The result of my experiment with the old books, convinced me, in the first place, that “honesty is the best policy,” and, in the second, that if I could not write better than Mr. Dante, and the two blind men, and the rest of the old set, it would, at least, be a difficult matter to write worse. I took heart, therefore, and determined to prosecute the “entirely original” (as they say on the covers of the magazines), at whatever cost of study and pains. I again placed before my eyes, as a model, the brilliant stanzas on “The Oil-of-Bob” by the editor of the Gad-Fly , and resolved to construct an ode on the same sublime theme, in rivalry of what had already been done.
With my first verse I had no material difficulty. It ran thus:
“To pen an Ode upon the ‘Oil-of-Bob.’ ”
Having carefully looked out, however, all the legitimate rhymes to “Bob,” I found it impossible to proceed. In this dilemma I had recourse to paternal aid; and, after some hours of mature thought, my father and myself thus constructed the poem:
“To pen an Ode upon the ‘Oil-of-Bob’ Is all sorts of a job.
To be sure, this composition was of no very great length—but I “have yet to learn” as they say in the Edinburgh Review , that the mere extent of a literary work has anything to do with its merit. As for the Quarterly cant about “sustained effort,” it is impossible to see the sense of it. Upon the whole, therefore, I was satisfied with the success of my maiden attempt, and now the only question regarded the disposal I should make of it. My father suggested that I should send it to the Gad-Fly —but there were two reasons which operated to prevent me from so doing. I dreaded the jealousy of the editor—and I had ascertained that he did not pay for original contributions. I therefore, after due deliberation, consigned the article to the more dignified pages of the Lollipop , and awaited the event in anxiety, but with resignation.