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They date back to the very origin of polite letters, both prose and poetic. It matters nothing whether there was one Homer, or whether there may have been a score of Homers, so far as the fact of oral publication applies to the Iliad and the Odyssey, nearly a thousand years (900) before the foundation of Christianity. By the lips of a single bard, or of a series of bards, otherwise of public declaimers or reciters, the world was first familiarised with the many enthralling tales strung together in those peerless masterpieces. Again, at a period of very nearly five hundred years (484) before the epoch of the Redemption, the Father of History came to lay the foundation, as it were, of the whole fabric of prose literature in a precisely similar manner—that is to say, by public readings or recitations. In point of fact, the instance there is more directly akin to the present argument. A musical cadence, or even possibly an instrumental accompaniment, may have marked the Homeric chant about Achilles and Ulysses. Whereas, obviously, in regard to Herodotus, the readings given by him at the Olympic games were readings in the modern sense, pure and simple. Lucian has related the incident, not only succinctly, but picturesquely.

      Herodotus, then in his fiftieth year, reflected for a long while seriously how he might, with the least trouble and in the shortest time, win for himself and his writings a large amount of glory and reputation. Shrinking from the fatigue involved in the labour of visiting successively one after another the chief cities of the Athenians, the Corinthians, and the Lacedæmonians, he ingeniously hit upon the notion of appearing in person at the Olympian Games, and of there addressing himself simultaneously to the very pick and flower of the whole Greek population. Providing himself beforehand with the choicest portions or select passages from his great narrative, he there read or declaimed those fragments of his History to the assembled multitude from the stage or platform of the theatre. And he did this, moreover, with such an evident captivation about him, not only in the style of his composition, but in the very manner of its delivery, that the applause of his hearers interrupted him repeatedly—the close of these recitations by the great author-reader being greeted with prolonged and resounding acclamations. Nay, not only are these particulars related as to the First Reading recorded as having been given by a Great Author, but, further than that, there is the charming incident described of Thucydides, then a boy of fifteen, listening entranced among the audience to the heroic occurrences recounted by the sonorous and impassioned voice of the annalist, and at the climax of it all bursting into tears. Lucian's comment upon that earliest Reading might, with a change of names, be applied almost word for word to the very latest of these kinds of intellectual exhibitions. “None were ignorant,” he says, “of the name of Herodotus; nor was there a single person in Greece who had not either seen him at the Olympics, or heard those speak of him that came from thence: so that in what place soever he came the inhabitants pointed with their finger, saying 'This is that Herodotus who has written the Persian Wars in the Ionic dialect, this is he who has celebrated our victories.' Thus the harvest which he reaped from his histories was, the receiving in one assembly the general applause of all Greece, and the sounding his fame, not only in one place and by a single trumpet, but by as many mouths as there had been spectators in that assembly.” As recently as within these last two centuries, indeed, both in the development of the career of Molière and in the writing of his biography by Voltaire, the whole question as to the propriety of a great author becoming the public interpreter of his own imaginings has been, not only discussed, but defined with precision and in the end authoritatively proclaimed. Voltaire, in truth, has significantly remarked, in his “Vie de Molière,” when referring to Poquelin's determination to become Comedian as well as Dramatist, that among the Athenians, as is perfectly well known, authors not only frequently performed in their own dramatic productions, but that none of them ever felt dishonoured by speaking gracefully in the presence and hearing of their fellow-citizens.{*}

      * “On sait que chez les Athéniens, les auteurs jouaient

       souvent dans leurs pieces, et qu'ils n'etoient point

       déshonorés pour parler avec grace devant leurs concitoyens.”

      In arriving at this decision, however, it will be remarked that one simple but important proviso or condition is indicated—not to be dishonoured they must speak with grace, that is, effectively. Whenever an author can do this, the fact is proclaimed by the public themselves. Does he lack the dramatic faculty, is he wanting in elocutionary skill, is his deliver dull, are his features inexpressive, is his manner tedious, are his readings marked only by their general tameness and mediocrity, be sure of this, he will speedily find himself talking only to empty benches, his enterprise will cease and determine, his name will no longer prove an attraction. Abortive adventures of this kind have in our own time been witnessed.

      With Charles Dickens's Readings it was entirely different. Attracting to themselves at the outset, by the mere glamour of his name, enormous audiences, they not only maintained their original prestige during a long series of years—during an interval of fifteen years altogether—but the audiences brought together by them, instead of showing any signs of diminution, very appreciably, on the contrary, increased and multiplied. Crowds were turned away from the doors, who were unable to obtain admittance. The last reading of all collected together the largest audience that has ever been assembled, that ever can by possibility be assembled for purely reading purposes, within the walls of St. James's Hall, Piccadilly. Densely packed from floor to ceiling, these audiences were habitually wont to hang in breathless expectation upon every inflection of the author-reader's voice, upon every glance of his eye—the words he was about to speak being so thoroughly well remembered by the majority before their utterance that, often, the rippling of a smile over a thousand faces simultaneously anticipated the laughter which an instant afterwards greeted the words themselves when they were articulated.

      Altogether, from first to last, there must have been considerably more than Four Hundred—very nearly, indeed, Five Hundred—of these Readings, each one among them in itself a memorable demonstration. Through their delightful agency, at the very outset, largess was scattered broadcast, abundantly, and with a wide open hand, among a great variety of recipients, whose interests, turn by turn, were thus exclusively subserved, at considerable labour to himself, during a period of several years, by this large-hearted entertainer. Eventually the time arrived when it became necessary to decide, whether an exhausting and unremunerative task should be altogether abandoned, or whether readings hitherto given solely for the benefit of others, should be thenceforth adopted as a perfectly legitimate source of income for himself professionally. The ball was at his feet: should it be rolled on, or fastidiously turned aside by reason of certain fantastic notions as to its derogating, in some inconceivable way, from the dignity of authorship? That was the alternative in regard to which Dickens had to decide, and upon which he at once, as became him, decided manfully. The ball was rolled on, and, as it rolled, grew in bulk like a snowball. It accumulated for him, as it advanced, and that too within a wonderfully brief interval, a very considerable fortune. It strengthened and extended his already widely-diffused and intensely personal popularity. By making him, thus, distinctly a Reader himself, it brought him face to face with vast multitudes of his own readers in the Old World and in the New, in all parts of the United Kingdom, and at last, upon the occasion of his second visit to America, an expedition adventured upon expressly to that end, in all parts of the United States.

      And these Readings were throughout so conspicuously and so radiantly a success, that even in the recollection of them, now that they are things of the past, it may be said that they have already beneficially influenced, and are still perceptibly advancing, the wider and keener appreciation of the writings themselves. In its gyrations the ball then rolling at the Reader's foot imparted a momentum to one far nobler and more lasting—that of the Novelist's reputation, one that in its movement gives no sign of slackening—“labitur et labetur in omne volubilis sevum.”

      The long continuance of the remarkable success attendant upon the Readings all through, is only to be explained by the extraordinary care and earnestness the Reader lavished continuously upon his task when once it had been undertaken. In this he was only in another phase of his career, consistently true to the one simple rule adopted by him as an artist throughout. What that rule was anyone might see at a glance on turning over the leaves

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