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Autobiography of Anthony Trollope

<h3>CHAPTER VI.</h3> <h4>BARCHESTER TOWERS AND THE THREE CLERKS. 1855-1858.  </h4> It was, I think, before I started on my English tours among the rural posts that I made my first attempt at writing for a magazine. I had read, soon after they came out, the two first volumes of Charles Merivale's History of the Romans under the Empire, and had got into some correspondence with the author's brother as to the author's views about Cæsar. Hence arose in my mind a tendency to investigate the character of probably the greatest man who ever lived, which tendency in after years produced a little book of which I shall have to speak when its time comes,—and also a taste generally for Latin literature, which has been one of the chief delights of my later life. And I may say that I became at this time as anxious about Cæsar, and as desirous of reaching the truth as to his character, as we have all been in regard to Bismarck in these latter days. I lived in Cæsar, and debated with myself constantly whether he crossed the Rubicon as a tyrant or as a patriot. In order that I might review Mr. Merivale's book without feeling that I was dealing unwarrantably with a subject beyond me, I studied the Commentaries thoroughly, and went through a mass of other reading which the object of a magazine article hardly justified,—but which has thoroughly justified itself in the subsequent pursuits of my life. I did write two articles, the first mainly on Julius Cæsar, and the second on Augustus, which appeared in the Dublin University Magazine. They were the result of very much labour, but there came from them no pecuniary product. I had been very modest when I sent them to the editor, as I had been when I called on John Forster, not venturing to suggest the subject of money. After a while I did call upon the proprietor of the magazine in Dublin, and was told by him that such articles were generally written to oblige friends, and that articles written to oblige friends were not usually paid for. The Dean of Ely, as the author of the work in question now is, was my friend; but I think I was wronged, as I certainly had no intention of obliging him by my criticism. Afterwards, when I returned to Ireland, I wrote other articles for the same magazine, one of which, intended to be very savage in its denunciation, was on an official blue-book just then brought out, preparatory to the introduction of competitive examinations for the Civil Service. For that and some other article, I now forget what, I was paid. Up to the end of 1857 I had received £55 for the hard work of ten years. It was while I was engaged on Barchester Towers that I adopted a system of writing which, for some years afterwards, I found to be very serviceable to me. My time was greatly occupied in travelling, and the nature of my travelling was now changed. I could not any longer do it on horseback. Railroads afforded me my means of conveyance, and I found that I passed in railway-carriages very many hours of my existence. Like others, I used to read,—though Carlyle has since told me that a man when travelling should not read, but "sit still and label his thoughts." But if I intended to make a profitable business out of my writing, and, at the same time, to do my best for the Post Office, I must turn these hours to more account than I could do even by reading. I made for myself therefore a little tablet, and found after a few days' exercise that I could write as quickly in a railway-carriage as I could at my desk. I worked with a pencil, and what I wrote my wife copied afterwards. In this way was composed the greater part of Barchester Towers and of the novel which succeeded it, and much also of others subsequent to them. My only objection to the practice came from the appearance of literary ostentation, to which I felt myself to be subject when going to work before four or five fellow-passengers. But I got used to it, as I had done to the amazement of the west country farmers' wives when asking them after their letters. In the writing of Barchester Towers I took great delight. The bishop and Mrs. Proudie were very real to me, as were also the troubles of the archdeacon and the loves of Mr. Slope. When it was done, Mr. W. Longman required that it should be subjected to his reader; and he returned the MS. to me, with a most laborious and voluminous criticism,—coming from whom I never knew. This was accompanied by an offer to print the novel on the half-profit system, with a payment of £100 in advance out of my half-profits,—on condition that I would comply with the suggestions made by his critic. One of these suggestions required that I should cut the novel down to two volumes. In my reply, I went through the criticisms, rejecting one and accepting another, almost alternately, but declaring at last that no consideration should induce me to cut out a third of my work. I am at a loss to know how such a task could be performed. I could burn the MS., no doubt, and write another book on the same story; but how two words out of six are to be withdrawn from a written novel, I cannot conceive. I believe such tasks have been attempted—perhaps performed; but I refused to make even the attempt. Mr. Longman was too gracious to insist on his critic's terms; and the book was published, certainly none the worse, and I do not think much the better, for the care that had been taken with it. The work succeeded just as The Warden had succeeded. It achieved no great reputation, but it was one of the novels which novel readers were called upon to read. Perhaps I may be assuming upon myself more than I have a right to do in saying now that Barchester Towers has become one of those novels which do not die quite at once, which live and are read for perhaps a quarter of a century; but if that be so, its life has been so far prolonged by the vitality of some of its younger brothers. Barchester Towers would hardly be so well known as it is had there been no Framley Parsonage and no Last Chronicle of Barset. I received my £100, in advance, with profound delight. It was a positive and most welcome increase to my income, and might probably be regarded as a first real step on the road to substantial success. I am well aware that there are many who think that an author in his authorship should not regard money,—nor a painter, or sculptor, or composer in his art. I do not know that this unnatural self-sacrifice is supposed to extend itself further. A barrister, a clergyman, a doctor, an engineer, and even actors and architects, may without disgrace follow the bent of human nature, and endeavour to fill their bellies and clothe their backs, and also those of their wives and children, as comfortably as they can by the exercise of their abilities and their crafts. They may be as rationally realistic, as may the butchers and the bakers; but the artist and the author forget the high glories of their calling if they condescend to make a money return a first object. They who preach this doctrine will be much offended by my theory, and by this book of mine, if my theory and my book come beneath their notice. They require the practice of a so-called virtue which is contrary to nature, and which, in my eyes, would be no virtue if it were practised. They are like clergymen who preach sermons against the love of money, but who know that the love of money is so distinctive a characteristic of humanity that such sermons are mere platitudes called for by customary but unintelligent piety. All material progress has come from man's desire to do the best he can for himself and those about him, and civilisation and Christianity itself have been made possible by such progress. Though we do not all of us argue this matter out within our breasts, we do all feel it; and we know that the more a man earns the more useful he is to his fellow-men. The most useful lawyers, as a rule, have been those who have made the greatest incomes,—and it is the same with the doctors. It would be the same in the Church if they who have the choosing of bishops always chose the best man. And it has in truth been so too in art and authorship. Did Titian or Rubens disregard their pecuniary rewards? As far as we know, Shakespeare worked always for money, giving the best of his intellect to support his trade as an actor. In our own century what literary names stand higher than those of Byron, Tennyson, Scott, Dickens, Macaulay, and Carlyle? And I think I may say that none of those great men neglected the pecuniary result of their labours. Now and then a man may arise among us who in any calling, whether it be in law, in physic, in religious teaching, in art, or literature, may in his professional enthusiasm utterly disregard money. All will honour his enthusiasm, and if he be wifeless and childless, his disregard of the great object of men's work will be blameless. But it is a mistake to suppose that a man is a better man because he despises money. Few do so, and those few in doing so suffer a defeat. Who does not desire to be hospitable to his friends, generous to the poor, liberal to all, munificent to his children, and to be himself free from the carking fear which poverty creates? The subject will not stand an argument;—and yet authors are told that they should disregard payment for their work, and be content to devote their unbought brains to the welfare of the public. Brains that are unbought will never serve the public much. Take away from English authors their copyrights, and you would very soon take away from England her authors. I say this here, because it is my purpose as I go on to state what to me has been the result of my profession in the ordinary way in which professions are regarded, so that by my example may be seen what prospect there is that a man devoting himself to literature with industry, perseverance, certain necessary aptitudes, and fair average talents, may succeed in gaining a livelihood, as another man does in another profession. The result with me has been comfortable but not splendid, as I think was to have been expected from the combination of such gifts. I have certainly always had also before my eyes the charms of reputation. Over and above the money view of the question, I wished from the beginning to be something more than a clerk in the Post Office. To be known as somebody,—to be Anthony Trollope if it be no more,—is to me much. The feeling is a very general one, and I think beneficent. It is that which has been called the "last infirmity of noble mind." The infirmity is so human that the man who lacks it is either above or below humanity. I own to the infirmity. But I confess that my first object in taking to literature as a profession was that which is common to the barrister when he goes to the Bar, and to the baker when he sets up his oven. I wished to make an income on which I and those belonging to me might live in comfort. If indeed a man writes his books badly, or paints his pictures badly, because he can make his money faster in that fashion than by doing them well, and at the same time proclaims them to be the best he can do,—if in fact he sells shoddy for broadcloth,—he is dishonest, as is any other fraudulent dealer. So may be the barrister who takes money that he does not earn, or the clergyman who is content to live on a sinecure. No doubt the artist or the author may have a difficulty which will not occur to the seller of cloth, in settling within himself what is good work and what is bad,—when labour enough has been given, and when the task has been scamped. It is a danger as to which he is bound to be severe with himself—in which he should feel that his conscience should be set fairly in the balance against the natural bias of his interest. If he do not do so, sooner or later his dishonesty will be discovered, and will be estimated accordingly. But in this he is to be governed only by the plain rules of honesty which should govern us all. Having said so much, I shall not scruple as I go on to attribute to the pecuniary result of my labours all the importance which I felt them to have at the time. Barchester Towers, for which I had received £100 in advance, sold well enough to bring me further payments—moderate payments—from the publishers. From that day up to this very time in which I am writing, that book and The Warden together have given me almost every year some small income. I get the accounts very regularly, and I find that I have received £727, 11s. 3d. for the two. It is more than I got for the three or four works that came afterwards, but the payments have been spread over twenty years. When I went to Mr. Longman with my next novel, The Three Clerks, in my hand, I could not induce him to understand that a lump sum down was more pleasant than a deferred annuity. I wished him to buy it from me at a price which he might think to be a fair value, and I argued with him that as soon as an author has put himself into a position which insures a sufficient sale of his works to give a profit, the publisher is not entitled to expect the half of such proceeds. While there is a pecuniary risk, the whole of which must be borne by the publisher, such division is fair enough; but such a demand on the part of the publisher is monstrous as soon as the article produced is known to be a marketable commodity. I thought that I had now reached that point, but Mr. Longman did not agree with me. And he endeavoured to convince me that I might lose more than I gained, even though I should get more money by going elsewhere. "It is for you," said he, "to think whether our names on your title-page are not worth more to you than the increased payment." This seemed to me to savour of that high-flown doctrine of the contempt of money which I have never admired. I did think much of Messrs. Longman's name, but I liked it best at the bottom of a cheque. I was also scared from the august columns of Paternoster Row by a remark made to myself by one of the firm, which seemed to imply that they did not much care for works of fiction. Speaking of a fertile writer of tales who was not then dead, he declared that —— (naming the author in question) had spawned upon them (the publishers) three novels a year! Such language is perhaps justifiable in regard to a man who shows so much of the fecundity of the herring; but I did not know how fruitful might be my own muse, and I thought that I had better go elsewhere. I had then written The Three Clerks, which, when I could not sell it to Messrs. Longman, I took in the first instance to Messrs. Hurst & Blackett, who had become successors to Mr. Colburn. I had made an appointment with one of the firm, which, however, that gentleman was unable to keep. I was on my way from Ireland to Italy, and had but one day in London in which to dispose of my manuscript. I sat for an hour in Great Marlborough Street, expecting the return of the peccant publisher who had broken his tryst, and I was about to depart with my bundle under my arm when the foreman of the house came to me. He seemed to think it a pity that I should go, and wished me to leave my work with him. This, however, I would not do, unless he would undertake to buy it then and there. Perhaps he lacked authority. Perhaps his judgment was against such purchase. But while we debated the matter, he gave me some advice. "I hope it's not historical, Mr. Trollope?" he said. "Whatever you do, don't be historical; your historical novel is not worth a damn." Thence I took The Three Clerks to Mr. Bentley; and on the same afternoon succeeded in selling it to him for £250. His son still possesses it, and the firm has, I believe, done very well with the purchase. It was certainly the best novel I had as yet written. The plot is not so good as that of the Macdermots; nor are there any characters in the book equal to those of Mrs. Proudie and the Warden; but the work has a more continued interest, and contains the first well-described love-scene that I ever wrote. The passage in which Kate Woodward, thinking that she will die, tries to take leave of the lad she loves, still brings tears to my eyes when I read it. I had not the heart to kill her. I never could do that. And I do not doubt but that they are living happily together to this day. The lawyer Chaffanbrass made his first appearance in this novel, and I do not think that I have cause to be ashamed of him. But this novel now is chiefly noticeable to me from the fact that in it I introduced a character under the name of Sir Gregory Hardlines, by which I intended to lean very heavily on that much loathed scheme of competitive examination, of which at that time Sir Charles Trevelyan was the great apostle. Sir Gregory Hardlines was intended for Sir Charles Trevelyan,—as any one at the time would know who had taken an interest in the Civil Service. "We always call him Sir Gregory," Lady Trevelyan said to me afterwards, when I came to know her and her husband. I never learned to love competitive examination; but I became, and am, very fond of Sir Charles Trevelyan. Sir Stafford Northcote, who is now Chancellor of the Exchequer, was then leagued with his friend Sir Charles, and he too appears in The Three Clerks under the feebly facetious name of Sir Warwick West End. But for all that The Three Clerks was a good novel. When that sale was made I was on my way to Italy with my wife, paying a third visit there to my mother and brother. This was in 1857, and she had then given up her pen. It was the first year in which she had not written, and she expressed to me her delight that her labours should be at an end, and that mine should be beginning in the same field. In truth they had already been continued for a dozen years, but a man's career will generally be held to date itself from the commencement of his success. On those foreign tours I always encountered adventures, which, as I look back upon them now, tempt me almost to write a little book of my long past Continental travels. On this occasion, as we made our way slowly through Switzerland and over the Alps, we encountered again and again a poor forlorn Englishman, who had no friend and no aptitude for travelling. He was always losing his way, and finding himself with no seat in the coaches and no bed at the inns. On one occasion I found him at Coire seated at 5 A.M. in the coupé of a diligence which was intended to start at noon for the Engadine, while it was his purpose to go over the Alps in another which was to leave at 5.30, and which was already crowded with passengers. "Ah!" he said, "I am in time now, and nobody shall turn me out of this seat," alluding to former little misfortunes of which I had been a witness. When I explained to him his position, he was as one to whom life was too bitter to be borne. But he made his way into Italy, and encountered me again at the Pitti Palace in Florence. "Can you tell me something?" he said to me in a whisper, having touched my shoulder. "The people are so ill-natured I don't like to ask them. Where is it they keep the Medical Venus?" I sent him to the Uffizzi, but I fear he was disappointed. We ourselves, however, on entering Milan had been in quite as much distress as any that he suffered. We had not written for beds, and on driving up to a hotel at ten in the evening found it full. Thence we went from one hotel to another, finding them all full. The misery is one well known to travellers, but I never heard of another case in which a man and his wife were told at midnight to get out of the conveyance into the middle of the street because the horse could not be made to go any further. Such was our condition. I induced the driver, however, to go again to the hotel which was nearest to him, and which was kept by a German. Then I bribed the porter to get the master to come down to me; and, though my French is ordinarily very defective, I spoke with such eloquence to that German innkeeper that he, throwing his arms round my neck in a transport of compassion, swore that he would never leave me nor my wife till he had put us to bed. And he did so; but, ah! there were so many in those beds! It is such an experience as this which teaches a travelling foreigner how different on the Continent is the accommodation provided for him, from that which is supplied for the inhabitants of the country. It was on a previous visit to Milan, when the telegraph-wires were only just opened to the public by the Austrian authorities, that we had decided one day at dinner that we would go to Verona that night. There was a train at six, reaching Verona at midnight, and we asked some servant of the hotel to telegraph for us, ordering supper and beds. The demand seemed to create some surprise; but we persisted, and were only mildly grieved when we found ourselves charged twenty zwanzigers for the message. Telegraphy was new at Milan, and the prices were intended to be almost prohibitory. We paid our twenty zwanzigers and went on, consoling ourselves with the thought of our ready supper and our assured beds. When we reached Verona, there arose a great cry along the platform for Signor Trollope. I put out my head and declared my identity, when I was waited upon by a glorious personage dressed like a beau for a ball, with half-a-dozen others almost as glorious behind him, who informed me, with his hat in his hand, that he was the landlord of the "Due Torre." It was a heating moment, but it became more hot when he asked me after my people,—"mes gens." I could only turn round, and point to my wife and brother-in-law. I had no other "people." There were three carriages provided for us, each with a pair of grey horses. When we reached the house it was all lit up. We were not allowed to move without an attendant with a lighted candle. It was only gradually that the mistake came to be understood. On us there was still the horror of the bill, the extent of which could not be known till the hour of departure had come. The landlord, however, had acknowledged to himself that his inductions had been ill-founded, and he treated us with clemency. He had never before received a telegram. I apologise for these tales, which are certainly outside my purpose, and will endeavour to tell no more that shall not have a closer relation to my story. I had finished The Three Clerks just before I left England, and when in Florence was cudgelling my brain for a new plot. Being then with my brother, I asked him to sketch me a plot, and he drew out that of my next novel, called Doctor Thorne. I mention this particularly, because it was the only occasion in which I have had recourse to some other source than my own brains for the thread of a story. How far I may unconsciously have adopted incidents from what I have read,—either from history or from works of imagination,—I do not know. It is beyond question that a man employed as I have been must do so. But when doing it I have not been aware that I have done it. I have never taken another man's work, and deliberately framed my work upon it. I am far from censuring this practice in others. Our greatest masters in works of imagination have obtained such aid for themselves. Shakespeare dug out of such quarries wherever he could find them. Ben Jonson, with heavier hand, built up his structures on his studies of the classics, not thinking it beneath him to give, without direct acknowledgment, whole pieces translated both from poets and historians. But in those days no such acknowledgment was usual. Plagiary existed, and was very common, but was not known as a sin. It is different now; and I think that an author, when he uses either the words or the plot of another, should own as much, demanding to be credited with no more of the work than he has himself produced. I may say also that I have never printed as my own a word that has been written by others. [4] It might probably have been better for my readers had I done so, as I am informed that Doctor Thorne, the novel of which I am now speaking, has a larger sale than any other book of mine. Early in 1858, while I was writing Doctor Thorne, I was asked by the great men at the General Post Office to go to Egypt to make a treaty with the Pasha for the conveyance of our mails through that country by railway. There was a treaty in existence, but that had reference to the carriage of bags and boxes by camels from Alexandria to Suez. Since its date the railway had grown, and was now nearly completed, and a new treaty was wanted. So I came over from Dublin to London, on my road, and again went to work among the publishers. The other novel was not finished; but I thought I had now progressed far enough to arrange a sale while the work was still on the stocks. I went to Mr. Bentley and demanded £400,—for the copyright. He acceded, but came to me the next morning at the General Post Office to say that it could not be. He had gone to work at his figures after I had left him, and had found that £300 would be the outside value of the novel. I was intent upon the larger sum; and in furious haste,—for I had but an hour at my disposal,—I rushed to Chapman & Hall in Piccadilly, and said what I had to say to Mr. Edward Chapman in a quick torrent of words. They were the first of a great many words which have since been spoken by me in that back-shop. Looking at me as he might have done at a highway robber who had stopped him on Hounslow Heath, he said that he supposed he might as well do as I desired. I considered this to be a sale, and it was a sale. I remember that he held the poker in his hand all the time that I was with him;—but in truth, even though he had declined to buy the book, there would have been no danger. <blockquote> [Footnote 4: I must make one exception to this declaration. The legal opinion as to heirlooms in The Eustace Diamonds was written for me by Charles Merewether, the present Member for Northampton. I am told that it has become the ruling authority on the subject.] Return </blockquote>     <div style="break-after:column;"></div>

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