Chapter 1
Transcribed from the 1921 Chatto and Windus edition by David Price, email [email protected]
[Picture: Book cover]
MORAL EMBLEMS
& OTHER POEMS WRITTEN AND ILLUSTRATED WITH WOODCUTS BY ROBERT LOUIS STEVENSON FIRST PRINTED AT THE DAVOS PRESS BY LLOYD OSBOURNE AND WITH A PREFACE BY THE SAME
[Picture: Woodcut ‘Labor Crux Corona’]
LONDON CHATTO & WINDUS 1921
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_All rights reserved_
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PREFACE
IT is with some diffidence that I sit down at an age so mature that I cannot bring myself to name it, to write a preface to works I printed and published at twelve.
I would have the reader see a little boy living in a châlet on a Swiss mountain-side, overlooking a straggling village named Davos-Platz, where consumptives coming to get well more often died. It was winter; the sky-line was broken by frosty peaks; the hamlet—it was scarcely more then—lay huddled in the universal snow. Morning came late, and the sun set early. A still, silent and icy night had an undue share of the round of hours, which at least it had the grace to mitigate by a myriad of shining stars.
The little boy thought it was a very jolly place. He loved the tobogganing, the skating, the snow-balling; loved the crisp, tingling air, and the woods full of Christmas trees, glittering with icicles. Nor with his toy theatre and printing-press was the indoor confinement ever irksome. He but dimly appreciated that his stepfather and mother were less happy in so favoured a spot. His mother’s face was often anxious; sometimes he would find her crying. His stepfather, whom he idolised, was terribly thin, and even to childish eyes looked frail and spectral. The stepfather was an unsuccessful author named Robert Louis Stevenson, who would never have got along at all had it not been for his rich parents in Edinburgh. The little boy at his lessons in the room which they all shared grew used to hearing a sentence that struck at his heart. Perhaps it was the tone it was uttered in; perhaps the looks of discouragement and depression that went with it.
‘Fanny, I shall have to write to my father.’
It served to make the little boy very precocious about money. In a family perennially short of it he learned its essentialness early. He knew too, that he was a dreadfully expensive child. His stepfather paid forty pounds for his winter’s tutoring, not to speak of an additional outlay on a dying Prussian officer who taught him German with the aid of a pocket-knife stuck down his throat to give him the right accent. It was with consternation that he once heard his stepfather say in a voice of tragedy: ‘Good Heavens, Fanny, we are spending ten pounds a week on food alone!’
The little boy, under the stress of this financial urgency, decided to go into business, finding a capital opening in the Hotel Belvidere, where a hundred programmes were required weekly for the Saturday night concerts. A gentleman with a black beard, who was in charge of these arrangements, willingly offered to pay two francs fifty centimes for each set of programmes. The little boy was afraid of the gentleman with the black beard; he was a formidable gentleman, with a formidable manner, and he was very exacting about spelling. The gentleman with the black beard attached an inordinate importance to spelling. The gentleman with the black beard was wholly unable to make allowances for the trifling mistakes that will occur in even the best-managed of printing-offices. If the little boy printed: ‘’Twas in Trofolgar’s Bay . . . sung by Mr. Edwin Smith,’ the black-bearded gentleman had no mercy in sending that poor little boy back to do it all over again. But he paid promptly—a severe man, but extremely honourable. There were charity-bazaars too, public invitations, announcements, letter-heads, all bringing grist to the mill. The ‘Elegy for Some Lead Soldiers’ was brought out, and sold for a penny. Once there was a colossal order for a thousand lottery tickets.
The little boy’s ambitions soared. He wrote and printed a tiny book of eight pages, entitled ‘Black Canyon, or Life in the Far West,’ in which he used all the ‘cuts’ he had somehow accumulated with his type—the story conforming to the illustrations instead of the more common-place way of the illustrations conforming to the text. This work can occasionally be picked up at one of Sotheby’s auctions, and if you can get it for less than twenty-five pounds you are lucky—that is if you are a collector and prize such things. It has risen to the dignity of ‘DAVOS BOOKLETS; STEVENSONIANA; EXCESSIVELY RARE.’ But its original price was sixpence, and its sale was immediate and gratifying. The little boy discovered that there was much more money to be made from one book than a dozen sets of programmes, and that without any black-bearded gentleman either to tweak his nose when errors crept in.
Louis, as the little boy always called his stepfather, with a familiarity that was much criticised by strangers, followed this publishing venture with absorbing interest. Then his own ambitions awakened, and one day, with an affected humility that was most embarrassing, he called at the office, and submitted a manuscript called, ‘Not I, and Other Poems,’ which the firm of Osbourne and Co. gladly accepted on the spot. It was an instantaneous hit, selling out an entire edition of fifty copies.
The publisher was thrilled, and the author was equally jubilant, saying it was the only successful book he had ever written, and jingling his three francs of royalties with an air that made the little boy burst out laughing with delighted pride. In the ensuing enthusiasm another book was planned, and the first poem for it written.
‘If only we could have illustrations,’ said the publisher longingly. But his ‘cuts’ had all been used in ‘Black Canyon, or Life in the Far West.’ Illustrations had to be put by as a dream impossible of fulfilment. No, not impossible! Louis, who was a man of infinite resourcefulness (he could paint better theatre-scenes than any one could buy), said that he would try to carve some pictures on squares of fretwood. The word fretwood seems as unknown nowadays as the thing itself; it was an extremely thin piece of board with which one was supposed to make works of art with the help of pasted-on patterns, an aggravating little saw, and the patience of Job. . . . Well, Louis cut out a small square of fretwood, and in a deeply-thoughtful manner applied himself to the task. He had only a pocket-knife; real tools came later; but he was impelled by a will to win that carried all before it. After an afternoon of almost suffocating excitement—for the publisher—he completed the engraving that accompanies the poem: ‘Reader, your soul upraise to see.’ But it had yet to be mounted on a wooden block in order to raise it to the exact level of the type. At last this was done. A proof was run off. But the impression was unequal. Oh, the disappointment! Author and publisher gazed at each other in misery. But woman’s wit came to the rescue. Why not build it up with cigarette papers? ‘Bravo, Fanny!’ The author set to work, deftly and skilfully. Then more proofs, more cigarette-papers, more running up and down stairs to the little boy’s room, which in temperature hovered about zero. But what was temperature? The thing was a success. The little boy, entranced beyond measure, printed copy after copy from the sheer pleasure of seeing the wet ink magically reproducing the block.
The next day the little boy was sent to a dying Swiss—half the population of Davos were coughing away the remnants of life—who lived with his poverty-stricken family in one room, earning their bread by carving bears. A model block was shown him. Could he reproduce a dozen exactly like it, but in a wood without any grain? The dying Swiss said he could, leaving his bear forthwith, and applying himself to the task. The pinched-face children looked on amazed; the little print of ‘Reader, your soul upraise to see’ was passed from hand to hand with exclamations of astonishment. The dying Swiss gave the little boy the blocks, beautifully and faultlessly finished. Would the little boy care to buy a bear? No, the little boy didn’t. He scurried home through the snow with the precious blocks.
Thus ‘Moral Emblems’ came out; ninety copies, price sixpence. Its reception might almost be called sensational. Wealthy people in the Hotel Belvidere bought as many as three copies apiece. Friends in England wrote back for more. Meanwhile the splendid artist was assiduously busy. He worked like a beaver, saying that it was the best relaxation he had ever found. The little boy once overheard him confiding to a visitor: ‘I cannot tell you what a Godsend these silly blocks have been to me. When I can write no more, and read no more, and think no more, I can pass whole hours engraving these blocks in blissful contentment.’ These may not have been the actual words, but such at least was their sense.
Thus the second ‘Moral Emblems’ came out; ninety copies, price ninepence. The public welcomed it as heartily as the first, the little boy becoming so prosperous that he accumulated upwards of five pounds. But let it never be said that he spurned the humble mainstay of his beginnings. He printed the weekly programmes as usual, and bore the exactions of the black-bearded gentleman with fortitude. When he made such a trifling mistake, for instance, as ‘The Harp that Once Through Tara’s Hells,’ he dutifully climbed the hill to his freezing room, and ran off a whole fresh set. Two francs fifty was two francs fifty. Every business man appreciates the comfort of a small regular order which can be counted on like the clock.
But one day there was no black-bearded gentleman. ‘Oh, he was dead. Had had a hemorrhage three days before and had died.’ I don’t know whether the little boy mourned for him particularly, but it was a shock to lose that two francs fifty centimes. The little boy was worried until he found a lady who had substituted herself for the gentleman with the black beard. She was a very kind lady; you could print anything for that lady, and ‘get away with it’ as Americans say. But she was frolicsome and lacked poise; she was vague about appointments, and had a disheartening way of saying: ‘Oh, bother,’ when the little boy appeared; she would insist on kissing him amid circumstances of the most odious publicity; was so abased a creature besides, that she often marred the programmes by making pen-and-ink corrections. In contrast, the little boy looked back on the black-bearded gentleman almost with regret.
Two winters were thus occupied, with incidental education that seemed far less important. The Prussian officer had fortunately died, releasing the little boy from any further study of German. All that he retains of it to-day is the taste of that pocket-knife, and of the Prussian officer’s thumb. Then he was sent to boarding-school in England, or to be precise to a tutor who had half a dozen resident pupils. Time passed; publishing became a memory. Then a long summer holiday found the little boy, now much grown and matured, reunited with his family in Kingussie. The printing-press was there, and business was resumed with enthusiasm. The stepfather, who had made much more progress with engraving than the boy had with Latin, had the blocks and poems all ready for ‘The Graver and the Pen.’
But the printing-press broke down; and after an interval of despair and unavailing attempts to repair it, an amiable old man was found who had a press of his own behind a microscopic general shop. Here ‘The Graver and the Pen’ was printed with what now seems an almost regrettable perfection. The amiable old man was altogether too amiable. He would insist on doing far too much himself, though he had been merely paid a trifling rent for the use of the press. An edition of a hundred copies was printed, of which almost none were sold. The little boy had grown such a big boy that he was ashamed of tradesmanship. He had passed the age when he could take sixpences and ninepences with ease from strangers. New standards were imperceptibly forming, and it pleased him better to see his stepfather give away ‘The Graver and the Pen’ to those worthy of so signal an honour.
In fact ‘The Graver and the Pen’ was the last enterprise of Osbourne and Co. ‘The Pirate and the Apothecary’ was projected; three superb illustrations were engraved for it; yet it never saw more light than the typewriter afforded. ‘The Builder’s Doom’ has remained in manuscript until the present time. No illustrations were either drawn or engraved for it. It marked the final decline of a once flourishing business, which in its day had given so much laughter to many people sadly in need of it.
LLOYD OSBOURNE.
CONTENTS
PAGE PREFACE v NOT I, AND OTHER POEMS— I. Some like drink 3 II. Here, perfect to a wish 4 III. As seamen on the seas 5 IV. The pamphlet here presented 6 MORAL EMBLEMS: A COLLECTION OF CUTS AND VERSES— I. See how the children in the print 9 II. Reader, your soul upraise to see 11 III. A PEAK IN DARIEN—Broad-gazing on untrodden lands 13 IV. See in the print how, moved by whim 15 V. Mark, printed on the opposing page 17 MORAL EMBLEMS: A SECOND COLLECTION OF CUTS AND VERSES— I. With storms a-weather, rocks-a-lee 21 II. The careful angler chose his nook 23 III. The Abbot for a walk went out 25 IV. The frozen peaks he once explored 27 V. Industrious pirate! see him sweep 29 A MARTIAL ELEGY FOR SOME LEAD SOLDIERS— For certain soldiers lately dead 33 THE GRAVER AND THE PEN: OR, SCENES FROM NATURE, WITH APPROPRIATE VERSES I. PROEM—Unlike the common run of men 37 II. THE PRECARIOUS MILL—Alone above the stream it 41 stands III. THE DISPUTATIOUS PINES—The first pine to the 45 second said IV. THE TRAMPS—Now long enough had day endured 49 V. THE FOOLHARDY GEOGRAPHER—The howling desert miles 51 around VI. THE ANGLER AND THE CLOWN—The echoing bridge you 55 here may see MORAL TALES— I. ROBIN AND BEN: OR, THE PIRATE AND THE 59 APOTHECARY—Come, lend me an attentive ear II. THE BUILDER’S DOOM—In eighteen-twenty Deacon Thin 73
NOT I AND OTHER POEMS
I NOT I
Some like drink In a pint pot, Some like to think; Some not.
Strong Dutch cheese, Old Kentucky rye, Some like these; Not I.
Some like Poe, And others like Scott, Some like Mrs. Stowe; Some not.
Some like to laugh, Some like to cry, Some like chaff; Not I.
II
Here, perfect to a wish, We offer, not a dish, But just the platter: A book that’s not a book, A pamphlet in the look But not the matter.
I own in disarray: As to the flowers of May The frosts of Winter; To my poetic rage, The smallness of the page And of the printer.
III
As seamen on the seas With song and dance descry Adown the morning breeze An islet in the sky: In Araby the dry, As o’er the sandy plain The panting camels cry To smell the coming rain:
So all things over earth A common law obey, And rarity and worth Pass, arm in arm, away; And even so, to-day, The printer and the bard, In pressless Davos, pray Their sixpenny reward.
IV
The pamphlet here presented Was planned and printed by A printer unindented, A bard whom all decry.
The author and the printer, With various kinds of skill, Concocted it in Winter At Davos on the Hill.
They burned the nightly taper; But now the work is ripe— Observe the costly paper, Remark the perfect type!
MORAL EMBLEMS I
[Picture: Woodcut of person coming to house with children to welcome]
I
See how the children in the print Bound on the book to see what’s in ’t! O, like these pretty babes, may you Seize and _apply_ this volume too! And while your eye upon the cuts With harmless ardour opes and shuts, Reader, may your immortal mind To their sage lessons not be blind.
[Picture: Woodcut of person leaving seated person]
II
Reader, your soul upraise to see, In yon fair cut designed by me, The pauper by the highwayside Vainly soliciting from pride. Mark how the Beau with easy air Contemns the anxious rustic’s prayer, And, casting a disdainful eye, Goes gaily gallivanting by. He from the poor averts his head . . . He will regret it when he’s dead.
[Picture: Person raising arms, bird in sky]
III A PEAK IN DARIEN
Broad-gazing on untrodden lands, See where adventurous Cortez stands; While in the heavens above his head The Eagle seeks its daily bread. How aptly fact to fact replies: Heroes and eagles, hills and skies. Ye who contemn the fatted slave Look on this emblem, and be brave.
[Picture: Man and elephant]
IV
See in the print how, moved by whim, Trumpeting Jumbo, great and grim, Adjusts his trunk, like a cravat, To noose that individual’s hat. The sacred Ibis in the distance Joys to observe his bold resistance.
[Picture: Man punching another who falls backs from edge]
V
Mark, printed on the opposing page, The unfortunate effects of rage. A man (who might be you or me) Hurls another into the sea. Poor soul, his unreflecting act His future joys will much contract, And he will spoil his evening toddy By dwelling on that mangled body.
MORAL EMBLEMS II
[Picture: Man seeing sailing boat]
I
With storms a-weather, rocks a-lee, The dancing skiff puts forth to sea. The lone dissenter in the blast Recoils before the sight aghast. But she, although the heavens be black, Holds on upon the starboard tack, For why? although to-day she sink, Still safe she sails in printer’s ink, And though to-day the seamen drown, My cut shall hand their memory down.
[Picture: Man fishing]
II
The careful angler chose his nook At morning by the lilied brook, And all the noon his rod he plied By that romantic riverside. Soon as the evening hours decline Tranquilly he’ll return to dine, And, breathing forth a pious wish, Will cram his belly full of fish.
[Picture: Two people by tree]
III
The Abbot for a walk went out, A wealthy cleric, very stout, And Robin has that Abbot stuck As the red hunter spears the buck. The djavel or the javelin Has, you observe, gone bravely in, And you may hear that weapon whack Bang through the middle of his back. _Hence we may learn that Abbots should_ _Never go walking in a wood_.
[Picture: Man on path]
IV
The frozen peaks he once explored, But now he’s dead and by the board. How better far at home to have stayed Attended by the parlour maid, And warmed his knees before the fire Until the hour when folks retire! _So_, _if you would be spared to friends_, _Do nothing but for business ends_.
[Picture: Person with telescope looking from cliff]
V
Industrious pirate! see him sweep The lonely bosom of the deep, And daily the horizon scan From Hatteras or Matapan. Be sure, before that pirate’s old, He will have made a pot of gold, And will retire from all his labours And be respected by his neighbours. _You also scan your life’s horizon_ _For all that you can clap your eyes on_.
A MARTIAL ELEGY FOR SOME LEAD SOLDIERS
For certain soldiers lately dead Our reverent dirge shall here be said. Them, when their martial leader called, No dread preparative appalled; But leaden-hearted, leaden-heeled, I marked them steadfast in the field. Death grimly sided with the foe, And smote each leaden hero low. Proudly they perished one by one: The dread Pea-cannon’s work was done! O not for them the tears we shed, Consigned to their congenial lead; But while unmoved their sleep they take, We mourn for their dear Captain’s sake, For their dear Captain, who shall smart Both in his pocket and his heart, Who saw his heroes shed their gore, And lacked a shilling to buy more!
THE GRAVER THE PEN: OR, SCENES FROM NATURE, WITH APPROPRIATE VERSES
I PROEM
Unlike the common run of men, I wield a double power to please, And use the GRAVER and the PEN With equal aptitude and ease.
I move with that illustrious crew, The ambidextrous Kings of Art; And every mortal thing I do Brings ringing money in the mart.
Hence, in the morning hour, the mead, The forest and the stream perceive Me wandering as the muses lead— Or back returning in the eve.
Two muses like two maiden aunts, The engraving and the singing muse, Follow, through all my favourite haunts, My devious traces in the dews.
To guide and cheer me, each attends; Each speeds my rapid task along; One to my cuts her ardour lends, One breathes her magic in my song.
[Picture: Strange building]
II THE PRECARIOUS MILL
Alone above the stream it stands, Above the iron hill, The topsy-turvy, tumble-down, Yet habitable mill.
Still as the ringing saws advance To slice the humming deal, All day the pallid miller hears The thunder of the wheel.
He hears the river plunge and roar As roars the angry mob; He feels the solid building quake, The trusty timbers throb.
All night beside the fire he cowers: He hears the rafters jar: O why is he not in a proper house As decent people are!
The floors are all aslant, he sees, The doors are all a-jam; And from the hook above his head All crooked swings the ham.
‘Alas,’ he cries and shakes his head, ‘I see by every sign, There soon all be the deuce to pay, With this estate of mine.’
[Picture: Pine trees]
III THE DISPUTATIOUS PINES
The first pine to the second said: ‘My leaves are black, my branches red; I stand upon this moor of mine, A hoar, unconquerable pine.’
The second sniffed and answered: ‘Pooh! I am as good a pine as you.’
‘Discourteous tree,’ the first replied, ‘The tempest in my boughs had cried, The hunter slumbered in my shade, A hundred years ere you were made.’
The second smiled as he returned: ‘I shall be here when you are burned.’
So far dissension ruled the pair, Each turned on each a frowning air, When flickering from the bank anigh, A flight of martens met their eye. Sometime their course they watched; and then— They nodded off to sleep again.
[Picture: Three tramps]
IV THE TRAMPS
Now long enough had day endured, Or King Apollo Palinured, Seaward he steers his panting team, And casts on earth his latest gleam.
But see! the Tramps with jaded eye Their destined provinces espy. Long through the hills their way they took, Long camped beside the mountain brook; ’Tis over; now with rising hope They pause upon the downward slope, And as their aching bones they rest, Their anxious captain scans the west.