Ephemera Critica; Or, Plain Truths About Current LiteratureCollins, John Churton
History
Ephemera Critica; Or, Plain Truths About Current Literature
Collins, John Churton
Criticism; English literature -- History and criticism; Literature -- History and criticism
refuse of his study finds eager publishers.
This kind of thing has obviously many advantages, which are by no means
confined to the object of the idolatry itself. In the first place it
means business; it is the creation of a goose which can lay golden eggs,
and it is, in the second place, a creation which reflects no little
glory on the creators. Is it nothing to be the satellites of so radiant
a luminary? When the familiar correspondence of the great man is
printed, will not what he was pleased to say, with all the friendly
license of private intercourse, in the way of compliment and eulogy, be
proclaimed from the house-tops?
All this is exactly what has happened in the case of poor Stevenson. No
man ever took more justly his own measure, or would have been more
annoyed at the preposterous eulogies of which he has been made the
subject, on the part of interested or ill-judging friends. We wonder
what he would himself have said, could he have seen the letters before
us described, as they were described in one of the current Reviews, as
“the most exhaustive and distinguished literary correspondence which
England has ever seen.” We entirely absolve Professor Colvin from any
suspicion of being actuated by unworthy motives in publishing them. It
is abundantly clear that he has not published them to puff himself, that
his labour has been a labour of love, and that he believed himself to be
piously fulfilling a duty to his friend. But they ought never to have
been given to the world. More than two-thirds have nothing whatever to
justify their appearance in print, and merely show, what will surprise
those who knew Stevenson by his literary writings, how vapid, vulgar and
commonplace he could be. In their slangy familiarity and careless
spontaneity they remind us of Byron’s, but what a contrast do these
trivial and too often insipid tattlings present to Byron’s brilliance
and point, his wit, his piquancy, his insight into life and men! Only
here and there, in a touch of description, or in a casual reflection, do
we find anything to distinguish them from the myriads of letters which
are interchanged between young men every day in the year. Their one
attraction lies in the glimpses they reveal of Stevenson’s own charming
personality, his kindliness, his sympathy, his great modesty, his
manliness, his transparent truthfulness and honesty. It is amusing to
watch him with one of his correspondents who was evidently endeavouring
to establish a mutual exchange of flattery. The urbane skill with which
this gentleman’s persistently fulsome compliments are either fenced or
waived aside, the ironical delicacy with which, when a return is
extorted, they are repaid, in a measure strictly adjusted to desert and
yet certain not to disappoint expectant vanity, are quite exquisite.
“The suns go swiftly out,” he writes to him, referring to the death of
Tennyson and Browning and others, “and I see no suns to follow, nothing
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