Kirstie had many causes of distress. More and more as we grow old—and yet more and more as we grow old and are women, frozen by the fear of age—we come to rely on the voice as the single outlet of the soul. Only thus, in the curtailment of our means, can we relieve the straitened cry of the passion within us; only thus, in the bitter and sensitive shyness of advancing years, can we maintain relations with those vivacious figures of the young that still show before us and tend daily to become no more than the moving wall-paper of life. Talk is the last link, the last relation. But with the end of the conversation, when the voice stops and the bright face of the listener is turned away, solitude falls again on the bruised heart. Kirstie had lost her “cannie hour at e’en”; she could no more wander with Archie, a ghost if you will, but a happy ghost, in fields Elysian. And to her it was as if the whole world had fallen silent; to him, but an unremarkable change of amusements. And she raged to know it. The effervescency of her passionate and irritable nature rose within her at times to bursting point.
This is the price paid by age for unseasonable ardours of feeling. It must have been so for Kirstie at any time when the occasion chanced; but it so fell out that she was deprived of this delight in the hour when she had most need of it, when she had most to say, most to ask, and when she trembled to recognise her sovereignty not merely in abeyance but annulled. For, with the clairvoyance of a genuine love, she had pierced the mystery that had so long embarrassed Frank. She was conscious, even before it was carried out, even on that Sunday night when it began, of an invasion of her rights; and a voice told her the invader’s name. Since then, by arts, by accident, by small things observed, and by the general drift of Archie’s humour, she had passed beyond all possibility of doubt. With a sense of justice that Lord Hermiston might have envied, she had that day in church considered and admitted the attractions of the younger Kirstie; and with the profound humanity and sentimentality of her nature, she had recognised the coming of fate. Not thus would she have chosen. She had seen, in imagination, Archie wedded to some tall, powerful, and rosy heroine of the golden locks, made in her own image, for whom she would have strewed the bride-bed with delight; and now she could have wept to see the ambition falsified. But the gods had pronounced, and her doom was otherwise.
She lay tossing in bed that night, besieged with feverish thoughts. There were dangerous matters pending, a battle was toward, over the fate of which she hung in jealousy, sympathy, fear, and alternate loyalty and disloyalty to either side. Now she was reincarnated in her niece, and now in Archie. Now she saw, through the girl’s eyes, the youth on his knees to her, heard his persuasive instances with a deadly weakness, and received his overmastering caresses. Anon, with a revulsion, her temper raged to see such utmost favours of fortune and love squandered on a brat of a girl, one of her own house, using her own name—a deadly ingredient—and that “didna ken her ain mind an’ was as black’s your hat.” Now she trembled lest her deity should plead in vain, loving the idea of success for him like a triumph of nature; anon, with returning loyalty to her own family and sex, she trembled for Kirstie and the credit of the Elliotts. And again she had a vision of herself, the day over for her old-world tales and local gossip, bidding farewell to her last link with life and brightness and love; and behind and beyond, she saw but the blank butt-end where she must crawl to die. Had she then come to the lees? she, so great, so beautiful, with a heart as fresh as a girl’s and strong as womanhood? It could not be, and yet it was so; and for a moment her bed was horrible to her as the sides of the grave. And she looked forward over a waste of hours, and saw herself go on to rage, and tremble, and be softened, and rage again, until the day came and the labours of the day must be renewed.
Suddenly she heard feet on the stairs—his feet, and soon after the sound of a window-sash flung open. She sat up with her heart beating. He had gone to his room alone, and he had not gone to bed. She might again have one of her night cracks; and at the entrancing prospect, a change came over her mind; with the approach of this hope of pleasure, all the baser metal became immediately obliterated from her thoughts. She rose, all woman, and all the best of woman, tender, pitiful, hating the wrong, loyal to her own sex—and all the weakest of that dear miscellany, nourishing, cherishing next her soft heart, voicelessly flattering, hopes that she would have died sooner than have acknowledged. She tore off her nightcap, and her hair fell about her shoulders in profusion. Undying coquetry awoke. By the faint light of her nocturnal rush, she stood before the looking-glass, carried her shapely arms above her head, and gathered up the treasures of her tresses. She was never backward to admire herself; that kind of modesty was a stranger to her nature; and she paused, struck with a pleased wonder at the sight. “Ye daft auld wife!” she said, answering a thought that was not; and she blushed with the innocent consciousness of a child. Hastily she did up the massive and shining coils, hastily donned a wrapper, and with the rushlight in her hand, stole into the hall. Below stairs she heard the clock ticking the deliberate seconds, and Frank jingling with the decanters in the dining-room. Aversion rose in her, bitter and momentary. “Nesty, tippling puggy!” she thought; and the next moment she had knocked guardedly at Archie’s door and was bidden enter.
Archie had been looking out into the ancient blackness, pierced here and there with a rayless star; taking the sweet air of the moors and the night into his bosom deeply; seeking, perhaps finding, peace after the manner of the unhappy. He turned round as she came in, and showed her a pale face against the window-frame.
“Is that you, Kirstie?” he asked. “Come in!”
“It’s unco late, my dear,” said Kirstie, affecting unwillingness.
“No, no,” he answered, “not at all. Come in, if you want a crack. I am not sleepy, God knows!”
She advanced, took a chair by the toilet table and the candle, and set the rushlight at her foot. Something—it might be in the comparative disorder of her dress, it might be the emotion that now welled in her bosom—had touched her with a wand of transformation, and she seemed young with the youth of goddesses.
“Mr. Erchie,” she began, “what’s this that’s come to ye?”
“I am not aware of anything that has come,” said Archie, and blushed, and repented bitterly that he had let her in.
“O, my dear, that’ll no dae!” said Kirstie. “It’s ill to blend the eyes of love. O, Mr. Erchie, tak a thocht ere it’s ower late. Ye shouldna be impatient o’ the braws o’ life, they’ll a’ come in their saison, like the sun and the rain. Ye’re young yet; ye’ve mony cantie years afore ye. See and dinna wreck yersel’ at the outset like sae mony ithers! Hae patience—they telled me aye that was the owercome o’ life—hae patience, there’s a braw day coming yet. Gude kens it never cam to me; and here I am, wi’ nayther man nor bairn to ca’ my ain, wearying a’ folks wi’ my ill tongue, and you just the first, Mr. Erchie!”
“I have a difficulty in knowing what you mean,” said Archie.
“Weel, and I’ll tell ye,” she said. “It’s just this, that I’m feared. I’m feared for ye, my dear. Remember, your faither is a hard man, reaping where he hasna sowed and gaithering where he hasna strawed. It’s easy speakin’, but mind! Ye’ll have to look in the gurly face o’m, where it’s ill to look, and vain to look for mercy. Ye mind me o’ a bonny ship pitten oot into the black and gowsty seas—ye’re a’ safe still, sittin’ quait and crackin’ wi’ Kirstie in your lown chalmer; but whaur will ye be the morn, and in whatten horror o’ the fearsome tempest, cryin’ on the hills to cover ye?”
“Why, Kirstie, you’re very enigmatical to-night—and very eloquent,” Archie put in.
“And, my dear Mr. Erchie,” she continued, with a change of voice, “ye mauna think that I canna sympathise wi’ ye. Ye mauna think that I havena been young mysel’. Lang syne, when I was a bit lassie, no twenty yet—” She paused and sighed. “Clean and caller, wi’ a fit like the hinney bee,” she continned. “I was aye big and buirdly, ye maun understand; a bonny figure o’ a woman, though I say it that suldna—built to rear bairns—braw bairns they suld hae been, and grand I would hae likit it! But I was young, dear, wi’ the bonny glint o’ youth in my e’en, and little I dreamed I’d ever be tellin’ ye this, an auld, lanely, rudas wife! Weel, Mr. Erchie, there was a lad cam’ courtin’ me, as was but naetural. Mony had come before, and I would nane o’ them. But this yin had a tongue to wile the birds frae the lift and the bees frae the foxglove bells. Deary me, but it’s lang syne! Folk have dee’d sinsyne and been buried, and are forgotten, and bairns been born and got merrit and got bairns o’ their ain. Sinsyne woods have been plantit, and have grawn up and are bonny trees, and the joes sit in their shadow, and sinsyne auld estates have changed hands, and there have been wars and rumours of wars on the face of the earth. And here I’m still—like an auld droopit craw—lookin’ on and craikin’! But, Mr. Erchie, do ye no think that I have mind o’ it a’ still? I was dwalling then in my faither’s house; and it’s a curious thing that we were whiles trysted in the Deil’s Hags. And do ye no think that I have mind of the bonny simmer days, the lang miles o’ the bluid-red heather, the cryin’ of the whaups, and the lad and the lassie that was trysted? Do ye no think that I mind how the hilly sweetness ran about my hairt? Ay, Mr. Erchie, I ken the way o’ it—fine do I ken the way—how the grace o’ God takes them, like Paul of Tarsus, when they think it least, and drives the pair o’ them into a land which is like a dream, and the world and the folks in’t’ are nae mair than clouds to the puir lassie, and heeven nae mair than windle-straes, if she can but pleesure him! Until Tam dee’d—that was my story,” she broke off to say, “he dee’d, and I wasna at the buryin’. But while he was here, I could take care o’ mysel’. And can yon puir lassie?”
Kirstie, her eyes shining with unshed tears, stretched out her hand towards him appealingly; the bright and the dull gold of her hair flashed and smouldered in the coils behind her comely head, like the rays of an eternal youth; the pure colour had risen in her face; and Archie was abashed alike by her beauty and her story. He came towards her slowly from the window, took up her hand in his and kissed it.
“Kirstie,” he said hoarsely, “you have misjudged me sorely. I have always thought of her, I wouldna harm her for the universe, my woman!”
“Eh, lad, and that’s easy sayin’,” cried Kirstie, “but it’s nane sae easy doin’! Man, do ye no comprehend that it’s God’s wull we should be blendit and glamoured, and have nae command over our ain members at a time like that? My bairn,” she cried, still holding his hand, “think o’ the puir lass! have pity upon her, Erchie! and O, be wise for twa! Think o’ the risk she rins! I have seen ye, and what’s to prevent ithers! I saw ye once in the Hags, in my ain howl, and I was wae to see ye there—in pairt for the omen, for I think there’s a weird on the place—and in pairt for pure nakit envy and bitterness o’ hairt. It’s strange ye should forgather there tae! God! but yon puir, thrawn, auld Covenanter’s seen a heap o’ human natur since he lookit his last on the musket barrels, if he never saw nane afore,” she added, with a kind of wonder in her eyes.
“I swear by my honour I have done her no wrong,” said Archie. “I swear by my honour and the redemption of my soul that there shall none be done her. I have heard of this before. I have been foolish, Kirstie, not unkind, and, above all, not base.”
“There’s my bairn!” said Kirstie, rising. “I’ll can trust ye noo, I’ll can gang to my bed wi’ an easy hairt.” And then she saw in a flash how barren had been her triumph. Archie had promised to spare the girl, and he would keep it; but who had promised to spare Archie? What was to be the end of it? Over a maze of difficulties she glanced, and saw, at the end of every passage, the flinty countenance of Hermiston. And a kind of horror fell upon her at what she had done. She wore a tragic mask. “Erchie, the Lord peety you, dear, and peety me! I have buildit on this foundation”—laying her hand heavily on his shoulder—“and buildit hie, and pit my hairt in the buildin’ of it. If the hale hypothec were to fa’, I think, laddie, I would dee! Excuse a daft wife that loves ye, and that kenned your mither. And for His name’s sake keep yersel’ frae inordinate desires; haud your heart in baith your hands, carry it canny and laigh; dinna send it up like a hairn’s kite into the collieshangic o’ the wunds! Mind, Maister Erchie dear, that this life’s a’ disappointment, and a mouthfu’ o’ mools is the appointed end.”
“Ay, but Kirstie, my woman, you’re asking me ower much at last,” said Archie, profoundly moved, and lapsing into the broad Scots. “Ye’re asking what nae man can grant ye, what only the Lord of heaven can grant ye if He see fit. Ay! And can even He! I can promise ye what I shall do, and you can depend on that. But how I shall feel—my woman, that is long past thinking of!”
They were both standing by now opposite each other. The face of Archie wore the wretched semblance of a smile; hers was convulsed for a moment.
“Promise me ae thing,” she cried in a sharp voice. “Promise me ye’ll never do naething without telling me.”
“No, Kirstie, I canna promise ye that,” he replied. “I have promised enough, God kens!”
“May the blessing of God lift and rest upon ye dear!” she said.
“God bless ye, my old friend,” said he.
It was late in the afternoon when Archie drew near by the hill path to the Praying Weaver’s stone. The Hags were in shadow. But still, through the gate of the Slap, the sun shot a last arrow, which sped far and straight across the surface of the moss, here and there touching and shining on a tussock, and lighted at length on the gravestone and the small figure awaiting him there. The emptiness and solitude of the great moors seemed to be concentrated there, and Kirstie pointed out by that figure of sunshine for the only inhabitant. His first sight of her was thus excruciatingly sad, like a glimpse of a world from which all light, comfort, and society were on the point of vanishing. And the next moment, when she had turned her face to him and the quick smile had enlightened it, the whole face of nature smiled upon him in her smile of welcome. Archie’s slow pace was quickened; his legs hasted to her though his heart was hanging back. The girl, upon her side, drew herself together slowly and stood up, expectant; she was all languor, her face was gone white; her arms ached for him, her soul was on tip-toes. But he deceived her, pausing a few steps away, not less white than herself, and holding up his hand with a gesture of denial.
“No, Christina, not to-day,” he said. “To-day I have to talk to you seriously. Sit ye down, please, there where you were. Please!” he repeated.
The revulsion of feeling in Christina’s heart was violent. To have longed and waited these weary hours for him, rehearsing her endearments—to have seen him at last come—to have been ready there, breathless, wholly passive, his to do what he would with—and suddenly to have found herself confronted with a grey-faced, harsh schoolmaster—it was too rude a shock. She could have wept, but pride withheld her. She sat down on the stone, from which she had arisen, part with the instinct of obedience, part as though she had been thrust there. What was this? Why was she rejected? Had she ceased to please? She stood here offering her wares, and he would none of them! And yet they were all his! His to take and keep, not his to refuse though! In her quick petulant nature, a moment ago on fire with hope, thwarted love and wounded vanity wrought. The schoolmaster that there is in all men, to the despair of all girls and most women, was now completely in possession of Archie. He had passed a night of sermons, a day of reflection; he had come wound up to do his duty; and the set mouth, which in him only betrayed the effort of his will, to her seemed the expression of an averted heart. It was the same with his constrained voice and embarrassed utterance; and if so—if it was all over—the pang of the thought took away from her the power of thinking.
He stood before her some way off. “Kirstie, there’s been too much of this. We’ve seen too much of each other.” She looked up quickly and her eyes contracted. “There’s no good ever comes of these secret meetings. They’re not frank, not honest truly, and I ought to have seen it. People have begun to talk; and it’s not right of me. Do you see?”
“I see somebody will have been talking to ye,” she said sullenly.
“They have, more than one of them,” replied Archie.
“And whae were they?” she cried. “And what kind o’ love do ye ca’ that, that’s ready to gang round like a whirligig at folk talking? Do ye think they havena talked to me?”
“Have they indeed?” said Archie, with a quick breath. “That is what I feared. Who were they? Who has dared—?”
Archie was on the point of losing his temper.
As a matter of fact, not any one had talked to Christina on the matter; and she strenuously repeated her own first question in a panic of self-defence.
“Ah, well! what does it matter?” he said. “They were good folk that wished well to us, and the great affair is that there are people talking. My dear girl, we have to be wise. We must not wreck our lives at the outset. They may be long and happy yet, and we must see to it, Kirstie, like God’s rational creatures and not like fool children. There is one thing we must see to before all. You’re worth waiting for, Kirstie! worth waiting for a generation; it would be enough reward.”—And here he remembered the schoolmaster again, and very unwisely took to following wisdom. “The first thing that we must see to, is that there shall be no scandal about for my father’s sake. That would ruin all; do ye no see that?”
Kirstie was a little pleased, there had been some show of warmth of sentiment in what Archie had said last. But the dull irritation still persisted in her bosom; with the aboriginal instinct, having suffered herself, she wished to make Archie suffer.
And besides, there had come out the word she had always feared to hear from his lips, the name of his father. It is not to be supposed that, during so many days with a love avowed between them, some reference had not been made to their conjoint future. It had in fact been often touched upon, and from the first had been the sore point. Kirstie had wilfully closed the eye of thought; she would not argue even with herself; gallant, desperate little heart, she had accepted the command of that supreme attraction like the call of fate and marched blindfold on her doom. But Archie, with his masculine sense of responsibility, must reason; he must dwell on some future good, when the present good was all in all to Kirstie; he must talk—and talk lamely, as necessity drove him—of what was to be. Again and again he had touched on marriage; again and again been driven back into indistinctness by a memory of Lord Hermiston. And Kirstie had been swift to understand and quick to choke down and smother the understanding; swift to leap up in flame at a mention of that hope, which spoke volumes to her vanity and her love, that she might one day be Mrs. Weir of Hermiston; swift, also, to recognise in his stumbling or throttled utterance the death-knell of these expectations, and constant, poor girl! in her large-minded madness, to go on and to reck nothing of the future. But these unfinished references, these blinks in which his heart spoke, and his memory and reason rose up to silence it before the words were well uttered, gave her unqualifiable agony. She was raised up and dashed down again bleeding. The recurrence of the subject forced her, for however short a time, to open her eyes on what she did not wish to see; and it had invariably ended in another disappointment. So now again, at the mere wind of its coming, at the mere mention of his father’s name—who might seem indeed to have accompanied them in their whole moorland courtship, an awful figure in a wig with an ironical and bitter smile, present to guilty consciousness—she fled from it head down.
“Ye havena told me yet,” she said, “who was it spoke?”
“Your aunt for one,” said Archie.
“Auntie Kirstie?” she cried. “And what do I care for my Auntie Kirstie?”
“She cares a great deal for her niece,” replied Archie, in kind reproof.
“Troth, and it’s the first I’ve heard of it,” retorted the girl.
“The question here is not who it is, but what they say, what they have noticed,” pursued the lucid schoolmaster. “That is what we have to think of in self-defence.”
“Auntie Kirstie, indeed! A bitter, thrawn auld maid that’s fomented trouble in the country before I was born, and will be doing it still, I daur say, when I’m deid! It’s in her nature; it’s as natural for her as it’s for a sheep to eat.”
“Pardon me, Kirstie, she was not the only one,” interposed Archie. “I had two warnings, two sermons, last night, both most kind and considerate. Had you been there, I promise you you would have grat, my dear! And they opened my eyes. I saw we were going a wrong way.”
“Who was the other one?” Kirstie demanded.
By this time Archie was in the condition of a hunted beast. He had come, braced and resolute; he was to trace out a line of conduct for the pair of them in a few cold, convincing sentences; he had now been there some time, and he was still staggering round the outworks and undergoing what he felt to be a savage cross-examination.
“Mr. Frank!” she cried. “What nex’, I would like to ken?”
“He spoke most kindly and truly.”
“What like did he say?”
“I am not going to tell you; you have nothing to do with that,” cried Archie, startled to find he had admitted so much.
“O, I have naething to do with it!” she repeated, springing to her feet. “A’body at Hermiston’s free to pass their opinions upon me, but I have naething to do wi’ it! Was this at prayers like? Did ye ca’ the grieve into the consultation? Little wonder if a’body’s talking, when ye make a’body yer confidants! But as you say, Mr. Weir,—most kindly, most considerately, most truly, I’m sure,—I have naething to do with it. And I think I’ll better be going. I’ll be wishing you good evening, Mr. Weir.” And she made him a stately curtsey, shaking as she did so from head to foot, with the barren ecstasy of temper.
Poor Archie stood dumbfounded. She had moved some steps away from him before he recovered the gift of articulate speech.
“Kirstie!” he cried. “O, Kirstie woman!”
There was in his voice a ring of appeal, a clang of mere astonishment that showed the schoolmaster was vanquished.
She turned round on him. “What do ye Kirstie me for?” she retorted. “What have ye to do wi’ me! Gang to your ain freends and deave them!”
He could only repeat the appealing “Kirstie!”
“Kirstie, indeed!” cried the girl, her eyes blazing in her white face. “My name is Miss Christina Elliott, I would have ye to ken, and I daur ye to ca’ me out of it. If I canna get love, I’ll have respect, Mr. Weir. I’m come of decent people, and I’ll have respect. What have I done that ye should lightly me? What have I done? What have I done? O, what have I done?” and her voice rose upon the third repetition. “I thocht—I thocht—I thocht I was sae happy!” and the first sob broke from her like the paroxysm of some mortal sickness.
Archie ran to her. He took the poor child in his arms, and she nestled to his breast as to a mother’s, and clasped him in hands that were strong like vices. He felt her whole body shaken by the throes of distress, and had pity upon her beyond speech. Pity, and at the same time a bewildered fear of this explosive engine in his arms, whose works he did not understand, and yet had been tampering with. There arose from before him the curtains of boyhood, and he saw for the first time the ambiguous face of woman as she is. In vain he looked back over the interview; he saw not where he had offended. It seemed unprovoked, a wilful convulsion of brute nature. . . .
With the words last printed, “a wilful convulsion of brute nature,” the romance ofWeir of Hermistonbreaks off. They were dictated, I believe, on the very morning of the writer’s sudden seizure and death.Weir of Hermistonthus remains in the work of Stevenson whatEdwin Droidis in the work of Dickens orDenis Duvalin that of Thackeray: or rather it remains relatively more, for if each of those fragments holds an honourable place among its author’s writings, among Stevenson’s the fragment ofWeirholds certainly the highest.
Readers may be divided in opinion on the question whether they would or they would not wish to hear more of the intended course of the story and destinies of the characters. To some, silence may seem best, and that the mind should be left to its own conjectures as to the sequel, with the help of such indications as the text affords. I confess that this is the view which has my sympathy. But since others, and those almost certainly a majority, are anxious to be told all they can, and since editors and publishers join in the request, I can scarce do otherwise than comply. The intended argument, then, so far as it was known at the time of the writer’s death to his step-daughter and devoted amanuensis, Mrs. Strong, was nearly as follows:—
Archie persists in his good resolution of avoiding further conduct compromising to young Kirstie’s goodname. Taking advantage of the situation thus created, and of the girl’s unhappiness and wounded vanity, Frank Innes pursues his purpose of seduction; and Kirstie, though still caring for Archie in her heart, allows herself to become Frank’s victim. Old Kirstie is the first to perceive something amiss with her, and believing Archie to be the culprit, accuses him, thus making him aware for the first time that mischief has happened. He does not at once deny the charge, but seeks out and questions young Kirstie, who confesses the truth to him; and he, still loving her, promises to protect and defend her in her trouble. He then has an interview with Frank Innes on the moor, which ends in a quarrel, and in Archie killing Frank beside the Weaver’s Stone. Meanwhile the Four Black Brothers, having become aware of their sister’s betrayal, are bent on vengeance against Archie as her supposed seducer. They are about to close in upon him with this purpose when he is arrested by the officers of the law for the murder of Frank. He is tried before his own father, the Lord Justice-Clerk, found guilty, and condemned to death. Meanwhile the elder Kirstie, having discovered from the girl how matters really stand, informs her nephews of the truth; and they, in a great revulsion of feeling in Archie’s favour, determine on an action after the ancient manner of their house. They gather a following, and after a great fight break the prison where Archie lies confined, and rescue him. He and young Kirstie thereafter escape to America. But the ordeal of taking part in the trial of his own son has been too much for the Lord Justice-Clerk, who dies of the shock. “I do not know,” adds the amanuensis, “what becomes of old Kirstie, but that character grew and strengthened so in the writing that I am sure he had some dramatic destiny for her.”
The plan of every imaginative work is subject, of course, to change under the artist’s hand as he carries it out; and not merely the character of the elder Kirstie, but other elements of the design no less, might well have deviated from the lines originally traced. It seems certain, however, that the next stage in the relations of Archie and the younger Kirstie would have been as above foreshadowed; and this conception of the lover’s unconventional chivalry and unshaken devotion to his mistress after her fault is very characteristic of the writer’s mind. The vengeance to be taken on the seducer beside the Weaver’s Stone is prepared for in the first words of the Introduction; while the situation and fate of the judge, confronting like a Brutus, but unable to survive, the duty of sending his own son to the gallows, seem clearly to have been destined to furnish the climax and essential tragedy of the tale.
How this last circumstance was to have been brought about, within the limits of legal usage and possibility, seems hard to conjecture; but it was a point to which the author had evidently given careful consideration. Mrs. Strong says simply that the Lord Justice-Clerk, like an old Roman, condemns his son to death; but I am assured on the best legal authority of Scotland that no judge, however powerful either by character or office, could have insisted on presiding at the trial of a near kinsman of his own. The Lord Justice-Clerk was head of the criminal justiciary of the country; he might have insisted on his right of being present on the bench when his son was tried: but he would never have been allowed to preside or to pass sentence. Now in a letter of Stevenson’s to Mr. Baxter, of October 1892, I find him asking for materials in terms which seem to indicate that he knew this quite well:—“I wish Pitcairn’s ‘Criminal Trials,’quam primum. Also an absolutely correct textof the Scots judiciary oath. Also, in case Pitcairn does not come down late enough, I wish as full a report as possible of a Scots murder trial between 1790–1820. Understand thefullest possible. Is there any book which would guide me to the following facts? The Justice-Clerk tries some people capitally on circuit. Certain evidence cropping up, the charge is transferred to the Justice-Clerk’s own son. Of course in the next trial the Justice-Clerk is excluded, and the case is called before the Lord Justice-General. Where would this trial have to be? I fear in Edinburgh, which would not suit my view. Could it be again at the circuit town?” The point was referred to a quondam fellow-member with Stevenson of the Edinburgh Speculative Society, Mr. Graham Murray, the present Solicitor-General for Scotland; whose reply was to the effect that there would be no difficulty in making the new trial take place at the circuit town; that it would have to be held there in spring or autumn, before two Lords of Justiciary; and that the Lord Justice-General would have nothing to do with it, this title being at the date in question only a nominal one held by a layman (which is no longer the case). On this Stevenson writes, “Graham Murray’s noterethe venue was highly satisfactory, and did me all the good in the world.” The terms of his inquiry seem to imply that he intended other persons, before Archie, to have fallen first under suspicion of the murder; and also—doubtless in order to make the rescue by the Black Brothers possible—that he wanted Archie to be imprisoned not in Edinburgh but in the circuit town. But they do not show how he meant to get over the main difficulty, which at the same time he fully recognises. Can it have been that Lord Hermiston’s part was to have been limited to presiding at thefirsttrial, where the evidence incriminating Archie was unexpectedlybrought forward, and to directing that the law should take its course?
Whether the final escape and union of Archie and Christina would have proved equally essential to the plot may perhaps to some readers seem questionable. They may rather feel that a tragic destiny is foreshadowed from the beginning for all concerned, and is inherent in the very conditions of the tale. But on this point, and other matters of general criticism connected with it, I find an interesting discussion by the author himself in his correspondence. Writing to Mr. J. M. Barrie, under date November 1, 1892, and criticising that author’s famous story ofThe Little Minister, Stevenson says:—
“Your descriptions of your dealings with Lord Rintoul are frightfully unconscientious. . . . TheLittle Ministerought to have ended badly; we all know itdid, and we are infinitely grateful to you for the grace and good feeling with which you have lied about it. If you had told the truth, I for one could never have forgiven you. As you had conceived and written the earlier parts, the truth about the end, though indisputably true to fact, would have been a lie, or what is worse, a discord, in art. If you are going to make a book end badly, it must end badly from the beginning. Now, your book began to end well. You let yourself fall in love with, and fondle, and smile at your puppets. Once you had done that, your honour was committed—at the cost of truth to life you were bound to save them. It is the blot onRichard Feverelfor instance, that it begins to end well; and then tricks you and ends ill. But in this case, there is worse behind, for the ill ending does not inherently issue from the plot—the story had, in fact, ended well after the great last interview between Richard and Lucy—and the blind, illogical bullet which smashes all has no more to do between the boards than a fly has to do with a roominto whose open window it comes buzzing. It might have so happened; it needed not; and unless needs must, we have no right to pain our readers. I have had a heavy case of conscience of the same kind about my Braxfield story. Braxfield—only his name is Hermiston—has a son who is condemned to death; plainly there is a fine tempting fitness about this—and I meant he was to hang. But on considering my minor characters, I saw there were five people who would—in a sense, who must—break prison and attempt his rescue. They are capable hardy folks too, who might very well succeed. Why should they not then? Why should not young Hermiston escape clear out of the country? and be happy, if he could, with his—but soft! I will not betray my secret nor my heroine. . . .”
To pass, now, from the question how the story would have ended to the question how it originated and grew in the writer’s mind. The character of the hero, Weir of Hermiston, is avowedly suggested by the historical personality of Robert Macqueen, Lord Braxfield. This famous judge has been for generations the subject of a hundred Edinburgh tales and anecdotes. Readers of Stevenson’s essay on the Raeburn exhibition, inVirginibus Puerisque, will remember how he is fascinated by Raeburn’s portrait of Braxfield, even as Lockhart had been fascinated by a different portrait of the same worthy sixty years before (seePeter’s Letters to his Kinsfolk); nor did his interest in the character diminish in later life. Again, the case of a judge involved by the exigencies of his office in a strong conflict between public duty and private interest or affection, was one which had always attracted and exercised Stevenson’s imagination. In the days when he and Mr. Henley were collaborating with a view to the stage, Mr. Henley once proposed a plot founded on the story of Mr. Justice Harbottle in SheridanLe Fanu’sIn a Glass Darkly, in which the wicked judge goes headlongper fas et nefasto his object of getting the husband of his mistress hanged. Some time later Stevenson and his wife together wrote a play calledThe Hanging Judge. In this, the title character is tempted for the first time in his life to tamper with the course of justice, in order to shield his wife from persecution by a former husband who reappears after being supposed dead. Bulwer’s novel ofPaul Clifford, with its final situation of the worldly-minded judge, Sir William Brandon, learning that the highwayman whom he is in the act of sentencing is his own son, and dying of the knowledge, was also well known to Stevenson, and no doubt counted for something in the suggestion of the present story.
Once more, the difficulties often attending the relation of father and son in actual life had pressed heavily on Stevenson’s mind and conscience from the days of his youth, when in obeying the law of his own nature he had been constrained to disappoint, distress, and for a time to be much misunderstood by, a father whom he justly loved and admired with all his heart. Difficulties of this kind he had already handled in a lighter vein once or twice in fiction—as for instance in theStory of a Lieand inThe Wrecker—before he grappled with them in the acute and tragic phase in which they occur in the present story.
These three elements, then, the interest of the historical personality of Lord Braxfield, the problems and emotions arising from a violent conflict between duty and nature in a judge, and the difficulties due to incompatibility and misunderstanding between father and son, lie at the foundations of the present story. To touch on minor matters, it is perhaps worth notice, as Mr. Henley reminds me, that the name of Weir had from of old a specialsignificance for Stevenson’s imagination, from the traditional fame in Edinburgh of Major Weir, burned as a warlock, together with his sister, under circumstances of peculiar atrocity. Another name, that of the episodical personage of Mr. Torrance the minister, is borrowed direct from life, as indeed are the whole figure and its surroundings—kirkyard, kirk, and manse—down even to the black thread mittens: witness the following passage from a letter of the early seventies:—“I’ve been to church and am not depressed—a great step. It was at that beautiful church” [of Glencorse in the Pentlands, three miles from his father’s country house at Swanston]. “It is a little cruciform place, with a steep slate roof. The small kirkyard is full of old grave-stones; one of a Frenchman from Dunkerque, I suppose he died prisoner in the military prison hard by. And one, the most pathetic memorial I ever saw: a poor school-slate, in a wooden frame, with the inscription cut into it evidently by the father’s own hand. In church, old Mr. Torrance preached, over eighty and a relic of times forgotten, with his black thread gloves and mild old face.” A side hint for a particular trait in the character of Mrs. Weir we can trace in some family traditions concerning the writer’s own grandmother, who is reported to have valued piety much more than efficiency in her domestic servants. The other women characters seem, so far at least as I know, to have been pure creation, and especially that new and admirable incarnation of the eternal feminine in the elder Kirstie. The little that he says about her himself is in a letter written a few days before his death to Mr. Gosse. The allusions are to the various moods and attitudes of people in regard to middle age, and are suggested by Mr. Gosse’s volume of poems,In Russet and Silver. “It seems rather funny,” he writes, “that this matter should come up just now, as I am at presentengaged in treating a severe case of middle age in one of my stories,The Justice-Clerk. The case is that of a woman, and I think I am doing her justice. You will be interested, I believe, to see the difference in our treatments.Secreta Vitæ[the title of one of Mr. Gosse’s poems] comes nearer to the case of my poor Kirstie.” From the wonderful midnight scene between her and Archie, we may judge what we have lost in those later scenes where she was to have taxed him with the fault that was not his—to have presently learned his innocence from the lips of his supposed victim—to have then vindicated him to her kinsmen and fired them to the action of his rescue. The scene of the prison-breaking here planned by Stevenson would have gained interest (as will already have occurred to readers) from comparison with the two famous precedents in Scott, the Porteous mob and the breaking of Portanferry jail.
The best account of Stevenson’s methods of imaginative work is in the following sentences from a letter of his own to Mr. W. Craibe Angus of Glasgow:—“I am still ‘a slow study,’ and sit for a long while silent on my eggs. Unconscious thought, there is the only method: macerate your subject, let it boil slow, then take the lid off and look in—and there your stuff is—good or bad.” The several elements above noted having been left to work for many years in his mind, it was in the autumn of 1892 that he was moved to “take the lid off and look in,”—under the influence, it would seem, of a special and overmastering wave of that feeling for the romance of Scottish scenery and character which was at all times so strong in him, and which his exile did so much to intensify. I quote again from his letter to Mr. Barrie on November 1st in that year:—“It is a singular thing that I should live here in the South Seas under conditions so new and so striking, and yet my imagination so continually inhabit the coldold huddle of grey hills from which we come. I have finishedDavid Balfour, I have another book on the stocks,The Young Chevalier, which is to be part in France and part in Scotland, and to deal with Prince Charlie about the year 1749; and now what have I done but begun a third, which is to be all moorland together, and is to have for a centre-piece a figure that I think you will appreciate—that of the immortal Braxfield. Braxfield himself is my grand premier—or since you are so much involved in the British drama, let me say my heavy lead.” Writing to me at the same date he makes the same announcement more briefly, with a list of the characters and an indication of the scene and date of the story. To Mr. Baxter he writes a month later, “I have a novel on the stocks to be calledThe Justice-Clerk. It is pretty Scotch; the grand premier is taken from Braxfield (O, by the by, send me Cockburn’sMemorials), and some of the story is, well, queer. The heroine is seduced by one man, and finally disappears with the other man who shot him. . . . Mind you, I expectThe Justice-Clerkto be my masterpiece. My Braxfield is already a thing of beauty and a joy for ever, and so far as he has gone, far my best character.” From the last extract it appears that he had already at this date drafted some of the earlier chapters of the book. He also about the same time composed the dedication to his wife, who found it pinned to her bed-curtains one morning on awaking. It was always his habit to keep several books in progress at the same time, turning from one to another as the fancy took him, and finding relief in the change of labour; and for many months after the date of this letter, first illness,—then a voyage to Auckland,—then work on theEbb-Tide, on a new tale calledSt. Ives, which was begun during an attack of influenza, and on his projected book of family history,—prevented his making any continuous progresswithWeir. In August 1893 he says he has been recasting the beginning. A year later, still only the first four or five chapters had been drafted. Then, in the last weeks of his life, he attacked the task again, in a sudden heat of inspiration, and worked at it ardently and without interruption until the end came. No wonder if during these weeks he was sometimes aware of a tension of the spirit difficult to sustain. “How can I keep this pitch?” he is reported to have said after finishing one of the chapters; and all the world knows how that frail organism in fact betrayed him in mid effort. The greatness of the loss to his country’s letters can for the first time be fully measured from the foregoing pages.
There remains one more point to be mentioned, as to the speech and manners of the Hanging Judge himself. That these are not a whit exaggerated, in comparison with what is recorded of his historic prototype, Lord Braxfield, is certain. Thelocus classicusin regard to this personage is in Lord Cockburn’sMemorials of his Time. “Strong built and dark, with rough eyebrows, powerful eyes, threatening lips, and a low growling voice, he was like a formidable blacksmith. His accent and dialect were exaggerated Scotch; his language, like his thoughts, short, strong, and conclusive. Illiterate and without any taste for any refined enjoyment, strength of understanding, which gave him power without cultivation, only encouraged him to a more contemptuous disdain of all natures less coarse than his own. It may be doubted if he was ever so much in his element as when tauntingly repelling the last despairing claim of a wretched culprit, and sending him to Botany Bay or the gallows with an insulting jest. Yet this was not from cruelty, for which he was too strong and too jovial, but from cherished coarseness.” Readers, nevertheless, who are at all acquainted with the social history of Scotland will hardlyhave failed to make the observation that Braxfield’s is an extreme case of eighteenth-century manners, as he himself was an eighteenth-century personage (he died in 1799, in his seventy-eighth year); and that for the date in which the story is cast (1814) such manners are somewhat of an anachronism. During the generation contemporary with the French Revolution and the Napoleonic wars—or to put it another way, the generation that elapsed between the days when Scott roamed the country as a High School and University student and those when he settled in the fulness of fame and prosperity at Abbotsford,—or again (the allusions will appeal to readers of the admirable Galt) during the interval between the first and the last provostry of Bailie Pawkie in the borough of Gudetown, or between the earlier and the final ministrations of Mr. Balwhidder in the parish of Dalmailing,—during this period a great softening had taken place in Scottish manners generally, and in those of the Bar and Bench not least. “Since the death of Lord Justice-Clerk Macqueen of Braxfield,” says Lockhart, writing about 1817, “the whole exterior of judicial deportment has been quite altered.” A similar criticism may probably hold good on the picture of border life contained in the chapter concerning the Four Black Brothers of Cauldstaneslap, namely, that it rather suggests the ways of an earlier generation; nor have I any clue to the reasons which led Stevenson to choose this particular date, in the year preceding Waterloo, for a story which, in regard to some of its features at least, might seem more naturally placed some twenty-five or thirty years before.
If the reader seeks, further, to know whether the scenery of Hermiston can be identified with any one special place familiar to the writer’s early experience, the answer, I think, must be in the negative. Rather it is distilled from a number of different haunts and associations among themoorlands of southern Scotland. In the dedication and in a letter to me he indicates the Lammermuirs as the scene of his tragedy. And Mrs. Stevenson (his mother) tells me that she thinks he was inspired by recollections of a visit paid in boyhood to an uncle living at a remote farmhouse in that district called Overshiels, in the parish of Stow. But though he may have thought of the Lammermuirs in the first instance, we have already found him drawing his description of the kirk and manse from another haunt of his youth, namely, Glencorse in the Pentlands; while passages in chapters v. and viii. point explicitly to a third district, that is, Upper Tweeddale, with the country stretching thence towards the wells of Clyde. With this country also holiday rides and excursions from Peebles had made him familiar as a boy: and this seems certainly the most natural scene of the story, if only from its proximity to the proper home of the Elliotts, which of course is in the heart of the Border, especially Teviotdale and Ettrick. Some of the geographical names mentioned are clearly not meant to furnish literal indications. The Spango, for instance, is a water running, I believe, not into the Tweed but into the Nith, and Crossmichael as the name of a town is borrowed from Galloway.
But it is with the general and essential that the artist deals, and questions of strict historical perspective or local definition are beside the mark in considering his work. Nor will any reader expect, or be grateful for, comment in this place on matters which are more properly to the point—on the seizing and penetrating power of the author’s ripened art as exhibited in the foregoing pages, the wide range of character and emotion over which he sweeps with so assured a hand, his vital poetry of vision and magic of presentment. Surely no son of Scotland has died leaving with his last breath a worthier tribute to the land he loved.
S. C.
Ae, one.
Antinomian, one of a sect which holds that under the gospel dispensation the moral law is not obligatory.
Auld Hornie, the Devil.
Ballant, ballad.
Bauchles, brogues, old shoes.
Bauld, bold.
Bees in their bonnet, eccentricities.
Birling, whirling.
Black-a-vised, dark-complexioned.
Bonnet-laird, small landed proprietor, yeoman.
Bool, ball.
Brae, rising ground.
Brig, bridge.
Buff, play buff on, to make a fool of, to deceive.
Burn, stream.
Butt end, end of a cottage.
Byre, cow-house.
Ca’, drive.
Caller, fresh.
Canna, cannot.
Canny, careful, shrewd.
Cantie, cheerful.
Carline, old woman.
Cauld, cold.
Chalmer, chamber.
Claes, clothes.
Clamjamfry, crowd.
Clavers, idle talk.
Cock-laird. See Bonnet-laird.
Collieshangie, turmoil.
Crack, to converse.
Cuist, cast.
Cuddy, donkey.
Cutty, jade, also used playfully = brat.
Daft, mad, frolicsome.
Dander, to saunter.
Danders, cinders.
Daurna, dare not.
Deave, to deafen.
Denty, dainty.
Dirdum, vigour.
Disjaskit, worn out, disreputable-looking.
Doer, law agent.
Dour, hard.
Drumlie, dark.
Dunting, knocking.
Dwaibly, infirm, rickety.
Dule-tree, the tree of lamentation, the hanging-tree.
Earrand, errand.
Ettercap, vixen.
Fechting, fighting.
Feck, quantity, portion.
Feckless, feeble, powerless.
Fell, strong and fiery.
Fey, unlike yourself, strange, as if urged on by fate, or as persons are observed to be in the hour of approaching death or disaster.
Fit, foot.
Flit, to depart.
Flyped, turned up, turned in-side out.
Forbye, in addition to.
Forgather, to fall in with.
Fower, four.
Fushionless, pithless, weak.
Fyle, to soil, to defile.
Fylement, obloquy, defilement.
Gaed, Went.
Gang, to go.
Gey an’, very.
Gigot, leg of mutton.
Girzie, lit. diminutive of Grizel, here a playful nickname.
Glaur, mud.
Glint, glance, sparkle.
Gloaming, twilight.
Glower, to scowl.
Gobbets, small lumps.
Gowden, golden.
Gowsty, gusty.
Grat, wept.
Grieve, land-steward.
Guddle, to catch fish with the hands by groping under the stones or banks.
Gumption, common sense, judgment.
Guid, good.
Gurley, stormy, surly.
Gyte, beside itself.
Hae, have, take.
Haddit, held.
Hale, whole.
Heels-ower-hurdie, heels over head.
Hinney, honey.
Hirstle, to bustle.
Hizzie, wench.
Howe, hollow.
Howl, hovel.
Hunkered, crouched.
Hypothec, lit. in Scots law the furnishings of a house, and formerly the produce and stock of a farm hypothecated by law to the landlord as security for rent; colloquially “the whole structure,” “the whole concern.”
Idleset, idleness.
Infeftment, a term in Scots law originally synonymous with investiture.
Jaud, jade.
Jeely-piece, a slice of bread and jelly.
Jennipers, juniper.
Jo, sweetheart.
Justifeed, executed, made the victim of justice.
Jyle, jail
Kebbuck, cheese.
Ken, to know.
Kenspeckle, conspicuous.
Kilted, tucked up.
Kyte, belly.
Laigh, low.
Laird, landed proprietor.
Lane, alone.
Lave, rest, remainder.
Linking, tripping.
Lown, lonely, still.
Lynn, cataract.
Lyon King of Arms, the chief of the Court of Heraldry in Scotland.
Macers, offiers of the supreme court. [Cf. Guy Mannering, last chapter.]
Maun, must.
Menseful, of good manners.
Mirk, dark.
Misbegowk, deception, disappointment.
Mools, mould, earth.
Muckle, much, great, big.
My lane, by myself.
Nowt, black cattle.
Palmering, walking infirmly.
Panel, in Scots law, the accused person in a criminal action, the prisoner.
Peel, fortified watch-tower.
Plew-stilts, plough-handles.
Policy, ornamental grounds of a country mansion.
Puddock, frog.
Quean, wench.
Rair, to roar.
Riff-raff, rabble.
Risping, grating.
Rout, rowt, to roar, to rant.
Rowth, abundance.
Rudas, haggard old woman.
Runt, an old cow past breeding; opprobriously, an old woman.
Sab, sob.
Sanguishes, sandwiches.
Sasine, in Scots law, the act of giving legal possession of feudal property, or, colloquially, the deed by which that possession is proved.
Sclamber, to scramble.
Sculduddery, impropriety, grossness.
Session, the Court of Session, the supreme court of Scotland.
Shauchling, shuffling, slipshod.
Shoo, to chase gently.
Siller, money.
Sinsyne, since then.
Skailing, dispersing.
Skelp, slap.
Skirling, screaming.
Skriegh-o’day, daybreak.
Snash, abuse.
Sneisty, supercilious.
Sooth, to hum.
Sough, sound, murmur.
Spec, The Speculative Society, a debating Society connected with Edingburgh University.
Speir, to ask.
Speldering, sprawling.
Splairge, to splash.
Spunk, spirit, fire.
Steik, to shut.
Stockfish, hard, savourless.
Suger-bool, suger-plum.
Syne, since, then.
Tawpie, a slow foolish slut, also used playfully = monkey.
Telling you, a good thing for you.
Thir, these.
Thrawn, cross-grained.
Toon, town.
Two-names, local soubriquets in addition to patronymic.
Tyke, dog.
Unchancy, unlucky.
Unco, strange, extraordinary, very.
Upsitten, impertinent.
Vennel, alley, lane. The Vennel, a narrow lane in Edingburgh, running out of the Grassmarket.
Vivers, victuals.
Wae, sad, unhappy.
Waling, choosing.
Warrandise, warranty.
Waur, worse.
Weird, destiny.
Whammle, to upset.
Whaup, curlew.
Whiles, sometimes.
Windlestae, crested dog’s-tail, grass.
Wund, wind.
Yin, one.