Memories and Portraits — A Closer Reading
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For Memories and Portraits — A Closer Reading, the stored edition analysis reports 56,205 words, 4 hr 5 min estimated reading time, and 5 detected text sections.
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Project Gutenberg metadata also associates the work with “Stevenson, Robert Louis, 1850-1894,” connecting these edition facts with the source record’s subject description.
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“This is no my ain house; I ken by the biggin’ o’t.”
Two recent books {1} one by Mr. Grant White on England, one on France by the diabolically clever Mr. Hillebrand, may well have set people thinking on the divisions of races and nations. Such thoughts should arise with particular congruity and force to inhabitants of that United Kingdom, peopled from so many different stocks, babbling so many different dialects, and offering in its extent such singular contrasts, from the busiest over-population to the unkindliest desert, from the Black Country to the Moor of Rannoch. It is not only when we cross the seas that we go abroad; there are foreign parts of England; and the race that has conquered so wide an empire has not yet managed to assimilate the islands whence she sprang. Ireland, Wales, and the Scottish mountains still cling, in part, to their old Gaelic speech. It was but the other day that English triumphed in Cornwall, and they still show in Mousehole, on St. Michael’s Bay, the house of the last Cornish-speaking woman. English itself, which will now frank the traveller through the most of North America, through the greater South Sea Islands, in India, along much of the coast of Africa, and in the ports of China and Japan, is still to be heard, in its home country, in half a hundred varying stages of transition. You may go all over the States, and—setting aside the actual intrusion and influence of foreigners, negro, French, or Chinese—you shall scarce meet with so marked a difference of accent as in the forty miles between Edinburgh and Glasgow, or of dialect as in the hundred miles between Edinburgh and Aberdeen. Book English has gone round the world, but at home we still preserve the racy idioms of our fathers, and every county, in some parts every dale, has its own quality of speech, vocal or verbal. In like manner, local custom and prejudice, even local religion and local law, linger on into the latter end of the nineteenth century—_imperia in imperio_, foreign things at home.
In spite of these promptings to reflection, ignorance of his neighbours is the character of the typical John Bull. His is a domineering nature, steady in fight, imperious to command, but neither curious nor quick about the life of others. In French colonies, and still more in the Dutch, I have read that there is an immediate and lively contact between the dominant and the dominated race, that a certain sympathy is begotten, or at the least a transfusion of prejudices, making life easier for both. But the Englishman sits apart, bursting with pride and ignorance. He figures among his vassals in the hour of peace with the same disdainful air that led him on to victory. A passing enthusiasm for some foreign art or fashion may deceive the world, it cannot impose upon his intimates. He may be amused by a foreigner as by a monkey, but he will never condescend to study him with any patience. Miss Bird, an authoress with whom I profess myself in love, declares all the viands of Japan to be uneatable—a staggering pretension. So, when the Prince of Wales’s marriage was celebrated at Mentone by a dinner to the Mentonese, it was proposed to give them solid English fare—roast beef and plum pudding, and no tomfoolery. Here we have either pole of the Britannic folly. We will not eat the food of any foreigner; nor, when we have the chance, will we suffer him to eat of it himself. The same spirit inspired Miss Bird’s American missionaries, who had come thousands of miles to change the faith of Japan, and openly professed their ignorance of the religions they were trying to supplant.
Stevenson opens Memories and Portraits with a note that the volume should be read through from beginning to end, because a “certain thread of meaning binds them.” He describes the essays as building up a face “that I have loved long since and lost awhile”—the face of his former self. This autobiographical design, he claims, came by accident, led by the charm of beloved memories and regret for the irrevocable dead. The reader is thus warned that these are not random papers but a deliberate, if unplanned, excavation of identity.
The Foreigner at Home
In the first chapter, Stevenson reflects on the internal divisions of the United Kingdom, noting that “there are foreign parts of England” and that the race which conquered a wide empire has not assimilated its own islands. He points to Ireland, Wales, and the Scottish mountains as regions still clinging to their old Gaelic speech and customs. This observation sets up a recurring tension in the collection: the sense of being a stranger within one’s own country. Stevenson’s own position as a Scot writing for English periodicals gives this theme a personal edge. He is both insider and outsider, a native of a “foreign part” who must translate his experience for a broader audience. The essay thus becomes a meditation on the difficulty of representing a place that is itself multiple, divided, and resistant to easy summary.
Talkers and Their Tempers
Stevenson’s portraits of talkers—Burly, Cockshot, and others—are among the most vivid in the collection. He describes Burly as having “a great presence” that could be felt in a room entered blindfold, and notes his boisterous, piratic manner of talk, which nevertheless conceals a conciliatory and receptive mind. Cockshot, by contrast, is dry, brisk, and pertinacious, possessed by a “demoniac energy” that welds ideas like an athlete bending a horseshoe. Stevenson confesses his own preference for loud, copious, intolerant talkers, because “if we love talking at all, we love a bright, fierce adversary.” These sketches are not mere character studies; they are also a theory of conversation as a kind of combat that yields intimacy. The talkers become a lens through which Stevenson examines the pleasures and perils of intellectual exchange, and the way personality shapes argument.
The Architecture of Memory
Stevenson’s method in Memories and Portraits is architectural: he builds a self out of discrete blocks—childhood scenes, college memories, portraits of his father and grandfather, a gardener, a manse, an islet. The note warns that the face of the author’s younger self appears “by a kind of magic” in the well of recollection, surprising even the writer. This suggests a deliberate craft: the essays are arranged to produce an effect of spontaneous emergence. Stevenson is aware that memory is not a simple retrieval but a construction, and he treats his own past with the same analytical attention he gives to a novel by Dumas or a theory of romance. The result is a book that is at once personal and impersonal, intimate and essayistic, where the self is both subject and object of inquiry.
Readers will find that the essays reward the sequential reading Stevenson recommends. The thread of meaning is not always obvious, but it becomes visible in the accumulation of detail: the recurring motifs of foreignness, talk, and the passage of time. Pay attention to the way Stevenson uses contrast—between Scotland and England, between talkers, between past and present—to shape his material. The book is less a memoir than a mosaic, and its coherence lies in the pattern of its pieces.
There are books that feel like a lantern left on in a back room, warm and steady. Stevenson’s fragments reminded me of that quiet ache. What to Do? Thoughts Evoked By The Census of Moscow — Reading Companion carries a similar weight, asking what we owe each other in the face of stark need, and the asking itself lingers softly.
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