CHAPTER XV. A GOSSIP ON ROMANCE

the strict sense, an artist at all. To him, as to the child, the romance
which he contemplated sufficed for its own delight; words were but an
instrument to call it up; if the words were true enough to bring him
face to face with what he knew and saw, he cared not if they were inept,
nor did he pause to seek the happiest phraseology. And hence it is
that, while there are pages in his novels compared with which much of
Homer and Shakespeare is spiritless and cold; while the scene at the
spring in GUY MANNERING, and the nocturnal advent of Meg Merrilies
upon the scene, are, for my own taste, worth all CLARISSA from end to
end; yet the true buttonholing quality of the great artist is not there. The
inspired passages are but patches – precious and memorable, indeed,
beyond the price of rubies, but still patches – upon a texture of
insufficient literary art. Defoe and Richardson, aiming lower, have built
whole books in a fit key of language; but on Defoe’s highest level of
excitement, and throughout the length of Clarissa’s dying meditations, it
is plain their method would have been impossible. That method, indeed,
like Scott’s own, consisted in getting closer and closer to the facts; even
had the subject fitted, words so studied and so just, as theirs were, must
have bottled up the volatile essence and fixed the scene in one form for
ever. Whereas, the romantic scene must change with every mood of
mind; and to read Defoe or Richardson is to read for ever the same
ingots of thought, but to study Scott – as you might study Shakespeare
– is to confront Proteus in the middle of his transformations.

The sum of a thousand interests and sought-after incidents, “A Gossip on Romance” by Stevenson explores the essence of romantic literature, its appeal, and its necessity within the spectrum of literary arts. Stevenson posits that the true enjoyment of reading unfolds when the experience is so immersive and vivid that it intercepts our ability to engage with reality, instigating a dance of kaleidoscopic images in our minds. He recalls the simple, yet potent pleasures of childhood reading adventures, where the content was less consequential than the thrill of imagining.

Stevenson delineates between the realms of eloquence, character, and thought against the brute excitement of the incident. His preference leans toward encounters that are rich with drama and suspense—qualities that, to him, epitomize the essence of engaging narrative. Further, he argues for the intrinsic human penchant for stories that evoke a desire for adventure or romance, revealing how early literary pleasures shape our subsequent narrative preferences.

Stevenson further broadens his analysis by distinguishing between active and passive pleasures derived from literature, emphasizing that the most enduring tales are those that resonate on a personal level, allowing readers to transpose themselves into the narrative. This immersion is the highest achievement of the romantic story, where the authenticity of the experience, rather than analytical or moral scrutiny, becomes paramount.

In the nuances of narrative and incident, Stevenson explores how certain tales and characters become deeply engraved in collective memory, far surpassing stories that, while intellectually or morally superior, lack the elemental spark of adventure or relatability. He exemplifies this through tales like “Robinson Crusoe,” with its memorable incidents that infinitely enchant the imagination, in stark contrast to character-driven narratives that might not captivate in the same manner.

Ultimately, Stevenson champions the significance of romantic literature not for its instructional value but for its power to captivate and transport. He argues that the essence of romance lies not just in grandiose adventures or dramatic occurrences but in the ability to transform the mundane into something thrilling and memorable. Through engaging storytelling, a narrative can invoke a profound sense of wonder, adventure, and connection, thus fulfilling the innate human craving for stories that resonate with personal aspirations and dreams.