among the immortals. The
decorativepainter, whose pencil runs so
freely in limning these half-human
processions of outlined fauns
and wood-nymphs, is asked at last to paint an easel picture.
Stevenson is best where he shows most
restraint, and his peculiarly
rich fancy, which ran riot at the
suggestion of every passing whim,
gave him, what many a modern
writer sadly lacks, plenty to
restrain, an exuberant field for self-denial. Here was an
opportunity for art and labour; the luxuriance of the virgin
forests of the West may be clipped and pruned for a
lifetime with
no fear of reducing them to the trim similitude of a Dutch garden.
His bountiful and
generous nature could profit by a spell of
training that would emaciate a poorer stock. From the first, his
delight in earth and the earth-born was keen and multiform; his
zest in life
'put a spirit of youth in everything,
That heavy Saturn laugh'd and leap'd with him;'
and his fancy, light and quick as a child's, made of the world
around him an enchanted pleasance. The
realism, as it is called,
that deals only with the banalities and squalors of life, and
weaves into the mesh of its story no
character but would make you
yawn if you passed ten minutes with him in a railway-carriage,
might well take a lesson from this man, if it had the brains.
Picture to yourself (it is not hard) an average
suburb of London.
The long rows of
identical bilious brick houses, with the
inevitable lace curtains, a
symbol merely of the will and power to
wash; the awful nondescript object, generally under glass, in the
front window - the
shrine of the unknown god of art; the sombre
invariable citizen, whose garb gives no
suggestion of his
occupation or his tastes - a person, it would seem, only by
courtesy; the piano-organ the music of the day, and the hideous
voice of the vendor of half-penny papers the music of the night;
could anything be less
promising than such a row of houses for the
theatre of
romance? Set a
realist to walk down one of these
streets: he will inquire about milk-bills and servants' wages,
latch-keys and Sunday avocations, and come back with a tale of
small meannesses and petty respectabilities, written in the
approved modern fashion. Yet Stevenson, it seems likely, could not
pass along such a line of brick bandboxes without having his pulses
set a-throbbing by the
imaginative possibilities of the place. Of
his own Lieutenant Brackenbury Rich he says:
'The
succession of faces in the lamplight stirred the
lieutenant's
imagination; and it seemed to him as if he could walk for ever in
that stimulating city
atmosphere and surrounded by the
mystery of
four million private lives. He glanced at the houses and marvelled
what was passing behind those warmly lighted windows; he looked
into face after face, and saw them each
intent upon some unknown
interest,
criminal or kindly.'
It was that same evening that Prince Florizel's friend, under the
name of Mr. Morris, was giving a party in one of the houses of West
Kensington. In one at least of the houses of that brick wilderness
human spirits were being tested as on an anvil, and most of them
tossed aside. So also, in, THE RAJAH'S DIAMOND, it was a quiet
suburban garden that witnessed the sudden
apparition of Mr. Harry
Hartley and his treasures precipitated over the wall; it was in the
same garden that the Rev. Simon Rolles suddenly, to his own
surprise, became a thief. A
monotony of bad building is no doubt a
bad thing, but it cannot paralyse the activities or
frustrate the
agonies of the mind of man.
To a man with Stevenson's live and searching
imagination, every
work of human hands became vocal with possible associations.
Buildings
positively chattered to him; the little inn at
Queensferry, which even for Scott had meant only
mutton and currant
jelly, with cranberries 'vera weel preserved,' gave him the
cardinal
incident of KIDNAPPED. How should the world ever seem
dull or
sordid to one whom a railway-station would take into its
confidence, to whom the very flagstones of the
pavement told their