Thereisanindescribableairofdistinction，whichis，andisnot，oneandthesamethingwithstyle，breathingfromallhisworks。
Evenwhenheisleastinspired，hisbearingandgaitcouldneverbemistakenforanotherman’s。Allthathewritesisremovedbythewidthofthespheresfromthepossibilityofcommonplace，andheavoidsmostofthesnaresandpitfallsofgeniuswithnobleandunconsciousskill。
Ifheeverfellintooneofthese—whichmayperhapsbedoubted—
itwasthroughtooimplicitaconfidenceinthepowersofstyle。
HisopenlettertotheRev。Dr。HydeinvindicationofFatherDamienisperhapshisonlyliterarymistake。Itisamatchlesspieceofscornandinvective，notinferiorinskilltoanythingheeverwrote。Butthatitwaswelldoneisnoproofthatitshouldhavebeendoneatall。’IrememberUzzahandamafraid，’saidthewiseErasmus，whenhewasurgedtoundertakethedefenceofHolyChurch；’itisnoteveryonewhoispermittedtosupporttheArkoftheCovenant。’AndtheonlydisquietudesuggestedbyStevenson’sletterisadoubtwhetherhereallyhasaclaimtobeFatherDamien’sdefender，whetherFatherDamienhadneedoftheassistanceofaliteraryfreelance。TheSaintwhowasbitteninthehandbyaserpentshookitoffintothefireandstoodunharmed。AsitwasintheMediterraneansoitwasalsointhePacific，andthereissomethingofficiousintheintrusionofaspectator，somethingirrelevantintheplentifulpronounsofthefirstpersonsingulartobefoundsprinkledoverStevenson’sletter。ThecursespokeninEden，’Uponthybellyshaltthougo，anddustshaltthoueatallthedaysofthylife，’surelycoveredbyanticipationthecaseoftheRev。Dr。Hyde。
II。ROMANCE。—Thefacultyofromance，thegreatestofthegiftsshoweredonStevenson’scradlebythefairies，willsuffernocourseofdevelopment；themostthatcanbedonewithitistopreserveitonfromchildhoodunblemishedandundiminished。ItisofapiecewithStevenson’sromanticabilitythathisownchildhoodneverended；hecouldpassbackintothatairyworldwithoutaneffort。Inhisstorieshisimaginationworkedontheoldlines，butitbecameconsciousofitsworking。Andthehighestnoteofthesestoriesisnotdrama，norcharacter，butromance。Inoneofhisessayshedefinesthehighestachievementofromancetobetheembodimentof’character，thought，oremotioninsomeactorattitudethatshallberemarkablystrikingtothemind’seye。’HisessayonVictorHugoshowshowkeenlyconscioushewasthatnarrativeromancecancatchandembodyemotionsandeffectsthatareforeveroutofthereachofthedramaproper，andoftheessayorhomily，justastheyareoutofthereachofsculptureandpainting。Now，itispreciselyintheseeffectsthatthechiefexcellenceofromanceresides；itwasthediscoveryofaworldoftheseeffects，insusceptibleoftreatmentbythedrama，neglectedentirelybythecharacter—novel，whichconstitutedtheRomanticrevivaloftheendoflastcentury。’Theartisticresultofaromance，’saysStevenson，’whatisleftuponthememorybyanypowerfulandartisticnovel，issomethingsocomplicatedandrefinedthatitisdifficulttoputanameuponit，andyetsomethingassimpleasnature……Thefactis，thatartisworkingfaraheadoflanguageaswellasofscience，realizingforus，byallmannerofsuggestionsandexaggerations，effectsforwhichasyetwehavenodirectname，forthereasonthattheseeffectsdonotenterverylargelyintothenecessitiesoflife。
Hencealoneisthatsuspicionofvaguenessthatoftenhangsaboutthepurposeofaromance；itisclearenoughtousinthought，butwearenotusedtoconsideranythingclearuntilweareabletoformulateitinwords，andanalyticallanguagehasnotbeensufficientlyshapedtothatend。’Hegoesontopointoutthatthereisanepicalvalueabouteverygreatromance，anunderlyingidea，notpresentablealwaysinabstractorcriticalterms，inthestoriesofsuchmastersofpureromanceasVictorHugoandNathanielHawthorne。
Theprogressofromanceinthepresentcenturyhasconsistedchieflyinthediscoveryofnewexercisesofimaginationandnewsubtleeffectsinstory。Fielding，asStevensonsays，didnotunderstandthatthenatureofalandscapeorthespiritofthetimescouldcountforanythinginastory；allhisactionsconsistofafewsimplepersonalelements。WithScottvagueinfluencesthatqualifyaman’spersonalitybegintomakealargeclaim；’theindividualcharactersbegintooccupyacomparativelysmallproportionofthatcanvasonwhicharmiesmanoeuvreandgreathillspilethemselvesuponeachother’sshoulders。’AndtheachievementsofthegreatmasterssinceScott—Hugo，Dumas，Hawthorne，tonameonlythoseinStevenson’sdirectlineofancestry—haveaddednewrealmstothedomainofromance。
Whataretheindescribableeffectsthatromance，castingfarbeyondproblemsofcharacterandconduct，seekstorealise？Whatisthenatureofthegreatinforming，underlyingideathatanimatesatrulygreatromance—THEBRIDEOFLAMMERMOOR，MONTECRISTO，LES
MISERABLES，THESCARLETLETTER，THEMASTEROFBALLANTRAE？Thesequestionscanonlybeansweredbyde—formingtheimpressiongivenbyeachoftheseworkstopresentitinthechop—logiclanguageofphilosophy。Butanapproachtoananswermaybemadebyillustration。
InhisAMERICANNOTEBOOKSNathanielHawthorneusedtojotdownsubjectsforstoriesastheystruckhim。Hissuccessiveentriesarelikethesoulsofstoriesawaitingembodiment，whichmanyofthemneverreceived；theybringusveryneartotheworkingsofthemindofagreatmaster。Herearesomeofthem：
’Asketchtobegivenofamodernreformer，atypeoftheextremedoctrinesonthesubjectofslaves，coldwater，andthelike。Hegoesaboutthestreetsharanguingmosteloquently，andisonthepointofmakingmanyconverts，whenhislaboursaresuddenlyinterruptedbytheappearanceofthekeeperofamadhousewhencehehasescaped。Muchmaybemadeofthisidea。’
’Thesceneofastoryorsketchtobelaidwithinthelightofastreetlantern；thetimewhenthelampisneargoingout；andthecatastrophetobesimultaneouswiththelastflickeringgleam。’
’Apersontobewritingataleandtofinditshapesitselfagainsthisintentions；thatthecharactersactotherwisethanhethought，andacatastrophecomeswhichhestrivesinvaintoavert。Itmightshadowforthhisownfate—hehavingmadehimselfoneofthepersonages。’
’Twopersonstobeexpectingsomeoccurrenceandwatchingforthetwoprincipalactorsinit，andtofindthattheoccurrenceiseventhenpassing，andthattheythemselvesarethetwoactors。’
’Asatireonambitionandfamefromastatueofsnow。’
Hawthorneusedthisideainoneofhissketches。
’Amoralphilosophertobuyaslave，orotherwisegetpossessionofahumanbeing，andtousehimforthesakeofexperimentbytryingtheoperationofacertainviceonhim。’
M。Bourget，theFrenchromancer，hasmadeuseofthisideainhisnovelcalledLEDISCIPLE。Onlyitisnotaslave，butayounggirlwhomhepretendstolove，thatisthesubjectofthemoralphilosopher’sexperiment；andanoisywarhasbeenwagedroundthebookinFrance。Hawthornewouldplainlyhaveseizedtheromanticessenceoftheideaandwouldhaveavoidedtheboneyardof’problemmorality。’
’Astorytheprincipalpersonageofwhichshallseemalwaysonthepointofenteringonthescene，butshallneverappear。’
ThisisthedevicethatgivesfascinationtothefiguresofRichelieuinMARIONDELORME，andofCaptainFlintinTREASURE
ISLAND。
’Themajestyofdeathtobeexemplifiedinabeggar，who，afterbeingseenhumbleandcringinginthestreetsofacityformanyyears，atlengthbysomemeansorothergetsadmittanceintoarichman’smansion，andtheredies—assumingstate，andstrikingaweintothebreastsofthosewhohadlookeddownuponhim。’
Theseareallexcellentinstancesofthesortofideathatgiveslifetoaromance—ofactsorattitudesthatstampthemselvesuponthemind’seye。Someofthemappealchieflytothemind’seye，othersareofvaluechieflyassymbols。But，forthemostpart，theromantickernelofastoryisneitherpurepicturenorpureallegory，itcanneitherbepaintednormoralised。Itmakesitsmostirresistibleappealneithertotheeyethatsearchesforformandcolour，nortothereasonthatseeksforabstracttruth，buttotheblood，toallthatdiminstinctofdanger，mystery，andsympathyinthingsthatisman’soldestinheritance—tothesuperstitionsoftheheart。Romancevindicatesthesupernaturalagainstscienceandrescuesitfromthepalsiedtutelageofmorality。
Stevenson’sworkisagalleryofromanticeffectsthathauntthememory。Someofthesearedirectlypictorial：thefightintheround—houseonboardthebrigCOVENANT；theduelbetweenthetwobrothersofBallantraeintheislandoflightthrownupbythecandlesfromthatabyssofwindlessnight；theflightofthePrincessSeraphinathroughthedarkmazesofthewood，—allthese，althoughtheycarrywiththemsubtletiesbeyondthepainter’sart，yethavesomethingofpictureinthem。Butothersmakeentrancetothecorridorsofthemindbyblindandsecretways，andthereawakentheechoesofprimaevalfear。Thecryoftheparrot—
’Piecesofeight’—thetappingofthestickoftheblindpiratePewashedrawsneartheinn—parlour，andthesimilareffectsofinexplicableterrorwroughtbytheintroductionoftheblindcatechistinKIDNAPPED，andofthedisguiseofablindleperinTHE
BLACKARROW，arebeyondthereachofanybuttheliteraryformofromanticart。ThelastappearanceofPew，intheplayofADMIRAL
GUINEA，writtenincollaborationwithMr。W。E。Henley，isperhapsthemasterpieceofallthescenesofterror。Theblindruffian’sscreamofpanicfear，whenheputshisgropinghandintotheburningflameofthecandleintheroomwherehebelievedthathewasunseen，andsorealisesthathiseverymovementisbeingsilentlywatched，isindeed’thehorrorscomealive。’
TheanimatingprincipleorideaofStevenson’slongerstoriesisnevertobefoundintheirplot，whichisgenerallybuiltcarelesslyanddisjointedlyenougharoundthecentralromanticsituationorconception。ThemainsituationinTHEWRECKERisasplendidproductofromanticaspiration，butthestructureofthestoryisincoherentandineffective，sothatsomeofthebestpassagesinthebook—thescenesinParis，forinstance—havenobusinessthereatall。ThestoryinKIDNAPPEDandCATRIONAwandersoninasinglethread，likethepageantofadream，andthereaderfeelsandsympathiseswiththeauthor’sobviousdifficultyinleadingitbacktothesceneofthetrialandexecutionofJamesStewart。THEMASTEROFBALLANTRAEisstampedwithamagnificentunityofconception，butthestoryilluminatesthatconceptionbyaseriesofscatteredepisodes。
Thatluridembodimentoffascinatingevil，partvampire，partMephistopheles，whosegrandmannerandheroicabilitiesmighthavemadehimagreatandgoodmanbutfor’themaladyofnotwanting，’
isthelightandmeaningofthewholebook。Innocentandbenevolentlivesarethrowninhiswaythathemaymockordistortorshatterthem。Stevensonnevercamenearerthaninthischaractertothesublimeofpower。
Butaninformingprincipleofunityismorereadilytobeapprehendedintheshorterstories，anditisaunitynotsomuchofplotasofimpressionandatmosphere。Hisislands，whethersituatedinthePacificoroffthecoastofScotland，haveeachofthemaclimateofitsown，andthecharacteroftheplaceseemstoimposeitselfontheincidentsthatoccur，dictatingsubordinationorcontrast。Theeventsthathappenwithinthelimitsofoneofthesemagicislescouldineverycasebecutofffromtherestofthestoryandframedasaseparateworkofart。ThelongstarvationofDavidBalfourontheislandofEarraid，thesharksofcrimeandmonstersofblasphemythatbreakthepeaceoftheshiningtropicallagoonsinTREASUREISLANDandTHEEBBTIDE，thecaptivityontheBassRockinCATRIONA，thesupernaturalterrorsthathoverandmutterovertheislandofTHEMERRYMEN—theseimaginationsareplainlygeneratedbythesceneryagainstwhichtheyarethrown；
eachisinsomesortthegeniusoftheplaceitinhabits。
Inhissearchforthetreasuresofromance，Stevensonadventuredfreelyenoughintotherealmofthesupernatural。
WhenheishandlingthesuperstitionsoftheScottishpeople，heallowshishumorousenjoymentoftheirextravagancetopeepoutfrombehindthesolemndialectinwhichtheyaredressed。ThebrieftaleofTHRAWNJANET，andBlackAndy’sstoryofTodLapraikinCATRIONA，aregrotesqueimaginationsoftheschoolofTAMO’
SHANTERratherthanoftheschoolofShakespeare，whodealsinnocomedyghosts。Theyareturnip—lanternsswayedbyalaughingurchin，proudofthefearshecanawaken。EvenTHESTRANGECASEOF
DR。JEKYLLANDMR。HYDEandthestoryofTHEBOTTLEIMParemanufacturedbogeys，thatworkonthenervesandnotontheheart，whatevermaybesaidbythosewhoinsistonseeingallegoryinwhatisonlydream—fantasy。Thesupernaturalmustberooteddeeperthantheseinlifeandexperienceifitistoreachanimposingstature：
thetrueghostistheshadowofaman。AndStevensonshowsasenseofthisintwoofhisveryfineststories，theexquisiteidyllofWILLO’THEMILLandthegrimhistoryofMARKHEIM。Eachofthesestoriesistheworkofapoet，bynomeansofagoblin—fancier。
ThepersonificationofDeathisasoldaspoetry；itiswroughtwithmovinggentlenessinthatlastsceneinthearbourofWill’sinn。Thewaftedscentoftheheliotropes，whichhadneverbeenplantedinthegardensinceMarjory’sdeath，thelightintheroomthathadbeenhers，preludethearrivalatthegateofthestranger’scarriage，withtheblackpinetopsstandingaboveitlikeplumes。AndWillo’theMillmakestheacquaintanceofhisphysicianandfriend，andgoesatlastuponhistravels。Intheotherstory，Markheimmeetswithhisowndoubleinthehouseofthedealerincuriosities，whomhehasmurdered。ItisnotsuchadoubleasRossettiprayedfortothegodofSleep：
’Ah！mightI，bythygoodgrace，Gropinginthewindystair（DarknessandthebreathofspaceLikeloudwaterseverywhere），MeetingmineownimagethereFacetoface，Senditfromthatplacetoher！’
butaclear—eyedcriticofthemurderer，notunfriendly，wholaysbarebeforehimhismotivesandhistory。Atthecloseofthatwonderfulconversation，oneofthemostbrilliantofitsauthor’sachievements，Markheimgiveshimselfintothehandsofthepolice。
Thesetwostories，whencomparedwiththeothers，servetoshowhowStevenson’simaginationquickenedandstrengthenedwhenitplayedfulluponlife。Forhisbestromanticeffects，likeallgreatromance，areilluminativeoflife，andnomereidlegames。
III。MORALITY。—Hisgenius，likethegeniusofNathanielHawthorne，wasdoublyrichinthespiritofromanceandinawiseandbeautifulmorality。Buttheirresponsiblecapricesofhisnarrativefancypreventedhistalesfrombeingtheappropriatevehiclesofhismorality。Hehasleftnowork—unlessthetwoshortstoriesmentionedaboveberegardedasexceptions—inwhichromanceandmoralityareweldedintoasingleperfectwhole，nothingthatcanbeputbesideTHESCARLETLETTERorTHEMARBLE
FAUNfordeepinsightandmagicfancyjoinedinone。Hencehisessays，containingastheydothegistofhisreflectivewisdom，arerankedbysomecriticsabovehisstories。
Anovelcannot，ofcourse，bemoralasanactionismoral；thereisnoquestioninartofpoliceregulationsorconformitytoestablishedcodes，butratherofinsightbothdeepandwide。
Polygamyandmonogamy，suttee，thuggism，andcannibalism，areallacceptabletotheromancer，whosebusinessiswiththeheartofamaninalltimesandplaces。Heisnotboundtodisplayallegiancetoparticularmorallawsofthekindthatcanbebroken；heisboundtoshowhisconsciousnessofthatwidermoralorderwhichcannomorebebrokenbycrimethanthelawofgravitationcanbebrokenbythefallofchina—themoralitywithoutwhichlifewouldbeimpossible；therelations，namely，ofhumanbeingstoeachother，thefeelings，habits，andthoughtsthatarethewebofsociety。Fortheappreciationofmoralityinthiswidersensehighgiftsofimaginationarenecessary。ShakespearecouldneverhavedrawnMacbeth，andtherebymadeapparenttheawfulnessofmurder，withoutsomesympathyforthemurderer—thesympathyofintelligence。ThesegiftsofimaginationandsympathybelongtoStevensoninaveryhighdegree；inallhisromancestherearegleamsfromtimetotimeofwiseandsubtlereflectionuponlife，fromtheeternalsideofthings，whichshinethemoreluminouslythattheyspringfromtheeventsandsituationswithnosuspicionofhomily。InTHEBLACKARROW，DickSheltonbegsfromtheDukeofGloucesterthelifeoftheoldshipmasterArblaster，whoseshiphehadtakenandaccidentallywreckedearlierinthestory。TheDukeofGloucester，who，inhisownwords，’lovesnotmercynormercy—
mongers，’yieldsthefavourreluctantly。ThenDickturnstoArblaster。
’\"Come，\"saidDick，\"alifeisalife，oldshrew，anditismorethanshipsorliquor。Sayyouforgiveme，forifyourlifeisworthnothingtoyou，ithathcostmethebeginningsofmyfortune。
Come，Ihavepaidforitdearly，benotsochurlish。\"
’\"AnIhadmyship，\"saidArblaster，\"Iwould’a’beenforthandsafeonthehighseas—IandmymanTom。Butyetookmyship，gossip，andI’mabeggar；andformymanTom，aknavefellowinrussetshothimdown，’Murrain，’quothhe，andspakeneveragain。
’Murrain’wasthelastofhiswords，andthepoorspiritofhimpassed。’Awillneversailnomore，willmyTom。\"
’Dickwasseizedwithunavailingpenitenceandpity；hesoughttotaketheskipper’shand，butArblasteravoidedhistouch。
’\"Nay，\"saidhe，\"letbe。Y’haveplayedthedevilwithme，andletthatcontentyou。\"
’ThewordsdiedinRichard’sthroat。Hesaw，throughtears，thepooroldman，bemusedwithliquorandsorrow，goshamblingaway，withbowedhead，acrossthesnow，andtheunnoticeddogwhimperingathisheels；andforthefirsttimebegantounderstandthedesperategamethatweplayinlife，andhowathingoncedoneisnottobechangedorremediedbyanypenitence。’
AsimilarwisdomthatgoestotheheartofthingsisfoundonthelipsofthespiritualvisitantinMarkheim。
’\"Murderistomenospecialcategory，\"repliedtheother。\"Allsinsaremurder，evenasalllifeiswar。Ibeholdyourrace，likestarvingmarinersonaraft，pluckingcrustsoutofthehandsoffamine，andfeedingoneachother’slives。Ifollowsinsbeyondthemomentoftheiracting；Ifindinallthatthelastconsequenceisdeath；andtomyeyestheprettymaid，whothwartshermotherwithsuchtakinggracesonaquestionofaball，dripsnolessvisiblywithhumangorethansuchamurdererasyourself。\"’
ThewideoutlookonhumanitythatexpressesitselfinpassagesliketheseiscombinedinStevensonwithavividinterestin，andquickappreciationof，character。Thevarietyofthecharactersthathehasessayedtodrawisenormous，andhissuccesses，forthepurposesofhisstories，aremany。Yetwithallthis，thenumberoflifelikeportraits，truetoahair，thataretobefoundinhisworksisverysmallindeed。Inthegoldenglowofromance，characterisalwayssubjecttobeidealised；itistheeffectofcharacterseenatparticularanglesandinspeciallights，naturalorartificial，thatStevensonpaints；hedoesnotattempttoanalysethecomplexityofitselements，butboldlyprojectsintoitcertainprinciples，andworksfromthose。IthasoftenbeensaidofScottthathecouldnotdrawaladywhowasyoungandbeautiful；
theglamourofchivalryblindedhim，heloweredhiseyesanddescribedhisemotionsandaspirations。SomethingofthesamedisabilityafflictedStevensoninthepresenceofaruffian。Helovedheroicviceonlylessthanhelovedheroicvirtue，andwasalwaysreadytoidealisehisvillains，tomakeofthemmenwho，liketheMasterofBallantrae，’livedforanidea。’EventhelowandlesservillainyofIsraelHands，inthegreatscenewhereheclimbsthemasttomurdertheheroofTREASUREISLAND，breathesoutitssoulinacreed：
’\"Forthirtyyears，\"hesaid，\"I’vesailedtheseas，andseengoodandbad，betterandworse，provisionsrunningout，knivesgoing，andwhatnot。Well，nowItellyou，Ineverseengoodcomeo’
goodnessyet。Himasstrikesfirstismyfancy；deadmendon’tbite；them’smyviews—Amen，sobeit。\"’
JohnSilver，thatmemorablepirate，withafacelikeahamandaneyelikeafragmentofglassstuckintoit，leadsacareerofwholeheartedcrimethatcanonlybedescribedassparkling。Hisunalloyedmaleficenceisadornedwithathousandgracesofmanner。
Intothedarkandfetidmarshthatisanevilheart，wherelowformsofsentiencyarehardlydistinguishablefromtheall—
pervadingmud，Stevensonneverpeered，unlessitwereinthestudyofHuishinTHEEBBTIDE。
Ofhiswomen，letwomenspeak。Theyaretraditionallyaccreditedwithanintuitionofoneanother’shearts，althoughwhy，ifwomanwascreatedforman，astheScripturesassureus，theimpressionthatshemakesonhimshouldnotcountforasmuchastheimpressionshemakesonsomeotherwoman，isaquestionthatcriesforsolution。Perhapstheansweristhatdisinterestedcuriosity，whichisonemeansofapproachtotheknowledgeofcharacter，althoughonlyone，isarareattitudeformantoassumetowardstheothersex。Stevenson’scuriositywaslateinawaking；theheroineofTHEBLACKARROWisdressedinboy’sclothesthroughoutthecourseofthestory，andthenovelistthussavedthetroubleofdescribingthedemeanourofagirl。Mrs。Henry，inTHEMASTEROF
BALLANTRAE，isacharmingveiledfigure，drawnintheshadow；MissBarbaraGrantandCatrionainthecontinuationofKIDNAPPEDarerealenoughtohavemademanysuitorsfortheirrespectivehandsamongmalereadersofthebook；—butthatisnothing，replythecriticsoftheotherparty：awalkingdollwillfindsuitors。Thequestionmuststandoveruntilsomedefiniteprinciplesofcriticismhavebeendiscoveredtoguideusamongtheseperilouspasses。
OnecharactermustneverbepassedoverinanestimateofStevenson’swork。TheheroofhislongestworkisnotDavidBalfour，inwhomthepawkyLowlandlad，proudandprecise，but’averyprettygentleman，’istransfiguredattimesbytraitsthathecatches，asnarratorofthestory，fromitsauthorhimself。ButAlanBreekStewartisagreatercreation，andafineinstanceofthatwidermoralitythatcanseizebysympathythesoulofawildHighlandclansman。’Impetuous，insolent，unquenchable，’acondonerofmurder（for’themthathavenaedippedtheirhandsinanylittledifficultyshouldbeverymindfulofthecaseofthemthathave’），aconfirmedgambler，asquarrel—someasaturkey—cock，andasvainandsensitiveasachild，AlanBreekisoneofthemostlovablecharactersinallliterature；andhispenetration—agreatpartofwhichhelearned，totakehisownaccountofit，bydrivingcattle’throughathronglowlandcountrywiththeblacksoldiersathistail’—blossomsintothemostdelightfulreflectionsuponmenandthings。
Thehighestambitionsofanovelistarenoteasilyattainable。Tocombineincident，character，andromanceinauniformwhole，toalternatetellingdramaticsituationwitheffectsofpoetryandsuggestion，tobreatheintotheentireconceptionaprofoundwisdom，constructitwithabsoluteunity，andexpressitinperfectstyle，—thisthinghasneveryetbeendone。AgreatpartofStevenson’ssubtlewisdomoflifefindsitsreadiestoutletinhisessays。Inthese，whatevertheiroccasion，heshowshimselftheclearest—eyedcriticofhumanlife，neverthedupeofthephrasesandpretences，thetheoriesandconventions，thatdistortthevisionofmostwritersandthinkers。Hehasanunerringinstinctforrealities，andbrushesasideallelsewithrapidgrace。InhislatelypublishedAMATEUREMIGRANThedescribesoneofhisfellow—
passengerstoAmerica：
’Intruthitwasnotwhiskythathadruinedhim；hewasruinedlongbeforeforallgoodhumanpurposesbutconversation。Hiseyesweresealedbyacheapschool—bookmaterialism。Hecouldseenothingintheworldbutmoneyandsteamengines。Hedidnotknowwhatyoumeantbythewordhappiness。Hehadforgottenthesimpleemotionsofchildhood，andperhapsneverencounteredthedelightsofyouth。
Hebelievedinproduction，thatusefulfigmentofeconomy，asifithadbeenreal，likelaughter；andproduction，withoutprejudicetoliquor，washisgodandguide。’
Thissenseoftherealitiesoftheworld，—laughter，happiness，thesimpleemotionsofchildhood，andothers，—makesStevensonanadmirablecriticofthosesocialpretencesthatapethenativequalitiesoftheheart。ThecriticismonorganisedphilanthropycontainedintheessayonBEGGARSisnotexhaustive，itisexpressedparadoxically，butisituntrue？
’Weshouldwipetwowordsfromourvocabulary：gratitudeandcharity。Inreallife，helpisgivenoutoffriendship，oritisnotvalued；itisreceivedfromthehandoffriendship，oritisresented。Wearealltooproudtotakeanakedgift；wemustseemtopayit，ifinnothingelse，thenwiththedelightsofoursociety。Here，then，isthepitifulfixoftherichman；hereisthatneedle’seyeinwhichhestuckalreadyinthedaysofChrist，andstillsticksto—day，firmer，ifpossible，thanever；thathehasthemoney，andlacksthelovewhichshouldmakehismoneyacceptable。Hereandnow，justasofoldinPalestine，hehastherichtodinner，itiswiththerichthathetakeshispleasure：andwhenhisturncomestobecharitable，helooksinvainforarecipient。Hisfriendsarenotpoor，theydonotwant；thepoorarenothisfriends，theywillnottake。Towhomishetogive？
Wheretofind—notethisphrase—theDeservingPoor？Charityis（whattheycall）centralised；officesarehired；societiesfounded，withsecretariespaidorunpaid：thehuntoftheDeservingPoorgoesmerrilyforward。Ithinkitwilltakeamorethanmerelyhumansecretarytodisinterthatcharacter。What！aclassthatistobeinwantfromnofaultofitsown，andyetgreedilyeagertoreceivefromstrangers；andtobequiterespectable，andatthesametimequitedevoidofself—respect；andplaythemostdelicatepartoffriendship，andyetneverbeseen；andweartheformofman，andyetflyinthefaceofallthelawsofhumannature：—andallthis，inthehopeofgettingabelly—godburgessthroughaneedle’seye！Oh，lethimstick，byallmeans；andlethispolitytumbleinthedust；andlethisepitaphandallhisliterature（ofwhichmyownworksbegintoformnoinconsiderablepart）beabolishedevenfromthehistoryofman！Forafoolofthismonstrosityofdulnesstherecanbenosalvation；andthefoolwholookedfortheelixiroflifewasanangelofreasontothefoolwholooksfortheDeservingPoor。’
AnequalsenseoftherealitiesoflifeanddeathgivestheforceofanaturallawtothepathosofOLDMORTALITY，thatessayinwhichStevensonpayspassionatetributetothememoryofhisearlyfriend，who’hadgonetoruinwithakinglyabandon，likeonewhocondescended；butonceruined，withthelightsallout，hefoughtasforakingdom。’Thewholedescription，downtothemarvellousquotationfromBunyanthatclosesit，isoneofthesovereignpassagesofmodernliterature；thepathosofitispureandelemental，liketherushofacleansingwind，ortheonsetofthelegionscommandedby’ThemightyMahmud，Allah—breathingLord，ThatallthemisbelievingandblackHordeOfFearsandSorrowsthatinfesttheSoulScattersbeforehimwithhiswhirlwindSword。’
Lastly，tobringtoanendthisimperfectreviewoftheworksofawriterwhohasleftnonegreaterbehindhim，Stevensonexcelsatwhatisperhapsthemostdelicateofliterarytasksandtheutmosttest，whereitissuccessfullyencountered，ofnobility，—thepractice，namely，ofself—revelationandself—delineation。Totalkmuchaboutoneselfwithdetail，composure，andease，withnoshadowofhypocrisyandnowhiffortaintofindecentfamiliarity，nopulingandnoposing，—theshoresoftheseaofliteraturearestrewnwiththewrecksandforlornpropertiesofthosewhohaveadventuredonthisdangerousattempt。ButacriticismofStevensonishappyinthis，thatfromthewriteritcanpasswithperfecttrustandperfectfluencytotheman。HeshareswithGoldsmithandMontaigne，hisownfavourite，thehappyprivilegeofmakingloversamonghisreaders。’TobethemostbelovedofEnglishwriters—
whatatitlethatisforaman！’saysThackerayofGoldsmith。Insuchmatters，adisputeforpre—eminenceinthecaptivationofheartswouldbeunseemly；itisenoughtosaythatStevensontoohashisloversamongthosewhohaveaccompaniedhimonhisINLAND
VOYAGE，orthroughthefastnessesoftheCevennesinthewakeofModestine。Heislovedbythosethatneversawhisface；andonewhohassealedthatdizzyheightofambitionmaywellbecontent，withouttheimpertinentassurancethat，whentheJapanesehavetakenLondonandrevisedthecontentsoftheBritishMuseum，theyellowscribeswhomtheyshallsettoproduceaneweditionoftheBIOGRAPHIEUNIVERSELLEwillincludeintheirentriesthefollowingitem：—’STEVENSON，R。L。APROLIFICWRITEROFSTORIESAMONGTHE
ABORIGINES。FLOURISHEDBEFORETHECOMINGOFTHEJAPANESE。HIS
WORKSARELOST。’