Your mother's heart, your father's bones;
And, like the mandrake, comes with groans."
The phantastic moralist is
supreme, jauntily serious, facetiously
earnest, most
gravely funny in the whole
series of MORAL EMBLEMS.
"Reader, your soul upraise to see,
In yon fair cut designed by me,
The pauper by the highwayside
Vainly soliciting from pride.
Mark how the Beau with easy air
Contemns the
anxious rustic's prayer
And casting a disdainful eye
Goes gaily gallivanting by.
He from the poor averts his head . . .
He will regret it when he's dead."
Now, the man who would trace out step by step and point by point,
clearly and
faithfully, the process by which Stevenson worked
himself so far free of this his besetting
tendency to moralised
symbolism or allegory into the freer air of life and real
character, would do more to throw light on Stevenson's
genius, and
the obstacles he had had to
contend with in becoming a novelist
eager to interpret
definite times and
character, than has yet been
done or even
faithfully attempted. This would show at once
Stevenson's wonderful growth and the saving grace and elasticity of
his
temperament and
genius. Few men who have by force of native
genius gone into allegory or moralised phantasy ever depart out of
that fateful and enchanted region. They are as it were at once
lost and imprisoned in it and kept there as by a spell - the more
they struggle for freedom the more surely is the bewitching charm
laid upon them - they are but like the fly in amber. It was so
with Ludwig Tieck; it was so with Nathaniel Hawthorne; it was so
with our own George MacDonald, whose
professedly real pictures of
life are all informed of this phantasy, which spoils them for what
they
profess to be, and yet to the discerning cannot
disguise what
they really are - the attempts of a
mystic poet and phantasy writer
and allegoristic moralist to walk in the ways of Anthony Trollope
or of Mrs Oliphant, and, like a stranger in a new land always
looking back (at least by a side-glance, an averted or half-averted
face which keeps him from
seeingsteadily and
seeing whole the real
world with which now he is fain to deal), to the country from which
he came.
Stevenson did largely free himself, that is his great
achievement -
had he lived, we
verily believe, so marked was his progress, he
would have been a great and true
realist, a
profoundinterpreter of
human life and its
tragic laws and
wondrous compensations - he
would have shown how to make the full
retreat from fairyland
without
penalty of too early an escape from it, as was the case
with Thomas the Rymer of Ercildoune, and with one other told of by
him, and proved that to have been a
dreamer need not absolutely
close the door to
insight into the real world and to art. This
side of the subject, never even glanced at by Mr Henley or Mr
Zangwill or their CONFRERES, yet demands, and will well
reward the
closest and most careful attention and thought that can be given to
it.
The parabolic element, with the whimsical
humour and turn for
paradoxical inversion, comes out fully in such a work as DR JEKYLL
AND MR HYDE. There his
humour gives body to his fancy, and reality
to the half-whimsical forms in which he embodies the results of
deep and
earnest speculations on human nature and
motive. But even
when he is
professedly
concerned with
incident and adventure
merely, he manages to
communicate to his pages some touch of
universality, as of
unconscious parable or allegory, so that the
reader feels now and then as though some thought, or
motive, or
aspiration, or
weakness of his own were being there
cunningly
unveiled or presented; and not seldom you feel he has also unveiled
and presented some of yours, secret and unacknowledged too.