a time. There was a man in Tennessee, just before the war, who had a printed circular, with a blank for the author's name; and I know of one author who replied to him with a printed note, and a printed address on the envelope, not a word of manuscript about it!
Next in frequency are the applications for private literary contributions,—such as epithalamia, obituaries, addresses for lovers, and the like. One mourning father wished me to write an article about the death of his little girl, aged four months, assuring me that "her intellect was the astonishment of all who knew her." A young lady wished for something that would "overwhelm with remorse the heart of a gentleman who had broken off an engagement without any cause." A young gentleman, about to graduate, offered five dollars for an oration on "The Past and Probable Future History of the Human Race," long enough to occupy twenty minutes in speaking, and "to be made very fine and flowery." (I had a mind to punish this youth by complying with his request, to the very letter!) It is difficult to say what people won't write about, when they write to a Distinguished Character.
There is a third class of correspondents, whose requests used to astonish me profoundly, until I surmised that their object was to procure an autograph in a roundabout way. One wants to know who is the publisher of your book; one, whether you can give the post-office address of Gordon Cumming or Thomas Carlyle; one, which is the best Latin Grammar; one, whether you know the author of that exquisite poem, "The Isle of Tears"; and one, perhaps, whether Fanny Forrester was the grandmother of Fanny Fern. And when you consider that what letters I get are not a tithe of what older and more widely known authors receive, you may form some idea of the immense number of persons engaged in this sort of correspondence.
But I have not yet come to the worst. So long as you live at home, whether it's in the city or country, (the city would be preferable, if you could keep your name out of the Directory,) the number of applicants in person is limited; and as for the letters, we know that the post-office department is very badly managed, and a great many epistles never reach their destination. Besides, it's astonishing how soon and how easily an author acquires the reputation of being unapproachable. If he don't pour out his heart, in unlimited torrents and cascades of feeling, to a curious stranger, the latter goes away with the report that the author, personally, is "icy, reserved, uncommunicative; in the man, one sees nothing of his works; it is difficult to believe that that cold, forbidding brow conceived, those rigid, unsmiling lips uttered, and that dry, bloodless hand wrote, the fervid passion of"—such or such a book. When I read a description of myself, written in that style, I was furious; but I afterwards noticed that the number of my visitors fell off very rapidly.
Most of us American authors, however, now go to the people, instead of waiting for them to come to us. And this is what I mean by coming to the worst. Four or five years ago, I determined to talk as well as write. Everybody was doing it, and well paid; nothing seemed to be requisite except a little distinction, which I had already acquired by my comic and didactic writings. There was Mr. E——— declaiming philosophy; Drs. B——— and C——— occupying secular pulpits; Mr. C——— inculcating loftier politics; Mr. T——— talking about all sorts of countries and people; Mr. W——— reading his essays in public; and a great many more, whom you all know. Why should I not also "pursue the triumph and partake the gale"? I found that the lecture was in most cases an essay, written in short, pointed sentences, and pleasantly delivered. The audience must laugh occasionally, and yet receive an impression strong enough to last until next morning. The style which, as I said before, I claim to have invented, was the very thing! I noticed,
