Shakespeare, to be sure, wrote no drama on Elizabethan times in England; we must go to Heywood and Ben Jonson for the drama of his contemporary world. Many circumstances caused Stevenson, when at his best, to be a historical novelist, and he is, since Scott and Thackeray, the best historical novelist whom we have. Add to all this his notable eminence in tales of shorter scope; in essays, whether on life or on literature, so various and original, so graceful and so strong; add the fantasies of his fables, and remember that almost all he did is good--and we must, I think, give to Stevenson a very high place in the literature of his century. Of his verse I have hitherto said nothing, and I do not think that if he had written verse alone, his place would have been highly distinguished. His "Child's Garden of Verse" is a little masterpiece in a _genre_ of his own invention. His verses in Scots are full of humour, and he had a complete mastery of the old Northern English of the Lowlands. His more serious poems often contain ideas and the expression of moods which he handled better, I think, in his prose. Even the story of "Ticonderoga" I would rather have received from him in prose than in his ballad measure. Possibly I am prejudiced a little by his willfulness in giving to a Cameron the part of the generous hero; true to his word, in spite of the desire to avenge a brother, and of the thrice-repeated monition of the dead. It is not that I grudge any glory to the children of Lochiel, a clan, in General Wolfe's opinion, the bravest where all were brave, a clan of constant and boundless loyalty. But in Stevenson's own note to his poem, the Cameron "swears by his sword and Ben Cruachan," and "Cruachan" is a slogan of the Campbells. The hero, as a matter of fact, was a Campbell of Inverawe. "Between the name of _Cameron_ and that of _Campbell_ the Muse will never hesitate," says Stevenson. One name means "Wry mouth," the other "Crooked nose"; so far, the Muse has a poor choice! But the tale is a tale of the Campbells, of Clan Diarmaid, and the Muse must adhere to the historic truth. This essay must not close on a difference of opinion concerning historical events--a jarring note. There are points enough in Stevenson's character and opinions which I have not touched; such as his religious views. He never mentioned the topic of religion in my hearing; it is to his printed words that the reader must turn, and he cannot but perceive that Stevenson's was a deeply religious nature. With his faith, whatever its tenets may have been, was implicated his uneasily active conscience; his sense of duty. This appears to have directed his life; and was practically the same thing as his sense of honour. Honour, I conceive, is, in a phrase of Aristotle's, duty "with a bloom on it."