Methods of Authors. Erichsen Hugo

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СКАЧАТЬ had the same habit of taking a turn in the garden, during which he was a study for the calm concentration of his look, and the deliberateness of his step: "Calmer, brighter, in a few moments he is seated again at his table, and his rapidly flying pen shows how full is the current of his thoughts."

      Jane Taylor, who commenced authorship as a very little girl indeed, and who used at that early stage to compose tales and dramas while whipping a top, – committing them to paper at the close of that exercise, – was in the habit, her brother Isaac tells us, of rambling for half an hour after breakfast, "to seek that pitch of excitement without which she never took up the pen."

      Of Dickens we are told that "some quaint little bronze figures on his desk were as much needed for the easy flow of his writing as blue ink or quill pens."

      Emanuel Kant, the philosopher, lived the life of a student; in fact, his life may be taken as the type of that of a scholar. Kant, like Balzac, gave a daily dinner-party; but when his guests were gone he took a walk in the country instead of seeking broken slumbers in a state of hunger. He came home at twilight, and read from candle-light till bedtime at ten. He arose punctually at five, and, over one cup of tea and part of a pipe, laid out his plan of work for the day. At seven he lectured, and wrote till dinner-time at about one. The regularity of his life was automatic. He regulated his diet with the care of a physician. During the blind-man's holiday between his walk and candle-light he sat down to think in twilight fashion; and while thus engaged, he always placed himself so that his eyes might fall on a certain old tower. This old tower became so necessary to his thoughts that, when some poplar trees grew up and hid it from his sight, he found himself unable to think at all, until, at his earnest request, the trees were cropped and the tower was brought into sight again.

      Kant's old tower recalls Buffon's incapability of thinking to good purpose except in full dress, and with his hair in such elaborate order that, by way of external stimulus to his brain, he had a hairdresser to interrupt his work twice, or, when very busy, thrice a day. To Aubrey we owe this account of Prynne's method of study: "He wore a long quilt cap, which came two or three inches at least over his eyes, and served him as an umbrella to defend his eyes from the light. About every three hours his man was to bring him a roll and a pot of ale, to refocillate his wasted spirits; so he studied and drank and munched some bread; and this maintained him till night, and then he made a good supper." Refocillation is a favorite resource – whatever the word may be – with authors not a few. Addison, with his bottle of wine at each end of the long gallery at Holland House, – and Schiller, with his flask of old Rhenish and his coffee laced with old Cognac, at three in the morning, – occur to the memory at once. Shelley attempted to ruin his digestion by way of exciting the brain by continually munching bread while composing.

      The venerable Leopold von Ranke, one of the most eminent historians of the age, composed in the night as well as in the daytime, and even when more than ninety years of age sometimes worked till midnight. He had two secretaries. He was a late riser, as most night-workers are. After getting up late, he worked with his first amanuensis from ten in the morning until three in the afternoon. Thereupon, if the weather was fine, he took a walk in the public promenades, always accompanied by a servant. He dined at five P. M., and then dictated to his second secretary from six in the evening until, occasionally, one or two o'clock in the morning. He neither took stimulants nor smoked. He never worked when disinclined; in fact, the disinclination to write was foreign to his nature. He always felt like writing.

      J. T. Trowbridge, the author of "The Vagabonds," always prefers daytime to night for literary work, but sometimes can compose verse only at night. He always sets out with a tolerably distinct outline in his mind – rarely on paper – of what he intends to write. But the filling in he leaves to the suggestions of thought in the hour of composition, and often gets on to currents which carry him into unexpected by-ways. He seldom begins a story that he would not like to make twice as long as his contract allows, so many incidents and combinations suggest themselves as he goes on. He never works under the influence of stimulants. Verse he never composes with a pen in his hand. It is seldom that he can compose any that is in the least satisfactory to himself; when he can, he walks in pleasant places, if the weather is favorable, or lounges on rocks or banks, or in the woods; or he lies on a sofa in a dimly-lighted room at night; or in bed, where he elaborates his lines, which he retains in his memory, to be written down at the first convenient season. He rarely puts pen to paper at night. When fairly launched in a prose composition, he writes from two to four hours a day, seldom five. The mere act of writing is a sad drudgery to him, and he often has to force himself to begin. Then he usually forgets the drudgery in the interest excited by the development of his thoughts. But he never thinks it wise to continue writing when he cannot do so with pleasure and ease. In his younger days he used to think he must do a certain amount of work each day, whether he felt like it or not. But now he is of the opinion that it might have been better for his readers and himself if he had been governed more by his moods.

      Robert Hamerling, the Austrian novelist, loved to compose in bed in the early hours of morning. He was an expert stenographer, and, therefore, made use of stenography when committing his thoughts to paper, thereby saving much time, which, of course, facilitated the mental labor. For this reason, he could also correct and improve the manuscript, as well as make additions to the same, with the least waste of time. He did not require refreshments at work, and wrote with remarkable facility. The duration of the time which he spent at the writing-desk depended upon the state of his health and the temper of his mind.

      Frederick Friedrich, well known in Germany as a novelist, prefers the evening for literary work, although he conceives the plots of his stories in the course of the day. He asserts that the nerves are more stimulated and that the imagination is more lively in the evening. His novels are sent to the printer as they were written; he hardly ever makes corrections. While at work Friedrich fills the air with cigar smoke and drinks several glasses of Rhine-wine. He must be alone, and the writing-table must be in the customary order; any new arrangement of the things on the table makes the author feel uncomfortable, so much so at times that it prevents him from writing. He is a facile writer, and composes with great speed. He never writes unless inclined to, and is governed by moods. Therefore, a week or two sometimes passes before he pens a line, being in perfect health, but lacking the inclination to perform intellectual work. He never devotes more than three hours a day to literary labor, generally less than that, but spends almost all day in thinking over the plots of his novels. He never begins a story until it is elaborated in his mind, and never makes notes. When once engaged in the composition of a novel, he keeps at it day after day until it is finished. While writing his own he is unable to read the novels of anybody else.

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