Footsteps. Richard Holmes

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СКАЧАТЬ the situation thus created was painful and a little humiliating.” He escaped on a long walk round the monastery grounds, but on returning for lunch was again attacked by the proselytising pair. This time they began to mock him for his stubbornness and ignorance, and unwisely referred to his beliefs as those of a “sect”—for they thought “it would be doing it too much honour to call it a religion”. His attempts at explanation were received with “a kind of ecclesiastical titter”. Finally Stevenson’s temper—which could be formidable: he had once broken a bottle of wine against a wall in a Paris cafe during an argument with the management—began to get the better of him. Trembling with emotion and going rather white, he leant across the table to the parish priest: “I shall continue to answer your questions with all politeness; but I must ask you not to laugh. Your laughter seems to me misplaced; and you forget that I am describing the faith of my mother.” An awkward silence fell, and the priest, remarked Stevenson, “was sadly discountenanced”.

      However, dignity was restored, the ancien militaire de guerre—no doubt recognising another kind of fighter—made soothing noises, and the cure hastily assured him that he had no other feeling but interest in Stevenson’s soul. The incident was closed, and they parted on friendly terms. But Stevenson was probably taught something after all: for here he was hotly defending a religion, the Presbyterianism of his childhood, in which he had supposed he had no formal belief whatsoever. It led him to reflect, towards the end of his journey, on the mysterious nature of belief itself, on its profound roots in the heart and the sense of identity; and the degree to which formal creeds were inadequate to contain and express one’s deepest moral convictions.

      In the Travels he added a friendly, if somewhat patronising, envoi to the priest as a fellow-traveller on the rough road of life:

      Honest man! he was no dangerous deceiver; but a country parson, full of zeal and faith. Long may he tread Gévaudan with his kilted skirts—a man strong to walk and strong to comfort his parishioners in death! I daresay he would beat bravely through a snowstorm where his duty called him; and it is not always the most faithful believer who makes the cunningest apostle.

      The experience of the monastic life, even—and perhaps especially—in a passing glimpse, was both vivid and unsettling for Stevenson. In some ways it was weird, even repellant: Father Apollinaris’s “ghastly eccentricity” as he suddenly raised his arms and flapped his fingers above his tonsured head, to indicate that the vow of silence had come back into force at the monastery gate, became a comic symbol of this. Yet in other ways it was obviously attractive to Stevenson. And what it attracted, I think, was paradoxically not the religious man, but the artist in him. He was drawn and fascinated by the idea of the celibate life within a community. The ascetic standards—the silence, the physical discipline, the solitary spiritual endeavour—appealed to him as a writer. The clarity of purpose, the absence of distraction, the lifelong sense of self-commitment were exactly the kind of ideals he felt he should be nourishing in himself as a professional author. The monks represented a sort of Flaubertian perfection. In their own way they had given up the world for an art form. Should he not do the same?

      To begin with I had conceived of Stevenson’s journey—and experienced it for myself—as a physical trial, a piece of deliberate “adventuring”, a bet undertaken against himself, that he could survive on his own. His ill-health, his struggle against consumption, together with the real wildness of the Cévennes a hundred years ago made this trial a genuine enough affair.

      But here was a new element, a metaphysical one. Stevenson was making a pilgrimage into the recesses of his own heart. He was asking himself what sort of man he should be, what life-pattern he should follow. Many hints had already suggested strongly to me that he was in love with someone. The incident with the young married couple in the inn at Le Bouchet was one obvious pointer; and the whole slightly mannered drama with Modestine seemed to me to contain some element of a private joke, a comic (but none the less serious) little allegory about his relations with the opposite sex.

      The question he seemed to be formulating at La Trappe came down to this. As a writer, as an artist, should he be living and working on his own, celibate (or at least unmarried) and dedicated purely to the ideals of a literary community? Or should he commit himself emotionally to something, and someone else: to domesticated love, to marriage, to a professional life undertaken in partnership? For a young and ambitious Victorian writer this was no light or hypothetical question. He could survive comfortably as a single man on an allowance from relatively wealthy and well-meaning parents; and artistically he could flourish in the London literary world of clubs, pubs, reviews and masculine “bohemia”. It required the most fundamental decisions about his future. Most of all, from a man of Stevenson’s unusual temperament, to whom the enclosed Scottish world of his boyhood was so imaginatively important, it meant a choice about how far he could afford to grow up, to come fully into man’s estate.

      Reflecting on the life of the Trappists, Stevenson added a revealing passage to the Travels. Once again its lightness of tone was curiously deceptive. He wrote:

      … Apart from any view of mortification, I can see a certain policy, not only in the exclusion of women, but in this vow of silence. I have had some experience of lay phalansteries of an artistic not to say bacchanalian, character; and seen more than one association easily formed and yet more easily dispersed. With a Cistercian rule, perhaps they might have lasted longer. In the neighbourhood of women it is but a touch and go association that can be formed among defenceless men; the stronger electricity is sure to triumph; the dreams of boyhood, the schemes of youth, are abandoned after an interview of ten minutes, and the arts and sciences, and professional male jollity, deserted at once for two sweet eyes and a caressing accent.

      What was this lay “phalanstère” or commune to which Stevenson was referring? (The odd term was invented by the French Utopian socialist Charles Fourier, and always appealed to the dreamer in Stevenson.) More important, to whom did the “two sweet eyes” belong? From my reading of his letters I could now guess a little at this.

      The “artistic not to say bacchanalian” place was the village of Grez, some sixty miles south-west of Paris on the River Loing. Grez lies on the edge of the Fontainebleau forest, on the opposite side from the more fashionable Barbizon, already beginning to be associated with the Impressionists and “plein-air” school of painters. Stevenson had spent a part of the three previous summers at Grez, taking rooms at the Hotel Chevillon, idyllically placed by the low stone bridge, with its shadowy arches, over the placid river. He and his dashing elder cousin, Bob Stevenson, and a small group of Francophile painters, mostly Irish or American, including William Low and Frank O’Meara, all ate and worked in common in the grounds of the hotel. The place was soon to become famous for its resident artists—Delius was later to do much of his composing at Grez, and Sisley to commemorate it in his sunlit pictures. It was in the early days of this phalanstère that Stevenson met the Osbourne family from San Francisco, with their two young children. And it was the eyes of Mrs Osbourne which had entranced him—for life, as it turned out. As he later wrote in his Songs of Travel:

      Trusty, dusky, vivid, true,

       With eyes of gold and bramble-dew, Steel-true and blade-straight, The great Artificer made my mate …

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      I knew little of Fanny Vandergrift Osbourne at the time I followed Stevenson through the Gévaudan. The story of their tempestuous but largely successful marriage—which took them through California, back to Edinburgh, down to Hyères, and finally out again to America, the South Seas, Tahiti and Samoa, with Stevenson all the time writing, his professional path found, Treasure Island (1883), Dr Jekyll and Mr Hyde (1886), The Master of Ballantrae (1889) and the posthumous Weir of Hermiston (1889)—belongs to the mature part of his biography. But what I subsequently learned of Fanny’s early life, and her personality, confirmed СКАЧАТЬ