'Across the leaf-strewn lanes, from bough to bough Like tissue woven in a fairy loom; And crimson-berried bryony garlands glow Through the leaf-tangled gloom.

'The woods are still, but for the sudden fall Of cupless acorns dropping to the ground, Or rabbit plunging through the fern-stems tall, Half-startled by the sound.

'And from the garden lawn comes, soft and clear, The robin's warble from the leafless spray, The low sweet Angelus of the dying year, Pa.s.sing in light away.'

PROSPERITY.

'I doubt if the maxims the Stoic adduces Be true in the main, when they state That our nature's improved by adversity's uses, And spoilt by a happier fate.

'The heart that is tried by misfortune and pain, Self-reliance and patience may learn; Yet worn by long waiting and wishing in vain, It often grows callous and stern.

'But the heart that is softened by ease and contentment, Feels warmly and kindly t'wards all; And its charity, roused by no moody resentment, Embraces alike great and small.

'So, although in the season of rain-storms and showers, The tree may strike deeper its roots, It needs the warm brightness of sunshiny hours To ripen the blossoms and fruits.'

Observe, not only the genuine merit of these five pieces, but the variety in the tones of thought: then compare them with similar productions of the days, say, of the once famous L.E.L.

And what holds good of verse holds infinitely better in respect to prose. The enormous improvement in our prose writers (I am not speaking of geniuses, remember, but of the generality), and their great superiority over writers of the same cla.s.s half a century ago, is mainly due to use. Sir Walter Scott, who, like most men of genuine power, had great generosity, once observed to a brother author, 'You and I came just in the nick of time.' He foresaw the formidable compet.i.tion that was about to take place, though he had no cause to fear it. I think in these days he would have had cause; not that I disbelieve in his genius, but that I venture to think he diffused it over too large an area. In such cases genius is overpa.s.sed by the talent which husbands its resources; in other words, Nature succ.u.mbs to second nature, as the wife in the patriarchal days (when _she_ grew patriarchal) succ.u.mbed to the handmaid. And after all, though we talk so glibly about genius, and profess to feel, though we cannot express, in what it differs from talent, are we quite so sure about this as we would fain persuade ourselves? At all events, it cannot surely be contended that a man of genius always writes like one; and when he does not, his work is often inferior to the first-rate production of a man of talent. For my own part, I am not sure whether (with the exception, perhaps, of the highest gifts of song) the whole distinction is not fanciful.

We are ready enough in ordinary matters to allow that 'practice makes perfect,' and the limit of that principle is yet to be found. Moreover, the vast importance of exclusive application is almost unknown. We see it, indeed, in men of science and in lawyers, but without recognition; nay, socially, it is even quoted against them. The mathematician may be very eminent, but we find him dry; the lawyer may be at the head of his profession, but we find him dull; and it is observed on all sides how very little great A and great B, notwithstanding the high position they have earned for themselves in their calling, know of matters out of their own line. On the other hand, the man of whom it was said that 'science was his forte and omniscience his foible,' has left no enduring monument behind him; and so it must always be with mortals who have only fifty years of thought allotted to them at the very most, and who diffuse it. Everyone admits the value of application, but very few are aware how its force is wasted by diffusion: it is like a volatile essence in a bottle without a cork. When, on the other hand, it is concentrated--you may call it 'narrowed' if you please--there is hardly anything within its own sphere of action of which it is not capable. So many high motives (though also some mean ones) prompt us to make broad the bases of education, that any proposal to contract them must needs be thankless and unpopular; but it is certain that, among the upper cla.s.ses at least, the reason why so many men are unable to make their way in the world, is because, thanks to a too liberal education, they are Jacks of all trades and masters of none; and even as Jacks they cut a very poor figure.

How large and varied is the educational bill of fare set before every young gentleman in Great Britain; and to judge by the mental stamina it affords him in most cases, what a waste of good food it is! The dishes are so numerous and so quickly changed, that he has no time to decide on which he likes best. Like an industrious flea, rather than a bee, he hops from flower to flower in the educational garden, without one penny-worth of honey to show for it. And then--though I feel how degrading it is to allude to so vulgar a matter--how high is the price of admission to the feast in question! Its purveyors do not pretend to have filled his stomach, but only to have put him in the way of filling it for himself, whereas, unhappily, Paterfamilias discovers that that is the very thing that they have not done. His young Hopeful at twenty-one is almost as unable to run alone as when he first entered the nursery.

To discourse airily upon the beauties of cla.s.sical education, and on the social advantages of acquiring 'the tone' at a public school at whatever cost, is an agreeable exercise of the intelligence; but such arguments have been taken too seriously, and the result is that our young gentlemen are incapable of gaining their own living. It is not only that 'all the gates are thronged with suitors, all the markets overflow,' but even when the candidates are so fortunate as to attain admittance, they are still a burden upon their fathers for years, from having had no especial preparation for the work they have to do. Folks who can afford to spend 250 a year on their sons at Eton or Harrow, and to add another fifty or two for their support at the universities, do not feel this; but those who have done it without affording it--_i.e._, by cutting and contriving, if not by pinching and saving--feel their position very bitterly. There are hundreds of clever young men who are now living at home and doing nothing--or work that pays nothing, and even costs something for doing it--who might be earning very tolerable incomes by their pen if they only knew how, and had not wasted their young wits on Greek plays and Latin verses; nor do I find that the attractions of such objects of study are permanent, or afford the least solace to these young gentlemen in their enforced leisure.

The idea of bringing young people up to Literature is doubtless calculated to raise the eyebrows almost as much as the suggestion of bringing them up to the Stage. The notions of Paterfamilias in this respect are very much what they were fifty years ago. 'What! put my boy in Grub Street? I would rather see him in his coffin.' In his mind's eye he beholds Savage on his bunk and Chatterton on his deathbed. He does not know that there are many hundreds of persons of both s.e.xes who have found out this vocation for themselves, and are diligently pursuing it--under circ.u.mstances of quite unnecessary difficulty--to their material advantage. He is unaware that the conditions of literature in England have been as completely changed within a single generation as those of locomotion.

There are, it is true, at present no great prizes in literature such as are offered by the learned professions, but there are quite as many small ones--competences; while, on the other hand, it is not so much of a lottery. It is not necessary to marry an attorney's daughter, or a bishop's, to get on in it. The calling, as it is termed (I know not why, for it is often heavy enough), of 'light literature' is in such contempt, through ignorance on the one hand, and arrogance on the other, that one is almost afraid in such a connection to speak of merit; yet merit, or, at all events, apt.i.tude with diligence, is certain of success in it. A great deal has been said about editors being blind to the worth of unknown authors; but if so, they must be also blind (and this I have never heard said of them) to their own interests. It would be just as reasonable to accuse a recruiting sergeant of pa.s.sing by the stout six-feet fellows who wish to enlist with him, and for each of whom--directly or indirectly--he receives head-money. It is possible, of course, that one particular sergeant may be drunken, or careless of his own interests, but in that case the literary recruit has only to apply next door. The opportunities for action in the field of literature are now so very numerous that it is impossible that any able volunteer should be long shut out of it; and I have observed that the complaints about want of employment come almost solely from those unfit for service. Nay, in the ranks of the literaryarmy there are very many who should have been excluded. Few, if any, are there through favour; but the fact is, the work to be done is so extensive and so varied, that there is not a sufficiency of good candidates to do it. And of what is called 'skilled labour' among them there is scarcely any.

The question 'What can you do?' put by an editor to an aspirant, generally astonishes him very much. The aspirant is ready to do anything, he says, which the other will please to suggest. 'But what is your line in literature? What can you do best--not tragedies in blank verse, I hope?' Perhaps the aspirant here hangs his head; he _has_ written tragedies. In which case there is good hope for him, because it shows a natural bent. But he generally replies that he has written nothing as yet except that essay on the genius of Cicero (at which the editor has already shaken his head), and that defence of Mary Queen of Scots. Or perhaps he has written some translations of Horace, which he is surprised to find not a novelty; or some considerations upon the value of a feudal system. At four-and-twenty, in short, he is but an overgrown schoolboy. He has been taught, indeed, to acquire knowledge of a certain sort, but not the habit of acquiring; he has been taught to observe nothing; he is ignorant upon all the subjects that interest his fellow-creatures, and in his new ambition is like one who endeavours to attract an audience without having anything to tell them. He knows some Latin, a little Greek, a very little French, and a very very little of what are called the English cla.s.sics. He has read a few recent novels perhaps, but of modern English literature, and of that (to him at least) most important branch of it, English journalism, he knows nothing. His views and opinions are those of a public school, which are by no means in accordance with those of the great world of readers; or he is full of the cla.s.s prejudices imbibed at college. In short, he may be as vigorous as a Zulu, with the materials of a first-rate soldier in him, but his arms are only a club and an a.s.segai, and are of no service. Why should he not be fitted out in early life with literary weapons of precision, and taught the use of them?

I say, again, that poor Paterfamilias looking hopelessly about him, like Quintus Curtius in the riddle, for 'a nice opening for a young man,' is totally ignorant of the opportunities, if not for fame and fortune, at least for competency and comfort, that Literature now offers to a clever lad. He looks round him; he sees the Church leading nowhere, with much greater certainty of expense than income, and demanding a huge sum for what is irreverently termed 'gate money;' he sees the Bar, with its high road leading indeed to the woolsack, but with a hundred by-ways leading nowhere in particular, and full of turnpikes--legal tutors, legal fees, rents of chambers, etc.--which he has to defray; he sees Physic, at which Materfamilias sniffs and turns her nose up. 'Her Jack, with such agreeable manners, to become a saw-bones! Never!' He sees the army, and thinks, since Jack has such great abilities, it seems a pity to give him a red coat, which costs also considerably more than a black one; And how is Jack to live upon his pay?

After all, indeed, however prettily one puts it, the question is with him, not so much '_What_ is my Jack to be?' as '_How_ is my Jack to live?' To one who has any gift of humour there are few things more amusing than to observe how this vulgar, but really rather important inquiry, is ignored by those who take the subject of modern education in hand. They are chiefly schoolmasters, who are not so deep in their books but that they can spare a glance or two in the direction of their banker's account; or fellows of colleges who have no children, and therefore never feel the difficulties of supporting them. Heaven forbid that so humble an individual as myself should question their wisdom, or say anything about them that should seem to smack of irreverence; but I do believe that (with one or two exceptions I have in my mind) the system they have introduced among us is the Greatest Humbug in the universe. In the meantime poor Paterfamilias (who is the last man, they flatter themselves, to find this out) stands with his hands (and very little else) in his pockets, regarding his clever offspring, and wondering what he shall do with him. He remembers to have read about a man on his deathbed, who calls his children about him and thanks G.o.d, though he has left them nothing to live upon, he has given them a good education, and tries to extract comfort from the reminiscence. That he has spent money enough upon Jack's education is certain; something between two or three thousand pounds in all at least, the interest of which, it strikes him, would be very convenient just now to keep him.

But unfortunately the princ.i.p.al is gone and Jack isn't.

Now suppose--for one may suppose anything, however ridiculous--he had spent two or three hundred pounds at the very most, and brought him up to the Calling of Literature. He believes, perhaps, that it is only geniuses that succeed in it (in which case I know more geniuses than I had any idea of), and he doesn't think Jack a genius, though Jack's mother does. Or, as is more probable, he regards it as a hand-to-mouth calling, which to-day gives its disciples a five-pound note, and to-morrow five pence. He calls to mind a saying about Literature being a good stick, but not a good crutch--an excellent auxiliary, but no permanent support; but he forgets the all-important fact that the remark was made half a century ago.

Poor blind Paterfamilias--shall I couch you? If the operation is successful, I am sure you will thank me for it; but, on the other hand, I foresee I shall incur the greatest enmities. Should I encourage clever Jack, and, what is worse, a thousand Jacks who are not clever, to enter upon this vocation, what will editors say to me? I shall have to go about, perhaps, guarded with two policemen with revolvers, like an Irish gentleman on his landed estate. 'Is not the flood of rubbish to which we are already subjected,' I hear them crying, 'bad enough, without your pulling up the sluices of universal stupidity?' My suggestion, however, is intended to benefit them by clearing away the rubbish, and inducing a clearer and deeper stream for the turning of their mills. At the same time I confess that the lessening of Paterfamilias's difficulties is my main object. What I would open his eyes to is the fact that a calling, of the advantages of which he has no knowledge, _does_ present itself to clever Jack, which will cost him nothing but pens, ink, and paper to enter upon, and in which, if he has been well trained for it, he will surely be successful, since so many succeed in it without any training at all. Why should not clever Jack have this in view as much as the _ignes fatui_ of woolsacks and mitres? If it has no lord chancellorships, it has plenty of county court appointments; if it has no bishoprics, it has plenty of benefices--and really, as times go, some pretty fat ones.

On your breakfast-table, good Paterfamilias, there lies, every morning, a newspaper, and on Sat.u.r.day perhaps there are two or three. When you go out in the street, you are pestered to buy half a score more of them. In your club reading-room there are a hundred different journals. When you travel by the railway you see at every station a provincial newspaper of more or less extensive circulation. Has it never struck you that to supply these publications with their leading articles, there must be an immense staff of persons called journalists, professing every description of opinion, and advocating every conceivable policy? And do you suppose these gentry only get 70 a year for their work, like a curate; or 60, like a sub-lieutenant; or that they have to pay three times those sums for the privilege of belonging to the press, as a barrister does for belonging to his inn? Again, in London at least, there are as many magazines as newspapers, containing every kind of literature, the very contributors of which are so numerous, that they form a public of themselves. That seems at the first blush to militate against my suggestion, but though contributors are so common, and upon the whole so good--indeed, considering the conditions under which they labour, so wonderfully good--they are not (I have heard editors say) so good as they might be, supposing (for example) they knew a little of science, history, politics, English literature, and especially of the art of composition, before they volunteered their services. At present the ranks of journalistic and periodical literature are largely recruited from the failures in other professions. The bright young barrister who can't get a brief takes to literature as a calling, just as the man who has 'gone a cropper' in the army takes to the wine-trade.

And what aeons of time, and what millions of money, have been wasted in the meanwhile!

The announcement written on the gates of all the recognised professions in England is the same that would-be travellers read on the faces of the pa.s.sengers on the underground railway after office hours: 'Our number is complete, and our room is limited.' In literature, on the contrary, though its vehicles may seem as tightly packed, subst.i.tution can be effected. There may be persons travelling on that line in the first-cla.s.s who ought to be in the third, and indeed have no reasonable pretext for being there at all. And if clever Jack could show his ticket, he would turn them out of it.

Again, so far from the s.p.a.ce being limited, it is continually enlarging, and that out of all proportion to those who have tickets. We hear from its enemies that the Church is doomed, and from its friends that it is in danger; there is a small but energetic party who are bent on reducing the Army, and even on doing away with it; nay, so wicked and presumptuous has human nature grown, that mutterings are heard and menaces uttered against the delay and exactions of the Law itself; whereas Literature has no foes, and is enlarging its boundaries in all directions. It is all 'a-growing and a-blowing,' as the peripatetic gardeners say of their plants; but, unlike their wares, it has its roots deep in the soil and is an evergreen. Its promise is golden, and its prospects are boundless for every cla.s.s of writer.

In some excellent articles on Modern Literature in _Blackwood's Magazine_ the other day, this subject was touched upon with respect to fiction, and might well have filled a greater s.p.a.ce, for the growth of that description of literature of late years is simply marvellous.

Curiously enough, though France originated the _feuilleton_, it was from America and our own colonies that England seems to have taken the idea of publishing novels in newspapers. It was a common practice in Australia long before we adopted it; and, what is also curious, it was first acclimatised among us by our provincial papers. The custom is rapidly gaining ground in London, but in the country there is now scarcely any newspaper of repute which does not enlist the aid of fiction to attract its readers. Many of them are contented with very poor stuff, for which they pay a proportional price; but others club together with other newspapers--the operation has even received the technical term of 'forming a syndicate'--and are thereby enabled to secure the services of popular authors; while the newspapers thus arranged for are published at a good distance from one another, so as not to interfere with each other's circulation. Country journals, which are not so ambitious, instead of using an inferior article, will often purchase the 'serial right,' as it is called, of stories which have already appeared elsewhere, or have pa.s.sed through the circulating libraries. Nay, the novelist who has established a reputation has many more strings to his bow: his novel, thus published in the country newspapers, also appears coincidently in the same serial shape in Australia, Canada, and other British colonies, leaving the three-volume form and the cheap editions 'to the good.' And what is true of fiction is in a less degree true of other kinds of literature. Travels are 'gutted,' and form articles in magazines, ill.u.s.trated by the original plates; lectures, after having served their primary purpose, are published in a similar manner; even scientific works now appear first in the magazines which are devoted to science before performing their mission of 'popularising' their subject.

When speaking of the growth of readers, I have purposely not mentioned America. For the present the absence of copyright there is destroying both author and publisher; but the wheels of justice, though tardy, are making way there. In a few years that great continent of readers will be legitimately added to the audience of the English author, and those that have stolen will steal no more.

Nor, in our own country, must we fail to take notice of the establishment of School Boards. A generation hence we shall have a reading public almost as numerous as in America; even the very lowest cla.s.ses will have acquired a certain culture which will beget demands both for journalists and 'literary persons.' The harvest will be plenteous indeed, but unless my advice be followed in some shape or another, the labourers will be comparatively few and superlatively inadequate.

I am well aware how mischievous, as well as troublesome, would be the encouragement of mediocrity; and in stating these promising facts I have no such purpose in my mind. On the contrary, there is an immense amount of mediocrity already in literature, which I think my proposition of training up 'clever Jack' to that calling would discourage. I have no expectation of establishing a manufactory for genius--and indeed, for reasons it is not necessary to specify, I would not do it if I could.

But whereas all kinds of 'culture' have been recommended to the youth of Great Britain (and certainly with no limit as to the expense of acquisition), the cultivation of such natural faculties as imagination and humour (for example) has never been suggested. The possibility of such a thing will doubtless be denied. I am quite certain, however, that they are capable of great development, and that they may be brought to attain, if not perfection, at all events a high degree of excellence.

The proof, to those who choose to look for it, is plain enough even as matters stand. Use and opportunity are already producing scores of examples of it; if supplemented by early education they might surely produce still more.

There is so great and general a prejudice against special studies, that I must humbly conclude there is something in it. On the other hand, I know a large number of highly--that is broadly--educated persons, who are desperately dull. 'But would they have been less dull,' it may be asked, 'if they were also ignorant?' Yes, I believe they would. They have swallowed too much for digestions naturally weak; they have become inert, conceited, oppressive to themselves and others--Prigs. And I think that even clever young people suffer in a less degree from the same cause. Some one has written, 'Information is always useful.' This reminds me of the married lady, fond of bargains, who once bought a door-plate at a sale with 'Mr. Wilkins' on it. Her own name was Jones, but the doorplate was very cheap, and her husband, she argued, _might_ die, and then she might marry a man of the name of Wilkins. 'Depend upon it, everything comes in useful,' she said, 'if you only keep it long enough.'

This is what I venture to doubt. I have myself purchased several door-plates (quite as burthensome, but not so cheap as that good lady's), which have been of no sort of use to me, and are still on hand.

_STORY-TELLING._

The most popular of English authors has given us an account of what within his experience (and it was a large one) was the impression among the public at large of the manner in which his work was done. They pictured him, he says,

as a radiant personage whose whole time is devoted to idleness and pastime; who keeps a prolific mind in a sort of corn-sieve and lightly shakes a bushel of it out sometimes in an odd half-hour after breakfast. It would amaze their incredulity beyond all measure to be told that such elements as patience, study, punctuality, determination, self-denial, training of mind and body, hours of application and seclusion to produce what they read in seconds, enter in such a career ... correction and recorrection in the blotted ma.n.u.script; consideration; new observations; the patient ma.s.sing of many reflections, experiences, and imaginings for one minute purpose; and the patient separation from the heap of all the fragments that will unite to serve it--these would be unicorns and griffins to them--fables altogether.

And as it was, a quarter of a century ago, when those words were written, so it is now: the phrase of 'light literature' as applied to fiction having once been invented, has stuck, with a vengeance, to those who profess it.

Yet to 'make the thing that is not as the thing that is' is not (though it may seem to be the same thing) so easy as lying.

Among a host of letters received in connection with an article published in the _Nineteenth Century_, ent.i.tled 'The Literary Calling and its Future,' and which testify in a remarkable manner to the pressing need (therein alluded to) of some remunerative vocation among the so-called educated cla.s.ses, there are many which are obviously written under the impression that Dogberry's view of writing coming 'by nature' is especially true of the writing of fiction. Because I ventured to hint that the study of Greek was not essential to the calling of a story-teller, or of a contributor to the periodicals, or even of a journalist, these gentlemen seem to jump to the conclusion that the less they know of anything the better. Nay, some of them, discarding all theories (in the fashion that Mr. Carlyle's heroes are wont to discard all formulas), proceed to the practical with quite an indecent rapidity; they treat my modest hints for their instruction as so much verbiage, and myself as a mere convenient channel for the publication of their lucubrations. 'You talk of a genuine literary talent being always appreciated by editors,' they write (if not in so many words by implication); 'well, here is an admirable specimen of it (enclosed), and if your remarks are worth a farthing you will get it published for us, somewhere or another, _instanter_, and hand us over the cheque for it.

Nor are even these the most unreasonable of my correspondents; for a few, with many acknowledgments for my kindness in having provided a lucrative profession for them, announce their intention of throwing up their present less congenial callings, and coming up to London (one very literally from the Land's End) to live upon it, or, that failing (as there is considerable reason to expect it will), upon _me_.

With some of these correspondents, however, it is impossible (independent of their needs) not to feel an earnest sympathy; they have evidently not only aspirations, but considerable mental gifts, though these have unhappily been cultivated to such little purpose for the object they have in view that they might almost as well have been left untilled. In spite of what I ventured to urge respecting the advantage of knowing 'science, history, politics, English literature, and the art of composition,' they 'don't see why' they shouldn't get on without them. Especially with those who aspire to write fiction (which, by its intrinsic attractiveness no less than by the promise it affords of golden grain, tempts the majority), it is quite pitiful to note how they cling to that notion of 'the corn-sieve,' and cannot be persuaded that story-telling requires an apprenticeship like any other calling. They flatter themselves that they can weave plots as the spider spins his thread from (what let us delicately term) his inner consciousness, and fondly hope that intuition will supply the place of experience. Some of them, with a simplicity that recalls the days of d.i.c.k Whittington, think that 'coming up to London' is the essential step to this line of business, as though the provinces contained no fellow-creatures worthy to be depicted by their pen, or as though, in the metropolis, Society would at once exhibit itself to them without concealment, as fashionable beauties bare themselves to the photographers.

This is, of course, the laughable side of the affair, but, to me at least, it has also a serious one; for, to my considerable embarra.s.sment and distress, I find that my well-meaning attempt to point out the advantages of literature as a profession has received a much too free translation, and implanted in many minds hopes that are not only sanguine but Utopian.

For what was written in the essay alluded to I have nothing to reproach myself with, for I told no more than the truth. Nor does the unsettlement of certain young gentleman's futures (since by their own showing they were to the last degree unstable to begin with) affect me so much as their parents and guardians appear to expect; but I am sorry to have shaken however undesignedly, the 'pillars of domestic peace' in any case, and desirous to make all the reparation in my power. I regret most heartily that I am unable to place all literary aspirants in places of emolument and permanency out of hand; but really (with the exception perhaps of the Universal Provider in Westbourne Grove) this is hardly to be expected of any man. The gentleman who raised the devil, and was compelled to furnish occupation for him, affords in fact the only appropriate parallel to my unhappy case. 'If you can do nothing to provide my son with another place,' writes one indignant Paterfamilias, 'at least you owe it to him' (as if I, and not Nature herself, had made the lad dissatisfied with his high stool in a solicitor's office!) 'to give him some practical hints by which he may become a successful writer of fiction.'

One would really think that this individual imagined story-telling to be a sort of sleight-of-hand trick, and that all that is necessary to the attainment of the art is to learn 'how it's done.' I should not like to say that I have known any members of my own profession who are 'no conjurors,' but it is certainly not by conjuring that they have succeeded in it.

'You talk of the art of composition,' writes, on the other hand, another angry correspondent, 'as though it were one of the exact sciences; you might just as well advise your "clever Jack" to study the art of playing the violin.' So that one portion of the public appears to consider the calling of literature mechanical, while another holds it to be a soft of divine instinct!

Since the interest in this subject proves to be so wide-spread, I trust it will not be thought presumptuous in me to offer my own humble experience in this matter for what it is worth. To the public at large a card of admission to my poor manufactory of fiction--a 'very one-horse affair,' as an American gentleman, with whom I had a little difficulty concerning copyright, once described it--may not afford the same satisfaction as a ticket for the private view of the Royal Academy; but the stings of conscience urge me to make to Paterfamilias what amends in the way of 'practical hints' lie in my power, for the wrong I have done to his offspring; and I therefore venture to address to those whom it may concern, and to those only, a few words on the Art of Story-telling.

The chief essential for this line of business, yet one that is much disregarded by many young writers, is the having a story to tell. It is a common supposition that the story will come if you only sit down with a pen in your hand and wait long enough--a parallel case to that which a.s.signs one cow's tail as the measure of distance between this planet and the moon. It is no use 'throwing off' a few brilliant ideas at the commencement, if they are only to be 'pa.s.sages that lead to nothing;'

you must have distinctly in your mind at first what you intend to say at last. 'Let it be granted,' says a great writer (though not one distinguished in fiction), 'that a straight line be drawn from any one point to any other point;' only you must have the 'other point' to begin with, or you can't draw the line. So far from being 'straight,' it goes wabbling aimlessly about like a wire fastened at one end and not at the other, which may dazzle, but cannot sustain; or rather what it does sustain is so exceedingly minute, that it reminds one of the minnow which the inexperienced angler flatters himself he has caught, but which the fisherman has in fact previously put on his hook for bait.

This cla.s.s of writer is not altogether unconscious of the absence of dramatic interest in his composition. He writes to his editor (I have read a thousand such letters): 'It has been my aim, in the enclosed contribution, to steer clear of the faults of the sensational school of fiction, and I have designedly abstained from stimulating the unwholesome taste for excitement.' In which high moral purpose he has undoubtedly succeeded; but, unhappily, in nothing else. It is quite true that some writers of fiction neglect 'story' almost entirely, but then they are perhaps the greatest writers of all. Their genius is so transcendent that they can afford to dispense with 'plot;' their humour, their pathos, and their delineation of human nature are amply sufficient, without any such meretricious attraction; whereas our too ambitious young friend is in the position of the needy knife-grinder, who has not only no story to tell, but in lieu of it only holds up his coat and breeches 'torn in the scuffle'--the evidence of his desperate and ineffectual struggles with literary composition. I have known such an aspirant to instance Miss Gaskell's 'Cranford' as a parallel to the backboneless flesh-and-bloodless creation of his own immature fancy, and to recommend the acceptance of the latter upon the ground of their common rejection of startling plot and dramatic situation. The two compositions have certainly _that_ in common; and the flawless diamond has some things, such as mere sharpness and smoothness, in common with the broken beer-bottle.

Many young authors of the cla.s.s I have in my mind, while more modest as respects their own merits, are even still less so as regards their expectations from others. 'If you will kindly furnish me with a subject,' so runs a letter now before me, 'I am sure I could do very well; my difficulty is that I never can think of anything to write about. Would you be so good as to oblige me with a plot for a novel?' It would have been infinitely more reasonable of course, and much cheaper, for me to grant it, if the applicant had made a request for my watch and chain;[6] but the marvel is that folks should feel any attraction towards a calling for which Nature has denied them even the raw materials. It is true that there are some great talkers who have manifestly nothing to say, but they don't ask their hearers to supply them with a topic of conversation in order to be set agoing.