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H painters take pupils, why should not novelists? The idea may seem startling, but if the one may impart the canons of his calling, cannot the other--of course, for a honorarium ? Ateliers, where art students pay for the privilege of a master's scrutinising glance, fill the capitals of Europe. Once a week the great man passes among the easels, with a nod for the promising, a shrug for the mediocre, and good, sound, epithetic abuse for the hopelessly bad rapi11. But isn't it better to be made to realise your shortcomings in. time to turn from the palette to the plough, or the pen, or any instrument which will gain you a livelihood, than to inflict art juries with hopelessly bad paintings? Of course, the masters of painting are not entirely successful in ridding the world of misfit artists, but they show them the error of their ways, arid, what is more to the point, they show the talented how to paint. No two artists were ever born equal nor were any two humans, for that mat ter--except in the opportunity to strive. That is exactly what the atelier gives the embryo painter--opportunity. By that I mean the chance to try himself out, to mingle with kindred souls, to be cor rected, to be inspired, to be taught, in tact, every chance an artist ought to ask for in this world except the patronage of millionaires and the praise of critics. When a man has spent a lifetime paint ing and has succeeded, it is presumable that he can impart to intelligent students at least the technique of his art. We can't all make a Velasquez of ourselves, any more than we can be Thackerays or Balzacs, but the radical difference be tween a genius and a clever fellow, aside from a capacity for hard, persistent work, is craftsmanship. The aspirant for a gold medal can be taught his craft by a master; not so the young man whose ambition is to head the list of best-selling authors, or-and may his tribe increase--to add one gem to his country's literature. He can read good books, to be sure, and try to write like the great authors he has read. So can the embryo painter look at good pictures and try to paint like Franz Hals or Bottkelli : Rut he is not obliged to grope thus in the
darkness of his own. ignorance until some faint ray of inspired light shows the way, for he may-;'if he have the price"-go to an atelier and have the way pointed by a condescending star. Alas for the youth with ideas hurtling through his brain and a pencil itching his fingers I He may scribble until his family tell him he is a genius in the bud; then, having purchased sufficient stamps for postage two ways, he may send his precious thoughts. neatly tied with blue ribbons, to some heartless magazine-and so are they all, all heartless magc1zines-but the result will be a printed reply reading: "Dear Sir: We regret exceedingly that . your story ts not acceptable to our col umns. Thanking you for your courtesy in submitting it to us," etc., etc. This youth may either curse the editor for an ignoramus thtn, or gaze into the windows of gun shops and drug stores, until the only problem left in life is the choice of a way out of it; but who will tell him that "Dear Sir: etc." is a stereotyped way of informing him '1at he doesn't know bow to mix words and spread them on white paper so that an other can see the picture he has imag ined? Not the friend who knows this but hasn't the courage to tell him; not the mother whose heart goes out to him in his disappointment, nor the loving sister who supplied the blue ribbons. And where in all this wide, cruel world can he go to learn the art of word-painting? To the masterpieces, or to a city editor's of fice? How much more agreeable it would be to go to Mr. Howells's studio. The master could tell him very readily why one word gives tone and another colour, and if he were to the writer's man ner born and his stuff had "meat," he would see a few interlineations turn his word-jumbles into writing. But sup pose Mr. Howells should place a model throne in the centre of the studio and seat thereon a girl with arching brows, curv ing lips and a golden flood of hair! What a keen, zestful exercise it would be for the itching fingers to write a picture in twenty-five words--or still better . in five --of her pose and appearance. Think of Mr. Howells passing among the desks , to shake his wise head at the pulchritudi-

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nous asseverations o{ her charms. and pat the fellow on the back who said she was j ust a dandy girl with gold-shot hair, and a face all fire-colour-because he winked at her. Heavens I id ealism must be bolting with me. In that atelier the star pupil would be more apt to say she was a freck led girl with frowsy yellow hair, who grew red when a wicked student winked. But a palpable advantage of this sys tem of education in the art of fiction writing is the fact that the fellow who saw gold-shot hair instead of yellow need not frequent the Howells atelier, if Mr. Hewlett's were open to him. The would be painter has a choice of masters, and so might the would-be writer-real istic, idealistic, symbolistic, and even pre Spencerite, as in the case of Mr. Hewlett, with his Chaucerian touch. If this studio system of instruction were adopted, stu dents could choose their masters ac cording to their predilections; and I ven ture the guess that a popular novelist of the up-to-date commercialistic school would find his atelier as overflowing with students as the news-stand with his record-breaking books. Since the writing of a record seller is b ut a problem of mathematical precision, a single formula might in this case suffice for all, and the course of instruction oc cupy but a singl e Saturday afternoon. Thus the master of Indianapolis ex ploited literature might establish a Madi son Square Garden atelier. and when his five hundred and sixty-three thousand pupils were seated and the brass band had ceased playing "Hail to the Chief," he need but inflate his chest and draw upon a blackboard the following dia gram:

When the three hundred and seventy one thousandth lime light had been turned on, he might carelessly throw back his neoteric coat on the side which did not hold the bouto11nicrc, and having dis played a waistcoat of immaculate white ness and a gold watch chain, proceed with

his lecture thus :

and yet a novel is but a lengthened pla71

"Ladies and gentlemen : The diagram upon the board represents a record breaking novel. A is a he, and B is a she, who meet at the point C, and love. A villain now crosses the path of their young affections and separates the lovers to the extent of his villainy, as repre sented by the line D-D; their paths then converge until they meet in soulful and everlasting bliss at t he point E. Supply A with a blue and buff uniform, B with downcast eyes and a spi net, D with low ering brow and red coat, and the trick is done, provided that in t he quadri late ral C D E D you have placed a duel, a bat tle and a popular patriot, and intersected the lines A C D E and B C D E with sufficient apparently insurmountable dif ficulties to make the progress of the lov ers A and B t o the point E an obstacle race. To vary the theme, substitute shoulder straps for b uff facings on A's uniform, a piano for B' s spinet, and grey for red on D's coat. Ladies and gentlemen, I thank you for your kind at tention." Then when the four hundred and ninety-five thousandth floral tribute had been passed across the footlights, and the ninety-seven thousandth admiring maiden had fainted from excessive emo tion, the master of commercialistic litera ture might bow itself out amid long, loud and continuous applause, while the band played "The Stars and Stripes Forever." To be serious after this persiflag and the intent of this article is, after all, to be serious-! believe that much good might accrue to literature if the masters would take pupils. The principles of nove l writing certainly can be taught such as the value of words, the propor tion which description should bear to d ia logue, characterisation, and above aU, construction. A playwright makes a scenario, show ing the development of his story by divi sion into acts and scenes, the entrances and exits, the position of climaxes, the development of characters, etc before he writes a line of dial ogue How many novelists construct scenarios before writ They may have a r ough outline, ing? mostly in their mind's eye, but do they sit down deliberately and make a synop sis of action, chapter by chapter, with a view to el iminating all bal d and uninter esting narrative? Very few, I think;
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with descriptive writing to replace cos tumes and scenery, and the "he saids" and "she replies" in place of stage direc tions. Where can the young writer learn all this? Only in the school of bitter, bitter experience. What sort of pictures would a m:-_n turn out who, having provided himself with a box of colours, an easerand a can vas, sat down to paint with no more knowledge of his craft than can be gained from looking at art exhibitions and read ing the opinions of a few critics? But that is the task a young writer must set for himself. He has a dictionarv, a desk and a pad of paper, and he can go to a library and look at books, or to be more exact, consult them; but suppose Mr. Howells should really take the time to instruct him, would he not learn in a year-what otherwise he might not in a lifetime-the principles of his art. the technique? Drawing, perspective, com position, colour, light and shade, all the elements of the painter's craft can be Precisely the same elements en taught. ter into novel-writing, the difference be ing that the painter touches the heart through the eye and the novelist through the mind. It may be said that writers So are painters. are born, not made. But how many master painters of to-day would be painting even tolerably weU if they had been turned loose in a picture gallery with a canvas and a box of col ours? Instruction in fiction writing would im prove the mediocre and perfect the good; it would not, of course, make the hope-

lessly bad even mediocre. But instruc tion in painting will make no more than a sign painter of the hopelessly bad rapin. Alas! there are too many sign painters in literature, so many that the public has begun to mistake their flaring boards for art. I know of but one example of my theory, and a fairly good example it is. Guy de Maupassant was taught to write byGustaveFlaubert. For years he was not permitted to publish, and his crude ef forts were torn up time and again, but finally he sprang full-armed upon the world. Flaubert used to talk to him somewhat hke this: "You see that cab horse across the street; there is just one word in the French language to describe his attitude. Find it." If we young writers who are groping away in the darkness of our own igno rance could only go to a Flaubert and have our manuscripts tom up, if we could only be made to find the one word, there would be fewer books in the world, but I believe there would be more mas ters of technique like Guy de Maupas sant. A final word. Some will say that writ ing is taught by the universities. So is mechanical drawing; but the man who can project parallelograms, ellipses and other things with lines and curves can no more paint pictures than the man who can put all the sentences relating to the same subject in the same paragraph. Me chanical writing is taught, but not per spective, composition, colour, light and shade.

H. C. Chatfield-Taylor.

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