Part 30

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And then I had an idea for John Silver from which I promised myself funds of entertainment: to take an admired friend of mine (whom the reader very likely knows and admires as much as I do), to deprive him of all his finer qualities and higher graces of temperament, to leave him with nothing but his strength, his courage, his quickness, and his magnificent geniality, and to try to express these in terms of the culture of a raw tarpaulin, such physical surgery is, I think, a common way of ‘making character’; perhaps it is, indeed, the only way. We can put in the quaint figure that spoke a hundred words with us yesterday by the wayside; but do we know him? Our friend with his infinite variety and flexibility, we know-but can we put him in? Upon the first, we must engraft secondary and imaginary qualities, possibly all wrong; from the second, knife in hand, we must cut away and deduct the needless arborescence of his nature, but the trunk and the few branches that remain we may at least be fairly sure of.

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In anything fit to be called by the name of reading, the process itself should be absorbing and voluptuous; we should gloat over a book, be rapt clean out of ourselves, and rise from the perusal, our mind filled with the busiest, kaleidoscopic dance of images, incapable of sleep or of continuous thought. The words, if the book be eloquent, should run thenceforward in our ears like the noise of breakers, and the story, if it be a story, repeat itself in a thousand coloured pictures to the eye.

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The obvious is not of necessity the normal; fashion rules and deforms; the majority fall tamely into the contemporary shape, and thus attain, in the eyes of the true observer, only a higher power of insignificance; and the danger is lest, in seeking to draw the normal, a man should draw the null, and write the novel of society instead of the romance of man.

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There is a kind of gaping admiration that would fain roll Shakespeare and Bacon into one, to have a bigger thing to gape at; and a class of men who cannot edit one author without disparaging all others.

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Style is the invariable mark of any master; and for the student who does not aspire so high as to be numbered with the giants, it is still the one quality in which he may improve himself at will. Passion, wisdom, creative force, the power of mystery or colour, are allotted in the hour of birth, and can be neither learned nor stimulated. But the just and dexterous use of what qualities we have, the proportion of one part to another and to the whole, the elision of the useless, the accentuation of the important, and the preservation of a uniform character end to end--these, which taken together constitute technical perfection, are to some degree within the reach of industry and intellectual courage.

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The love of words and not a desire to publish new discoveries, the love, of form and not a novel reading of historical events, mark the vocation of the writer and the painter.

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The life of the apprentice to any art is both unstrained and pleasing; it is strewn with small successes in the midst of a career of failure, patiently supported; the heaviest scholar is conscious of a certain progress; and if he come not appreciably nearer to the art of Shakespeare, grows letter-perfect in the domain of A-B, ab.

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The fortune of a tale lies not alone in the skill of him that writes, but as much, perhaps, in the inherited experience of him who reads; and when I hear with a particular thrill of things that I have never done or seen, it is one of that innumerable army of my ancestors rejoicing in past deeds. Thus novels begin to touch not the fine DILETTANTI but the gross mass of mankind, when they leave off to speak of parlours and shades of manner and still-born niceties of motive, and begin to deal with fighting, sailoring, adventure, death or childbirth; and thus ancient outdoor crafts and occupations, whether Mr. Hardy wields the shepherd’s crook or Count Tolstoi swings the scythe, lift romance into a near neighbourhood with epic. These aged things have on them the dew of man’s morning; they lie near, not so much to us, the semi-artificial flowerets, as to the trunk and aboriginal taproot of the race. A thousand interests spring up in the process of the ages, and a thousand perish; that is now an eccentricity or a lost art which was once the fashion of an empire; and those only are perennial matters that rouse us to-day, and that roused men in all epochs of the past.

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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 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.

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Even women, who understand men so well for practical purposes, do not know them well enough for the purposes of art. Take even the very best of their male creations, take Tito Melema, for instance, and you will find he has an equivocal air, and every now and again remembers he has a comb in the back of his head. Of course, no woman will believe this, and many men will be so polite as to humour their incredulity.

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A dogma learned is only a new error--the old one was perhaps as good; but a spirit communicated is a perpetual possession. These best teachers climb beyond teaching to the plane of art; it is themselves, and what is best in themselves, that they communicate.

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In this world of imperfections we gladly welcome even partial intimacies. And if we find but one to whom we can speak out our heart freely, with whom we can walk in love and simplicity without dissimulation, we have no ground of quarrel with the world or God.

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But we are all travellers in what John Bunyan calls the wilderness of this world-all, too, travellers with a donkey; and the best that we find in our travels is an honest friend. He is a fortunate voyager who finds many. We travel, indeed, to find them. They are the end and the reward of life. They keep us worthy of. ourselves; and when we are alone, we are only nearer to the absent.

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We are all INCOMPRIS, only more or less concerned for the mischance; all trying wrongly to do right; all fawning at each other’s feet like dumb, neglected lap-dogs. Sometimes we catch an eye-this is our opportunity in the ages--and we wag our tail with a poor smile. ‘IS THAT ALL?’ All? If you only knew! But how can they know? They do not love us; the more fools we to squander life on the indifferent. But the morality of the thing, you will be glad to hear, is excellent; for it is only by trying to understand others that we can get our own hearts understood; and in matters of human feeling the clement judge is the most successful pleader.