Harper's New Monthly Magazine, No. XXVI, July 1852, Vol. V. Various

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СКАЧАТЬ room within his house, where he wrote his Natural History. There, on his desk, his pen still lies, and by the side of it, on his easy chair, his red dressing-gown and cap of gray silk. On the wall near to where he sat, hangs an engraved portrait of Newton. There, and in his garden cabinet, he spent many years of his life, studying and writing books. He studied his work entitled Epoques de la Nature for fifty years, and wrote it over eighteen times before publishing it! What would our galloping authors say to that?

      Buffon used to work on pages of five distinct columns, like a ledger. In the first column he wrote out the first draught; in the second he corrected, added, pruned, and improved; thus proceeding until he had reached the fifth column, in which he finally wrote out the result of his labor. But this was not all. He would sometimes re-write a sentence twenty times, and was once fourteen hours in finding the proper word for the turning of a period! Buffon knew nearly all his works by heart.

      On the contrary, Cuvier never re-copied what he had once written. He composed with great rapidity, correctness, and precision. His mind was always in complete order, and his memory was exact and extensive.

      Some writers have been prodigiously laborious in the composition of their works. Cæsar had, of course, an immense multiplicity of business, as a general, to get through; but he had always a secretary by his side, even when on horseback, to whom he dictated; and often he occupied two or three secretaries at once. His famous Commentaries are said to have been composed mostly on horseback.

      Seneca was very laborious. "I have not a single idle day," said he, describing his life, "and I give a part of every night to study. I do not give myself up to sleep, but succumb to it. I have separated myself from society, and renounced all the distractions of life." With many of these old heathens, study was their religion.

      Pliny the Elder read two thousand volumes in the composition of his Natural History. How to find time for this? He managed it by devoting his days to business and his nights to study. He had books read to him while he was at meals; and he read no book without making extracts. His nephew, Pliny the Younger, has given a highly interesting account of the intimate and daily life of his uncle.

      Origen employed seven writers while composing his Commentaries, who committed to paper what he dictated to them by turns. He was so indefatigable in writing that they gave him the name of Brass Bowels! Like Philip de Comines, Sully used to dictate to four secretaries at a time, without difficulty.

      Bossuet left fifty volumes of writings behind him, the result of unintermitting labor. The pen rarely quitted his fingers. Writing became habitual to him, and he even chose it as a relaxation. A night-lamp was constantly lit beside him, and he would rise at all hours to resume his meditations. He rose at about four o'clock in the morning during summer and winter, wrapped himself in his loose dress of bear's skin, and set to work. He worked on for hours, until he felt fatigued, and then went to bed again, falling asleep at once. This life he led for more than twenty years. As he grew older, and became disabled for hard work, he began translating the Psalms into verse, to pass time. In the intervals of fatigue and pain, he read and corrected his former works.

      Some writers composed with great rapidity, others slowly and with difficulty. Byron said of himself, that though he felt driven to write, and he was in a state of torture until he had fairly delivered himself of what he had to say, yet that writing never gave him any pleasure, but was felt to be a severe labor. Scott, on the contrary, possessed the most extraordinary facility; and dashed off a great novel of three volumes in about the same number of weeks.

      "I have written Catiline in eight days," said Voltaire; "and I immediately commenced the Henriade." Voltaire was a most impatient writer, and usually had the first half of a work set up in type before the second half was written. He always had several works in the course of composition at the same time. His manner of preparing a work was peculiar. He had his first sketch of a tragedy set up in type, and then rewrote it from the proofs. Balzac adopted the same plan. The printed form enabled them to introduce effects, and correct errors more easily.

      Pascal wrote most of his thoughts on little scraps of paper, at his by-moments of leisure. He produced them with immense rapidity. He wrote in a kind of contracted language – like short hand – impossible to read, except by those who had studied it. It resembled the impatient and fiery scratches of Napoleon; yet, though half-formed, the characters have the firmness and precision of the graver. Some one observed to Faguere (Pascal's editor), "This work (deciphering it) must be very fatiguing to the eyes." "No," said he, "it is not the eyes that are fatigued, so much as the brain."

      Many authors have been distinguished for the fastidiousness of their composition – never resting satisfied, but correcting and re-correcting to the last moment. Cicero spent his old age in correcting his orations; Massillon in polishing his sermons; Fenelon corrected his Telemachus seven times over.

      Of thirty verses which Virgil wrote in the morning, there were only ten left at night. Milton often cut down forty verses to twenty. Buffon would condense six pages into as many paragraphs. Montaigne, instead of cutting down, amplified and added to his first sketch. Boileau had great difficulty in making his verses. He said – "If I write four words, I erase three of them;" and at another time – "I sometimes hunt three hours for a rhyme!"

      Some authors were never satisfied with their work. Virgil ordered his Æneid to be burnt. Voltaire cast his poem of The League into the fire. Racine and Scott could not bear to read their productions again. Michael Angelo was always dissatisfied; he found faults in his greatest and most admired works.

      Many of the most admired writings were never intended by their authors for publication. Fenelon, when he wrote Telemachus, had no intention of publishing it. Voltaire's Correspondence was never intended for publication, and yet it is perused with avidity; whereas his Henriade, so often corrected by him, is scarcely read. Madame de Sevigní, in writing to her daughter those fascinating letters descriptive of the life of the French Court, never had any idea of their publication, or that they would be cited as models of composition and style. What work of Johnson's is best known? Is it not that by Boswell, which contains the great philosopher's conversation? – that which he never intended should come to light, and for which we have to thank Bozzy.

      There is a great difference in the sensitiveness of authors to criticism. Sir Walter Scott passed thirteen years without reading what the critics or reviewers said of his writings; while Byron was sensitive to an excess about what was said of him. It was the reviewers who stung him into his first work of genius —English Bards and Scotch Reviewers. Racine was very sensitive to criticism; and poor Keats was "snuffed out by an article." Moliere was thrown into a great rage when his plays were badly acted. One day, after Tartuffe had been played, an actor found him stamping about as if mad, and beating his head, crying – "Ah! dog! Ah! butcher!" On being asked what was the matter, he replied – "Don't be surprised at my emotion! I have just been seeing an actor falsely and execrably declaiming my piece; and I can not see my children maltreated in this horrid way, without suffering the tortures of the damned!" The first time Voltaire's Artemise was played, it was hissed. Voltaire, indignant, sprang to his feet in his box, and addressed the audience! At another time, at Lausanne, where an actress seemed fully to apprehend his meaning, he rushed upon the stage and embraced her knees!

      A great deal might be said about the first failures of authors and orators. Demosthenes stammered, and was almost inaudible, when he first tried to speak before Philip. He seemed like a man moribund. Other orators have broken down, like Demosthenes, in their first effort. Curran tried to speak, for the first time, at a meeting of the Irish Historical Society; but the words died on his lips, and he sat down amid titters – an individual present characterizing him as orator Mum. Boileau broke down as an advocate, and so did Cowper, the poet. Montesquieu and Bentham were also failures in the same profession, but mainly through disgust with it. Addison, when a member of the House of Commons, once rose to speak, but he could not overcome his diffidence, СКАЧАТЬ