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

Among the curious facts which we find in perusing the biographies of great men, are the circumstances connected with the composition of the works which have made them immortal.

For instance, Bossuet composed his grand sermons on his knees; Bulwer wrote his first novels in full dress, scented; Milton, before commencing his great work, invoked the influence of the Holy Spirit, and prayed that his lips might be touched with a live coal from off the altar; Chrysostom meditated and studied while contemplating a painting of Saint Paul.

Bacon knelt down before composing his great work, and prayed for light from Heaven. Pope never could compose well without first declaiming for some time at the top of his voice, and thus rousing his nervous system to its fullest activity.

Bentham composed after playing a prelude on the organ, or while taking his "ante-jentacular" and "post-prandial" walks in his garden – the same, by the way, that Milton occupied. Saint Bernard composed his Meditations amidst the woods; he delighted in nothing so much as the solitude of the dense forest, finding there, he said, something more profound and suggestive than any thing he could find in books. The storm would sometimes fall upon him there, without for a moment interrupting his meditations. Camoens composed his verses with the roar of battle in his ears; for, the Portuguese poet was a soldier, and a brave one, though a poet. He composed others of his most beautiful verses, at the time when his Indian slave was begging a subsistence for him in the streets. Tasso wrote his finest pieces in the lucid intervals of madness.

Rousseau wrote his works early in the morning; Le Sage at mid-day; Byron at midnight. Hardouin rose at four in the morning, and wrote till late at night. Aristotle was a tremendous worker; he took little sleep, and was constantly retrenching it. He had a contrivance by which he awoke early, and to awake was with him to commence work. Demosthenes passed three months in a cavern by the sea-side, in laboring to overcome the defects of his voice. There he read, studied, and declaimed.

Rabelais composed his Life of Gargantua at Bellay, in the company of Roman cardinals, and under the eyes of the Bishop of Paris. La Fontaine wrote his fables chiefly under the shade of a tree, and sometimes by the side of Racine and Boileau. Pascal wrote most of his Thoughts on little scraps of paper, at his by-moments. Fenelon wrote his Telemachus in the palace of Versailles, at the court of the Grand Monarque, when discharging the duties of tutor to the Dauphin. That a book so thoroughly democratic should have issued from such a source, and been written by a priest, may seem surprising. De Quesnay first promulgated his notion of universal freedom of person and trade, and of throwing all taxes on the land – the germ, perhaps, of the French Revolution – in the boudoir of Madame de Pompadour!

Luther, when studying, always had his dog lying at his feet – a dog he had brought from Wartburg, and of which he was very fond. An ivory crucifix stood on the table before him, and the walls of his study were stuck round with caricatures of the Pope. He worked at his desk for days together without going out; but when fatigued, and the ideas began to stagnate in his brain, he would take his flute or his guitar with him into the porch, and there execute some musical fantasy (for he was a skillful musician), when the ideas would flow upon him again as fresh as flowers after summer's rain. Music was his invariable solace at such times. Indeed Luther did not hesitate to say, that after theology, music was the first of arts. "Music," said he, "is the art of the prophets; it is the only other art, which, like theology, can calm the agitation of the soul, and put the devil to flight." Next to music, if not before it, Luther loved children and flowers. That great gnarled man had a heart as tender as a woman's.

Calvin studied in his bed. Every morning at five or six o'clock, he had books, manuscripts, and papers, carried to him there, and he worked on for hours together. If he had occasion to go out, on his return he undressed and went to bed again to continue his studies. In his later years he dictated his writings to secretaries. He rarely corrected any thing. The sentences issued complete from his mouth. If he felt his facility of composition leaving him, he forthwith quitted his bed, gave up writing and composing, and went about his out-door duties for days, weeks, and months together. But so soon as he felt the inspiration fall upon him again, he went back to his bed, and his secretary set to work forthwith.

Cujas, another learned man, used to study when laid all his length upon the carpet, his face toward the floor, and there he reveled amidst piles of books which accumulated about him. The learned Amyot never studied without the harpsichord beside him; and he only quitted the pen to play it. Bentham, also, was extremely fond of the piano-forte, and had one in nearly every room in his house.

Richelieu amused himself in the intervals of his labor, with a squadron of cats, of whom he was very fond. He used to go to bed at eleven at night, and after sleeping three hours, rise and write, dictate or work, till from six to eight o'clock in the morning, when his daily levee was held. This worthy student displayed an extravagance equaling that of Wolsey. His annual expenditure was some four millions of francs, or about £170,000 sterling!

How different the fastidious temperance of Milton! He drank water and lived on the humblest fare. In his youth he studied during the greatest part of the night; but in his more advanced years he went early to bed – by nine o'clock – rising to his studies at four in summer and five in winter. He studied till mid-day; then he took an hour's exercise, and after dinner he sang and played the organ, or listened to others' music. He studied again till six, and from that hour till eight he engaged in conversation with friends who came to see him. Then he supped, smoked a pipe of tobacco, drank a glass of water, and went to bed. Glorious visions came to him in the night, for it was then, while lying on his couch, that he composed in thought the greater part of his sublime poem. Sometimes when the fit of composition came strong upon him, he would summon his daughter to his side, to commit to paper that which he had composed.

Milton was of opinion that the verses composed by him between the autumnal and spring equinoxes were always the best, and he was never satisfied with the verses he had written at any other season. Alfieri, on the contrary, said that the equinoctial winds produced a state of almost "complete stupidity" in him. Like the nightingales he could only sing in summer. It was his favorite season.

Pierre Corneille, in his loftiest flights of imagination, was often brought to a stand-still for want of words and rhyme. Thoughts were seething in his brain, which he vainly tried to reduce to order, and he would often run to his brother Thomas "for a word." Thomas rarely failed him. Sometimes, in his fits of inspiration, he would bandage his eyes, throw himself on a sofa, and dictate to his wife, who almost worshiped his genius. Thus he would pass whole days, dictating to her his great tragedies; his wife scarcely venturing to speak, almost afraid to breathe. Afterward, when a tragedy was finished, he would call in his sister Martha, and submit it to her judgment; as Moliere used to consult his old housekeeper about the comedies he had newly written.

Racine composed his verses while walking about, reciting them in a loud voice. One day, when thus working at his play of Mithridates, in the Tuileries Gardens, a crowd of workmen gathered around him, attracted by his gestures; they took him to be a madman about to throw himself into the basin. On his return home from such walks, he would write down scene by scene, at first in prose, and when he had thus written it out, he would exclaim, "My tragedy is done," considering the dressing of the acts up in verse as a very small affair.

Magliabecchi, the learned librarian to the Duke of Tuscany, on the contrary, never stirred abroad, but lived amidst books, and almost lived upon books. They were his bed, board, and washing. He passed eight-and-forty years in their midst, only twice in the course of his life venturing beyond the walls of Florence; once to go two leagues off, and the other time three and a half leagues, by order of the Grand Duke. He was an extremely frugal man, living upon eggs, bread, and water, in great moderation.

The life of Liebnitz was one of reading, writing, and meditation. That was the secret of his prodigious knowledge. After an attack of gout, he confined himself to a diet of bread and milk. Often he slept in a chair; and rarely went to bed till after midnight. Sometimes he was months without quitting his seat, where he slept by night and wrote by day. He had an ulcer in his right leg which prevented his walking about, even had he wished to do so.

The chamber in which Montesquieu wrote his Spirit of the Laws, is still shown at his old ancestral mansion; hung about with its old tapestry and curtains; and the old easy chair in which the philosopher sat is still sacredly preserved there. The chimney-jamb bears the mark of his foot, where he used to rest upon it, his legs crossed, when composing his books. His Persian Letters were composed merely for pastime, and were never intended for publication. The principles of Laws occupied his life. In the study of these he spent twenty years, losing health and eye-sight in the pursuit. As in the case of Milton, his daughter read for him, and acted as his secretary. In his Portrait of himself, he said – "I awake in the morning rejoiced at the sight of day. I see the sun with a kind of ecstasy, and for the rest of the day I am content. I pass the night without waking, and in the evening when I go to bed, a kind of numbness prevents me indulging in reflections. With me, study has been the sovereign remedy against disgust of life, having never had any vexation which an hour's reading has not dissipated. But I have the disease of making books, and of being ashamed when I have made them."

Rousseau had the greatest difficulty in composing his works, being extremely defective in the gift of memory. He could never learn six verses by heart. In his Confessions he says – "I studied and meditated in bed, forming sentences with inconceivable difficulty; then, when I thought I had got them into shape, I would rise to put them on paper. But lo! I often entirely forgot them during the process of dressing!" He would then walk abroad to refresh himself by the aspect of nature, and under its influence his most successful writings were composed. He was always leaving books which he carried about with him at the foot of trees, or by the margin of fountains. He sometimes wrote his books over from beginning to end, four or five times, before giving them to the press. Some of his sentences cost him four or five nights' study. He thought with difficulty, and wrote with still greater. It is astonishing that, with such a kind of intellect, he should have been able to do so much.

The summer study of the famous Buffon, at Montbar, is still shown, just as he left it. It is a little room in a pavilion, reached by mounting a ladder, through a green door with two folds. The place looks simplicity itself. The apartment is vaulted like some old chapel, and the walls are painted green. The floor is paved with tiles. A writing-table of plain wood stands in the centre, and before it is an easy chair. That is all! The place was the summer study of Buffon. In winter, he had a warmer 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, and ever after remained silent.

OSTRICHES.

HOW THEY ARE HUNTED

The family of birds, of which the ostrich forms the leading type, is remarkable for the wide dispersion of its various members; the ostrich itself spreads over nearly the whole of the burning deserts of Africa – the Cassowary represents it amid the luxuriant vegetation of the Indian Archipelago. The Dinornis, chief of birds, formerly towered among the ferns of New Zealand, where the small Apteryx now holds its place; and the huge Æpyornis strode along the forests of Madagascar. The Emu is confined to the great Australian continent, and the Rhea to the southern extremity of the western hemisphere; while nearer home we find the class represented by the Bustard, which, until within a few years, still lingered upon the least frequented downs and plains of England.

With the Arabs of the desert, the chase of the ostrich is the most attractive and eagerly sought of the many aristocratic diversions in which they indulge. The first point attended to, is a special preparation of their horses. Seven or eight days before the intended hunt, they are entirely deprived of straw and grass, and fed on barley only. They are only allowed to drink once a day, and that at sunset – the time when the water begins to freshen: at that time also they are washed. They take long daily exercises, and are occasionally galloped, at which time care is taken that the harness is right, and suited to the chase of the ostrich. "After seven or eight days," says the Arab, "the stomach of the horse disappears, while the chest, the breast, and the croup remain in flesh; the animal is then fit to endure fatigue." They call this training techaha. The harness used for the purpose in question is lighter than ordinary, especially the stirrups and saddle, and the martingale is removed. The bridle, too, undergoes many metamorphoses; the mountings and the ear-flaps are taken away, as too heavy. The bit is made of a camel rope, without a throat-band, and the frontlet is also of cord, and the reins, though strong, are very light. The period most favorable for ostrich-hunting is that of the great heat; the higher the temperature the less is the ostrich able to defend himself. The Arabs describe the precise time as that, when a man stands upright, his shadow has the length only of the sole of his foot.

Each horseman is accompanied by a servant called zemmal, mounted on a camel, carrying four goat-skins filled with water, barley for the horse, wheat-flour for the rider, some dates, a kettle to cook the food, and every thing which can possibly be required for the repair of the harness. The horseman contents himself with a linen vest and trowsers, and covers his neck and ears with a light material called havuli, tied with a strip of camel's hide; his feet are protected with sandals, and his legs with light gaiters called trabag. He is armed with neither gun nor pistol, his only weapon being a wild olive or tamarind stick, five or six feet long, with a heavy knob at one end.

Before starting, the hunters ascertain where a large number of ostriches are to be found. These birds are generally met with in places where there is much grass, and where rain has recently fallen. The Arabs say, that where the ostrich sees the light shine, and barley getting ready, wherever it may be, thither she runs, regardless of distance; and ten days' march is nothing to her; and it has passed into a proverb in the desert, of a man skillful in the care of flocks, and in finding pasturage, that he is like the ostrich, where he sees the light there he comes.

The hunters start in the morning. After one or two days' journey, when they have arrived near the spot pointed out, and they begin to perceive traces of their game, they halt and camp. The next day, two intelligent slaves, almost entirely stripped, are sent to reconnoitre; they each carry a goat-skin at their side, and a little bread; they walk until they meet with the ostriches, which are generally found in elevated places. As soon as the game is in view, one lies down to watch, the other returns to convey the information. The ostriches are found in troops, comprising sometimes as many as sixty: but at the pairing time they are more scattered, three or four couple only remaining together.

The horsemen, guided by the scout, travel gently toward the birds; the nearer they approach the spot the greater is their caution, and when they reach the last ridge which conceals them from the view of their game, they dismount, and two creep forward to ascertain if they are still there. Should such be the case, a moderate quantity of water is given to the horses, the baggage is left, and each man mounts, carrying at his side a chebouta, or goat-skin. The servants and camels follow the track of the horsemen, carrying with them only a little corn and water.

The exact position of the ostriches being known, the plans are arranged; the horsemen divide and form a circle round the game at such a distance as not to be seen. The servants wait where the horsemen have separated, and as soon as they see them at their posts, they walk right before them; the ostriches fly, but are met by the hunters, who do nothing at first but drive them back into the circle; thus their strength is exhausted by being made to continually run round in the ring. At the first signs of fatigue in the birds, the horsemen dash in – presently the flock separates; the exhausted birds are seen to open their wings, which is a sign of great exhaustion; the horsemen, certain of their prey, now repress their horses; each hunter selects his ostrich, runs it down, and finishes it by a blow on the head with the stick above mentioned. The moment the bird falls the man jumps off his horse, and cuts her throat, taking care to hold the neck at such a distance from the body, as not to soil the plumage of the wings. The male bird, while dying, utters loud moans, but the female dies in silence.

When the ostrich is on the point of being overtaken by the hunter, she is so fatigued, that if he does not wish to kill her, she can easily be driven with the stick to the neighborhood of the camels. Immediately after the birds have been bled to death, they are carefully skinned, so that the feathers may not be injured, and the skin is then stretched upon a tree, or on a horse, and salt rubbed well into it. A fire is lit, and the fat of the birds is boiled for a long time in kettles; when very liquid, it is poured into a sort of bottle made of the skin of the thigh and leg down to the foot, strongly fastened at the bottom; the fat of one bird is usually sufficient to fill two of these legs; it is said that in any other vessel the fat would spoil. When, however, the bird is breeding, she is extremely lean, and is then hunted only for the sake of her feathers. After these arrangements are completed, the flesh is eaten by the hunters, who season it well with pepper and flour.

While these proceedings are in progress, the horses are carefully tended, watered, and fed with corn, and the party remain quiet during forty-eight hours, to give their animals rest; after that they either return to their encampment, or embark in new enterprises.

To the Arab the chase of the ostrich has a double attraction – pleasure and profit; the price obtained for the skins well compensates for the expenses. Not only do the rich enjoy the pursuit, but the poor, who know how to set about it, are permitted to participate in it also. The usual plan is for a poor Arab to arrange with one who is opulent for the loan of his camel, horse, harness, and two-thirds of all the necessary provisions. The borrower furnishes himself the remaining third, and the produce of the chase is divided in the same proportions.

The ostrich, like many other of the feathered tribe, has a great deal of self-conceit. On fine sunny days a tame bird may be seen strutting backward and forward with great majesty, fanning itself with its quivering, expanded wings, and at every turn seeming to admire its grace, and the elegance of its shadow. Dr. Shaw says that, though these birds appear tame and tractable to persons well-known to them, they are often very fierce and violent toward strangers, whom they would not only endeavor to push down by running furiously against them, but they would peck at them with their beaks, and strike with their feet; and so violent is the blow that can be given, that the doctor saw a person whose abdomen had been ripped completely open by a stroke from the claw of an ostrich.

To have the stomach of an ostrich has become proverbial, and with good reason; for this bird stands enviably forward in respect to its wonderful powers of digestion, which are scarcely inferior to its voracity. Its natural food consists entirely of vegetable substances, especially grain; and the ostrich is a most destructive enemy to the crops of the African farmers. But its sense of taste is so obtuse, that scraps of leather, old nails, bits of tin, buttons, keys, coins, and pebbles, are devoured with equal relish; in fact, nothing comes amiss. But in this it doubtless follows an instinct: for these hard bodies assist, like the gravel in the crops of our domestic poultry, in grinding down and preparing for digestion its ordinary food.

There was found by Cuvier in the stomach of an ostrich that died at Paris, nearly a pound weight of stones, bits of iron and copper, and pieces of money worn down by constant attrition against each other, as well as by the action of the stomach itself. In the stomach of one of these birds which belonged to the menagerie of George the Fourth, there were contained some pieces of wood of considerable size, several large nails, and a hen's egg entire and uninjured, perhaps taken as a delicacy from its appetite becoming capricious. In the stomach of another, beside several large cabbage-stalks, there were masses of bricks of the size of a man's fist. Sparrman relates that he saw ostriches at the Cape so tame that they went loose to and from the farm, but they were so voracious as to swallow chickens whole, and trample hens to death, that they might tear them in pieces afterward and devour them; and one great barrel of a bird was obliged to be killed on account of an awkward habit he had acquired of trampling sheep to death. But perhaps the most striking proof of the prowess of an ostrich in the eating way, is that afforded by Dr. Shaw, who saw one swallow bullet after bullet as fast as they were pitched, scorching hot, from the mould.