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Chapter 10

LETTER TO A YOUNG GENTLEMAN WHO PROPOSES TO EMBRACE THE CAREER OF ART

WITH the agreeable frankness of youth, you address me on a point of
some practical importance to yourself and (it is even conceivable)
of some gravity to the world: Should you or should you not become
an artist? It is one which you must decide entirely for yourself;
all that I can do is to bring under your notice some of the
materials of that decision; and I will begin, as I shall probably
conclude also, by assuring you that all depends on the vocation.

To know what you like is the beginning of wisdom and of old age.
Youth is wholly experimental. The essence and charm of that
unquiet and delightful epoch is ignorance of self as well as
ignorance of life. These two unknowns the young man brings
together again and again, now in the airiest touch, now with a
bitter hug; now with exquisite pleasure, now with cutting pain; but
never with indifference, to which he is a total stranger, and never
with that near kinsman of indifference, contentment. If he be a
youth of dainty senses or a brain easily heated, the interest of
this series of experiments grows upon him out of all proportion to
the pleasure he receives. It is not beauty that he loves, nor
pleasure that he seeks, though he may think so; his design and his
sufficient reward is to verify his own existence and taste the
variety of human fate. To him, before the razor-edge of curiosity
is dulled, all that is not actual living and the hot chase of
experience wears a face of a disgusting dryness difficult to recall
in later days; or if there be any exception - and here destiny
steps in - it is in those moments when, wearied or surfeited of the
primary activity of the senses, he calls up before memory the image
of transacted pains and pleasures. Thus it is that such an one
shies from all cut-and-dry professions, and inclines insensibly
toward that career of art which consists only in the tasting and
recording of experience.

This, which is not so much a vocation for art as an impatience of
all other honest trades, frequently exists alone; and so existing,
it will pass gently away in the course of years. Emphatically, it
is not to be regarded; it is not a vocation, but a temptation; and
when your father the other day so fiercely and (in my view) so
properly discouraged your ambition, he was recalling not improbably
some similar passage in his own experience. For the temptation is
perhaps nearly as common as the vocation is rare. But again we
have vocations which are imperfect; we have men whose minds are
bound up, not so much in any art, as in the general ARS ARTIUM and
common base of all creative work; who will now dip into painting,
and now study counterpoint, and anon will be inditing a sonnet:
all these with equal interest, all often with genuine knowledge.
And of this temper, when it stands alone, I find it difficult to
speak; but I should counsel such an one to take to letters, for in
literature (which drags with so wide a net) all his information may
be found some day useful, and if he should go on as he has begun,
and turn at last into the critic, he will have learned to use the
necessary tools. Lastly we come to those vocations which are at
once decisive and precise; to the men who are born with the love of
pigments, the passion of drawing, the gift of music, or the impulse
to create with words, just as other and perhaps the same men are
born with the love of hunting, or the sea, or horses, or the
turning-lathe. These are predestined; if a man love the labour of
any trade, apart from any question of success or fame, the gods
have called him. He may have the general vocation too: he may
have a taste for all the arts, and I think he often has; but the
mark of his calling is this laborious partiality for one, this
inextinguishable zest in its technical successes, and (perhaps
above all) a certain candour of mind to take his very trifling
enterprise with a gravity that would befit the cares of empire, and
to think the smallest improvement worth accomplishing at any
expense of time and industry. The book, the statue, the sonata,
must be gone upon with the unreasoning good faith and the
unflagging spirit of children at their play. IS IT WORTH DOING? -
when it shall have occurred to any artist to ask himself that
question, it is implicitly answered in the negative. It does not
occur to the child as he plays at being a pirate on the dining-room
sofa, nor to the hunter as he pursues his quarry; and the candour
of the one and the ardour of the other should be united in the
bosom of the artist.

If you recognise in yourself some such decisive taste, there is no
room for hesitation: follow your bent. And observe (lest I should
too much discourage you) that the disposition does not usually burn
so brightly at the first, or rather not so constantly. Habit and
practice sharpen gifts; the necessity of toil grows less
disgusting, grows even welcome, in the course of years; a small
taste (if it be only genuine) waxes with indulgence into an
exclusive passion. Enough, just now, if you can look back over a
fair interval, and see that your chosen art has a little more than
held its own among the thronging interests of youth. Time will do
the rest, if devotion help it; and soon your every thought will be
engrossed in that beloved occupation.

But even with devotion, you may remind me, even with unfaltering
and delighted industry, many thousand artists spend their lives, if
the result be regarded, utterly in vain: a thousand artists, and
never one work of art. But the vast mass of mankind are incapable
of doing anything reasonably well, art among the rest. The
worthless artist would not improbably have been a quite incompetent
baker. And the artist, even if he does not amuse the public,
amuses himself; so that there will always be one man the happier
for his vigils. This is the practical side of art: its
inexpugnable fortress for the true practitioner. The direct
returns - the wages of the trade are small, but the indirect - the
wages of the life - are incalculably great. No other business
offers a man his daily bread upon such joyful terms. The soldier
and the explorer have moments of a worthier excitement, but they
are purchased by cruel hardships and periods of tedium that beggar
language. In the life of the artist there need be no hour without
its pleasure. I take the author, with whose career I am best
acquainted; and it is true he works in a rebellious material, and
that the act of writing is cramped and trying both to the eyes and
the temper; but remark him in his study, when matter crowds upon
him and words are not wanting - in what a continual series of small
successes time flows by; with what a sense of power as of one
moving mountains, he marshals his petty characters; with what
pleasures, both of the ear and eye, he sees his airy structure
growing on the page; and how he labours in a craft to which the
whole material of his life is tributary, and which opens a door to
all his tastes, his loves, his hatreds, and his convictions, so
that what he writes is only what he longed to utter. He may have
enjoyed many things in this big, tragic playground of the world;
but what shall he have enjoyed more fully than a morning of
successful work? Suppose it ill paid: the wonder is it should be
paid at all. Other men pay, and pay dearly, for pleasures less
desirable.

Nor will the practice of art afford you pleasure only; it affords
besides an admirable training. For the artist works entirely upon
honour. The public knows little or nothing of those merits in the
quest of which you are condemned to spend the bulk of your
endeavours. Merits of design, the merit of first-hand energy, the
merit of a certain cheap accomplishment which a man of the artistic
temper easily acquires - these they can recognise, and these they
value. But to those more exquisite refinements of proficiency and
finish, which the artist so ardently desires and so keenly feels,
for which (in the vigorous words of Balzac) he must toil "like a
miner buried in a landslip," for which, day after day, he recasts
and revises and rejects - the gross mass of the public must be ever
blind. To those lost pains, suppose you attain the highest pitch
of merit, posterity may possibly do justice; suppose, as is so
probable, you fall by even a hair's breadth of the highest, rest
certain they shall never be observed. Under the shadow of this
cold thought, alone in his studio, the artist must preserve from
day to day his constancy to the ideal. It is this which makes his
life noble; it is by this that the practice of his craft
strengthens and matures his character; it is for this that even the
serious countenance of the great emperor was turned approvingly (if
only for a moment) on the followers of Apollo, and that sternly
gentle voice bade the artist cherish his art.

And here there fall two warnings to be made. First, if you are to
continue to be a law to yourself, you must beware of the first
signs of laziness. This idealism in honesty can only be supported
by perpetual effort; the standard is easily lowered, the artist who
says "IT WILL DO," is on the downward path; three or four pot-
boilers are enough at times (above all at wrong times) to falsify a
talent, and by the practice of journalism a man runs the risk of
becoming wedded to cheap finish. This is the danger on the one
side; there is not less upon the other. The consciousness of how
much the artist is (and must be) a law to himself, debauches the
small heads. Perceiving recondite merits very hard to attain,
making or swallowing artistic formulae, or perhaps falling in love
with some particular proficiency of his own, many artists forget
the end of all art: to please. It is doubtless tempting to
exclaim against the ignorant bourgeois; yet it should not be
forgotten, it is he who is to pay us, and that (surely on the face
of it) for services that he shall desire to have performed. Here
also, if properly considered, there is a question of transcendental
honesty. To give the public what they do not want, and yet expect
to be supported: we have there a strange pretension, and yet not
uncommon, above all with painters. The first duty in this world is
for a man to pay his way; when that is quite accomplished, he may
plunge into what eccentricity he likes; but emphatically not till
then. Till then, he must pay assiduous court to the bourgeois who
carries the purse. And if in the course of these capitulations he
shall falsify his talent, it can never have been a strong one, and
he will have preserved a better thing than talent - character. Or
if he be of a mind so independent that he cannot stoop to this
necessity, one course is yet open: he can desist from art, and
follow some more manly way of life.

I speak of a more manly way of life, it is a point on which I must
be frank. To live by a pleasure is not a high calling; it involves
patronage, however veiled; it numbers the artist, however
ambitious, along with dancing girls and billiard markers. The
French have a romantic evasion for one employment, and call its
practitioners the Daughters of Joy. The artist is of the same
family, he is of the Sons of Joy, chose his trade to please
himself, gains his livelihood by pleasing others, and has parted
with something of the sterner dignity of man. Journals but a
little while ago declaimed against the Tennyson peerage; and this
Son of Joy was blamed for condescension when he followed the
example of Lord Lawrence and Lord Cairns and Lord Clyde. The poet
was more happily inspired; with a better modesty he accepted the
honour; and anonymous journalists have not yet (if I am to believe
them) recovered the vicarious disgrace to their profession. When
it comes to their turn, these gentlemen can do themselves more
justice; and I shall be glad to think of it; for to my barbarian
eyesight, even Lord Tennyson looks somewhat out of place in that
assembly. There should be no honours for the artist; he has
already, in the practice of his art, more than his share of the
rewards of life; the honours are pre-empted for other trades, less
agreeable and perhaps more useful.

But the devil in these trades of pleasing is to fail to please. In
ordinary occupations, a man offers to do a certain thing or to
produce a certain article with a merely conventional
accomplishment, a design in which (we may almost say) it is
difficult to fail. But the artist steps forth out of the crowd and
proposes to delight: an impudent design, in which it is impossible
to fail without odious circumstances. The poor Daughter of Joy,
carrying her smiles and finery quite unregarded through the crowd,
makes a figure which it is impossible to recall without a wounding
pity. She is the type of the unsuccessful artist. The actor, the
dancer, and the singer must appear like her in person, and drain
publicly the cup of failure. But though the rest of us escape this
crowning bitterness of the pillory, we all court in essence the
same humiliation. We all profess to be able to delight. And how
few of us are! We all pledge ourselves to be able to continue to
delight. And the day will come to each, and even to the most
admired, when the ardour shall have declined and the cunning shall
be lost, and he shall sit by his deserted booth ashamed. Then
shall he see himself condemned to do work for which he blushes to
take payment. Then (as if his lot were not already cruel) he must
lie exposed to the gibes of the wreckers of the press, who earn a
little bitter bread by the condemnation of trash which they have
not read, and the praise of excellence which they cannot
understand.

And observe that this seems almost the necessary end at least of
writers. LES BLANCS ET LES BLEUS (for instance) is of an order of
merit very different from LE VICOMTE DE BRAGLONNE; and if any
gentleman can bear to spy upon the nakedness of CASTLE DANGEROUS,
his name I think is Ham: let it be enough for the rest of us to
read of it (not without tears) in the pages of Lockhart. Thus in
old age, when occupation and comfort are most needful, the writer
must lay aside at once his pastime and his breadwinner. The
painter indeed, if he succeed at all in engaging the attention of
the public, gains great sums and can stand to his easel until a
great age without dishonourable failure. The writer has the double
misfortune to be ill-paid while he can work, and to be incapable of
working when he is old. It is thus a way of life which conducts
directly to a false position.

For the writer (in spite of notorious examples to the contrary)
must look to be ill-paid. Tennyson and Montepin make handsome
livelihoods; but we cannot all hope to be Tennyson, and we do not
all perhaps desire to be Montepin. If you adopt an art to be your
trade, weed your mind at the outset of all desire of money. What
you may decently expect, if you have some talent and much industry,
is such an income as a clerk will earn with a tenth or perhaps a
twentieth of your nervous output. Nor have you the right to look
for more; in the wages of the life, not in the wages of the trade,
lies your reward; the work is here the wages. It will be seen I
have little sympathy with the common lamentations of the artist
class. Perhaps they do not remember the hire of the field
labourer; or do they think no parallel will lie? Perhaps they have
never observed what is the retiring allowance of a field officer;
or do they suppose their contributions to the arts of pleasing more
important than the services of a colonel? Perhaps they forget on
how little Millet was content to live; or do they think, because
they have less genius, they stand excused from the display of equal
virtues? But upon one point there should be no dubiety: if a man
be not frugal, he has no business in the arts. If he be not
frugal, he steers directly for that last tragic scene of LE VIEUX
SALTIMBANQUE; if he be not frugal, he will find it hard to continue
to be honest. Some day, when the butcher is knocking at the door,
he may be tempted, he may be obliged, to turn out and sell a
slovenly piece of work. If the obligation shall have arisen
through no wantonness of his own, he is even to be commanded; for
words cannot describe how far more necessary it is that a man
should support his family, than that he should attain to - or
preserve - distinction in the arts. But if the pressure comes,
through his own fault, he has stolen, and stolen under trust, and
stolen (which is the worst of all) in such a way that no law can
reach him.

And now you may perhaps ask me, if the debutant artist is to have
no thought of money, and if (as is implied) he is to expect no
honours from the State, he may not at least look forward to the
delights of popularity? Praise, you will tell me, is a savoury
dish. And in so far as you may mean the countenance of other
artists you would put your finger on one of the most essential and
enduring pleasures of the career of art. But in so far as you
should have an eye to the commendations of the public or the notice
of the newspapers, be sure you would but be cherishing a dream. It
is true that in certain esoteric journals the author (for instance)
is duly criticised, and that he is often praised a great deal more
than he deserves, sometimes for qualities which he prided himself
on eschewing, and sometimes by ladies and gentlemen who have denied
themselves the privilege of reading his work. But if a man be
sensitive to this wild praise, we must suppose him equally alive to
that which often accompanies and always follows it - wild ridicule.
A man may have done well for years, and then he may fail; he will
hear of his failure. Or he may have done well for years, and still
do well, but the critics may have tired of praising him, or there
may have sprung up some new idol of the instant, some "dust a
little gilt," to whom they now prefer to offer sacrifice. Here is
the obverse and the reverse of that empty and ugly thing called
popularity. Will any man suppose it worth the gaining?

Robert Louis Stevenson

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