I hold my inventive capacity on the stern condition that it must master my whole life, often have complete possession of me, make its own demands upon me, and sometimes, for months together, put everything else away from me. If I had not known long ago that my place could never be held, unless I were at any moment ready to devote myself to it entirely, I should have dropped out of it very soon. All this I can hardly expect you to understand — or the restlessness and waywardness of an author's mind.
These Notes are destroyed by too much smartness. It gives the appearance of perpetual effort, stabs to the heart the nature that is in them, and wearies by the manner and not by the matter. It is the commonest fault in the world (as I have constant occasion to observe here), but it is a very great one.
Again I must say, above all things — especially to young people writing: For the love of God, don't condescend!
But it strikes me that you constantly hurry your narrative (and yet without getting on) by telling it, in a sort of impetuous breathless way, in your own person, when the people should tell it and act it for themselves. My notion always is, that when I have made the people to play out the play it is, as it were, their business to do it, and not mine.
I think you are too ambitious, and that you have not sufficient knowledge of life or character to venture on so comprehensive an attempt. Evidences of inexperience in every way, and of your power being far below the situations that you imagine, present themselves to me in almost every page I have read.
I don't quite agree with you in two small respects. First, I question very much whether it would have been a good thing for every great man to have had his Boswell, inasmuch that I think that two Boswells, or three at most, would have made great men extraordinarily false, and would have set them on always playing a part, and would have made distinguished people about them for ever restless and distrustful. I can imagine a succession of Boswells bringing about a tremendous state of falsehood in society, and playing the very devil with confidence and friendship. Secondly, I cannot help objecting to that practice (begun, I think, or greatly enlarged by Hunt) of italicising lines and words and whole passages in extracts, without some very special reason indeed. It does appear to be a kind of assertion of the editor over the reader — almost over the author himself — which grates upon me. The author might almost as well do it himself to my thinking, as a disagreeable thing; and it is such a strong contrast to the modest, quiet, tranquil beauty of The Deserted Village, for instance, that I would almost as soon hear ` the town crier' speak the lines. The practice always reminds me of a man seeing a beautiful view, and not thinking how beautiful it is half so much as what he shall say about it.