Complete Works of Robert Louis Stevenson (Illustrated)

by Robert Louis Stevenson

  One thing that accompanies the passion in its first blush is certainly difficult to explain. It comes (I do not quite see how) that from having a very supreme sense of pleasure in all parts of life — in lying down to sleep, in waking, in motion, in breathing, in continuing to be — the lover begins to regard his happiness as beneficial for the rest of the world and highly meritorious in himself. Our race has never been able contentedly to suppose that the noise of its wars, conducted by a few young gentlemen in a corner of an inconsiderable star, does not re-echo among the courts of Heaven with quite a formidable effect. In much the same taste, when people find a great to-do in their own breasts, they imagine it must have some influence in their neighbourhood. The presence of the two lovers is so enchanting to each other that it seems as if it must be the best thing possible for everybody else. They are half inclined to fancy it is because of them and their love that the sky is blue and the sun shines. And certainly the weather is usually fine while people are courting.... In point of fact, although the happy man feels very kindly towards others of his own sex, there is apt to be something too much of the magnifico in his demeanour. If people grow presuming and self-important over such matters as a dukedom or the Holy See, they will scarcely support the dizziest elevation in life without some suspicion of a strut; and the dizziest elevation is to love and be loved in return. Consequently, accepted lovers are a trifle condescending in their address to other men. An overweening sense of the passion and importance of life hardly conduces to simplicity of manner. To women they feel very nobly, very purely, and very generously, as if they were so many Joan-of-Arcs; but this does not come out in their behaviour; and they treat them to Grandisonian airs marked with a suspicion of fatuity. I am not quite certain that women do not like this sort of thing; but really, after having bemused myself over “Daniel Deronda,” I have given up trying to understand what they like.

  If it did nothing else, this sublime and ridiculous superstition, that the pleasure of the pair is somehow blessed to others, and everybody is made happier in their happiness, would serve at least to keep love generous and greathearted. Nor is it quite a baseless superstition after all. Other lovers are hugely interested. They strike the nicest balance between pity and approval, when they see people aping the greatness of their own sentiments. It is an understood thing in the play, that while the young gentlefolk are courting on the terrace, a rough flirtation is being carried on, and a light, trivial sort of love is growing up, between the footman and the singing chambermaid. As people are generally cast for the leading parts in their own imaginations, the reader can apply the parallel to real life without much chance of going wrong. In short, they are quite sure this other love-affair is not so deep-seated as their own, but they like dearly to see it going forward. And love, considered as a spectacle, must have attractions for many who are not of the confraternity. The sentimental old maid is a commonplace of the novelists; and he must be rather a poor sort of human being, to be sure, who can look on at this pretty madness without indulgence and sympathy. For nature commends itself to people with a most insinuating art; the busiest is now and again arrested by a great sunset; and you may be as pacific or as coldblooded as you will, but you cannot help some emotion when you read of well-disputed battles, or meet a pair of lovers in the lane.

  Certainly, whatever it may be with regard to the world at large, this idea of beneficent pleasure is true as between the sweethearts. To do good and communicate is the lover’s grand intention. It is the happiness of the other that makes his own most intense gratification. It is not possible to disentangle the different emotions, the pride, humility, pity, and passion, which are excited by a look of happy love or an unexpected caress. To make one’s self beautiful, to dress the hair, to excel in talk, to do anything and all things that puff out the character and attributes and make them imposing in the eyes of others, is not only to magnify oneself, but to offer the most delicate homage at the same time. And it is in this latter intention that they are done by lovers; for the essence of love is kindness: and indeed it may be best defined as passionate kindness: kindness, so to speak, run mad and become importunate and violent. Vanity in a merely personal sense exists no longer. The lover takes a perilous pleasure in privately displaying his weak points and having them, one after another, accepted and condoned. He wishes to be assured that he is not loved for this or that good quality, but for himself, or something as like himself as he can contrive to set forward. For, although it may have been a very difficult thing to paint the marriage of Cana, or write the fourth act of Antony and Cleopatra, there is a more difficult piece of art before every one in this world who cares to set about explaining his own character to others. Words and acts are easily wrenched from their true significance; and they are all the language we have to come and go upon. A pitiful job we make of it, as a rule. For better or worse, people mistake our meaning and take our emotions at a wrong valuation. And generally we rest pretty content with our failures; we are content to be misapprehended by crackling flirts; but when once a man is moonstruck with this affection of love, he makes it a point of honour to clear such dubieties away. He cannot have the Best of her Sex misled upon a point of this importance; and his pride revolts at being loved in a mistake.

  He discovers a great reluctance to return on former periods of his life. To all that has not been shared with her, rights and duties, bygone fortunes and dispositions, he can look back only by a difficult and repugnant effort of the will. That he should have wasted some years in ignorance of what alone was really important, that he may have entertained the thought of other women with any show of complacency, is a burthen almost too heavy for his self-respect. But it is the thought of another past that rankles in his spirit like a poisoned wound. That he himself made a fashion of being alive in the bald, beggarly days before a certain meeting, is deplorable enough in all good conscience. But that She should have permitted herself the same liberty seems inconsistent with a Divine providence.

  A great many people run down jealousy, on the score that it is an artificial feeling, as well as practically inconvenient. This is scarcely fair; for the feeling on which it merely attends, like an ill-humoured courtier, is itself artificial in exactly the same sense and to the same degree. I suppose what is meant by that objection is that jealousy has not always been a character of man; formed no part of that very modest kit of sentiments with which he is supposed to have begun the world; but waited to make its appearance in better days and among richer natures. And this is equally true of love, and friendship, and love of country, and delight in what they call the beauties of nature, and most other things worth having. Love, in particular, will not endure any historical scrutiny: to all who have fallen across it, it is one of the most incontestable facts in the world; but if you begin to ask what it was in other periods and countries, in Greece, for instance, the strangest doubts begin to spring up, and everything seems so vague and changing that a dream is logical in comparison. Jealousy, at any rate, is one of the consequences of love; you may like it or not, at pleasure; but there it is.

  It is not exactly jealousy, however, that we feel when we reflect on the past of those we love. A bundle of letters found after years of happy union creates no sense of insecurity in the present; and yet it will pain a man sharply. The two people entertain no vulgar doubt of each other: but this pre-existence of both occurs to the mind as something indelicate. To be altogether right, they should have had twin birth together, at the same moment with the feeling that unites them. Then indeed it would be simple and perfect and without reserve or afterthought. Then they would understand each other with a fulness impossible otherwise. There would be no barrier between them of associations that cannot be imparted. They would be led into none of those comparisons that send the blood back to the heart. And they would know that there had been no time lost, and they had been together as much as was possible. For besides terror for the separation that must follow some time or other in the future, men feel anger, and someth
ing like remorse, when they think of that other separation which endured until they met. Some one has written that love makes people believe in immortality, because there seems not to be room enough in life for so great a tenderness, and it is inconceivable that the most masterful of our emotions should have no more than the spare moments of a few years. Indeed, it seems strange; but if we call to mind analogies, we can hardly regard it as impossible.

  “The blind bow-boy,” who smiles upon us from the end of terraces in old Dutch gardens, laughingly hails his bird-bolts among a fleeting generation. But for as fast as ever he shoots, the game dissolves and disappears into eternity from under his falling arrows; this one is gone ere he is struck; the other has but time to make one gesture and give one passionate cry; and they are all the things of a moment. When the generation is gone, when the play is over, when the thirty years’ panorama has been withdrawn in tatters from the stage of the world, we may ask what has become of these great, weighty, and undying loves, and the sweethearts who despised mortal conditions in a fine credulity; and they can only show us a few songs in a bygone taste, a few actions worth remembering, and a few children who have retained some happy stamp from the disposition of their parents.

  IV

  TRUTH OF INTERCOURSE

  Among sayings that have a currency in spite of being wholly false upon the face of them for the sake of a half-truth upon another subject which is accidentally combined with the error, one of the grossest and broadest conveys the monstrous proposition that it is easy to tell the truth and hard to tell a lie. I wish heartily it were. But the truth is one; it has first to be discovered, then justly and exactly uttered. Even with instruments specially contrived for such a purpose — with a foot-rule, a level, or a theodolite — it is not easy to be exact; it is easier, alas! to be inexact. From those who mark the divisions on a scale to those who measure the boundaries of empires or the distance of the heavenly stars, it is by careful method and minute, unwearying attention that men rise even to material exactness or to sure knowledge even of external and constant things. But it is easier to draw the outline of a mountain than the changing appearance of a face; and truth in human relations is of this more intangible and dubious order: hard to seize, harder to communicate. Veracity to facts in a loose, colloquial sense — not to say that I have been in Malabar when as a matter of fact I was never out of England, not to say that I have read Cervantes in the original when, as a matter of fact, I know not one syllable of Spanish — this, indeed, is easy and to the same degree unimportant in itself. Lies of this sort, according to circumstances, may or may not be important; in a certain sense even they may or may not be false. The habitual liar may be a very honest fellow, and live truly with his wife and friends; while another man who never told a formal falsehood in his life may yet be himself one lie — heart and face, from top to bottom. This is the kind of lie which poisons intimacy. And, vice versâ, veracity to sentiment, truth in a relation, truth to your own heart and your friends, never to feign or falsify emotion — that is the truth which makes love possible and mankind happy.

  L’art de bien dire is but a drawing-room accomplishment unless it be pressed into the service of the truth. The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish. This is commonly understood in the case of books or set orations; even in making your will, or writing an explicit letter, some difficulty is admitted by the world. But one thing you can never make Philistine natures understand; one thing, which yet lies on the surface, remains as unseizable to their wits as a high flight of metaphysics — namely, that the business of life is mainly carried on by means of this difficult art of literature, and according to a man’s proficiency in that art shall be the freedom and the fulness of his intercourse with other men. Anybody, it is supposed, can say what he means; and in spite of their notorious experience to the contrary, people so continue to suppose. Now, I simply open the last book I have been reading — Mr. Leland’s captivating “English Gipsies.” “It is said,” I find on , “that those who can converse with Irish peasants in their native tongue form far higher opinions of their appreciation of the beautiful, and of the elements of humour and pathos in their hearts, than do those who know their thoughts only through the medium of English. I know from my own observations that this is quite the case with the Indians of North America and it is unquestionably so with the gipsy.” In short, where a man has not a full possession of the language, the most important, because the most amiable, qualities of his nature have to lie buried and fallow; for the pleasure of comradeship, and the intellectual part of love, rest upon these very “elements of humour and pathos.” Here is a man opulent in both, and for lack of a medium he can put none of it out to interest in the market of affection! But what is thus made plain to our apprehensions in the case of a foreign language is partially true even with the tongue we learned in childhood. Indeed, we all speak different dialects; one shall be copious and exact, another loose and meagre; but the speech of the ideal talker shall correspond and fit upon the truth of fact — not clumsily, obscuring lineaments, like a mantle, but cleanly adhering, like an athlete’s skin. And what is the result? That the one can open himself more clearly to his friends, and can enjoy more of what makes life truly valuable — intimacy with those he loves. An orator makes a false step; he employs some trivial, some absurd, some vulgar phrase; in the turn of a sentence he insults, by a side wind, those whom he is labouring to charm; in speaking to one sentiment he unconsciously ruffles another in parenthesis; and you are not surprised, for you know his task to be delicate and filled with perils. “O frivolous mind of man, light ignorance!” As if yourself, when you seek to explain some misunderstanding or excuse some apparent fault, speaking swiftly and addressing a mind still recently incensed, were not harnessing for a more perilous adventure; as if yourself required less tact and eloquence; as if an angry friend or a suspicious lover were not more easy to offend than a meeting of indifferent politicians! Nay, and the orator treads in a beaten round; the matters he discusses have been discussed a thousand times before; language is ready-shaped to his purpose; he speaks out of a cut-and-dry vocabulary. But you — may it not be that your defence reposes on some subtlety of feeling, not so much as touched upon in Shakespeare, to express which, like a pioneer, you must venture forth into zones of thought still unsurveyed, and become yourself a literary innovator? For even in love there are unlovely humours; ambiguous acts, unpardonable words, may yet have sprung from a kind sentiment. If the injured one could read your heart, you may be sure that he would understand and pardon; but, alas! the heart cannot be shown — it has to be demonstrated in words. Do you think it is a hard thing to write poetry? Why, that is to write poetry, and of a high, if not the highest, order.

  I should even more admire “the lifelong and heroic literary labours” of my fellow-men, patiently clearing up in words their loves and their contentions, and speaking their autobiography daily to their wives, were it not for a circumstance which lessens their difficulty and my admiration by equal parts. For life, though largely, is not entirely carried on by literature. We are subject to physical passions and contortions; the voice breaks and changes, and speaks by unconscious and winning inflections; we have legible countenances, like an open book; things that cannot be said look eloquently through the eyes; and the soul, not locked into the body as a dungeon, dwells ever on the threshold with appealing signals. Groans and tears, looks and gestures, a flush or a paleness, are often the most clear reporters of the heart, and speak more directly to the hearts of others. The message flies by these interpreters in the least space of time, and the misunderstanding is averted in the moment of its birth. To explain in words takes time and a just and patient hearing; and in the critical epochs of a close relation, patience and justice are not qualities on which we can rely. But the look or the gesture explains things in a breath; they tell their message without ambiguity; unlike speech, they cannot stumble, by
the way, on a reproach or an allusion that should steel your friend against the truth; and then they have a higher authority, for they are the direct expression of the heart, not yet transmitted through the unfaithful and sophisticating brain. Not long ago I wrote a letter to a friend which came near involving us in quarrel; but we met, and in personal talk I repeated the worst of what I had written, and added worse to that; and with the commentary of the body it seemed not unfriendly either to hear or say. Indeed, letters are in vain for the purposes of intimacy; an absence is a dead break in the relation; yet two who know each other fully and are bent on perpetuity in love, may so preserve the attitude of their affections that they may meet on the same terms as they had parted.