Notes on Novelists, with Some Other Notes. Henry Foss JamesЧитать онлайн книгу.
To this absorbing extension of the story then the two volumes of Letters[1] now published by Mr. Sidney Colvin beautifully contribute. The shelf of our library that contains our best letter-writers is considerably furnished, but not overcrowded, and its glory is not too great to keep Stevenson from finding there a place with the very first. He will not figure among the writers—those apt in this line to enjoy precedence—to whom only small things happen and who beguile us by making the most of them; he belongs to the class who have both matter and manner, substance and spirit, whom life carries swiftly before it and who signal and communicate, not to say gesticulate, as they go. He lived to the topmost pulse, and the last thing that could happen was that he should find himself on any occasion with nothing to report. Of all that he may have uttered on certain occasions we are inevitably not here possessed—a fact that, as I have hinted above, affects us, perversely, as an inexcusable gap in the story; but he never fails of the thing that we most love letters for, the full expression of the moment and the mood, the actual good or bad or middling, the thing in his head, his heart or his house. Mr. Colvin has given us an admirable “Introduction”—a characterisation of his friend so founded at once on knowledge and on judgment that the whole sense of the man strikes us as extracted in it. He has elucidated each group or period with notes that leave nothing to be desired; and nothing remains that I can think of to thank him for unless the intimation that we may yet look for another volume—which, however much more free it might make us of the author’s mystery, we should accept, I repeat, with the same absence of scruple. Nothing more belongs to our day than this question of the inviolable, of the rights of privacy and the justice of our claim to aid from editors and other retailers in getting behind certain eminent or defiant appearances; and the general knot so presented is indeed a hard one to untie. Yet we may take it for a matter regarding which such publications as Mr. Colvin’s have much to suggest.
There is no absolute privacy—save of course when the exposed subject may have wished or endeavoured positively to constitute it; and things too sacred are often only things that are not perhaps at all otherwise superlative. One may hold both that people—that artists perhaps in particular—are well advised to cover their tracks, and yet that our having gone behind, or merely stayed before, in a particular case, may be a minor question compared with our having picked up a value. Personal records of the type before us can at any rate obviously be but the reverse of a deterrent to the urged inquirer. They are too happy an instance—they positively make for the risked indiscretion. Stevenson never covered his tracks, and the tracks prove perhaps to be what most attaches us. We follow them here, from year to year and from stage to stage, with the same charmed sense with which he has made us follow some hunted hero in the heather. Life and fate and an early catastrophe were ever at his heels, and when he at last falls fighting, sinks down in the very act of valour, the “happy ending,” as he calls it for some of his correspondents, is, though precipitated and not conventional, essentially given us.
His descent and his origin all contribute to the picture, which it seems to me could scarce—since we speak of “endings”—have had a better beginning had he himself prearranged it. Without prearrangements indeed it was such a cluster of terms as could never be wasted on him, one of those innumerable matters of “effect,” Scotch and other, that helped to fill his romantic consciousness. Edinburgh, in the first place, the “romantic town,” was as much his “own” as it ever was the great precursor’s whom, in “Weir of Hermiston” as well as elsewhere, he presses so hard; and this even in spite of continual absence—in virtue of a constant imaginative reference and an intense intellectual possession. The immediate background formed by the profession of his family—the charge of the public lights on northern coasts—was a setting that he could not have seen his way to better; while no less happy a condition was met by his being all lonely in his father’s house—the more that the father, admirably commemorated by the son and after his fashion as strongly marked, was antique and strenuous, and that the son, a genius to be and of frail constitution, was (in the words of the charming anecdote of an Edinburgh lady retailed in one of these volumes), if not exactly what could be called bonny, “pale, penetrating and interesting.” The poet in him had from the first to be pacified—temporarily, that is, and from hand to mouth, as is the manner for poets; so that with friction and tension playing their part, with the filial relation quite classically troubled, with breaks of tradition and lapses from faith, with restless excursions and sombre returns, with the love of life at large mixed in his heart with every sort of local piety and passion and the unjustified artist fermenting on top of all in the recusant engineer, he was as well started as possible toward the character he was to keep.
All this obviously, however, was the sort of thing that the story the most generally approved would have had at heart to represent as the mere wild oats of a slightly uncanny cleverness—as the life handsomely reconciled in time to the common course and crowned, after a fling or two of amusement, with young wedded love and civic responsibility. The actual story, alas, was to transcend the conventional one, for it happened to be a case of a hero of too long a wind and too well turned out for his part. Everything was right for the discipline of Alan Fairford but that the youth was after all a phœnix. As soon as it became a case of justifying himself for straying—as in the enchanting “Inland Voyage” and the “Travels with a Donkey”—how was he to escape doing so with supreme felicity? The fascination in him from the first is the mixture, and the extraordinary charm of his letters is that they are always showing this. It is the proportions moreover that are so admirable—the quantity of each different thing that he fitted to each other one and to the whole. The free life would have been all his dream if so large a part of it had not been that love of letters, of expression and form, which is but another name for the life of service. Almost the last word about him, by the same law, would be that he had at any rate consummately written, were it not that he seems still better characterised by his having at any rate supremely lived.
Perpetually and exquisitely amusing as he was, his ambiguities and compatibilities yielded, for all the wear and tear of them, endless “fun” even to himself; and no one knew so well with what linked diversities he was saddled or, to put it the other way, how many horses he had to drive at once. It took his own delightful talk to show how more than absurd it might be, and, if convenient, how very obscurely so, that such an incurable rover should have been complicated both with such an incurable scribbler and such an incurable invalid, and that a man should find himself such an anomaly as a drenched yachtsman haunted with “style,” a shameless Bohemian haunted with duty, and a victim at once of the personal hunger and instinct for adventure and of the critical, constructive, sedentary view of it. He had everything all round—adventure most of all; to feel which we have only to turn from the beautiful flush of it in his text to the scarce less beautiful vision of the great hilltop in Pacific seas to which he was borne after death by islanders and chiefs. Fate, as if to distinguish him as handsomely as possible, seemed to be ever treating him to some chance for an act or a course that had almost nothing in its favour but its inordinate difficulty. If the difficulty was in these cases not all the beauty for him it at least never prevented his finding in it—or our finding, at any rate, as observers—so much beauty as comes from a great risk accepted either for an idea or for simple joy. The joy of risks, the more personal the better, was never far from him, any more than the excitement of ideas. The most important step in his life was a signal instance of this, as we may discern in the light of “The Amateur Emigrant” and “Across the Plains,” the report of the conditions in which he fared from England to California to be married. Here as always the great note is the heroic mixture—the thing he saw, morally as well as imaginatively; action and performance at any cost, and the cost made immense by want of health and want of money, illness and anxiety of the extremest kind, and by unsparing sensibilities and perceptions. He had been launched in the world for a fighter with the organism say of a “composer,” though also it must be added with a beautiful saving sanity.
It is doubtless after his settlement in Samoa that his letters have most to give, but there are things they throw off from the first that strike the note above all characteristic, show his imagination always at play, for drollery or philosophy, with his circumstances. The difficulty in writing of him under the personal impression is to suggest enough how directly his being the genius that he was kept counting in it. In 1879 he writes from Monterey to Mr. Edmund Gosse, in