"Come all you jolly sailors You all so stout and brave, Come hearken and I'll tell you, What happened on the wave. Oh 'tis of that bloody Blackbeard I'm going now for to tell And as how by gallant Maynard He soon was sent to Hell. With a down, down, derry down." This was indeed wretched stuff, as Franklin afterwards admitted; but it is to be remembered he was then but a boy of fifteen. Having composed the ballad and set in type and printed it, he was then sent to hawk it through the streets. This was certainly a remarkable achievement for a lad of his years. The eagerness with which both of the ballads were seized by the public must have greatly gratified the self-esteem of the young writer. Addison was a bungler in talk, but every sentence from his pen was elegant. He once said, "I carry no loose change in my pocket, but I can draw for a thousand pounds." Burke said of Goldsmith, "He writes like an angel, but he talks like poor Poll." Franklin was by no means a bungler in his speech, but he was not fluent. He hesitated, and was at a loss for words, but whatever he wrote had a wonderful flow of harmony. The right word was always in the right place. Doubtless had he devoted as much attention to the acquirement of conversational ease, as he did to skill in writing, he would have been as successful in the one art as in the other. From early life it was his great ambition to be not merely a fine but a forcible writer. He did not seek splendor of diction, but that perspicuity, that transparency of expression which would convey the thought most directly to the mind. An odd volume of the Spectator fell in his way. He was charmed with the style. Selecting some interesting incident, he would read it with the closest care; he would then close the book, endeavoring to retain the thought only without regard to the expression. Then with pen, in hand, he would sit down and relate the anecdote or the incident in the most forceful and graphic words his vocabulary would afford. This he would correct and re-correct, minutely attending to the capitals and the punctuation until he had made it in all respects as perfect as it was in his power. He then compared his narrative with that in the Spectator. Of course he usually found many faults which he had committed, but occasionally he could not but admit he had improved upon his original. This encouraged him with the hope that by long continued practice, he might become an able writer of the English language. This practice he continued for months, varying it in many ways. He continued to rhyme, though he admitted that there was little poetry in his verse. The exercise, however, he thought useful in giving him a mastery of language.