the time when the mind is, or ought to be, at its best, the
body at its freshest and hungriest. Discussions of the latest
plays and novels, the doings and undoings of statesmen,
laughter and sentiment--to him, at breakfast, these things
were as important as sausages and thick cream.

Breakfast over, there was no dawdling and putting off of the
day's work (else how, at eleven sharp, could tennis be played
with a free conscience?). Loving, as he did, everything
connected with a newspaper, he would now pass by those on the
hall-table with never so much as a wistful glance, and hurry
to his workroom.

He wrote sitting down. He wrote standing up. And, almost you
may say, he wrote walking up and down. Some people,
accustomed to the delicious ease and clarity of his style,
imagine that he wrote very easily. He did and he didn't.
Letters, easy, clear, to the point, and gorgeously human,
flowed from him without let or hindrance. That masterpiece of
corresponding, "The German March Through Brussels," was
probably written almost as fast as he could talk (next to
Phillips Brooks, he was the fastest talker I ever heard), but
when it came to fiction he had no facility at all. Perhaps I
should say that he held in contempt any facility that he may
have had. It was owing to his incomparable energy and Joblike
patience that he ever gave us any fiction at all. Every
phrase in his fiction was, of all the myriad phrases he could
think of, the fittest in his relentless judgment to survive.
Phrases, paragraphs, pages, whole stories even, were written
over and over again. He worked upon a principle of