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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
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The
(3/6)
•
1
From Whose Bourne.
A Prince
|
Revenge
!
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By FRANK BARRETT.
A Prodigal's ProgfressThe Harding: Scanda
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A Missing Witness.
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Man from Manchester.
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DOYLE.-<rhe Firm of Girdlestone.
RICHARD
CONAN
A
S. JEANNETTE DUNCAN.
Vernon's Aunt.
By ANNIE EDWARDES.
By
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Abelard.
Annan Water.
Archie Lovell.
Rachel Dene.
By G. S.
Master of the Mine.
By G.
The Heir of Linne.
Cursed by a Fortune.
Woman and the Man.
Red and White Heather. The Case of Ailsa Gray,
Foxglove Manor.
Lady
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Picaroons.
By HALL CAINE.
|
Son of Hagar.
|
Deemster.
By R. W, CHAMBERS.— The King in YeUow.
By J. M. CHAPPLE.-The Minor Chord.
By AUSTIN CLARB.-By Riseof River.
By Mrs. ARCHER CLIVE.
Paul FerroU.
|
Why Paul
|
The New Magdalen.
The Frozen Deep.
Antonina
[Hide and Seek. The Two Destinies.
BasU.
I Say No.'
The Dead Secret.
|
'
Little Novei*.
Fallen Leaves.
Jezebel's Daughter.
The
Woman in White.
Law and the Lady.
The
Black Robe,
Heart and Science.
Haunted Hotel.
Story of Antony Grac;e,
This Man's Wife.
Black Blood.
Double Cunning.
In Jeopardy.
Woman Worth Winning.
The Bag of Diamonds.
By PERCY FITZGERALD.— Fatal Zero,
By Hon. Mrs. W. FORBES.-Duinb.
By R. E. FRAMCILLON.
,
A
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Blind Love.
The Vfllage Comedy.
|
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Midnight to Midnight,
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A Real Queen.
Ropes of Sand.
Jack Doyle's Daughter.
By HAROLD FREDERIC.
Seth's Brother's Wife.
|
The Lawton
Girl.
By PAUL GAULOT.-The Red Shirts.
By DOROTHEA GERARD.
A Queen of Curds and Cream
By CHARLES GIBBON.
The Braes of Yarrow.
Queen of the Meadow.
The Flower of the Forest.
Robin Gray.
Of High Degree,
By
COLLINS.
By HOST, and FRANCES
Vou Play Me False.
Blacksmith and Scholar.
I
A Dog and his Shadow,
The Golden Shaft,
The Evil Genius,
The Legacy of Cain.
Moonstone,
Man and Wife.
Poor Miss Finch.
Miss or Mrs.
Dovecote,
Castle.
Master of the Ceremonies,
Witness to the Deed.
After Dark,
My Miscellanies
A Fluttered
King of the
The Tiger Lily.
The White Virgin.
No Name.
Queen of Hearts.
A Plaster Saint.
The Man with a Shadow.
One Maid's Mischief.
FerroU Killed his Wife. One by One.
By ANNE COATES.-Rie's Diary.
By MACLAREN COBBAN.
The Burden of Isabel.
The Red Sultan.
By WILKIE COLLINS.
Armadale.
|
Commodore Junk.
The New Mistress,
Andromeda.
Sliadow of a Crime.
)
EDWARDS.— Snazelleparilla.
MANVILLB FENN.
GELETT BURGESS and WILL IRWIN.
The
Daughters.
Strange Manuscript Found in a Copper Cylinder.
I
Charlatan
Port Salvation.
True Tales of Travel and Adventure.
Matt.
A Child of
or,
;
DAVIDSON.-Mr. Sadler's
By DOROTHEA DEAKIN.
The Poet and the Pierrot.
By JAMES DE MILLE.
Myst. of Jamaica Terrace,
Shillelagh and Shamrock. Deacon Brodie.
By PAUX< BOURGET,-A Living Lie.
By J. D. BRAYSHAW.-Slum SUhouettes,
Shadow
Pale.
Miss Balmaine's Past.
Terence. The Cat's-paw
|
The
By H.
A
Dora Myrl.
Beyond the
I
Avarice.
In Deacon's Orders.
The Master Craftsman.
The Ci:y of Refuge.
Fountain Sealed.
I
The
The
The
The
Interference.
A Third Person,
Infatuation.
Dreams of
{Children of Gibeon.
Hen* P^ulus.
''or Faith and Freedom.
To Call Her Mine.
The
Toe Real Lady Hilda,
Married or Single?
Masters.
In the Kingdom of Kerry.
Two
sir WAIiTBR
and Conditions.
Captains' Room.
All jn a Garden Fair.
DoT0thy Forster.
Untile Jack. Holy Rose.
By
CROCKETT and others.
By
M. CROKER.
Diana Barrington.
Proper Pride.
\. Family Likeness.
Pretty Miss NevUle.
A Bird of Passage.
BESANT.
Mr. Jervis,
Verbena Camellia Stepha- ViUage Tales,
The Ivory Gate.' [notis. Some One Else Jason.
The
i^^iAWotld
Seraglio,
of a Fair Rebel.
In Trafalgar's Bay.
The Ten Years' Tenant.
By
All Sorts
The Adventures
By S. R.
The Seamy Side.
The Case of Mr. Lucraft.
Harp and Crown.
TJiis Son of Vujcan.
The Golden Butterfly.
Mountains,
CRELLIN.
N.
Tales of Our Coast.
B,
Chaplain cf the Fleet,
'.With
27
By MATT CRIM.
Hotel.
By Sir W. BflSANT and J. BICE.
Ready-Money Mortiboy. By Celia's Arboui
,
Smoky
of the Great
His VanisUed Star.
1
Was She Justified?
The Gates
W.C,
By M. J. COLQUHOUN.— Every Inch a Soldier.
By HERBERT COMPTON.
,
^^ Inimitable
The
Mrs. Massingham.
By E, H. COOPBR."Geofrory Hamilton.
By V. C. COTES.— Two Girls on a Barge.
By C, EGBERT CRADDOCK.
Th" Prophet
Novels— conWwwffrf.
By ROBEBT BARB.
In a Steamer Chair
A Woman Intervenes.
Piccadilly
E.
GLANVILLE.
The Golden Rock.
The
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Fair Colonist. Fossicker.
Tales from the Veld.
I
GOODMAN.
By Rev. S. BARING GOULD.
Eve.
Red Spider.
^9 ALFRED A. GRACE.
Tales of a Dying Race.
By CECICi GBIPFITH*— Corinthia Marazion,
By E.
The Fate
of Herbert
J.
Wayne,
|
CHATTO & WINDUS, PUBLISHERS,
28
The
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Piccadill-v (3/6) Novels continued.
By A. CXiAVERING GUNTER.
A Florida
The Track
By
OWEN
of a Storm
|
An
HALIi.
LoU
i
Devil's Ford.
Crusade of "Excelsior.
Three Partners.
Gabriel Conroy.
I
BeU-Ringer of
Ang^el's.
[
Beatrix Randolph.
David Poindexter's
Dust.
EUice Quentm.
Sebastian Strome.
Fortune's Fool.
By Sir A. HELPS.—
By J, HENDERSON.
By G. A. HBNtY.
Dorothy's Double.
The Queen's Cup.
Ri^ub, the Juggler,
HILL.— Zarabra the Detectivt.
|
By HEADON
By JOHN HILL.— The Common Ancestor.
By TIGHE HOPKINS.
By
By
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Incomplete Adventurer.
Nell Haffenden.
W. HORNUNG-
By BERTRAM MITFORD.
By FERGUS HUME.
The Millionaire Mystery.
By Mrs. HUNGEttFORD,
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Maid Maiian and Robin
Hood.
Professor's Experiment.
Point of Conscience.
By
A
Life's
The Coming
Lady
Patty.
Mental Struggle.
Lady Verner's Flight.
of Chloe.
Nora Creina.
An Anxious Moment.
April's Lady.
A
^
The Rea-House Mystery. Peter's Wife.
The Three Graces.
Lovice.
By Mrs. ALFRED HUNT.
The Leaden Casket.
Self-Condemned.
]
Mrs.
CHRISTIE MURRAY.
Bob
In Direst Peril.
Mount Desoair.
A Captul o' Nails.
Val Strange.
Hearts.
Moael Father.
the Gate of the Sea.
Tales in Prose fnd Verse.
A Bit of Human Nature.
Race for Millions.
First Person Singular.
This Liitle World.
Cynic Fortune.
His Own Ghosr.
The Way of the World.
Church of Humanity,
V.C. Castle Barfield and the Crimea.
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By
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^^
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»-
?y MURRAY and HERMAN.
Bishops Bible
One
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^
.
,
BiUv Bellew.
Miss Wentworth's Idea.
G.
Weird Gift.
Depths.
The Woman of Mystery.
^y """=. OLIPHANT.
^.
Love
]
By
,
s
OHNET.-A
|
,.,..-
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Whiteladies.
|
Marbl»-
Under which Lord?
M^ Love
lone,
Dulcie Everton.
of the Famiiy
Octave of Friends.
'
I
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Paston Carew.
Tue Rebel
Sowing the Wind,
With a Silkep Thread.
A
I
,
Atonement Learn Dundas
The One Too Many.
An
A
The World WeU
Lost.
By HENRY W. LUCY.— Gideon Fleyce.
3/ JUSTIN HoGARTHY.
Fair Saxon.
Linley Rochford.
Dear Lady Disdain.
Camidia,
Mononia.
Waterdale Neighbours.
Donna Quixote.
Maid ofAthens.
The Comet of a Season,
The Dictator.
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Ariadne.
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Commune.
Village
Bimbi.
Wanda.
Frescoes.
Othraar.
In Maremma.
Syrlia
GuUderoy.
Santa Barbara.
Tv/o Offenders.
The Waters of Edera.
A Rainy June.
I
!
I
By MARGARET A. PAUL.
By JAMES PAYN.
Jind Simple.
Lost Sir Massingberd.
The
Rutlino.
Pipistrello.
In a Winter Citv.
The Ma^sarenes.
^
Gentle
.|
Patricia Kemball.
Idalia.
|
Moths.
|
Two Wooden Shoes.
in
Sorceress.
Friendship.
Under Two Flags.
Cecil Castlemaine's Gaq-e,
Tricotrin,
| Puck.
Sans-Gene.
The
By OUTpA,
in
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Madame
Up!'
'
^
Saint Aims.
Bondage.
Stratlimore.
Chandos.
Juliet.
Paul Jones's Alias,
Traveller Returns.
By HUME NISBBT.— Bail
By W. E. N0RRX8.
Folle-Farine
By R. ASHE KINO.~A Drawn Game.
A Dog of Flandei-s.
By GEORGE LAMBERT.— President of Boravia Pascarel.
Signa.
By EDMOND LEPELLETIER.
Princess Napraxine.
By ADAM LILBURN.— A Tragedy
HARRY LINDSAY.
,,. .' ^ v^y
Rhoda Roberts.
The Jacobite.
By E. LYNN LINTON
Martin's Little Girl.
Time's Revenges.
A Wasted Crime.
Old Blazer's Hero.
Held
j
That Other Person.
D.
Atonement.
Joseph's Coat.
Coals of Fire.
A
A Maiden all Forlorn
In Durance Vile.
A Modem' Circe.
Basilc the Jester.
Goldeti Idol.
I
I
Young Lochinvar.
V
|
Marvel.
Unsatisfactory LoVer.
j
:
ihe Shadow of the Rope.
YICTOR HUGO.— The Outlaw of Iceland.
Lady from Nowhere.
Star Ruili.
|
Dis-
appearance,
Spectre of Camera.
Ivan de Biron.
-Agatha Page.
Twixt Love and Duty.
Nugents of Carriconna.
by the Way.
The Kin^s As^-egai,
Luckot Gerard Ridgeley. Renshaw F.inning's Quest.
The Triumph of Hilary J31achland. Havilands Chum.
Mrs. MOLESWORTH.— Hathercourt Rectory.
By J. E. MUDDOCK.
;
By JULIAN HAWTHORNE.
Garth.
The Lone
The Gun-Runner.
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Tales of Trail and Town.
Rosebury.
|
of
Protegfee
Jack
[Hamlin's.
Clarence.
Barker's Luck.
Scarbotile's Client.
Sally Dows.
1
A Stumble
Ishmael.
The Blue Diamond.
,
By HOPE MERRICK.
When a Girl's Eng-aged.
By LEONARD MERRICK.
This Stage of Fools.
Cynthia.
By EDMUND MITCHELL.
By BRET BARTEi
Susy.
A Son of
Adventuress.
This Troublesome World.
Jetsam.
|
the Plains.
the Golden
Springs.
of
Green
A Ward of
Gate.
A Sappho
On Brink of a Chasm,
The Siren.
The Way of a Woman.
Dr, Rumsey's Patient.
TJie Voice of the Charmer.
Under the Greenwood Tree.
A Waif of
MEADE.
Li T,
Fortune.
In an Iron Grip.
By COSMO HAMILTON.
Through a Keyhole.
By THOMAS HARDY.
Glamour of Impossible.
By
A Soldier of
Enchantment.
By G YP.-CI0CI0.
High
Clyffards of Clyffe.
The Family Scapegrace.
ACountyPamily.XPainted.
I.ess Black than We're
A Confidential Agent.
A Grape irom a Thorn.
In Peii! and Privation.
Mystery of Mirbridge.
.Spirits.
The Talk
I
Ev
of the
P^oxy.
Town.
Holiday Tasks
For Cash Only.
The Burnt Mlllirn.
The Word and
Sunny
the Will.
Stories.
A Trying- Patient.
Modern Dick Whittington
PAYNE, Jerry the Dreamer
By WILL
By Mrs. CAMPBELL PRAED,
Outlaw ami Lawmaker.
Red Diamonds.
Mrs. Tregaskiss.
My Enemy's Daughter.
Christina Chard.
The Riddle Ring.
Madame
J Nulma.
Miss Misanthrope.
As a Watch in the Night."
The Three Disgraces
JUSTIN H. MOCARTHY.-A London Legend
By E. C. PRICE.— Valentina.
[
|
Izan.
'
By GEORGE MACDONALD.^"^
Heather and Snow.
»^y»^By
P. &
|
Phantastes
?y.^^OHARD PRYCE.
^.
,»*
Miss
Maxwell
MALLOCK.-TheN"ew Republic
SY. WARGU1BRIXTB.-Tne Kfer. «r
Weird
..
o
s
?V
Stories.
Affections.
"'S.
J.
H. RIDDBLL.
|
A
Rich Mun's Daughter.
MARTIN'S LANE, LONDON, W.C
ST,
Ill
The Piccadilly (3/6) Novels— co»H»«M.
By CHARLES, RE ADE.
Peg
Woffing^ton
(-bristle
and
;
Griffith Gaunt.
Love Little, Love
Johnstone.
Hard Cash.
The Double
and the Hearth.
Never Too Late to Mend.
The Course of True
Love; and Singleheart
and Doubleface.
Autobiography
of
a
Thief;
Jack of aU
Trudes A Hero and
a Martyr
and The
Wandering Heir.
Cloister
Long.
Marriage.
Foul Play.
Put Yourself in His Place,
A Terrible Temptation.
A Simpleton.
A
Woman-Haler.
A
Perilous Secret.
The Jilt, & other Stories
& Good Stories of Man.
:
;
Readiana
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and
;
Biole
Characters.
By FRANK JRICHARDSON.
Man Who Lost
His Past,
The Bayswater Mystery
|
Upon
The Hands
F.
W. ROBINSON.
of Justice.
Woman in the
t
Dark.
|
we Live Now.
Marion Fay.
Frau Frohmann.
[ Scarborough's Family.
The Land-Leaguers.
j
By
Meriel.
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Sea.
Anne Furnebs.
Mabel's Progress.
By ANTHONY TROLLOPE.
The Way
By AMELIE RIVBB.
Barbara Dering.
MARK TWAIN.
Choice Works,
Library of Humour.
The Innocents Abroad.
Roughing
Piidd'nhead Wilson.
The Gilded Age.
Prince and the Paujpcr.
Life on the Mississippi.
The
and
By ALBERT ROSS.— A Sugar Princess.
Innocents at Home.
By J. R UN CIM AN. -Skippers and Shellbacks. A Tramp Abroad.
The American Claiuxant.
By isr. CLARK RUSSELL.
Round the Galley
My Shipmate
Fire.
Louise.
It;
Alone on Wide Wide Sea.
The Phantom Death.
Heart of Oak.
What She Came Through.
An Ocean Tragedy.
The Tale of the Ten.
The Last Entr>'.
The Blackball Ghosts.
The Macdonald Lass.
Is
He the Mant
Good Ship Mohock.
The Convict Ship,
C. G.
*
A Tale of Two Tunnels.
The Death
Ship.
Huckleberry Finn.
A Yankee at Court.
Stolen White Elephant.
Adventures Tom Sawyer. j£i.ooo,ooo Bank-note.
Tom Sawyer Abroad.
A Double-barrelled DetecTom Sawyer, Detective.
tive Story.
In the Middle Watch.
On the Fo'k'sle Head.
A Voyage to the Cape.
Book for the Hammock.
Mystery of Ocean Star.'
Jenny Harlowe.
'
29
NEILSON STEPHBNS.-PhilipWinwood
By R. A. STBRNDALE.—The Afghan Knife.
By R. L. STEYBNSON.-The Suicide Club.
By FRANK STOCKTON.
The Young Master of Hyson Hall.
By SUNDOWNER.-Told by the Taffrail
By ANNIE THOMAS.-The Siren's Web.
By BERTHA THOMAS.
In a Cathedral City.
By FRANCES E. TROLLOPE.
Like Ships
R.
FRASER-TYTLER.- Mistress Judit\
By SARAH TYTLER.
1
Buried piamonds.
Witch- Wife.
Mrs. Carmichael's Goddesses.
I
I
'
Sapphira,
Rachel Langton.
A
Honeymoon's Eclipse.
A Young Dragon.
By DORA RUSSELL.— Drift of Fate.
ALLEN UPW^ARD.— The Queen against Owen.
By HERBERT RUSSBLL.-True Blue.
By ALBERT D. YANDAH.-A Court Tragedy
By BAYLE ST. JOHN.— A Levantine Family.
By E. A. yiZETELLY.
By ADELINE SERGEANT.
The Scorpion.
The Lover's Progress.
Dr.Hi)dicott'sExtjeriment Under False Pretences.
By FLORENCE WARDEN.
By M. P. SHIBL.— The Purple Cloud.
Joan, the Curate.
A Fight to a Finish.
By GEORGE R. SIMS
By CY WARMAN.— Express Messenger.
Dagc.iet Abroad.
In London's Heart.
By A. "WERNER.-Chapenga's While Maa
Once uponChristmasTime. Mary Jane's Memoirs.
By WILLIAM WESTALL.
Without the Limelight
Mary Jane Married.
|
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The
Rogues and Vagabonds.
Small-part Lady.
A Blind Marriage.
By UPTON SINCLAIR.— Prince Hagen.
Biographs ot Babylon.
By
HAWLEY SMART.
Without Love or Licence.
The Master of Rathkelly.
Long odds.
By
J.
I
I
Outsider.
Beatrice and Benedick.
A
Racing Rubber.
UOYR SMITH.—The Prince of Argolis.
By
T,
As it was Written.
Her Ladyship.
The Strange Experiences
Secret of Wyvem Towers.
of Mr. Verschoyle.
of Siva.
The Doom
By ALAN ST. AUBYN.
The Tremlett Diamonds.
A Fellow of Trinity.
The Wooing of May.
The Junior Dean.
Master of St. Benedict's.
A Tragic
his Own Master.
Gallantay Bower.
In Face of the World.
Fortune's Gate.
Orchard DamereU
Mary Unwm.
A
To
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Sons of
With the Red Eagle,
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City.
A Queer
Race.
The Old
Factory.
Belial.
Roy of Roy's Court.
Nigel Fortescue.
Birch Dene. Ben Clough.
Her Ladyship's
As Luck would have it.
SPEIGHT.
Iff.
The Grey Monk.
The Master of Trenance.
The Web of Fate.
;
The
Red Rvvington.
For Honour and Life
A Woman Tempted Him.
Her Two Milliens.
Two Pinches of Snuff.
Secret.
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The Shadow of Hilton Fernbrook.
By FRED WHISHAW.
Many Ways of Love.
Bv C. J. WILLS.— An Easy-going Fellow.
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Legends.
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A Nineteenth Century Miracle.
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A Forbidden Name
|
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The Honour of the Array. His Masterpiece.
The Dream. The Fat and the Thin.
Germinal.
Abbe Mouret's Trans- Dr. Pascal. Joy of Life.
)
[
Mrs. Dunbar's Secret.
Doris and I.
The Cruciform Mark.
R, STE
By JOHN STAFFORD.—
PHENS.—
By
gression.
Money.
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The Conquest of Plassans.
Dram-shop.
|
Downfall.
Fortune of the Rougons.
Work.
Lourdes.
I
Paris.
His Excellency.
Truth.
Rome.
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Fruitfulness.
GHBAP EDITIONS OF POPUX^AR NOVflLS.
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•
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By DICK DONOVAN.
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Caught at Last
Who Poisoned Hetty
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In the Grip of the Law.
ReFrom Information "
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Dorothy Forster.
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Uncle Jack.
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The World Went Very Well The Ivory Gate, [notis.
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Children of Gibeon.
Archie Lovell.
Herr Paulus.
Beyond Dreams Avarice. A Point of Honour.
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FENN.
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The Tiger Lily.
The White Virgin.
BIERCE.— In the Midst of Life. Witness to the Deed.
All in a
ANNIE EDWARDES.
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EDWARD
MANVILLE
I
AMBROSE
Camp
1
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Notes.
Savage
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Life.
Chronicles
of
Land.
|
By PERCY FITZGERALD.
Bella Donna.
Fatal Zero.
No-man's Never Forgotten,
Polly.
Second Mrs, Tillotson.
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Heiress of
Red
Ward
Dofif,
The
of the Sword.
A Child of Nature.
God and
Love
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Romcmces of the Law.
Ropes of Sand.
Girl.
Robin Gray.
Fjmcy Free.
In Honour Bound.
Flower of the Forest.
For Lack of Gold.
The Braes of Yarrow,
The Gdlden Shaft.
What wiU the World Say J
|
The Lawton
Pandurang Hari.
Kilpatrick.
The Deemster
The Shadow of a Crime.
|
BARTLE FRERE.
By CHARLES GIBBON.
Prefaced by Sir
|
Lady
of Hagar.
Seth's Brother's Wife.
Woman and the Mdn.
Rachel Dene.
Matt.
Mine,
BUCHANAN and MURRAT.-The Charlatan.
By HALL CAINE.
A Son
A Dog and his Shadow.
By HAROLD FREDERIC.
deline.
Foxglove Manor.
The Master of the
Annan Water.
Brooke
five
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By PERCY FITZGERALD and others.
Strange Secrets.
By B. E. FRANCILLON.
Olympia.
of Golden Gate.
One by One.
A Real Queen.
Martyrdom of Ma- Queen Cophetual
The New Abelard.
The Heir of Linne.
the Man.
Me for Ever.
-
Street.
|
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Shadow
Seventy
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By BRET HARTE.
Maruja.
Californian Stories.
Flip.
Gabriel Conroy.
A Phyllis of the Sierras.
Luck of Roaring Camp.
A Waif of the Plains.
Tn Love and War.
Of High Degree.;
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For thtf King.
By Mead and Stream.
The Cruise of the Black Prince.
,In Pastures Green
Living a Dream.
By HAVDEN CARRUTH.
Queen of the Meadow,
A Hard Knot.
The Adventures of Jones.
A Heart's Problem.
Heart's Delight.
Blood-Money.
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Paul FerroU.
Why Paul FerroU Killed his Wife.
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The Lost Heiress.
The Fossicker.
By MACLAREN COBBAN.
A Fair Colonist.
The Cure of Souls.
The Red Sultan.
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Red Spider.
Eve.
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Sweet Anne Page.
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Transmigration,
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HARDY.
From Midnight to Mid- You Play Me False.
Under the Greenwood Tree,
night.
Blacksmith and Scholar.
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A Fight with Fortune.
Frances.
Quentin.
Ellice Garth,
Love —or a Name.
By WILKIE COLLINS.
fortune's Fool.
David Poindexter's Dis'
|
|
|
\
,
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Armadale.
No Name.
Basil.
I
After Dark.
Antonina,
Hide and Seek.
|
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Queen of Hearts.
Miss or Mrs.
The
The
The
The
The
'
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New Magdalen.
Frozen Seep.
I^w and the Lady.
Two
Destinies,
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The Woman in White.
The Moonstone.
Man and Wife
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The Fallen Leaves.
Jezebel's Daughter.
The Black Robe.
Heart and Science.
'
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Say
No r
The EvU
Dust.
[
Beatrix Randolph.
'
In
Durance
M arvel
.
A Mental
'
'
Vile.
Peter's Wife.
Struggle,
Circe.
|
A Modem
SoMIp:
ap[}earance.
The
Spectre
[Camera.
of
the
By Sir ARTHUR HELPS.-Ivan de Biron.
By G. A. HBNTY.—Rujub the Juggler.
By HEADON HILL. -Zambra the Detective.
By JOHN HILL.— Treason-Felony.
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A Maiden all ^
Forlorn.
Genius.
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A Rogue's Life.
Legacy of Cain.
My Miscellanies.
Blind I
Love.
By M. J. COLQUHOUN.-Every Inch a
Miss Cadogna.
April's
Lady.
Lady Vemer's Flight.
The Red-House ^fystery.
The Three Graces.
Unsatisfactory Lover.
Lady Patty.-I Nora Creina
Professor's Experiment.
'
MARTIN'S LANE, LONl}0N,
Ill St.
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Mrs. GEORGE HOOPER,— The House of Raby.
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That Other Person.
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1
Casket.
By MARK KERSHAW.
By R. ASHE KING.
The Wearing
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of the
Passion's Slave.
Bell Barry.
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By EDMOND LEPELLETIER.
Madame bans-Gene.
By JOHN LEYS.— The Luidsays.
By E. LYNN LINTON
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The Atonement
I>atricia Keiuball.
The World Well
Loam
of
Under which Lord i
Dundas.
Rebel of the Family.
Paston Carew.
Sowing the Wind.
Lost.
The One Too Many.
My Love
lone.
With a Silken Thread.
1
'
'
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'"^
Donna Quixote.
Maid of Athens.
The Comet of a Season.
The Dictator.
Dear Lady Disdain.
\yAtQrdale Neighbours,
;ftiy Enemy's Daughter,
Camiola.
'^A Fair Saxon.
Linley Rocliford.
Miss Misanthrope.
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By
From Bosom
|
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and Wonderful.
First Person Singular.
Bob Martin's Little Girl.
Fire.
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Hearts.
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A Capful o' Nails.
A- Life's Atonement.
By the Gate of the Sea.
Ona
Cost Her.
Confidential Agent.
Glow-worm Tales.
Kit.
The Burnt
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Million.
Stories.
Lost Sir Massingberd.
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Tlie Best of Husbands.
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Walter's Word.
Gwendoline's Harvest.
Fallen Fortunes.
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Humorous Stories.
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^300 Reward.
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A Marine Residence.
Less Black than We're
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Under One Roof.
Some Private Views.
Carlyon's Year.
A Grape from a Thorn.
For Cash Only.
The Mystery of MirFrom Exile,
The Canon's Ward.
bridge.
The Talk Of Ihe Town.
The Word and the Will.
A Prince of the Blood.
Holiday Tasks,
A Trying Patient.
|
1
By Mrs. CAMPBELL PRAED.
The Romance of a Station Christina Chard.
I
Outlaw and Lawmaker.
Mrs. Tre^askiss.
Soul of Countess Adrian.
The
|
By RICHARD PRYCE.
Miss Maxwell's Affections.
CHRISTIB_ MURRAY,
A Bit of Human Nature.
A Model Father.
Joseph's Coat.
I
Perfect Treasure.
By CHARfiES READE.
fiy D.
Val Strange.
Halves.
Never Too Late to
The Jilt.
Mend.
Foul Play.
It is
GEORGE M ACDON A LD.— Heather Etnd Snow.
By AGNES MACDONELL,-Quaker Cousins.
By "VT. H. MALLOGK.— The New Republic.
By BRANDER MATTHEWS.
A Secret of the Sea.
By L. T. MEADE.— A Soldier of Fortime.
By LEONARD MERRICK.
The Man who was Good.
By Mfs. MOLESWORTH.
Mathercourt Rectory,
By J. E. MUDDOCK.
Coajsof
I
Cecil's Tryst.
Tlie Riddle Ring.
Mr. Stranger's Sealed
Secret.
Stories Weird
At Her Mercy.
Red Diamonds.
HUGH MACCOLL.
Packet.
Dead Man's
A
|
Dulcie Everton.
Gideon Fleyce.
By HENRY W. LUCY.—
By JUSTIN MCCARTHY
n...„n»i
'
31
What He
The Clyffards of Clyffe.
The Foster Brothers.
Found Dead.
Colonial Facts and Fictions.
*
A
Bentinck's Tutor.
Murphy's Master.
A County Family.
Self-Condemned.
A Drawn Game.
W.C.
By MARGARET AGNES PAUL.
Gentle and Simple.
By JAMES PAYN.
I
Marriage.
Put Yourself in His Place.'
Love
Love
Little,
and
the.
I-ong.
A Perilous Secret.
Hearth.
A Simpleton.
Course of True Love.
Autobiography of a Thief. Readiana.
A Woman-Hater.
A Terrible Temptation.
By Mrs. J. H. RfDDELL.
The Uninhabited House.
Weird Stories.
The Mystery in Palace
Fairy Water.
Gardens.
Her Mother's Darling.
The Prince of Wales's The Nun's Curse.
Garden
Idle Tales.
Party.
By
Women
F.
W. ROBINSON.
are Strange.
The Woman in
|
The Hands
Traveller Returns.
Paul Jones's Alias.
Round
On the
My
Shipmate Louise.
Alone on Wide Wide Sea.
Good Ship 'Mohock.'
the Galley Fire.
Fo'k'sle
An Ocean
I
tho Dark,
of Justice.
By W. GLARK RUSSELL,
Head.
In the Middle Watch
A Voyage to the Cape.
Book for the Hammock.
The Mystery of the
'Ocean, Star.*
Romance Jenny .Harlowe.
HERMAN.
By HURRAY and
The Bishops Bible.
Hard Cash.
Smgleheart, Doubleface.
Good Stories of Man, &c.
Peg Woffingt9n.
Griffith Gaunt.
The Double
Cloister
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The Wandering Heir.
|
Christie Johnstone.
The Phantom Deatii.
IsHe theManS
O^.
Heart of
The Convict Ship.
The Tale of th^ Ten.
The Last Entry.
Tragedy,
By DORA RUSSELL,— A Country Sweetheart.
NISBET.
Bt HUME Dr.
Bernard St, Vmcsnt.
By GEORGE AUGUSTUS SALA.
Bail Up
Gaslight and Daylight.
By W^. E. NORRIS.
BiUy Bellew.
Saint Ann's.
R. SIMS.
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"" Two Wives.
"
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Afy
The Ring o' Bells.
By GEORGES Weird
Gift.
ftiemoirs of a Landlady.
A
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Dr. Rara»au.
the Sliow
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Married,
Last
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Commandments.
Ten
Tales of To-day.
By Mrs. OLIPHANT.
Dagonet Abroad.
Heiress m Dramas of Life.
Greatest
Thf
Whiteladies.
•
!
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Rogues and Vagabonds.
!
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The Primrose
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Path.
Idalia.
Under Two
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Tricotnn.
Flags.
Cecil Castlemaine's Gage.
Pascarel.
Puck.
Follc-Farine.
Dog of Flanders.
Ariadne.
Siena.
Princess Napwotine.
I
A
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In a Winter City,
^risndehip.
Tinkletop's Crime.
England,
ARTHUR SKETCHLEY.—A Match in the Dark.
By OUIDA,
Bondi^e.
Chandos.
Strathraore.
I
Two Little Wooden Shoes
Moths.
Bhnbi.
Wanda.
|
Frescoes.
In Maremma.
Beatrice
1
Othmar.
Guilderoy.
1
Ouida's Wisdom,
and Pathos
HAWLEY SMART.
Master
Rathkelly.
By
and Benedick.
R. A.
of Heron
Dyke,
The Golden Hoop.
Wit,
I
|
The
of
The Plunger. Long Odds
|
STEBNDALE^-the Afghan Knife.
By T. W. SPEIGHT.
The Mysteries
Syrhn.
Santa Barbara.
"Two Offenders.
Ruffino.
By
Without Love or Licence.
I
Pipistrello.
A Village Commune.
Hoodwinked.
By Devious Ways.
Back
The
to Life,
Loudiyater Tragedy*
Burgo's Romance.
""^
Quittance in Full.
A Husband from the ScSr
CHATTO & WINDVS, PUBLISHERS.
32
Two-Shilling 'tiovKLS—couttnMd.
By MARK TWAIN
A
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Life on the Mississippi.
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In the Face of the World. Tom Sawyer.
The Junior Dean.
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Sketches.
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C. C.FRASER-TYTLEB.-MistrfessJtidiih.
By ALAN
A
AUBYN.
ST.
Pleasure Trip.
The Gilded Aee.
A
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New
By
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R.
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Diamond Cut Diamohd.
Mungo's
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The Huguenot Family:
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What She Came Through.
Bell
City.
Beauty and the Beast.
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The Man-Hunter,
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Wanted
Dark Deeds.
!
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Terrace.
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Vincent
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A Country
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WESTALL.-Trust-Money.
Cavalry Life.
Regimental I-egends.
Scarbofough's Family.
Golden L.ion of Granpere.
H. F.
The Passenger from Scot- The Englishman of the
land Yard.
Rue Cain.
Anne Furness.
Kept in the Dnrkt
The Way We
By SARAH TYTLER.
Bride's Pass.
By ROBERT SURTEES.-Handley Cross.
By WALTER THORNBURY.
Tales for the JWariiies.
By T. ADOLPHU5 TROLLOPE.
The Drift of
R. SIMS.
Fate.
Rogues and Vagabonds.
)
By FRANK STOCKTON.
By PAUL GAULOT.-1 he Red Shirtii.
By Major ARTHUR GRIFFITHS.
The Young Master
of
Hyson HalL
By OWEN HALL.— Track of a Storm.
By SUNDOWNER— Tale of the Serpent.
By SARAH TYTLER.— Citoyenne Jacqueline.
By BRET HARTE.
ALLEN UPWARD,— Queen against Owen.
Nor 99
;
and Blue Blood.
Camjj, &c.
In a Hollow of the Hills.
Sappho of Green Springs.
Luck Roaring
Col. Starbottle's Client.
I
By
Proiegee of Jack Hamlin's
Sally
|
Dows.
By HEADON HILL.— Zambra, the Detective.
By FERGUS HUME.— Tlie Lady from Nowhere.
By EDMUND MITCHELL^
The Temple
J
Towards the Eternal Snows.
Plotters of Paris.
F.
'WARDEN.
Joan, the Curate.
BYRON WEBBER.—Sport and Spangles.
By JOHN STRANGE WINTER.
Cavalry Life
;
and Regimental Legends.
By LOUIS ZAMGWILL.
A Nineteenth-Century Miracle.
of Death.
SIXPBNNY COPYRIGHT NOVBLS.
By GRANT ALLEN.— Tlie Tents of Sheni.
By WALTER BESANT.
Children of Gibeoa
For Faith and Freedom.
All Sorts
I
Men.
Dorothy Forster.
By
Held
The Orange Girl.
1
D.
and Conditionsof Puck.
Butterfly.
Ready-Money Mortiboy,
i
in
The Chaplain
of the Fleet.
By ROBERT BUCHANAN.
The Shadow
By
A
S.
of the Sword,
|
|
The Shadow
|
By
Diana Barringtou.
A
B. M.
UNWiK
{
|
Chaiidos,
Put Yourself in His Place.
Cloister and the
Hearth.
The
Never Too Lite to Mend
'1
MauandWitc. NoNiini
The Dead Secret.
The New Magdalen,
|
CROKER.
27,
Ship.
By ROBERT LOUIS STEVENSON.
New Arabian Nights,
By WILLIAM WEBTALL.-The Old Factory.
By EMILE ZOLA.
The Downfall
|
BK^THtliy,
Ltd., Piinttrs,
KOT
|
A errible 1 emptation.
By W^. CLARK RUSSELL.-The Convict
Pretty Miss Neville.
Bird of Passage.
»
,
Walter's
|
a Crime.
By WILKIE COLLINS.
A^itonina,
Armadale.
The Moonstone.
The Woman in Whi^e,
j
Coat.
Tricotri.i.
|
By JAMBS PAYN.
Word.
Lost Sir Massineberd.
By CHARLES READE.
Gaunt.
Foul Play.
Hard Cash.
Peg Woliingtou ; and
Christie Johnstone,
The Deemster.
of
I
Griffith
God and the Man.
BAKING GOULD.-Red Spider.
By HALL CAINE.
Son of Hagar.
Moths
Strathmore.
Bondage,
Under Two Flags.
Ihe Massarenes.
I
By BESANT and RICE.
The Golden
CHRISTIE MURRAY.-Joseph's
By OUIDA.
t
The
DrHui-Shop.
ByJurtTXlM
A blittrt
|
Rome.
|
MoGAMTHY.
History of our
Pilgrim Street, Ludgate Hill,
own Times.
London E.C,
Piiris.
Tl^-^Jl'
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