Pushing to the Front

by Orison Swett Marden

He was always just going to do something, but never did it. "Coleridge is dead," wrote Charles Lamb to a friend, "and is said to have left behind him above forty thousand treatises on metaphysics and divinity—not one of them complete!"

Every great man has become great, every successful man has succeeded, in proportion as he has confined his powers to one particular channel.

Hogarth would rivet his attention upon a face and study it until it was photographed upon his memory, when he could reproduce it at will. He studied and examined each object as eagerly as though he would never have a chance to see it again, and this habit of close observation enabled him to develop his work with marvelous detail. The very modes of thought of the time in which he lived were reflected from his works. He was not a man of great education or culture, except in his power of observation.

With an immense procession passing up Broadway, the streets lined with people, and bands playing lustily, Horace Greeley would sit upon the steps of the Astor House, use the top of his hat for a desk, and write an editorial for the "New York Tribune" which would be quoted far and wide.

Offended by a pungent article, a gentleman called at the "Tribune" office and inquired for the editor. He was shown into a little seven-by-nine sanctum, where Greeley, with his head close down to his paper, sat scribbling away at a two-forty rate. The angry man began by asking if this was Mr. Greeley. "Yes, sir; what do you want?" said the editor quickly, without once looking up from his paper. The irate visitor then began using his tongue, with no regard for the rules of propriety, good breeding, or reason. Meantime Mr. Greeley continued to write. Page after page was dashed off in the most impetuous style, with no change of features and without his paying the slightest attention to the visitor. Finally, after about twenty minutes of the most impassioned abuse ever poured out in an editor's office, the angry man became disgusted, and abruptly turned to walk out of the room. Then, for the first time, Mr. Greeley quickly looked up, rose from his chair, and slapping the gentleman familiarly on his shoulder, in a pleasant tone of voice said: "Don't go, friend; sit down, sit down, and free your mind; it will do you good,—you will feel better for it. Besides, it helps me to think what I am to write about. Don't go."

One unwavering aim has ever characterized successful men.

"Daniel Webster," said Sydney Smith, "struck me much like a steam-engine in trousers."

As Adams suggests, Lord Brougham, like Canning, had too many talents; and, though as a lawyer he gained the most splendid prize of his profession, the Lord Chancellorship of England, and merited the applause of scientific men for his investigations in science, yet his life on the whole was a failure. He was "everything by turns and nothing long." With all his magnificent abilities he left no permanent mark on history or literature, and actually outlived his own fame.

Miss Martineau says, "Lord Brougham was at his chateau at Cannes when the daguerreotype process first came into vogue. An artist undertook to take a view of the chateau with a group of guests on the balcony. His Lordship was, asked to keep perfectly still for five seconds, and he promised that he would not stir, but alas,—he moved. The consequence was that there was a blur where Lord Brougham should have been.

"There is something," continued Miss Martineau, "very typical in this. In the picture of our century, as taken from the life by history, this very man should have been the central figure. But, owing to his want of steadfastness, there will be forever a blur where Lord Brougham should have been. How many lives are blurs for want of concentration and steadfastness of purpose!"