the man who had studied but one language could not know that one. But
spare the raw material; deal as cautiously in Latin as did General
Jackson when Jack Downing was out of the way; and avoid French as some
fashionable novelists avoid English.

Thus far, these are elementary and rather technical suggestions, fitted
for the very opening of your literary career. Supposing you fairly in
print, there are needed some further counsels.

Do not waste a minute, not a second, in trying to demonstrate to others
the merit of your own performance. If your work does not vindicate
itself, you cannot vindicate it, but you can labor steadily on to
something which needs no advocate but itself. It was said of Haydon,
the English artist, that, if he had taken half the pains to paint great
pictures that he took to persuade the public he had painted them, his
fame would have been secure. Similar was the career of poor Horne, who
wrote the farthing epic of "Orion" with one grand line in it, and a
prose work without any, on "The False Medium excluding Men of Genius
from the Public." He spent years in ineffectually trying to repeal the
exclusion in his own case, and has since manfully gone to the grazing
regions in Australia, hoping there at least to find the sheep and the
goats better discriminated. Do not emulate these tragedies. Remember how
many great writers have created the taste by which they were enjoyed,
and do not be in a hurry. Toughen yourself a little, and perform
something better. Inscribe above your desk the words of Rivarol, "Genius
is only great patience." It takes less time to build an avenue of
shingle palaces than to hide away unseen, block by block, the vast
foundation-stones of an observatory. Most by-gone literary fames have
been very short-lived in America, because they have lasted no longer
than they deserved. Happening the other day to recur to a list of