Natural talk, like ploughing, should turn up a large surface of life, rather than dig mines into geological strata. Masses of experience, anecdote, incident, cross-lights, quotation, historical instances, the whole flotsam and jetsam of two minds forced in and in upon the matter in hand from every point of the compass, and from every degree of mental elevation and abasement — these are the material with which talk is fortified, the food on which the talkers thrive. Such argument as is proper to the exercise should still be brief and seizing. Talk should proceed by instances; by the apposite, not the expository. It should keep close along the lines of humanity, near the bosoms and businesses of men, at the level where history, fiction and experience intersect and illuminate each other. I am I, and You are You, with all my heart; but conceive how these lean propositions change and brighten when, instead of words, the actual you and I sit cheek by jowl, the spirit housed in the live body, and the very clothes uttering voices to corroborate the story in the face. Not less surprising is the change when we leave off to speak of generalities — the bad, the good, the miser, and all the characters of Theophrastus — and call up other men, by anecdote or instance, in their very trick and feature; or trading on a common knowledge, toss each other famous names, still glowing with the hues of life. Communication is no longer by words, but by the instancing of whole biographies, epics, systems of philosophy, and epochs of history, in bulk. That which is understood excels that which is spoken in quantity and quality alike; ideas thus figured and personified, change hands, as we may say, like coin; and the speakers imply without effort the most obscure and intricate thoughts. Strangers who have a large common ground of reading will, for this reason, come the sooner to the grapple of genuine converse. If they know Othello and Napoleon, Consuelo and Clarissa Harlowe, Vautrin and Steenie Steenson, they can leave generalities and begin at once to speak by figures.
Conduct and art are the two subjects that arise most frequently and that embrace the widest range of facts. A few pleasures bear discussion for their own sake, but only those which are most social or most radically human; and even these can only be discussed among their devotees. A technicality is always welcome to the expert, whether in athletics, art or law; I have heard the best kind of talk on technicalities from such rare and happy persons as both know and love their business. No human being ever spoke of scenery for above two minutes at a time, which makes me suspect we hear too much of it in literature. The weather is regarded as the very nadir and scoff of conversational topics. And yet the weather, the dramatic element in scenery, is far more tractable in language, and far more human both in import and suggestion than the stable features of the landscape. Sailors and shepherds, and the people generally of coast and mountain, talk well of it; and it is often excitingly presented in literature. But the tendency of all living talk draws it back and back into the common focus of humanity. Talk is a creature of the street and market-place, feeding on gossip; and its last resort is still in a discussion on morals. That is the heroic form of gossip; heroic in virtue of its high pretensions; but still gossip, because it turns on personalities. You can keep no men long, nor Scotchmen at all, off moral or theological discussion. These are to all the world what law is to lawyers; they are everybody’s technicalities; the medium through which all consider life, and the dialect in which they express their judgments. I knew three young men who walked together daily for some two months in a solemn and beautiful forest and in cloudless summer weather; daily they talked with unabated zest, and yet scarce wandered that whole time beyond two subjects — theology and love. And perhaps neither a court of love nor an assembly of divines would have granted their premisses or welcomed their conclusions.
Conclusions, indeed, are not often reached by talk any more than by private thinking. That is not the profit. The profit is in the exercise, and above all in the experience; for when we reason at large on any subject, we review our state and history in life. From time to time, however, and specially, I think, in talking art, talk becomes effective, conquering like war, widening the boundaries of knowledge like an exploration. A point arises; the question takes a problematical, a baffling, yet a likely air; the talkers begin to feel lively presentiments of some conclusion near at hand; towards this they strive with emulous ardour, each by his own path, and struggling for first utterance; and then one leaps upon the summit of that matter with a shout, and almost at the same moment the other is beside him; and behold they are agreed. Like enough, the progress is illusory, a mere cat’s cradle having been wound and unwound out of words. But the sense of joint discovery is none the less giddy and inspiriting. And in the life of the talker such triumphs, though imaginary, are neither few nor far apart; they are attained with speed and pleasure, in the hour of mirth; and by the nature of the process, they are always worthily shared.
There is a certain attitude, combative at once and deferential, eager to fight yet most averse to quarrel, which marks out at once the talkable man. It is not eloquence, not fairness, not obstinacy, but a certain proportion of all of these that I love to encounter in my amicable adversaries. They must not be pontiffs holding doctrine, but huntsmen questing after elements of truth. Neither must they be boys to be instructed, but fellow-teachers with whom I may wrangle and agree on equal terms. We must reach some solution, some shadow of consent; for without that, eager talk becomes a torture. But we do not wish to reach it cheaply, or quickly, or without the tussle and effort wherein pleasure lies.
The very best talker, with me, is one whom I shall call Spring-Heel’d Jack. I say so, because I never knew any one who mingled so largely the possible ingredients of converse. In the Spanish proverb, the fourth man necessary to compound a salad, is a madman to mix it: Jack is that madman. I know not which is more remarkable; the insane lucidity of his conclusions the humorous eloquence of his language, or his power of method, bringing the whole of life into the focus of the subject treated, mixing the conversational salad like a drunken god. He doubles like the serpent, changes and flashes like the shaken kaleidoscope, transmigrates bodily into the views of others, and so, in the twinkling of an eye and with a heady rapture, turns questions inside out and flings them empty before you on the ground, like a triumphant conjuror. It is my common practice when a piece of conduct puzzles me, to attack it in the presence of Jack with such grossness, such partiality and such wearing iteration, as at length shall spur him up in its defence. In a moment he transmigrates, dons the required character, and with moonstruck philosophy justifies the act in question. I can fancy nothing to compare with the vim of these impersonations, the strange scale of language, flying from Shakespeare to Kant, and from Kant to Major Dyngwell —
“As fast as a musician scatters sounds
Out of an instrument”
the sudden, sweeping generalisations, the absurd irrelevant particularities, the wit, wisdom, folly, humour, eloquence and bathos, each startling in its kind, and yet all luminous in the admired disorder of their combination. A talker of a different calibre, though belonging to the same school, is Burly. Burly is a man of a great presence; he commands a larger atmosphere, gives the impression of a grosser mass of character than most men. It has been said of him that his presence could be felt in a room you entered blindfold; and the same, I think, has been said of other powerful constitutions condemned to much physical inaction. There is something boisterous and piratic in Burly’s manner of talk which suits well enough with this impression. He will roar you down, he will bury his face in his hands, he will undergo passions of revolt and agony; and meanwhile his attitude of mind is really both conciliatory and receptive; and after Pistol has been out Pistol’d, and the welkin rung for hours, you begin to perceive a certain subsidence in these spring torrents, points of agreement issue, and you end arm-in-arm, and in a glow of mutual admiration. The outcry only serves to make your final union the more unexpected and precious. Throughout there has been perfect sincerity, perfect intelligence, a desire to hear although not always to listen, and an unaffec
ted eagerness to meet concessions. You have, with Burly, none of the dangers that attend debate with Spring-Heel’d Jack; who may at any moment turn his powers of transmigration on yourself, create for you a view you never held, and then furiously fall on you for holding it. These, at least, are my two favourites, and both are loud, copious, intolerant talkers. This argues that I myself am in the same category; for if we love talking at all, we love a bright, fierce adversary, who will hold his ground, foot by foot, in much our own manner, sell his attention dearly, and give us our full measure of the dust and exertion of battle. Both these men can be beat from a position, but it takes six hours to do it; a high and hard adventure, worth attempting. With both you can pass days in an enchanted country of the mind, with people, scenery and manners of its own; live a life apart, more arduous, active and glowing than any real existence; and come forth again when the talk is over, as out of a theatre or a dream, to find the east wind still blowing and the chimney-pots of the old battered city still around you. Jack has the far finer mind, Burly the far more honest; Jack gives us the animated poetry, Burly the romantic prose, of similar themes; the one glances high like a meteor and makes a light in darkness; the other, with many changing hues of fire, burns at the sea-level, like a conflagration; but both have the same humour and artistic interests, the same unquenched ardour in pursuit, the same gusts of talk and thunderclaps of contradiction.
Cockshot is a different article, but vastly entertaining, and has been meat and drink to me for many a long evening. His manner is dry, brisk and pertinacious, and the choice of words not much. The point about him is his extraordinary readiness and spirit. You can propound nothing but he has either a theory about it ready-made, or will have one instantly on the stocks, and proceed to lay its timbers and launch it in your presence. “Let me see,” he will say. “Give me a moment. I should have some theory for that.” A blither spectacle than the vigour with which he sets about the task, it were hard to fancy. He is possessed by a demoniac energy, welding the elements for his life, and bending ideas, as an athlete bends a horse-shoe, with a visible and lively effort. He has, in theorising, a compass, an art; what I would call the synthetic gusto; something of a Herbert Spencer, who should see the fun of the thing. You are not bound, and no more is he, to place your faith in these brand-new opinions. But some of them are right enough, durable even for life; and the poorest serve for a cock shy — as when idle people, after picnics, float a bottle on a pond and have an hour’s diversion ere it sinks. Whichever they are, serious opinions or humours of the moment, he still defends his ventures with indefatigable wit and spirit, hitting savagely himself, but taking punishment like a man. He knows and never forgets that people talk, first of all, for the sake of talking; conducts himself in the ring, to use the old slang, like a thorough “glutton,” and honestly enjoys a telling facer from his adversary. Cockshot is bottled effervescency, the sworn foe of sleep. Three-in-the-morning Cockshot, says a victim. His talk is like the driest of all imaginable dry champagnes. Sleight of hand and inimitable quickness are the qualities by which he lives. Athelred, on the other hand, presents you with the spectacle of a sincere and somewhat slow nature thinking aloud. He is the most unready man I ever knew to shine in conversation. You may see him sometimes wrestle with a refractory jest for a minute or two together, and perhaps fail to throw it in the end. And there is something singularly engaging, often instructive, in the simplicity with which he thus exposes the process as well as the result, the works as well as the dial of the clock. Withal he has his hours of inspiration. Apt words come to him as if by accident, and, coming from deeper down, they smack the more personally, they have the more of fine old crusted humanity, rich in sediment and humour. There are sayings of his in which he has stamped himself into the very grain of the language; you would think he must have worn the words next his skin and slept with them. Yet it is not as a sayer of particular good things that Athelred is most to be regarded, rather as the stalwart woodman of thought. I have pulled on a light cord often enough, while he has been wielding the broad-axe; and between us, on this unequal division, many a specious fallacy has fallen. I have known him to battle the same question night after night for years, keeping it in the reign of talk, constantly applying it and re-applying it to life with humorous or grave intention, and all the while, never hurrying, nor flagging, nor taking an unfair advantage of the facts. Jack at a given moment, when arising, as it were, from the tripod, can be more radiantly just to those from whom he differs; but then the tenor of his thoughts is even calumnious; while Athelred, slower to forge excuses, is yet slower to condemn, and sits over the welter of the world, vacillating but still judicial, and still faithfully contending with his doubts.
Both the last talkers deal much in points of conduct and religion studied in the “dry light” of prose. Indirectly and as if against his will the same elements from time to time appear in the troubled and poetic talk of Opalstein. His various and exotic knowledge, complete although unready sympathies, and fine, full, discriminative flow of language, fit him out to be the best of talkers; so perhaps he is with some, not quite with me — proxime accessit, I should say. He sings the praises of the earth and the arts, flowers and jewels, wine and music, in a moonlight, serenading manner, as to the light guitar; even wisdom comes from his tongue like singing; no one is, indeed, more tuneful in the upper notes. But even while he sings the song of the Sirens, he still hearkens to the barking of the Sphinx. Jarring Byronic notes interrupt the flow of his Horatian humours. His mirth has something of the tragedy of the world for its perpetual background; and he feasts like Don Giovanni to a double orchestra, one lightly sounding for the dance, one pealing Beethoven in the distance. He is not truly reconciled either with life or with himself; and this instant war in his members sometimes divides the man’s attention. He does not always, perhaps not often, frankly surrender himself in conversation. He brings into the talk other thoughts than those which he expresses; you are conscious that he keeps an eye on something else, that he does not shake off the world, nor quite forget himself. Hence arise occasional disappointments; even an occasional unfairness for his companions, who find themselves one day giving too much, and the next, when they are wary out of season, giving perhaps too little. Purcel is in another class from any I have mentioned. He is no debater, but appears in conversation, as occasion rises, in two distinct characters, one of which I admire and fear, and the other love. In the first, he is radiantly civil and rather silent, sits on a high, courtly hilltop, and from that vantage-ground drops you his remarks like favours. He seems not to share in our sublunary contentions; he wears no sign of interest; when on a sudden there falls in a crystal of wit, so polished that the dull do not perceive it, but so right that the sensitive are silenced. True talk should have more body and blood, should be louder, vainer and more declaratory of the man; the true talker should not hold so steady an advantage over whom he speaks with; and that is one reason out of a score why I prefer my Purcel in his second character, when he unbends into a strain of graceful gossip, singing like the fireside kettle. In these moods he has an elegant homeliness that rings of the true Queen Anne. I know another person who attains, in his moments, to the insolence of a Restoration comedy, speaking, I declare, as Congreve wrote; but that is a sport of nature, and scarce falls under the rubric, for there is none, alas! to give him answer.
One last remark occurs: It is the mark of genuine conversation that the sayings can scarce be quoted with their full effect beyond the circle of common friends. To have their proper weight they should appear in a biography, and with the portrait of the speaker. Good talk is dramatic; it is like an impromptu piece of acting where each should represent himself to the greatest advantage; and that is the best kind of talk where each speaker is most fully and candidly himself, and where, if you were to shift the speeches round from one to another, there would be the greatest loss in significance and perspicuity. It is for this reason that talk depends so wholly on our company. We should lik
e to introduce Falstaff and Mercutio, or Falstaff and Sir Toby; but Falstaff in talk with Cordelia seems even painful. Most of us, by the Protean quality of man, can talk to some degree with all; but the true talk, that strikes out all the slumbering best of us, comes only with the peculiar brethren of our spirits, is founded as deep as love in the constitution of our being, and is a thing to relish with all our energy, while yet we have it, and to be grateful for forever.
Complete Works of Robert Louis Stevenson Page 567
