Robert Louis Stevenson | Page 7

hardly beam and sparkle with the
name of Poe. The contrast, however, is much deeper than labels or the
commonplaces of controversy. It is much deeper than formal divisions
between what is funny and what is serious. It is concerned with
something which it is now fashionable in drawing-rooms to call
psychological; but which those who would as soon talk Latin as Greek
still prefer to call spiritual. It is not necessarily what the newspapers
would call moral; but that is only because it is more moral than most
modern morality.
When Stevenson was known as Stennis, by Parisian art students
struggling with his name, it was the hour of Art for Art's Sake. Painting

was to be impersonal, though painters (like Whistler) were sometimes
perhaps a little personal. But they all insisted that every picture is as
impersonal as a pattern. They ought to have insisted that every pattern
is as personal as a picture. Whether or no we see faces in the carpet, we
ought to see a mind in the carpet; and in fact there is a mind in every
scheme of ornament. There is as emphatically a morality expressed in
Babylonian architecture or Baroque architecture as if it were plastered
all over with Biblical texts. Now in the same manner there is at the
back of every artist's mind something like a pattern or a type of
architecture. The original quality in any man of imagination is imagery.
It is a thing like the landscapes of his dreams; the sort of world he
would wish to make or in which he would wish to wander; the strange
flora and fauna of his own secret planet; the sort of thing that he likes
to think about. This general atmosphere, and pattern or structure of
growth, governs all his creations however varied; and because he can in
this sense create a world, he is in this sense a creator; the image of God.
Now everybody knows what was in this sense the atmosphere and
architecture of Poe. Dark wine, dying lamps, drugging odours, a sense
of being stifled in curtains of black velvet, a substance which is at once
utterly black and unfathomably soft, all carried with them a sense of
indefinite and infinite decay. The word infinite is not itself used
indefinitely. The point of Poe is that we feel that everything is decaying,
including ourselves; faces are already growing featureless like those of
lepers; roof-trees are rotting from root to roof; one great grey fungus as
vast as a forest is sucking up life rather than giving it forth; mirrored in
stagnant pools like lakes of poison which yet fade without line or
frontier into the swamp. The stars are not clean in his sight; but are
rather more worlds made for worms. And this corruption is increased,
by an intense imaginative genius, with the addition of a satin surface of
luxury and even a terrible sort of comfort. "Purple cushions that the
lamplight gloated o'er" is in the spirit of his brother Baudelaire who
wrote of divans profonds commes les tombeaux. This dark luxury has
something almost liquid about it. Its laxity seems to be betraying more
vividly how all these things are being sucked away from us, down a
slow whirlpool more like a moving swamp. That is the atmosphere of
Edgar Allan Poe; a sort of rich rottenness of decomposition, with
something thick and narcotic in the very air. It is idle to describe what

so darkly and magnificently describes itself. But perhaps the shortest
and best way of describing that artistic talent is to say that Stevenson's
is exactly the opposite.
The first fact about the imagery of Stevenson is that all his images
stand out in very sharp outline; and are, as it were, all edges. It is
something in him that afterwards attracted him to the abrupt and
angular black and white of woodcuts. It is to be seen from the first, in
the way in which his eighteenth-century figures stand up against the
skyline, with their cutlasses and cocked hats. The very words carry the
sound and the significance. It is as if they were cut out with cutlasses;
as was that unforgettable chip or wedge that was hacked by the blade of
Billy Bones out of the wooden sign of the "Admiral Benbow." That
sharp indentation of the wooden square remains as a sort of symbolic
shape expressing Stevenson's type of literary attack; and if all the
colours should fade from me and the scene of all that romance grow
dark, I think that black wooden sign with a piece bitten out of it would
be the last shape that I should see. It is no mere pun to say that it is the
best of his woodcuts. Normally, anyhow,