"Here in Halle, where we have no public garden and no Tivoli, no London Exchange, no Paris Chamber of Deputies, no Berlin nor Vienna Theatres, no Strassburg Minster, nor Salzburg Alps,--no Grecian ruins nor fantastic Catholicism, in fine, nothing, which after one's daily task is finished, can divert and refresh him, without his knowing or caring how,--I consider the sight of a proof-sheet quite as delightful as a walk in the Prater of Vienna. I fill my pipe very quietly, take out my ink-stand and pens, seat myself in the corner of my sofa, read, correct, and now for the first time really set about thinking what I have written. To see this origin of a book, this metamorphosis of manuscript into print, is a delight to which I give myself up entirely. Look you, this melancholy pleasure, which would have furnished the departed Voss with worthy matter for more than one blessed Idyl--(the more so, as on such occasions, I am generally arrayed in a morning gown, though I am sorry to say, not a calamanco one, with great flowers;) this melancholy pleasure was already grown here in Halle to a sweet, pedantic habit. Since I began my hermit's life here, I have been printing; and so long as I remain here, I shall keep on printing. In all probability, I shall die with a proof-sheet in my hand."
"This," said Flemming, closing the book, "is no caricature by a writer of comedy, but a portrait by a man's own hand. We can see by it how easily, under certain circumstances, one may glide into habits of seclusion, and in a kind of undress, slipshod hardihood, with a pipe and a proof-sheet, defy the world. Into this state scholars have too often fallen; thus giving some ground for the prevalent opinion, that scholarship and rusticity are inseparable. To me, I confess, it is painful to see the scholar and the world assume so often a hostile attitude, and set each other at defiance. Surely, it is a characteristic trait of a great and liberal mind, that it recognises humanity in all its forms and conditions. I am a student;--and always, when I sit alone at night, I recognise the divinity of the student, as she reveals herself to me in the smoke of the midnight lamp. But, because solitude and books are not unpleasant to me,--nay, wished-for,--sought after,--shall I say to my brother, Thou fool! Shall I take the world by the beard and say, Thou art old, and mad!--Shall I look society in the face and say, Thou art heartless!--Heartless! Beware of that word! Life, says very wisely the good Jean Paul, Life in every shape, should be precious to us, for the same reason that the Turks carefully collect every scrap of paper that comes in their way, because the name of God may be written upon it. Nothing is more true than this, yet nothing more neglected!"
"If it be painful to see this misunderstanding between scholars and the world," said the Baron, "I think it is still more painful to see the private sufferings of authors by profession. How many have languished in poverty, how many died broken-hearted, how many gone mad with over-excitement and disappointed hopes! How instructive and painfully interesting are their lives! with so many weaknesses,--so much to pardon,--so much to pity,--so much to admire! I think he was not so far out of the way, who said, that, next to the Newgate Calendar, the Biography of Authors is the most sickening chapter in the history of man."
"It is indeed enough to make one's heart ache!" interrupted Flemming. "Only think of Johnson and Savage, rambling about the streets of London at midnight, without a place to sleep in; Otway starved to death; Cowley mad, and howling like a dog, through the aisles of Chichester Cathedral, at the sound of church music; and Goldsmith, strutting up Fleet Street in his peach-blossom coat, to knock a bookseller over the pate with one of his own volumes; and then, in his poverty, about to marry his landlady in Green Arbour Court."
"A life of sorrow and privation, a hard life, indeed, do these poor devil authors have of it," replied the Baron; "and then at last must get them to the work-house, or creep away into some hospital to die."
"After all," said Flemming with a sigh, "poverty is not a vice."
"But something worse," interrupted the Baron; "as Dufresny said, when he married his laundress, because he could not pay her bill. Hewas the author, as you know, of the opera of Lot; at whose representation the great pun was made;--I say the great pun, as we say the great ton of Heidelberg. As one of the performers was singing the line, `L'amour a vaincu Loth,' (vingt culottes,) a voice from the pit cried out, `Qu'il en donne une à l'auteur!' "
Flemming laughed at the unseasonable jest; and then, after a short pause, continued;
"And yet, if you look closely at the causes of these calamities of authors, you will find, that many of them spring from false and exaggerated ideas of poetry and the poetic character; and from disdain of common sense, upon which all character, worth having, is founded. This comes from keeping aloof from the world, apart from our fellow-men; disdainful of society, as frivolous. By too much sitting still the body becomes unhealthy; and soon the mind. This is nature's law. She will never see her children wronged. If the mind, which rules the body, ever forgets itself so far as to trample upon its slave, the slave is never generousenough to forgive the injury; but will rise and smite its oppressor. Thus has many a monarch mind been dethroned."
"After all," said the Baron, "we must pardon much to men of genius. A delicate organization renders them keenly susceptible to pain and pleasure. And then they idealize every thing; and, in the moonlight of fancy, even the deformity of vice seems beautiful."