dangers. I mean dangers to the spirit over and above those of the
right-hand trouser pocket. For, let it be honestly stated, the
business of writing is solidly founded on a monstrous and perilous
egotism. Himself, his temperament, his powers of observation and
comment, his emotions and sensibilities and ambitions and
idiocies--these are the only monopoly the writer has. This is his
only capital, and with glorious and shameless confidence he proposes
to market it. Let him make the best of it. Continually stooping over
the muddy flux of his racing mind, searching a momentary flash of
clearness in which he can find mirrored some delicate beauty or
truth, he tosses between the alternatives of self-grandeur and
self-disgust. It is a painful matter, this endless self-scrutiny. We
are all familiar with the addled ego of literature--the writer whom
constant self-communion has made vulgar, acid, querulous, and vain.
And yet it is remarkable that of so many who meddle with the
combustible passions of their own minds so few are blown up. The
discipline of living is a fine cooling-jacket for the engine.

It is essential for our apprentice to remember that, though he begin
with the vilest hack-work--writing scoffing paragraphs, or
advertising pamphlets, or freelance snippets for the papers--that
even in hack-work quality shows itself to those competent to judge;
and he need not always subdue his gold to the lead in which he
works. Moreover, conscience and instinct are surprisingly true and
sane. If he follows the suggestions of his own inward, he will
generally be right. Moreover again, no one can help him as much as
he can help himself. There is no job in the writing world that he
cannot have if he really wants it. Writing about something he
intimately knows is a sound principle. Hugh Walpole, that greatly
gifted novelist, taught school after leaving Cambridge, and very