“To Any Reader” — Robert Louis Stevenson

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Knowledge is eternally incommunicable (Robert Louis Stevenson)

The problem of education is twofold: first to know, and then to utter.  Every one who lives any semblance of an inner life thinks more nobly and profoundly than he speaks; and the best of teachers can impart only broken images of the truth which they perceive.  Speech which goes from one to another between two natures, and, what is worse, between two experiences, is doubly relative.  The speaker buries his meaning; it is for the hearer to dig it up again; and all speech, written or spoken, is in a dead language until it finds a willing and prepared hearer.  Such, moreover, is the complexity of life, that when we condescend upon details in our advice, we may be sure we condescend on error; and the best of education is to throw out some magnanimous hints.  No man was ever so poor that he could express all he has in him by words, looks, or actions; his true knowledge is eternally incommunicable, for it is a knowledge of himself; and his best wisdom comes to him by no process of the mind, but in a supreme self-dictation, which keeps varying from hour to hour in its dictates with the variation of events and circumstances.

From Robert Louis Stevenson’s essay “Lay Morals.”

“Notes on the Movements of Young Children” — Robert Louis Stevenson

“Notes on the Movements of Young Children” — Robert Louis Stevenson

I wish to direct the reader’s attention to a certain quality in the movements of children when young, which is somehow lovable in them, although it would be even unpleasant in any grown person. Their movements are not graceful, but they fall short of grace by something so sweetly humorous that we only admire them the more. The imperfection is so pretty and pathetic, and it gives so great a promise of something different in the future, that it attracts us more than many forms of beauty. They have something of the merit of a rough sketch by a master, in which we pardon what is wanting or excessive for the sake of the very bluntness and directness of the thing. It gives us pleasure to see the beginning of gracious impulses and the springs of harmonious movement laid bare to us with innocent simplicity.

One night some ladies formed a sort of impromptu dancing-school in the drawing-room of an hotel in France. One of the ladies led the ring, and I can recall her as a model of accomplished, cultured movement. Two little girls, about eight years old, were the pupils; that is an age of great interest in girls, when natural grace comes to its consummation of justice and purity, with little admixture of that other grace of forethought and discipline that will shortly supersede it altogether. In these two, particularly, the rhythm was sometimes broken by an excess of energy, as though the pleasure of the music in their light bodies could endure no longer the restraint of regulated dance. So that, between these and the lady, there was not only some beginning of the very contrast I wish to insist upon, but matter enough to set one thinking a long while on the beauty of motion. I do not know that, here in England, we have any good opportunity of seeing what that is; the generation of British dancing men and women are certainly more remarkable for other qualities than for grace: they are, many of them, very conscientious artists, and give quite a serious regard to the technical parts of their performance; but the spectacle, somehow, is not often beautiful, and strikes no note of pleasure. If I had seen no more, therefore, this evening might have remained in my memory as a rare experience. But the best part of it was yet to come. For after the others had desisted, the musician still continued to play, and a little button between two and three years old came out into the cleared space and began to figure before us as the music prompted. I had an opportunity of seeing her, not on this night only, but on many subsequent nights; and the wonder and comical admiration she inspired was only deepened as time went on. She had an admirable musical ear; and each new melody, as it struck in her a new humour, suggested wonderful combinations and variations of movement. Now it would be a dance with which she would suit the music, now rather an appropriate pantomime, and now a mere string of disconnected attitudes. But whatever she did, she did it with the same verve and gusto. The spirit of the air seemed to have entered into her, and to possess her like a passion; and you could see her struggling to find expression for the beauty that was in her against the inefficacy of the dull, half-informed body. Though her footing was uneven, and her gestures often ludicrously helpless, still the spectacle was not merely amusing; and though subtle inspirations of movement miscarried in tottering travesty, you could still see that they had been inspirations; you could still see that she had set her heart on realising something just and beautiful, and that, by the discipline of these abortive efforts, she was making for herself in the future a quick, supple, and obedient body. It was grace in the making. She was not to be daunted by any merriment of people looking on critically; the music said something to her, and her whole spirit was intent on what the music said: she must carry out its suggestions, she must do her best to translate its language into that other dialect of the modulated body into which it can be translated most easily and fully. Read More

“Child’s Play” — Robert Louis Stevenson

“Child’s Play” by Robert Louis Stevenson

The regret we have for our childhood is not wholly justifiable: so much a man may lay down without fear of public ribaldry; for although we shake our heads over the change, we are not unconscious of the manifold advantages of our new state.  What we lose in generous impulse, we more than gain in the habit of generously watching others; and the capacity to enjoy Shakespeare may balance a lost aptitude for playing at soldiers.  Terror is gone out of our lives, moreover; we no longer see the devil in the bed-curtains nor lie awake to listen to the wind.  We go to school no more; and if we have only exchanged one drudgery for another (which is by no means sure), we are set free for ever from the daily fear of chastisement.  And yet a great change has overtaken us; and although we do not enjoy ourselves less, at least we take our pleasure differently.  We need pickles nowadays to make Wednesday’s cold mutton please our Friday’s appetite; and I can remember the time when to call it red venison, and tell myself a hunter’s story, would have made it more palatable than the best of sauces.  To the grown person, cold mutton is cold mutton all the world over; not all the mythology ever invented by man will make it better or worse to him; the broad fact, the clamant reality, of the mutton carries away before it such seductive figments.  But for the child it is still possible to weave an enchantment over eatables; and if he has but read of a dish in a story-book, it will be heavenly manna to him for a week.

If a grown man does not like eating and drinking and exercise, if he is not something positive in his tastes, it means he has a feeble body and should have some medicine; but children may be pure spirits, if they will, and take their enjoyment in a world of moon-shine.  Sensation does not count for so much in our first years as afterwards; something of the swaddling numbness of infancy clings about us; we see and touch and hear through a sort of golden mist.  Children, for instance, are able enough to see, but they have no great faculty for looking; they do not use their eyes for the pleasure of using them, but for by-ends of their own; and the things I call to mind seeing most vividly, were not beautiful in themselves, but merely interesting or enviable to me as I thought they might be turned to practical account in play.  Nor is the sense of touch so clean and poignant in children as it is in a man.  If you will turn over your old memories, I think the sensations of this sort you remember will be somewhat vague, and come to not much more than a blunt, general sense of heat on summer days, or a blunt, general sense of wellbeing in bed.  And here, of course, you will understand pleasurable sensations; for overmastering pain—the most deadly and tragical element in life, and the true commander of man’s soul and body—alas! pain has its own way with all of us; it breaks in, a rude visitant, upon the fairy garden where the child wanders in a dream, no less surely than it rules upon the field of battle, or sends the immortal war-god whimpering to his father; and innocence, no more than philosophy, can protect us from this sting.  As for taste, when we bear in mind the excesses of unmitigated sugar which delight a youthful palate, “it is surely no very cynical asperity” to think taste a character of the maturer growth.  Smell and hearing are perhaps more developed; I remember many scents, many voices, and a great deal of spring singing in the woods.  But hearing is capable of vast improvement as a means of pleasure; and there is all the world between gaping wonderment at the jargon of birds, and the emotion with which a man listens to articulate music. Read More

“A Note on Realism” — Robert Louis Stevenson

“A Note on Realism” by Robert Louis Stevenson

Style is the invariable mark of any master; and for the student who does not aspire so high as to be numbered with the giants, it is still the one quality in which he may improve himself at will.  Passion, wisdom, creative force, the power of mystery or colour, are allotted in the hour of birth, and can be neither learned nor simulated.  But the just and dexterous use of what qualities we have, the proportion of one part to another and to the whole, the elision of the useless, the accentuation of the important, and the preservation of a uniform character from end to end—these, which taken together constitute technical perfection, are to some degree within the reach of industry and intellectual courage.  What to put in and what to leave out; whether some particular fact be organically necessary or purely ornamental; whether, if it be purely ornamental, it may not weaken or obscure the general design; and finally, whether, if we decide to use it, we should do so grossly and notably, or in some conventional disguise: are questions of plastic style continually rearising.  And the sphinx that patrols the highways of executive art has no more unanswerable riddle to propound.

In literature (from which I must draw my instances) the great change of the past century has been effected by the admission of detail.  It was inaugurated by the romantic Scott; and at length, by the semi-romantic Balzac and his more or less wholly unromantic followers, bound like a duty on the novelist.  For some time it signified and expressed a more ample contemplation of the conditions of man’s life; but it has recently (at least in France) fallen into a merely technical and decorative stage, which it is, perhaps, still too harsh to call survival.  With a movement of alarm, the wiser or more timid begin to fall a little back from these extremities; they begin to aspire after a more naked, narrative articulation; after the succinct, the dignified, and the poetic; and as a means to this, after a general lightening of this baggage of detail.  After Scott we beheld the starveling story—once, in the hands of Voltaire, as abstract as a parable—begin to be pampered upon facts.  The introduction of these details developed a particular ability of hand; and that ability, childishly indulged, has led to the works that now amaze us on a railway journey.  A man of the unquestionable force of M. Zola spends himself on technical successes.  To afford a popular flavour and attract the mob, he adds a steady current of what I may be allowed to call the rancid.  That is exciting to the moralist; but what more particularly interests the artist is this tendency of the extreme of detail, when followed as a principle, to degenerate into merefeux-de-joie of literary tricking.  The other day even M. Daudet was to be heard babbling of audible colours and visible sounds. Read More

“The Satirist” — Robert Louis Stevenson

“The Satirist” by Robert Louis Stevenson

My companion enjoyed a cheap reputation for wit and insight. He was by habit and repute a satirist. If he did occasionally condemn anything or anybody who richly deserved it, and whose demerits had hitherto escaped, it was simply because he condemned everything and everybody. While I was with him he disposed of St. Paul with an epigram, shook my reverence for Shakespeare in a neat antithesis, and fell foul of the Almighty Himself, on the score of one or two out of the ten commandments. Nothing escaped his blighting censure. At every sentence he overthrew an idol, or lowered my estimation of a friend. I saw everything with new eyes, and could only marvel at my former blindness. How was it possible that I had not before observed A’s false hair, B’s selfishness, or C’s boorish manners? I and my companion, methought, walked the streets like a couple of gods among a swarm of vermin; for every one we saw seemed to bear openly upon his brow the mark of the apocalyptic beast. I half expected that these miserable beings, like the people of Lystra, would recognise their betters and force us to the altar; in which case, warned by the fate of Paul and Barnabas, I do not know that my modesty would have prevailed upon me to decline. But there was no need for such churlish virtue. More blinded than the Lycaonians, the people saw no divinity in our gait; and as our temporary godhead lay more in the way of observing than healing their infirmities, we were content to pass them by in scorn.

I could not leave my companion, not from regard or even from interest, but from a very natural feeling, inseparable from the case. To understand it, let us take a simile. Suppose yourself walking down the street with a man who continues to sprinkle the crowd out of a flask of vitriol. You would be much diverted with the grimaces and contortions of his victims; and at the same time you would fear to leave his arm until his bottle was empty, knowing that, when once among the crowd, you would run a good chance yourself of baptism with his biting liquor. Now my companion’s vitriol was inexhaustible.

It was perhaps the consciousness of this, the knowledge that I was being anointed already out of the vials of his wrath, that made me fall to criticising the critic, whenever we had parted.

After all, I thought, our satirist has just gone far enough into his neighbours to find that the outside is false, without caring to go farther and discover what is really true. He is content to find that things are not what they seem, and broadly generalises from it that they do not exist at all. He sees our virtues are not what they pretend they are; and, on the strength of that, he denies us the possession of virtue altogether. He has learnt the first lesson, that no man is wholly good; but he has not even suspected that there is another equally true, to wit, that no man is wholly bad. Like the inmate of a coloured star, he has eyes for one colour alone. He has a keen scent after evil, but his nostrils are plugged against all good, as people plugged their nostrils before going about the streets of the plague-struck city.

Why does he do this? It is most unreasonable to flee the knowledge of good like the infection of a horrible disease, and batten and grow fat in the real atmosphere of a lazar-house. This was my first thought; but my second was not like unto it, and I saw that our satirist was wise, wise in his generation, like the unjust steward. He does not want light, because the darkness is more pleasant. He does not wish to see the good, because he is happier without it. I recollect that when I walked with him, I was in a state of divine exaltation, such as Adam and Eve must have enjoyed when the savour of the fruit was still unfaded between their lips; and I recognise that this must be the man’s habitual state. He has the forbidden fruit in his waistcoat pocket, and can make himself a god as often and as long as he likes. He has raised himself upon a glorious pedestal above his fellows; he has touched the summit of ambition; and he envies neither King nor Kaiser, Prophet nor Priest, content in an elevation as high as theirs, and much more easily attained. Yes, certes, much more easily attained. He has not risen by climbing himself, but by pushing others down. He has grown great in his own estimation, not by blowing himself out, and risking the fate of Æsop’s frog, but simply by the habitual use of a diminishing glass on everybody else. And I think altogether that his is a better, a safer, and a surer recipe than most others.

After all, however, looking back on what I have written, I detect a spirit suspiciously like his own. All through, I have been comparing myself with our satirist, and all through, I have had the best of the comparison. Well, well, contagion is as often mental as physical; and I do not think my readers, who have all been under his lash, will blame me very much for giving the headsman a mouthful of his own sawdust.

“The Double” — Jorge Luis Borges

“The Double” by Jorge Luis Borges (From Book of Imaginary Beings)

Suggested or stimulated by reflections in mirrors and in water and by twins, the idea of the Double is common to many countries. It is likely that sentences such as A friend is another self by Pythagoras or the Platonic Know thyself were inspired by it. In Germany this Double is called Doppelgänger, which means ’double walker’. In Scotland there is the fetch, which comes to fetch a man to bring him to his death; there is also the Scottish word wraith for an apparition thought to be seen by a person in his exact image just before death. To meet oneself is, therefore, ominous. The tragic ballad ‘Ticonderoga’ by Robert Louis Stevenson tells of a legend on this theme. There is also the strange picture by Rossetti (‘How They Met Themselves’) in which two lovers come upon themselves in the dusky gloom of a wood. We may also cite examples from Hawthorne (‘Howe’s Masquerade’), Dostoyevsky, Alfred de Musset, James (‘The Jolly Corner’), Kleist, Chesterton (‘The Mirror of Madmen’), and Hearn (Some Chinese Ghosts).

The ancient Egyptians believed that the Double, the ka, was a man’s exact counterpart, having his same walk and his same dress. Not only men, but gods and beasts, stones and trees, chairs and knives had their ka, which was invisible except to certain priests who could see the Doubles of the gods and were granted by them a knowledge of things past and things to come.

To the Jews the appearance of one’s Double was not an omen of imminent death. On the contrary, it was proof of having attained prophetic powers. This is how it is explained by Gershom Scholem. A legend recorded in the Talmud tells the story of a man who, in search of God, met himself.

In the story ‘William Wilson’ by Poe, the Double is the hero’s conscience. He kills it and dies. In a similar way, Dorian Gray in Wilde’s novel stabs his portrait and meets his death. In Yeats’s poems the Double is our other side, our opposite, the one who complements us, the one we are not nor will ever become.

Plutarch writes that the Greeks gave the name other self to a king’s ambassador.

 

“The Bottle Imp” — Robert Louis Stevenson

“The Bottle Imp” by Robert Louis Stevenson

There was a man of the Island of Hawaii, whom I shall call Keawe; for the truth is, he still lives, and his name must be kept secret; but the place of his birth was not far from Honaunau, where the bones of Keawe the Great lie hidden in a cave.  This man was poor, brave, and active; he could read and write like a schoolmaster; he was a first-rate mariner besides, sailed for some time in the island steamers, and steered a whaleboat on the Hamakua coast.  At length it came in Keawe’s mind to have a sight of the great world and foreign cities, and he shipped on a vessel bound to San Francisco.

This is a fine town, with a fine harbour, and rich people uncountable; and, in particular, there is one hill which is covered with palaces.  Upon this hill Keawe was one day taking a walk with his pocket full of money, viewing the great houses upon either hand with pleasure, “What fine houses these are!” he was thinking, “and how happy must those people be who dwell in them, and take no care for the morrow!”  The thought was in his mind when he came abreast of a house that was smaller than some others, but all finished and beautified like a toy; the steps of that house shone like silver, and the borders of the garden bloomed like garlands, and the windows were bright like diamond; and Keawe stopped and wondered at the excellence of all he saw.  So stopping, he was aware of a man that looked forth upon him through a window so clear that Keawe could see him as you see a fish in a pool upon the reef.  The man was elderly, with a bald head and a black beard; and his face was heavy with sorrow, and he bitterly sighed.  And the truth of it is, that as Keawe looked in upon the man, and the man looked out upon Keawe, each envied the other.

All of a sudden, the man smiled and nodded, and beckoned Keawe to enter, and met him at the door of the house.

“This is a fine house of mine,” said the man, and bitterly sighed.  “Would you not care to view the chambers?”

So he led Keawe all over it, from the cellar to the roof, and there was nothing there that was not perfect of its kind, and Keawe was astonished.

“Truly,” said Keawe, “this is a beautiful house; if I lived in the like of it, I should be laughing all day long.  How comes it, then, that you should be sighing?”

“There is no reason,” said the man, “why you should not have a house in all points similar to this, and finer, if you wish.  You have some money, I suppose?”

“I have fifty dollars,” said Keawe; “but a house like this will cost more than fifty dollars.”

The man made a computation.  “I am sorry you have no more,” said he, “for it may raise you trouble in the future; but it shall be yours at fifty dollars.”

“The house?” asked Keawe. Read More

“Thrawn Janet” — Robert Louis Stevenson

“Thrawn Janet” by Robert Louis Stevenson

The Reverend Murdoch Soulis was long minister of the moorland parish of Balweary, in the vale of Dule. A severe, bleak-faced old man, dreadful to his hearers, he dwelt in the last years of his life, without relative or servant or any human company, in the small and lonely manse under the Hanging Shaw. In spite of the iron composure of his features, his eye was wild, scared, and uncertain; and when he dwelt, in private admonitions, on the future of the impenitent, it seemed as if his eye pierced through the storms of time to the terrors of eternity. Many young persons, coming to prepare themselves against the season of the holy communion, were dreadfully affected by his talk. He had a sermon on I Pet. V. 8, “The devil as a roaring lion,” on the Sunday after every 17th of August, and he was accustomed to surpass himself upon that text both by the appalling nature of the matter and the terror of his bearing in the pulpit. The children were frightened into fits, and the old looked more than usually oracular, and were, all that day, full of those hints that Hamlet deprecated. The manse itself, where it stood by the water of Dule among some thick trees, with the Shaw overhanging it on the one side, and on the other many cold, moorish hilltops rising toward the sky, had begun, at a very early period of Mr. Soulis’s ministry, to be avoided in the dusk hours by all who valued themselves upon their prudence; and guidmen sitting at the clachan alehouse shook their heads together at the thought of passing late by that uncanny neighbourhood. There was one spot, to be more particular, which was regarded with especial awe. The manse stood between the highroad and the water of Dule, with a gable to each; its bank was toward the kirktown of Balweary, nearly half a mile away; in front of it, a bare garden, hedged with thorn, occupied the land between the river and the road. The house was two stories high, with two large rooms on each. It opened not directly on the garden, but on a causewayed path, or passage, giving on the road on the one hand, and closed on the other by the tall willows and elders that bordered on the stream. And it was this strip of causeway that enjoyed among the young parishioners of Balweary so infamous a reputation. The minister walked there often after dark, sometimes groaning aloud in the instancy of his unspoken prayers; and when he was from home, and the manse door was locked, the more daring school-boys ventured, with beating hearts, to “follow my leader” across that legendary spot.

This atmosphere of terror, surrounding, as it did, a man of God of spotless character and orthodoxy, was a common cause of wonder and subject of inquiry among the few strangers who were led by chance or business into that unknown, outlying country. But many even of the people of the parish were ignorant of the strange events which had marked the first year of Mr. Soulis’s ministrations; and among those who were better informed, some were naturally reticent, and others shy of that particular topic. Now and again, only, one of the older folk would warm into courage over his third tumbler, and recount the cause of the minister’s strange looks and solitary life. Read More

“On Some Technical Elements of Style in Literature” — Robert Louis Stevenson

There is nothing more disenchanting to man than to be shown the springs and mechanism of any art.  All our arts and occupations lie wholly on the surface; it is on the surface that we perceive their beauty, fitness, and significance; and to pry below is to be appalled by their emptiness and shocked by the coarseness of the strings and pulleys.  In a similar way, psychology itself, when pushed to any nicety, discovers an abhorrent baldness, but rather from the fault of our analysis than from any poverty native to the mind.  And perhaps in æsthetics the reason is the same: those disclosures which seem fatal to the dignity of art seem so perhaps only in the proportion of our ignorance; and those conscious and unconscious artifices which it seems unworthy of the serious artist to employ were yet, if we had the power to trace them to their springs, indications of a delicacy of the sense finer than we conceive, and hints of ancient harmonies in nature.  This ignorance at least is largely irremediable.  We shall never learn the affinities of beauty, for they lie too deep in nature and too far back in the mysterious history of man.  The amateur, in consequence, will always grudgingly receive details of method, which can be stated but never can wholly be explained; nay, on the principle laid down in Hudibras, that

‘Still the less they understand,
The more they admire the sleight-of-hand,’

many are conscious at each new disclosure of a diminution in the ardour of their pleasure.  I must therefore warn that well-known character, the general reader, that I am here embarked upon a most distasteful business: taking down the picture from the wall and looking on the back; and, like the inquiring child, pulling the musical cart to pieces.

1.  Choice of Words.—The art of literature stands apart from among its sisters, because the material in which the literary artist works is the dialect of life; hence, on the one hand, a strange freshness and immediacy of address to the public mind, which is ready prepared to understand it; but hence, on the other, a singular limitation.  The sister arts enjoy the use of a plastic and ductile material, like the modeller’s clay; literature alone is condemned to work in mosaic with finite and quite rigid words.  You have seen these blocks, dear to the nursery: this one a pillar, that a pediment, a third a window or a vase.  It is with blocks of just such arbitrary size and figure that the literary architect is condemned to design the palace of his art.  Nor is this all; for since these blocks, or words, are the acknowledged currency of our daily affairs, there are here possible none of those suppressions by which other arts obtain relief, continuity, and vigour: no hieroglyphic touch, no smoothed impasto, no inscrutable shadow, as in painting; no blank wall, as in architecture; but every word, phrase, sentence, and paragraph must move in a logical progression, and convey a definite conventional import.

Now the first merit which attracts in the pages of a good writer, or the talk of a brilliant conversationalist, is the apt choice and contrast of the words employed.  It is, indeed, a strange art to take these blocks, rudely conceived for the purpose of the market or the bar, and by tact of application touch them to the finest meanings and distinctions, restore to them their primal energy, wittily shift them to another issue, or make of them a drum to rouse the passions.  But though this form of merit is without doubt the most sensible and seizing, it is far from being equally present in all writers.  The effect of words in Shakespeare, their singular justice, significance, and poetic charm, is different, indeed, from the effect of words in Addison or Fielding.  Or, to take an example nearer home, the words in Carlyle seem electrified into an energy of lineament, like the faces of men furiously moved; whilst the words in Macaulay, apt enough to convey his meaning, harmonious enough in sound, yet glide from the memory like undistinguished elements in a general effect.  But the first class of writers have no monopoly of literary merit.  There is a sense in which Addison is superior to Carlyle; a sense in which Cicero is better than Tacitus, in which Voltaire excels Montaigne: it certainly lies not in the choice of words; it lies not in the interest or value of the matter; it lies not in force of intellect, of poetry, or of humour.  The three first are but infants to the three second; and yet each, in a particular point of literary art, excels his superior in the whole.  What is that point? Read More

“Markheim” — Robert Louis Stevenson

“Markheim” by Robert Louis Stevenson

“Yes,” said the dealer, “our windfalls are of various kinds. Some customers are ignorant, and then I touch a dividend on my superior knowledge. Some are dishonest,” and here he held up the candle, so that the light fell strongly on his visitor, “and in that case,” he continued, “I profit by my virtue.”

Markheim had but just entered from the daylight streets, and his eyes had not yet grown familiar with the mingled shine and darkness in the shop. At these pointed words, and before the near presence of the flame, he blinked painfully and looked aside.

The dealer chuckled. “You come to me on Christmas Day,” he resumed, “when you know that I am alone in my house, put up my shutters, and make a point of refusing business. Well, you will have to pay for that; you will have to pay for my loss of time, when I should be balancing my books; you will have to pay, besides, for a kind of manner that I remark in you to-day very strongly. I am the essence of discretion, and ask no awkward questions; but when a customer cannot look me in the eye, he has to pay for it.” The dealer once more chuckled; and then, changing to his usual business voice, though still with a note of irony, “You can give, as usual, a clear account of how you came into the possession of the object?” he continued. “Still your uncle’s cabinet? A remarkable collector, sir!”

And the little pale, round-shouldered dealer stood almost on tip- toe, looking over the top of his gold spectacles, and nodding his head with every mark of disbelief. Markheim returned his gaze with one of infinite pity, and a touch of horror.

“This time,” said he, “you are in error. I have not come to sell, but to buy. I have no curios to dispose of; my uncle’s cabinet is bare to the wainscot; even were it still intact, I have done well on the Stock Exchange, and should more likely add to it than otherwise, and my errand to-day is simplicity itself. I seek a Christmas present for a lady,” he continued, waxing more fluent as he struck into the speech he had prepared; “and certainly I owe you every excuse for thus disturbing you upon so small a matter. But the thing was neglected yesterday; I must produce my little compliment at dinner; and, as you very well know, a rich marriage is not a thing to be neglected.”

There followed a pause, during which the dealer seemed to weigh this statement incredulously. The ticking of many clocks among the curious lumber of the shop, and the faint rushing of the cabs in a near thoroughfare, filled up the interval of silence.

“Well, sir,” said the dealer, “be it so. You are an old customer after all; and if, as you say, you have the chance of a good marriage, far be it from me to be an obstacle. Here is a nice thing for a lady now,” he went on, “this hand glass—fifteenth century, warranted; comes from a good collection, too; but I reserve the name, in the interests of my customer, who was just like yourself, my dear sir, the nephew and sole heir of a remarkable collector.” Read More

Dr. Jekyll and Mr. Hyde (1920 Silent Film Starring John Barrymore)

“A Lodging for the Night” — Robert Louis Stevenson

“A Lodging for the Night” — Robert Louis Stevenson

It was late in November 1456. The snow fell over Paris with rigorous, relentless persistence; sometimes the wind made a sally and scattered it in flying vortices; sometimes there was a lull, and flake after flake descended out of the black night air, silent, circuitous, interminable. To poor people, looking up under moist eyebrows, it seemed a wonder where it all came from. Master Francis Villon had propounded an alternative that afternoon, at a tavern window: was it only Pagan Jupiter plucking geese upon Olympus, or were the holy angels moulting? He was only a poor Master of Arts, he went on; and as the question somewhat touched upon divinity, he durst not venture to conclude. A silly old priest from Montargis, who was among the company, treated the young rascal to a bottle of wine in honor of the jest and the grimaces with which it was accompanied, and swore on his own white beard that he had been just such another irreverent dog when he was Villon’s age.

The air was raw and pointed, but not far below freezing; and the flakes were large, damp, and adhesive. The whole city was sheeted up. An army might have marched from end to end and not a footfall given the alarm. If there were any belated birds in heaven, they saw the island like a large white patch, and the bridges like slim white spars, on the black ground of the river. High up overhead the snow settled among the tracery of the cathedral towers. Many a niche was drifted full; many a statue wore a long white bonnet on its grotesque or sainted head. The gargoyles had been transformed into great false noses, drooping toward the point. The crockets were like upright pillows swollen on one side. In the intervals of the wind there was a dull sound of dripping about the precincts of the church.

The cemetery of St. John had taken its own share of the snow. All the graves were decently covered; tall, white housetops stood around in grave array; worthy burghers were long ago in bed, benightcapped like their domiciles; there was no light in all the neighborhood but a little peep from a lamp that hung swinging in the church choir, and tossed the shadows to and fro in time to its oscillations. The clock was hard on ten when the patrol went by with halberds and a lantern, beating their hands; and they saw nothing suspicious about the cemetery of St. John. Read More

Robert Louis Stevenson — John Singer Sargent

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