The Works of Robert Louis Stevenson - Swanston Edition, Vol. 03 — John Shaqi
The Works of Robert Louis Stevenson - Swanston Edition, Vol. 03Stevenson, Robert Louis
History
The Works of Robert Louis Stevenson - Swanston Edition, Vol. 03
Stevenson, Robert Louis
English literature -- 19th century; Horror tales; Literature -- History and criticism
theology--everything we learn of him hangs well together, and builds up
a popular Scottish type. If I mention the name of Andrew Fairservice, it
is only as I might couple for an instant Dugald Dalgetty with old
Marshal Loudon, to help out the reader's comprehension by a popular but
unworthy instance of a class. Such was the influence of this good and
wise man that his household became a school to itself, and neighbours
who came into the farm at meal-time would find the whole family, father,
brothers, and sisters, helping themselves with one hand, and holding a
book in the other. We are surprised at the prose style of Robert; that
of Gilbert need surprise us no less; even William writes a remarkable
letter for a young man of such slender opportunities. One anecdote marks
the taste of the family. Murdoch brought "Titus Andronicus," and, with
such dominie elocution as we may suppose, began to read it aloud before
this rustic audience; but when he had reached the passage where Tamora
insults Lavinia, with one voice and "in an agony of distress" they
refused to hear it to an end. In such a father, and with such a home,
Robert had already the making of an excellent education; and what
Murdoch added, although it may not have been much in amount, was in
character the very essence of a literary training. Schools and colleges,
for one great man whom they complete, perhaps unmake a dozen; the strong
spirit can do well upon more scanty fare.
Robert steps before us, almost from the first, in his complete
character--a proud, headstrong, impetuous lad, greedy of pleasure,
greedy of notice; in his own phrase "panting after distinction," and in
his brother's "cherishing a particular jealousy of people who were
richer or of more consequence than himself"; with all this, he was
emphatically of the artist nature. Already he made a conspicuous figure
in Tarbolton church, with the only tied hair in the parish, "and his
plaid, which was of a particular colour, wrapped in a particular manner
round his shoulders." Ten years later, when a married man, the father of
a family, a farmer, and an officer of Excise, we shall find him out
fishing in masquerade, with fox-skin cap, belted great-coat, and great
Highland broadsword. He liked dressing up, in fact, for its own sake.
This is the spirit which leads to the extravagant array of Latin Quarter
students, and the proverbial velveteen of the English landscape-painter;
and, though the pleasure derived is in itself merely personal, it shows
a man who is, to say the least of it, not pained by general attention
and remark. His father wrote the family name _Burnes_; Robert early
adopted the orthography _Burness_ from his cousin in the Mearns; and in
his twenty-eighth year changed it once more to _Burns_. It is plain that
the last transformation was not made without some qualm; for in
addressing his cousin he adheres, in at least one more letter, to
spelling number two. And this, again, shows a man preoccupied about the
Public-domain text, read in full here on John Shaqi.
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