By Sterling Professor of the Humanities Harold Bloom
Robert Louis Stevenson was once born in 1850 in Edinburgh, the essayist, poet, and writer of fiction and shuttle books, identified specially for his novels of event. a lot of Stevenson's tales are set in vibrant destinations, in addition they have horror and supernatural components. His most famed being The unusual Case of Dr. Jekyll and Mr Hyde (1886).
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Additional info for Robert Louis Stevenson (Bloom's Modern Critical Views)
Sample text
But the realist, with a fine intemperance, will not suffer the presence of anything so dead as convention; he shall have all fiery, all hot-pressed from nature, all charactered and notable, seizing the eye ... The immediate danger of the realist is to sacrifice the beauty and significance of the whole to local dexterity, or ... to immolate his readers under facts ... The danger of the idealist is, of course, to become merely null and lose all grip of fact, particularity, or passion ... But though on neither side is dogmatism fitting ...
Most notably in Kidnapped and The Wrecker there is a proliferation of detail, a reliance on digression, a looseness of structure, which, like the romantic works of Dumas and Scott, make some concessions to the untidiness of life. But his dominant tendency—from Treasure Island to The Ebb Tide and Weir of Hermiston—was to subordinate incidental detail to more general considerations of thematic pattern and narrative economy. Stevenson had his own troubles with structural integrity, but his better judgment usually told him that he was not the kind of writer who could cope successfully with massive quantities of fact.
If the best art is that which depends as little 34 Robert Kiely as possible upon the world outside itself, then the novelist can make up his own rules of logic and morality, or, if he likes, dispense with them altogether. Stevenson is fairly adept, especially in his early fiction, at sidestepping moral questions. As for logic, he had a properly Romantic contempt for it in a formal sense. ” When he goes on to call art “rational,” then, he does not mean it in a strictly philosophical sense. Nor does he so much refer to reason as it operates in daily life—sorting out existing possibilities and selecting real alternatives— but rather as it might operate in a fanciful world beginning with unlikely, even preposterous, assumptions, and moving from them to other more or less unlikely positions in an orderly and systematic way.