variety of purposes, he I THE ART OF WRITING 102 and eagerly will perforce r And retain. the mark of the very highest creative art to be woven order of exclusively of There, any fact that such. it is is registered is contrived a double or a treble debt to pay, and is at once an ornament in its place, and a pillar in the main design. Nothing would find room in such a picture that did not serve, at once, to complete the composition, tance, and to sentiment scheme of distinguish the planes of dis- to colour, the accentuate to ; strike the note of the selected nothing would be allowed in such a story that did not, at the same time, expedite the progress of the fable, buUd up home the moral design. But this is the characters, and strike or the philosophical unattainable. As a rule, so far from build- ing the fabric of our works exclusively with these, if we think we are thrown into a rapture we can muster a dozen or a score of them, to be the fection. And plums of our con- hence, in order that the A NOTE ON REALISM may be canvas filled or the story proceed from point to point, other admitted. upon They must be doubtful a title proceeds towards it — details must be admitted, alas! many without ; Thus any work of marriage robes. as 103 art, completion, too — had almost written always loses and poignancy of main design. Our little air is swamped and dwarfed often I in force among little hardly relevant orchestration ; our passionate story drowns in a deep sea of descriptive eloquence or slipshod talk. But again, we are rather more tempted to admit those particulars which we can we know and hence those most of all which, having been described very often, have grown to be conventionally treated in the practice of our art. These we choose, describe ; mason chooses the acanthus to adorn his capital, because they come naturally to the accustomed hand. The old stock as the incidents and accessories, tricks of work- — THE ART OF WRITING 104 manship and schemes of composition (all being admirably good, or they would long have been forgotten) haunt and tempt our fancy, offer us ready-made but not perfectly appropriate solutions for any problem that arises, and wean us from the study of nature and the uncompromising practice of To art. struggle, to face nature, to find and give expression to facts which have not yet been adequately or not fresh solutions, is to run a little extreme self-love. yet elegantly expressed, upon the danger of Difficulty sets a high price ment ; and the artist may upon^chieveeasUy fall into the error of the French naturaUsts, and consider any fact as if it or, welcome be the ground of to admission brilliant handiwork landscape-painter, difficulty who is apt to think that overcome and science well played can take the place of what all, ; modern again, into the error of the is, dis- after the one excuse and breath of art charm. A little further, and he will A NOTE ON REALISM charm regard worthy omission to sacrifice of the in a light 105 of an un- and the passage as an prettiness, tedious infidelity to art. We have now ence before The us. idealist, his differ- eye singly upon the greater outlines, loves rather up the interval with detail of the fixed to the matter of this fill conventional order, briefly touched, soberly suppressed in tone, courting neglect. the realist, with But a fine intemperance, will not suffer the presence of anything so dead as a convention ; he shall hot-pressed from nature, have charactered and all The notable, seizing the eye. befits either of these chosen, brings with abilities it and dangers. all fiery, all style extremes, its that once necessary dis- The immediate danger of the realist^ is to_sacrjfjce~lEhe beauty and ^gnificance of thfi.jidtalcto local dexterity, or, in the insane pursuit of completion, to immolate his readers under facts ; but he comes in the last resort, and THE ART OF WRITING 106 as his energy declines, to discard all design, abjure thoroughness, matter which steadily is with and, choice, all scientific communicate to not worth learning. The danger of the idealist become merely null and lose all grip of is, of course, to fact, particularity, or passion. We talk of bad and good. ^Everything, indeed, is good which is conceived with honesty and executed with communicative ardour. But though on neither side is dogmatism fitting, and though in evra-y case the artist must decide for himself, and decide afresh and yet afresh for each succeeding work and new creation yet one ; thing last may be quarter breathing as generally said, that of the we do nineteenth we of the century, the intellectual atmos- phere of our age, are more apt to gr^ npnn t he side of realism than to sin in guest of the ideal. Upon that theory it may be well to watch and correct our own de- cisions, always holding back the hand from A NOTE ON REALISM 107 the least appearance of irrelevant dexterity, and resolutely fixed to begin no work that as not philosophical, passionate, dignified, happily mirthful, romantic or, at in design. the last and least,/ MY FIRST BOOK ; MY FIRST BOOK: 'TREASURE ISLAND 'i was It far indeed book, for I I am am well aware that my written with indifference, But paymaster, the if else have I not aversion upon me at all, it calls on me the familiar and indelible character and if it call ; when am I asked to talk of no question is first not a novelist alone. Great Public, regards what in my from being my first in the Sooner or later, to ask why. : book, first world but what is meant novel. bound to write a manias my from somehow, anyhow, I was novel. It seems vain Men my are born with various earliest childhood, it was mine to make a plaything of imaginary ' First published in the Idhr, August 1894. til THE ART OF WRITING 112 and as soon as I was able to write, I became a good friend to the papermakers. Reams upon reams must have gone to the making of Rathillet,' The Pentland Rising,' ^ The King's Pardon series of events ; ' ' ' ' (otherwise 'Park Whitehead'), 'Edward Country Dance,' and A Vendetta in the West and it is consolatory to remember that these reams are now all ashes, and have been received again into the soil. I have named but a few of my illDaven,' ' A ' ' ; fated efforts, only such indeed as fair came bulk ere they were desisted from ; to a and even so they cover a long vista of years. was attempted before fifteen, The Vendetta at twenty-nine, and the succession of defeats lasted unbroken till I was thirty-one. By that time, I had written 'Rathillet' ' ' 1 Ne pas confondre. Not the slim green pamphlet with the imprint of Andrew Elliot, for which (as I see with amazement from the book-lists) the gentlemen of England are willing to pay fancy prices ; but its predecessor, a bulky historical romance without a spark of merit, and now deleted from the world. MY books and FIRST BOOK 113 essays and short and had got patted on the back and paid for them though not enough to live upon. I had quite a reputation, I was the successful man I passed my days in toil, the futility of which would sometimes make my cheek to burn that I should spend a man's energy upon this business, and yet could not earn a livelihood and still there shone ahead of me an unattained ideal although I had attempted the thing with vigour not less than ten or twelve times, I had not yet little stories little ; — ; — : : written a novel. —had gone All — all for a little, my pretty ones and then stopped inexorably like a schoolboy's watch. I might be compared to a cricketer of many years' standing who should never have made story Anybody can write bad one, I mean who a run. —a — a short has in- dustry and paper and time enough not every one bad novel. may hope It is the length H ; but to write even a that kills. — — 114 ; THE ART OF WRITING The accepted novelist may take his novel up and put it down, spend days upon it in vain, and v^rrite not any more than he makes haste to blot. Not so the beginner. Human nature has certain rights instinct—the instinct of self-preservation forbids that any man (cheered and sup- ported by the consciousness of no previous victory) should endure the miseries of un- beyond a period to be measured in vireeks. There must be something for hope to feed upon. The beginner must have a slant of wind, a lucky vein must be running, he must be in one of those hours when the words come and the phrases balance of themsuccessful literary toil selves even to begin. And having begun, what a dread looking forward is that until the book shall be accomplished! For so long a time, the slant is to continue unchanged, the vein to keep running, for so long a time you must keep at command the same quality of style : for so long a ; MY FIRST BOOK 116 time your puppets are to be always vital, always consistent, always vigorous I re! member I used to look, in those days, upon every three-volume novel with sort of veneration, as a feat —not possibly of literature — but at least a of physical and moral endurance and the courage of Ajax. In the fated year I came to live with my father Pitlochry. and mother Then at Kinnaird, above walked on the red I moors and by the side of the golden bum the rude, pure air of our mountains inspirited, if it did not inspire us, and my wife and I projected a joint volume of logic stories, for which she wrote 'The Shadow on the Bed,' and I turned out Thrawn Janet,' and a first draft of The I love my native air, but Merry Men.' and the end of this it does not love me period was a cold, a fly-blister, delightful and a migration by Strathairdle and ' ' ; Glenshee to the Castleton of Braemar. THE ART OF WRITING 116 blew a good deal and rained in a proportion my native air was more unkind than man's ingratitude, and I must consent to pass a good deal of my time There it ; between four walls in a house lugubriously known as the Late Miss McGregor's CotAnd now admire the finger of tage. predestination. There was a schoolboy in the Late Miss McGregor's Cottage, home from the holidays, and much in want of 'something craggy to break his mind He no thought of literature it was the art of Raphael that received his fleeting suffrages; and with the aid of pen and ink and a shilling box of water colours, he had soon turned one of the rooms into a picture gallery. My more immediate duty towards the gallery was to be showman but I would sometimes unbend a little, join the artist (so to speak) at the easel, and pass the afternoon with him in a generous emulation, making coloured drawings. On one of upon.' had ; ; ; MY FIRST BOOK made these occasions, I island ; was elaborately and it beautifully coloured my fancy beyond ; with the predestined, ' I expression of an thought) (I me ticketed contained like sonnets my am I people who do not find hard to believe. took it it ; unconsciousness Treasure Island.' it map the shape of harbours that pleased and the 117 of the performance told there are care for maps, and The names, the shapes of the woodlands, the courses of the roads and rivers, the prehistoric footsteps of man still distinctly traceable up and down dale, the mills and the ruins, the ponds and the ferries, perhaps the Standing Stone or the Druidic Circle on hill the heath ; here an inexhaustible fund is man of interest for any or twopence worth understand with! member laying No his with eyes to see of - imagination to must re- child but head in the grass, staring into the infinitesimal forest and seeing it grow populous with fairy armies. ;; THE ART OF WRITING 118 Somewhat my map in this way, as I paused upon Treasure Island,' the future character of the book began to appear there of ' visibly among imaginary woods and their brown faces and bright weapons peeped out upon me from unexpected quarters, as they passed to and fro, fighting and hunting treasure, on these few square inches of a flat projection. The knew I had some papers and was writing out a list of chapters. How often have I done so, and the thing gone no further But there seemed elements of success about this enterprise. It was to be a story for boys no need of psychology or fine writing ; and next thing I before me ! I had a boy at hand to be a touchstone. were excluded. I was unable to Women handle a brig (which the Hispaniola should thought I could make shift to sail her as a schooner without public shame. And then I had an idea for John Silver from which I promised have been), but I MY FIRST BOOK 119 myself funds of entertainment to take an admired friend of mine (whom the reader ; very likely knows and admires as as I do), to deprive qualities him of all much his finer and higher graces of tempera- ment, to leave him with nothing but his strength, his courage, his quickness, and his magnificent geniality, and to try to express these in terms of the culture of a raw tarpaulin. is, I think, a Such psychical surgery of making common way character'; perhaps way. We it is, * indeed, the only can put in the quaint figure that spoke a hundred words with us yes- terday by the wayside ; but do we know him ? Our firiend, with his infinite variety and flexibility, we know but can we put him in ? Upon the first, we must engi'aft secondary and imaginary qualities, possibly all wrong; from the second, knife in hand, we must cut away and deduct — the needless arborescence of his nature, but the trunk and the few branches THE ART OF WRITING 120 remain that sure we may at least be fairly of. September morning, by the cheek of a brisk fire, and the rain drumming on the window, I began The Sea I Cook, for that was the original title. have begun (and finished) a number of other books, but I cannot remember to have sat down to one of them with more complacency. It is not to be wondered On a chill at, for stolen I waters are proverbially sweet. am now upon a painful chapter. No doubt the parrot once belonged to RobinNo doubt the skeleton is son Crusoe. conveyed from Poe. these, they are no man trifles I think and little details; of and can hope to have a monopoly of skeletons or make a corner in talking birds. The stockade, I am told, is from Masterman Beady. It may be, I care not a jot. These useful writers had saying: fulfilled the poet's departing, they had left behind them Footprints on the sands of time, ; MY FIRST BOOK 121 —and Footprints which perhaps another was the other! It my is debt to ington Irving that exercises and justly my conscience, so, for I believe plagiarism rarely carried farther. I I Washwas chanced to pick up the Tales of a Traveller some years ago with a view to an anthology of prose and the book flew up and struck me Billy Bones, his chest, the company in the parlour, the whole inner spirit, and a good deal of the material detail of my first chapters all were there, all were the But I property of Washington Irving. had no guess of it then as I sat writing by the fireside, in what seemed the springtides of a somewhat pedestrian inspiration nor yet day by day, after lunch, as I read aloud my morning's work to the family. It seemed to me original as sin it seemed narrative, : — ; to belong to me like my right eye. I found I had father caught had counted on one two in my audience. My fire at once with all the romance and boy, I child- THE ART OF WRITING 122 ishness of his original nature. stories, that eveiy night of his His own life he put himself to sleep with, dealt perpetually with ships, sailors, roadside inns, and commercial He the era of steam. of these romances; not require to before travellers never finished one man the lucky But ! old robbers, did in Treasure Island he recognised something kindred to his own imagination it was his kind of picturesque; and he not only heard with ; delight the daily chapter, but set himself When acting to collaborate. came the time for Billy Bones's chest to be ran- must have passed the better part of a day preparing, on the back of sacked, he a legal envelope, an inventory of con- its tents, which I exactly followed; and name of ' was given Flint's old ship ' —the should — Walrns at his particular request. now who thfe come dropping And in, ex machind, but Dr. Japp, like the disguised prince who is to bring down the curtain — MY upon peace FIRST BOOK and happiness 123 in the last act; for he carried in his pocket, not a — horn or a talisman, but a publisher had, in fact, been charged by my old friend, Mr. Henderson, to unearth new writers for Young Folks. Even the ruthlessness of a united family recoiled before the ex- treme measure of on our guest the mutilated members of The Sea Cook; at the same time, we would by no means stop our readings ; and accordingly the tale was begun again at the beginning, and inflicting solemnly re-delivered for the benefit of Dr. Japp. From thought highly of when he that moment on, I have his critical faculty ; for he carried away the manuscript in his portmanteau. Here, then, was everything to keep me left us, up, sympathy, help, and engagement. I now a positive had chosen besides a very Compare it with the almost one reader contemporary Merry Men easy style. ' may ' ; prefer the one style, one the other ; THE ART OF WRITING 124 'tis an affair of character, perhaps of but no expert can is much more fail difficult, easier to maintain. mood ; to see that the one and the other much It seems as though man a full-grown experienced of letters might engage to turn out Treasure Island \/ at so many pages a day, and keep his pipe alight. But alas this was not my case. Fifteen days I stuck to it, and turned out fifteen chapters and then, in the early ! ; / i ' paragraphs of the sixteenth, ignominiously My mouth was empty; there was not one word of Treasure Island in my bosom; and here were the proofs of lost hold. the beginning already waiting ' Hand and Spear ' ! Then I me at the corrected them, living for the most part alone, walking on the heath at Weybridge in dewy autumn mornings, good deal pleased with what I had done, and more appalled than I can depict to you in words at what remained for me to do. I was thirty-one I was the head of a family I had lost my a ; : MY FIRST BOOK 125 had never yet paid my way, never yet made £200 a year; my father had quite recently bought back and cancelled a book that was judged a failure was this to be another and last fiasco ? I was indeed very close on despair; but I shut my mouth hard, and during the journey to Davos, where I was to pass health ; I the winter, had the resolution to think of other things and bury myself in the M. de Boisgobey. Arrived at my destination, down I sat one morning novels of and behold it flowed from me like small talk; and in a second tide of delighted industry, and the to unfinished tale again at a rate of ; ! a chapter a day, I had to be transcribed almost exactly; my wife was the schoolboy remained alone of the ill faithful; and John Addington Symonds (to whom I timidly mentioned what I was engaged on) looked on me askance. He finished Treasure Island. It ; was at that time very eager I should write THE ART OF WRITING 126 on the characters of Theophrastus so far out may be the judgments of the wisest men. But Symonds (to be sure) was scarce the confidant to go to for sympathy on a : He was large-minded ; ' a but the very full man,' if there was one suggest to enterprise would of name my him only capitulations of sincerity and boy's story. ; Well solecisms of style. he was not ! far wrong. Treasure Island—\t was Mr. Henderson who deleted the appeared duly in it — The Sea Cook the story paper, where first title. midst, without figured in the ignoble woodcuts, and attracted not the least atI did tention. hked the tale the same reason as my not care. much myself, for father liked the beginning of picturesque. of John I : it was my kind I was not a little proud and to this day rather Silver, ^Iso ; admire that smooth and formidable adventurer. What was hilarating, I infinitely more exhad passed a landmark I had ; ; MY FIRST BOOK 127 and written 'The End' manuscript, as I had not done since The Pentland Rising,' when I was a hoy of sixteen not yet at college. In truth it was so by a set of lucky accidents had not Dr, Japp come on his visit, had not the tale flowed from me with singular ease, it must have been laid aside hke its predecessors, and found a circuitous and unlamented way to the fire. Purists may suggest it would have been better so. I am not of that mind. The tale seems to have given much pleasure, and it brought (or was the means of bringing) fire and food and wine to a deserving family in which I took an interest. I need scarcely say I mean my own. finished a upon tale, my ' But the adventures of Treasure Island are not yet quite at an end. had written The map was the chief it up to the map. part of my plot. For instance, I had called an islet 'Skeleton Island,' not knowing what I meant, seeking only for the imI THE ART OF WRITING 1^8 mediate picturesque, and it was to justify name that I broke into the gallery of Mr. Poe and stole Flint's pointer. And in the same way, it was because I had made this two harbours that the Hispaniola was sent on her wanderings with Israel Hands. The time came when it was decided to republish, and I my sent in manuscript, and the map along with it, to Messrs. Cassell. The proofs came, they were cor- map. and asked was told it had never been received, and sat aghast. It is one thing to draw a map at random, set a rected, but I heard nothing of the I wrote scale ; in one corner of it a venture, at and write up a story to the measure- It is quite another to have to examine a whole book, make an inventory of all the allusions contained in it, and ments. with a pair of compasses, painfully design a map to suit the map was drawn the office, with data. I again in embellishments did my it; and father's of blowing MY FIRST BOOK 129 whales and sailing ships, and my father himself brought into service a knack he had of various writing, and elaborately forged the signature of Captain Flint, and But was never Treasure Island the sailing directions of Billy Bones. somehow it to me. map was the most of the might almost say it was the whole. few reminiscences of Poe, Defoe, and Washington Irving, a copy of Johnson's Buccaneers, the name of the Dead Man's Chest from Kingsley's At Last, some recollections of canoeing on the high seas, and the map itself, with its infinite, eloquent suggestion, made up the whole of I have said the I plot. A my materials. that a it is map It is, figures so largely in a tale, yet always important. know his perhaps, not often The author must countryside, whether imaginary, like his hand; the real or distances, the points of the compass, the place of the sun's rising, the behaviour of the ^! THE ART OF WRITING 130 moon, should all how troublesome come to be beyond the moon is moon grief over the And cavil. have I ! in Prince and so soon as that was pointed out to me, adopted a precaution which Otto, I J (' recommend to other men —I never write now without an almanack. With an almanack, and the map of the country, and the plan of every house, either actually plotted on paper or already and imme- diately apprehended in the mind, a may hope to avoid possible blunders. some of the man grossest With the map before him, he will scarce allow the sun to set The Antiquary. almanack at hand, he will scarce With the allow two horsemen, journeying on the in the east, as it does in most urgent affair, to employ six days, from three of the Monday morning till late in the Saturday night, upon a journey of, say, ninety or a hundred miles, and before the week is out, and still on the same nags, to cover fifty in one day, as MY may be And Rob Boy. though far such 'croppers.' —my 181 read at length in the inimitable novel of well, FIRST BOOK it is certainly- from necessary, to avoid But it is my contention — you like that who is faithful to his map, and consults it, and draws from it his inspiration, daily and hourly, gains positive support, and not mere negative immunity from accident. The superstition, if tale that sou ; the words. has a root there; it has a spine of Better if its it grows in own behind the country be real, and he has walked every foot of it and knows every milestone. But even with imaginary places, he will do well in the beginning to provide a ma.p as he studies it, relations will appear that he had not ; thought upon; he will discover obvious, though unsuspected, shortcuts and footprints for his messengers and even when a map is not all the plot, as it was in Treasure Island, it will be found to be a ; mine of suggestion. THE GENESIS OF THE MASTER OF BALLANTRAE ' VI THE GENESIS OF 'THE MASTER OF BALLANTRAE' I WAS walking one night in the ver- andah of a small house in which I lived, outside the hamlet of Saranae. It was winter the night was very dark the air extraordinary clear and cold, and sweet with the purity of forests. From a good way below, the river was to be heard contending with ice and boulders a few lights appeared, scattered unevenly among the darkness, but so far away as not to lessen the sense of isolation. For the making of I was a story here were fine conditions. ; ; : besides moved with the spirit of emulation, had just finished my third or fourth perusal of The Phantom Ship. 'Come,' for I 136 THE ART OF WRITING said I to my engine, story of many ' let us make a tale, a years and countries, of the sea and the land, savagery and civilisation ; same large and may be treated in the same summary elliptic method as the book you have been reading and admiring.' I was a story that shall have the features, here brought up with a reflection exceedingly just in itself, but which, as the sequel saw that Marryat, not less than Homer, Milton, and Virgil, profited by the choice of a familiar and legendary subject so that he prepared his readers on the very title-page and this me set cudgelling my brains, if by any chance I could hit upon some similar shows, I failed to profit by. I ; ; be the centre-piece of belief to meditated vain fiction. search memory there my own In the com*se of cropped up in this my a singular case of a buried and resuscitated fakir, which I had been often by an uncle of mine, then lately dead, Inspector-General John Balfour. told THE MASTER OF BALLANTRAE 137 On such a fine frosty night, with no wind and the thermometer below zero, the brain works with much vivacity ; and the moment next I had seen the circumstance transplanted from India and the tropics to the Adirondack wilderness and the strin- gent cold of the Canadian border. Here then, almost before I had begun my story, had two countries, two of the ends of the earth involved: and thus though the I notion of the resuscitated tirely man failed en- on the score of general acceptation, or even (as I have since found) acceptability, it fitted at a tale of many once with lands ; to consider further of man who first to design of this decided its possibilities. me The should thus be buried was the question life and my : a good man, whose return would be hailed by the reader and the other characters with gladness ? This trenched upon the Christian picture, and was dismissed. If the idea, then, was to be of any use at all for me, I had to create THE ART OF WRITING 138 a kind of evil genius to his friends and him through many disappearances, and make this final restoration from the pit of death, in the icy American wilderness, the last and the grimmest of family, take the need not I series. now the craft that I was teresting moment tell my brothers in the of an author's most life ; of in- the hours that followed that night upon the balcony, and following the days, whether walking my wakeful in then living with who is ; my parturition, My me for, in I unformed And abroad or lying mother, who was alone, perhaps had less the absence of my wife, usual helper in these times of seasons to hear my and bed, were hours of un- adulterated joy. enjoyment nights must spur her up at me clarify relate and try to all fancies. while I was groping for the fable and the character required, behold I found them lying ready and nine years old in my memory. Pease porridge hot, pease por- THE MASTER OF BALLANTRAE 139 ridge cold, pease porridge in the pot, nine years old. Was there ever a more complete justification of the rule of Horace? Here, thinking of quite other things, I had stumbled on the solution, or perhaps I should rather say (in stagewright phrase) the Curtain or final Tableau of a story conceived long before on the moors be- tween Pitlochry and Strathardle, conceived in Highland rain, in the blend of the smell of heather and bog-plants, and with a mind full of the Athole correspondence and the memories of the dumlicide Justice. So long ago, so far away it was, that I had first evoked the faces and the mutual tragic situation of the My men of Durrisdeer. was now world-wide enough Scotland, India, and America being all obligatory scenes. But of these India was story strange to : me except in books; I had known any living Indian save a Parsee, a member of my club in London, never equally civilised, and (to all seeing) equally THE ART OF WRITING 140 occidental with myself. far, that I It was plain, thus should have to get into India and out of it again upon a foot of fairy lightness and I believe this first suggested to me the idea of the Chevalier Burke for a narrator. It was at fii'st intended that he should be Scottish, and I was then filled with fears that he might prove only the degraded shadow of my own Alan Breck. Presently, however, it began to occur to me it would be like my Master to curry favour with the Prince's Irishmen; and that an Irish refugee would have a particu; reason to find himself in India with his countryman, the unfortunate Lally. Irish, lar therefore, I decided he should be, and was aware of a tall shadow of man (in Lord Fop- then, all of a sudden, I shadow across Barry Lyndon. my No path, the pington's phrase) of a nice morality could go very deep with original my Master: in the idea of this story conceived in Scotland, this companion had been besides THE MASTER OF BALLANTRAE 141 intended to be worse than the bad elder son with whom (as it was then meant) he was to visit Scotland if I took an Irish; man, and a very bad Irishman, in the midst of the eighteenth century, how was I to evade Barry Lyndon? The wretch besieged me, offering his services me was highly fitted my own he gave he proved that he for the work I had to do excellent references he, or ; ; ; evil heart, suggested it was easy to disguise his ancient livery with a and a few frogs and buttons, so that Thackeray himself should hardly relittle lace cognise him. And then of a sudden there came to me memories of a young Irishman, with whom I was once intimate, and had spent long nights walking and talking with, upon a very desolate coast in a bleak autumn I recalled him as a youth of an : extraordinary vacancy; moral plastic to simplicity any — almost influence, creature of his admirations: the and putting such a youth in fancy into the career of a THE ART OF WRITING 142 soldier of fortune, it occurred to would serve Mr. Lyndon, and he my turn as me that well as in place of entering into competition with the Master, would afford a slight though a distinct relief. I know have done him well, though his moral dissertations always highly entertained me but I own I have been surnot if I : some prised to find that he reminded of Barry Lyndon after all. . . . critics PREFACE TO THE MASTER OF BALLANTRAE' VII PREFACE TO 'THE MASTER OF BALLANTRAE'i Although an old, consistent exile, the editor of the following pages revisits now and again the city of which he exults to be a native; and there are few things more strange, more painful, or more salutary, than such revisitations. Outside, in foreign he comes by surprise and awakens more attention than he had expected; in his own city, the relation is reversed, and he stands amazed to be so little recollected. spots, Elsewhere he faces, to is refreshed to see attractive remark possible friends ; there he scouts the long streets, with a pang at > 1889. K 146 THE ART OF WRITING and friends that are no more. Elsewhere he is delighted with the presence of what is new, there tormented by the absence of what is old. Elsewhere he is content to be his present self; there he is smitten with an equal regret for what he once was and for what he once hoped heart, for the faces to be. He was feeling all this dimly, as he drove from the station, on his last visit he was feeUng it still as he alighted at the door of his friend Mr. Johnstone Thomson, W.S., with whom he was to stay. A hearty welcome, a face not altogether changed, a few words that sounded of old days, a laugh provoked and shared, a glimpse in ; passing of the snowy cloth and bright decanters and the Piranesis on the dining- room wall, brought him to his bed-room with a somewhat lightened cheer, and when he and Mr. Thomson sat down a few minutes later, cheek by jowl, and pledged the past in a preliminary bumper, he was ' ! THE MASTER OF BALLANTRAE 147 alieady almost consoled, he had already almost forgiven himself his two unpardonable errors, that he should ever have left his native city, or ever returned to it. have something quite in your way,' said Mr. Thomson. 'I wished to do honour to your arrival because, my dear * I ; fellow, it is my own youth that comes back along with you in a very tattered and withered state, to be sure, but well —all that's left of it' ; — ' A great the editor. quite in deal better than nothing,' said 'But what my way is this which is ? was coming to that,' said Mr. ThomFate has put it in my power to son honour your arrival with something really ori^nal by way of dessert. A mystery.' mystery ? I repeated. ' I : ' ' A ' Yes,' said his friend, ' ' a mystery. It prove to be nothing, and it may prove to be a great deal. But in the meanwhile is truly mysterious, no eye having it may ' ' THE ART OF WRITING 148 looked on it for near a highly genteel, for family ; and it hundred years it treats ; it is of a titled ought to be melodramatic, for (according to the superscription) it is concerned with death.' heard a more obscure more promising annunciation,' the But what is It ? other remarked. 'You remember my predecessor's, old ' I think I rarely or a ' Peter M'Brair's business ? remember him acutely he could not look at me without a pang of reprobation, and he could not feel the pang without betraying it. He was to me a man of a ' I ; great historical interest, but the interest was not ' Ah returned.' well, Mr. Thomson. as little about we go beyond ' him,' said I daresay old Peter this as I do. You knew see, I succeeded to a prodigious accumulation of old law-papers and old tin boxes, some of them of Peter's hoarding, some of his father's, John, first of the dynasty, a great ' ; ' THE MASTER OF BALLANTRAE man in his day. were all Among fellow, these terest. other collections the papers of the Durrisdeers.' The Durrisdeers ' 149 One may of ! ' cried I. ' My dear be of the greatest them was out in- in the '45 one had some strange passages with the devil you will find a note of it in Law's — Memorials, I think ; explained tragedy, I later, and there was an un- know not what, — about a hundred years ago much 'More than a hundred years ago,' said In 1783.' Mr. Thomson. How do you know that ? I mean some ' ' death.' Yes, the lamentable deaths of my lord Durrisdeer and his brother, the Master of ' Ballantrae (attainted in the troubles),' said Mr. Thomson with something the tone of a man quoting. To say truth,' ' ' Is that it said I, ' I ? have only seen some dim reference to the things in and heard some traditions memoirs dimmer still, through my uncle (whom I ; THE ART OF WRITING 150 think you knew). My he was a boy in the neighbourhood of uncle lived when he has often told me of the avenue closed up and grown over with St. Bride's ; grass, the great gates never opened, the and his old maid sister who lived in the back parts of the house, a quiet, plain, poor, hum-drum couple it would seem but pathetic too, as the last of that stirring and brave house and, to the country folk, faintly terrible from some deformed traditions.' Yes,' said Mr. Thomson. Henry last lord — — ' ' Graeme Durie, the last lord, died in 1820 ; Honourable Miss Katherine so much I know and by what I have been going over the last few days, they were what you say, decent, quiet people and not rich. To say truth, it was a letter of my lord's that put me on the search for the packet we are going to open this evening. Some papers could his sister, the Durie, in '27 ; ; not be found; and he wrote to Jack — THE MASTER OF BALLAJSfTRAE 151 M'Brair suggesting they might be among those sealed up by a Mr. Mackellar. M'Brair answered, that the papers in question were all in Mackellar's own hand, all the writer (as understood) of a "I am year purely and besides, said he, bound not to open them before the narrative character 1889." ; You may fancy if these me I instituted a hunt words struck through all the M'Brair : and at last hit upon that packet which (if you have had enough wine) I propose to show you at repositories ; once.' In the smoking-room, to which now led me, was a packet, many seals and enclosed in my host fastened with a single sheet of strong paper thus endorsed : Papers relating to the lives and lamentable deaths of the late Lord Durisdeer, and his elder brother James, commonly called Master of Ballanentrusted into the trae, attainted in the troubles hands of John M'Brair in the Lawnmarket of Edinburgh, W.S, ; this 20th day of September Anno Domini 1789 ; by him to be kept secret until : THE ART OF WRITING 152 the revolution of one hundred years complete, or until the 20th day of September 1889 the same : compiled and written by me, Ephraim Mackellar, For near forty years Land Steward on estates of His Lordship. As Mr. Thomson is the a married man, I not say what hour had struck when we down the last of the following pages will laid ; few words of what but I will give a ensued. Thomson, 'is a novel ready to your hand all you have to do is to work up the scenery, develop the characters, and improve the style.' 'Here,' said Mr. : ' My dear fellow,' said I, ' they are just the three things that I would rather die than set my hand to. It shall be published as it stands.' ' But it 's so bald,' objected Mr. Thom- son. ' I believe there nothing so noble as is baldness,' replied I, ' and I am sure there THE MASTER OF BALLANTRAE is nothing so interesting. all literature bald, but one.' Well, well,' and all 153 would have authors (if you I like) ' said Mr. Thomson, shall see.' THE END Printed by T. and A. Constable, Printers to His at the Edinburgh University Press M^esty ' we Chatto ^ Popular Windus's 6d. Books 3s. Artemus Ward's Complete Works. With Portrait and Facsimile. Ashton's Social Life in the Reign of With 84 Queen Anne. Illustrations. With 9 Coloured Rambosson's Astronomy. Plates and 63 Woodcuts.' Besant's Fifty Years Ago. Bill With 144 Illustrations. 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