that. But poets must have to do a great deal more waiting than any other class of literary workers, for they have to wait not only for ideas but for words, which, in poetry, have so much to do with the mechanism of the verse as well as the expression of the idea. Guest. What the Dii Majores may do, or may have done, I could not presume to say; but with us versemakers, sometimes it is only the words that do come, at first. The sense, import, and whole motive sometimes arrive much later. This ought to be kept a secret, for it is not to our credit. But I remember once, some one used the phrase, "For the time being." It was immediately invested with a subtle A CORNER OF THE DRAWING-ROOM. They must be hunted up and fitted together. Sometimes the last will be first and the first will be last, when the metrical whole is completed. For example of how detached and meaningless these first suggestions may be, take this line and a half: "In the dim meadows flecked with asphodel, I shall remember!" It was months after this suggestion came to me that I found the context and motive of the verse. I had to wait for the rest, and take whatever came. Host. This subject of suggestions, and how they come, is an interesting one. It reminds me of what the astronomers tell us of certain methods they employ. For instance, they expose, by means of telescopic action, a sensitive photographic plate to the action of light from portions of the heavens where nothing is seen. After a long exposure they look at the plate, and something may be seen that was never seen before-star, nebulæ, or perhaps a comet-something which the telescope will not reveal to the eye. As an instance of my use of this exposure plan I will mention this: some years ago I read a great deal about shipwrecks a subject which always interests me-some accounts in the daily papers and some sea stories, such as those of Clark Russell, who is my favorite marine author, and the question came into my mind: "Is it possible that there should be any kind of shipwreck which has not been already discovered?" For days and days I exposed my mind to the influence of ideas about shipwrecks. At last a novel notion floated in upon me, and I wrote "The Remarkable Wreck of the Thomas Hyke." I have since had another idea of an out-of the-way shipwreck, which I think is another example of a wreck that has never occurred; but this is a variation and amplification of a wreck about which I read. Guest. Has it ever happened that any of your fancies turned out to be actual fact? Truth is said to be stranger than fiction. Host. In some instances just that thing has happened. In one story I had a character whose occupation was that of an analyzer of lava, specimens being sent to him from all parts of the world. In this connection a foreigner inquired of him if there were any volcanoes near Boston, to which city he was on his way. This preposterous idea was, of course, quickly dismissed in the story. But I received a letter from a scientific man in New England who thought I would like to know that, not far from Boston, but in a spot now covered by the ocean, there existed in prehistoric times an active volcano. Guest. But we were speaking of the necessity of having a definite purpose at the outset of a piece of work. Host. It amounts to a necessity, almost. For instance, if I am about to write a fairy tale, I must get my mind in an entirely different condition from what it would be were I planning a story of country life of the present day. With me the proper condition often requires hard work. The fairy tale will come when the other kind is wanted. But the ideas of one class must be kept back and those of the other encouraged until at last the proper condition exists and the story begins. But I suppose you poets do not set out in this way. As to the practical application of tow-path through unfrequented wasome of my fanciful inventions, I may ters. say that two young ladies on Cape Cod imitated the example of Mrs. Lecks and Mrs. Aleshine, and having put on life preservers, and each taking an oar, found no difficulty in sweeping themselves through the water, after the fashion of the two good women in the story. I will also say that the Negative Gravity machine is nothing but a condensed balloon. As soon as a man can make a balloon which can bear his weight and can also be put in a money belt, he can do all the things that the man in the story did. I may also say that naval men have written to me stating that it is not impossible that some of the contrivances mentioned in "The Great War Syndicate" may some day be used in marine warfare. I myself have no doubt of this, for there is no reason why a turtle-backed little ironclad, almost submerged, should not steam under the stern of a great man-of-war like the " Camperdown," and having disabled her propeller blades, tow her nolens volens into an American port, where she could be detained until peace should be declared. Guest. I would not like to live in the port in whose harbor the captive vessel was detained. Host. It might be disagreeable; perhaps it would be better to keep the captured vessel continually on the Guest. It would be a revelation to the public to be let into the secret of some of our "motives," and the various ways we have of mingling" poetichoney" and "trade-wax," as Tom Hood calls it. The spur of necessity, real or fancied, is often a capital provocation to eloquence. I know a woman who writes verses, who is not only unnecessarily neglectful of worldly interests, but is careless in detail, and self-indulgent and absent-minded. On one occasion, losing quite a sum of money from her pocket-book, and wishing to give herself a lesson to be remembered, she set herself the task of writing certain verses to defray the ex penses of her carelessness, as it were. Involuntarily, and yet with a kind of grim fitness in things, the subject that came to hand was, "Losses." The poem was written and disposed of, and the writer was square with her conscience once more; and the poem was not manifestly worse for having a prosaic prompting behind it. It is well, I think, that the public doesn't always fathom these little hidden sequences in our logic. Host. Speaking of "hidden sequences in logic," as you call them, reminds me of a story a little girl told me. There was a nest in a tree, and the nest was full of young birds. One very forward one always would sit on the edge of the nest, and had several falls in this way. The old birds picked it up repeatedly, and told it that it would most certainly be caught by cats. After they found that it would not reform, the mother-bird took it by one wing and the father-bird took it by the other, and together they carried it to London, where they left it. I could not imagine why they carried it to London; but a day or two later I discovered that the little girl had been reading the story of Dick Whittington, which was founded on the fact that there were no cats in London. Guest. I am constantly surprised at the adroitness children manifest in their little stories. Where does it vanish when they grow older? If almost any child kept up the promise of its story-telling infancy, every grown person would be a clever novelist. But there was a question I had in mind to ask you while we were on the subject of suggestion and plot. Do you ever receive any available ideas from other people? Host. Yes, a great many excellent suggestions have come to me from others. But the better they are the less I like to use them, for a good idea deserves hard work, and when the work were done I would not feel that the story were really mine. In a few cases I have used suggestions from other people. For instance, there have been publishers who desired a story written upon a certain incident or idea. Guest. The sense of ideal property is strong. One feels an honest indignation at taking what belongs to another, even though but a thought, and that of no account to the thinker, in his own opinion of it. Nevertheless, you feel how easily this ideal property of his might be "realized" with just a touch of art. Somehow, that touch of art, contributed by you, you feel would not quite make the material yours. Host. I have been thinking why it is that very often the work of an author of fiction is not as true as the work of an artist, and I have concluded that the artist has one great advantage over the author of fiction, and over the poet, even. The artist has his models for his characters-models which he selects to come as near as possible to what his creations are going to be. The unfortunate author has no such models. He must rely entirely upon the characters he has casually seen, upon reading, upon imagination. How I envy my friend Frost! Last summer, when he wished to sketch a winter scene in Canada, he had a model sitting with two overcoats on, and the day was hot. Now, I couldn't have any such models. I should have to describe my cold man just by thinking of him. Guest. Or learn to shiver, yourself, like the boy in "Grimm's Tales"-and describe that! Host. But it is a serious matter. The best artists have live models to work from. But your writer of fiction -how, for instance, can he see a love scene enacted? He must describe it as best he can, and, although he may remember some of his own, he will never describe those. Guest. Goethe was able to overcome such objections, I believe; and Heine tells us that, "Out of my own great woes is very difficult to find out what they would do under certain conditions necessary to the story, and therefore the author is obliged to rely upon his imagination, or upon the few examples he has met with in his reading, where men or women have delivered love-clinics at their own bedsides, or have had the rare opportunities of describing them at the bedsides of others. For this reason people who are not in love, and whose actions are open to the observations of others, are often better treated by the novelist than are his lovers. I have sometimes thought that a new profession might be created-that of Literary Model. Of course we would have none but the very highest order of dramatic performers, but such assistance as they might be able to give would be invaluable. Suppose the writer wanted to portray the behavior of a woman who has just received the tidings of the sudden death of her rejected lover. How does a writer, who has never heard such intelligence delivered, know what expressions of face, or what gestures, to give to his heroine in this situation? How would the intense, high-strung, nervous woman conduct herself? How would the fairhaired, phlegmatic type of women receive the news? The professional literary model might be enormously useful in delineating the various phases assumed by one's hero or heroine. Guest. The idea is certainly novel. But I'm afraid the professional literary model, if a woman, would never be content with "well enough." She would want to excel herself; and, if you didn't employ her constantly, would be devising new rôles for her |