Euclid to indicate a mathematical mind, but only the habitual use of clear terms and close connections. To employ in argument the forms of Whately's Logic would render it probable that you are juvenile and certain that you are tedious; wreathe the chain with roses. The more you have studied foreign languages, the more you will be disposed to keep Ollendorff in the background: the proper result of such acquirements is visible in a finer ear for words; so that Goethe said, the man who had studied but one language could not know that one. But spare the raw material; deal as cautiously in Latin as did General Jackson when Jack Downing was out of the way; and avoid French as some fashionable novelists avoid English.

Thus far, these are elementary and rather technical suggestions, fitted for the very opening of your literary career. Supposing you fairly in print, there are needed some further counsels.

Do not waste a minute, not a second, in trying to demonstrate to others the merit of your own performance. If your work does not vindicate itself, you cannot vindicate it, but you can labor steadily on to something which needs no advocate but itself. It was said of Haydon, the English artist, that, if he had taken half the pains to paint great pictures that he took to persuade the public he had painted them, his fame would have been secure. Like his was the career of poor Horne, who wrote the farthing epic of "Orion" with one grand line in it, and a prose work (without any), on "The False Medium excluding Men of Genius from the Public." He spent years in ineffectually trying to repeal the exclusion in his own case, and has since manfully gone to the grazing regions in Australia, hoping there at least to find the

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sheep and the goats better discriminated. Do not emulate these tragedies. Remember how many great writers have created the taste by which they were enjoyed, and do not be in a hurry. Toughen yourself a little, and accomplish something better. Inscribe above your desk the words of Rivarol, "Genius is only great patience." It takes less time to build an avenue of shingle palaces than to hide away unseen, block by block, the vast foundationstones of an observatory. Most bygone literary fames have been very short-lived in America, because they have lasted no longer than they deserved. Happening the other day to recur to a list of Cambridge lyceum-lecturers in my boyish days, I find with dismay that the only name now popularly remembered is that of Emerson: death, oblivion, or a professorship has closed over each of the others, while the whole standard of American literature has been vastly raised meanwhile, and no doubt partly through their labors. To this day, some of our most gifted writers are being dwarfed by the unkind friendliness of too early praise. It was Keats, the most precocious of all great poets, who declared that "nothing is finer for purposes of production than a very gradual ripening of the intellectual powers."

Yet do not be made conceited by obscurity, any more than by notoriety. Many fine geniuses have been long neglected; but what would become of us, if all the neglected were to turn out geniuses? It is unsafe reasoning from either extreme. You are not necessarily writing like Holmės because your reputation for talent began in college, nor like Hawthorne because you have been before the public ten years without an admirer. Above all, do not seek to encourage yourself by dwelling on the defects of your rivals: strength comes only from what is

above you. Northcote, the painter, said, that, in observing an inferior picture, he always felt his spirits droop, with the suspicion that perhaps he deceived himself and his own paintings might be no better than that; but the works of the mighty masters always gave him renewed strength, in the hope that perhaps his own had in their smaller way something of the same divine quality.

Do not complacently imagine, because your first literary attempt proved good and successful, that your second will doubtless improve upon it. The very contrary sometimes happens. A man dreams for years over one projected composition, all his reading converges to it, all his experience stands related to it, it is the net result of his existence up to a certain time, it is the cistern into which he pours his accumulated life. Emboldened by success, he mistakes the cistern for a fountain, and instantly taps his brain again. The second production, as compared with the first, costs but half the pains and attains but a quarter part of the merit; a little more of fluency and facility perhaps, but the vigor, the wealth, the originality, the head of water, in short, are wanting. One would think that almost any intelligent man might write one good thing in a lifetime, by reserving himself long enough it is the effort after quantity which proves destructive. The greatest man has passed his zenith, when he once begins to cheapen his style of work and sink into a book-maker: after that, though the newspapers may never hint at it, nor his admirers own it, the decline of his career is begun.

Yet the author is not alone to blame for this, but also the world which first tempts and then reproves him. Goethe says, that, if a person once does a good thing, society forms a league to prevent his doing another. His

seclusion is gone, and therefore his unconsciousness and his leisure; luxuries tempt him from his frugality, and soon he must toil for luxuries; then, because he has done one thing well, he is urged to squander himself and do a thousand things badly. In this country especially, if one can learn languages, he must go to Congress; if he can argue a law-case, he must become agent of a factory : out of this comes a variety of training which is very valuable, but a wise man must have strength to call in his resources before middle life, prune off divergent activities, and concentrate himself on the main work, be it what it. .may. It is shameful to see the indeterminate lives of many of our gifted men, unable to resist the temptations of a busy land, and so losing themselves in an aimless and miscellaneous career.

Yet it is unjust and unworthy in Marsh to disfigure his fine work on the English language by traducing all who now write that tongue. "None seek the audience, fit, though few, which contented the ambition of Milton, and all writers for the press now measure their glory by their gains," and so indefinitely onward, which is simply cant. Does a man who honestly earns his annual ten thousand dollars by writing "dime novels," take rank as head of American literature by virtue of his salary? Because the profits of true literature are rising, trivial as they still are beside those of commerce or the professions, its merits do not necessarily decrease, but the contrary is more likely to happen; for in this pursuit, as in all others, cheap work is usually poor work. None but gentlemen of fortune can enjoy the bliss of writing for nothing and paying their own printer. Nor does the practice of compensation by the page work the injury that has often been ignorantly predicted. No

contributor need hope to cover two pages of a magazine with what might be adequately said in one, unless he assumes his editor to be as foolish as himself. The Spartans exiled Ctesiphon for bragging that he could speak the whole day on any subject selected; and a modern periodical is of little 'value, unless it has a Spartan at its head.

Strive always to remember

though it does not seem

the plan of the universe that we should quite bring it home to ourselves that "To-Day is a king in disguise," and that this American literature of ours will be just as classic a thing, if we do our part, as any which the past has treasured. There is a mirage over all literary associations. Keats and Lamb seem to our young people to be existences as remote and legendary as Homer, yet it is not an old man's life since Keats was an awkward boy at the door of Hazlitt's lecture-room, and Lamb was introducing Talfourd to Wordsworth as his own only admirer. In reading Spence's "Anecdotes," Pope and Addison appear no further off; and wherever I open Bacon's "Essays," I am sure to end at last with that one magical sentence, annihilating centuries, "When I was a child, and Queen Elizabeth was in the flower of her years."

Be

And this imperceptible transformation of the commonplace present into the storied past applies equally to the pursuits of war and to the serenest works of peace. not misled by the excitements of the moment * into overrating the charms of military life. In this chaos of uniforms, we seem to be approaching times such as existed in England after Waterloo, when the splenetic Byron declared that the only distinction was to be a little undistinguished. No doubt, war brings out grand and *Written early in 1862.