Methods of Authors Part 1

Methods of Authors.

by Hugo Erichsen.

PREFACE.

When I began to gather the material for this volume I was quite doubtful as to whether the public would be interested in a work of this kind or not. As my labor progressed, however, it became evident that not only the body of the people, but authors themselves, were deeply interested in the subject, and would welcome a book treating of it. Not only M.

Jules Claretie, the celebrated Parisian literarian, but the late Dr.

Meissner and many others a.s.sured me of this fact.

Nor is this very surprising. Who, after reading a brilliant novel, or some excellent treatise, would not like to know how it was written?

So far as I know, this volume is a novelty, and Ben Akiba is outwitted for once. Books about authors have been published by the thousands, but to my knowledge, up to date, none have been issued describing their methods of work.

In the preparation of this book I have been greatly aided by the works of Rev. Francis Jac.o.x, an anonymous article in _All the Year Round_, and R. E. Francillon's essay on "The Physiology of Authors.h.i.+p," which appeared first in the _Gentleman's Magazine_.

I was also a.s.sisted in my labor by numerous newspaper clippings and many letters from writers, whose names appear in this volume, and to all of whom I return my sincere thanks.

H. E.

DETROIT, Mich.

METHODS OF AUTHORS.

I.

Eccentricities in Composition.

The public--that is, the reading world made up of those who love the products of authors.h.i.+p--always takes an interest in the methods of work adopted by literary men, and is fond of gaining information about authors.h.i.+p in the act, and of getting a glimpse of its favorite, the author, at work in that "sanctum sanctorum"--the study. The modes in which men write are so various that it would take at least a dozen volumes to relate them, were they all known, for:--

"Some wits are only in the mind When beaux and belles are 'round them prating; Some, when they dress for dinner, find Their muse and valet both in waiting; And manage, at the self-same time, To adjust a neckcloth and a rhyme.

"Some bards there are who cannot scribble Without a glove to tear or nibble; Or a small twig to whisk about-- As if the hidden founts of fancy, Like wells of old, were thus found out By mystic tricks of rhabdomancy.

"Such was the little feathery wand, That, held forever in the hand Of her who won and wore the crown Of female genius in this age, Seemed the conductor that drew down Those words of lightning to her page."

This refers to Madame de Stael, who, when writing, wielded a "little feathery wand," made of paper, shaped like a fan or feather, in the manner and to the effect above described.

Well may the vivacious penman of "Rhymes on the Road" exclaim:--

"What various att.i.tudes, and ways, And tricks we authors have in writing!

While some write sitting, some, like Bayes, Usually stand while they're inditing.

Poets there are who wear the floor out, Measuring a line at every stride; While some, like Henry Stephens, pour out Rhymes by the dozen while they ride.

Herodotus wrote most in bed; And Richerand, a French physician, Declares the clockwork of the head Goes best in that reclined position.

If you consult Montaigne and Pliny on The subject, 'tis their joint opinion That thought its richest harvest yields Abroad, among the woods and fields."

M. de Valois alleges that Plato produced, like Herodotus, "his glorious visions all in bed"; while

"'Twas in his carriage the sublime Sir Richard Blackmore used to rhyme."

But little is known of the habits of the earliest writers. The great Plato, whose thoughts seemed to come so easy, we are told, toiled over his ma.n.u.scripts, working with slow and tiresome elaboration. The opening sentence of "The Republic" on the author's tablets was found to be written in thirteen different versions. When death called him from his labor the great philosopher was busy at his desk, "combing, and curling, and weaving, and unweaving his writings after a variety of fas.h.i.+ons."

Virgil was wont to pour forth a quant.i.ty of verses in the morning, which he decreased to a very small number by incessant correction and elimination. He subjected the products of his composition to a process of continual polis.h.i.+ng and filing, much after the manner, as he said himself, of a bear licking her cubs into shape. Cicero's chief pleasure was literary work. He declared that he would willingly forego all the wealth and glory of the world to spend his time in meditation or study.

The diversity in the methods adopted by authors is as great as the difference in their choice of subjects. A story is often cited in ill.u.s.tration of the different characteristics of three great nationalities which equally ill.u.s.trates the different paths which may be followed in any intellectual undertaking.

An Englishman, a Frenchman, and a German, competing for a prize offered for the best essay on the natural history of the camel, adopted each his own method of research upon the subject. The German, providing himself with a stock of tobacco, sought the quiet solitude of his study in order to evolve from the depths of his philosophic consciousness the primitive notion of a camel. The Frenchman repaired to the nearest library, and overhauled its contents in order to collect all that other men had written upon the subject. The Englishman packed his carpet-bag and set sail for the East, that he might study the habits of the animal in its original haunts.

The combination of these three methods is the perfection of study; but the Frenchman's method is not unknown even among Americans. Nor does it deserve the condemnation it usually receives. The man who peruses a hundred books on a subject for the purpose of writing one bestows a real benefit upon society, in case he does his work well. But some excellent work has been composed without the necessity either of research or original investigation. Anthony Trollope described his famous archdeacon without ever having met a live archdeacon. He never lived in any cathedral city except London; Archdeacon Grantly was the child of "moral consciousness" alone; Trollope had no knowledge, except indirectly, about bishops and deans. In fact, "The Warden" was not intended originally to be a novel of clerical life, but a novel which should work out a dramatic situation--that of a trustworthy, amiable man who was the holder, by no fault of his own, of an endowment which was in itself an abuse, and on whose devoted head should fall the thunders of those who a.s.sailed the abuse.

Bryan Waller Proctor, the poet (who, I believe, is better known under the name of "Barry Cornwall"), had never viewed the ocean when he committed to paper that beautiful poem, "The Sea." Many of his finest lyrics and songs were composed mentally while he was riding daily to London in an omnibus. Schiller had never been in Switzerland, and had only heard and read about the country, when he wrote his "William Tell."

Harrison Ainsworth, the Lancas.h.i.+re novelist, when he composed "Rookwood"

and "Jack Sheppard," depended entirely on his ability to read up and on his facility of a.s.similation, for during his lifetime he never came in personal contact with thieves at all. It is said that when he wrote the really admirable ride of Turpin to York he only went at a great pace over the paper, with a road-map and description of the country in front of him. It was only when he heard all the world say how faithfully the region was pictured, and how truly he had observed distances and localities, that he actually drove over the ground for the first time, and declared that it was more like his account than he could have imagined.

Erasmus composed on horseback, as he p.r.i.c.ked across the country, and committed his thoughts to paper as soon as he reached his next inn. In this way he composed his "Encomium Moriae," or "Praise of Folly," in a journey from Italy to the land of the man to whose name that t.i.tle bore punning and complimentary reference, his sterling friend and ally, Sir Thomas More.

Aubrey relates how Hobbes composed his "Leviathan": "He walked much and mused as he walked; and he had in the head of his cane a pen and inkhorn, and he carried always a note-book in his pocket, and 'as soon as the thought darted,' he presently entered it into his book, or otherwise might have lost it. He had drawn the design of the book into chapters, etc., and he knew whereabouts it would come in." Hartley Coleridge somewhere expresses his entire conviction that it was Pope's general practice to set down in a book every line, half-line, or lucky phrase that occurred to him, and either to find or make a place for them when and where he could. Richard Savage noted down a whole tragedy on sc.r.a.ps of paper at the counters of shops, into which he entered and asked for pen and ink as if to make a memorandum.

"A man would do well to carry a pencil in his pocket, and write down the thoughts of the moment. Those that come unsought are generally the most valuable, and should be secured, because they seldom return." This was the advice of Lord Bacon, whose example has been followed by many eminent men. Miss Martineau has recorded that Barry Cornwall's favorite method of composition was practised when alone in a crowd. He, like Savage, also had a habit of running into a shop to write down his verses. Tom Moore's custom was to compose as he walked. He had a table in his garden, on which he wrote down his thoughts. When the weather was bad, he paced up and down his small study. It is extremely desirable that thoughts should be written as they rise in the mind, because, if they are not recorded at the time, they may never return. "I attach so much importance to the ideas which come during the night, or in the morning," says Gaston Plante, the electrical engineer, "that I have always, at the head of my bed, paper and pencil suspended by a string, by the help of which I write every morning the ideas I have been able to conceive, particularly upon subjects of scientific research. I write these notes in obscurity, and decipher and develop them in the morning, pen in hand." The philosopher Emerson took similar pains to catch a fleeting thought, for, whenever he had a happy idea, he wrote it down, and when Mrs. Emerson, startled in the night by some unusual sound, cried, "What is the matter? Are you ill?" the philosopher softly replied, "No, my dear; only an idea."

George Bancroft, the historian, had a similar habit. His bedroom served also as a library. The room was s.p.a.cious, and its walls were lined, above and below, with volumes. A single bed stood in the middle of the apartment, and beside the bed were paper, pencil, two wax candles, and matches; so that, like Mr. Pecksniff, Mr. Bancroft might not forget any idea that came into his mind in a wakeful moment of the night.

As curious a mode of composition as perhaps any on record, if the story be credible, is that affirmed of Fuller--that he used to write the first words of every line near the margin down to the foot of the paper, and that then, beginning again, he filled up the blanks exactly, without s.p.a.ces, interlineations, or contractions, and that he would so connect the ends and beginnings that the sense would appear as complete as if it had been written in a continued series after the ordinary manner.

Several distinguished American writers have the habit of jotting a sentence, or a line or two here and there, upon a long page, and then filling up the outline thus made with persistent revision.

With some great writers, it has been customary to do a vast amount of antecedent work before beginning their books. It is related of George Eliot that she read one thousand books before she wrote "Daniel Deronda." For two or three years before she composed a work, she read up her subject in scores and scores of volumes. She was one of the masters, so called, of all learning, talking with scholars and men of science on terms of equality. George Eliot was a hard worker, and, like many gifted writers, she was often tempted to burn at night the lines she had written during the day. Carlyle was similarly tempted, and it is to be regretted that the great growler, in many instances, did not carry out the design. Carlyle spent fifteen years on his "Frederick the Great."

Alison perused two thousand books before he completed his celebrated history. It is said of another that he read twenty thousand volumes and wrote only two books. "For the statistics of the negro population of South America alone," says Robert Dale Owen, "I examined more than 150 volumes." David Livingstone said: "Those who have never carried a book through the press can form no idea of the amount of toil it involves.

The process has increased my respect for authors a thousandfold. I think I would rather cross the African continent again than to undertake to write another book."

Thackeray confessed that the t.i.tle for his novel, "Vanity Fair," came to him in the middle of the night, and that he jumped out of bed and ran three times around the room, shouting the words. Thackeray had no literary system. He wrote only when he felt like it. Sometimes he was unable to write two lines in succession. Then, again, he could sit down and write so rapidly that he would keep three sheets in the wind all the time. While he was editor of the _Cornhill Magazine_ he never succeeded in getting copy enough ahead for more than five issues. In this negligence he fell far behind the magazine editors of the present time.

They always have bundles of copy on hand.

II.

Care in Literary Production.

Indolence, that is to say, chronic fatigue, appears to be the natural habit of imaginative brains. It is a commonplace to note that men of fertile fancy, as a cla.s.s, have been notorious for their horror of formulating their ideas even by the toil of thought, much more by pa.s.sing them through the crucible of the ink-bottle. In many cases they have needed the very active stimulant of hunger. The _cacoethes scribendi_ is a disease common, not to imaginative, but to imitative, minds. Probably no hewer of wood or drawer of water undergoes a t.i.the of the toil of those whose work is reputed play, but is, in fact, a battle, every moment, between the flesh and the spirit. Campbell, who at the age of sixty-one could drudge at an unimaginative work for fourteen hours a day like a galley-slave, "and yet," as he says in one of his letters, "be as cheerful as a child," speaks in a much less happy tone of the work which alone was congenial to him: "The truth is, I am not writing poetry, but projecting it, and that keeps me more idle and abstracted than you can conceive. I pa.s.s hours thinking about what I am to compose.

The actual time employed in composition is but a fraction of the time lost in setting about it." "At Glasgow," we read of him even when a young man, "he seldom exercised his gift except when roused into action either by the prospect of gaining a prize or by some striking incident."

Campbell, if not a great man, was a typical worker.