Somewhere in his admirable discourse old Walton has stated the theory that an angler must be born and then made. I have always held the same to be true of the bookseller. There are many, too many, charlatans in the trade; the simon-pure bookseller enters upon and conducts bookselling not merely as a trade and for the purpose of amassing riches, but because he loves books and because he has pleasure in diffusing their gracious influences. Judge Methuen tells me that it is no longer the fashion to refer to persons or things as being "simon-pure"; the fashion, as he says, passed out some years ago when a writer in a German paper "was led into an amusing blunder by an English review. The reviewer, having occasion to draw a distinction between George and Robert Cruikshank, spoke of the former as the real Simon Pure. The German, not understanding the allusion, gravely told his readers that George Cruikshank was a pseudonym, the author's real name being Simon Pure." This incident is given in Henry B. Wheatley's "Literary Blunders," a very charming book, but one that could have been made more interesting to me had it recorded the curious blunder which Frederick Saunders makes in his "Story of Some Famous Books." On page 169 we find this information: "Among earlier American bards we instance Dana, whose imaginative poem 'The Culprit Fay,' so replete with poetic beauty, is a fairy tale of the highlands of the Hudson. The origin of the poem is traced to a conversation with Cooper, the novelist, and Fitz-Greene Halleck, the poet, who, speaking of the Scottish streams and their legendary associations, insisted that the American rivers were not susceptible of like poetic treatment. Dana thought otherwise, and to make his position good produced three days after this poem." It may be that Saunders wrote the name Drake, for it was James Rodman Drake who did "The Culprit Fay." Perhaps it was the printer's fault that the poem is accredited to Dana. Perhaps Mr. Saunders writes so legible a hand that the printers are careless with his manuscript. "There is," says Wheatley, "there is a popular notion among authors that it is not wise to write a clear hand. Menage was one of the first to express it. He wrote: 'If you desire that no mistake shall appear in the works which you publish, never send well-written copy to the printer, for in that case the manuscript is given to young apprentices, who make a thousand errors; while, on the other hand, that which is difficult to read is dealt with by the master-printers.'"