And the point is that neither need be wrong. We shall always shock each other both in life and art; we cannot get the sun into our pictures, nor the abstract right (if there be such a thing) into our books; enough if, in the one, there glimmer some hint of the great light that blinds us from heaven; enough if, in the other, there shine, even upon foul details, a spirit of magnanimity. I would scarce send to the VICOMTE a reader who was in quest of what we may call puritan morality. The ventripotent mulatto, the great cater, worker, earner and waster, the man of much and witty laughter, the man of the great heart and alas! of the doubtful honesty, is a figure not yet clearly set before the world; he still awaits a sober and yet genial portrait; but with whatever art that may be touched, and whatever indulgence, it will not be the portrait of a precision. Dumas was certainly not thinking of himself, but of Planchet, when he put into the mouth of d'Artagnan's old servant this excellent profession: "MONSIEUR, J'ETAIS UNE DE CES BONNES PATES D'HOMMES QUE DIEU A FAIT POUR S'ANIMER PENDANT UN CERTAIN TEMPS ET POUR TROUVER BONNES TOUTES CHOSES QUI ACCOMPAGNENT LEUR SEJOUR SUR LA TERRE." He was thinking, as I say, of Planchet, to whom the words are aptly fitted; but they were fitted also to Planchet's creator; and perhaps this struck him as he wrote, for observe what follows: "D'ARTAGNAN S'ASSIT ALORS PRES DE LA FENETRE, ET, CETTE PHILOSOPHIE DE PLANCHET LUI AYANT PARU SOLIDE, IL Y REVA." In a man who finds all things good, you will scarce expect much zeal for negative virtues: the active alone will have a charm for him; abstinence, however wise, however kind, will always seem to such a judge entirely mean and partly impious. So with Dumas. Chastity is not near his heart; nor yet, to his own sore cost, that virtue of frugality which is the armour of the artist. Now, in the VICOMTE, he had much to do with the contest of Fouquet and Colbert. Historic justice should be all upon the side of Colbert, of official honesty, and fiscal competence.

And Dumas knew it well: three times at least he shows his knowledge; once it is but flashed upon us and received with the laughter of Fouquet himself, in the jesting controversy in the gardens of Saint Mande; once it is touched on by Aramis in the forest of Senart; in the end, it is set before us clearly in one dignified speech of the triumphant Colbert. But in Fouquet, the waster, the lover of good cheer and wit and art, the swift transactor of much business, "L'HOMME DE BRUIT, L'HOMME DE PLAISIR, L'HOMME QUI N'EST QUE PARCEQUE LES AUTRES SONT," Dumas saw something of himself and drew the figure the more tenderly. It is to me even touching to see how he insists on Fouquet's honour; not seeing, you might think, that unflawed honour is impossible to spendthrifts; but rather, perhaps, in the light of his own life, seeing it too well, and clinging the more to what was left. Honour can survive a wound; it can live and thrive without a member. The man rebounds from his disgrace; he begins fresh foundations on the ruins of the old; and when his sword is broken, he will do valiantly with his dagger. So it is with Fouquet in the book; so it was with Dumas on the battlefield of life.

To cling to what is left of any damaged quality is virtue in the man; but perhaps to sing its praises is scarcely to be called morality in the writer. And it is elsewhere, it is in the character of d'Artagnan, that we must look for that spirit of morality, which is one of the chief merits of the book, makes one of the main joys of its perusal, and sets it high above more popular rivals. Athos, with the coming of years, has declined too much into the preacher, and the preacher of a sapless creed; but d'Artagnan has mellowed into a man so witty, rough, kind and upright, that he takes the heart by storm. There is nothing of the copy-book about his virtues, nothing of the drawing-room in his fine, natural civility; he will sail near the wind; he is no district visitor - no Wesley or Robespierre; his conscience is void of all refinement whether for good or evil; but the whole man rings true like a good sovereign.

Memories and Portraits Page 58

Robert Louis Stevenson

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