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   Chapter 3 STEVENSON'S VERSATILITY

Essays in the Art of Writing By Robert Louis Stevenson Characters: 3533

Updated: 2017-12-04 00:03


Stevenson was a poet, a dramatist, an essayist, and a novelist, besides writing many political, geographical, and biographical sketches. As a poet, his fame is steadily waning. The tendency at first was to rank him too high, owing to the undeniable charm of many of the poems in the Child's Garden of Verses. The child's view of the world, as set forth in these songs, is often originally and gracefully expressed; but there is little in Stevenson's poetry that is of permanent value, and it is probable that most of it will be forgotten. This fact is in a way a tribute to his genius; for his greatness as a prose writer has simply eclipsed his reputation as a poet.

His plays were failures. They illustrate the familiar truth that a man may have positive genius as a dramatic writer, and yet fail as a dramatist. There are laws that govern the stage which must be obeyed; play-writing is a great art in itself, entirely distinct from literary composition. Even Browning, the most intensely dramatic poet of the nineteenth century, was not nearly so successful in his dramas as in his dramatic lyrics and romances.

His essays attracted at first very little attention; they were too fine and too subtle to awaken popular enthusiasm. It was the success of his novels that drew readers back to the essays, just as it was the vogue of Sudermann's plays that made his earlier novels popular. One has only to read such essays, however, as those printed in this volume to realise not only their spirit and charm, but to feel instinctively that one is reading English Literature. They are exquisite works of art, written in an almost impeccable style. By many judicious readers, they are placed above his works of fiction. They certainly constitute the most original

portion of his entire literary output. It is astonishing that this young Scotchman should have been able to make so many actually new observations on a game so old as Life. There is a shrewd insight into the motives of human conduct that makes some of these graceful sketches belong to the literature of philosophy, using the word philosophy in its deepest and broadest sense. The essays are filled with whimsical paradoxes, keen and witty as those of Bernard Shaw, without having any of the latter's cynicism, iconoclasm, and sinister attitude toward morality. For the real foundation of even the lightest of Stevenson's works is invariably ethical.

His fame as a writer of prose romances grows brighter every year. His supreme achievement was to show that a book might be crammed with the most wildly exciting incidents, and yet reveal profound and acute analysis of character, and be written with consummate art. His tales have all the fertility of invention and breathless suspense of Scott and Cooper, while in literary style they immeasurably surpass the finest work of these two great masters.

His best complete story, is, I think, Treasure Island. There is a peculiar brightness about this book which even the most notable of the later works failed to equal. Nor was it a trifling feat to make a blind man and a one-legged man so formidable that even the reader is afraid of them. Those who complain that this is merely a pirate story forget that in art the subject is of comparatively little importance, whereas the treatment is everything. To say, as some do, that there is no difference between Treasure Island and a cheap tale of blood and thunder, is equivalent to saying that there is no difference between the Sistine Madonna and a chromo Virgin.

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