Rochefoucauld[53] spent fifteen years over his little book of Maxims, altering some of them thirty times. Rogers admitted that he had more than once spent ten days upon a single verse before he turned it to suit him. Vaugelas, the great French scholar, devoted twenty years to his admirable translation of "Quintus Curtius."

Some authors have produced with such rapidity as to approach improvisation. Perhaps the most remarkable instance of this was in the case of Lope de Vega, who composed and wrote a versified drama in a single day, and is known to have done so for seven consecutive days.

Contemporary with Shakespeare and Cervantes, De Vega has left behind him two thousand original dramas sparkling with vivacity of dialogue and richness of invention. Soldier, duellist, poet, sailor, and priest, his long life was one of intense activity and adventure.[54] The name of Hardy, the French dramatic author and actor, occurs to us in this connection; though an inferior genius to De Vega, he wrote over six hundred original dramas. He was considered the first dramatic writer of the days of Henry IV. and Louis XIII., before whom Hardy often appeared upon the stage personating the heroes of his own dramas.

Prynne, the English antiquary, politician, and pamphlet-writer, sat down early in the morning to his composition. Every two hours his man brought him a roll and a pot of ale as refreshment; and so he continued until night, when he partook of a hearty dinner. One of his pamphlets was ent.i.tled "A Scourge for Stage-Players," which was considered so scurrilous that the Star-Chamber sentenced him to pay a heavy fine, to be exposed in the pillory, to lose his ears, and to be imprisoned for life. He was finally released from prison. While he was confined in the pillory, a pyramid of his offending pamphlets was made close at hand, to windward of his position, and set on fire, so that the author was very nearly choked to death by the smoke. He was almost as incessant and inveterate a writer as Petrarch, and considered being debarred from pen and ink an act more barbarous than the loss of his ears. However, he partially obviated his want of the usual facilities by writing a whole volume on his prison walls while confined in the Tower of London.

Byron wrote the "Corsair" in ten days, which was an average of nearly two hundred lines a day,--a fact which he acknowledged to Moore with a degree of shame. He said he would not confess it to everybody, considering it to be a humiliating fact, proving his own want of judgment in publishing, and the public in reading, "things which cannot have stamina for permanent attention." The surpa.s.sing beauty of the "Corsair," however, excuses all the author said or did in connection with it. It may nevertheless be affirmed that, as a rule, no great work has ever been performed with ease, or ever will be accomplished without encountering the throes of time and labor. Dante, we remember, saw himself "growing lean" over his "Divine Comedy." Mary Russell Mitford, the charming English auth.o.r.ess, dramatist, poet, and novelist, who so excelled in her sketches of country life, says of herself: "I write with extreme slowness, labor, and difficulty; and, whatever you may think, there is a great difference of facility in different minds. I am the slowest writer, I suppose, in England, and touch and retouch incessantly." Her life was one of constant labor and self-abnegation in behalf of a worthless, selfish, and imperious father. He was a robust, showy, wasteful profligate, and a gambler. A doctor by profession, he was a spendthrift and sensualist by occupation. He contracted a venal marriage with an heiress much older than himself, and after squandering her entire fortune he fell back upon his daughter as the bread-winner for the whole family. By a remarkable chance she became the possessor of a great lottery prize, from which she realized twenty thousand pounds, every penny of which her beastly father drank and gambled away. Still, the devotion and industry of the daughter never waned for a moment. Her patient struggles have placed her name on the roll of fame, while her father's has sunk into deserved oblivion.

De Tocqueville wrote to his publishers: "You must think me very slow.

You would forgive me if you knew how hard it is for me to satisfy myself, and how impossible it is for me to finish things incompletely."

Horace suggested that authors should keep their literary productions from the public eye for at least nine years, which certainly ought to produce "the well-ripened fruit of sage delay." After a labor of eleven years Virgil p.r.o.nounced his aeneid imperfect. This recalls the Italian saying, "One need not be a stag, neither ought one to be a tortoise."

Ta.s.so's ma.n.u.script, which is still extant, is almost illegible because of the number of alterations which he made after having written it.

Montaigne, "the Horace of Essayists," could not be induced, so lazy and self-indulgent was he, to even look at the proof-sheets of his writings.

"I add, but I correct not," he said.

The writer of these pages has seen the original draft of Longfellow's "Excelsior," so interlined and amended to suit the author's taste as to make the ma.n.u.script rather difficult to decipher. The poet wrote a back-hand, as it is called; that is, the letters sloped in the opposite direction from the usual custom, and as a rule his writing was remarkably legible. Coleridge was very methodical as to the time and place of his composition. He told Hazlitt that he liked to compose walking over uneven ground, or making his way through straggling branches of undergrowth in the woods; which was a very affected and erratic notion, and might better have been "whipped out of him."[55]

Wordsworth, on the contrary, found his favorite place for composing his verses in walking back and forth upon the smooth paths of his garden, among flowers and creeping vines. Hazlitt, in a critical a.n.a.lysis of the two poets, traces a likeness to the style of each in his choice of exercise while maturing his thoughts,--which, it would seem to us, is a subtile deduction altogether too fine to signify anything.

Charles Dibdin, the famous London song-writer and musician, whose sea-songs as published number over a thousand, caught his ideas "on the fly." As an example, he was at a loss for something new to sing on a certain occasion. A friend was with him in his lodgings and suggested several themes. Suddenly the jar of a ladder against the street lamp-post under his window was heard. It was a hint to his fertile imagination, and Dibdin exclaimed, "The Lamplighter! That's it; first-rate idea!" and stepping to the piano he finished both song and words in an hour, and sang them in public with great eclat that very night, under the t.i.tle of "Jolly d.i.c.k, the Lamplighter." Like nearly all such mercurial geniuses, Dibdin was generous, careless, and improvident in his habits, dying at last poor and neglected.

Dr. Johnson was so extremely short-sighted that writing, re-writing, and correcting upon paper were very inconvenient for him; he was therefore accustomed to revolve a subject very carefully in his mind, forming sentences and periods with minute care; and by means of his remarkable memory he retained them with great precision for use and final transmission to paper. When he began, therefore, with pen in hand, his production of copy was very rapid, and it required scarcely any corrections. Boswell says that posterity will be astonished when they are told that many of these discourses, which might be supposed to be labored with all the slow attention of literary leisure, were written in haste, as the moments pressed, without even being read over by Johnson before they were printed. Sir John Hawkins says that the original ma.n.u.scripts of the "Rambler" pa.s.sed through his hands, "and by the perusal of them I am warranted to say, as was said of Shakespeare by the players of his time, that he never blotted a line." Johnson tells us that he wrote the life of Savage in six-and-thirty hours. He also wrote his "Hermit of Teneriffe" in a single night. When we consider the amount of literary work performed by Johnson, say in the period of seven years, while "he sailed a long and painful voyage round the world of the English language," and produced his dictionary, we must give him credit for the most remarkable industry and great rapidity of production.

During these seven years he found time also to complete his "Rambler,"

the "Vanity of Human Wishes," and his tragedy, besides several minor literary performances. No wonder he developed hypochondria. Burke was a very slow and painstaking producer; it is even said that he had all his works printed at a private press before submitting them to his publisher.

Hume was more rapid, even careless with his first edition of a work, but went on correcting each new one to the day of his death.[56] Macaulay, in his elaborate speeches, did not write them out beforehand, but _thought_ them out, trusting to his memory to recall every epigrammatic statement and every felicitous epithet which he had previously forged in his mind, so that when the time came for their delivery they appeared to spring forth as the spontaneous outpouring of his feelings and sentiments, excited by the questions discussed. Wendell Phillips followed a similar method.

Thomas Paine, the political and deistical writer, was under contract to furnish a certain amount of matter for each number of the "Pennsylvania Magazine." Aitken the publisher had great difficulty in getting him to fulfil his agreement. Paine's indolence was such that he was always behindhand with his engagements. Finally, after it had become too late to delay longer, Aitken would go to his house, tell him the printers were standing idle waiting for his copy, and insist upon his accompanying him to the office. Paine would do so, when pen, ink, and paper would be placed before him, and he would sit thoughtfully, but produce nothing until Aitken gave him a large gla.s.s of brandy. Even then he would delay. The publisher naturally feared to give him a second gla.s.s, thinking that it would disqualify him altogether, but, on the contrary, his brain seemed to be illumined by it, and when he had swallowed the third gla.s.s,--quite enough to have made Mr. Aitken dead drunk,--he would write with rapidity, intelligence, and precision, his ideas appearing to flow faster than he could express them on paper. The copy produced under the fierce stimulant was remarkable for correctness, and fit for the press without revision.[57]

Charlotte Bronte was a very slow producer of literary work, and was obliged to choose her special days. Often for a week, and sometimes longer, she could not write at all; her brain seemed to be dormant.

Then, without any premonition or apparent inducing cause, she would awake in the morning, go to her writing-desk, and the ideas would come with more rapidity than she could pen them. Mrs. Gaskell the novelist, a friend of the Brontes, was exactly the opposite in her style of composition. She could sit down at any hour and lose herself in the process of the story she was composing. She was also a prolific auth.o.r.ess, of whom George Sand said: "She has done what neither I nor other female writers in France can accomplish; she has written novels which excite the deepest interest in men of the world, and which every girl will be the better for reading." Bacon[58] often had music played in the room adjoining his library, saying that he gathered inspiration from its strains. Warburton said music was always a necessity to him when engaged in intellectual labor. Curran, the great Irish barrister, had also his favorite mode of meditation; it was with his violin in hand. He would seem to forget himself, running voluntaries over the strings, while his imagination, collecting its tones, was kindling and invigorating all his faculties for the coming contest at the bar. Bishop Beveridge adopted Bacon's plan, and said, "When music sounds sweetest in my ears, truth commonly flows the clearest in my mind." Even the cold, pa.s.sionless Carlyle said music was to him a kind of inarticulate speech which led him to the edge of the infinite, and permitted him for a moment to gaze into it.

John Foster, the English essayist, declared that the special quality of genius was "the power to light its own fire;" and certainly Sir Walter Scott was a shining example of this truth. Sh.e.l.ley, a poet of finer but less robust fibre, decided that "the mind, in creating, is as a fading coal, which some pa.s.sing influence, like an invisible wind, wakens into momentary brightness."

As already remarked, ten years transpired between the first sketch of the "Traveller," which was made in Switzerland, and its publication; but the history of the "Vicar of Wakefield" was quite different. Goldsmith hastened the closing pages to raise money, being terribly pressed for the payment of numerous small bills, and also by his landlady for rent.

He was actually under arrest for this last debt, and sent to Dr. Johnson to come to him at once. Understanding very well what was the trouble, Johnson sent him a guinea, and came in person as soon as he could. He found, on arriving, that Goldsmith had already broken the guinea and was drinking a bottle of wine purchased therewith. The Doctor put the cork into the bottle, and began to talk over the means of extricating the impecunious author from his troubles. Goldsmith told Johnson that he had just finished a small book, and wished he would look at it; perhaps it would bring in some money. He brought forth the ma.n.u.script of the "Vicar of Wakefield." Johnson hastily glanced over it, paused, read a chapter carefully, bade Goldsmith to be of good cheer, and hastened away with the new story to Newbury the publisher, who, solely on Johnson's recommendation, gave him sixty pounds for the ma.n.u.script and threw it into his desk, where it remained undisturbed for two years.[59]

A voluminous writer once explained to Goldsmith the advantage of employing an amanuensis. "How do you manage it?" asked Goldsmith. "Why, I walk about the room and dictate to a clever man, who puts down very correctly all that I tell him, so that I have nothing to do but to look it over and send it to the printers." Goldsmith was delighted with the idea, and asked his friend to send the scribe to him. The next day the penman came with his implements, ready to catch his new employer's words and to record them. Goldsmith paced the room with great thoughtfulness, just as his friend had described to him, back and forth, back and forth, several times; but after racking his brain to no purpose for half an hour, he gave it up. He handed the scribe a guinea, saying, "It won't do, my friend; I find that my head and hand must work together."

Milton dictated that immortal poem, "Paradise Lost," his daughters being his amanuenses; but Milton was then blind. It is said of Julius Caesar that while writing a despatch he could at the same time dictate seven letters to as many clerks. This seems almost miraculous; but in our own day Paul Morphy has performed quite as difficult a feat at chess, playing several games at once, blindfolded.

One of the most eminent and eloquent of American preachers and lecturers, Thomas Starr King, was accustomed to dictate to an amanuensis; but when a difficulty would occur in developing his thought, he would take the pen in his own hand, and, abstracting himself entirely from the wondering reporter by his side, would spend perhaps half an hour in deeper thinking and more exact expression than when he dictated.

Those who have examined his ma.n.u.script since his death easily perceive that the portions of a sermon or a lecture which he personally wrote are better than those which he poured forth to his amanuensis as he walked the room. On one occasion a friend who was in favor of making the pen and brain work together went to hear Mr. King deliver a lecture on Pope Gregory VII. (Hildebrand), and at its conclusion told the lecturer that he could distinguish, without seeing the ma.n.u.script, the portions he wrote with his own hand from those he dictated. He succeeded so well, in the course of half an hour's conversation, as to surprise the orator by hitting on the pa.s.sages in dispute, and proving his case.

To write an acceptable book, poem, or essay, is quite as much of a trade as to make a clock or shoe a horse. To produce easy-flowing sentences, as they finally appear before the reader's eye, has cost much careful thought, long and patient practice, and even with some famous authors, as we have seen, many hours of writing and re-writing. So far as it is applied to authorship, we are not surprised at Hogarth's remark: "I know no such thing as genius; genius is nothing but labor and diligence."

Buffon's definition is nearly the same; he says, "Genius is only great patience." Authors are generally very commonplace representatives of humanity, and remarkably like the average citizen whom we meet in our daily walk. Rogers, in his "Table Talk," says: "When literature is the sole business of life, it becomes a drudgery; when we are able to resort to it only at certain hours, it is a charming relaxation. In my early years I was a banker's clerk, obliged to be at the desk every day from ten to five o'clock, and I shall never forget the delight with which, on returning home, I used to read and write during the evening." He was a great reader, but said that "a man who attempts to read all the new publications must often do as a flea does--skip."[60]

To recur to Charles d.i.c.kens, is it generally known that his favorite novel of "David Copperfield" partially relates to the history of his own boyhood? The story of David's employment, when a child, in washing and labelling blacking-bottles in a London cellar, was true of d.i.c.kens himself. If it were possible to read between the lines, we should not infrequently find the most effective narrative sketches little less than biography or autobiography. Thackeray and d.i.c.kens both wrote under the thin gauze of fiction. "Vivian Gray" is but a photograph of its dilettante author; and every character drawn by Charlotte Bronte is a true portrait, all being confined within so small a circle as to be easily recognizable. Smollett sat for his own personality in that of Roderick Random; while Scott drew many of his most strongly individualized characters, like that of Dominie Sampson, from people in his immediate circle.

Coleridge says of Milton: "In 'Paradise Lost,' indeed in every one of his poems, it is Milton himself whom you see. His Satan, his Adam, his Raphael, almost his Eve, are all John Milton; and it is a sense of this intense egotism that gives one the greatest pleasure in reading Milton's works." It is well known that many of Byron's[61] poetical plots are almost literally his personal experiences. This was especially the case as to the "Giaour." A beautiful female slave was thrown into the sea for infidelity, and was terribly avenged by her lover, while Byron was in the East; being impressed with the dramatic character of the tragedy, he gave it expression in a poem. Carlyle says that Satan was Byron's grand exemplar, the hero of his poetry, and the model, apparently, of his conduct. In Bulwer-Lytton's "Disowned," one of his earliest and best stories, the hero, Clarence Linden, a youth of eighteen, while journeying as a pedestrian, makes the acquaintance of a free-and-easy person named Cole,--a gypsy king,--in whose camp he pa.s.ses the night: all of which was an actual experience of Bulwer himself. Hans Christian Andersen gives us many of his personal experiences in his popular tale, "Only a Fiddler;" so is "Gilbert Gurney," a novel by Theodore Hook, a biography of himself as a practical joker. It will thus be seen that authors do not always draw entirely upon the imagination for incidents, characters, and plot, but that there is from first to last a large amount of actual truth in seeming fiction.

When Goldsmith was a lad of fifteen or there-about, some one gave him a guinea, with which, and a borrowed horse, he set out for a holiday trip.

He got belated when returning, and, inquiring of a stranger if he would point out to him a house of entertainment, was mischievously directed to the residence of the sheriff of the county. Here he knocked l.u.s.tily at the door, and sending his horse to the stable, ordered a good supper, inviting the "landlord" to drink a bottle of wine with him. The next morning, after an ample breakfast, he offered his guinea in payment, when the squire, who knew Goldsmith's family, overwhelmed him with confusion by telling him the truth. Thirty years afterwards Goldsmith availed himself of this humiliating blunder at the time he wrote that popular comedy, "She Stoops to Conquer." When Goldsmith was talking to a friend of writing a fable in which little fishes were to be introduced, Dr. Johnson, who was present, laughed rather sneeringly. "Why do you laugh?" asked Goldsmith, angrily. "If you were to write a fable of little fishes, you would make them speak like whales!" The justice of the reproof was perfectly apparent to Johnson, who was conscious of Goldsmith's superior inventiveness, lightness, and grace of composition.

Speaking of authors writing from their own personal experience recalls a name which we must not neglect to mention. Laurence Sterne, author of "Tristram Shandy," various volumes of sermons, the "Sentimental Journey," etc., was a curious compound in character, but possessed of real genius. He was quite a sentimentalist in his writings, and those who did not know him personally would accredit him with possessing a tender heart. The fact was, however, as Horace Walpole said of him, "He had too much sentiment to have any feeling." His mother, who had run in debt on account of an extravagant daughter, would have been permitted to remain indefinitely in jail, but for the kindness of the parents of her pupils. Her son Laurence heeded her not. "A dead a.s.s was more important to him than a living mother," says Walpole. Sterne also used his wife very ill. One day he was talking to Garrick in a fine sentimental manner in praise of conjugal love and fidelity. "The husband," said Sterne, "who behaves unkindly to his wife, deserves to have his house burned over his head." Garrick's reply was only just: "If you think so, I hope _your_ house is insured." He is known to have been engaged to a Miss Fourmantel for five years, and then to have jilted her so cruelly that she ended her days in a mad-house. Such was the great Laurence Sterne.

It was poetical justice that he should repent at leisure of his subsequent hasty marriage to one whom he had known only four weeks. He twice visited the lady whom he had deceived, in the establishment where she was confined; and the character of Maria, whom he so pathetically describes, is drawn from her, showing how cheaply he could coin his pretended feelings. Contradictions in character are often ludicrous, and go to show that the author and the man are seldom one. What can be more contradictory in the nature of the same individual than Sterne whining over a dead a.s.s and neglecting to relieve a living mother; or Prior addressing the most romantic sonnets to his Chloe, and at the same time indulging a sentimental pa.s.sion for a barmaid?

Goldsmith's "Deserted Village," according to Mr. Best, an Irish clergyman, relates to the scenes in which Goldsmith was himself an actor. Auburn is a poetical name for the village of Lissoy, county of Westneath. The name of the schoolmaster was Paddy Burns. "I remember him well," says Mr. Best; "he was indeed a man severe to view. A woman called Walsey Cruse kept the ale-house. I have often been within it. The hawthorn bush was remarkably large, and stood in front of the ale-house." The author of the "Deserted Village," however, made his best contemporary "hit" with his poem of the "Traveller." He always distrusted his poetic ability, and this poem was kept on hand some years after it was completed, before he published it in 1764. It pa.s.sed through several editions in the first year, and proved a golden harvest to Newbury the publisher; but Goldsmith received only twenty guineas for the ma.n.u.script.

The character of Sober, in Johnson's "Idler," is a portrait of himself; and he admitted more than once that he had his own outset in life in his mind when he wrote the Eastern story of "Gelaleddin." Is not "Tristram Shandy" a synonym for its author, Sterne? Hazlitt and many others fuse the personality of the author of the "Imaginary Conversations" with this admirable work from his pen: certainly a high compliment to Landor, if the portraiture is a likeness. Walter Savage Landor[62] was a most erratic genius, a man of uncontrollable pa.s.sions which led him into constant difficulties; at times he must have been partially deranged. In all his productions he exhibits high literary culture; and being born to a fortune, he was enabled to adapt himself to his most fastidious tastes, though in the closing years of his life, having lost his money, he learned the meaning of that bitter word dependence. The severest critic must accord him the genius of a poet; but his literar reputation will rest upon his elaborate prose work, "Imaginary Conversations" of literary men and statesmen, upon which he was engaged for more than ten years. He lived to the age of ninety, and found solace in his pen to the last.

CHAPTER III.

As we have already remarked, authors are very much like other people, rarely coming up to the idea formed of them by enthusiastic readers.

They are pretty sure to have some idiosyncrasies more or less peculiar; and who, indeed, has not? To know the true character of these individuals, we should see them in their homes rather than in their books.

Having so lately spoken of Landor, we are reminded of another literary character who in many respects resembled him. William Beckford, the English author, utterly despised literary fame, and when he wrote he could afford to do so, for he was a millionnaire. His romance of "Vathek," as an Eastern tale, was p.r.o.nounced by the critics superior to "Ra.s.selas;" and indeed "Ra.s.selas, Prince of Abyssinia," is hardly in any sense an Eastern tale. "Johnson," says Macaulay, "not content with turning filthy savages, ignorant of their letters and gorged with raw steaks cut from living cows, into philosophers as eloquent and enlightened as himself or his friend Burke, and into ladies as accomplished as Mrs. Lennox or Mrs. Sheridan, transferred the whole domestic system of England to Egypt." Beckford read to Rogers one of his novels in which the hero was a Frenchman who was ridiculously fond of dogs, and in which his own life was clearly depicted. Even this millionnaire author was finally reduced to such necessity as obliged him to sell his private pictures for subsistence. The last which he disposed of was Bellini's portrait of the "Doge of Venice," which was bought for and hung in the National Gallery on the very day that Beckford died, in 1844.

Certainly those authors who give us their own personal experience as a basis for their sketches are no plagiarists. The late Wendell Phillips[63] delighted, in his lecture on the "Lost Arts," to prove that there was nothing new under the sun; a not uncongenial task for this "silver-tongued orator," who was an iconoclast by nature. So early as the age of twenty-five he relinquished the practice of the law because he was unwilling to act under an oath to the Const.i.tution of the United States. In one sense there is nothing new under the sun. Genius has not hesitated to borrow bravely from history and legend. The "Amphitrion" of Moliere was adopted from Plautus, who had borrowed it from the Greeks, and they from the Indians. Any one reading a collection of the Arabian stories for the first time will be surprised at meeting so many which are familiar, and which he had thought to be of modern birth. La Fontaine borrowed from Petronius the "Ephesian Matron," which had been taken from Greek annals, having been previously transferred from the Arabic, where it appeared taken from the Chinese. There is no ignoring the fact that a large portion of our plots belonged originally to Eastern nations. The graceful, attractive, and patriotic story of William Tell was proven by the elder son of Haller, a century ago, to have been, in the main features, but the revival of a Danish story to be found in Saxo Grammaticus. The interesting legend of the apple was but a fable revived. The English story of Whittington and his Cat was common two thousand years ago in Persia.

When the writer of these pages visited the grand temples of Nikko, in the interior of j.a.pan, he was told that the wonderfully preserved carvings beneath the eaves and on the inner walls, thousands of years old, were executed by one who was known as the "Left-Handed Artist," who was a dwarf, and had but partial use of the right hand. It seems, according to the local legend preserved for so many centuries, that while this artist was working at the ornamentation of the temples at Nikko he saw and fell in love with a beautiful j.a.panese girl resident in the city; for Nikko was then a city of half a million, though now but a straggling village. The girl would have nothing to do with the artist, on account of his deformity of person. All his attempts to win her affection were vain; she was inflexible. Finally the heart-broken artist returned to Tokio, his native place. Here be carved in wood a life-size figure of his beloved, so perfect and beautiful that the G.o.ds endowed it with life, and the sculptor lived with it as his wife, in the enjoyment of mutual love, all the rest of his days. Here, then, in j.a.pan, we have the legend upon which the Greek story of Pygmalion and Galatea is undoubtedly founded.

As regards the subject of plagiarism in general, which is so often spoken of as connected with literary productions, it should be remembered, as Ruskin says, that all men who have sense and feeling are being constantly helped. They are taught by every person whom they meet, and enriched by everything that falls in their way. The greatest is he who has been oftenest aided.[64] "Literature is full of coincidences,"

says Holmes, "which some love to believe plagiarisms. There are thoughts always abroad in the air, which it takes more wit to avoid than to hit upon."

It has been truthfully said that no man is quite sane; each one has a vein of folly in his composition, a view which would certainly seem to be ill.u.s.trated by circ.u.mstances which are easily recalled. Take, for instance, the fact that Schiller[65] could not write unless surrounded by the scent of decayed apples, with which he kept one drawer of his writing-desk well filled. Could we have a clearer instance of monomania?

He also required his cup of strong coffee when he was composing, and the coffee was well "laced" with brandy. Bulwer-Lytton, in his life of Schiller, declares that when he wrote at night he drank hock wine. As an opposite and much more agreeable habit, we have that of Mehul, the French composer, and author of over forty successful operas, who could not produce a note of original music except amid the perfume of roses.

His table, writing-desk, and piano were constantly covered with them; in this delicious atmosphere he produced his "Joseph in Egypt," which alone would have ent.i.tled him to undying fame.

Father Sarpi, who was Macaulay's favorite historian, best known as the author of the "History of the Council of Trent," having the idea that the atmosphere immediately about him became in a degree impregnated with the mental electricity of his brain, was accustomed to build a paper enclosure about his head and person while he was writing. "All air is predatory," he said. Salieri, the Venetian composer, prepared himself for writing by filling a capacious dish at his side with candy and bonbons, which he consumed in large quant.i.ties during the process.

Sarti, the well-known composer of sacred music, was obliged to work in the dark, or thought that he was, as daylight or artificial light of any sort at such moments utterly disconcerted him. Rossini, on the contrary, seemed to have no special ideas about his surroundings when he was in a mood for composing. He sat down among his friends, laughing and talking all the while that he was creating, and framing with marvellous rapidity strains that will live for all time. The whole of "Tancredi," which first made his fame, was produced in the very midst of social life and merry companionship. He said he found inspiration in the cheerful human voices about him. As to the peculiarities we have noted in others, they must at first have been mere affectations; but such is the force of habit, that no doubt these individuals became confirmed in them and really believed their indulgence a necessity.

Carneades, the Greek philosopher, so famed for his subtle and powerful eloquence, before sitting down to write dosed himself with h.e.l.lebore,--a strange resort, as it is supposed to act directly upon the liver, and only very slightly to stimulate the brain, besides being a fatal poison in large doses. It is well known that Dryden resorted to singular aids as preparatory to literary composition; being in the habit of first having himself bled and then making a meal of raw meat. The former process, he contended, rendered his brain clear, and the latter stimulated his imagination. In 1668 he held the position now filled by Tennyson, as poet-laureate of England. He was a notable instance of power in poetry, satire, and indecency, whom Cowper characterized as a lewd writer but a chaste companion. Dryden's own couplet will forcibly apply to himself:--

"O gracious G.o.d! how far have we Profaned thy heavenly gift of poesy!"

His "Essay on Dramatic Poesy," according to Dr. Johnson, ent.i.tled him to be considered the father of English criticism. His dramas, such as "Mariage a-la-Mode," "All for Love," "Don Sebastian," etc., were, by reason of their indecency, examples of perverted genius. He was sixty-six years old when he wrote his "Alexander's Feast," by far his best literary effort. While Macaulay calls him "an ill.u.s.trious renegade,"[66] Dr. Johnson says, "he found the English language brick and left it marble,"--a most superlative and ridiculous comment to be made by so erudite a critic.

When James Francis Stephens, the English entomologist, was about to write, he mounted a horse and arranged his thoughts and sentences while at full gallop. This was a plan that Sir Walter Scott also adopted when he wrote "Marmion," galloping up and down the sh.o.r.e of the Firth of Forth. But he concluded that he could do better pen-work in a more rational manner, so this practice did not become habitual with him.

Scott made an interesting confession when writing the third volume of "Woodstock." He declared that he had not the slightest idea how the story was to be wound up to a catastrophe. He said he could never lay out a plan for a novel and stick to it. "I only tried to make that which I wrote diverting and interesting, leaving the rest to fate." Sir David Dalrymple (afterwards Lord Hailes) was a voluminous author on historical and antiquarian subjects. His "Annals of Scotland," published in 1792, was his most important work; Dr. Johnson called it "a book which will always sell, it has such a stability of dates, such a certainty of facts, and such punctuality of citation." Lord Hailes's mode of writing was very domestic, so to speak, being performed by the parlor fire, and amid his family circle of wife and children. He was always ready to answer any appeal, however trifling, and to enter cheerfully into all current family affairs. This seems hardly reconcilable with the extreme nicety and absolute correctness of his work.

Cormontaigne, the French military engineer, wrote an elaborate treatise on fortification in the trenches and while under fire. The Duke of Wellington, when his army was at San Christoval awaiting battle with the French, wrote a complete essay on the purpose of establishing a bank at Lisbon after the English methods. Thomas Hood wrote at night, when the house was still and the children asleep. Ouida[67] writes with her dogs only as companions, while they lie contentedly at her feet in the bright sunny library whose windows overlook the valley of the Arno and her well-beloved Florence. In the flower-garden before the villa her favorite Newfoundland dog, not long since dead, lies buried beneath a marble monument. Her productive literary capacity is wonderfully rapid, but the demand far exceeds it, and the prices she receives are unprecedented. She has few if any intimate friends, and no confidants, leading a life of almost perfect isolation.

Notwithstanding common-sense and experience have ever taught that the brain is capable of producing its best work when in its normal condition, still a host of writers have resorted systematically to some sort of artificial stimulant to aid them in authorship. History tells us that aeschylus, Eupolis, Cratinus, and Ennius, in the olden time, would not attempt to compose until they had become nearly intoxicated with wine. In more modern times, we know that Shadwell, De Quincey, Psalmanazar the famous literary impostor, Coleridge, Robert Hall, and Bishop Horsley stimulated themselves with fabulous doses of opium.

Alfred de Musset, Burns, Edgar A. Poe, d.i.c.kens, Christopher North, and a host of others whose names will only too readily occur to the reader, were reckless as to the use of alcohol. They were both fed and consumed by stimulants. We are inclined, however, to forgive much of indiscretion in a brilliant and ardent imagination. Schiller, so lately referred to, was addicted to Rhenish wine in large quant.i.ties. Blackstone, author of "Commentaries on the Laws of England," remarkable for his clearness and purity of style, never wrote without a bottle of port by his side, which he emptied at a sitting.