Evening star., 1924-01-08
NEW BOOKS
AT RANDOM
aM z. STEVENSON. q Critical study.
! Crank Swtnnerton. George H,

ordn company. - -
Novelist here turned critic. Not, one
takes 1t, as a permanency pointing
upon the ultimate exclusion of this
aptnors purely creative work. Such
a likelihood even would promise sub
| stantial loss to the cause Of the
modern novel. For. among the later
noVeiists Mr. Swinnerton stands pref
~ much in a class by himself. Be
ntnd his fiction appears a clearly de-
nneo theory that. embodied. comes to
the 'front.' as life itself. Here is actual
NE projected wildly and vitaIIy through
complete seizure OF the essence and
purpose of art. an art to whose laws
OF OF rninliment Mr.. swinnerton gives
an unswerving devotion. Read Moe
turne. Read "Coquette," or any other
Ut ms novels, for a better realization
that the novel is more than the ready
tns OF tale, more than the for
.uitous assembling of incidents how
esea stor, ingenious this may be. These
stories are organic. like the human
oooy, the parts in each co-ordinated
10 secure the central and vital pur-
pose OF the whole. No loafing unruly
members here, no rudimentary hinder
ances. no mischievous appendix in
terfering with normal action, de-
pressing general vitality, vitiatine
unity Of effect. In the course Of ones
acquaintance with this authors fic-
tion IT becomes quite plain, too, that
Swfnnerton subjected himself to
rigorous training, developing thereby
critical faculty whose keen edge he
turned primarily upon self-direction
and self-appraisal. Here he makes
use of this faculty for the appraisal
of another author.
y 4 4 4
The subject of Mr.. Swinnerton's
study Is bound to assure, for the
study itself. a range OF attention that
no other kindred one could command.
For Robert Louis Stevenson is the
widely known, the well beloved, the
favorite child OF genius, the object Of
general and enthusiastic acclaim. So
one takes up this book eagerly, aglow
with the expectation that, through
the good of1ces Of this concededly
competent witness, one Is about to be
reassociated with this gifted pur-
veyor Of literary delights. about to
opinion concerning the artistic SUI
premacy of r L 8.
y y /:
That crash? Only the thud of hit-
ting the ground from ones recent
high point Of expectation.
For under Mr.. Swinnerton's system
Of literary weights and measures.
Stevenson. at his best. never worked
in more than two dimensions, never
dealt In more than the short ton OF
letters, skimping. invariably, the full
nS
quacy. Or, in a gentler and more con-
genial occupation, he was the expert
needleworker, embroiderfng the drab
background of Scot temperament and
personal debility with exquisite pat
terms OF incident. fantasy. mystery,
mering stun, wrought in designs of
Infinite grace and dazzling effect. Only
words, though-words and more words
arranged In cadenced groups. in
lanxes. An attificer, this man. a great
craftsman, gloating over the plant
fabric of his own fashioning so velvet
TO the touch, 80 glowing to the eye,
SO melting in its gracious bloom, so
glamourous as an iridescent whole.
Swinnerton says - modelling words
into magic. Himself the proud ma
gician, openly taking charge OF the
wizardries that. in the face and eyes
S1t II,
extracts from one or another OF the
secret pockets of his o,rn. prodigal
personality. Now, this is, in effect.
what Mr.. Swinnerton says. What is
to be done about it? Something. clear
ly. For 1t is no slight matter TO have
impaired, ones intellectual proposes
sions despoiled or even ones senti-
mental espousals menaced. In plain.
fair dealing, 1t Is UP to Mr.. Swimmer
- -ys
erance. And this he does through the
simple expedient of asking US to go
along with him over the already fa-
mi1iar road of Robert Louis Steven
soE q work.
For this back-faring adventure Mr..
Swinnerton imposes the single con-
dition that one move out in step with
him from the starting point that he
himself has set. This starting point
covers the fundamentals OF his own
theory of writing. Literature is. to
him. pure, creation. It's prime pro-
jective force is the Imagination, an
emotional translation of the creators
spirit into the object created" A
sympathetic imagination, this, that
lifts the writer out Of himself over
into the character. into the scene.
even, that he seeks to embody and
project. Literature derives first from
character. next from a central uni
flying theme or idea Character and
theme-these are the two essentials.
All else-particular method, special
technic. personal idiosyncrasy-use-
full, necessary even though they be.
are clearly subordinate.
4 + r =
This initial equipment provided.
Mr.. Swinnerton leads one along the
pleasant highways. across the green
fields, through the delightfully."- spooky
caverns Of Stevenson's work-poems,
plays. essays, romances. short stories.
Again one thrills to the personal
charm of the mantle playful mood,
the facile wit, the fancifuf vision. the
frank vanity OF the eternal child
Again one opens his mouth to join in
the full and familiar chorus Of praise
to the beautiful genius of the beloved
r. L. S. Remember" says the ad-
monishing voice of Mr.. swinnerton,
"this is a personally conducted tour
to whose conditions you agreed, In
writing, 30 to speak; hSWeyer ,he II tnls sns
pedition is of" Then one offers
prompt apology. explaining that the
old spell slipped over one, unaware.
"All right" a shade gruffiy. and the
adventure picks up again: This Is It's
outcome. Robert Louis Stevenson Is
a prince OF entertainers, master OF
the art Of literary embellishments, a
man whose personal charm elicited
doting affection that masqueraded as
critical appreciation. Blind to the
creative import of literature, deaf to
the call Of character as it's chief foun-
dation, regardless Of theme as Its uni
flying force, he Is clearly doomed to
take rank as second-class writer,
much beloved. 1t is true, but second
class. nevertheless That. in a word,
is the conclusions Of this matter. Con-
vinced? No? But wait minute:
Just read this book for the sake OF
coming close to the clear thinking OF
- fo OF