But when, after much editorial correspondence, and persevering whispers of kind friends who had been told the facts in confidence, A. B. became only the pretext of a mystery, and I signed myself by my full name, the question naturally arose,—"Who is Matilda Muffin?"

Now, for the first time in my life, do I experience the benefits of a sentimental name, which has rather troubled me before, as belonging to a quite unsentimental and commonplace person, and thereby raising expectations, through hearsay, which actual vision dispelled with painful suddenness. But now I find its advantage, for nobody believes it is my own, but confidently expects that Ann Tubbs or Susan Bucket will appear from a long suppression, like a Jack-in-a-box, and startle the public as she throws back the cover.

Indeed, I am told that not long since a circle of literary experimentalists, discussing a recent number of a certain magazine, and displaying great knowledge of noms-de-plume, ran aground all at once upon "Who is Matilda Muffin?"—even as, in the innocent faith of childhood, I pondered ten minutes upon "Who was the father of Zebedee's children?" and at last "gave up." But these professional gentlemen, nowise daunted by the practical difficulties of the subject, held on, till at last one, wiser in his generation than the rest, confidently announced that he knew Matilda Muffin's real name, but was not at liberty to disclose it. Should this little confidence ever reach the eyes of those friends, I wish to indorse that statement in every particular; that gentleman does know my name; and know all men, by these presents, I give him full leave to disclose it,—or rather, to save him the trouble, I disclose it myself. My name, my own, that would have been printed in the marriage-list of the "Snapdragon" before now, if it had not appeared in the list of contributors, and which will appear in its list of deaths some day to come,—my name, that is called to breakfast, marked on my pocket-handkerchiefs, written in my books, and done in yellow paint on my trunk, is—Matilda Muffin. "Only that, and nothing more!" And "A. B.," which I adopted once as a species of veil to the aforesaid alliterative title, did not mean, as was supposed, "A Beauty," or "Any Body," or "Another Barrett," or "Anti Bedott," or "After Breakfast," but only "A. B.," the first two letters of the alphabet. Peace to their ashes!—let them rest!

But, dear me! I forgot the Memorial! As I have said, all these enumerated troubles do not much move me, nor yet the world-old cry of all literary women's being, in virtue of their calling, unfeminine. I don't think anybody who knows me can say that about me; in fact, I am generally regarded by my male cousins as a "little goose," and a "foolish child," and "a perfectly absurd little thing,"—epithets that forbid the supposition of their object being strong-minded or having Women's Rights;—and as for people who don't know me, I care very little what they think. If I want them to like me, I can generally make them,—having a knack that way.

But there is one thing against which I do solemnly protest and uplift my voice, as a piece of ridiculous injustice and supererogation,—and that is, that every new poem or fresh story I write and print should be supposed and declared to be part and parcel of my autobiography. Good gracious! Goethe himself, "many-sided" as the old stone Colossus might have been, would have retreated in dismay from such a host of characters as I have appeared in, according to the announcement of admiring friends.

My dear creatures, do just look at the common sense of the thing! Can I have been, by any dexterity known to man, of mind or body, such a various creature, such a polycorporate animal, as you make me to be? Because I write the anguish and suffering of an elderly widow with a drunken husband, am I therefore meek and of middle age, the slave of a rum-jug? I have heard of myself successively as figuring in the character of a strong-minded, self-denying Yankee girl,—a broken-hearted Georgia beauty,—a fairy princess,—a consumptive school-mistress,—a young woman dying of the perfidy of her lover,—a mysterious widow; and I daily expect to hear that a caterpillar which figured as hero in one of my tales was an allegory of myself, and that a cat mentioned in "The New Tobias" is a travesty of my heart-experience.

Now this is rather more than "human natur" can stand. It is true that in my day and generation I have suffered as everybody does, more or less. It is likewise true that I have suffered from the same causes that other people do. I am happy to state that in the allotments of this life authoresses are not looked upon as "literary," but simply as women, and have the same general dispensations with the just and the unjust; therefore, in attempting to excite other people's sympathies, I have certainly touched and told many stories that were not strange to my own consciousness; I do not know very well how I could do otherwise. And in trying to draw the common joys and sorrows of life, I certainly have availed myself of experience as well as observation; but I should seem to myself singularly wanting in many traits which I believe I possess, were I to obtrude the details of my own personal and private affairs upon the public. And I offer to those who have so interpreted me a declaration which I trust may relieve them from all responsibility of this kind in future; I hereby declare, asseverate, affirm, and whatever else means to swear, that I never have offered and never intend to offer any history whatever of my personal experience, social, literary, or emotional, to the readers of any magazine, newspaper, novel, or correspondence whatever. Nor is there any one human being who has ever heard or ever will hear the whole of that experience,—no, not even Dunderhed Van Nudel, Esquire, should he buy me to-morrow!

Also, I wish to relieve the minds of many friendly readers, who, hearing and believing these reports, bestow upon me a vast amount of sympathy that is worthy of a better fate. My dear friends, as I said before, it is principally toothache; poetry is next best to clove-oil, and less injurious to the enamel. I beg of you not to suppose that every poet who howls audibly in the anguish of his soul is really afflicted in the said soul; but one must have respect for the dignity of High Art. Answer me now with frankness, what should you think of a poem that ran in this style?—

"The sunset's gorgeous wonder
Flashes and fades away;
But my back-tooth aches like thunder,
And I cannot now be gay!"

Now just see how affecting it is, when you "change the venue," as lawyers say:—