A great deal can be said for either tradition; perhaps some editor will yet imagine a return to the earlier method. In the mean time we must deal with the thing that is, and submit to it until it is changed. The moral to the young contributor is to be better than ever, to leave nothing undone that shall enhance his small chances of acceptance.

If he takes care to be so good that the editor must accept him in spite of all the pressure upon his pages, he will not only be serving-himself best, but may be helping the editor to a conception of his duty that shall be more hospitable to all other young contributors. As it is, however, it must be owned that their hope of acceptance is very, very small, and they will do well to make sure that they love literature so much that they can suffer long and often repeated disappointment in its cause.

The love of it is the great and only test of fitness for it. It is really inconceivable how any one should attempt it without this, but apparently a great many do. It is evident to every editor that a vast number of those who write the things he looks at so faithfully, and reads more or less, have no artistic motive.

People write because they wish to be known, or because they have heard that money is easily made in that way, or because they think they will chance that among a number of other things. The ignorance of technique which they often show is not nearly so disheartening as the palpable fact.i.tiousness of their product. It is something that they have made; it is not anything that has grown out of their lives.

I should think it would profit the young contributor, before he puts pen to paper, to ask himself why he does so, and, if he finds that he has no motive in the love of the thing, to forbear.

Am I interested in what I am going to write about? Do I feel it strongly? Do I know it thoroughly? Do I imagine it clearly? The young contributor had better ask himself all these questions, and as many more like them as he can think of. Perhaps he will end by not being a young contributor.

But if he is able to answer them satisfactorily to his own conscience, by all means let him begin. He may at once put aside all anxiety about style; that is a thing that will take care of itself; it will be added unto him if he really has something to say; for style is only a man's way of saying a thing.

If he has not much to say, or if he has nothing to say, perhaps he will try to say it in some other man's way, or to hide his own vacuity with rags of rhetoric and tags and fringes of manner, borrowed from this author and that. He will fancy that in this disguise his work will be more literary, and that there is somehow a quality, a grace, imparted to it which will charm in spite of the inward hollowness. His vain hope would be pitiful if it were not so shameful, but it is destined to suffer defeat at the first glance of the editorial eye.

If he really has something to say, however, about something he knows and loves, he is in the best possible case to say it well. Still, from time to time he may advantageously call a halt, and consider whether he is saying the thing clearly and simply.

If he has a good ear he will say it gracefully, and musically; and I would by no means have him aim to say it barely or sparely. It is not so that people talk, who talk well, and literature is only the thought of the writer flowing from the pen instead of the tongue.

To aim at succinctness and brevity merely, as some teach, is to practice a kind of quackery almost as offensive as the charlatanry of rhetoric.

In either case the life goes out of the subject.

To please one's self, honestly and thoroughly, is the only way to please others in matters of art. I do not mean to say that if you please yourself you will always please others, but that unless you please yourself you will please no one else. It is the sweet and sacred privilege of work done artistically to delight the doer. Art is the highest joy, but any work done in the love of it is art, in a kind, and it strikes the note of happiness as nothing else can.

We hear much of drudgery, but any sort of work that is slighted becomes drudgery; poetry, fiction, painting, sculpture, acting, architecture, if you do not do your best by them, turn to drudgery sore as digging ditches, hewing wood, or drawing water; and these, by the same blessings of G.o.d, become arts if they are done with conscience and the sense of beauty.

The young contributor may test his work before the editor a.s.says it, if he will, and he may know by a rule that is pretty infallible whether it is good or not, from his own experience in doing it. Did it give him pleasure? Did he love it as it grew under his hand? Was he glad and willing with it? Or did he force himself to it, and did it hang heavy upon him?

There is nothing mystical in all this; it is a matter of plain, every-day experience, and I think nearly every artist will say the same thing about it, if he examines himself faithfully.

If the young contributor finds that he has no delight in the thing he has attempted, he may very well give it up, for no one else will delight in it. But he need not give it up at once; perhaps his mood is bad; let him wait for a better, and try it again. He may not have learned how to do it well, and therefore he cannot love it, but perhaps he can learn to do it well.

The wonder and glory of art is that it is without formulas. Or, rather, each new piece of work requires the invention of new formulas, which will not serve again for another. You must apprentice yourself afresh at every fresh undertaking, and our mastery is always a victory over certain unexpected difficulties, and not a dominion of difficulties overcome before.

I believe, in other words, that mastery is merely the strength that comes of overcoming and is never a sovereign power that smooths the path of all obstacles. The combinations in art are infinite, and almost never the same; you must make your key and fit it to each, and the key that unlocks one combination will not unlock another.

VI.

There is no royal road to excellence in literature, but the young contributor need not be dismayed at that. Royal roads are the ways that kings travel, and kings are mostly dull fellows, and rarely have a good time. They do not go along singing; the spring that trickles into the mossy log is not for them, nor

"The wildwood flower that simply blows."

But the traveller on the country road may stop for each of these; and it is not a bad condition of his progress that he must move so slowly that he can learn every detail of the landscape, both earth and sky, by heart.

The trouble with success is that it is apt to leave life behind, or apart. The successful writer especially is in danger of becoming isolated from the realities that nurtured in him the strength to win success. When he becomes famous, he becomes precious to criticism, to society, to all the things that do not exist from themselves, or have not the root of the matter in them.

Therefore, I think that a young writer's upward course should be slow and beset with many obstacles, even hardships. Not that I believe in hardships as having inherent virtues; I think it is stupid to regard them in that way; but they oftener bring out the virtues inherent in the sufferer from them than what I may call the 'softships'; and at least they stop him, and give him time to think.

This is the great matter, for if we prosper forward rapidly, we have no time for anything but prospering forward rapidly. We have no time for art, even the art by which we prosper.

I would have the young contributor above all things realize that success is not his concern. Good work, true work, beautiful work is his affair, and nothing else. If he does this, success will take care of itself.

He has no business to think of the thing that will take. It is the editor's business to think of that, and it is the contributor's business to think of the thing that he can do with pleasure, the high pleasure that comes from the sense of worth in the thing done. Let him do the best he can, and trust the editor to decide whether it will take.

It will take far oftener than anything he attempts perfunctorily; and even if the editor thinks it will not take, and feels obliged to return it for that reason, he will return it with a real regret, with the honor and affection which we cannot help feeling for any one who has done a piece of good work, and with the will and the hope to get something from him that will take the next time, or the next, or the next.

LAST DAYS IN A DUTCH HOTEL

(1897)

When we said that we were going to Scheveningen, in the middle of September, the portier of the hotel at The Hague was sure we should be very cold, perhaps because we had suffered so much in his house already; and he was right, for the wind blew with a Dutch tenacity of purpose for a whole week, so that the guests thinly peopling the vast hostelry seemed to rustle through its chilly halls and corridors like so many autumn leaves. We were but a poor hundred at most where five hundred would not have been a crowd; and, when we sat down at the long tables d'hote in the great dining-room, we had to warm our hands with our plates before we could hold our spoons. From time to time the weather varied, as it does in Europe (American weather is of an exemplary constancy in comparison), and three or four times a day it rained, and three or four times it cleared; but through all the wind blew cold and colder. We were promised, however, that the hotel would not close till October, and we made shift, with a warm chimney in one room and three gas-burners in another, if not to keep warm quite, yet certainly to get used to the cold.

I.

In the mean time the sea-bathing went resolutely on with all its forms.

Every morning the bathing machines were drawn down to the beach from the esplanade, where they were secured against the gale every night; and every day a half-dozen hardy invalids braved the rigors of wind and wave.

At the discreet distance which one ought always to keep one could not always be sure whether these bold bathers were mermen or mermaids; for the sea costume of both s.e.xes is the same here, as regards an absence of skirts and a presence of what are, after the first plunge, effectively tights. The first time I walked down to the beach I was puzzled to make out some object rolling about in the low surf, which looked like a barrel, and which two bathing-machine men were watching with apparently the purpose of fishing it out. Suddenly this object reared itself from the surf and floundered towards the steps of a machine; then I saw that it was evidently not a barrel, but a lady, and after that I never dared carry my researches so far. I suppose that the bathing-tights are more becoming in some cases than in others; but I hold to a modest preference for skirts, however brief, in the sea-gear of ladies. Without them there may sometimes be the effect of beauty, and sometimes the effect of barrel.

For the convenience and safety of the bathers there were, even in the last half of September, some twenty machines, and half as many bath-men and bath-women, who waded into the water and watched that the bathers came to no harm, instead of a solitary lifeguard showing his statuesque shape as he paced the sh.o.r.e beside the lifelines, or cynically rocked in his boat beyond the breakers, as the custom is on Long Island. Here there is no need of life-lines, and, unless one held his head resolutely under water, I do not see how he could drown within quarter of a mile of the sh.o.r.e. Perhaps it is to prevent suicide that the bathmen are so plentifully provided.

They are a provision of the hotel, I believe, which does not relax itself in any essential towards its guests as they grow fewer. It seems, on the contrary, to use them with a more tender care, and to console them as it may for the inevitable parting near at hand. Now, within three or four days of the end, the kitchen is as scrupulously and vigilantly perfect as it could be in the height of the season; and our dwindling numbers sit down every night to a dinner that we could not get for much more love or vastly more money in the month of August, at any sh.o.r.e hotel in America.

It is true that there are certain changes going on, but they are going on delicately, almost silently. A strip of carpeting has come up from along our corridor, but we hardly miss it from the matting which remains.

Through the open doors of vacant chambers we can see that beds are coming down, and the dismantling extends into the halls at places. Certain decorative carved chairs which repeated themselves outside the doors have ceased to be there; but the pictures still hang on the walls, and within our own rooms everything is as conscientious as in midsummer. The service is instant, and, if there is some change in it, the change is not for the worse. Yesterday our waiter bade me good-bye, and when I said I was sorry he was going he alleged a boil on his cheek in excuse; he would not allow that his going had anything to do with the closing of the hotel, and he was promptly replaced by another who speaks excellent English. Now that the first is gone, I may own that he seemed not to speak any foreign language long, but, when cornered in English, took refuge in French, and then fled from pursuit in that to German, and brought up in final Dutch, where he was practically inaccessible.

The elevator runs regularly, if not rapidly; the papers arrive unfailingly in the reading-room, including a solitary London Times, which even I do not read, perhaps because I have no English-reading rival to contend for it with. Till yesterday, an English artist sometimes got it; but he then instantly offered it to me; and I had to refuse it because I would not be outdone in politeness. Now even he is gone, and on all sides I find myself in an unbroken circle of Dutch and German, where no one would dispute the Times with me if he could.

Every night the corridors are fully lighted, and some mornings swept, while the washing that goes on all over Holland, night and morning, does not always spare our unfrequented halls and stairs. I note these little facts, for the contrast with those of an American hotel which we once a.s.sisted in closing, and where the elevator stopped two weeks before we left, and we fell from electricity to naphtha-gas, and even this died out before us except at long intervals in the pa.s.sages; while there were lightning changes in the service, and a final failure of it till we had to go down and get our own ice-water of the lingering room-clerk, after the last bell-boy had winked out.

II.

But in Europe everything is permanent, and in America everything is provisional. This is the great distinction which, if always kept in mind, will save a great deal of idle astonishment. It is in nothing more apparent than in the preparation here at Scheveningen for centuries of summer visitors, while at our Long Island hotel there was a losing bet on a scant generation of them. When it seemed likely that it might be a winning bet the sand was planked there in front of the hotel to the sea with spruce boards. It was very handsomely planked, but it was never afterwards touched, apparently, for any manner of repairs. Here, for half a mile the dune on which the hotel stands is sh.o.r.ed up with ma.s.sive masonry, and bricked for carriages, and tiled for foot-pa.s.sengers; and it is all kept as clean as if wheel or foot had never pa.s.sed over it. I am sure that there is not a broken brick or a broken tile in the whole length or breadth of it. But the hotel here is not a bet; it is a business. It has come to stay; and on Long Island it had come to see how it would like it.

Beyond the walk and drive, however, the dunes are left to the winds, and to the vegetation with which the Dutch planting clothes them against the winds. First a coa.r.s.e gra.s.s or rush is sown; then a finer herbage comes; then a tough brushwood, with flowers and blackberry-vines; so that while the seaward slopes of the dunes are somewhat patched and tattered, the landward side and all the pleasant hollows between are fairly held against such gales as on Long Island blow the lower dunes. .h.i.ther and yon.

The sheep graze in the valleys at some points; in many a little pocket of the dunes I found a potato-patch of about the bigness of a city lot, and on week-days I saw wooden-shod men slowly, slowly gathering in the crop.

On Sundays I saw the pleasant nooks and corners of these sandy hillocks devoted, as the dunes of Long Island were, to whispering lovers, who are here as freely and fearlessly affectionate as at home. Rocking there is not, and cannot be, in the nature of things, as there used to be at Mount Desert; but what is called Twoing at York Harbor is perfectly practicable.