THE REACTION TO ROMANCE

WHEN a man walks down the street with a very long feather stuck in his hat and streaming behind him, or carrying a gold-hilted rapier cocked at a gallant angle, there are some among the typists and clerks of Clapham Junction shrewd enough to perceive that there is something faintly ostentatious about him. And when a man walks down Piccadilly or the parade at Bournemouth with long hair streaming behind him and surmounted by an embroidered smoking-cap, there are not wanting critics so acute as to deduce (with all the detailed shrewdness of Sherlock Holmes) that such a man is not entirely averse from being looked at. Many long and laborious studies of Stevenson have been published lately, to fortify and establish this remarkable result; and I need not devote myself to proving it further. Let us record with all due solemnity that Robert Louis Stevenson has been convicted by the court of being very vain, if "dressing up" in the manner of a child, and not resenting the consequent conspicuous position, be the marks of vanity. But there is one aspect of this truth which seems to me to have been strangely and even astonishingly overlooked. Everybody talks as if Stevenson had been not only conspicuous but quite unique in this sort of vanity. Everybody seems to assume that among the artists of his time he was entirely alone in his affectation. Contrasting in this respect with the humdrum respectability of Oscar Wilde, notable as the very reverse of the evangelical meekness of Jimmy Whistler, standing out as he does against the stodgy chapel-going piety of Max Beerbohm, having none of the cheery commonplaces of Aubrey Beardsley or the prosaic self-effacement of Richard Le Gallienne, he naturally aroused attention by the slightest deviation into oddity or dandyism; things notoriously so unpopular among the decadents of the 'nineties. Among other things, everybody seems to have forgotten that Stevenson lived for some time among the Parisian art students; who have never been remarkable for the bourgeois regularity of their coats and hats. Yet he actually mentions the offensive smoking-cap himself as originating in the Bohemian masquerade of the Quartier Latin. There he was not so much being eccentric as being conventional; for the convention was unconventionality. A mob of men in that place and at that age, would have played the same sort of tricks and worn the same kind of clothes; nor was Stevenson, as I have said, the only one of them who carried these attitudes and antics through life. Any one of them might have worn a smoking-cap; none of them would have objected to any variety of fool's cap, though they hardly wished it identified with a dunce's cap. Many of them, still alive, would cheerfully admit that the cap fits. But poor Stevenson is to be remembered as a fool, because all the fools are forgotten except Stevenson.

It was not that sort of oddity that was really odd. The costume for which he is now conspicuous was really part of a carnival. The attitude in which he stands, to the astonishment and grief of the critics, was really the fashion of a crowd. But what was really individual and interesting about him was the way in which he did actually react against the surroundings; the point at which he refused to run with the crowd or follow the fashion. No insanity in that cheerful lunatic asylum is so interesting to the psychologist as the shock of Stevenson going sane. No romantic ruffianism in which he may or may not have indulged is so curious as the real spirit of his revolt into respectability.

Treasure Island, if hardly a historical novel, was essentially a historical event. The rise or revolt of R. L. S. must be taken in relation to history, to the history of the whole European mind and mood. It was, first and last, a reaction against pessimism. There was thrown across all that earth and sky the gigantic shadow of Schopenhauer. At least it seemed gigantic then, though some of us may already have suspected that the shadow was larger than the man. Anyhow, in that period we might almost say that pessimism was another name for culture. Cheerfulness was associated with the Philistine, like the broad grin with the bumpkin. Pessimism could be read between the lines of the lightest triolet or most elegant essay. Any one who really remembers that time will admit that the world was much more hopeful after the worst of its wars than it was not long before. Mr. H. G. Wells, whose genius had just been discovered by Henley, was very much older than he is now. He was prophesying that the outline of history would end, not in communism, but in cannibalism. He was prophesying the end of the world: a crack of doom not even cheerful enough to be a day of judgement. Oscar Wilde, who perhaps filled up more room, both in mind and body, than anybody else on that stage at that moment, expressed his philosophy in that bitter parable in which Christ seeks to comfort a man weeping and is answered, "Lord, I was dead and you raised me to life; what else can I do but weep?"

This was the spirit that was behind all that levity; a levity that was like fireworks in more ways than one. We talk of some Whistlerian satire as a squib; but squibs can only shine in the dark. It is all the difference between the colours of fireworks that have their back to the vault of night and the colours of church windows that have their backs to the sun. For these people all the light of life was in the foreground; there was nothing in the background but an abyss. They were rather nihilists than atheists; for there is a difference between worshipping Nothing and not worshipping anything. Now the interest of the next stage of Stevenson is that he stood up suddenly amid all these things and shook himself with a sort of impatient sanity; a shrug of scepticism about scepticism. His real distinction is that he had the sense to see that there is nothing to be done with Nothing. He saw that in that staggering universe it was absolutely necessary to stand somehow on something; and instead of falling about anyhow with all the other lunatics, he did seek for a ledge on which he could really stand. He did definitely and even dramatically refuse to go mad; or, what is very much worse, to remain futile. But the whole turning-point of the tale is now missed; partly by the too concentrated idolatry of the sentimentalists, and partly by the too concentrated spite of the iconoclasts. They miss the historic relation of the man to his time and school. It was one of the crowd of artists who showed mutinous signs of deserting art for life. It was even one of the decadents who refused to decay.

Now what really remains interesting in this story of Stevenson, in spite of all the vain repetitions, is the authority to which he appealed. It was rather an odd one; and many would have said that his sanity was madder than madness. He did not appeal to any ideal of the sort usually pursued by idealists; he did not try to construct an optimist philosophy like Spinoza or Emerson; he did not preach a good time coming like William Morris or Wells; he did not appeal to Imperialism or Socialism or Scotland: he appealed to Skelt.

Familiarity had dulled the divine paradox that we should learn morality from little children. He advanced the more disturbing paradox that we should learn morality from little boys. The young child who should lead us was the common (or garden) little boy: the boy of the catapult and the toy pistoland the toy theatre. Stevenson seemed to say to the semi-suicides drooping round him at the café tables; drinking absinthe and discussing atheism: "Hang it all, the hero of a penny-dreadful play was a better man than you are! A Penny Plain and Twopence Coloured was an art more worthy of living men than the art that you are all professing. Painting pasteboard figures of pirates and admirals was better worth doing than all this, it was fun; it was fighting; it was a life and a lark; and if I can't do anything else, dang me but I will try to do that again!" So was presented to the world this entertaining spectacle; of the art student surrounded by easels on which other artists were debating the fine shades of Corot and Renoir, while he himself was gravely painting mariners a bright prussian blue of a shilling paint-box and shedding their blood in streams of unmistakable crimson lake. That is the primary paradox about Stevenson's early manhood; or, if you will, the real joke about Stevenson. Of all that intellectualism in Bohemia the result was the return to Skelt. Of all that wallowing in Balzac the remarkable outcome was Treasure Island. But it is no exaggeration to say that it had still more to do with toys than treasures. Stevenson was not really looking forward or outward to a world of larger things, but backward and inward into a world of smaller ones: in the peepshow of Skelt, which was still the true window of the world.

Thus, Skelt and his puppets seemed made for a repartee to the favourite phrases of the pessimists. All that world was haunted as with melody by the hedonist despair of Fitzgerald's Omar: one of the great historical documents of this history. No image could make them bow their heads with more hopelessness and helplessness of despair than that famous one:

"We are none other than a moving row Of magic shadow-shapes that come and go Around the sun-illumined lantern held At midnight by the Master of the show."

And no image could make the infant Stevenson kick his little legs with keener joy. His answer, in effect, to the philosophy of the magic shadow-shapes, was that the shadow-shapes really were magic. At any rate, they really did seem to the children to be magic: and it was not false but true psychology to call the thing a magic lantern. He was capable of feeling passionate delight in being such a Lantern-Bearer. He was capable even of feeling passionate delight in being such a shadow. And any one who has seen a shadow pantomime as a child, as I have, and who has retained any living link with his own childhood, will realise that Omar was as unlucky in his commentary on the lantern-show as the delightful curate in Voces Populi who talked about Valentine and Orson. He was teaching optimism as an illustration to pessimism. Later we may make a guess at the nature of this glamour about such tricks or toys; the point for the moment is that they were associated with gloom in philosophy, while they were associated with pleasure in psychology. The same applies to more common examples of the fancies of the fatalist. When the sage said that men are "only puppets," it must have seemed to the young Louis almost like the blasphemy of saying they were "only pirates." It might well seem to any child like saying that they were only fairies. There was something weak about bewailing drearily the fate of the puppets of destiny, to an audience that was eagerly awaiting the joyful apocalypse of a puppet-show. The Stevensonian reaction might be roughly represented by the suggestionif we are as futile as puppets, is there anything particular to prevent our being as entertaining, as Punch? And there is, as I say, a real spiritual mystery behind this mystical ecstasy of mimicry. If living dolls were so dull and dead, why in the world were dead dolls so very much alive? And if being a puppet is so depressing, how is it that the puppet of a puppet can be so enthralling?

It is to be noted that this sort of romanticism, as compared with realism, is not more superficial, but on the contrary more fundamental. It is an appeal from what is experienced to what is felt. When people are avowedly talking about happiness and unhappiness, as the pessimists were, it is futile to say that shadows and sham pasteboard figures ought not to make people happy. It was futile to tell the young Stevenson that the toy-theatre shop was a dingy booth stocked with dusty rolls of paper, covered with ill-drawn and ungainly figures; and to insist that these were the only facts. He naturally answered: "My facts were my feelings; and what do you make of those facts? Either there is something in Skelt; which you do not admit. Or else there is something in Life; which you also do not admit." Hence arose that answer to the realists which is best expressed in the essay called The Lantern-Bearers. The realists, who overlook so many details, have never quite noticed where lay the falsity of their method; it lay in the fact that so long as it was materialistic, it could not really be realistic. For it could not be psychological. If toys and trifles can make people happy, that happiness is not a trifle and certainly cannot be a trick.

This is the point that has been missed in all the talk about posing. Those who repeat for the hundredth time that he posed have not got as far as the obvious question, "Posed as what?" All the other poets and artists posed; but they posed as the members of the Suicide Club. He posed as Prince Florizel with a sword, challenging the President of the Suicide Club. He was, if you will, the foolish masker I have imagined, tricked out with a feather and a sword or dagger; but not tricked out more extravagantly than those who appeared as fantastic figures at their own funeral. If he had a feather, it was not a white feather; if he had a dagger, it was not a poisoned dagger or the pessimist dagger that is turned inwards; in short, if he had a posture it was a posture of defence and even of defiance. And it was, after all, the fashionable posture of his time which he set himself to defy. And it is here that it is really relevant to remember that he was not altogether posturing when he said he was defying death. Death was much nearer to him than it was to the pessimists; and he knew it whenever he coughed and found blood on his handkerchief. He was not pretending to defy it half so much as they were pretending to seek it. It is no very unreasonable claim for him that he made a better use of his bad health than Oscar Wilde made of his good health; and nothing affected in the externals of either can alter the contrast. The dagger may have been theatrical; but the blood was real. As Cyrano said of his friend, "Le sang, c'est le sien." And it really was the absence of courage in the current culture that awoke his protest or pose. In any case, the intellectual fine shades were morally more than a little shady. But he hated chiefly the loss of what soldiers call morale rather than what parsons call morality. All that world cowered under the shadow of death. All alike were travelling under the flag of the skull and crossbones. But he alone could call it the Jolly Roger.

What is really not appreciated about Stevenson is the abruptness of this breakaway. We talk of looking back with gratitude to innovators or the introducers of new ideas; but in fact nothing is more difficult to do, since for us they are now necessarily old ideas. There is only one moment, at most, of triumph for the original thinker; while his thought is an originality and before it becomes merely an origin. News spreads quickly; that is, it grows stale quickly; and though we may call a work wonderful, we cannot easily put ourselves in the position of those for whom it was a cause of wonder, in the sense of surprise. Between the first fashion of talking too much in praise of Stevenson, and the newer fashion of talking nonsense in disparagement of Stevenson, we have become quite familiar with the association of certain ideas; of extreme stylistic polish applied to rough schoolboy adventure, of the Penny Plain figure tinted as carefully as a miniature. But these ideas were not always associated in the way in which Stevenson associated them. We may tear the combination to pieces, but it was he who wove it together; andas many would have thought of very incongruous threads. It really did seem preposterous to many that a serious literary artist of the age of Pater should devote himself to rewriting Penny Dreadfuls. It was just as if George Meredith had chosen to put all his fine feminine psychology into writing the sort of twopenny novelettes that were read by housemaids, and called "Pansy's Elopement" or "Winnie's Wedding Bells." It was as if Henry James had been heard to say or, so to speak, to suggest, that there was, after all, and in a way quite annoyingly overlooked, something something that really should have been better evaluated and re-expressed, as it were, in all that really unquestionable productiveness of Ally Sloper's Half-Holiday. It was as if Paderewski had insisted on only going round with a barrel-organ; or Whistler had confined himself solely to painting public-house signs. A distinguished dramatist, who is old enough to remember in his youth the first successes of Stevenson's manhood, told me how absurd it seemed at the time that any one should take seriously such gutter literature of the gamin. A book written only for boys generally meant a book written only for errand-boys. It seemed a strange association of ideas that it should be written carefully as a book for men, and even for literary men. It does not seem so strange now; because Stevenson has done it quite a long time ago. But it is important to realise that not everybody thought it natural to expend the style of Pulvis et Umbra on the equivalent of "Dick Deadshot Among the Pirates." It was the very last sort of enthusiasm that would have easily carried any of his cultivated contemporaries off their feet. The typical literary man, with the outlook and philosophy of that generation, would have been about as likely to pass his life in throwing paper darts or chalking caricatures of his publisher on a blackboard.

Thus, there is one of those phrases quoted too much, as against so many quoted too little, that he and his artistic friends bore with them bulky yellow volumes "quite impudently French." But, by the tests of that artistic world, Treasure Island is quite impudently English. By the conventions of that world, there was nothing unconventional about studying Balzac or being Bohemian. It was much more unconventional to study Captain Marryat and to write about the good captain who flew the Union Jack over the stockade, in defiance of the bad buccaneers. From the standpoint of Art in those days, even that flag was a much too Moral Emblem. It is only when we understand what there was that seemed quaint and even undignified in his adventurous antic, that we can clearly understand the unconscious truths that lay behind it. For, as against the black flag of pessimism, his flag really was a Moral Emblem. There was a morality in his reaction into adventure; his appeal to the spirit of the highwaythough it were sometimes the spirit of the highwayman.

In other words, he appealed to his own childhood. A tale is told of it: that when some one chaffed him about a toy sword he replied solemnly, "The hilt is of gold and the scabbard of silver and the child is well content." It was to that moment that he suddenly returned. Groping for something that would satisfy, he found nothing so solid as that fancy. That had not been Nothing; that had not been pessimistic; that was not a life over which Lazarus could do nothing but weep. That was as positive as the paints in the paint-box and the difference between vermilion and chrome yellow. Its pleasures had been as solid as the taste of sweets; and it was nonsense to say that there had been nothing in them worth living for. Play at least is always serious. So long as we can say, "Let us pretend," we must be sincere. Therefore he appealed across the void or valley of his somewhat sterile youth to that garden of childhood, which he had once known and which was his nearest notion of paradise. There were no shrines in the faith or in the city of his fathers; there were no channels of consecration or confession; there was no imagery save in the faceless images left behind by the image-breakers. A man in his mood of reaction towards happiness, might almost as well have prayed to the Black Man who figured as the Scottish provincial devil as to the God behind the black cloud that sent out such stiff horrific rays in the Calvinist family Bible. But in all that waste of Scottish moorland, the sun still glowed on that square of garden like a patch of gold. The lessons were lost, but the toys were eternal; the men had been harsh, but the child had been well content; if there were nothing better, he would return.

In the elementary philosophy of the thing, of course, what moved Stevenson was what moved Wordsworth; the unanswerable fact of that first vividness in the vision of life. But he had it in his own quaint way; and it was hardly the vision of meadow, grove and stream. It was rather the vision of coffin, gallows and gory sabre that were apparelled in celestial light, the glory and the freshness of a dream. But he was appealing to a sort of sanguinary innocence against a sort of silent and secretive perversion. Here, as everywhere in this rude outline, I am taking a thing like Treasure Island, in a spirit of simplification and symbol. I do not mean, of course, that he wrote Treasure Island sitting in a café on the boulevards; any more than I mean that he wrote Jekyll and Hyde in a cellar or a garret in the lands of the Cowgate. Both these books were developed by stages of the greatest literary care, in later life; and pursued with the characteristic consistency of his art through all the equally characteristic mutability of his domicile. When I say that a certain book came out of a certain experience, I mean that he drew on that experience to write it, or that it was the ultimate result of the reaction which that experience produced in his mind. And I mean in this case that what shaped and sharpened Stevenson's memory of the mere nonsense of Skeltery was his growing sense of the need of some escape from the suffocating cynicism of the mass of men and artists in his time. He wished to go back to that nonsense; for it seemed, by comparison, quite sensible.

Treasure Island was written as a boy's book; perhaps it is not always read as a boy's book. I sometimes fancy that a real boy could read it better if he could read it backwards. The end, which is full of skeletons and ancient crime, is in the fullest sense, beautiful; it is even idealistic. For it is the realisation of an ideal, that which is promised in its provocative and beckoning map; a vision not only of white skeletons but also green palm trees and sapphire seas. But the beginning of the book, considered as a boy's book, can hardly be called idealistic; and is found in practice to be rather too realistic. I may make an egotistical confession here, which I think is not unique and not without its universal inference about the spirit of youth. When I read the book as a child, I was not horrified by what are called the horrors. Something did indeed shock me, just a little more than a child should be shocked; for of course he would have no fun if he were never shocked at all. But what shook me was not the dead man's chest or the live man's crimes or the information that "Drink and the devil have done for the rest"; all that seemed to me quite cheery and comforting. What did seem to me ugly was exactly what might happen in any inn-parlour, if there were no pirates in the world. It was that business about apoplexy; or some sort of alcoholic poisoning. It was the sailor having a mysterious thing called a stroke; so much more terrifying than any sabre-stroke. I was ready to wade in seas of gore; for all that gore was crimson lake; and indeed I always imagined it as a lake of crimson. Exactly what I was not ready for were those few drops of blood drawn from the arm of the insensible sailor, when he was bled by the surgeon. That blood is not crimson lake. Thus we have the paradox that I was horrified by the act of healing; while all the rowdy business of hitting and hurting did not hurt me at all. I was disgusted with an act of mercy, because it took the form of medicine. I will not pause to draw the many morals of this paradox; especially in relation to a common fallacy of pacifism. I will content myself with saying, whether I make my meaning clear or no, that a child is not wicked enough to disapprove of war.

But whatever be the case with most boys, there was certainly one boy who enjoyed Treasure Island; and his name was Robert Louis Stevenson. He really had very much of the feeling of one who had got away to great waters and outlandish lands; perhaps even more vividly than he had it later, when he made that voyage not metaphorically but materially, and found his own Treasure Island in the South Seas. But just as in the second case he was fleeing to clear skies from unhealthy climates, so he was in reviving the adventure story escaping from an exceedingly unhealthy climate. The microbe of morbidity maybe have been within him, as well as the germ of phthisis; but in the cities he had left behind pessimism was raging like a pestilence. Multitudes of pale-faced poets, formless and forgotten, sat crowded at those café tables like ghosts in Hades, worshipping "la sorcière glauque," like that one of them whose mortality has been immortalised by Max. It is too often forgotten that if Stevenson had really been only a pale young man making wax flowers, he would have found plenty of pale young men to make them with him; and the flowers and flower-makers would long have withered together. But he alone escaped, as from a city of the dead; he cut the painter as Jim Hawkins stole the boat, and went on his own voyage, following the sun. Drink and the devil have done for the rest, especially the devil; but then they were drinking absinthe and not with a "Yo ho ho"; consuming it without the most feeble attempt at any "Yo ho ho" a defect which was, of course the most serious and important part of the affair. For "Yo ho ho" was precisely what Stevenson, with his exact choice of words, particularly desired to say just then. It was for the present his most articulate message to mankind.

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