New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-06-26

dav that he found as he advanced toward middlo
life that there were not nearly 50 many pnt0
women in the world as when he was young H
would not think of indorsing that opinion Of his
friend. but perhaps, as he grew older In the
study Of literature, no became too particular. He
illustrated his point by telling little story Of
witty speaker at recent college reunion. The
gifted speaker who was called upon 10 explain
wbv there were fewer and fewer marriages amona
the graduates said, AS we grow older. we be-
come more and more fastidious' and then-wtth
O pause" less desirable.
Mr. IIowells, in speaking OF his own method
OF literary work, said: II havo long ago learned
to distrust and utterly TO disbclieve In the ides
of losing ones self in ones work. Whenever
have given way to the so-called inspirauon OF the
assn. | have always found the next day that my
work was rubbish and all lost. The writer must
not lose himself in his characters or n his story
lie must retain his self-possession, his selfcon.
troll and he constantly in the position OF an out
slider studying carefully his effects lie must be
saying to himse IT, Is this natural Is this nghtf
in order to obtain the proper gauge OF the values
Of his picture believe that me greatest effects
are produced upon the stage by the artist who
never forgets himself II he imagines himself to
all else but that then he has no means OF juds.
Ing of the effects he produces Of how his inspra-
ton Is being received; or, in other words. he has
correct and artistic picture | know this view
is opposed by q great many enthusiasts, but IL %
nv Judgment that the most artistic work is pro-
ddced by the man who Is IN the cearrst possession
OF all his faculties and who is the lclst swayed
by his emotions in the pursuit Of purely intel
ectual work What would be said OF sculptor
engaged in the modelling Of a figure II he gave
way to his emotions, closed his eyes 10 an Outside
view of the general proportion OF his work, ana
plunged into q general passion Of execution With
out any regard to the appearance OF his WORK -
/ asked Mr. ITowells II he ever took real
character from life for any Of his stories, or did
of people he know, to group them into COM
posite character to represent type.
He said; II never copy the character OF any
The study Of an actual person would he simply
portrait, and it would have no more life than
a portrait Every character created by an author
comes from his own individuality, Within every
enc lies the potcntiality of every character known
to literature: The man who has hated knows
what it would be to murder The beginning i
there This may be said OF every passion. II ~
the control which is exercised which determines
the character found in tie individual When a
type is sought the author finds within himself
the materials to give tbis type lie and form.
which enables him TO make his characters move
and to live as they would under natural circnn-
stances In his work he must constantly study
Is This nature? Is this possible? To subordinate
personality, to keep as simple as possible and to
avoid everything in the way Of afectation or
exaggeraton should be the constant aim OF tho
literary worker. =,
asked Mr. Howclls how ne liked New-York;
He said that, although he had been connected
with the New.Yors publishing houses for several
the S H FL S OF eoe that to haa G ne~
for the second time. and had beer here now for
six months lie said that he found New-York
very interesting, lie gave one picture or one
original He said that the city to him is ons
Of the newest of the border towns Nearly every.
1nG not is in the Pr arOs sEs
tiona. Literature is just beginning TO deveop
new forms. Architecture is undergoing period
of revolution. What has been generally accepted
in every direction the movement is toward some
thing new. The problem Of city government Is
a a' new thing. Sew-York, in Mr.: Howeliss judy
ment was a rich and powerful border town. but
with mighty trend in the direction Of improve.
ment
Mr. Howells. in speaking generally of the writers
throughout the country said that he thought that
the Western writer's possessed the most vigor and
originality. lie thought that some Of the Western
newspapers shovel equal ability with the hes.
pressed With the literary excellence Of some Of
the towels chc ~s2 that no asked one N
, our novel writers had Yet been able TO write an
interesting story OF American politics. He said
that it must I've because the writer's were not IA
say that politics not interesting that Its cor
tests were vulgar and that it's movements would
not afford legitimate subjects for a novel-writer
if correctly portrayed, as any other phase az life
1t was very serious and important part Of the
life Of every country and consequently afforded
strong subjects for literary portrayal Mr. How.
ellis thought that in time American liz
eraturc would become more and more individual.
In short stories Americans were now wholly dif-
ferent and occupying a high place. 1t would not
do to speak of the Anglo-Saxon rs the prevailing
element in this country. Our models were not TO
lie found in the English schools. 1t is MIXED
in the United States, and the Anglo-Saxop
element is a very small percentage Of the whole.
! This mingling of the various races Of the earth
Is gradually producing intense individuality, and
with the development of the country, the universal
spread Of education, there was coming rapid
development in the direction OF new lines In
literature. T. c. CRAWFORD