IT was two years from the date of the last chapter before Maltravers again appeared in general society. These two years had sufficed to produce a revolution in his fate. Ernest Maltravers had lost the happy rights of the private individual; he had given himself to the Public; he had surrendered his name to men’s tongues, and was a thing that all had a right to praise, to blame, to scrutinise, to spy. Ernest Maltravers had become an author.

Let no man tempt Gods and Columns, without weighing well the consequences of his experiment. He who publishes a book, attended with a moderate success, passes a mighty barrier. He will often look back with a sigh of regret at the land he has left for ever. The beautiful and decent obscurity of hearth and home is gone. He can no longer feel the just indignation of manly pride when he finds himself ridiculed or reviled. He has parted with the shadow of his life. His motives may be misrepresented, his character belied; his manners, his person, his dress, the “very trick of his walk” are all fair food for the cavil and the caricature. He can never go back, he cannot even pause; he has chosen his path, and all the natural feelings that make the nerve and muscle of the active being urge him to proceed. To stop short is to fail. He has told the world that he will make a name; and he must be set down as a pretender, or toil on till the boast be fulfilled. Yet Maltravers thought nothing of all this when, intoxicated with his own dreams and aspirations, he desired to make a world his confidant; when from the living nature, and the lore of books, and the mingled result of inward study and external observation, he sought to draw forth something that might interweave his name with the pleasurable associations of his kind. His easy fortune and lonely state gave him up to his own thoughts and contemplations; they suffused his mind, till it ran over upon the page which makes the channel that connects the solitary Fountain with the vast Ocean of Human Knowledge. The temperament of Maltravers was, as we have seen, neither irritable nor fearful. He formed himself, as a sculptor forms, with a model before his eyes and an ideal in his heart. He endeavoured, with labour and patience, to approach nearer and nearer with every effort to the standard of such excellence as he thought might ultimately be attained by a reasonable ambition; and when, at last, his judgment was satisfied, he surrendered the product with a tranquil confidence to a more impartial tribunal.

His first work was successful; perhaps for this reason—that it bore the stamp of the Honest and the Real. He did not sit down to report of what he had never seen, to dilate on what he had never felt. A quiet and thoughtful observer of life, his descriptions were the more vivid, because his own first impressions were not yet worn away. His experience had sunk deep; not on the arid surface of matured age, but in the fresh soil of youthful emotions. Another reason, perhaps, that obtained success for his essay was, that he had more varied and more elaborate knowledge than young authors think it necessary to possess. He did not, like Cesarini, attempt to make a show of words upon a slender capital of ideas. Whether his style was eloquent or homely; it was still in him a faithful transcript of considered and digested thought. A third reason—and I dwell on these points not more to elucidate the career of Maltravers than as hints which may be useful to others—a third reason why Maltravers obtained a prompt and favourable reception from the public was, that he had not hackneyed his peculiarities of diction and thought in that worst of all schools for the literary novice—the columns of a magazine. Periodicals form an excellent mode of communication between the public and an author already established, who has lost the charm of novelty, but gained the weight of acknowledged reputation; and who, either upon politics or criticism, seeks for frequent and continuous occasions to enforce his peculiar theses and doctrines. But, upon the young writer, this mode of communication, if too long continued, operates most injuriously both as to his future prospects and his own present taste and style. With respect to the first, it familiarises the public to his mannerism (and all writers worth reading have mannerism) in a form to which the said public are not inclined to attach much weight. He forestalls in a few months what ought to be the effect of years; namely, the wearying a world soon nauseated with the toujours perdrix. With respect to the last, it induces a man to write for momentary effects; to study a false smartness of style and reasoning; to bound his ambition of durability to the last day of the month; to expect immediate returns for labour; to recoil at the “hope deferred” of serious works on which judgment is slowly formed. The man of talent who begins young at periodicals, and goes on long, has generally something crude and stunted about both his compositions and his celebrity. He grows the oracle of small coteries; and we can rarely get out of the impression that he is cockneyfied and conventional. Periodicals sadly mortgaged the claims that Hazlitt, and many others of his contemporaries, had upon a vast reversionary estate of Fame. But I here speak too politically; to some the res angustoe domi leave no option. And, as Aristotle and the Greek proverb have it, we cannot carve out all things with the knife of the Delphic cutler.

The second work that Maltravers put forth, at an interval of eighteen months from the first, was one of a graver and higher nature; it served to confirm his reputation: and that is success enough for a second work, which is usually an author’s “pons asinorum.” He who, after a triumphant first book, does not dissatisfy the public with a second, has a fair chance of gaining a fixed station in literature. But now commenced the pains and perils of the after-birth. By a maiden effort an author rarely makes enemies. His fellow-writers are not yet prepared to consider him as a rival; if he be tolerably rich, they unconsciously trust that he will not become a regular, or, as they term it, “a professional” author: he did something just to be talked of; he may write no more, or his second book may fail. But when that second book comes out, and does not fail, they begin to look about them; envy wakens, malice begins. And all the old school—gentlemen who have retired on their pensions of renown—regard him as an intruder: then the sneer, then the frown, the caustic irony, the biting review, the depreciating praise. The novice begins to think that he is further from the goal than before he set out upon the race.

Maltravers had, upon the whole, a tolerably happy temperament; but he was a very proud man, and he had the nice soul of a courageous, honourable, punctilious gentleman. He thought it singular that society should call upon him, as a gentleman, to shoot his best friend, if that friend affronted him with a rude word; and yet that, as an author, every fool and liar might, with perfect impunity, cover reams of paper with the most virulent personal abuse of him.

It was one evening in the early summer that, revolving anxious and doubtful thoughts, Ernest sauntered gloomily along his terrace,

when he perceived a dusty travelling carriage whirled along the road by the ha-ha, and a hand waved in recognition from the open window. His guests had been so rare, and his friends were so few, that Maltravers could not conjecture who was his intended visitant. His brother, he knew, was in London. Cleveland, from whom he had that day heard, was at his villa. Ferrers was enjoying himself in Vienna. Who could it be? We may say of solitude what we please; but, after two years of solitude, a visitor is a pleasurable excitement. Maltravers retraced his steps, entered his house, and was just in time to find himself almost in the arms of De Montaigne.