[Note 1: _Sir, we had a good talk_. This remark was made by the Doctor
in 1768, the morning after a memorable meeting at the Crown and Anchor
tavern, where he had been engaged in conversation with seven or eight
notable literary men. "When I called upon Dr. Johnson next morning,"
says Boswell, "I found him highly satisfied with his colloquial
prowess the preceding evening. 'Well,' said he, 'we had good talk.'
BOSWELL: 'Yes, sir, you tossed and gored several persons.'"]
[Note 2: _As we must account_. This remark of Franklin's occurs in
_Poor Richard's Almanac_ for 1738.]
[Note 3: _Flies ... in the amber_. Bartlett gives Martial.]
"The bee enclosed and through the amber shown,
Seems buried in the juice which was his own."
Bacon, Donne, Herrick, Pope and many other authors speak of flies in
amber.]
[Note 4: _Fancy free_. See _Midsummer Night's Dream_, Act II, Sc. 2.
"And the imperial votaress passed on,
In maiden meditation, fancy-free."
This has been called the most graceful among all the countless
compliments received by Queen Elizabeth. The word "fancy" in the
Shaksperian quotation means simply "love."]
[Note 5: _A spade a spade_. The phrase really comes from Aristophanes,
and is quoted by Plutarch, as Philip's description of the rudeness of
the Macedonians. _Kudos_. Greek word for "pride", used as slang by
school-boys in England.]
[Note 6: _Trailing clouds of glory_. _Trailing with him clouds of
glory._ This passage, from Wordsworth's _Ode on the Intimations of
Immortality_ (1807), was a favorite one with Stevenson, and he quotes
it several times in various essays.]
[Note 7: _The Flying Dutchman_. Wagner's _Der Fliegende Holländer_
(1843), one of his earliest, shortest, and most beautiful operas. Many
German performances are given in the afternoon, and many German
theatres have pretty gardens attached, where, during the long
intervals (_grosse Pause_) between the acts, one may refresh himself
with food, drink, tobacco, and the open air. Germany and German art,
however, did not have anything like the influence on Stevenson exerted
by the French country, language, and literature.]
[Note 8: _Theophrastus_. A Greek philosopher who died 287-B.C. His
most influential work was his _Characters_, which, subsequently
translated into many modern languages, produced a whole school of
literature known as the "Character Books," of which the best are
perhaps Sir Thomas Overbury's _Characters_ (1614), John Earle's
_Microcosmographie_ (1628), and the _Caractères_ (1688) of the great
French writer, La Bruyère.]
[Note 9: _Consuelo, Clarissa Harlowe, Vautrin, Steenie Steenson_.
_Consuelo_ is the title of one of the most notable novels by the
famous French authoress, George Sand, (1804-1876), whose real name was
Aurore Dupin. _Consuelo_ appeared in 1842.... _Clarissa_ (1747-8) was
the masterpiece of the novelist Samuel Richardson (1689-1761). This
great novel, in seven fat volumes, was a warm favorite with Stevenson,
as it has been with most English writers from Dr. Johnson to Macaulay.
Writing to a friend in December 1877, Stevenson said, "Please, if you
have not, and I don't suppose you have, already read it, institute a
search in all Melbourne for one of the rarest and certainly one of the
best of books--_Clarissa Harlowe._ For any man who takes an interest
in the problems of the two sexes, that book is a perfect mine of
documents. And it is written, sir, with the pen of an angel."
(_Letters_, I, 141.) Editions of _Clarissa_ are not so scarce now as
they were thirty years ago; several have appeared within the last few
years.... _Vautrin_ is one of the most remarkable characters in
several novels of Balzac; see especially _Pere Goriot_ (1834) ...
_Steenie Steenson_ in Scott's novel _Redgauntlet_ (1824).]
[Note 10: _No human being, etc_. Stevenson loved action in novels, and
was impatient, as many readers are, when long-drawn descriptions of
scenery were introduced. Furthermore, the love for wild scenery has
become as fashionable as the love for music; the result being a very
general hypocrisy in assumed ecstatic raptures.]
[Note 11: _You can keep no men long, nor Scotchmen at all_. Every
Scotchman is a born theologian. Franklin says in his _Autobiography_,
"I had caught this by reading my father's books of dispute on
Religion. Persons of good sense, I have since observed seldom fall
into it, except lawyers, university men, and generally men of all
sorts who have been bred at Edinburgh." (Chap. I.)]
[Note 12: _A court of love_. A mediaeval institution of chivalry,
where questions of knight-errantry, constancy in love, etc., were
discussed and for the time being, decided.]
[Note 13: _Spring-Heel'd Jack_. This is Stevenson's cousin "Bob,"
Robert Alan Mowbray Stevenson (1847-1900), an artist and later
Professor of Fine Arts at University College, Liverpool. He was one of
the best conversationalists in England. Stevenson said of him,
"My cousin Bob, ... is the man likest and most unlike to me that I
have ever met.... What was specially his, and genuine, was his
faculty for turning over a subject in conversation. There was an
insane lucidity in his conclusions; a singular, humorous eloquence
in his language, and a power of method, bringing the whole of life
into the focus of the subject under hand; none of which I have ever
heard equalled or even approached by any other talker." (Balfour's
_Life of Stevenson_, I, 103. For further remarks on the cousin, see
note to page 104 of the _Life_.)]
[Note 14: _From Shakespeare to Kant, from Kant to Major Dyngwell_.
Immanuel Kant, the foremost philosopher of the eighteenth century,
born at Königsberg in 1724, died 1804. His greatest work, the
_Critique of Pure Reason_ (_Kritick der reinen Vernunft_, 1781),
produced about the same revolutionary effect on metaphysics as that
produced by Copernicus in astronomy, or by Darwin in natural
science.... _Major Dyngwell I know not_.]
[Note 15: _Burly_. Burly is Stevenson's friend, the poet William
Ernest Henley, who died in 1903. His sonnet on our author may be found
in the introduction to this book. Leslie Stephen introduced the two
men on 13 Feb. 1875, when Henley was in the hospital, and a very close
and intimate friendship began. Henley's personality was exceedingly
robust, in contrast with his health, and in his writings and talk he
delighted in shocking people. His philosophy of life is seen clearly
in his most characteristic poem:
"Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever Gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the Captain of my soul."
After the publication of Balfour's _Life of Stevenson_ (1901), Mr.
Henley contributed to the _Pall Mall Magazine_ in December of that
year an article called _R.L.S._, which made a tremendous sensation. It
was regarded by many of Stevenson's friends as a wanton assault on his
private character. Whether justified or not, it certainly damaged
Henley more than the dead author. For further accounts of the
relations between the two men, see index to Balfour's _Life_, under
the title _Henley_.]
[Note 16: _Pistol has been out-Pistol'd_. The burlesque character in
Shakspere's _King Henry IV_ and _V_.]
[Note 17: _Cockshot_. (The Late Fleeming Jenkin.) As the note says,
this was Professor Fleeming Jenkin, who died 12 June 1885. He
exercised a great influence over the younger man. Stevenson paid the
debt of gratitude he owed him by writing the _Memoir of Fleeming
Jenkin_, published first in America by Charles Scribner's Sons, in
1887.]
[Note 18: _Synthetic gusto; something of a Herbert Spencer_. The
English philosopher, Herbert Spencer (1820-1903), whose many volumes
in various fields of science and metaphysics were called by their
author the _Synthetic Philosophy_. His most popular book is _First
Principles_ (1862), which has exercised an enormous influence in the
direction of agnosticism. His _Autobiography_, two big volumes, was
published in 1904, and fell rather flat.]
[Note 19: _Like a thorough "glutton."_ This is still the slang of the
prize-ring. When a man is able to stand a great deal of punching
without losing consciousness or courage, he is called a "glutton for
punishment."]
[Note 20: _Athelred_. Sir Walter Simpson, who was Stevenson's
companion on the _Inland Voyage_. For a good account of him, see
Balfour's _Life of Stevenson_, I, 106.]
[Note 21: "_Dry light_." "The more perfect soul," says Heraclitus, "is
a dry light, which flies out of the body as lightning breaks from a
cloud." Plutarch, _Life of Romulus_.]
[Note 22: _Opalstein_. This was the writer and art critic, John
Addington Symonds (1840-1893). Like Stevenson, he was afflicted with
lung trouble, and spent much of his time at Davos, Switzerland, where
a good part of his literary work was done. "The great feature of the
place for Stevenson was the presence of John Addington Symonds, who,
having come there three years before on his way to Egypt, had taken up
his abode in Davos, and was now building himself a house. To him the
newcomer bore a letter of introduction from Mr. Gosse. On November 5th
(1880) Louis wrote to his mother: 'We got to Davos last evening; and I
feel sure we shall like it greatly. I saw Symonds this morning, and
already like him; it is such sport to have a literary man around....
Symonds is like a Tait to me; eternal interest in the same topics,
eternal cross-causewaying of special knowledge. That makes hours to
fly.' And a little later he wrote: 'Beyond its splendid climate, Davos
has but one advantage--the neighbourhood of J.A. Symonds. I dare say
you know his work, but the man is far more interesting.'" (Balfour's
_Life of Stevenson_, I, 214.) When Symonds first read the essay _Talk
and Talkers_, he pretended to be angry, and said, "Louis Stevenson,
what do you mean by describing me as a moonlight serenader?" (_Life_,
I, 233.)]
[Note 23: _Proxime accessit_. "He comes very near to it."]
[Note 24: _Sirens ... Sphinx Byronic ... Horatian ... Don Giovanni ...
Beethoven_. The Sirens were the famous women of Greek mythology, who
lured mariners to destruction by the overpowering sweetness of their
songs. How Ulysses outwitted them is well-known to all readers of the
_Odyssey_. One of Tennyson's earlier poems, _The Sea-Fairies_, deals
with the same theme, and indeed it has appeared constantly in the
literature of the world.... The _Sphinx_, a familiar subject in
Egyptian art, had a lion's body, the head of some other animal
(sometimes man) and wings. It was a symbolical figure. The most famous
example is of course the gigantic Sphinx near the Pyramids in Egypt,
which has proved to be an inexhaustible theme for speculation and for
poetry.... The theatrically tragic mood of _Byron_ is contrasted with
the easy-going, somewhat cynical epicureanism of Horace.... _Don
Giovanni_ (1787) the greatest opera of the great composer Mozart
(1756-1791), tells the same story told by Molière and so many others.
The French composer, Gounod, said that Mozart's _Don Giovanni_ was the
greatest musical composition that the world has ever seen....
_Beethoven_ (1770-1827) occupies in general estimation about the same
place in the history of music that Shakspere fills in the history of
literature.]
[Note 25: _Purcel_. This stands for Mr. Edmund Gosse (born 1849), a
poet and critic of some note, who writes pleasantly on many topics.
Many of Stevenson's letters were addressed to him. The two friends
first met in London in 1877, and the impression made by the novelist
on the critic may be seen in Mr. Gosse's book of essays, _Critical
Kitcats_ (1896).]
[Note 26: _I know another person_. This is undoubtedly Stevenson's
friend Charles Baxter. See the quotation from a letter to him in our
introductory note to this essay. Compare what Stevenson elsewhere said
of him: "I cannot characterise a personality so unusual in the little
space that I can here afford. I have never known one of so mingled a
strain.... He is the only man I ever heard of who could give and take
in conversation with the wit and polish of style that we find in
Congreve's comedies." (Balfour's _Life of Stevenson_, I, 105.)]
[Note 27: _Restoration comedy ... Congreve_. Restoration comedy is a
general name applied to the plays acted in England between 1660, the
year of the restoration of Charles II to the throne, and 1700, the
year of the death of Dryden. This comedy is as remarkable for the
brilliant wit of its dialogue as for its gross licentiousness. Perhaps
the wittiest dramatist of the whole group was William Congreve
(1670-1729).]
[Note 28: _Falstaff ... Mercutio ... Sir Toby ... Cordelia ...
Protean_. Sir John Falstaff, who appears in Shakspere's _King Henry
IV_, and again in the _Merry Wives of Windsor_, is generally regarded
as the greatest comic character in literature.... _Mercutio_, the
friend of Romeo; one of the most marvellous of all Shakspere's
gentlemen. He is the Hotspur of comedy, and his taking off by Tybalt
"eclipsed the gaiety of nations."... _Sir Toby Belch_ is the genial
character in _Twelfth Night_, fond of singing and drinking, but no
fool withal. A conversation between Falstaff, Mercutio, and Sir Toby
would have taxed even the resources of a Shakspere, and would have
been intolerably excellent.... _Cordelia_, the daughter of King Lear,
whose sincerity and tenderness combined make her one of the greatest
women in the history of poetry.... _Protean_, something that
constantly assumes different forms. In mythology, Proteus was the son
of Oceanus and Tethys, whose special power was his faculty for
lightning changes.
"Have sight of Proteus rising from the sea."--Wordsworth.]
[Note 29: This sequel was called forth by an excellent article in _The
Spectator_, for 1 April 1882, and bore the title, _The Restfulness of
Talk_. The opening words of this article were as follows:--"The fine
paper on 'Talk,' by 'R.L.S.,' in the _Cornhill_ for April, a paper
which a century since would, by itself, have made a literary
reputation, does not cover the whole field."]
[Note 30: _Valhalla_. In Scandinavian mythology, this was the heaven
for the brave who fell in battle. Here they had an eternity of
fighting and drinking.]
[Note 31: _Meticulous_. Timid. From the Latin, _meticulosus_.]
[Note 32: _Kindly_. Here used in the old sense of "natural." Compare
the Litany, "the kindly fruits of the earth."]
[Note 33: "_The real long-lived things_." For Whitman, see our Note 12
of Chapter III above.]
[Note 34: _Robert Hunter, Sheriff of Dumbarton_. Hunter recognised the
genius in Stevenson long before the latter became known to the world,
and gave him much friendly encouragement. Dumbarton is a town about 16
miles north-west of Glasgow, in Scotland. It contains a castle famous
in history and in literature.]
[Note 35: _A novel by Miss Mather_. The name should be "Mathers."
Helen Mathers (Mrs. Henry Reeves), born in 1853, has written a long
series of novels, of which _My Lady Greensleeves, The Sin of Hagar_
and _Venus Victrix_ are perhaps as well-known as they deserve to be.]
[Note 36: _Chelsea_. Formerly a suburb, now a part of London, to the
S.W. It is famous for its literary associations. Swift, Thomas
Carlyle, Leigh Hunt, George Eliot, Dante Gabriel Rossetti and many
other distinguished writers lived in Chelsea at various times. It
contains a great hospital, to which Stevenson seems to refer here.]
[Note 37: _Webster, Jeremy Taylor, Burke_. John Webster was one of the
Elizabethan dramatists, who, in felicity of diction, approached more
nearly to Shakspere than most of his contemporaries. His greatest play
was _The Duchess of Malfi_ (acted in 1616). Jeremy Taylor (1613-1667),
often called the "Shakspere of Divines," was one of the greatest
pulpit orators in English history. His most famous work, still a
classic, is _Holy Living and Holy Dying_ (1650-1). Edmund Burke
(1729-1797) the parliamentary orator and author of the _Sublime and
Beautiful_ (1756), whose speeches on America are only too familiar to
American schoolboys.]
[Note 38: _Junius_. No one knows yet who "Junius" was. In the _Public
Advertiser_ from 21 Jan. 1769 to 21 Jan. 1772, appeared letters signed
by this name, which made a sensation. The identity of the author was a
favorite matter for dispute during many years.]
[Note 39: _David Hume_. The great Scotch skeptic and philosopher
(1711-1776).]
[Note 40: _Shakespeare's fairy pieces with great scenic display._ So
far from this being a novelty to-day, it has become rather nauseating,
and there are evidences of a reaction in favour of _hearing_ Shakspere
on the stage rather than _seeing_ him.]
[Note 41: _Calvinism_. If this word does not need a note yet, it
certainly will before long. The founder of the theological system
Calvinism was John Calvin, born in France in 1509. The chief doctrines
are Predestination, the Atonement (by which the blood of Christ
appeased the wrath of God toward those persons only who had been
previously chosen for salvation--on all others the sacrifice was
ineffectual), Original Sin, and the Perseverance of the Saints (once
saved, one could not fall from grace). These doctrines remained intact
in the creed of Presbyterian churches in America until a year or two
ago.]
[Note 42: _Two bob_. A pun, for "bob" is slang for "shilling."]
[Note 43: _Never read Othello to an end_. In _A Gossip on a Novel of
Dumas's,_ Stevenson confessed that there were four plays of Shakspere
he had never been able to read through, though for a different reason:
they were _Richard III, Henry VI, Titus Andronicus_, and _All's Well
that Ends Well_. It is still an open question as to whether or not
Shakspere wrote _Titus_.]
[Note 44: _A liberal and pious education_. It was Sir Richard Steele
who made the phrase, in _The Tatler_, No. 49: "to love her (Lady
Elizabeth Hastings) was a liberal education."]
[Note 45: _Trait d'union_. The French expression simply means
"hyphen": literally, "mark of connection."]
[Note 46: _Malvolio_. The conceited but not wholly contemptible
character in _Twelfth Night_.]
[Note 47: _The Egoist_. _The Egoist_ (1879) is one of the best-known
novels of Mr. George Meredith, born 1828. It had been published only a
very short time before Stevenson wrote this essay, so he is commenting
on one of the "newest" books. Stevenson's enthusiasm for Meredith knew
no bounds, and he regarded the _Egoist_ and _Richard Feverel_ (1859),
as among the masterpieces of English literature. _Daniel Deronda_, the
last and by no means the best novel of George Eliot (1820-1880), had
appeared in 1876.]
V