IV
THE PERSONAL ESSAY
The Personal Essay is a peculiar form of literature, entirely
different from critical essays like those of Matthew Arnold and from
purely reflective essays, like those of Bacon. It is a species of
writing somewhat akin to autobiography or firelight conversation;
where the writer takes the reader entirely into his confidence, and
chats pleasantly with him on topics that may be as widely apart as the
immortality of the soul and the proper colour of a necktie. The first
and supreme master of this manner of writing was Montaigne, who
belongs in the front rank of the world's greatest writers of prose.
Montaigne talks endlessly on the most trivial subjects without ever
becoming trivial. To those who really love reading and have some
sympathy with humanity, Montaigne's _Essays_ are a "perpetual refuge
and delight," and it is interesting to reflect how far in literary
fame this man, who talked about his meals, his horse, and his cat,
outshines thousands of scholarly and talented writers, who discussed
only the most serious themes in politics and religion. The great
English prose writers in the field of the personal essay during the
seventeenth century were Sir Thomas Browne, Thomas Fuller, and Abraham
Cowley, though Walton's _Compleat Angler_ is a kindred work. Browne's
_Religio Medici_, and his delightful _Garden of Cyrus_, old Tom
Fuller's quaint _Good Thoughts in Bad Times_ and Cowley's charming
_Essays_ are admirable examples of this school of composition.
Burton's wonderful _Anatomy of Melancholy_ is a colossal personal
essay. Some of the papers of Steele and Addison in the _Tatler_,
_Guardian,_ and the _Spectator_ are of course notable; but it was not
until the appearance of Charles Lamb that the personal essay reached
its climax in English literature. Over the pages of the _Essays of
Elia_ hovers an immortal charm--the charm of a nature inexhaustible in
its humour and kindly sympathy for humanity. Thackeray was another
great master of the literary easy-chair, and is to some readers more
attractive in this attitude than as a novelist. In America we have had
a few writers who have reached eminence in this form, beginning with
Washington Irving, and including Donald G. Mitchell, whose _Reveries
of a Bachelor_ has been read by thousands of people for over fifty
years.
As a personal essayist Stevenson seems already to belong to the first
rank. He is both eclectic and individual. He brought to his pen the
reminiscences of varied reading, and a wholly original touch of
fantasy. He was literally steeped in the gorgeous Gothic diction of
the seventeenth century, but he realised that such a prose style as
illumines the pages of William Drummond's _Cypress Grove_ and Browne's
_Urn Burial_ was a lost art. He attempted to imitate such writing only
in his youthful exercises, for his own genius was forced to express
itself in an original way. All of his personal essays have that air of
distinction which attracts and holds one's attention as powerfully in
a book as it does in social intercourse. Everything that he has to say
seems immediately worth saying, and worth hearing, for he was one of
those rare men who had an interesting mind. There are some literary
artists who have style and nothing else, just as there are some great
singers who have nothing but a voice. The true test of a book, like
that of an individual, is whether or not it improves upon
acquaintance. Stevenson's essays reflect a personality that becomes
brighter as we draw nearer. This fact makes his essays not merely
entertaining reading, but worthy of serious and prolonged study.
[Note 1: His name was originally Robert Lewis Balfour Stevenson. He
later dropped the "Balfour" and changed the spelling of "Lewis" to
"Louis," but the name was always pronounced "Lewis."]
BIBLIOGRAPHY
The following information is taken from Col. Prideaux's admirable
_Bibliography_ of Stevenson, London, 1903. I have given the titles and
dates of only the more important publications in book form; and of the
critical works on Stevenson, I have included only a few of those that
seem especially useful to the student and general reader. The detailed
facts about the separate publications of each essay included in the
present volume are fully given in my notes.
WORKS
1878. An Inland Voyage.
1879. Travels with a Donkey.
1881. Virginibus Puerisque.
1882. Familiar Studies of Men and Books.
1882. New Arabian Nights.
1883. Treasure Island.
1885. Prince Otto.
1885. A Child's Garden of Verses.
1885. More New Arabian Nights. The Dynamiter.
1886. Strange Case of Dr. Jekyll and Mr. Hyde.
1886. Kidnapped.
1887. The Merry Men.
1887. Memories and Portraits.
1888. The Black Arrow.
1889. The Master of Ballantrae. (A few copies privately printed in
1888.)
1889. The Wrong Box.
1890. Father Damien.
1892. Across the Plains.
1892. The Wrecker.
1893. Island Nights' Entertainments.
1893. Catriona.
1894. The Ebb Tide.
1895. Vailima Letters.
1896. Weir of Hermiston.
1898. St. Ives.
1899. Letters, Two Volumes.
NOTE. The _Edinburgh Edition_ of the _works_, in twenty-eight volumes,
is often referred to by bibliographers; it can now be obtained only at
second-hand bookshops, or at auction sales. The best complete edition
on the market is the _Thistle Edition_, in twenty-six volumes,
including the _Life_ and the _Letters_, published by Charles
Scribner's Sons, New York.
WORKS ON STEVENSON
_Life of Robert Louis Stevenson_, by Graham Balfour. 1901. Two
Volumes. _This is the standard Life, and indispensable._
_Robert Louis Stevenson_, by Henry James, in _Partial Portraits,_
1894. _Admirable criticism_.
_Robert Louis Stevenson_, by Walter Raleigh. 1895. _An excellent
appreciation of his character and work._
_Robert Louis Stevenson: Personal Memories_, by Edmund Gosse, in
_Critical Kit-Kats,_ 1896. _Entertaining gossip._
_Stevenson's Shrine, The Record of a Pilgrimage_, by Laura Stubbs.
1903. _Very interesting full-page illustrations._
_(For further critical books and articles, which are numerous, consult
Prideaux.)_
