first impressions. In his own case, the correctness of his first
impressions--what he himself called laughingly his _"coup
d'oeil"_--is in a measure proved by a note-book, now lying before the
writers, in which he recorded his views of Bastia and the Corsicans
after a very brief acquaintance--that view requiring scarcely any
modification when first impressions had been exchanged for real
knowledge and experience.

As to his methods of writing, in the case of all his novels, except the
four early suppressed ones, he invariably followed the plan of drawing
out the whole plot and a complete synopsis of every chapter before he
began to write the book at all.

Partly as a result of this plan perhaps, but more as a result of great
natural facility in writing, his manuscripts were often without a single
erasure for many pages; and a typewriter was really a superfluity.

It is certainly true to say that no author ever had more pleasure in his
art than Merriman. The fever and the worry which accompany many literary
productions he never knew.

Among the professional critics he had neither personal friends nor
personal foes; and accepted their criticisms--hostile or
favourable--with perfect serenity and open-mindedness. He was, perhaps,
if anything, only too ready to alter his work in accordance with their
advice: he always said that he owed them much; and admired their
perspicuity in detecting a promise in his earliest books, which he
denied finding there himself. His invincible modesty made him ready to
accept not only professional criticism but--a harder thing--the advice
of critics on the hearth. It was out of compliance with such a domestic