Library Notes

by A. P. Russell

REWARDS.

The Bishop of Llandaff was standing in the House of Lords, in company with Lords Thurlow and Loughborough, when Lord Southampton accosted him: "I want your advice, my lord; how am I to bring up my son so as to make him get forward in the world?" "I know of but one way," replied the bishop; "give him parts and poverty." Poussin, being shown a picture by a person of rank, remarked, "You only want a little poverty, sir, to make you a good painter."

"The advantage of riches remains with him who procured them, not with the heir." Yet, says Froude, "The man who with no labor of his own has inherited a fortune, ranks higher in the world's esteem than his father who made it. We take rank by descent. Such of us as have the longest pedigree, and are therefore the farthest removed from the first who made the fortune and founded the family, we are the noblest. The nearer to the fountain, the fouler the stream; and that first ancestor, who has soiled his fingers by labor, is no better than a parvenu."

Labor, curse though we call it, as things are, seems to be life's greatest blessing. "There is more fatigue," says Tom Brown, "and trouble in a lady than in the most laborious life; who would not rather drive a wheelbarrow with nuts about the streets, or cry brooms, than be Arsennus?" (a fine gentleman). When Sir Horace Vere died, it was asked what had occasioned his death; to which some one replied, "By doing nothing." "Too much idleness," said Burke, "fills up a man's time much more completely, and leaves him less his own master than any sort of employment whatsoever." What to do? how to do? become distressing questions to him, and he finds himself in as great extremity as the man in the story of the Persian poet: "I saw," says Saadi, "an Arab sitting in a circle of jewelers of Básráh, and relating as follows: 'Once on a time having missed my way in the desert, and having no provisions left, I gave myself up for lost; when I happened to find a bag full of pearls. I shall never forget the relish and delight that I felt on supposing it to be fried wheat; nor the bitterness and despair which I suffered on discovering that the bag contained pearls.'"

In the executive chamber one evening, there were present a number of gentlemen, among them Mr. Seward. A point in the conversation suggesting the thought, the president said, "Seward, you never heard, did you, how I earned my first dollar?" "No," rejoined Mr. Seward. "Well," continued Lincoln, "I was about eighteen years of age; I belonged, you know, to what they call down South the 'scrubs;' people who do not own slaves are nobody there. But we had succeeded in raising, chiefly by my labor, sufficient produce, as I thought, to justify me in taking it down the river to sell. After much persuasion, I got the consent of mother to go, and constructed a little flat-boat, large enough to take a barrel or two of things that we had gathered, with myself and little bundle, down to New Orleans. A steamer was coming down the river. We have, you know, no wharves on the Western streams; and the custom was, if passengers were at any of the landings, for them to go out in a boat, the steamer stopping and taking them on board. I was contemplating my new flat-boat, wondering whether I could make it stronger or improve it in any particular, when two men came down to the shore in carriages, with trunks, and looking at the different boats, singled out mine, and asked, 'Who owns this?' I answered, somewhat modestly, 'I do.' 'Will you,' said one of them, 'take us and our trunks out to the steamer?' 'Certainly,' said I. I was very glad to have the chance of earning something. I supposed that each of them would give me two or three bits. The trunks were put on my flat-boat, the passengers seated themselves on the trunks, and I sculled them out to the steamboat. They got on board, and I lifted up their heavy trunks, and put them on deck. The steamer was about to put on steam again, when I called out that they had forgotten to pay me. Each of them took from his pocket a silver half-dollar, and threw it on the floor of my boat. I could scarcely believe my eyes as I picked up the money. Gentlemen, you may think it was a very little thing, and in these days it seems to me a trifle; but it was a most important incident in my life. I could scarcely credit that I, a poor boy, had earned a dollar in less than a day,—that by honest work I had earned a dollar. The world seemed wider and fairer before me. I was a more hopeful and confident being from that time."

Only such persons interest us, it has been said, who have stood in the jaws of need, and have by their own wit and might extricated themselves, and made man victorious. Young and old, all of us, have been intensely interested in knowing what Robinson Crusoe was to do with his few small means. Wonderful Robert Burns! "While his youthful mother was still on the straw, the miserable clay cottage fell above her and the infant bard, who both narrowly escaped, first being smothered to death, and then of being starved by cold, as they were conveyed through frost and snow by night to another dwelling." While he was yet a child, the poverty of the family increased to wretchedness. The "cattle died, or were lost by accident; the crops failed, and debts were accumulating. To these buffetings of misfortune the family could oppose only hard labor and the most rigid economy. They lived so sparingly that butcher-meat was a stranger in their dwelling for years." "The farm proved a ruinous bargain," said the poet; "and to clinch the misfortune, we fell into the hands of a factor, who sat for the picture I have drawn of one in my tale of Twa Dogs. My indignation yet boils at the recollection of the scoundrel factor's insolent letters, which used to set us all in tears. This kind of life—the cheerless gloom of a hermit, with the unceasing moil of a galley-slave—brought me to my sixteenth year; a little before which period I first committed the sin of rhyme.... My passions, when once lighted up, raged like so many devils, till they got vent in rhyme; and then the conning over my verses, like a spell, soothed all into quiet."

Edmund Kean's early life was very wretched. It was after his marriage that we find him "strolling in the old misery, giving an entertainment at Dumfries to pay his lodging. One six-penny auditor alone came." (Once, we are told, he absented himself from his home in Exeter for three days. To the question of where he had been, he replied, grandiloquently, "I have been doing a noble action; I have been drinking these three days with a brother actor who is leaving Exeter, to keep up his spirits.") After rehearsal, and before his appearance at Drury Lane, he exclaimed prophetically, "My God! if I succeed I shall go mad!" Drunk with delight, he rushed home, and with half-frenzied incoherency poured forth the story of his triumph. "The pit rose at me!" he cried. "Mary, you shall ride in your carriage yet!" "Charles," lifting the child from his bed, "shall go to Eton." Then his voice faltered, and he murmured, "If Howard (his recently deceased child) had but lived to see it!"

Among the companions of Reynolds, when he was studying his art at Rome, was a fellow-pupil of the name of Astley. They made an excursion, with some others, on a sultry day, and all except Astley took off their coats. After several taunts he was persuaded to do the same, and displayed on the back of his waistcoat a foaming waterfall. Distress had compelled him to patch his clothes with one of his own landscapes. Henderson, the actor, after a simple reading of a newspaper, repeated such an enormous portion of it as seemed utterly marvelous. "If you had been obliged, like me," he said, in reply to the surprise expressed by his auditors, "to depend during many years for your daily bread on getting words by heart, you would not be so much astonished at habit having produced the facility." Amyot was a servant at college, and studied, like Ramus, by the light of burning charcoal from want of candles; but his translations earned him a mitre as well as renown. Duchâtel rose from being reader in a printing-office to be grand almoner of France; and was paid by the king to talk to him during his meals.

Excellence is not matured in a day, and the cost of it is an old story. The beginning of Plato's Republic was found in his tablets written over and over in a variety of ways. It took Virgil, it is stated, three years to compose his ten short eclogues; seven years to elaborate his Georgics, which comprise little more than two thousand verses; and he employed more than twelve years in polishing his Æneid, being even then so dissatisfied with it, that he wished before his death to commit it to the flames. Horace was equally indefatigable, and there are single odes in his works which must have cost him months of labor. Lucretius's one poem represents the toil of a whole life-time. Thucydides was twenty years writing his history, which is comprised in one octavo volume. Gibbon wrote the first chapter of his work three times before he could please himself. Montesquieu, alluding in a letter to one of his works, says to his correspondent, "You will read it in a few hours, but the labor expended on it has whitened my hair." Henri Beyle transcribed his History of Painting in Italy seventeen times. Sainte-Beuve often spent a whole week on two or three octavo pages. Gray was so fastidious in polishing and perfecting his Elegy, that he kept it nearly twenty years, touching it up and improving it. There is a poem of ten lines in Waller's works, which he himself informs us, took him a whole summer to put into shape. Malherbe would spoil half a quire of paper in composing and discomposing and recomposing a stanza. It is reckoned that during the twenty-five most prolific years of his life he composed no more than, on the average, thirty-three verses per annum. There is a good story told of him, which illustrates amusingly the elaborate care he took with his poems. A certain nobleman of his acquaintance had lost his wife, and was anxious that Malherbe should dedicate an ode to her memory, and condole with him in verse on the loss he had sustained. Malherbe complied, but was so fastidious in his composition, that it was three years before the elegy was completed. Just before he sent it in, he was intensely chagrined to find that his noble friend had solaced himself with a new bride, and was, consequently, in no humor to be pestered with an elegy on his old one. When dying, his confessor, in speaking of the happiness in heaven, expressed himself inaccurately. "Say no more about it," said Malherbe, "or your style will disgust me with it." Miss Austen, Charlotte Brontë, Hume, and Fox, have all recorded the trouble they took. Tasso was unwearied in correcting; so were Pope and Boileau. The Cambridge manuscript of Milton's Lycidas shows numerous erasures and interlineations. Pascal spent twenty days in perfecting a single letter. The fables of La Fontaine were copied and re-copied over and over again. Alfieri was laboriously painstaking in composition. We are told that if he approved of his first sketch of a piece—after laying it by for some time, nor approaching it again until his mind was free of the subject—he submitted it to what he called "development"—writing out in prose the indicated scenes, with all the force at his command, but without stopping to analyze a thought or correct an expression. He then proceeded to verify at his leisure the prose he had written, selecting with care the ideas he thought best, and rejecting those which he deemed unworthy of a place. Nor did he even yet regard his work as finished, but incessantly polished it verse by verse, and made continual alterations. Molière composed very slowly, although he liked the contrary to be understood, and many pieces supposed to have been written upon the spur of a royal command, had been prepared some time previously. He said to Boileau, "I have never done anything with which I am truly content." Sheridan, when urged by the publisher, Ridgeway, to finish his manuscript of The School for Scandal, declared that he had been nineteen years endeavoring to satisfy himself with the style of it, but had not succeeded. Joubert had a habit from his twentieth year to his seventieth, of jotting down with pencil the best issues of his meditation as they arose; and out of this chaos of notes was shaped, many years after his death, a full volume of Thoughts, "which," says the translator, "from their freshness and insight, their concise symmetry of expression, their pithiness, their variety, make a rich, enduring addition to the literature of France, and to all literature." Addison wore out the patience of his printer; frequently, when nearly a whole impression of a Spectator was worked off, he would stop the press to insert a new preposition. Lamb's most sportive essays were the result of most intense labor; he used to spend a week at a time in elaborating a single humorous letter to a friend. Tennyson is reported to have written Come into the Garden, Maud, more than fifty times over before it pleased him; and Locksley Hall, the first draught of which was written in two days, he spent the better part of six weeks, for eight hours a day, in altering and polishing. Dickens, when he intended to write a Christmas story, shut himself up for six weeks, lived the life of a hermit, and came out looking as haggard as a murderer. His manuscripts show that he wrote with the greatest care, and scrupulously revised his writing in order to render each sentence as perfect as might be. He made his alterations so carefully that it is difficult to trace the words which he had originally written. In many instances "the primary words have been erased so carefully that it is next to impossible to form an idea of how the passages originally stood." Balzac, after he had thought out thoroughly one of his philosophical romances, and amassed his materials in a most laborious manner, retired to his study, and from that time until his book had gone to press, society saw him no more. When he appeared again among his friends, he looked, said his publisher, in the popular phrase, like his own ghost. The manuscript was afterward altered and copied, when it passed into the hands of the printer, from whose slips the book was re-written for the third time. Again it went into the hands of the printer,—two, three, and sometimes four separate proofs being required before the author's leave could be got to send the perpetually re-written book to press at last, and so have done with it. He was literally the terror of all printers and editors. Moore thought it quick work if he wrote seventy lines of Lalla Rookh in a week. Kinglake's Eothen, we are told, was re-written five or six times, and was kept in the author's writing-desk almost as long as Wordsworth kept the White Doe of Rylstone, and kept like that to be taken out for review and correction almost every day. Buffon's Studies of Nature cost him fifty years of labor, and he re-copied it eighteen times before he sent it to the printer. "He composed in a singular manner, writing on large-sized paper, in which, as in a ledger, five distinct columns were ruled. In the first column he wrote down the first thoughts; in the second, he corrected, enlarged, and pruned it; and so on, until he had reached the fifth column, within which he finally wrote the result of his labor. But even after this, he would re-compose a sentence twenty times, and once devoted fourteen hours to finding the proper word with which to round off a period." John Foster often spent hours on a single sentence. Ten years elapsed between the first sketch of Goldsmith's Traveller and its completion. The poet's habit was to set down his ideas in prose, and, when he had turned them carefully into rhyme, to continue retouching the lines with infinite pains to give point to the sentiment and polish to the verse. La Rochefoucauld spent fifteen years in preparing his little book of Maxims, altering some of them, Segrais says, nearly thirty times. Rogers showed a friend a note to his Italy, which, he said, took him a fortnight to write. It consists of a very few lines. We all know how Sheridan polished his wit and finished his jokes, the same surprising things being found on different bits of paper, differently expressed. Not long before his death Adam Smith told Dugald Stewart that he wrote with just as much difficulty then as when he first began. The Benedictine editor of Bossuet's works stated that his manuscripts were bleared over with such numerous interlineations that they were nearly illegible. Sterne was incessantly employed for six months in perfecting one very diminutive volume. Herrick was a painstaking elaborator: with minute and curious care he polished and strengthened his work: "his airy facility, his seemingly spontaneous melodies, as with Shelley, were earned by conscious labor; perfect freedom was begotten of perfect art." It seems, no doubt, to many a reader of Macaulay's History, as if he wrote without effort, and as if the charms of his style were the gift of nature rather than the product of art, so spontaneously do they appear to flow from his pen. It was the general opinion of his literary friends that he wrote with great rapidity, and made few corrections in his manuscripts. On the contrary, we are told by his nephew and biographer, that he never allowed a sentence to pass until it was as good as he could make it, and would often re-write paragraphs and whole chapters that he might gain even a slight improvement in arrangement or expression. After writing thus carefully, he corrected again remorselessly, and his manuscripts were covered with erasures. He paid equal attention to proof-sheets. "He could not rest until the lines were level to a hair's breadth, and the punctuation correct to a comma; until every paragraph concluded with a telling sentence, and every sentence flowed like running water." To Napier, the editor of The Edinburgh Review, he wrote from Calcutta: "At last I send you an article of interminable length about Lord Bacon. I never bestowed so much care on anything that I have written. There is not a sentence in the latter half of the article which has not been repeatedly recast." Carlyle, Miss Martineau says, erred on the side of fastidiousness. "Almost every word was altered, and revise followed revise." Giardini, when asked how long it would take to learn to play on the violin, answered, "Twelve hours a day for twenty years together." Bülow is reported to have said, "If I stop practice for one day, I notice it in my playing; if I stop two days, my friends notice it; if I stop three days, the public notices it." Leonardo da Vinci would walk the whole length of Milan that he might alter a single tint in his picture of the Last Supper. Titian, we are told, after laying his foundation with a few bold strokes, would turn the picture to the wall, and leave it there perhaps for months, turning it round again after a time to look at it carefully, and scan the parts as he would the face of his greatest enemy. If at this time any portion of it should appear to him to have been defective, he would set to work to correct it, applying remedies as a surgeon would apply them, cutting off excrescences here, superabundant flesh there, redressing an arm, adjusting or setting a limb, regardless of the pain which it might cause. In this way he would reduce the whole to a certain symmetry, put it aside, and return again a third or more times till the first quintessence had been covered over with its padding of flesh. Then came the finishing, which was done at as many more different paintings, to say nothing of the innumerable last touches—with his fingers as well as with his brush—of which he is said to have been particularly fond. It is a received opinion that Edmund Kean's acting was wholly spontaneous and unstudied; this is a mistake. A contemporary, writing of his earlier professional life, says, "He used to mope about for hours, walking miles and miles alone with his hands in his pockets, thinking intensely on his characters. No one could get a word from him; he studied and slaved beyond any actor I ever knew." Neither did he relax his labors when he had reached the highest pinnacle of fame. It is related of him, that when studying Maturin's Bertram, he shut himself up for two days to study the one line, "Bertram has kissed the child!" It made one of those electrical effects which from their vividness were supposed to be merely impulsive. His wife said her husband would often stand up all night before a pier glass in his chamber, endeavoring to acquire the right facial expression for some new part. John Kemble's new readings of Hamlet were many and strange, and excited much comment. "The performance was eminently graceful, calm, deep studied—during his life he wrote out the entire part forty times—but cold and unsympathetic." As to orators, the greatest of antiquity were not ashamed to confess the industry of the closet. Demosthenes gloried in the smell of the lamp; and it is recorded of Cicero, that he not only so laboriously prepared his speeches, but even so minutely studied the effect of their delivery, that on one occasion, when he had to oppose Hortensius, the reiterated rehearsals of the night before so diminished his strength as almost to incapacitate him in the morning. Lord Erskine corrected and corrected his very eloquent orations, and Burke literally worried his printer into a complaint against the fatigue of his continual revises. Indeed, it is said, such was the fastidiousness of his industry, that the proof-sheet not unfrequently exhibited a complete erasure of the original manuscript. Whitefield's eloquence was a natural gift improved by diligent study; and Garrick said that each repetition of the same sermon showed a constant improvement,—as many as forty repetitions being required before the discourse reached its full perfection. "I composed," says Lord Brougham, "the peroration of my speech for the queen, in the Lords, after reading and repeating Demosthenes for three or four weeks, and I composed it twenty times over at least, and it certainly succeeded in a very extraordinary degree, and far above any merits of its own." He says that Erskine wrote down word for word the passage about the savage and his bundle of sticks. His mind having acquired a certain excitement and elevation, and received an impetus from the tone and quality of the matured and premeditated composition, retained that impetus, after the impelling cause had died away. Webster, it is said, was in the habit of writing and re-writing most of the fine passages of his senatorial and forensic speeches, and sometimes prepared them, in order that they might afterward be introduced when occasion should offer. He was wont to say that the following passage in his speech upon President Jackson's protest, in May, 1834, had been changed by him twelve times, before he reduced it to a shape that entirely met his approval. Perhaps it is not surpassed, for poetical beauty, by anything that ever fell from his eloquent lips. Speaking of resistance by the United States of the aggressions of Great Britain, he said: "They raised their flag against a power, to which, for the purposes of foreign conquest and subjugation, Rome, in the height of her glory, is not to be compared. A power which has dotted over the surface of the whole globe with her possessions and military posts—whose morning drum-beat following the sun, and keeping company with the hours, circles the earth daily with one continuous and unbroken strain of the martial airs of England."

As to compensation, it is stated that Goethe's works were not in his own time commercially successful. After his return from Italy, the edition of his collected works, which he had compared and revised with labor and with care, sold, as his publisher complained, only "very slowly." Coleridge gained little or no money by his writings. He says, "I question whether there ever existed a man of letters so utterly friendless, or so unconnected as I am with the dispensers of contemporary reputation, or the publishers in whose service they labor." When Newton lectured, a Lucasian professor, "so few went to hear him, that ofttimes he did, in a manner, for want of hearers, read to the walls." The Paradise Lost had a very limited sale, till, fifty years after its publication, it was brought into light by the criticisms of Addison. Campbell for years could not find a bookseller who would buy The Pleasures of Hope. In the first thirteen years after the publication of Boswell's Life of Johnson, less than four thousand copies were sold. There were only forty-five copies of Hume's History sold in the first twelvemonth. Twelve years elapsed before the first five hundred copies of Emerson's Nature were purchased by the public. Washington Irving was nearly seventy years old before the sale of his works at home met the expenses of his simple life at Sunnyside. It has been related that while Madame Titiens was receiving an ovation for her singing of Kathleen Mavourneen, the author of the song sat weeping in the audience, the poorest and obscurest man present. Willis, breakfasting at the Temple with a friend, met Charles and Mary Lamb. He mentioned having bought a copy of Elia the last day he was in America, to send as a parting gift to one of the most lovely and talented women in his country. "What did you give for it?" said Lamb. "About seven and six-pence." "Permit me to pay you that," said he; and with the utmost earnestness he counted out the money upon the table. "I never yet wrote anything that would sell," he continued. "I am the publishers' ruin."