wander into the kitchen, without noticing any one, stand musing with his back to the fire, and then hurry off again to his room, no doubt to commit to paper some thought which had struck him. He was subject to fits of wakefulness, and read much in bed; if not disposed to read, he still kept the candle burning; if he wished to extinguish it, and it was out of his reach, he flung his slipper at it, which would be found in the morning near the over-turned candlestick, daubed with grease. He is said to have considered four lines of poetry a day good work.
He commenced his poem of "The Traveller" in Switzerland, but long kept it back from publication, till Johnson's praise of it induced him to prepare it for the press. It is said that, while for two years previous to its publication he was employed in the drudgery of laborious compilations for the booksellers, his few vacant hours were fondly devoted to the patient revisal and correction of this his greatest poem; pruning its luxuriances, or supplying its defects, till it appeared at length finished with exactness and polished into beauty. While writing his History of England, he would read Hume, Rapin-Thoyras, Carte, and Kennet, in the morning, make a few notes, ramble with a friend into the country about the skirts of "Merry Islington," return to a temperate dinner and cheerful evening, and, before going to bed, write off what had arranged itself in his head from the studies of the morning. In this way he took a more general view of the subject, and wrote in a more free and fluent style than if he had been mousing at the time among authorities. The influence of this way of composing history is plainly seen in the entertaining, but not immortal, volumes it produced.
Douglas Jerrold's day of labor may be sketched thus. At eight o'clock he breakfasts on cold new milk, toast, bacon, watercresses, and perhaps strawberries. Then he makes long examination of the papers, cutting out bits of news. The study is a snug room filled with books and pictures; its furniture is of solid oak. There work begins. If it be a comedy, he will now and then walk rapidly up and down the room, talking wildly to himself, and laughing as he hits upon a good point. Suddenly the pen will be put down, and through a little conservatory, without seeing anybody, he will pass out into the garden for a little while, talking to the gardeners, walking, &c. In again, and vehemently to work. The thought has come; and, in letters smaller than the type in which they shall be set, it is unrolled along the little blue slips of paper. A crust of bread and glass of wine are brought in, but no word is spoken. The work goes rapidly forward, and halts at last suddenly. The pen is dashed aside, a few letters, seldom more than three lines in each, are written and despatched to the post, and then again into the garden, visits to the horse, cow, and fowls, then another long turn around the lawn, and at last a seat with a quaint old volume in the tent under the mulberry-tree. Friends come,—walks and conversation. A very simple dinner at four. Then a short nap—forty winks upon the great sofa in the study; another long stroll over the lawn while tea is prepared. Over the tea-table are jokes of all kinds, as at dinner. In the later years of his life, Jerrold seldom wrote after dinner; and his evenings were usually spent alone in his study, reading, writing letters, &c. Sometimes he would join the family circle for half an hour before going to bed at ten; but his rule was a solitary evening in the study with his books.
Dickens's favorite time for composition is said to be in the morning. Powell, in his "Notices of Living Authors of England," says that he writes till about one or two o'clock, when he lunches, and afterwards takes a walk for a couple of hours; returns to dinner, and gives the evening to his own or a friend's fireside. Sometimes his method of labor is much more intense and unremitting. Of his delightful little Christmas book, "The Chimes," the
