That is all, but if one were a dealer in romance, much play might be made with the future fortunes of the sportsman and the maiden, happy fortunes or unhappy. In real life, the lassie "drew up with"a shepherd lad, as Miss Jenny Denison has it, married him, and helped to populate the strath. As for ****, history tells no more of his adventures, nor is it alleged that he ever again visited the distant valley, or beheld the face of his Highland Nausicaa.
Now, if one were a romancer, this mere anecdote probably would "rest, lovely pearl, in the brain, and slowly mature in the oyster," till it became a novel. Properly handled, the incident would make a very agreeable first chapter, with the aid of scenery, botany, climate, and remarks on the manners and customs of the red deer stolen from St. John, or the Stuarts d'Albanie. Then, probably, one would reflect on the characters of Mary and of Richard; Mary must have parents, of course, and one would make them talk in Scottish. Probably she already had a lover; how should she behave to that lover? There is plenty of room for speculation in that problem. As to ****, is he to be a Lothario, or a lover pour le bon motif? What are his distinguished family to think of the love affair, which would certainly ensue in fiction, though in real life nobody thought of it at all? Are we to end happily, with a marriage or marriages, or are we to wind all up in the pleasant, pessimistic, realistic, fashionable modern way? Is Mary to drown the baby in the Muckle Pool? Is she to suffer the penalty of her crime at Inverness? Or, happy thought, shall we not make her discarded rival lover meet **** in the hills on a sunny day and then--are they not (taking a hint from facts) to fight a duel with rifles? I see **** lying, with a bullet in his brow, on the side of a corrie; his blood crimsons the snow, an eagle stoops from the sky. That makes a pretty picturesque conclusion to the unwritten romance of the strath.
Another anecdote occurs to me; good, I think, for a short story, but capable, also, of being dumped down in the middle of a long novel. It was in the old coaching days. A Border squire was going north, in the coach, alone. At a village he was joined by a man and a young lady: their purpose was manifest, they were a runaway couple, bound for Gretna Green. They had not travelled long together before the young lady, turning to the squire, said, "Vous parlez francais, Monsieur?" He did speak French--it was plain that the bridegroom did not--and, to the end of the journey, that remarkable lady conducted a lively and affectionate conversation with the squire in French! Manifestly, he had only to ask and receive, but, alas! he was an unadventurous, plain gentleman; he alighted at his own village; he drove home in his own dogcart; the fugitive pair went forward, and the Gretna blacksmith united them in holy matrimony. The rest is silence.
I would give much to know what that young person's previous history and adventures had been, to learn what befell her after her wedding, to understand, in brief, her conduct and her motives.
Were I a novelist, a Maupassant, or a Meredith, the Muse, "from whatsoever quarter she chose," would enlighten me about all, and Iwould enlighten you. But I can only marvel, only throw out the hint, only deposit the grain of sand, the nucleus of romance, in some more fertile brain. Indeed the topic is much more puzzling than the right conclusion for my Highland romance. In that case fancy could find certain obvious channels, into one or other of which it must flow. But I see no channels for the lives of these three queerly met people in the coach.
As a rule, fancies are capable of being arranged in but a few familiar patterns, so that it seems hardly worth while to make the arrangement. But he who looks at things thus will never be a writer of stories. Nay, even of the slowly unfolding tale of his own existence he may weary, for the combinations therein have all occurred before; it is in a hackneyed old story that he is living, and you, and I. Yet to act on this knowledge is to make a bad affair of our little life: we must try our best to take it seriously. And so of story-writing. As Mr. Stevenson says, a man must view "his very trifling enterprise with a gravity that would befit the cares of empire, and 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."That is true, that is the worst of it. The man, the writer, over whom the irresistible desire to mock at himself, his work, his puppets and their fortunes has power, will never be a novelist.
The novelist must "make believe very much"; he must be in earnest with his characters. But how to be in earnest, how to keep the note of disbelief and derision "out of the memorial"? Ah, there is the difficulty, but it is a difficulty of which many authors appear to be insensible. Perhaps they suffer from no such temptations.