Robert Louis Stevenson and autumn

??????????????????????????????? There is something quite enchanting about seasons; for the changes endowed upon much of the earth are as if nature was staging a new theater production. And if you are not careful, if you are quite busy going about your business, as most industrious people do, we are apt to find ourselves missing the show. Because the world is a sphere, those of us who are presently ensconced in autumn live in the hemisphere which is now trounced by falling leaves.

Here the world is noiselessly changing; for those who walk and kick up leaves, and those who admire the landscapes, in our little part of the universe, (and I say little for we take up just a tiny bit of room) the leaves must have drunk up all the yellow, and orange, and brown … for being quite greedy, it stands to reason that surely they have grown too lazy and hang slothfully upon the trees rusting, and then with very little effort, with the slightest push from a breeze, drop off and flutter idly to the ground.

In autumn there is a thinning, the days have shortened and perhaps because the temperatures have fallen, evening comes upon us earlier with its blanket of darkness and covers the day like a warm friend…

No wonder we refer to autumn as fall, the time when the earth seems to be slowly curling, drying, chilling, it is falling into a state of sleep. And right before our eyes it is vanishing into thin air…

Robert-louis-stevenson Today I bring back to you the ever popular esteemed thinker: Robert Louis Stevenson (1850-1894) Our Scottish author has entertained readers of all ages with his classic novels; Kidnapped, Treasure Island, and even Dr. Jekyll and Mr. Hyde. Although Stevenson was ill much of his life, he was a prolific writer of poetry, fiction, and non-fiction. His beautifully crafted essays expose his keen understanding of human nature.

I invite you to steal a moment away from your day with a portion trimmed from his 1875 essay titled An Autumn Effect. Join Mr. Stevenson on an autumn walk as he shares with us his thoughts. And if you live in the hemisphere where we are now engaged in this season called fall, perhaps you too will reminisce with the same observations, only with an eye that is more than a century of years later.

“… It was well, perhaps, that I had this first enthusiasm to encourage me up the long hill above High Wycombe; for the day was a bad day for walking at best, and now began to draw towards afternoon, dull, heavy, and lifeless. A pall of grey cloud covered the sky, and its colour reacted on the colour of the landscape. Near at hand, indeed, the hedgerow trees were still fairly green, shot through with bright autumnal yellows, bright as sunshine. But a little way off, the solid bricks of woodland that lay squarely on slope and hill-top were not green, but russet and grey, and ever less russet and more grey as they drew off into the distance. As they drew off into the distance, also, the woods seemed to mass themselves together, and lie thin and straight, like clouds, upon the limit of one’s view. Not that this massing was complete, or gave the idea of any extent of forest, for every here and there the trees would break up and go down into a valley in open order, or stand in long Indian file along the horizon, tree after tree relieved, foolishly enough, against the sky. I say foolishly enough, although I have seen the effect employed cleverly in art, and such long line of single trees thrown out against the customary sunset of a Japanese picture with a certain fantastic effect that was not to be despised; but this was over water and level land, where it did not jar, as here, with the soft contour of hills and valleys. The whole scene had an indefinable look of being painted, the colour was so abstract and correct, and there was something so sketchy and merely impressional about these distant single trees on the horizon that one was forced to think of it all as of a clever French landscape. For it is rather in nature that we see resemblance to art, than in art to nature; and we say a hundred times, ‘How like a picture!’ for once that we say, ‘How like the truth!’ The forms in which we learn to think of landscape are forms that we have got from painted canvas. Any man can see and understand a picture; it is reserved for the few to separate anything out of the confusion of nature, and see that distinctly and with intelligence…”

Esteemed thinker: Robert Louis Stevenson

wolf It is a difficult task being a reader today, not because there is not enough to read, but rather there is too much. Unlike those who lived in a time where all published material was executed by a printer, who had the laborious job of setting out one block letter at a time and manually turning a press that would emboss the ink to the paper… words today fly off the screen and are dumped into the ethereal airspace… so many pieces of writing that it would be presumptuous to believe we could count them all. Henceforth, we the reader has to decipher and manage this material like panning with a sieve to separate sand from gold nuggets, what we believe to be fact from fiction … and by following this procedure, as I stated before, it can only be sorted as a most cumbersome and challenging act.

And just like those professions who we trust to be sincere and honorable, so do we often believe is true for the author…yet naively often we wander into their passages and articles…like Little Red Riding Hood in the forest… just perhaps we need to be more wary of the wolf.

Robert Louis Stevenson Today’s blog brings to you the esteemed thinker: Robert Louis Stevenson (1850-1894), Scottish poet, novelist, and essayist. Born in Edinburgh, Scotland, he became one of the most celebrated authors, having penned such great works as Treasure Island, Kidnapped, and Dr. Jekyll and Mr. Hyde. He was a most prolific and notable writer; giving us pause to wonder what are the elements that fuels such literary grandness that were achieved by our acclaimed Mr. Stevenson; for once you become engrossed in his work it is hard not to concur that he demonstrates classical distinction.

So, I bid you to set aside a moment to read from his essay: “The Morality of the Profession of Letters” and then you will understand a bit of his thinking… discovering the constitutional make-up of a great writer.

“….Man is imperfect; yet, in his literature, he must express himself and his own views and preferences; for to do anything else is to do a far more perilous thing than to risk being immoral: it is to be sure of being untrue. To ape a sentiment, even a good one, is to travesty a sentiment; that will not be helpful. To conceal a sentiment, if you are sure you hold it, is to take a liberty with truth. There is probably no point of view possible to a sane man but contains some truth and, in the true connection, might be profitable to the race. I am not afraid of the truth, if any one could tell it me, but I am afraid of parts of it impertinently uttered. There is a time to dance and a time to mourn; to be harsh as well as to be sentimental; to be ascetic as well as to glorify the appetites; and if a man were to combine all these extremes into his work, each in its place and proportion, that work would be the world’s masterpiece of morality as well as of art. Partiality is immorality; for any book is wrong that gives a misleading picture of the world and life. The trouble is that the weakling must be partial; the work of one proving dank and depressing; of another, cheap and vulgar; of a third, epileptically sensual; of a fourth, sourly ascetic. In literature as in conduct, you can never hope to do exactly right. All you can do is to make as sure as possible; and for that there is but one rule. Nothing should be done in a hurry that can be done slowly. It is no use to write a book and put it by for nine or even ninety years; for in the writing you will have partly convinced yourself; the delay must precede any beginning; and if you meditate a work of art, you should first long roll the subject under the tongue to make sure you like the flavour, before you brew a volume that shall taste of it from end to end; or if you propose to enter on the field of controversy, you should first have thought upon the question under all conditions, in health as well as in sickness, in sorrow as well as in joy. It is this nearness of examination necessary for any true and kind writing, that makes the practice of the art a prolonged and noble education for the writer…”