while nearly every Englishman has enjoyed the anecdote, hardly one
Englishman has seen the joke--I mean the point. You will find twenty
allusions to Jekyll and Hyde in a day's newspaper reading. You will also
find that all such allusions suppose the two personalities to be equal,
neither caring for the other. Or more roughly, they think the book means
that man can be cloven into two creatures, good and evil. The whole stab
of the story is that man _can't_: because while evil does not care for
good, good must care for evil. Or, in other words, man cannot escape
from God, because good is the God in man; and insists on omniscience.
This point, which is good psychology and also good theology and also
good art, has missed its main intention merely because it was also good
story-telling.

If the rather vague Victorian public did not appreciate the deep and
even tragic ethics with which Stevenson was concerned, still less were
they of a sort to appreciate the French finish and fastidiousness of his
style; in which he seemed to pick the right word up on the point of his
pen, like a man playing spillikins. But that style also had a quality
that could be felt; it had a military edge to it, an _acies_; and there
was a kind of swordsmanship about it. Thus all the circumstances led,
not so much to the narrowing of Stevenson to the romance of the fighting
spirit; but the narrowing of his influence to that romance. He had a
great many other things to say; but this was what we were willing to
hear: a reaction against the gross contempt for soldiering which had
really given a certain Chinese deadness to the Victorians. Yet another
circumstance thrust him down the same path; and in a manner not wholly
fortunate. The fact that he was a sick man immeasurably increases the
credit to his manhood in preaching a sane levity and pugnacious
optimism. But it also forbade him full familiarity with the actualities
of sport, war, or comradeship: and here and there his note is false in