Virginibus Puerisque, and Other Papers. Роберт Стивенсон

of growing pleasure and embarrassment, they can read the expression of their own trouble in each other’s eyes. There is here no declaration properly so called; the feeling is so plainly shared, that as soon as the man knows what it is in his own heart, he is sure of what it is in the woman’s.

      This simple accident of falling in love is as beneficial as it is astonishing. It arrests the petrifying influence of years, disproves cold-blooded and cynical conclusions, and awakens dormant sensibilities. Hitherto the man had found it a good policy to disbelieve the existence of any enjoyment which was out of his reach; and thus he turned his back upon the strong sunny parts of nature, and accustomed himself to look exclusively on what was common and dull. He accepted a prose ideal, let himself go blind of many sympathies by disuse; and if he were young and witty, or beautiful, wilfully forewent these advantages. He joined himself to the following of what, in the old mythology of love, was prettily called nonchaloir; and in an odd mixture of feelings, a fling of self-respect, a preference for selfish liberty, and a great dash of that fear with which honest people regard serious interests, kept himself back from the straightforward course of life among certain selected activities. And now, all of a sudden, he is unhorsed, like St. Paul, from his infidel affectation. His heart, which has been ticking accurate seconds for the last year, gives a bound and begins to beat high and irregularly in his breast. It seems as if he had never heard or felt or seen until that moment; and by the report of his memory, he must have lived his past life between sleep and waking, or with the preoccupied attention of a brown study. He is practically incommoded by the generosity of his feelings, smiles much when he is alone, and develops a habit of looking rather blankly upon the moon and stars. But it is not at all within the province of a prose essayist to give a picture of this hyperbolical frame of mind; and the thing has been done already, and that to admiration. In Adelaide, in Tennyson’s Maud, and in some of Heine’s songs, you get the absolute expression of this midsummer spirit. Romeo and Juliet were very much in love; although they tell me some German critics are of a different opinion, probably the same who would have us think Mercutio a dull fellow. Poor Antony was in love, and no mistake. That lay figure Marius, in Les Misérables, is also a genuine case in his own way, and worth observation. A good many of George Sand’s people are thoroughly in love; and so are a good many of George Meredith’s. Altogether, there is plenty to read on the subject. If the root of the matter be in him, and if he has the requisite chords to set in vibration, a young man may occasionally enter, with the key of art, into that land of Beulah which is upon the borders of Heaven and within sight of the City of Love. There let him sit awhile to hatch delightful hopes and perilous illusions.

      One thing that accompanies the passion in its first blush is certainly difficult to explain. It comes (I do not quite see how) that from having a very supreme sense of pleasure in all parts of life – in lying down to sleep, in waking, in motion, in breathing, in continuing to be – the lover begins to regard his happiness as beneficial for the rest of the world and highly meritorious in himself. Our race has never been able contentedly to suppose that the noise of its wars, conducted by a few young gentlemen in a corner of an inconsiderable star, does not re-echo among the courts of Heaven with quite a formidable effect. In much the same taste, when people find a great to-do in their own breasts, they imagine it must have some influence in their neighbourhood. The presence of the two lovers is so enchanting to each other that it seems as if it must be the best thing possible for everybody else. They are half inclined to fancy it is because of them and their love that the sky is blue and the sun shines. And certainly the weather is usually fine while people are courting.. In point of fact, although the happy man feels very kindly towards others of his own sex, there is apt to be something too much of the magnifico in his demeanour. If people grow presuming and self-important over such matters as a dukedom or the Holy See, they will scarcely support the dizziest elevation in life without some suspicion of a strut; and the dizziest elevation is to love and be loved in return. Consequently, accepted lovers are a trifle condescending in their address to other men. An overweening sense of the passion and importance of life hardly conduces to simplicity of manner. To women, they feel very nobly, very purely, and very generously, as if they were so many Joan-of-Arc’s; but this does not come out in their behaviour; and they treat them to Grandisonian airs marked with a suspicion of fatuity. I am not quite certain that women do not like this sort of thing; but really, after having bemused myself over Daniel Deronda, I have given up trying to understand what they like.

      If it did nothing else, this sublime and ridiculous superstition, that the pleasure of the pair is somehow blessed to others, and everybody is made happier in their happiness, would serve at least to keep love generous and great-hearted. Nor is it quite a baseless superstition after all. Other lovers are hugely interested. They strike the nicest balance between pity and approval, when they see people aping the greatness of their own sentiments. It is an understood thing in the play, that while the young gentlefolk are courting on the terrace, a rough flirtation is being carried on, and a light, trivial sort of love is growing up, between the footman and the singing chambermaid. As people are generally cast for the leading parts in their own imaginations, the reader can apply the parallel to real life without much chance of going wrong. In short, they are quite sure this other love-affair is not so deep seated as their own, but they like dearly to see it going forward. And love, considered as a spectacle, must have attractions for many who are not of the confraternity. The sentimental old maid is a commonplace of the novelists; and he must be rather a poor sort of human being, to be sure, who can look on at this pretty madness without indulgence and sympathy. For nature commends itself to people with a most insinuating art; the busiest is now and again arrested by a great sunset; and you may be as pacific or as cold-blooded as you will, but you cannot help some emotion when you read of well-disputed battles, or meet a pair of lovers in the lane.

      Certainly, whatever it may be with regard to the world at large, this idea of beneficent pleasure is true as between the sweethearts. To do good and communicate is the lover’s grand intention. It is the happiness of the other that makes his own most intense gratification. It is not possible to disentangle the different emotions, the pride, humility, pity and passion, which are excited by a look of happy love or an unexpected caress. To make one’s self beautiful, to dress the hair, to excel in talk, to do anything and all things that puff out the character and attributes and make them imposing in the eyes of others, is not only to magnify one’s self, but to offer the most delicate homage at the same time. And it is in this latter intention that they are done by lovers; for the essence of love is kindness; and indeed it may be best defined as passionate kindness: kindness, so to speak, run mad and become importunate and violent. Vanity in a merely personal sense exists no longer. The lover takes a perilous pleasure in privately displaying his weak points and having them, one after another, accepted and condoned. He wishes to be assured that he is not loved for this or that good quality, but for himself, or something as like himself as he can contrive to set forward. For, although it may have been a very difficult thing to paint the marriage of Cana, or write the fourth act of Antony and Cleopatra, there is a more difficult piece of art before every one in this world who cares to set about explaining his own character to others. Words and acts are easily wrenched from their true significance; and they are all the language we have to come and go upon. A pitiful job we make of it, as a rule. For better or worse, people mistake our meaning and take our emotions at a wrong valuation. And generally we rest pretty content with our failures; we are content to be misapprehended by cackling flirts; but when once a man is moonstruck with this affection of love, he makes it a point of honour to clear such dubieties away. He cannot have the Best of her Sex misled upon a point of this importance; and his pride revolts at being loved in a mistake.

      He discovers a great reluctance to return on former periods of his life. To all that has not been shared with her, rights and duties, bygone fortunes and dispositions, he can look back only by a difficult and repugnant effort of the will. That he should have wasted some years in ignorance of what alone was really important, that he may have entertained the thought of other women with any show of complacency, is a burthen almost too heavy for his self-respect. But it is the thought of another past that rankles in his spirit like a poisoned wound. That he himself made a fashion of being alive in the bald, beggarly days before a certain meeting, is deplorable enough in all good conscience. But that She should have permitted herself the same liberty seems inconsistent with a Divine providence.

      A great many people run