been pronounced the most original historical work of this century, trudged from publisher to publisher in London with his first volume but could not find one who would take it, and was obliged to publish it at his own expense. Wordsworth, Bulwer, Washington Irving, Charlotte Bronte, and many others who became famous, all encountered the ominous shakings of the head, and serious misgivings of the critics, who endeavored to discourage them in their career. It is said that when Thomas Campbell sent his famous poem, "Hohenlinden," to an English newspaper (for publication) there appeared this paragraph among the "Notices to Correspondents": "To T. C.-The lines commencing, · On Linden when the sun was low,' are not up to our standard. Poetry is not T. C.'s forte."

If these illustrious children of genius encountered such rebuffs, what can be expected for the young aspirant for literary honors, who is modestly treading the first steps of the pathway to fame? But their examples also contain encouragement. If you have burning within you the God-given spark of genius, and feel that you have a work to do with your pen, let nothing deter you, for, if you are willing, like them, to pay the price, you will rise to your proper place, and disprove the false judgments which would rashly doom you to failure.

A literary life does not usually bring great pecuniary rewards. Probably no kind of brain work is so poorly paid. Although literary labor is better rewarded now

than when Johnson and Goldsmith lived and toiled in their garrets on Grub street, yet comparatively few writers, even among those who have attained eminence, have become wealthy from the products of their pens. It is said that Bayard Taylor, who had an intimate personal friendship with most of the literary celebrities of this and other countries, expressed the opinion that there is not one first-class author who has obtained wealth from his best and most enduring literary work; and it is also said that Ralph Waldo Emerson, who wrote books for forty years, never wrote but one that had a remunerative sale, and found it necessary to live in a simple and frugal manner. Bryant, who was a poet from his youth, received comparatively but a small amount of money for his poems, and Washington Irving was nearly seventy years old before the income from his books met the expenses of his household, although he was one of the most gifted, popular and prolific of American authors.

A contributor to periodical literature, in speaking of the compensation he received, said that he had been writing for ten years, and during that time he estimated that he had worked fifteen months' time at eight hours a day, during each year. He furnished during this period nineteen articles for magazines, for which he was paid nine hundred and twenty-seven dollars; received one hundred and thirty-eight dollars for nine articles in five weeklies, and seventy-eight dollars for correspondence and reviews in two dailies. He also

wrote one romance, which netted him one hundred and ninety-eight dollars, and three others which brought him in five hundred and sixty-two dollars, making a total of nineteen hundred and one dollars for the ten years' labor,- or less than two hundred dollars a year.

Milton only received about twenty-five dollars for "Paradise Lost," and Shakspeare about the same amount for "Hamlet." Ben Jonson was given fiftyfive dollars for one of his best plays, and Dryden was happy when he received five hundred dollars for one of his best productions. Goldsmith sold his "Vicar of Wakefield" for three hundred dollars, and the "Deserted Village " for five hundred. Charles Lamb agreed to write for two years for the London Magazine, for the sum of eight hundred and fifty dollars. Dr. Johnson received five hundred dollars for "Rasselas;" Fielding, three hundred dollars for his "Tom Jones," and Dean Swift fifteen hundred dollars for "Gulliver's Travels." Edgar Allan Poe received but ten dollars for "The Raven."

his poem,

On the other hand, there are many instances where literary labor has received generous remuneration. Pope's translation of Homer brought him about ten thousand dollars. Tennyson was once paid five thou sand dollars for a single poem, and an English publisher offered him sixty-five thousand dollars down, and fifteen thousand dollars a year, to write exclusively for him. It is said that George Elliott was paid fifty

thousand dollars for Daniel Deronda." The author of "Rutledge" received for it eight thousand dollars; while she who wrote "Beulah," realized one hundred thousand dollars for her novels in eight years. Sir Walter Scott made by his pen the immense sum of two hundred and fifty-nine thousand dollars, and Byron forty-five thousand dollars. The copyright on naby Rudge," for six months, brought Dickens fifteen thousand dollars.

But do not be dazzled by these exceptional instances of great pecuniary profit, nor be deludea by the rapid and brilliant success which now and then attends some genius of striking originality, or the lucky author who has got himself before the public by a fortunate hit. Dr. John Brown, in his book "Spare Hours," says says that "every man should deny himself the luxury of taking his hat off to the public, unless he has something to say, and has done his best to say it aright."

A literary life is a toilsome road; do not attempt to enter it unless you have the genius, the energy and the dauntless courage which will support you through years of weary labor and discouragement, or you will fail to achieve success.

PUBLIC SPEAKING.

'NDER our form of government every man

is liable to be called to fill some office of trust

and responsibility; and no citizen is properly fitted to discharge his duty in public life without being able to express his views before an audience in a clear and intelligible manner. Then how numerous are the occasions in private life where, if one is capable of ready expression, he can double his own influence and render valuable service to others. Cato defined an orator as a good man, skilled in the art of speaking. The ability to make a fine speech may be ranked among the highest accomplishments. It requires the rare combination of a well modulated voice, graceful and ap propriate gestures, a ready flow of words and ideas,and all kindled into flame by the fire of a sublime enthusiasm. While few attain this rare excellence, yet it is within the power of every man of ordinary ability to speak well if he will bestow the required labor and practice.

Macaulay, who was himself a most fluent and ready speaker, observes: "The art of speaking is one which men of respectable abilities, with assiduous and intrepid practice, seldom fail to acquire." Another eminent author remarks: "Nor should it ever be forgotten,