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Артур Конан Дойл
Through the Magic Door

I have said that I think "Ivanhoe" the best of Scott's novels. I suppose most people would subscribe to that. But how about the second best? It speaks well for their general average that there is hardly one among them which might not find some admirers who would vote it to a place of honour. To the Scottish-born man those novels which deal with Scottish life and character have a quality of raciness which gives them a place apart. There is a rich humour of the soil in such books as "Old Mortality," "The Antiquary," and "Rob Roy," which puts them in a different class from the others. His old Scottish women are, next to his soldiers, the best series of types that he has drawn. At the same time it must be admitted that merit which is associated with dialect has such limitations that it can never take the same place as work which makes an equal appeal to all the world. On the whole, perhaps, "Quentin Durward," on account of its wider interests, its strong character-drawing, and the European importance of the events and people described, would have my vote for the second place. It is the father of all those sword-and-cape novels which have formed so numerous an addition to the light literature of the last century. The pictures of Charles the Bold and of the unspeakable Louis are extraordinarily vivid. I can see those two deadly enemies watching the hounds chasing the herald, and clinging to each other in the convulsion of their cruel mirth, more clearly than most things which my eyes have actually rested upon.

The portrait of Louis with his astuteness, his cruelty, his superstition and his cowardice is followed closely from Comines, and is the more effective when set up against his bluff and war-like rival. It is not often that historical characters work out in their actual physique exactly as one would picture them to be, but in the High Church of Innsbruck I have seen effigies of Louis and Charles which might have walked from the very pages of Scott-Louis, thin, ascetic, varminty; and Charles with the head of a prize-fighter. It is hard on us when a portrait upsets all our preconceived ideas, when, for example, we see in the National Portrait Gallery a man with a noble, olive-tinted, poetic face, and with a start read beneath it that it is the wicked Judge Jeffreys. Occasionally, however, as at Innsbruck, we are absolutely satisfied. I have before me on the mantelpiece yonder a portrait of a painting which represents Queen Mary's Bothwell. Take it down and look at it. Mark the big head, fit to conceive large schemes; the strong animal face, made to captivate a sensitive, feminine woman; the brutally forceful features – the mouth with a suggestion of wild boars' tusks behind it, the beard which could bristle with fury: the whole man and his life-history are revealed in that picture. I wonder if Scott had ever seen the original which hangs at the Hepburn family seat?

Personally, I have always had a very high opinion of a novel which the critics have used somewhat harshly, and which came almost the last from his tired pen. I mean "Count Robert of Paris." I am convinced that if it had been the first, instead of the last, of the series it would have attracted as much attention as "Waverley." I can understand the state of mind of the expert, who cried out in mingled admiration and despair: "I have studied the conditions of Byzantine Society all my life, and here comes a Scotch lawyer who makes the whole thing clear to me in a flash!" Many men could draw with more or less success Norman England, or mediaeval France, but to reconstruct a whole dead civilization in so plausible a way, with such dignity and such minuteness of detail, is, I should think, a most wonderful tour de force. His failing health showed itself before the end of the novel, but had the latter half equalled the first, and contained scenes of such humour as Anna Comnena reading aloud her father's exploits, or of such majesty as the account of the muster of the Crusaders upon the shores of the Bosphorus, then the book could not have been gainsaid its rightful place in the very front rank of the novels.

I would that he had carried on his narrative, and given us a glimpse of the actual progress of the First Crusade. What an incident! Was ever anything in the world's history like it? It had what historical incidents seldom have, a definite beginning, middle and end, from the half-crazed preaching of Peter down to the Fall of Jerusalem. Those leaders! It would take a second Homer to do them justice. Godfrey the perfect soldier and leader, Bohemund the unscrupulous and formidable, Tancred the ideal knight errant, Robert of Normandy the half-mad hero! Here is material so rich that one feels one is not worthy to handle it. What richest imagination could ever evolve anything more marvellous and thrilling than the actual historical facts?

But what a glorious brotherhood the novels are! Think of the pure romance of "The Talisman"; the exquisite picture of Hebridean life in "The Pirate"; the splendid reproduction of Elizabethan England in "Kenilworth"; the rich humour of the "Legend of Montrose"; above all, bear in mind that in all that splendid series, written in a coarse age, there is not one word to offend the most sensitive car, and it is borne in upon one how great and noble a man was Walter Scott, and how high the service which he did for literature and for humanity.

For that reason his life is good reading, and there it is on the same shelf as the novels. Lockhart was, of course, his son-in-law and his admiring friend. The ideal biographer should be a perfectly impartial man, with a sympathetic mind, but a stern determination to tell the absolute truth. One would like the frail, human side of a man as well as the other. I cannot believe that anyone in the world was ever quite so good as the subject of most of our biographies. Surely these worthy people swore a little sometimes, or had a keen eye for a pretty face, or opened the second bottle when they would have done better to stop at the first, or did something to make us feel that they were men and brothers. They need not go the length of the lady who began a biography of her deceased husband with the words – "D – was a dirty man," but the books certainly would be more readable, and the subjects more lovable too, if we had greater light and shade in the picture.

But I am sure that the more one knew of Scott the more one would have admired him. He lived in a drinking age, and in a drinking country, and I have not a doubt that he took an allowance of toddy occasionally of an evening which would have laid his feeble successors under the table. His last years, at least, poor fellow, were abstemious enough, when he sipped his barley-water, while the others passed the decanter. But what a high-souled chivalrous gentleman he was, with how fine a sense of honour, translating itself not into empty phrases, but into years of labour and denial! You remember how he became sleeping partner in a printing house, and so involved himself in its failure. There was a legal, but very little moral, claim against him, and no one could have blamed him had he cleared the account by a bankruptcy, which would have enabled him to become a rich man again within a few years. Yet he took the whole burden upon himself and bore it for the rest of his life, spending his work, his time, and his health in the one long effort to save his honour from the shadow of a stain. It was nearly a hundred thousand pounds, I think, which he passed on to the creditors – a great record, a hundred thousand pounds, with his life thrown in.

And what a power of work he had! It was superhuman. Only the man who has tried to write fiction himself knows what it means when it is recorded that Scott produced two of his long novels in one single year. I remember reading in some book of reminiscences – on second thoughts it was in Lockhart himself – how the writer had lodged in some rooms in Castle Street, Edinburgh, and how he had seen all evening the silhouette of a man outlined on the blind of the opposite house. All evening the man wrote, and the observer could see the shadow hand conveying the sheets of paper from the desk to the pile at the side. He went to a party and returned, but still the hand was moving the sheets. Next morning he was told that the rooms opposite were occupied by Walter Scott.

A curious glimpse into the psychology of the writer of fiction is shown by the fact that he wrote two of his books – good ones, too – at a time when his health was such that he could not afterwards remember one word of them, and listened to them when they were read to him as if he were hearing the work of another man. Apparently the simplest processes of the brain, such as ordinary memory, were in complete abeyance, and yet the very highest and most complex faculty – imagination in its supreme form – was absolutely unimpaired. It is an extraordinary fact, and one to be pondered over. It gives some support to the feeling which every writer of imaginative work must have, that his supreme work comes to him in some strange way from without, and that he is only the medium for placing it upon the paper. The creative thought – the germ thought from which a larger growth is to come, flies through his brain like a bullet. He is surprised at his own idea, with no conscious sense of having originated it. And here we have a man, with all other brain functions paralyzed, producing this magnificent work. Is it possible that we are indeed but conduit pipes from the infinite reservoir of the unknown? Certainly it is always our best work which leaves the least sense of personal effort.

And to pursue this line of thought, is it possible that frail physical powers and an unstable nervous system, by keeping a man's materialism at its lowest, render him a more fitting agent for these spiritual uses? It is an old tag.

"Great Genius is to madness close allied, And thin partitions do those rooms divide."

But, apart from genius, even a moderate faculty for imaginative work seems to me to weaken seriously the ties between the soul and the body.

Look at the British poets of a century ago: Chatterton, Burns, Shelley, Keats, Byron. Burns was the oldest of that brilliant band, yet Burns was only thirty-eight when he passed away, "burned out," as his brother terribly expressed it. Shelley, it is true, died by accident, and Chatterton by poison, but suicide is in itself a sign of a morbid state. It is true that Rogers lived to be almost a centenarian, but he was banker first and poet afterwards. Wordsworth, Tennyson, and Browning have all raised the average age of the poets, but for some reason the novelists, especially of late years, have a deplorable record. They will end by being scheduled with the white-lead workers and other dangerous trades. Look at the really shocking case of the young Americans, for example. What a band of promising young writers have in a few years been swept away! There was the author of that admirable book, "David Harum"; there was Frank Norris, a man who had in him, I think, the seeds of greatness more than almost any living writer. His "Pit" seemed to me one of the finest American novels. He also died a premature death. Then there was Stephen Crane – a man who had also done most brilliant work, and there was Harold Frederic, another master-craftsman. Is there any profession in the world which in proportion to its numbers could show such losses as that? In the meantime, out of our own men Robert Louis Stevenson is gone, and Henry Seton Merriman, and many another.

Even those great men who are usually spoken of as if they had rounded off their career were really premature in their end. Thackeray, for example, in spite of his snowy head, was only 52; Dickens attained the age of 58; on the whole, Sir Walter, with his 61 years of life, although he never wrote a novel until he was over 40, had, fortunately for the world, a longer working career than most of his brethren.

He employed his creative faculty for about twenty years, which is as much, I suppose, as Shakespeare did. The bard of Avon is another example of the limited tenure which Genius has of life, though I believe that he outlived the greater part of his own family, who were not a healthy stock. He died, I should judge, of some nervous disease; that is shown by the progressive degeneration of his signature. Probably it was locomotor ataxy, which is the special scourge of the imaginative man. Heine, Daudet, and how many more, were its victims. As to the tradition, first mentioned long after his death, that he died of a fever contracted from a drinking bout, it is absurd on the face of it, since no such fever is known to science. But a very moderate drinking bout would be extremely likely to bring a chronic nervous complaint to a disastrous end.

One other remark upon Scott before I pass on from that line of green volumes which has made me so digressive and so garrulous. No account of his character is complete which does not deal with the strange, secretive vein which ran through his nature. Not only did he stretch the truth on many occasions in order to conceal the fact that he was the author of the famous novels, but even intimate friends who met him day by day were not aware that he was the man about whom the whole of Europe was talking. Even his wife was ignorant of his pecuniary liabilities until the crash of the Ballantyne firm told her for the first time that they were sharers in the ruin. A psychologist might trace this strange twist of his mind in the numerous elfish Fenella-like characters who flit about and keep their irritating secret through the long chapters of so many of his novels.

It's a sad book, Lockhart's "Life." It leaves gloom in the mind. The sight of this weary giant, staggering along, burdened with debt, overladen with work, his wife dead, his nerves broken, and nothing intact but his honour, is one of the most moving in the history of literature. But they pass, these clouds, and all that is left is the memory of the supremely noble man, who would not be bent, but faced Fate to the last, and died in his tracks without a whimper. He sampled every human emotion. Great was his joy and great his success, great was his downfall and bitter his grief. But of all the sons of men I don't think there are many greater than he who lies under the great slab at Dryburgh.

III

We can pass the long green ranks of the Waverley Novels and Lockhart's "Life" which flanks them. Here is heavier metal in the four big grey volumes beyond. They are an old-fashioned large-print edition of Boswell's "Life of Johnson." I emphasize the large print, for that is the weak point of most of the cheap editions of English Classics which come now into the market. With subjects which are in the least archaic or abstruse you need good clear type to help you on your way. The other is good neither for your eyes nor for your temper. Better pay a little more and have a book that is made for use.

That book interests me – fascinates me – and yet I wish I could join heartily in that chorus of praise which the kind-hearted old bully has enjoyed. It is difficult to follow his own advice and to "clear one's mind of cant" upon the subject, for when you have been accustomed to look at him through the sympathetic glasses of Macaulay or of Boswell, it is hard to take them off, to rub one's eyes, and to have a good honest stare on one's own account at the man's actual words, deeds, and limitations. If you try it you are left with the oddest mixture of impressions. How could one express it save that this is John Bull taken to literature – the exaggerated John Bull of the caricaturists – with every quality, good or evil, at its highest? Here are the rough crust over a kindly heart, the explosive temper, the arrogance, the insular narrowness, the want of sympathy and insight, the rudeness of perception, the positiveness, the overbearing bluster, the strong deep-seated religious principle, and every other characteristic of the cruder, rougher John Bull who was the great grandfather of the present good-natured Johnnie.

If Boswell had not lived I wonder how much we should hear now of his huge friend? With Scotch persistence he has succeeded in inoculating the whole world with his hero worship. It was most natural that he should himself admire him. The relations between the two men were delightful and reflect all credit upon each. But they are not a safe basis from which any third person could argue. When they met, Boswell was in his twenty-third and Johnson in his fifty-fourth year. The one was a keen young Scot with a mind which was reverent and impressionable. The other was a figure from a past generation with his fame already made. From the moment of meeting the one was bound to exercise an absolute ascendency over the other which made unbiassed criticism far more difficult than it would be between ordinary father and son. Up to the end this was the unbroken relation between them.

It is all very well to pooh-pooh Boswell as Macaulay has done, but it is not by chance that a man writes the best biography in the language. He had some great and rare literary qualities. One was a clear and vivid style, more flexible and Saxon than that of his great model. Another was a remarkable discretion which hardly once permitted a fault of taste in this whole enormous book where he must have had to pick his steps with pitfalls on every side of him. They say that he was a fool and a coxcomb in private life. He is never so with a pen in his hand. Of all his numerous arguments with Johnson, where he ventured some little squeak of remonstrance, before the roaring "No, sir!" came to silence him, there are few in which his views were not, as experience proved, the wiser. On the question of slavery he was in the wrong. But I could quote from memory at least a dozen cases, including such vital subjects as the American Revolution, the Hanoverian Dynasty, Religious Toleration, and so on, where Boswell's views were those which survived.

But where he excels as a biographer is in telling you just those little things that you want to know. How often you read the life of a man and are left without the remotest idea of his personality. It is not so here. The man lives again. There is a short description of Johnson's person – it is not in the Life, but in the Tour to the Hebrides, the very next book upon the shelf, which is typical of his vivid portraiture. May I take it down, and read you a paragraph of it? –

"His person was large, robust, I may say approaching to the gigantic, and grown unwieldy from corpulency. His countenance was naturally of the cast of an ancient statue, but somewhat disfigured by the scars of King's evil. He was now in his sixty-fourth year and was become a little dull of hearing. His sight had always been somewhat weak, yet so much does mind govern and even supply the deficiencies of organs that his perceptions were uncommonly quick and accurate. His head, and sometimes also his body, shook with a kind of motion like the effect of palsy. He appeared to be frequently disturbed by cramps or convulsive contractions of the nature of that distemper called St. Vitus' dance. He wore a full suit of plain brown clothes, with twisted hair buttons of the same colour, a large bushy greyish wig, a plain shirt, black worsted stockings and silver buckles. Upon this tour when journeying he wore boots and a very wide brown cloth great-coat with pockets which might almost have held the two volumes of his folio dictionary, and he carried in his hand a large English oak stick."

You must admit that if one cannot reconstruct the great Samuel after that it is not Mr. Boswell's fault – and it is but one of a dozen equally vivid glimpses which he gives us of his hero. It is just these pen-pictures of his of the big, uncouth man, with his grunts and his groans, his Gargantuan appetite, his twenty cups of tea, and his tricks with the orange-peel and the lamp-posts, which fascinate the reader, and have given Johnson a far broader literary vogue than his writings could have done.

For, after all, which of those writings can be said to have any life to-day? Not "Rasselas," surely – that stilted romance. "The Lives of the Poets" are but a succession of prefaces, and the "Ramblers" of ephemeral essays. There is the monstrous drudgery of the Dictionary, a huge piece of spadework, a monument to industry, but inconceivable to genius. "London" has a few vigorous lines, and the "Journey to the Hebrides" some spirited pages. This, with a number of political and other pamphlets, was the main output of his lifetime. Surely it must be admitted that it is not enough to justify his predominant place in English literature, and that we must turn to his humble, much-ridiculed biographer for the real explanation.

And then there was his talk. What was it which gave it such distinction? His clear-cut positiveness upon every subject. But this is a sign of a narrow finality – impossible to the man of sympathy and of imagination, who sees the other side of every question and understands what a little island the greatest human knowledge must be in the ocean of infinite possibilities which surround us. Look at the results. Did ever any single man, the very dullest of the race, stand convicted of so many incredible blunders? It recalls the remark of Bagehot, that if at any time the views of the most learned could be stamped upon the whole human race the result would be to propagate the most absurd errors. He was asked what became of swallows in the winter. Rolling and wheezing, the oracle answered: "Swallows," said he, "certainly sleep all the winter. A number of them conglobulate together by flying round and round, and then all in a heap throw themselves under water and lie in the bed of a river." Boswell gravely dockets the information. However, if I remember right, even so sound a naturalist as White of Selborne had his doubts about the swallows. More wonderful are Johnson's misjudgments of his fellow-authors. There, if anywhere, one would have expected to find a sense of proportion. Yet his conclusions would seem monstrous to a modern taste. "Shakespeare," he said, "never wrote six consecutive good lines." He would only admit two good verses in Gray's exquisite "Elegy written in a Country Churchyard," where it would take a very acid critic to find two bad ones. "Tristram Shandy" would not live. "Hamlet" was gabble. Swift's "Gulliver's Travels" was poor stuff, and he never wrote anything good except "A Tale of a Tub." Voltaire was illiterate. Rousseau was a scoundrel. Deists, like Hume, Priestley, or Gibbon, could not be honest men.

And his political opinions! They sound now like a caricature. I suppose even in those days they were reactionary. "A poor man has no honour." "Charles the Second was a good King." "Governments should turn out of the Civil Service all who were on the other side." "Judges in India should be encouraged to trade." "No country is the richer on account of trade." (I wonder if Adam Smith was in the company when this proposition was laid down!) "A landed proprietor should turn out those tenants who did not vote as he wished." "It is not good for a labourer to have his wages raised." "When the balance of trade is against a country, the margin must be paid in current coin." Those were a few of his convictions.

And then his prejudices! Most of us have some unreasoning aversion. In our more generous moments we are not proud of it. But consider those of Johnson! When they were all eliminated there was not so very much left. He hated Whigs. He disliked Scotsmen. He detested Nonconformists (a young lady who joined them was "an odious wench"). He loathed Americans. So he walked his narrow line, belching fire and fury at everything to the right or the left of it. Macaulay's posthumous admiration is all very well, but had they met in life Macaulay would have contrived to unite under one hat nearly everything that Johnson abominated.

It cannot be said that these prejudices were founded on any strong principle, or that they could not be altered where his own personal interests demanded it. This is one of the weak points of his record. In his dictionary he abused pensions and pensioners as a means by which the State imposed slavery upon hirelings. When he wrote the unfortunate definition a pension must have seemed a most improbable contingency, but when George III., either through policy or charity, offered him one a little later, he made no hesitation in accepting it. One would have liked to feel that the violent expression of his convictions represented a real intensity of feeling, but the facts in this instance seem against it.

He was a great talker – but his talk was more properly a monologue. It was a discursive essay, with perhaps a few marginal notes from his subdued audience. How could one talk on equal terms with a man who could not brook contradiction or even argument upon the most vital questions in life? Would Goldsmith defend his literary views, or Burke his Whiggism, or Gibbon his Deism? There was no common ground of philosophic toleration on which one could stand. If he could not argue he would be rude, or, as Goldsmith put it: "If his pistol missed fire, he would knock you down with the butt end." In the face of that "rhinoceros laugh" there was an end of gentle argument. Napoleon said that all the other kings would say "Ouf!" when they heard he was dead, and so I cannot help thinking that the older men of Johnson's circle must have given a sigh of relief when at last they could speak freely on that which was near their hearts, without the danger of a scene where "Why, no, sir!" was very likely to ripen into "Let us have no more on't!" Certainly one would like to get behind Boswell's account, and to hear a chat between such men as Burke and Reynolds, as to the difference in the freedom and atmosphere of the Club on an evening when the formidable Doctor was not there, as compared to one when he was.

No smallest estimate of his character is fair which does not make due allowance for the terrible experiences of his youth and early middle age. His spirit was as scarred as his face. He was fifty-three when the pension was given him, and up to then his existence had been spent in one constant struggle for the first necessities of life, for the daily meal and the nightly bed. He had seen his comrades of letters die of actual privation. From childhood he had known no happiness. The half blind gawky youth, with dirty linen and twitching limbs, had always, whether in the streets of Lichfield, the quadrangle of Pembroke, or the coffee-houses of London, been an object of mingled pity and amusement. With a proud and sensitive soul, every day of his life must have brought some bitter humiliation. Such an experience must either break a man's spirit or embitter it, and here, no doubt, was the secret of that roughness, that carelessness for the sensibilities of others, which caused Boswell's father to christen him "Ursa Major." If his nature was in any way warped, it must be admitted that terrific forces had gone to the rending of it. His good was innate, his evil the result of a dreadful experience.

And he had some great qualities. Memory was the chief of them. He had read omnivorously, and all that he had read he remembered, not merely in the vague, general way in which we remember what we read, but with every particular of place and date. If it were poetry, he could quote it by the page, Latin or English. Such a memory has its enormous advantage, but it carries with it its corresponding defect. With the mind so crammed with other people's goods, how can you have room for any fresh manufactures of your own? A great memory is, I think, often fatal to originality, in spite of Scott and some other exceptions. The slate must be clear before you put your own writing upon it. When did Johnson ever discover an original thought, when did he ever reach forward into the future, or throw any fresh light upon those enigmas with which mankind is faced? Overloaded with the past, he had space for nothing else. Modern developments of every sort cast no first herald rays upon his mind. He journeyed in France a few years before the greatest cataclysm that the world has ever known, and his mind, arrested by much that was trivial, never once responded to the storm-signals which must surely have been visible around him. We read that an amiable Monsieur Sansterre showed him over his brewery and supplied him with statistics as to his output of beer. It was the same foul-mouthed Sansterre who struck up the drums to drown Louis' voice at the scaffold. The association shows how near the unconscious sage was to the edge of that precipice and how little his learning availed him in discerning it.

He would have been a great lawyer or divine. Nothing, one would think, could have kept him from Canterbury or from the Woolsack. In either case his memory, his learning, his dignity, and his inherent sense of piety and justice, would have sent him straight to the top. His brain, working within its own limitations, was remarkable. There is no more wonderful proof of this than his opinions on questions of Scotch law, as given to Boswell and as used by the latter before the Scotch judges. That an outsider with no special training should at short notice write such weighty opinions, crammed with argument and reason, is, I think, as remarkable a tour de force as literature can show.

Above all, he really was a very kind-hearted man, and that must count for much. His was a large charity, and it came from a small purse. The rooms of his house became a sort of harbour of refuge in which several strange battered hulks found their last moorings. There were the blind Mr. Levett, and the acidulous Mrs. Williams, and the colourless Mrs. De Moulins, all old and ailing – a trying group amid which to spend one's days. His guinea was always ready for the poor acquaintance, and no poet was so humble that he might not preface his book with a dedication whose ponderous and sonorous sentences bore the hall-mark of their maker. It is the rough, kindly man, the man who bore the poor street-walker home upon his shoulders, who makes one forget, or at least forgive, the dogmatic pedantic Doctor of the Club.