Through the Magic Door by Arthur Conan Doyle (best novels to read .txt) 📕

of essay, where playful thoughts draw their analogies and illustrations from actual fact, each showing up the other, and the combination presenting a peculiar piquancy to the reader.

 

Where could I get better illustration of what I mean than in those three little volumes which make up Wendell Holmes’ immortal series, “The Autocrat,” “The Poet,” and “The Professor at the Breakfast Table”? Here the subtle, dainty, delicate thought is continually reinforced by the allusion or the analogy which shows the wide, accurate knowledge behind it. What work it is! how wise, how witty, how large-hearted and tolerant! Could one choose one’s philosopher in the Elysian fields, as once in Athens, I would surely join the smiling group who listened to the human, kindly words of the Sage of Boston. I suppose it is just that continual leaven of science, especially of medical science, which has from my early student days given those books so strong an attraction for me. Never have I so known and loved a man whom I had never seen. It was one of the ambitions of my lifetime to look upon his face, but by the irony of Fate I arrived in his native city just in time to lay a wreath upon his newly-turned grave. Read his books again, and see if you are not especially struck by the up-to-dateness of them. Like Tennyson’s “In Memoriam,” it seems to me to be work which sprang into full flower fifty years before its time. One can hardly open a page haphazard without lighting upon some passage which illustrates the breadth of view, the felicity of phrase, and the singular power of playful but most suggestive analogy. Here, for example, is a paragraph—no better than a dozen others—which combines all the rare qualities:—

 

“Insanity is often the logic of an accurate mind overtasked.

Good mental machinery ought to break its own wheels and levers, if anything is thrust upon them suddenly which tends to stop them or reverse their motion. A weak mind does not accumulate force enough to hurt itself; stupidity often saves a man from going mad. We frequently see persons in insane hospitals, sent there in consequence of what are called religious mental disturbances. I confess that I think better of them than of many who hold the same notions, and keep their wits and enjoy life very well, outside of the asylums.

Any decent person ought to go mad if he really holds such and such opinions…. Anything that is brutal, cruel, heathenish, that makes life hopeless for the most of mankind, and perhaps for entire races—anything that assumes the necessity for the extermination of instincts which were given to be regulated—no matter by what name you call it—no matter whether a fakir, or a monk, or a deacon believes it—if received, ought to produce insanity in every well-regulated mind.”

 

There’s a fine bit of breezy polemics for the dreary fifties—a fine bit of moral courage too for the University professor who ventured to say it.

 

I put him above Lamb as an essayist, because there is a flavour of actual knowledge and of practical acquaintance with the problems and affairs of life, which is lacking in the elfin Londoner. I do not say that the latter is not the rarer quality. There are my “Essays of Elia,” and they are well-thumbed as you see, so it is not because I love Lamb less that I love this other more. Both are exquisite, but Wendell Holmes is for ever touching some note which awakens an answering vibration within my own mind.

 

The essay must always be a somewhat repellent form of literature, unless it be handled with the lightest and deftest touch. It is too reminiscent of the school themes of our boyhood—to put a heading and then to show what you can get under it. Even Stevenson, for whom I have the most profound admiration, finds it difficult to carry the reader through a series of such papers, adorned with his original thought and quaint turn of phrase. Yet his “Men and Books” and “Virginibus Puerisque” are high examples of what may be done in spite of the inherent unavoidable difficulty of the task.

 

But his style! Ah, if Stevenson had only realized how beautiful and nervous was his own natural God-given style, he would never have been at pains to acquire another! It is sad to read the much-lauded anecdote of his imitating this author and that, picking up and dropping, in search of the best. The best is always the most natural. When Stevenson becomes a conscious stylist, applauded by so many critics, he seems to me like a man who, having most natural curls, will still conceal them under a wig. The moment he is precious he loses his grip. But when he will abide by his own sterling Lowland Saxon, with the direct word and the short, cutting sentence, I know not where in recent years we may find his mate. In this strong, plain setting the occasional happy word shines like a cut jewel. A really good stylist is like Beau Brummell’s description of a well-dressed man—so dressed that no one would ever observe him. The moment you begin to remark a man’s style the odds are that there is something the matter with it. It is a clouding of the crystal—a diversion of the reader’s mind from the matter to the manner, from the author’s subject to the author himself.

 

No, I have not the Edinburgh edition. If you think of a presentation—but I should be the last to suggest it. Perhaps on the whole I would prefer to have him in scattered books, rather than in a complete set. The half is more than the whole of most authors, and not the least of him. I am sure that his friends who reverenced his memory had good warrant and express instructions to publish this complete edition—very possibly it was arranged before his lamented end. Yet, speaking generally, I would say that an author was best served by being very carefully pruned before being exposed to the winds of time. Let every weak twig, every immature shoot be shorn away, and nothing but strong, sturdy, well-seasoned branches left.

So shall the whole tree stand strong for years to come. How false an impression of the true Stevenson would our critical grandchild acquire if he chanced to pick down any one of half a dozen of these volumes! As we watched his hand stray down the rank, how we would pray that it might alight upon the ones we love, on the “New Arabian Nights” “The Ebb-tide,” “The Wrecker,” “Kidnapped,” or “Treasure Island.” These can surely never lose their charm.

 

What noble books of their class are those last, “Kidnapped” and “Treasure Island”! both, as you see, shining forth upon my lower shelf. “Treasure Island” is the better story, while I could imagine that “Kidnapped” might have the more permanent value as being an excellent and graphic sketch of the state of the Highlands after the last Jacobite insurrection. Each contains one novel and admirable character, Alan Breck in the one, and Long John in the other.

Surely John Silver, with his face the size of a ham, and his little gleaming eyes like crumbs of glass in the centre of it, is the king of all seafaring desperadoes. Observe how the strong effect is produced in his case: seldom by direct assertion on the part of the story-teller, but usually by comparison, innuendo, or indirect reference. The objectionable Billy Bones is haunted by the dread of “a seafaring man with one leg.” Captain Flint, we are told, was a brave man; “he was afraid of none, not he, only Silver—Silver was that genteel.” Or, again, where John himself says, “there was some that was feared of Pew, and some that was feared of Flint; but Flint his own self was feared of me. Feared he was, and proud. They was the roughest crew afloat was Flint’s. The devil himself would have been feared to go to sea with them. Well, now, I will tell you. I’m not a boasting man, and you seen yourself how easy I keep company; but when I was quartermaster, lambs wasn’t the word for Flint’s old buccaneers.” So, by a touch here and a hint there, there grows upon us the individuality of the smooth-tongued, ruthless, masterful, one-legged devil. He is to us not a creation of fiction, but an organic living reality with whom we have come in contact; such is the effect of the fine suggestive strokes with which he is drawn.

And the buccaneers themselves, how simple and yet how effective are the little touches which indicate their ways of thinking and of acting. “I want to go in that cabin, I do; I want their pickles and wine and that.” “Now, if you had sailed along o’ Bill you wouldn’t have stood there to be spoke twice—not you. That was never Bill’s way, not the way of sich as sailed with him.” Scott’s buccaneers in “The Pirate” are admirable, but they lack something human which we find here. It will be long before John Silver loses his place in sea fiction, “and you may lay to that.”

 

Stevenson was deeply influenced by Meredith, and even in these books the influence of the master is apparent. There is the apt use of an occasional archaic or unusual word, the short, strong descriptions, the striking metaphors, the somewhat staccato fashion of speech.

Yet, in spite of this flavour, they have quite individuality enough to constitute a school of their own. Their faults, or rather perhaps their limitations, lie never in the execution, but entirely in the original conception. They picture only one side of life, and that a strange and exceptional one. There is no female interest. We feel that it is an apotheosis of the boy-story—the penny number of our youth in excelsis. But it is all so good, so fresh, so picturesque, that, however limited its scope, it still retains a definite and well-assured place in literature. There is no reason why “Treasure Island” should not be to the rising generation of the twenty-first century what “Robinson Crusoe” has been to that of the nineteenth.

The balance of probability is all in that direction.

 

The modern masculine novel, dealing almost exclusively with the rougher, more stirring side of life, with the objective rather than the subjective, marks the reaction against the abuse of love in fiction. This one phase of life in its orthodox aspect, and ending in the conventional marriage, has been so hackneyed and worn to a shadow, that it is not to be wondered at that there is a tendency sometimes to swing to the other extreme, and to give it less than its fair share in the affairs of men. In British fiction nine books out of ten have held up love and marriage as the be-all and end-all of life. Yet we know, in actual practice, that this may not be so.

In the career of the average man his marriage is an incident, and a momentous incident; but it is only one of several. He is swayed by many strong emotions—his business, his ambitions, his friendships, his struggles with the recurrent dangers and difficulties which tax a man’s wisdom and his courage. Love will often play a subordinate part in his life. How many go through the world without ever loving at all? It jars upon us then to have it continually held up as the predominating, all-important fact in life; and there is a not unnatural tendency among a certain school, of which Stevenson is certainly the leader, to avoid altogether a source of interest which has been so misused and overdone. If all love-making were like that between Richard Feverel and Lucy Desborough, then indeed we could not have