Chapter IV

Influence upon Writers of Time and Place.

Nathaniel Hawthorne made innumerable notes of every fleeting, quaint fancy, strange anecdote, or eccentric person. These notes he afterward worked into his stories. Julian Hawthorne, his son, states in the _Century Magazine_: "The new husband and wife, Adam and Eve, as they liked to call themselves, were almost as poor in money as their prototypes, and in spite of their orchard and their vegetable garden, a good deal less able to get on without occasional remittances. Accordingly, the future author of the 'Scarlet Letter' was compelled to alternate his hoeing and digging, his rambles over the hills and his paddling on the river, with periods of application to pen and paper in his study, where he would sit with locked doors, clad in a long and ancient flowered dressing-gown, upon the lining of the left-hand skirt of which he was in the habit of wiping his pen. His wife noticed this habit, and said nothing about it; but one day, on bringing his pen to the accustomed spot, Hawthorne found stitched on there a pretty pen-wiper, in the shape of a butterfly with red and black wings, and this butterfly was ever after renewed from time to time, as necessity required. What was written in that little sunny-hued study, readers know, but nobody, not even the author's wife, ever saw him in the act of writing. He had to be alone."

Burns usually composed while walking in the open air, influenced, perhaps, Dr. Currie suggests, by habits formed in early life. Until he was completely master of a tune, he never could write words for it; so his way was to consider the poetic sentiment corresponding to his idea of the musical expression; then choose his theme; begin one stanza; when that was composed,--which was generally the most difficult part of the task,--to walk out, sit down now and then, look out for objects in nature around him, such as harmonized with the cogitations of his fancy, humming occasionally the air, with the verses already framed. When he felt his "muse beginning to jade," he retired to the solitary fireside of his study, and there committed his thoughts to paper; swinging at intervals on the hind leg of his elbow-chair, "by way," he says, "of calling forth my own critical strictures as my pen goes on." Sometimes, and more than once too often, he composed, to use his own expression, "by the leeside of a bowl of punch, which had overset every mortal in company, except the hautbois and the muse."

Whether in town or country, Landor reflected and composed habitually while walking, and, therefore, preferred at all times to walk alone. So did Buckle. Wordsworth was accustomed to compose his verse in his solitary walks, carry it in his memory, and get wife or daughter to write it down on his return. He used to compose aloud while walking in the fields and woods. Sometimes he would use a slate pencil and the smooth side of a rock to jot down his lines. His excursions and peculiar habits gave rise to some anxious beliefs among the ignorant peasantry. Even his sanity was questioned. The peasantry of Rydal thought him "not quite hissel," because he always walked alone, and was met at odd times in odd places. Some poets have been in the habit of humming or repeating their verses aloud as they composed them. Southey, for instance, boomed his verses so as to be mistaken by Wilson, who was a keen sportsman, for a bittern booming. If this is true, Southey's voice must not have been very harmonious, for the bittern's cry is Shakespeare's "night-raven's dismal voice."

Douglas Jerrold worked at a desk without a speck upon it, using an ink-stand in a marble shell clear of all litter, his little dog at his feet. If a comedy was in progress, he would now and then walk rapidly up and down the room, talking wildly to himself. "If it be _Punch_ copy, you shall hear him laugh presently as he hits upon a droll bit." And then, abruptly, the pen would be put down, and the author would pass out into the garden, and pluck a hawthorn leaf, and go, nibbling it and thinking, down the side walks; then "in again, and vehemently to work," unrolling the thought that had come to him along little blue slips of paper, in letters smaller than the type in which they were presently to be set.

Dr. Channing 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.

Celia Thaxter evolves her graceful verses in the daytime. She sometimes makes a skeleton of her work first, not always; and very often forces herself to work in spite of disinclination.

The Austrian poet, Rudolph Baumbach, is partial to daylight, and never writes at night. He always makes an outline of his work before beginning in good earnest. When meditating on his poems he walks up and down the room, but gives the open air the preference. He likes much light; when the sun does not shine his work does not progress favorably. In the evening he lights up his room by a large number of candles. Literary labor is pleasure to him when the weather is fine, but it is extremely hard when clouds shut out the sunlight. The poet has no fixed rule as regards working-hours; sometimes he exerts himself a great deal for weeks, and then again he does not write at all for a long time.

Otto von Leixner, German historian, poet, novelist, and essayist, composes prose, which requires logical thinking, in the daytime, but does poetical work, which taxes principally the imagination, in the evening. He makes a skeleton of all critical and scientific compositions, indeed of all essays, and then writes out the "copy" for the press, seldom making alterations. But he files away at poems from time to time until he thinks them fit for publication. He is a smoker, but does not smoke when at work. Whether promenading the shady walks of a wood or perambulating the dusty streets of the city, Leixner constantly thinks about the works he has in hand. Literary work has no difficulties for this author; he penned one of his poems, "The Vision," consisting of five hundred and eighty lines, in three hours and a half and sent it to the printer as it was originally written; and he composed the novel "Adja," thirty-nine and one-half octavo pages in print, in nine hours. But he often meditates over the topics which go to make up his novels, etc., for years and years until he has considered them from every standpoint. After composition he often locks up his manuscript in his desk for half a year, until it is almost forgotten, when he takes it from its place of concealment and examines it carefully to detect possible errors. If at such an examination the work does not prove satisfactory to him, he throws it into the stove. Being the editor of a journal of fiction, he is often compelled to work whether he wants to or not. From 1869 to 1870 he worked sixteen hours a day; from 1877 till 1882 about thirteen hours, even Sundays; at present he spends from ten to eleven hours every day at the writing-table, unless kept from work by visitors. He retains his health by taking a daily walk, rain or shine, to which he devotes two hours. Leixner lives a very temperate life and hardly ever imbibes stimulating drinks.

The greatest of all Southern poets, Paul Hamilton Hayne, had no particular time for composition, writing as often in the daytime as at night. Whether he made an outline or skeleton of his work first, depended upon the nature of the poem. When the piece was elaborate, he outlined it, and subsequently filled up, much as a painter would do. The poet used to smoke a great deal in composing, but was obliged to abandon tobacco, having had attacks of hemorrhage. He used tea instead of coffee sometimes, but took little even of that. Wine he did not use. Hayne composed best when walking, or riding upon horseback, and as he was seldom without a book in hand, wrote a great deal on the fly-leaves of any volume he chanced to be consulting. He frequently had to force himself to work when he did not have an inclination to do so.