forth, Thackeray had not yet made his footing good, and the notice to
him respecting it must have been very bitter. It was in writing this
_Hoggarty Diamond_ that Thackeray first invented the name of Michael
Angelo Titmarsh. Samuel Titmarsh was the writer, whereas Michael Angelo
was an intending illustrator. Thackeray's nose had been broken in a
school fight, while he was quite a little boy, by another little boy, at
the Charter House; and there was probably some association intended to
be jocose with the name of the great artist, whose nose was broken by
his fellow-student Torrigiano, and who, as it happened, died exactly
three centuries before Thackeray.

I can understand all the disquietude of his heart when that warning, as
to the too great length of his story, was given to him. He was not a man
capable of feeling at any time quite assured in his position, and when
that occurred he was very far from assurance. I think that at no time
did he doubt the sufficiency of his own mental qualification for the
work he had taken in hand; but he doubted all else. He doubted the
appreciation of the world; he doubted his fitness for turning
his intellect to valuable account; he doubted his physical
capacity,--dreading his own lack of industry; he doubted his luck; he
doubted the continual absence of some of those misfortunes on which the
works of literary men are shipwrecked. Though he was aware of his own
power, he always, to the last, was afraid that his own deficiencies
should be too strong against him. It was his nature to be idle,--to put
off his work,--and then to be angry with himself for putting it off.
Ginger was hot in the mouth with him, and all the allurements of the
world were strong upon him. To find on Monday morning an excuse why he
should not on Monday do Monday's work was, at the time, an inexpressible
relief to him, but had become deep regret,--almost a remorse,--before
the Monday was over. To such a one it was not given to believe in