"Not by reason, then, of 'externality,' for sure, nor yet of imitativeness, will this writer lose his hold on the attention and regard of his countrymen. The debate, before his place in literature is settled, must rather turn on other points: as whether the genial essayist and egoist or the romantic inventor and narrator was the stronger in him--whether the Montaigne and Pepys elements prevailed in his literary composition or the Scott and Dumas elements--a question indeed which among those who care for him most has always been at issue. Or again, what degree of true inspiring and illuminating power belongs to the gospel, or gospels, airily encouraging or gravely didactic, which are set forth in the essays with so captivating a grace? Or whether in romance and tale he had a power of inventing and constructing a whole fable comparable to his admitted power of conceiving and presenting single scenes and situations in a manner which stamps them indelibly on the reader's mind? And whether his figures are sustained continuously by the true spontaneous breath of creation, or are but transitorily animated at happy moments by flashes of spiritual and dramatic insight, aided by the conscious devices of his singularly adroit and spirited art? These are questions which no criticism but that of time can solve. To contend, as some do, that strong creative impulse and so keen an artistic self-consciousness as Stevenson's was cannot exist together, is quite idle. The truth, of course, is that the deep-seated energies of imaginative creation are found sometimes in combination, and sometimes not in combination, with an artistic intelligence thus keenly conscious of its own purpose and watchful of its own working.