THE GOSPEL OF INFINITE PAINS
to paper. That, when we stop to think of it, is the original, the natural way in which literary composition was evolved. The primitive sagas, the early folk tales were all slowly crystallised into shape, not only before they were reduced to writing, but before there was any writing into which to reduce them.
But it makes no difference at what point an author gets in his really hard work; there can be no definite rules laid down for preparation or for revision. There is no magic in a second re-writing or a third, in a fifth or a tenth revised proof. If the first draft of your sentence satisfies you, a second writing is a waste of time. But fifty re-writings are none too much if the forty-ninth still fails to content you. Every writer must in this respect work out his own particular method. A few years ago the statement went the rounds of the literary columns that Mr. Maurice
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