Complete Works of Robert Louis Stevenson (Illustrated) (675 page)

He must always be doing something agreeable, and, by preference, two agreeable things at once. In his house he had a box of carpenter’s tools, two dogs, an eagle, a canary, and a blackbird that whistled tunes, lest, even in that full life, he should chance upon an empty moment. If he had to wait for a dish of poached eggs, he must put in the time by playing on the flageolet; if a sermon were dull, he must read in the book of Tobit or divert his mind with sly advances on the nearest women. When he walked, it must be with a book in his pocket to beguile the way in case the nightingales were silent; and even along the streets of London, with so many pretty faces to be spied for and dignitaries to be saluted, his trail was marked by little debts “for wine, pictures, etc.,” the true headmark of a life intolerant 8 of any joyless passage. He had a kind of idealism in pleasure; like the princess in the fairy story, he was conscious of a rose-leaf out of place. Dearly as he loved to talk, he could not enjoy nor shine in a conversation when he thought himself unsuitably dressed. Dearly as he loved eating, he “knew not how to eat alone”; pleasure for him must heighten pleasure; and the eye and ear must be flattered like the palate ere he avow himself content. He had no zest in a good dinner when it fell to be eaten “in a bad street and in a periwig-maker’s house”; and a collation was spoiled for him by indifferent music. His body was indefatigable, doing him yeoman’s service in this breathless chase of pleasures. On April , , he mentions that he went to bed “weary,
which I seldom am
”; and already over thirty, he would sit up all night cheerfully to see a comet. But it is never pleasure that exhausts the pleasure-seeker; for in that career, as in all others, it is failure that kills. The man who enjoys so wholly, and bears so impatiently the slightest widowhood from joy, is just the man to lose a night’s rest over some paltry question of his right to fiddle on the leads, or to be “vexed to the blood” by a solecism in his wife’s attire; and we find in consequence that he was always peevish when he was hungry, and that his head “aked mightily” after a dispute. But nothing could divert him from his aim in life; his remedy in care was the same as his delight in prosperity: it was with pleasure, and with pleasure only, that he sought to drive out sorrow; and, whether he was jealous of his wife or skulking from a bailiff, he would equally take refuge in a theatre. There, if the house be full and the company noble, if the songs be tunable, the actors perfect, and the play diverting, this odd hero of the secret Diary, this private self-adorer, will speedily be healed of his distresses.

Equally pleased with a watch, a coach, a piece of meat, a tune upon the fiddle, or a fact in hydrostatics, Pepys was pleased yet more by the beauty, the worth, the mirth, or the mere scenic attitude in life of his fellow-creatures. 9 He shows himself throughout a sterling humanist. Indeed, he who loves himself, not in idle vanity, but with a plenitude of knowledge, is the best equipped of all to love his neighbours. And perhaps it is in this sense that charity may be most properly said to begin at home. It does not matter what quality a person has: Pepys can appreciate and love him for it. He “fills his eyes” with the beauty of Lady Castlemaine; indeed, he may be said to dote upon the thought of her for years; if a woman be good-looking and not painted, he will walk miles to have another sight of her; and even when a lady by a mischance spat upon his clothes, he was immediately consoled when he had observed that she was pretty. But, on the other hand, he is delighted to see Mrs. Pett upon her knees, and speaks thus of his Aunt James: “a poor, religious, well-meaning, good soul, talking of nothing but God Almighty, and that with so much innocence that mightily pleased me.” He is taken with Pen’s merriment and loose songs, but not less taken with the sterling worth of Coventry. He is jolly with a drunken sailor, but listens with interest and patience, as he rides the Essex roads, to the story of a Quaker’s spiritual trials and convictions. He lends a critical ear to the discourse of kings and royal dukes. He spends an evening at Vauxhall with “Killigrew and young Newport — loose company,” says he, “but worth a man’s being in for once, to know the nature of it, and their manner of talk and lives.” And when a rag-boy lights him home, he examines him about his business and other ways of livelihood for destitute children. This is almost half-way to the beginning of philanthropy; had it only been the fashion, as it is at present, Pepys had perhaps been a man famous for good deeds. And it is through this quality that he rises, at times, superior to his surprising egotism; his interest in the love affairs of others is, indeed, impersonal; he is filled with concern for my Lady Castlemaine, whom he only knows by sight, shares in her very jealousies, joys with her in her successes; and it is not untrue, however 0 strange it seems in his abrupt presentment, that he loved his maid Jane because she was in love with his man Tom.

Let us hear him, for once, at length: “So the women and W. Hewer and I walked upon the Downes, where a flock of sheep was; and the most pleasant and innocent sight that ever I saw in my life. We found a shepherd and his little boy reading, far from any houses or sight of people, the Bible to him; so I made the boy read to me, which he did with the forced tone that children do usually read, that was mighty pretty; and then I did give him something, and went to the father, and talked with him. He did content himself mightily in my liking his boy’s reading, and did bless God for him, the most like one of the old patriarchs that ever I saw in my life, and it brought those thoughts of the old age of the world in my mind for two or three days after. We took notice of his woolen knit stockings of two colours mixed, and of his shoes shod with iron, both at the toe and heels, and with great nails in the soles of his feet, which was mighty pretty; and taking notice of them, ‘Why,’ says the poor man, ‘the downes, you see, are full of stones, and we are faine to shoe ourselves thus; and these,’ says he, ‘will make the stones fly till they ring before me.’ I did give the poor man something, for which he was mighty thankful, and I tried to cast stones with his horne crooke. He values his dog mightily, that would turn a sheep any way which he would have him, when he goes to fold them; told me there was about eighteen score sheep in his flock, and that he hath four shillings a week the year round for keeping of them; and Mrs. Turner, in the common fields here, did gather one of the prettiest nosegays that ever I saw in my life.”

And so the story rambles on to the end of that day’s pleasuring; with cups of milk, and glowworms, and people walking at sundown with their wives and children, and all the way home Pepys still dreaming “of the old age of the world” and the early innocence of man. This 1 was how he walked through life, his eyes and ears wide open, and his hand, you will observe, not shut; and thus he observed the lives, the speech, and the manners of his fellow-men, with prose fidelity of detail and yet a lingering glamour of romance.

It was “two or three days after” that he extended this passage in the pages of his Journal, and the style has thus the benefit of some reflection. It is generally supposed that, as a writer, Pepys must rank at the bottom of the scale of merit. But a style which is indefatigably lively, telling, and picturesque through six large volumes of everyday experience, which deals with the whole matter of a life, and yet is rarely wearisome, which condescends to the most fastidious particulars, and yet sweeps all away in the forthright current of the narrative, — such a style may be ungrammatical, it may be inelegant, it may be one tissue of mistakes, but it can never be devoid of merit. The first and the true function of the writer has been thoroughly performed throughout; and though the manner of his utterance may be childishly awkward, the matter has been transformed and assimilated by his unfeigned interest and delight. The gusto of the man speaks out fierily after all these years. For the difference between Pepys and Shelley, to return to that half-whimsical approximation, is one of quality but not one of degree; in his sphere, Pepys felt as keenly, and his is the true prose of poetry — prose because the spirit of the man was narrow and earthly, but poetry because he was delightedly alive. Hence, in such a passage as this about the Epsom shepherd, the result upon the reader’s mind is entire conviction and unmingled pleasure. So, you feel, the thing fell out, not otherwise; and you would no more change it than you would change a sublimity of Shakespeare’s, a homely touch of Bunyan’s, or a favoured reminiscence of your own.

There never was a man nearer being an artist, who yet was not one. The tang was in the family; while he was writing the journal for our enjoyment in his comely house 2 in Navy Gardens, no fewer than two of his cousins were tramping the fens, kit under arm, to make music to the country girls. But he himself, though he could play so many instruments, and pass judgment in so many fields of art, remained an amateur. It is not given to any one so keenly to enjoy, without some greater power to understand. That he did not like Shakespeare as an artist for the stage may be a fault, but it is not without either parallel or excuse. He certainly admired him as a poet; he was the first beyond mere actors on the rolls of that innumerable army who have got “To be or not to be” by heart. Nor was he content with that; it haunted his mind; he quoted it to himself in the pages of the Diary, and, rushing in where angels fear to tread, he set it to music. Nothing, indeed, is more notable than the heroic quality of the verses that our little sensualist in a periwig chose out to marry with his own mortal strains. Some gust from brave Elizabethan times must have warmed his spirit, as he sat tuning his sublime theorbo. “To be or not to be. Whether ‘tis nobler” — ”Beauty retire, thou dost my pity move” — ”It is decreed, nor shall thy fate, O Rome”; — open and dignified in the sound, various and majestic in the sentiment, it was no inapt, as it was certainly no timid, spirit that selected such a range of themes. Of “Gaze not on Swans,” I know no more than these four words; yet that also seems to promise well. It was, however, on a probable suspicion, the work of his master, Mr. Berkenshaw — as the drawings that figure at the breaking up of a young ladies’ seminary are the work of the professor attached to the establishment. Mr. Berkenshaw was not altogether happy in his pupil. The amateur cannot usually rise into the artist, some leaven of the world still clogging him; and we find Pepys behaving like a pickthank to the man who taught him composition. In relation to the stage, which he so warmly loved and understood, he was not only more hearty but more generous to others. Thus he encounters Colonel Reames, “a 3 man,” says he, “who understands and loves a play as well as I, and I love him for it.” And again, when he and his wife had seen a most ridiculous insipid piece, “Glad we were,” he writes, “that Betterton had no part in it.” It is by such a zeal and loyalty to those who labour for his delight that the amateur grows worthy of the artist. And it should be kept in mind that, not only in art, but in morals, Pepys rejoiced to recognise his betters. There was not one speck of envy in the whole human-hearted egotist.

RESPECTABILITY

When writers inveigh against respectability, in the present degraded meaning of the word, they are usually suspected of a taste for clay pipes and beer-cellars; and their performances are thought to hail from the
Owl’s Nest
of the comedy. They have something more, however, in their eye than the dulness of a round million dinner-parties that sit down yearly in Old England. For to do anything because others do it, and not because the thing is good, or kind, or honest in its own right, is to resign all moral control and captaincy upon yourself, and go post-haste to the devil with the greater number. We smile over the ascendancy of priests; but I had rather follow a priest than what they call the leaders of society. No life can better than that of Pepys illustrate the dangers of this respectable theory of living. For what can be more untoward than the occurrence, at a critical period, and while the habits are still pliable, of such a sweeping transformation as the return of Charles the Second? Round went the whole fleet of England on the other tack; and while a few tall pintas, Milton or Pen, still sailed a lonely course by the stars and their own private compass, the cock-boat, Pepys, must go about with the majority among “the stupid starers and the loud huzzas.”

The respectable are not led so much by any desire of 4 applause as by a positive need for countenance. The weaker and the tamer the man, the more will he require this support; and any positive quality relieves him, by just so much, of this dependence. In a dozen ways, Pepys was quite strong enough to please himself without regard for others; but his positive qualities were not co-extensive with the field of conduct; and in many parts of life he followed, with gleeful precision, in the footprints of the contemporary Mrs. Grundy. In morals, particularly, he lived by the countenance of others; felt a slight from another more keenly than a meanness in himself; and then first repented when he was found out. You could talk of religion or morality to such a man; and by the artist side of him, by his lively sympathy and apprehension, he could rise, as it were dramatically, to the significance of what you said. All that matter in religion which has been nicknamed other-worldliness was strictly in his gamut; but a rule of life that should make a man rudely virtuous, following right in good report and ill report, was foolishness and a stumbling-block to Pepys. He was much thrown across the Friends; and nothing can be more instructive than his attitude towards these most interesting people of that age. I have mentioned how he conversed with one as he rode; when he saw some brought from a meeting under arrest, “I would to God,” said he, “they would either conform, or be more wise and not be catched”; and to a Quaker in his own office he extended a timid though effectual protection. Meanwhile there was growing up next door to him that beautiful nature, William Pen. It is odd that Pepys condemned him for a fop; odd, though natural enough when you see Pen’s portrait, that Pepys was jealous of him with his wife. But the cream of the story is when Pen publishes his “Sandy Foundation Shaken,” and Pepys has it read aloud by his wife. “I find it,” he says, “so well writ as, I think, it is too good for him ever to have writ it; and it is a serious sort of book, and
not fit for everybody to read
.” Nothing is more galling to the merely respectable 5 than to be brought in contact with religious ardour. Pepys had his own foundation, sandy enough, but dear to him from practical considerations, and he would read the book with true uneasiness of spirit; for conceive the blow if, by some plaguy accident, this Pen were to convert him! It was a different kind of doctrine that he judged profitable for himself and others. “A good sermon of Mr. Gifford’s at our church, upon ‘Seek ye first the kingdom of heaven.’ A very excellent and persuasive, good and moral sermon. He showed, like a wise man, that righteousness is a surer moral way of being rich than sin and villainy.” It is thus that respectable people desire to have their Greathearts address them, telling, in mild accents, how you may make the best of both worlds, and be a moral hero without courage, kindness, or troublesome reflection; and thus the Gospel, cleared of Eastern metaphor, becomes a manual of worldly prudence, and a handybook for Pepys and the successful merchant.