The Works of Robert Louis Stevenson – Swanston Edition. Volume 3. Robert Louis Stevenson
himself another: of the first, the reader will find what I believe to be a pretty faithful statement and a fairly just criticism in the study; of the second he will find but a contorted shadow. So much of the man as fitted nicely with his doctrines, in the photographer’s phrase, came out. But that large part which lay outside and beyond, for which he had found or sought no formula, on which perhaps his philosophy even looked askance, is wanting in my study, as it was wanting in the guide I followed. In some ways a less serious writer, in all ways a nobler man, the true Thoreau still remains to be depicted.
VILLON. I am tempted to regret that I ever wrote on this subject, not merely because the paper strikes me as too picturesque by half, but because I regarded Villon as a bad fellow. Others still think well of him, and can find beautiful and human traits where I saw nothing but artistic evil; and by the principle of the art, those should have written of the man, and not I. Where you see no good, silence is the best. Though this penitence comes too late, it may be well, at least, to give it expression.
The spirit of Villon is still living in the literature of France. Fat Peg is oddly of a piece with the work of Zola, the Goncourts, and the infinitely greater Flaubert; and, while similar in ugliness, still surpasses them in a native power. The old author, breaking with an éclat de voix out of his tongue-tied century, has not yet been touched on his own ground, and still gives us the most vivid and shocking impression of reality. Even if that were not worth doing at all, it would be worth doing as well as he has done it; for the pleasure we take in the author’s skill repays us, or at least reconciles us to the baseness of his attitude. Fat Peg (La Grosse Margot) is typical of much; it is a piece of experience that has nowhere else been rendered into literature; and a kind of gratitude for the author’s plainness mingles, as we read, with the nausea proper to the business. I shall quote here a verse of an old student’s song; worth laying side by side with Villon’s startling ballade. This singer, also, had an unworthy mistress, but he did not choose to share the wages of dishonour; and it is thus, with both wit and pathos, that he laments her fall: —
Nunc plango florem
Ætatis teneræ
Nitidiorem
Veneris sidere:
Tunc columbinam
Mentis dulcedinem,
Nunc serpentinam
Amaritudinem.
Verbo rogantes
Removes ostio,
Munera dantes
Foves cubiculo,
Illos abire præcipis
A quibus nihil accipis,
Cæcos claudosque recipis,
Viros illustres decipis
Cum melle venenosa.1
But our illustrious writer of ballades it was unnecessary to deceive; it was the flight of beauty alone, not that of honesty or honour, that he lamented in his song; and the nameless mediæval vagabond has the best of the comparison.
There is now a Villon Society in England; and Mr. John Payne has translated him entirely into English, a task of unusual difficulty. I regret to find that Mr. Payne and I are not always at one as to the author’s meaning; in such cases I am bound to suppose that he is in the right, although the weakness of the flesh withholds me from anything beyond a formal submission. He is now upon a larger venture, promising us at last that complete Arabian Nights to which we have all so long looked forward.
CHARLES OF ORLEANS. Perhaps I have done scanty justice to the charm of the old Duke’s verses, and certainly he is too much treated as a fool. The period is not sufficiently remembered. What that period was, to what a blank of imbecility the human mind had fallen, can only be known to those who have waded in the chronicles. Excepting Comines and La Salle and Villon, I have read no author who did not appal me by his torpor; and even the trial of Joan of Arc, conducted as it was by chosen clerks, bears witness to a dreary sterile folly, – a twilight of the mind peopled with childish phantoms. In relation to his contemporaries, Charles seems quite a lively character.
It remains for me to acknowledge the kindness of Mr. Henry Pyne, who, immediately on the appearance of the study, sent me his edition of the Debate between the Heralds: a courtesy from the expert to the amateur only too uncommon in these days.
KNOX. Knox, the second in order of interest among the reformers, lies dead and buried in the works of the learned and unreadable M’Crie. It remains for some one to break the tomb and bring him forth, alive again and breathing, in a human book. With the best intentions in the world, I have only added two more flagstones, ponderous like their predecessors, to the mass of obstruction that buries the reformer from the world; I have touched him in my turn with that “mace of death,” which Carlyle has attributed to Dryasdust; and my two dull papers are, in the matter of dulness, worthy additions to the labours of M’Crie. Yet I believe they are worth reprinting in the interest of the next biographer of Knox. I trust his book may be a masterpiece; and I indulge the hope that my two studies may lend him a hint or perhaps spare him a delay in its composition.
Of the PEPYS I can say nothing; for it has been too recently through my hands; and I still retain some of the heat of composition. Yet it may serve as a text for the last remark I have to offer. To Pepys I think I have been amply just; to the others, to Burns, Thoreau, Whitman, Charles of Orleans, even Villon, I have found myself in the retrospect ever too grudging of praise, ever too disrespectful in manner. It is not easy to see why I should have been most liberal to the man of least pretensions. Perhaps some cowardice withheld me from the proper warmth of tone; perhaps it is easier to be just to those nearer us in rank and mind. Such at least is the fact, which other critics may explain. For these were all men whom, for one reason or another, I loved; or when I did not love the men, my love was the greater to their books. I had read them and lived with them; for months they were continually in my thoughts; I seemed to rejoice in their joys and to sorrow with them in their griefs; and behold, when I came to write of them, my tongue was sometimes hardly courteous and seldom wholly just.
I
VICTOR HUGO’S ROMANCES
Après le roman pittoresque mais prosaïque de Walter Scott il restera un autre roman à créer, plus beau et plus complet encore selon nous. C’est le roman, à la fois drame et épopée, pittoresque mais poétique, réel mais idéal, vrai mais grand, qui enchâssera Walter Scott dans Homère. – Victor Hugo on “Quentin Durward.”
Victor Hugo’s romances occupy an important position in the history of literature; many innovations, timidly made elsewhere, have in them been carried boldly out to their last consequences; much that was indefinite in literary tendencies has attained to definite maturity; many things have come to a point and been distinguished one from the other; and it is only in the last romance of all, “Quatrevingt-treize,” that this culmination is most perfect. This is in the nature of things. Men who are in any way typical of a stage of progress may be compared more justly to the hand upon the dial of the clock, which continues to advance as it indicates, than to the stationary milestone, which is only the measure of what is past. The movement is not arrested. That significant something by which the work of such a man differs from that of his predecessors goes on disengaging itself and becoming more and more articulate and cognisable. The same principle of growth that carried his first book beyond the books of previous writers carries his last book beyond his first. And just as the most imbecile production of any literary age gives us sometimes the very clue to comprehension we have sought long and vainly in contemporary masterpieces, so it may be the very weakest of an author’s books that, coming in the sequel of many others, enables us at last to get hold of what underlies the whole of them – of that spinal marrow of significance that unites the work of his life into something organic and rational. This is what has been done by “Quatrevingt-treize” for the earlier romances of Victor Hugo, and, through them, for a whole division of modern literature. We have here the legitimate continuation of a long and living literary tradition; and hence, so far, its explanation. When many lines diverge from each other in direction so slightly as to confuse the eye, we know that we have only to produce
“Gaudeamus: Carmina vagorum selecta.” Leipsic: Trübner, 1879.