But the gymnast is not my favourite; he has little or no tincture of the artist in his composition; his soul is small and pedestrian, for the most part, since his profession makes no call upon it, and does not accustom him to high ideas. But if a man is only so much of an actor that he can stumble through a farce, he is made free of a new order of thoughts. He has something else to think about beside the money-box. He has a pride of his own, and, what is of far more importance, he has an aim before him that he can never quite attain. He has gone upon a pilgrimage that will last him his life long, because there is no end to it short of perfection. He will better upon himself a little day by day; or even if he has given up the attempt, he will always remember that once upon a time he had conceived this high ideal, that once upon a time he had fallen in love with a star. ‘’Tis better to have loved and lost.’ Although the moon should have nothing to say to Endymion, although he should settle down with Audrey and feed pigs, do you not think he would move with a better grace, and cherish higher thoughts to the end? The louts he meets at church never had a fancy above Audrey’s snood; but there is a reminiscence in Endymion’s heart that, like a spice, keeps it fresh and haughty.
To be even one of the outskirters of art, leaves a fine stamp on a man’s countenance. I remember once dining with a party in the inn at Château Landon. Most of them were unmistakable bagmen; others well-to-do peasantry; but there was one young fellow in a blouse, whose face stood out from among the rest surprisingly. It looked more finished; more of the spirit looked out through it; it had a living, expressive air, and you could see that his eyes took things in. My companion and I wondered greatly who and what he could be. It was fair-time in Château Landon, and when we went along to the booths, we had our question answered; for there was our friend busily fiddling for the peasants to caper to. He was a wandering violinist.
A troop of strollers once came to the inn where I was staying, in the department of Seine et Marne. There was a father and mother; two daughters, brazen, blowsy hussies, who sang and acted, without an idea of how to set about either; and a dark young man, like a tutor, a recalcitrant house-painter, who sang and acted not amiss. The mother was the genius of the party, so far as genius can be spoken of with regard to such a pack of incompetent humbugs; and her husband could not find words to express his admiration for her comic countryman. ‘You should see my old woman,’ said he, and nodded his beery countenance. One night they performed in the stable-yard, with flaring lamps — a wretched exhibition, coldly looked upon by a village audience. Next night, as soon as the lamps were lighted, there came a plump of rain, and they had to sweep away their baggage as fast as possible, and make off to the barn where they harboured, cold, wet, and supperless. In the morning, a dear friend of mine, who has as warm a heart for strollers as I have myself, made a little collection, and sent it by my hands to comfort them for their disappointment. I gave it to the father; he thanked me cordially, and we drank a cup together in the kitchen, talking of roads, and audiences, and hard times.
When I was going, up got my old stroller, and off with his hat. ‘I am afraid,’ said he, ‘that Monsieur will think me altogether a beggar; but I have another demand to make upon him.’ I began to hate him on the spot. ‘We play again to-night,’ he went on. ‘Of course, I shall refuse to accept any more money from Monsieur and his friends, who have been already so liberal. But our programme of to-night is something truly creditable; and I cling to the idea that Monsieur will honour us with his presence.’ And then, with a shrug and a smile: ‘Monsieur understands — the vanity of an artist!’ Save the mark! The vanity of an artist! That is the kind of thing that reconciles me to life: a ragged, tippling, incompetent old rogue, with the manners of a gentleman, and the vanity of an artist, to keep up his self-respect!
But the man after my own heart is M. de Vauversin. It is nearly two years since I saw him first, and indeed I hope I may see him often again. Here is his first programme, as I found it on the breakfast-table, and have kept it ever since as a relic of bright days:
‘Mesdames et Messieurs,
‘Mademoiselle Ferrario et M. de Vauversin auront l’honneur de chanter ce soir les morceaux suivants.
‘Madermoiselle Ferrario chantera — Mignon — Oiseaux Légers — France — Des Français dorment là — Le château bleu — Où voulez-vous aller?
‘M. de Vauversin — Madame Fontaine et M. Robinet — Les plongeurs à cheval — Le Mari mécontent — Tais-toi, gamin — Mon voisin l’original — Heureux comme ça — Comme on est trompé.’
They made a stage at one end of the salle-à-manger. And what a sight it was to see M. de Vauversin, with a cigarette in his mouth, twanging a guitar, and following Mademoiselle Ferrario’s eyes with the obedient, kindly look of a dog! The entertainment wound up with a tombola, or auction of lottery tickets: an admirable amusement, with all the excitement of gambling, and no hope of gain to make you ashamed of your eagerness; for there, all is loss; you make haste to be out of pocket; it is a competition who shall lose most money for the benefit of M. de Vauversin and Mademoiselle Ferrario.
M. de Vauversin is a small man, with a great head of black hair, a vivacious and engaging air, and a smile that would be delightful if he had better teeth. He was once an actor in the Châtelet; but he contracted a nervous affection from the heat and glare of the footlights, which unfitted him for the stage. At this crisis Mademoiselle Ferrario, otherwise Mademoiselle Rita of the Alcazar, agreed to share his wandering fortunes. ‘I could never forget the generosity of that lady,’ said he. He wears trousers so tight that it has long been a problem to all who knew him how he manages to get in and out of them. He sketches a little in water-colours; he writes verses; he is the most patient of fishermen, and spent long days at the bottom of the inn-garden fruitlessly dabbling a line in the clear river.
You should hear him recounting his experiences over a bottle of wine; such a pleasant vein of talk as he has, with a ready smile at his own mishaps, and every now and then a sudden gravity, like a man who should hear the surf roar while he was telling the perils of the deep. For it was no longer ago than last night, perhaps, that the receipts only amounted to a franc and a half, to cover three francs of railway fare and two of board and lodging. The Maire, a man worth a million of money, sat in the front seat, repeatedly applauding Mlle. Ferrario, and yet gave no more than three sous the whole evening. Local authorities look with such an evil eye upon the strolling artist. Alas! I know it well, who have been myself taken for one, and pitilessly incarcerated on the strength of the misapprehension. Once, M. de Vauversin visited a commissary of police for permission to sing. The commissary, who was smoking at his ease, politely doffed his hat upon the singer’s entrance. ‘Mr. Commissary,’ he began, ‘I am an artist.’ And on went the commissary’s hat again. No courtesy for the companions of Apollo! ‘They are as degraded as that,’ said M. de Vauversin with a sweep of his cigarette.
But what pleased me most was one outbreak of his, when we had been talking all the evening of the rubs, indignities, and pinchings of his wandering life. Some one said, it would be better to have a million of money down, and Mlle. Ferrario admitted that she would prefer that mightily. ‘Eh bien, moi non; — not I,’ cried De Vauversin, striking the table with his hand. ‘If any one is a failure in the world, is it not I? I had an art, in which I have done things well — as well as some — better perhaps than others; and now it is closed against me. I must go about the country gathering coppers and singing nonsense. Do you think I regret my life? Do you think I would rather be a fat burgess, like a calf? Not I! I have had moments when I have been applauded on the boards: I think nothing of that; but I have known in my own mind sometimes, when I had not a clap from the whole house, that I had found a true intonation, or an exact and speaking gesture; and then, messieurs, I have known what pleasure was, what it was to do a thing well, what it was to be an artist. And to know what art is, is to have an interest for ever, such as no burgess can find in his petty concerns. Tenez, me
ssieurs, je vais vous le dire — it is like a religion.’
Such, making some allowance for the tricks of memory and the inaccuracies of translation, was the profession of faith of M. de Vauversin. I have given him his own name, lest any other wanderer should come across him, with his guitar and cigarette, and Mademoiselle Ferrario; for should not all the world delight to honour this unfortunate and loyal follower of the Muses? May Apollo send him rimes hitherto undreamed of; may the river be no longer scanty of her silver fishes to his lure; may the cold not pinch him on long winter rides, nor the village jack-in-office affront him with unseemly manners; and may he never miss Mademoiselle Ferrario from his side, to follow with his dutiful eyes and accompany on the guitar!
The marionnettes made a very dismal entertainment. They performed a piece, called Pyramus and Thisbe, in five mortal acts, and all written in Alexandrines fully as long as the performers. One marionnette was the king; another the wicked counsellor; a third, credited with exceptional beauty, represented Thisbe; and then there were guards, and obdurate fathers, and walking gentlemen. Nothing particular took place during the two or three acts that I sat out; but you will he pleased to learn that the unities were properly respected, and the whole piece, with one exception, moved in harmony with classical rules. That exception was the comic countryman, a lean marionnette in wooden shoes, who spoke in prose and in a broad patois much appreciated by the audience. He took unconstitutional liberties with the person of his sovereign; kicked his fellow-marionnettes in the mouth with his wooden shoes, and whenever none of the versifying suitors were about, made love to Thisbe on his own account in comic prose.
This fellow’s evolutions, and the little prologue, in which the showman made a humorous eulogium of his troop, praising their indifference to applause and hisses, and their single devotion to their art, were the only circumstances in the whole affair that you could fancy would so much as raise a smile. But the villagers of Précy seemed delighted. Indeed, so long as a thing is an exhibition, and you pay to see it, it is nearly certain to amuse. If we were charged so much a head for sunsets, or if God sent round a drum before the hawthorns came in flower, what a work should we not make about their beauty! But these things, like good companions, stupid people early cease to observe: and the Abstract Bagman tittups past in his spring gig, and is positively not aware of the flowers along the lane, or the scenery of the weather overhead.
BACK TO THE WORLD
Of the next two days’ sail little remains in my mind, and nothing whatever in my note-book. The river streamed on steadily through pleasant river-side landscapes. Washerwomen in blue dresses, fishers in blue blouses, diversified the green banks; and the relation of the two colours was like that of the flower and the leaf in the forget-me-not. A symphony in forget-me-not; I think Théophile Gautier might thus have characterised that two days’ panorama. The sky was blue and cloudless; and the sliding surface of the river held up, in smooth places, a mirror to the heaven and the shores. The washerwomen hailed us laughingly; and the noise of trees and water made an accompaniment to our dozing thoughts, as we fleeted down the stream.
The great volume, the indefatigable purpose of the river, held the mind in chain. It seemed now so sure of its end, so strong and easy in its gait, like a grown man full of determination. The surf was roaring for it on the sands of Havre.
For my own part, slipping along this moving thoroughfare in my fiddle-case of a canoe, I also was beginning to grow aweary for my ocean. To the civilised man, there must come, sooner or later, a desire for civilisation. I was weary of dipping the paddle; I was weary of living on the skirts of life; I wished to be in the thick of it once more; I wished to get to work; I wished to meet people who understood my own speech, and could meet with me on equal terms, as a man, and no longer as a curiosity.
And so a letter at Pontoise decided us, and we drew up our keels for the last time out of that river of Oise that had faithfully piloted them, through rain and sunshine, for so long. For so many miles had this fleet and footless beast of burthen charioted our fortunes, that we turned our back upon it with a sense of separation. We had made a long détour out of the world, but now we were back in the familiar places, where life itself makes all the running, and we are carried to meet adventure without a stroke of the paddle. Now we were to return, like the voyager in the play, and see what rearrangements fortune had perfected the while in our surroundings; what surprises stood ready made for us at home; and whither and how far the world had voyaged in our absence. You may paddle all day long; but it is when you come back at nightfall, and look in at the familiar room, that you find Love or Death awaiting you beside the stove; and the most beautiful adventures are not those we go to seek.
TRAVELS WITH A DONKEY IN THE CEVENNES
A classic of travel literature, this pioneering account of the pleasures of the great outdoors was first published in 1879. It describes Stevenson’s 12-day, 120-mile hike across the Cévennes Mountains in southern France (undertaken from September – October 1878). He is accompanied by a donkey, Modestine, who carried his luggage, and whose characterisation as a stubborn, independent-minded travelling companion is a memorable feature of the book. Stevenson’s extensive journal, on which he based this account, also survives and has been published separately as the Cévennes Journal.
At the time the book was written, recreational hiking and camping were unusual and the book (coupled with Stevenson’s later celebrity) helped to popularise such activities. Ironically, the popularity of Stevenson’s early travelogues also popularised an erroneous image of their author as a healthy, hearty ‘outdoors type’ – a caricature which amused the sickly, frequently bed-ridden Stevenson.
The descriptions of nights spent under starry skies, of routes amongst the ancient hideaways of eighteenth-century Protestant rebels (known locally as Camisards) and visits to picturesque mountain monasteries make for a vividly imagined landscape, whose history and beauty is brought richly to life. Yet, Stevenson’s motives for taking to the hills at this point were bittersweet. The love of his life, Fanny van de Grift Osbourne, a married American woman whom he had met at an artist’s colony near Paris, had recently begun the return journey to her homeland. Stevenson’s agnosticism and decision to become a writer had also led to a conflicted relationship with his parents. This accounts for the bittersweet flavour that permeates parts of the book.
The first edition
Map of Stevenson’s journey
CONTENTS
VELAY
THE DONKEY, THE PACK, AND THE PACK-SADDLE
THE GREEN DONKEY-DRIVER
I HAVE A GOAD
UPPER GÉVAUDAN
A CAMP IN THE DARK
CHEYLARD AND LUC
OUR LADY OF THE SNOWS
FATHER APOLLINARIS
THE MONKS
THE BOARDERS
UPPER GÉVAUDAN (continued)
ACROSS THE GOULET
A NIGHT AMONG THE PINES
THE COUNTRY OF THE CAMISARDS
ACROSS THE LOZÈRE
PONT DE MONTVERT
IN THE VALLEY OF THE TARN
FLORAC
IN THE VALLEY OF THE MIMENTE
THE HEART OF THE COUNTRY
THE LAST DAY
FAREWELL, MODESTINE!
The dramatic countryside of the Cévennes
My Dear Sidney Colvin,
The journey which this little book is to describe was very agreeable and fortunate for me. After an uncouth beginning, I had the best of luck to the end. But we are all travellers in what John Bunyan calls the wilderness of this world — all, too, travellers with a donkey: and the best that we find in our travels is an honest friend. He is a fortunate voyager who finds many. We travel, indeed, to find them. They are the end and the reward of life. They keep us worthy of ourselves; and when we are alone, we are only nearer to the absent.
Every book is, in an intimate sense, a circular letter to the friends of him who writes it. They alone take his meaning; they find pr
ivate messages, assurances of love, and expressions of gratitude, dropped for them in every corner. The public is but a generous patron who defrays the postage. Yet though the letter is directed to all, we have an old and kindly custom of addressing it on the outside to one. Of what shall a man be proud, if he is not proud of his friends? And so, my dear Sidney Colvin, it is with pride that I sign myself affectionately yours,
R. L. S.
VELAY
Many are the mighty things, and nought is more mighty than man. . . . He masters by his devices the tenant of the fields.
SOPHOCLES.
Who hath loosed the bands of the wild ass?
JOB.
THE DONKEY, THE PACK, AND THE PACK-SADDLE
In a little place called Le Monastier, in a pleasant highland valley fifteen miles from Le Puy, I spent about a month of fine days. Monastier is notable for the making of lace, for drunkenness, for freedom of language, and for unparalleled political dissension. There are adherents of each of the four French parties — Legitimists, Orleanists, Imperialists, and Republicans — in this little mountain-town; and they all hate, loathe, decry, and calumniate each other. Except for business purposes, or to give each other the lie in a tavern brawl, they have laid aside even the civility of speech. ’Tis a mere mountain Poland. In the midst of this Babylon I found myself a rallying-point; every one was anxious to be kind and helpful to the stranger. This was not merely from the natural hospitality of mountain people, nor even from the surprise with which I was regarded as a man living of his own free will in Le Monastier, when he might just as well have lived anywhere else in this big world; it arose a good deal from my projected excursion southward through the Cevennes. A traveller of my sort was a thing hitherto unheard of in that district. I was looked upon with contempt, like a man who should project a journey to the moon, but yet with a respectful interest, like one setting forth for the inclement Pole. All were ready to help in my preparations; a crowd of sympathisers supported me at the critical moment of a bargain; not a step was taken but was heralded by glasses round and celebrated by a dinner or a breakfast.
Complete Works of Robert Louis Stevenson Page 453
