The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1898-05-15

to him the step from the debaslng and
prescribed "Une Vie" to the purest
tales Of most beautiful sentiment was
the strange contradiction Of q most
wonderful mind.
DE MANPASSANT'S EMOTIONS.
The remarkable feature of the life of
De Maupassant is easily suggested in
the application Of the subject matter
of his own stories to his own personal
emotions as evidenced by his actions
A man of the most fantastic words
superinduced by the greatest excuses
and by indulgence in the dangerous
st1mulants that must surely overthrow
the reason, it is not strange that De
-Maupassant lived in actual existence
both the sweets and horrors of his sto-
rieS. Naturally, he was a man Of the
kindest impulses, and all the goodness
and pathos that, from time to time
appear in his writings were his normal
inheritance. Initiated as his taste may
have become, and debased by unbri-
died indulgence, it would be unjust
to say that the CLEAN of what is good
and pure was a mere literary accom-
plishment, and not the prompting of
deep feeling and a better nature.
Such CLEANS will remain as the tri-
umphs, even temporarily, Of good over
evil.
Jules Verne, in his personal appear
ance, does not fulfill the popular idea
Of a great author Rather does he
give one the impression of being a
cultured country gentleman, and this
Notwithstanding the fact that he al
ways dresses in the sOmber black af-
fected by most Frenchmen belonging to
- IL
decorated with the tiny red button
denoting that the wearer possesses the
high distinction of being an officer Of
the Legion Of Honor. AS he sits talking
he does not look his seventy eight
years, and, indeed, appears but little
changed since the large portrait, hang
ing opposite that of his wife, was
painted some twenty-odd years ago.
81 cannot see," he said, good-natured-
ly, what interest the public can find
in such things; but 1 will initiate you
into the secrets Of my literary kitchen,
though I do not know that 1 would
recommend anybody else to proceed on
the same plan, for always think that
each of us works in his or her own
way, and instinctively knows what
| method is best. Well, start by max
| ing a draft of what is going to be
my new story. I never begin a book
without knowing what the beginning,
the middle, and the end will be. Hith-
erto I have always been fortunate
enough to have not one, but half a
dozen definite schemes floating in my
mind. If I ever find myself hard up
| for a subject, I shall consider that it
is time for me to give up work. After
having completed my preliminary
draft, I draw up plan of the chap
tiers, and then begin the actual writing
Of the first rough copy in pencil, leav-
ing half page margin for corrections
and emendations; / then read the
whole, and go over all 1 have already
done in ink. I consider that my real
labor begins with my first set Of proofs,
for 1 not only correct something in
every sentence, but I rewrtte whole
chapters. I do not seem to have a grip
on my subject till I see my work liz
print; fortunately, my kind publisher
allows me every latitude as regards
corrections, and / often have as many
as eight or nine revises. I envy, but
do not attempt to emulate, the example
of those who from the time they write
chapter ] to the word fms. never see
reason to alter or add a single word"
BEATRICE HARRADEN's COMES
SION.
1t is a strange confession that Bea-
trice Harraden makes regarding the
weird title of her book, "Ships That
Pass in the Night" She was consid-
ering the best name to give her work,
when, without any thought regarding
its applicability to the subject of the
work, she wrote on siip Of paper the
title, "Ships That Pass in the Night"
She sent the title to the publishers with
the suggestion that, as no other oc-
CURED to her at the moment, 1t he used
for the present, just for the sake of
calling the book something" Since the
book became popular, Miss Harraden
has been overwhelmed with inquiries
as to the meaning of the title, but can
Only answer helplessly to all inquiries,
that she doesn't know why the book
should be so called, except that when
she came to one of the last chapters of
the first part Of the book, where the
melting of the snow had begun, and
the guests Of Petershof were speeding
on their own way, each in utter dis
regard Of any one else. certain words
that had been in her mind since child
hood swept across by remembrance,
and prompted her to call the chapter,
''Ships That Speak Each Other in Pass
ing" This was the real origin of the
puzzling title.
Concerning the way in which she
wrote the famous book Miss Harraden
says: II had been resting at a noun
tain health resort called Petershof,
from which much of the material of the
book is taken. 1 had written little
before this, but I was quite out Of prac-
tice and out Of touch and 1t seemed
! impossible to me that 1 should ever
manage to set down six consecutive
| words. I felt entirely bereft Of ideas
and inclination and enthusiasm, and,
moreover my hand, which for some
time had been entirely useless, was
| still very troublesome member, often
| tickle and uncomfortable. But this did
not fret me so much as the bereftness;
1t was that which made me feel that
| it was folly to waste the time and
energy on attempts which were fore
gone failures. I should never have
gone on with my task but for the ten
der solicitude of the frierds to whom
/ the little book was dedicated. 1t was
written chiefly in their home, and I
count 1t my greatest pleasure in remeul-
bering how deep an interest they took
in every sentence, and how gratiGed