Through the Magic Door, Arthur Conan Doyle [speed reading book .TXT] 📗

too much of it; but to be made attractive once more, the passion must be handled by some great master who has courage to break down conventionalities and to go straight to actual life for his inspiration.

 

The use of novel and piquant forms of speech is one of the most obvious of Stevenson’s devices. No man handles his adjectives with greater judgment and nicer discrimination. There is hardly a page of his work where we do not come across words and expressions which strike us with a pleasant sense of novelty, and yet express the meaning with admirable conciseness. “His eyes came coasting round to me.” It is dangerous to begin quoting, as the examples are interminable, and each suggests another. Now and then he misses his mark, but it is very seldom. As an example, an “eye-shot” does not commend itself as a substitute for “a glance,” and “to tee-hee” for “to giggle” grates somewhat upon the ear, though the authority of Chaucer might be cited for the expressions.

 

Next in order is his extraordinary faculty for the use of pithy similes, which arrest the attention and stimulate the imagination.

“His voice sounded hoarse and awkward, like a rusty lock.” “I saw her sway, like something stricken by the wind.” “His laugh rang false, like a cracked bell.” “His voice shook like a taut rope.” “My mind flying like a weaver’s shuttle.” “His blows resounded on the grave as thick as sobs.” “The private guilty considerations I would continually observe to peep forth in the man’s talk like rabbits from a hill.” Nothing could be more effective than these direct and homely comparisons.

 

After all, however, the main characteristic of Stevenson is his curious instinct for saying in the briefest space just those few words which stamp the impression upon the reader’s mind. He will make you see a thing more clearly than you would probably have done had your eyes actually rested upon it. Here are a few of these word-pictures, taken haphazard from among hundreds of equal merit—

 

“Not far off Macconochie was standing with his tongue out of his mouth, and his hand upon his chin, like a dull fellow thinking hard.

 

“Stewart ran after us for more than a mile, and I could not help laughing as I looked back at last and saw him on a hill, holding his hand to his side, and nearly burst with running.

 

“Ballantrae turned to me with a face all wrinkled up, and his teeth all showing in his mouth…. He said no word, but his whole appearance was a kind of dreadful question.

 

“Look at him, if you doubt; look at him, grinning and gulping, a detected thief.

 

“He looked me all over with a warlike eye, and I could see the challenge on his lips.”

 

What could be more vivid than the effect produced by such sentences as these?

 

There is much more that might be said as to Stevenson’s peculiar and original methods in fiction. As a minor point, it might be remarked that he is the inventor of what may be called the mutilated villain.

It is true that Mr. Wilkie Collins has described one gentleman who had not only been deprived of all his limbs, but was further afflicted by the insupportable name of Miserrimus Dexter. Stevenson, however, has used the effect so often, and with such telling results, that he may be said to have made it his own. To say nothing of Hyde, who was the very impersonation of deformity, there is the horrid blind Pew, Black Dog with two fingers missing, Long John with his one leg, and the sinister catechist who is blind but shoots by ear, and smites about him with his staff. In “The Black Arrow,” too, there is another dreadful creature who comes tapping along with a stick. Often as he has used the device, he handles it so artistically that it never fails to produce its effect.

 

Is Stevenson a classic? Well, it is a large word that. You mean by a classic a piece of work which passes into the permanent literature of the country. As a rule, you only know your classics when they are in their graves. Who guessed it of Poe, and who of Borrow? The Roman Catholics only canonize their saints a century after their death.

So with our classics. The choice lies with our grandchildren. But I can hardly think that healthy boys will ever let Stevenson’s books of adventure die, nor do I think that such a short tale as “The Pavilion on the Links” nor so magnificent a parable as “Dr. Jekyll and Mr. Hyde” will ever cease to be esteemed. How well I remember the eagerness, the delight with which I read those early tales in “Cornhill” away back in the late seventies and early eighties. They were unsigned, after the old unfair fashion, but no man with any sense of prose could fail to know that they were all by the same author. Only years afterwards did I learn who that author was.

 

I have Stevenson’s collected poems over yonder in the small cabinet.

Would that he had given us more! Most of them are the merest playful sallies of a freakish mind. But one should, indeed, be a classic, for it is in my judgment by all odds the best narrative ballad of the last century—that is if I am right in supposing that “The Ancient Mariner” appeared at the very end of the eighteenth. I would put Coleridge’s tour de force of grim fancy first, but I know none other to compare in glamour and phrase and easy power with “Ticonderoga.” Then there is his immortal epitaph. The two pieces alone give him a niche of his own in our poetical literature, just as his character gives him a niche of his own in our affections. No, I never met him. But among my most prized possessions are several letters which I received from Samoa. From that distant tower he kept a surprisingly close watch upon what was doing among the bookmen, and it was his hand which was among the first held out to the striver, for he had quick appreciation and keen sympathies which met another man’s work half-way, and wove into it a beauty from his own mind.

 

And now, my very patient friend, the time has come for us to part, and I hope my little sermons have not bored you over-much. If I have put you on the track of anything which you did not know before, then verify it and pass it on. If I have not, there is no harm done, save that my breath and your time have been wasted. There may be a score of mistakes in what I have said—is it not the privilege of the conversationalist to misquote? My judgments may differ very far from yours, and my likings may be your abhorrence; but the mere thinking and talking of books is in itself good, be the upshot what it may.

For the time the magic door is still shut. You are still in the land of faerie. But, alas, though you shut that door, you cannot seal it.

Still come the ring of bell, the call of telephone, the summons back to the sordid world of work and men and daily strife. Well, that’s the real life after all—this only the imitation. And yet, now that the portal is wide open and we stride out together, do we not face our fate with a braver heart for all the rest and quiet and comradeship that we found behind the Magic Door?

 

End of Project Gutenberg’s Through the Magic Door, by Arthur Conan Doyle *** END OF THE PROJECT GUTENBERG EBOOK THROUGH THE MAGIC DOOR ***

 

This file should be named ttmgd10.txt or ttmgd10.zip Corrected EDITIONS of our eBooks get a new NUMBER, ttmgd11.txt VERSIONS based on separate sources get new LETTER, ttmgd10a.txt Transcribed by Anders Thulin.

Adapted for Project Gutenberg by Andrew Sly.

 

Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as Public Domain in the US

unless a copyright notice is included. Thus, we usually do not keep eBooks in compliance with any particular paper edition.

 

We are now trying to release all our eBooks one year in advance of the official release dates, leaving time for better editing.

Please be encouraged to tell us about any error or corrections, even years after the official publication date.

 

Please note neither this listing nor its contents are final til midnight of the last day of the month of any such announcement.

The official release date of all Project Gutenberg eBooks is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so.

 

Most people start at our Web sites at: http://gutenberg.net or

http://promo.net/pg

 

These Web sites include award-winning information about Project Gutenberg, including how to donate, how to help produce our new eBooks, and how to subscribe to our email newsletter (free!).

 

Those of you who want to download any eBook before announcement can get to them as follows, and just download by date. This is also a good way to get them instantly upon announcement, as the indexes our cataloguers produce obviously take a while after an announcement goes out in the Project Gutenberg Newsletter.

 

http://www.ibiblio.org/gutenberg/etext03 or ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03

 

Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90

 

Just search by the first five letters of the filename you want, as it appears in our Newsletters.

 

Information about Project Gutenberg (one page) We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any eBook selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. Our projected audience is one hundred million readers. If the value per text is nominally estimated at one dollar then we produce $2

million dollars per hour in 2002 as we release over 100 new text files per month: 1240 more eBooks in 2001 for a total of 4000+

We are already on our way to trying for 2000 more eBooks in 2002

If they reach just 1-2% of the world’s population then the total will reach over half a trillion eBooks given away by year’s end.

 

The Goal of Project Gutenberg is to Give Away 1 Trillion eBooks!

This is ten thousand titles each to one hundred million readers, which is only about 4% of the present number of computer users.

 

Here is the briefest record of our progress (* means estimated): eBooks Year Month

 

1 1971 July

10 1991 January

100 1994 January

1000 1997 August

1500 1998 October

2000 1999 December

2500 2000 December

3000 2001 November

4000 2001 October/November

6000 2002 December*

9000 2003 November*

10000 2004 January*

 

The Project Gutenberg Literary Archive Foundation has been created to secure a future for Project Gutenberg into the next millennium.

 

We need your donations more than ever!

 

As of February, 2002, contributions are being solicited from people and organizations in: Alabama, Alaska, Arkansas, Connecticut, Delaware, District of Columbia, Florida, Georgia, Hawaii, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Massachusetts, Michigan, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, and Wyoming.

 

We have filed in all 50 states now, but these are the only ones that have responded.

 

As the requirements for other states are met, additions to this list will be made