so far as it goes, is his strongest work. The few chapters which he lived to complete, taken as separate blocks of narrative and character presentment, are of the highest imaginative and emotional power.
Despite the habitual gaiety which Stevenson had continued to show before his family and friends, and his expressed confidence in his own improved health, there had not been wanting in his later correspondence from Vailima signs of inward despondency and distress. At moments, even, it is evident that he himself had presentiments that the end was near. It came in such a manner as he would himself have wished. On the afternoon of 3 Dec. 1894, he was talking gaily with his wife, when the sudden rupture of a blood-vessel in the brain laid him at her feet, and within two hours all was over. The next day he was buried on a romantic site of his own selection, whither it took the zealous toil of sixty natives to cut a path and carry him, on a peak of the forest-clad Mount Vaea.
The romance of Stevenson's life and the attraction of his character procured for him a degree of fame and affection disproportionate to the numerical circulation of his works. In this point he was much outstripped by several of his contemporaries. But few writers have during their lifetime commanded so much admiration and regard from their fellow-craftsmen. To attain the mastery of an elastic and harmonious English prose, in which trite and inanimate elements should have no place, and which should be supple to all uses and alive in all its joints and members, was an aim which he pursued with ungrudging, even with heroic, toil. Not always, especially not at the beginning, but in by far the greater part of his mature work, the effect of labour and fastidious selection is lost in the felicity of the result. Energy of vision goes hand in hand with magic of presentment, and both words and things acquire new meaning and a new vitality under his touch. Next to finish and brilliancy of execution, the most remarkable quality of his work is its variety. Without being the inventor of any new form or mode of literary art (unless, indeed, the verses of the ‘Child's Garden’ are to be accounted such), he handled with success and freshness nearly all the old forms—the moral, critical, and personal essay, travels sentimental and other, romances and short tales both historical and modern, parables and tales of mystery, boys' stories of adventure, drama, memoir, lyrical and meditative verse both English and Scottish. To some of these forms he gave quite new life: through all alike he expressed vividly his own extremely personal way of seeing and being, his peculiar sense of nature and of romance.
In personal appearance Stevenson was of good stature (about 5 ft. 10 in.) and activity, but very slender, his leanness of body and limb (not of face) having been throughout life abnormal. The head was small; the eyes dark hazel, very wide-set, intent, and beaming; the face of a long oval shape; the expression rich and animated. He had a free and picturesque play of gesture and a voice of full and manly fibre, in which his pulmonary weakness was not at all betrayed. The features are familiar from many photographs and cuts. Of two small full-length portraits by Mr. John S. Sargent one belongs to the family, the other to Mr. Fairchild of Newport, U.S.A.; an oil sketch, done in one sitting, by Sir W. B. Richmond, in the National Portrait Gallery; a drawing from life, by an American artist, Mr. Alexander; a large medallion portrait in bronze, in some respects excellent, by A. St. Gaudens of New York; and a portrait painted in 1893 at Samoa by Signor Nerli, in private possession in Scotland.
His published writings, in book and pamphlet form, are as follows: 1. ‘The Pentland Rising, a Page of History, 1666’ (pamphlet), 1866. 2. ‘An Appeal to the Church of Scotland’ (pamphlet), 1875. 3. ‘An Inland Voyage,’ 1878. 4. ‘Picturesque Notes on Edinburgh,’ 1879. 5. ‘Travels with a Donkey in the Cevennes,’ 1879. 6. ‘Virginibus Puerisque,’ 1881. 7. ‘Familiar Studies of Men and Books,’ 1882. 8. ‘Treasure Island,’ 1882. 9. ‘New Arabian Nights,’ 1882. 10. ‘The Silverado Squatters,’ 1883. 11. ‘Prince Otto,’ 1885. 12. ‘The Child's Garden of Verses,’ 1885. 13. ‘More New Arabian Nights: the Dynamiter,’ 1885. 14. ‘The Strange Case of Dr. Jekyll and Mr. Hyde,’ 1886. 15. ‘Kidnapped,’ 1886. 16. ‘The Merry Men and other Tales,’ 1886. 17. ‘Underwoods,’ 1887. 18. ‘Memories and Portraits,’ 1887. 19. ‘Memoir of Fleeming Jenkin’ (prefixed to ‘Papers of Fleeming Jenkin,’ 2 vols.), 1887. 20. ‘The Black Arrow,’ 1888. 21. ‘The Wrong Box’ (in collaboration with Mr. Lloyd Osbourne), 1888. 22. ‘The Master of Ballantrae,’ 1889. 23. ‘Ballads,’ 1890. 24. ‘Father Damien: an Open Letter’ (pamphlet) 1890. 25. ‘The Wrecker’ (in collaboration with Mr. Lloyd Osbourne), 1892. 26. ‘Across the Plains,’ 1892. 27. ‘A Footnote to History,’ 1893. 28. ‘Island Nights' Entertainments,’ 1893. 29. ‘Catriona’ (being the sequel to ‘Kidnapped’), 1893. 30. ‘The Ebb-Tide’ (in collaboration with Mr. Lloyd Osbourne), 1894. The above were published during his lifetime; subsequently there appeared: 31. ‘Vailima Letters,’ 1895. 32. ‘Fables’ (appended to a new edition of ‘Jekyll and Hyde’), 1896. 33. ‘Weir of Hermiston,’ 1896. 34. ‘Songs of Travel,’ 1896. 35. ‘St. Ives,’ with the final chapters supplied by Mr. A. T. Quiller Couch, 1897. 36. ‘Letters to his Family and Friends,’ ed. Sidney Colvin, 1899. All save the last were reprinted in the limited ‘Edinburgh Edition,’ which also contains the ‘Amateur Emigrant,’ entire for the first time (the title-paper of No. 26, ‘Across the Plains,’ was the second part of this); the unfinished ‘Family of Engineers,’ which has not been printed elsewhere; the ‘Story of a Lie,’ the ‘Misadventures of John Nicholson;’ and the fragmentary romance, ‘The Great North Road’—all here reprinted from periodicals for the first time; the ‘South Sea Letters,’ not elsewhere reprinted; as well as ‘The Pentland Rising,’ ‘A Letter to the Church of Scotland,’ the ‘Edinburgh University Magazine Essays,’ ‘Lay Morals,’ ‘Prayers written for Family Use at Vailima,’ and a number of other papers and fragments, early and late, which have not been collected elsewhere. The edition is in twenty-seven volumes, of which the first series of twenty appeared 15 Nov. 1894–15 June 1896, and the supplementary series of seven December 1896–February 1898.
David Balfour
Dedication
To
CHARLES BAXTER, Writer to the Signet.
MY DEAR CHARLES,
It is the fate of sequels to disappoint those who have waited for them; and, my David having been left to kick his heels for more than a lustre in the British Linen Company's office, must expect his late reappearance to be greeted with hoots, if not with missiles. Yet, when I remember the days of our explorations, I am not without hope. There should be left in our native city some seed of the elect; some long-legged, hot-headed youth must repeat to-day our dreams and wanderings of so many years ago; he will relish the pleasure, which should have been ours, to follow among named streets and numbered houses the country walks of David Balfour, to identify Dean, and Silvermills, and Broughton, and Hope Park and Pilrig, and poor old Lochend--if it still be standing, and the Figgate Whins--if there be any of them left; or to push (on a long holiday) so far afield as Gillane or the Bass. So, perhaps, his eye shall be opened to behold the series of the generations, and he shall weigh with surprise his momentous and nugatory gift of life.
You are still--as when first I saw, as when I last addressed you--in the venerable city which I must always think of as my home. And I have come so far; and the sights and thoughts of my youth pursue me; and I see like a vision the youth of my father, and of his father, and the whole stream of lives flowing down there, far in the north, with the sound of laughter and tears, to cast me out in the end, as by a sudden freshet, on those ultimate islands. And I admire and bow my head before the romance of destiny.
R.L.S.
VAILIMA,
UPOLU,
SAMOA,
1902.
Part I - The Lord Advocate
Chapter I
A BEGGAR ON HORSEBACK
The