Robert Louis Stevenson by Sir Walter Alexander Raleigh
page 19 of 39 (48%)
page 19 of 39 (48%)
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However it was made, and whencesoever the material or suggestion borrowed, he came by a very admirable instrument for the telling of stories. Those touches of archaism that are so frequent with him, the slightly unusual phrasing, or unexpected inversion of the order of words, show a mind alert in its expression, and give the sting of novelty even to the commonplaces of narrative or conversation. A nimble literary tact will work its will on the phrases of current small-talk, remoulding them nearer to the heart's desire, transforming them to its own stamp. This was what Stevenson did, and the very conversations that pass between his characters have an air of distinction that is all his own. His books are full of brilliant talk - talk real and convincing enough in its purport and setting, but purged of the languors and fatuities of actual commonplace conversation. It is an enjoyment like that to be obtained from a brilliant exhibition of fencing, clean and dexterous, to assist at the talking bouts of David Balfour and Miss Grant, Captain Nares and Mr. Dodd, Alexander Mackellar and the Master of Ballantrae, Prince Otto and Sir John Crabtree, or those wholly admirable pieces of special pleading to be found in A LODGING FOR THE NIGHT and THE SIRE DE MALETROIT'S DOOR. But people do not talk like this in actual life- ' 'tis true, 'tis pity; and pity 'tis, 'tis true.' They do not; in actual life conversation is generally so smeared and blurred with stupidities, so invaded and dominated by the spirit of dulness, so liable to swoon into meaninglessness, that to turn to Stevenson's books is like an escape into mountain air from the stagnant vapours of a morass. The exact reproduction of conversation as it occurs in life can only be undertaken by one whose natural dulness feels itself incommoded by wit and fancy as by a grit in the eye. Conversation |
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