On Falling in Love

I DARESAY, if one were a woman, one would like to marry a man who was capable of doing this, but not quite one who had done so. It is just a little bit abject, and somehow just a little bit gross; and marriages in which one of the parties has been thus battered into consent scarcely form agreeable subjects for meditation.*

Love should run out to meet love with open arms. Indeed, the ideal story is that of two people who go into love step for step, with a fluttered consciousness, like a pair of children venturing together into a dark room. From the first moment when they see each other, with a pang of curiosity, through stage after stage of growing pleasure and embarrassment, they can read the expression of their own trouble in each other’s eyes. There is here no declaration, properly so called; the feeling is so plainly shared, that as soon as the man knows what it is in his own heart, he is sure of what it is in the woman’s.

abridged

Abridged from ‘The works of Robert Louis Stevenson: Volume III: Miscellanies’ (1895) by Robert Louis Stevenson (1850-1894).

If any English author has achieved this alchemy, and made dogged suitors into sympathetic characters, it is P. G. Wodehouse. “I am a married man,” says a Whisky-and-Splash to Mr Mulliner in A Few Quick Ones (1959), “and it took me two years and more boxes of chocolates than I care to think of to persuade the lady who is now my wife to sign on the dotted line.” One of Wodehouse’s own favourites from among his novels was Sam the Sudden (1925), in which Sam Shotter pursues Kay Derrick with a particularly unwavering determination. Eve Halliday, in Leave it to Psmith (1923), has to put up with two such suitors at once.

Précis
For a woman to be pursued relentlessly, said Stevenson, might be romantic in theory; but in practice, it is perhaps rather alarming. Better to find a partner with whom one can walk hand-in-hand into love, with whom love is a shared adventure in which each knows what the other is feeling without needing to be told.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

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