Complete Works of Robert Louis Stevenson (Illustrated) (761 page)

That for which man lives is not the same thing for all individuals nor in all ages; yet it has a common base; what he seeks and what he must have is that which will seize and hold his attention. Regular meals and weather-proof lodgings will not do this long. Play in its wide sense, as the artificial induction of sensation, including all games and all arts, will, indeed, go far to keep him conscious of himself; but in the end he wearies for realities. Study or experiment, to some rare natures, is the unbroken pastime of a life. These are enviable natures; people shut in the house by sickness often bitterly envy them; but the commoner man cannot continue to exist upon such altitudes: his feet itch for physical adventure; his blood boils for physical dangers, pleasures, and triumphs; his fancy, the looker after new things, cannot continue to look for them in books and crucibles, but must seek them on the breathing stage of life. Pinches, buffets, the glow of hope, the shock of disappointment, furious contention with obstacles: these are the true elixir for all vital spirits, these are what they seek alike in their romantic enterprises and their unromantic dissipations. When they are taken in some pinch closer than the common, they cry, “Catch me here again!” and sure enough you catch them there 287 again — perhaps before the week is out. It is as old as “Robinson Crusoe”; as old as man. Our race has not been strained for all these ages through that sieve of dangers that we call Natural Selection, to sit down with patience in the tedium of safety; the voices of its fathers call it forth. Already in our society as it exists, the bourgeois is too much cottoned about for any zest in living; he sits in his parlour out of reach of any danger, often out of reach of any vicissitude but one of health; and there he yawns. If the people in the next villa took pot-shots at him, he might be killed indeed, but so long as he escaped he would find his blood oxygenated and his views of the world brighter. If Mr. Mallock, on his way to the publishers, should have his skirts pinned to a wall by a javelin, it would not occur to him — at least for several hours — to ask if life were worth living; and if such peril were a daily matter, he would ask it never more; he would have other things to think about, he would be living indeed — not lying in a box with cotton, safe, but immeasurably dull. The aleatory, whether it touch life, or fortune, or renown — whether we explore Africa or only toss for halfpence — that is what I conceive men to love best, and that is what we are seeking to exclude from men’s existences. Of all forms of the aleatory, that which most commonly attends our working men — the danger of misery from want of work — is the least inspiriting: it does not whip the blood, it does not evoke the glory of contest; it is tragic, but it is passive; and yet, in so far as it is aleatory, and a peril sensibly touching them, it does truly season the men’s lives. Of those who fail, I do not speak — despair should be sacred; but to those who even modestly succeed, the changes of their life bring interest: a job found, a shilling saved, a dainty earned, all these are wells of pleasure springing afresh for the successful poor; and it is not from these but from the villa-dweller that we hear complaints of the unworthiness of life. Much, then, as the average of the proletariat would gain in this new state of life, they would also lose a certain 288 something, which would not be missed in the beginning, but would be missed progressively and progressively lamented. Soon there would be a looking back: there would be tales of the old world humming in young men’s ears, tales of the tramp and the pedlar, and the hopeful emigrant. And in the stall-fed life of the successful ant-heap — with its regular meals, regular duties, regular pleasures, an even course of life, and fear excluded — the vicissitudes, delights, and havens of to-day will seem of epic breadth. This may seem a shallow observation; but the springs by which men are moved lie much on the surface. Bread, I believe, has always been considered first, but the circus comes close upon its heels. Bread we suppose to be given amply; the cry for circuses will be the louder, and if the life of our descendants be such as we have conceived, there are two beloved pleasures on which they will be likely to fall back: the pleasures of intrigue and of sedition.

In all this I have supposed the ant-heap to be financially sound. I am no economist, only a writer of fiction; but even as such, I know one thing that bears on the economic question — I know the imperfection of man’s faculty for business. The Anarchists, who count some rugged elements of common-sense among what seem to me their tragic errors, have said upon this matter all that I could wish to say, and condemned beforehand great economical polities. So far it is obvious that they are right; they may be right also in predicting a period of communal independence, and they may even be right in thinking that desirable. But the rise of communes is none the less the end of economic equality, just when we were told it was beginning. Communes will not be all equal in extent, nor in quality of soil, nor in growth of population; nor will the surplus produce of all be equally marketable. It will be the old story of competing interests, only with a new unit; and, as it appears to me, a new, inevitable danger. For the merchant and the manufacturer, in this new world, will be a sovereign commune; it is a sovereign power that will see 289 its crops undersold, and its manufactures worsted in the market. And all the more dangerous that the sovereign power should be small. Great powers are slow to stir; national affronts, even with the aid of newspapers, filter slowly into popular consciousness; national losses are so unequally shared, that one part of the population will be counting its gains while another sits by a cold hearth. But in the sovereign commune all will be centralised and sensitive. When jealousy springs up, when (let us say) the commune of Poole has overreached the commune of Dorchester, irritation will run like quicksilver throughout the body politic; each man in Dorchester will have to suffer directly in his diet and his dress; even the secretary, who drafts the official correspondence, will sit down to his task embittered, as a man who has dined ill and may expect to dine worse; and thus a business difference between communes will take on much the same colour as a dispute between diggers in the lawless West, and will lead as directly to the arbitrament of blows. So that the establishment of the communal system will not only reintroduce all the injustices and heart-burnings of economic inequality, but will, in all human likelihood, inaugurate a world of hedgerow warfare. Dorchester will march on Poole, Sherborne on Dorchester, Wimborne on both; the waggons will be fired on as they follow the highway, the trains wrecked on the lines, the ploughman will go armed into the field of tillage; and if we have not a return of ballad literature, the local press at least will celebrate in a high vein the victory of Cerne Abbas or the reverse of Toller Porcorum. At least this will not be dull; when I was younger, I could have welcomed such a world with relief; but it is the New-Old with a vengeance, and irresistibly suggests the growth of military powers and the foundation of new empires.

VII

LETTER TO A YOUNG GENTLEMAN WHO PROPOSES TO EMBRACE THE CAREER OF ART

With the agreeable frankness of youth, you address me on a point of some practical importance to yourself and (it is even conceivable) of some gravity to the world: Should you or should you not become an artist? It is one which you must decide entirely for yourself; all that I can do is to bring under your notice some of the materials of that decision; and I will begin, as I shall probably conclude also, by assuring you that all depends on the vocation.

To know what you like is the beginning of wisdom and of old age. Youth is wholly experimental. The essence and charm of that unquiet and delightful epoch is ignorance of self as well as ignorance of life. These two unknowns the young man brings together again and again, now in the airiest touch, now with a bitter hug; now with exquisite pleasure, now with cutting pain; but never with indifference, to which he is a total stranger, and never with that near kinsman of indifference, contentment. If he be a youth of dainty senses or a brain easily heated, the interest of this series of experiments grows upon him out of all proportion to the pleasure he receives. It is not beauty that he loves, nor pleasure that he seeks, though he may think so; his design and his sufficient reward is to verify his own existence and taste the variety of human fate. To him, before the razor-edge of curiosity is dulled, all that is not actual living and the hot chase of experience wears a 291 face of a disgusting dryness difficult to recall in later days; or if there be any exception — and here destiny steps in — it is in those moments when, wearied or surfeited of the primary activity of the senses, he calls up before memory the image of transacted pains and pleasures. Thus it is that such an one shies from all cut-and-dry professions, and inclines insensibly toward that career of art which consists only in the tasting and recording of experience.

This, which is not so much a vocation for art as an impatience of all other honest trades, frequently exists alone; and, so existing, it will pass gently away in the course of years. Emphatically, it is not to be regarded; it is not a vocation, but a temptation; and when your father the other day so fiercely and (in my view) so properly discouraged your ambition, he was recalling not improbably some similar passage in his own experience. For the temptation is perhaps nearly as common as the vocation is rare. But again we have vocations which are imperfect; we have men whose minds are bound up, not so much in any art, as in the general
ars artium
and common base of all creative work; who will now dip into painting, and now study counterpoint, and anon will be inditing a sonnet: all these with equal interest, all often with genuine knowledge. And of this temper, when it stands alone, I find it difficult to speak; but I should counsel such an one to take to letters, for in literature (which drags with so wide a net) all his information may be found some day useful, and if he should go on as he has begun, and turn at last into the critic, he will have learned to use the necessary tools. Lastly we come to those vocations which are at once decisive and precise; to the men who are born with the love of pigments, the passion of drawing, the gift of music, or the impulse to create with words, just as other and perhaps the same men are born with the love of hunting, or the sea, or horses, or the turning-lathe. These are predestined; if a man love the labour of any trade, apart from any question of success or fame, the gods have called 292 him. He may have the general vocation too: he may have a taste for all the arts, and I think he often has; but the mark of his calling is this laborious partiality for one, this inextinguishable zest in its technical successes, and (perhaps above all) a certain candour of mind, to take his very trifling enterprise with a gravity that would befit the cares of empire, and to think the smallest improvement worth accomplishing at any expense of time and industry. The book, the statue, the sonata, must be gone upon with the unreasoning good faith and the unflagging spirit of children at their play.
Is it worth doing?
— when it shall have occurred to any artist to ask himself that question, it is implicitly answered in the negative. It does not occur to the child as he plays at being a pirate on the dining-room sofa, nor to the hunter as he pursues his quarry; and the candour of the one and the ardour of the other should be united in the bosom of the artist.

If you recognise in yourself some such decisive taste, there is no room for hesitation: follow your bent. And observe (lest I should too much discourage you) that the disposition does not usually burn so brightly at the first, or rather not so constantly. Habit and practice sharpen gifts; the necessity of toil grows less disgusting, grows even welcome, in the course of years; a small taste (if it be only genuine) waxes with indulgence into an exclusive passion. Enough, just now, if you can look back over a fair interval, and see that your chosen art has a little more than held its own among the thronging interests of youth. Time will do the rest, if devotion help it; and soon your every thought will be engrossed in that beloved occupation.

But even with devotion, you may remind me, even with unfaltering and delighted industry, many thousand artists spend their lives, if the result be regarded, utterly in vain: a thousand artists, and never one work of art. But the vast mass of mankind are incapable of doing anything reasonably well, art among the rest. The worthless artist 293 would not improbably have been a quite incompetent baker. And the artist, even if he does not amuse the public, amuses himself; so that there will always be one man the happier for his vigils. This is the practical side of art: its inexpugnable fortress for the true practitioner. The direct returns — the wages of the trade — are small, but the indirect — the wages of the life — are incalculably great. No other business offers a man his daily bread upon such joyful terms. The soldier and the explorer have moments of a worthier excitement, but they are purchased by cruel hardships and periods of tedium that beggar language. In the life of the artist there need be no hour without its pleasure. I take the author, with whose career I am best acquainted; and it is true he works in a rebellious material, and that the act of writing is cramped and trying both to the eyes and the temper; but remark him in his study when matter crowds upon him and words are not wanting — in what a continual series of small successes time flows by; with what a sense of power, as of one moving mountains, he marshals his petty characters; with what pleasures, both of the ear and eye, he sees his airy structure growing on the page; and how he labours in a craft to which the whole material of his life is tributary, and which opens a door to all his tastes, his loves, his hatreds, and his convictions, so that what he writes is only what he longed to utter. He may have enjoyed many things in this big, tragic playground of the world; but what shall he have enjoyed more fully than a morning of successful work? Suppose it ill-paid: the wonder is it should be paid at all. Other men pay, and pay dearly, for pleasures less desirable.