[Note 15: _English people of the present day_. This was absolutely true in 1882. But in 1892 a complete revolution in taste had set in, and many of the most hardened realists were forced to write wild romances, or lose their grip on the public. At this time, Stevenson naturally had no idea how powerfully his as yet unwritten romances were to affect the literary market.] [Note 16: _Mr. Trollope's ... chronicling small beer ... Rawdon Crawley's blow_. Anthony Trollope (1815-1882) wrote an immense number of mildly entertaining novels concerned with the lives and ambitions of English clergymen and their satellites. His best-known book is probably _Barchester Towers_ (1857).... _Chronicling small beer_ is the "lame and impotent conclusion" with which Iago finishes his poem (_Othello_, Act II, Sc. I).... _Rawdon Crawley's blow_ refers to the most memorable scene in Thackeray's great novel, _Vanity Fair_ (1847-8), where Rawdon Crawley, the husband of Becky Sharp, strikes Lord Steyne in the face (Chap. LIII). After writing this powerful scene, Thackeray was in a state of tremendous excitement, and slapping his knee, said, "That's Genius!"] [Note 17: _The end of Esmond ... pure Dumas_. Thackeray's romance _Henry Esmond_ (1852) is regarded by many critics as the greatest work of fiction in the English language; Stevenson here calls it "the best of all his books." The scene Stevenson refers to is where Henry is finally cured of his love for Beatrix, and theatrically breaks his sword in the presence of the royal admirer (Book III, Chap. 13). Alexander Dumas (1803-1370), author of _Monte Cristo_ and _Les Trois Mousquetaires_. Stevenson playfully calls him "the great, unblushing French thief"; all he means is that Dumas never hesitated to appropriate material wherever he found it, and work it into his romances.] [Note 18: _The living fame of Robinson Crusoe with the discredit of Clarissa Harlowe_. A strong contrast between the romance of incident and the analytical novel. For remarks on _Clarissa_, see our Note 9 of Chapter IV above.] [Note 19: _Byronism_. About the time Lord Byron was publishing _Childe Harold_ (1812-1818) a tremendous wave of romantic melancholy swept over all the countries of Europe. Innumerable poems and romances dealing with mysteriously-sad heroes were written in imitation of Byron; and young authors wore low, rolling collars, and tried to look depressed. See Gautier's _Histoire du Romantisme._ Now the death of Lovelace (in a duel) in Richardson's _Clarissa_, was pitched in exactly the Byronic key, though at that time Byron had not been born.... The Elizabethans were of course thoroughly romantic.] [Note 20: _Faria_..._Dantès_. Characters in Dumas's _Monte Cristo_ (1841-5).]