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Two years after his marriage, in 1839, appeared his first work, a novel in two volumes, called "Morton's Hope." He had little reason to be gratified with its reception. The general verdict was not favorable to it, and the leading critical journal of America, not usually harsh or cynical in its treatment of native authorship, did not even give it a place among its "Critical Notices," but dropped a small-print extinguisher upon it in one of the pages of its "List of New Publications." Nothing could be more utterly disheartening than the unqualified condemnation passed upon the story. At the same time the critic says that "no one can read 'Morton's Hope' without perceiving it to have been written by a person of uncommon resources of mind and scholarship."

It must be confessed that, as a story, "Morton's Hope" cannot endure a searching or even a moderately careful criticism. It is wanting in cohesion, in character, even in a proper regard to circumstances of time and place; it is a map of dissected incidents which has been flung out of its box and has arranged itself without the least regard to chronology or geography. It is not difficult to trace in it many of the influences which had helped in forming or deforming the mind of the young man of twenty-five, not yet come into possession of his full inheritance of the slowly ripening qualities which were yet to assert their robust independence. How could he help admiring Byron and falling into more or less unconscious imitation of his moods if not of his special affectations? Passion showing itself off against a dark foil of cynicism; sentiment, ashamed of its own self-betrayal, and sneering at itself from time to time for fear of the laugh of the world at its sincerity,--how many young men were spoiled and how many more injured by becoming bad copies of a bad ideal! The blood of Don Juan ran in the veins of Vivian Grey and of Pelham. But if we read the fantastic dreams of Disraeli, the intellectual dandyisms of Bulwer, remembering the after careers of which these were the preludes, we can understand how there might well be something in those earlier efforts which would betray itself in the way of thought and in the style of the young men who read them during the plastic period of their minds and characters. Allow for all these influences, allow for whatever impressions his German residence and his familiarity with German literature had produced; accept the fact that the story is to the last degree disjointed, improbable, impossible; lay it aside as a complete failure in what it attempted to be, and read it, as "Vivian Grey" is now read, in the light of the career which it heralded.

"Morton's Hope" is not to be read as a novel: it is to be studied as an autobiography, a prophecy, a record of aspirations, disguised under a series of incidents which are flung together with no more regard to the unities than a pack of shuffled playing-cards. I can do nothing better than let him picture himself, for it is impossible not to recognize the portrait. It is of little consequence whether every trait is an exact copy from his own features, but it is so obvious that many of the lines are direct transcripts from nature that we may believe the same thing of many others. Let us compare his fictitious hero's story with what we have read of his own life.

In early boyhood Morton amused himself and astonished those about him by enacting plays for a puppet theatre. This was at six years old, and at twelve we find him acting in a play with other boys, just as Motley's playmates have already described him. The hero may now speak for himself, but we shall all perceive that we are listening to the writer's own story.

"I was always a huge reader; my mind was essentially craving and insatiable. Its appetite was enormous, and it devoured too greedily for health. I rejected all guidance in my studies. I already fancied myself a misanthrope. I had taken a step very common for boys of my age, and strove with all my might to be a cynic."

He goes on to describe, under the perfectly transparent mask of his hero, the course of his studies. "To poetry, like most infants, I devoted most of my time." From modern poetry he went back to the earlier sources, first with the idea of systematic reading and at last through Chaucer and Gower and early ballads, until he lost himself "in a dismal swamp of barbarous romances and lying Latin chronicles. I got hold of the Bibliotheca Monastica, containing a copious account of Anglo-Norman authors, with notices of their works, and set seriously to reading every one of them." One profit of his antiquarianism, however, was, as he says, his attention to foreign languages,--French, Spanish, German, especially in their earliest and rudest forms of literature. From these he ascended to the ancient poets, and from Latin to Greek. He would have taken up the study of the Oriental languages, but for the advice of a relative, who begged him seriously to turn his attention to history. The paragraph which follows must speak for itself as a true record under a feigned heading.

"The groundwork of my early character was plasticity and fickleness. I was mortified by this exposure of my ignorance, and disgusted with my former course of reading. I now set myself violently to the study of history. With my turn of mind, and with the preposterous habits which I had been daily acquiring, I could not fail to make as gross mistakes in the pursuit of this as of other branches of knowledge. I imagined, on setting out, a system of strict and impartial investigation of the sources of history. I was inspired with the absurd ambition, not uncommon to youthful students, of knowing as much as their masters. I imagined it necessary for me, stripling as I was, to study the authorities; and, imbued with the strict necessity of judging for myself, I turned from the limpid pages of the modern historians to the notes and authorities at the bottom of the page. These, of course, sent me back to my monastic acquaintances, and I again found myself in such congenial company to a youthful and ardent mind as Florence of Worcester and Simeon of Durham, the Venerable Bede and Matthew Paris; and so on to Gregory and Fredegarius, down to the more modern and elegant pages of Froissart, Hollinshed, Hooker, and Stowe. Infant as I was, I presumed to grapple with masses of learning almost beyond the strength of the giants of history. A spendthrift of my time and labor, I went out of my way to collect materials, and to build for myself, when I should have known that older and abler architects had already appropriated all that was worth preserving; that the edifice was built, the quarry exhausted, and that I was, consequently, only delving amidst rubbish.

"This course of study was not absolutely without its advantages. The mind gained a certain proportion of vigor even by this exercise of its faculties, just as my bodily health would have been improved by transporting the refuse ore of a mine from one pit to another, instead of coining the ingots which lay heaped before my eyes. Still, however, my time was squandered. There was a constant want of fitness and concentration of my energies. My dreams of education were boundless, brilliant, indefinite; but alas! they were only dreams. There was nothing accurate and defined in my future course of life. I was ambitious and conceited, but my aspirations were vague and shapeless. I had crowded together the most gorgeous and even some of the most useful and durable materials for my woof, but I had no pattern, and consequently never began to weave.

"I had not made the discovery that an individual cannot learn, nor be, everything; that the world is a factory in which each individual must perform his portion of work:--happy enough if he can choose it according to his taste and talent, but must renounce the desire of observing or superintending the whole operation. . . .

"From studying and investigating the sources of history with my own eyes, I went a step further; I refused the guidance of modern writers; and proceeding from one point of presumption to another, I came to the magnanimous conviction that I could not know history as I ought to know it unless I wrote it for myself. . . .

"It would be tedious and useless to enlarge upon my various attempts and various failures. I forbear to comment upon mistakes which I was in time wise enough to retrieve. Pushing out as I did, without compass and without experience, on the boundless ocean of learning, what could I expect but an utter and a hopeless shipwreck?

"Thus I went on, becoming more learned, and therefore more ignorant, more confused in my brain, and more awkward in my habits, from day to day. I was ever at my studies, and could hardly be prevailed upon to allot a moment to exercise or recreation. I breakfasted with a pen behind my ear, and dined in company with a folio bigger than the table. I became solitary and morose, the necessary consequence of reckless study; talked impatiently of the value of my time, and the immensity of my labors; spoke contemptuously of the learning and acquirements of the whole world, and threw out mysterious hints of the magnitude and importance of my own project.

"In the midst of all this study and this infant authorship the perusal of such masses of poetry could not fail to produce their effect. Of a youth whose mind, like mine at that period, possessed some general capability, without perhaps a single prominent and marked talent, a proneness to imitation is sure to be the besetting sin. I consequently, for a large portion of my earlier life, never read a work which struck my fancy, without planning a better one upon its model; for my ambition, like my vanity, knew no bounds. It was a matter of course that I should be attacked by the poetic mania. I took the infection at the usual time, went through its various stages, and recovered as soon as could be expected. I discovered soon enough that emulation is not capability, and he is fortunate to whom is soonest revealed the relative extent of his ambition and his powers.

"My ambition was boundless; my dreams of glory were not confined to authorship and literature alone; but every sphere in which the intellect of man exerts itself revolved in a blaze of light before me. And there I sat in my solitude and dreamed such wondrous dreams! Events were thickening around me which were soon to change the world, but they were unmarked by me. The country was changing to a mighty theatre, on whose stage those who were as great as I fancied myself to be were to enact a stupendous drama in which I had no part. I saw it not; I knew it not; and yet how infinitely beautiful were the imaginations of my solitude! Fancy shook her kaleidoscope each moment as chance directed, and lo! what new, fantastic, brilliant, but what unmeaning visions. My ambitious anticipations were as boundless as they were various and conflicting. There was not a path which leads to glory in which I was not destined to gather laurels. As a warrior I would conquer and overrun the world. As a statesman I would reorganize and govern it. As a historian I would consign it all to immortality; and in my leisure moments I would be a great poet and a man of the world.

"In short, I was already enrolled in that large category of what are called young men of genius,--men who are the pride of their sisters and the glory of their grandmothers,--men of whom unheard-of things are expected, till after long preparation comes a portentous failure, and then they are forgotten; subsiding into indifferent apprentices and attorneys' clerks.

"Alas for the golden imaginations of our youth! They are bright and beautiful, but they fade. They glitter brightly enough to deceive the wisest and most cautious, and we garner them up in the most secret caskets of our hearts; but are they not like the coins which the Dervise gave the merchant in the story? When we look for them the next morning, do we not find them withered leaves?"

The ideal picture just drawn is only a fuller portraiture of the youth whose outlines have been already sketched by the companions of his earlier years. If his hero says, "I breakfasted with a pen behind my ear and dined in company with a folio bigger than the table," one of his family says of the boy Motley that "if there were five minutes before dinner, when he came into the parlor he always took up some book near at hand and began to read until dinner was announced." The same unbounded thirst for knowledge, the same history of various attempts and various failures, the same ambition, not yet fixed in its aim, but showing itself in restless effort, belong to the hero of the story and its narrator.

Let no man despise the first efforts of immature genius. Nothing can be more crude as a novel, nothing more disappointing, than "Morton's Hope." But in no other of Motley's writings do we get such an inside view of his character with its varied impulses, its capricious appetites, its unregulated forces, its impatient grasp for all kinds of knowledge. With all his university experiences at home and abroad, it might be said with a large measure of truth that he was a self-educated man, as he had been a self-taught boy. His instincts were too powerful to let him work quietly in the common round of school and college training. Looking at him as his companions describe him, as he delineates himself 'mutato nomine,' the chances of success would have seemed to all but truly prophetic eyes very doubtful, if not decidedly against him. Too many brilliant young novel-readers and lovers of poetry, excused by their admirers for their shortcomings on the strength of their supposed birthright of "genius," have ended where they began; flattered into the vain belief that they were men at eighteen or twenty, and finding out at fifty that they were and always had been nothing more than boys. It was but a tangled skein of life that Motley's book showed us at twenty-five, and older men might well have doubted whether it would ever be wound off in any continuous thread. To repeat his own words, he had crowded together the materials for his work, but he had no pattern, and consequently never began to weave.

The more this first work of Motley's is examined, the more are its faults as a story and its interest as a self-revelation made manifest to the reader. The future historian, who spared no pains to be accurate, falls into the most extraordinary anachronisms in almost every chapter. Brutus in a bob-wig, Othello in a swallow-tail coat, could hardly be more incongruously equipped than some of his characters in the manner of thought, the phrases, the way of bearing themselves which belong to them in the tale, but never could have belonged to characters of our Revolutionary period. He goes so far in his carelessness as to mix up dates in such a way as almost to convince us that he never looked over his own manuscript or proofs. His hero is in Prague in June, 1777, reading a letter received from America in less than a fortnight from the date of its being written; in August of the same year he is in the American camp, where he is found in the company of a certain Colonel Waldron, an officer of some standing in the Revolutionary Army, with whom he is said to have been constantly associated for some three months, having arrived in America, as he says, on the 15th of May, that is to say, six weeks or more before he sailed, according to his previous account. Bohemia seems to have bewitched his chronology as it did Shakespeare's geography. To have made his story a consistent series of contradictions, Morton should have sailed from that Bohemian seashore which may be found in "A Winter's Tale," but not in the map of Europe.

And yet in the midst of all these marks of haste and negligence, here and there the philosophical student of history betrays himself, the ideal of noble achievement glows in an eloquent paragraph, or is embodied in a loving portrait like that of the professor and historian Harlem. The novel, taken in connection with the subsequent developments of the writer's mind, is a study of singular interest. It is a chaos before the creative epoch; the light has not been divided from the darkness; the firmament has not yet divided the waters from the waters. The forces at work in a human intelligence to bring harmony out of its discordant movements are as mysterious, as miraculous, we might truly say, as those which give shape and order to the confused materials out of which habitable worlds are evolved. It is too late now to be sensitive over this unsuccessful attempt as a story and unconscious success as a self- portraiture. The first sketches of Paul Veronese, the first patterns of the Gobelin tapestry, are not to be criticised for the sake of pointing out their inevitable and too manifest imperfections. They are to be carefully studied as the earliest efforts of the hand which painted the Marriage at Cana, of the art which taught the rude fabrics made to be trodden under foot to rival the glowing canvas of the great painters. None of Motley's subsequent writings give such an insight into his character and mental history. It took many years to train the as yet undisciplined powers into orderly obedience, and to bring the unarranged materials into the organic connection which was needed in the construction of a work that should endure. There was a long interval between his early manhood and the middle term of life, during which the slow process of evolution was going on. There are plants which open their flowers with the first rays of the sun; there are others that wait until evening to spread their petals. It was already the high noon of life with him before his genius had truly shown itself; if he had not lived beyond this period, he would have left nothing to give him a lasting name.

FIRST DIPLOMATIC APPOINTMENT, SECRETARY OF LEGATION TO THE RUSSIAN MISSION.--BRIEF RESIDENCE AT ST. PETERSBURG.--LETTER TO HIS MOTHER.-- RETURN.

In the autumn of 1841, Mr. Motley received the appointment of Secretary of Legation to the Russian Mission, Mr. Todd being then the Minister. Arriving at St. Petersburg just at the beginning of winter, he found the climate acting very unfavorably upon his spirits if not upon his health, and was unwilling that his wife and his two young children should be exposed to its rigors. The expense of living, also, was out of proportion to his income, and his letters show that he had hardly established himself in St. Petersburg before he had made up his mind to leave a place where he found he had nothing to do and little to enjoy. He was homesick, too, as a young husband and father with an affectionate nature like his ought to have been under these circumstances. He did not regret having made the experiment, for he knew that he should not have been satisfied with himself if he had not made it. It was his first trial of a career in which he contemplated embarking, and in which afterwards he had an eventful experience. In his private letters to his family, many of which I have had the privilege of looking over, he mentions in detail all the reasons which influenced him in forming his own opinion about the expediency of a continued residence at St. Petersburg, and leaves the decision to her in whose judgment he always had the greatest confidence. No unpleasant circumstance attended his resignation of his secretaryship, and though it must have been a disappointment to find that the place did not suit him, as he and his family were then situated, it was only at the worst an experiment fairly tried and not proving satisfactory. He left St. Petersburg after a few months' residence, and returned to America. On reaching New York he was met by the sad tidings of the death of his first-born child, a boy of great promise, who had called out all the affections of his ardent nature. It was long before he recovered from the shock of this great affliction. The boy had shown a very quick and bright intelligence, and his father often betrayed a pride in his gifts and graces which he never for a moment made apparent in regard to his own.

Among the letters which he wrote from St. Petersburg are two miniature ones directed to this little boy. His affectionate disposition shows itself very sweetly in these touching mementos of a love of which his first great sorrow was so soon to be born. Not less charming are his letters to his mother, showing the tenderness with which he always regarded her, and full of all the details which he thought would entertain one to whom all that related to her children was always interesting. Of the letters to his wife it is needless to say more than that they always show the depth of the love he bore her and the absolute trust he placed in her, consulting her at all times as his nearest and wisest friend and adviser,--one in all respects fitted "To warn, to comfort, and command."

I extract a passage from one of his letters to his mother, as much for the sake of lending a character of reality to his brief residence at St. Petersburg as for that of the pleasant picture it gives us of an interior in that Northern capital.

"We entered through a small vestibule, with the usual arrangement of treble doors, padded with leather to exclude the cold and guarded by two 'proud young porters' in severe cocked hats and formidable batons, into a broad hall,--threw off our furred boots and cloaks, ascended a carpeted marble staircase, in every angle of which stood a statuesque footman in gaudy coat and unblemished unmentionables, and reached a broad landing upon the top thronged as usual with servants. Thence we passed through an antechamber into a long, high, brilliantly lighted, saffron-papered room, in which a dozen card-tables were arranged, and thence into the receiving room. This was a large room, with a splendidly inlaid and polished floor, the walls covered with crimson satin, the cornices heavily incrusted with gold, and the ceiling beautifully painted in arabesque. The massive fauteuils and sofas, as also the drapery, were of crimson satin with a profusion of gilding. The ubiquitous portrait of the Emperor was the only picture, and was the same you see everywhere. This crimson room had two doors upon the side facing the three windows: The innermost opened into a large supper-room, in which a table was spread covered with the usual refreshments of European parties,--tea, ices, lemonade, and et ceteras,--and the other opened into a ball-room which is a sort of miniature of the 'salle blanche' of the Winter Palace, being white and gold, and very brilliantly lighted with 'ormolu' chandeliers filled with myriads of candles. This room opened into a carpeted conservatory of about the same size, filled with orange-trees and japonica plants covered with fruit and flowers, arranged very gracefully into arbors, with luxurious seats under the pendent boughs, and with here and there a pretty marble statue gleaming through the green and glossy leaves. One might almost have imagined one's self in the 'land of the cypress and myrtle' instead of our actual whereabout upon the polar banks of the Neva. Wandering through these mimic groves, or reposing from the fatigues of the dance, was many a fair and graceful form, while the brilliantly lighted ballroom, filled with hundreds of exquisitely dressed women , formed a dazzling contrast with the tempered light of the 'Winter Garden.' The conservatory opened into a library, and from the library you reach the antechamber, thus completing the 'giro' of one of the prettiest houses in St. Petersburg. I waltzed one waltz and quadrilled one quadrille, but it was hard work; and as the sole occupation of these parties is dancing and card-playing--conversation apparently not being customary--they are to me not very attractive."

He could not be happy alone, and there were good reasons against his being joined by his wife and children.

"With my reserved habits," he says, "it would take a great deal longer to become intimate here than to thaw the Baltic. I have only to 'knock that it shall be opened to me,' but that is just what I hate to do. . . . 'Man delights not me, no, nor woman neither.'"

Disappointed in his expectations, but happy in the thought of meeting his wife and children, he came back to his household to find it clad in mourning for the loss of its first-born.

LETTER TO PARK BENJAMIN.--POLITICAL VIEWS AND FEELINGS.

A letter to Mr. Park Benjamin, dated December 17, 1844, which has been kindly lent me by Mrs. Mary Lanman Douw of Poughkeepsie, gives a very complete and spirited account of himself at this period. He begins with a quiet, but tender reference to the death of his younger brother, Preble, one of the most beautiful youths seen or remembered among us, "a great favorite," as he says, "in the family and in deed with every one who knew him." He mentions the fact that his friends and near connections, the Stackpoles, are in Washington, which place he considers as exceptionally odious at the time when he is writing. The election of Mr. Polk as the opponent of Henry Clay gives him a discouraged feeling about our institutions. The question, he thinks, is now settled that a statesman can never again be called to administer the government of the country. He is almost if not quite in despair "because it is now proved that a man, take him for all in all, better qualified by intellectual power, energy and purity of character, knowledge of men, a great combination of personal qualities, a frank, high-spirited, manly bearing, keen sense of honor, the power of attracting and winning men, united with a vast experience in affairs, such as no man now living has had and no man in this country can ever have again,--I say it is proved that a man better qualified by an extraordinary combination of advantages to administer the government than any man now living, or any man we can ever produce again, can be beaten by anybody. . . . . It has taken forty years of public life to prepare such a man for the Presidency, and the result is that he can be beaten by anybody,--Mr. Polk is anybody,--he is Mr. Quelconque."

I do not venture to quote the most burning sentences of this impassioned letter. It shows that Motley had not only become interested most profoundly in the general movements of parties, but that he had followed the course of political events which resulted in the election of Mr. Polk with careful study, and that he was already looking forward to the revolt of the slave States which occurred sixteen years later. The letter is full of fiery eloquence, now and then extravagant and even violent in expression, but throbbing with a generous heat which shows the excitable spirit of a man who wishes to be proud of his country and does not wish to keep his temper when its acts make him ashamed of it. He is disgusted and indignant to the last degree at seeing "Mr. Quelconque" chosen over the illustrious statesman who was his favorite candidate. But all his indignation cannot repress a sense of humor which was one of his marked characteristics. After fatiguing his vocabulary with hard usage, after his unsparing denunciation of "the very dirty politics" which be finds mixed up with our popular institutions, he says,--it must be remembered that this was an offhand letter to one nearly connected with him,--

"All these things must in short, to use the energetic language of the Balm of Columbia advertisement, 'bring every generous thinking youth to that heavy sinking gloom which not even the loss of property can produce, but only the loss of hair, which brings on premature decay, causing many to shrink from being uncovered, and even to shun society, to avoid the jests and sneers of their acquaintances. The remainder of their lives is consequently spent in retirement.'"

He continues:--

"Before dropping the subject, and to show the perfect purity of my motives, I will add that I am not at all anxious about the legislation of the new government. I desired the election of Clay as a moral triumph, and because the administration of the country, at this moment of ten thousand times more importance than its legislation, would have been placed in pure, strong, and determined hands."

Then comes a dash of that satirical and somewhat cynical way of feeling which he had not as yet outgrown. He had been speaking about the general want of attachment to the Union and the absence of the sentiment of loyalty as bearing on the probable dissolution of the Union.

"I don't mean to express any opinions on these matters,--I haven't got any. It seems to me that the best way is to look at the hodge- podge, be good-natured if possible, and laugh,

'As from the height of contemplation We view the feeble joints men totter on.'

I began a tremendous political career during the election, having made two stump speeches of an hour and a half each,--after you went away,--one in Dedham town-hall and one in Jamaica Plain, with such eminent success that many invitations came to me from the surrounding villages, and if I had continued in active political life I might have risen to be vote-distributor, or fence-viewer, or selectman, or hog-reeve, or something of the kind."

The letter from which the above passages are quoted gives the same portrait of the writer, only seen in profile, as it were, which we have already seen drawn in full face in the story of "Morton's Hope." It is charged with that 'saeva indignatio' which at times verges on misanthropic contempt for its objects, not unnatural to a high-spirited young man who sees his lofty ideals confronted with the ignoble facts which strew the highways of political life. But we can recognize real conviction and the deepest feeling beneath his scornful rhetoric and his bitter laugh. He was no more a mere dilettante than Swift himself, but now and then in the midst of his most serious thought some absurd or grotesque image will obtrude itself, and one is reminded of the lines on the monument of Gay rather than of the fierce epitaph of the Dean of Saint Patrick's.

FIRST HISTORICAL AND CRITICAL ESSAYS.--PETER THE GREAT.--NOVELS OF BALZAC.--POLITY OF THE PURITANS.

Mr. Motley's first serious effort in historical composition was an article of fifty pages in "The North American Review" for October, 1845. This was nominally a notice of two works, one on Russia, the other "A Memoir of the Life of Peter the Great." It is, however, a narrative rather than a criticism, a rapid, continuous, brilliant, almost dramatic narrative. If there had been any question as to whether the young novelist who had missed his first mark had in him the elements which might give him success as an author, this essay would have settled the question. It shows throughout that the writer has made a thorough study of his subject, but it is written with an easy and abundant, yet scholarly freedom, not as if he were surrounded by his authorities and picking out his material piece by piece, but rather as if it were the overflow of long-pursued and well-remembered studies recalled without effort and poured forth almost as a recreation.

As he betrayed or revealed his personality in his first novel, so in this first effort in another department of literature he showed in epitome his qualities as a historian and a biographer. The hero of his narrative makes his entrance at once in his character as the shipwright of Saardam, on the occasion of a visit of the great Duke of Marlborough. The portrait instantly arrests attention. His ideal personages had been drawn in such a sketchy way, they presented so many imperfectly harmonized features, that they never became real, with the exception, of course, of the story-teller himself. But the vigor with which the presentment of the imperial ship-carpenter, the sturdy, savage, eager, fiery Peter, was given in the few opening sentences, showed the movement of the hand, the glow of the color, that were in due time to display on a broader canvas the full-length portraits of William the Silent and of John of Barneveld. The style of the whole article is rich, fluent, picturesque, with light touches of humor here and there, and perhaps a trace or two of youthful jauntiness, not quite as yet outgrown. His illustrative poetical quotations are mostly from Shakespeare,--from Milton and Byron also in a passage or two,--and now and then one is reminded that he is not unfamiliar with Carlyle's "Sartor Resartus" and the "French Revolution" of the same unmistakable writer, more perhaps by the way in which phrases borrowed from other authorities are set in the text than by any more important evidence of unconscious imitation.

The readers who had shaken their heads over the unsuccessful story of "Morton's Hope" were startled by the appearance of this manly and scholarly essay. This young man, it seemed, had been studying,--studying with careful accuracy, with broad purpose. He could paint a character with the ruddy life-blood coloring it as warmly as it glows in the cheeks of one of Van der Helst's burgomasters. He could sweep the horizon in a wide general outlook, and manage his perspective and his lights and shadows so as to place and accent his special subject with its due relief and just relations. It was a sketch, or rather a study for a larger picture, but it betrayed the hand of a master. The feeling of many was that expressed in the words of Mr. Longfellow in his review of the "Twice-Told Tales" of the unknown young writer, Nathaniel Hawthorne: "When a new star rises in the heavens, people gaze after it for a season with the naked eye, and with such telescopes as they may find. . . . This star is but newly risen; and erelong the observation of numerous star-gazers, perched up on arm-chairs and editor's tables, will inform the world of its magnitude and its place in the heaven of"--not poetry in this instance, but that serene and unclouded region of the firmament where shine unchanging the names of Herodotus and Thucydides. Those who had always believed in their brilliant schoolmate and friend at last felt themselves justified in their faith. The artist that sent this unframed picture to be hung in a corner of the literary gallery was equal to larger tasks. There was but one voice in the circle that surrounded the young essayist. He must redeem his pledge, he can and will redeem it, if he will only follow the bent of his genius and grapple with the heroic labor of writing a great history.

And this was the achievement he was already meditating.

In the mean time he was studying history for its facts and principles, and fiction for its scenery and portraits. In "The North American Review" for July, 1847, is a long and characteristic article on Balzac, of whom he was an admirer, but with no blind worship. The readers of this great story-teller, who was so long in obtaining recognition, who "made twenty assaults upon fame and had forty books killed under him" before he achieved success, will find his genius fully appreciated and fairly weighed in this discriminating essay. A few brief extracts will show its quality.

"Balzac is an artist, and only an artist. In his tranquil, unimpassioned, remorseless diagnosis of morbid phenomena, in his cool method of treating the morbid anatomy of the heart, in his curiously accurate dissection of the passions, in the patient and painful attention with which, stethoscope in hand, finger on pulse, eye everywhere, you see him watching every symptom, alive to every sound and every breath, and in the scientific accuracy with which he portrays the phenomena which have been the subject of his investigation,--in all this calm and conscientious study of nature he often reminds us of Goethe. Balzac, however, is only an artist . . . He is neither moral nor immoral, but a calm and profound observer of human society and human passions, and a minute, patient, and powerful delineator of scenes and characters in the world before his eyes. His readers must moralize for themselves. . . . It is, perhaps, his defective style more than anything else which will prevent his becoming a classic, for style above all other qualities seems to embalm for posterity. As for his philosophy, his principles, moral, political, or social, we repeat that he seems to have none whatever. He looks for the picturesque and the striking. He studies sentiments and sensations from an artistic point of view. He is a physiognomist, a physiologist, a bit of an anatomist, a bit of a mesmerist, a bit of a geologist, a Flemish painter, an upholsterer, a micrological, misanthropical, sceptical philosopher; but he is no moralist, and certainly no reformer."

Another article contributed by Mr. Motley to "The North American Review" is to be found in the number for October, 1849. It is nominally a review of Talvi's "Geschichte der Colonisation von New England," but in reality an essay on the Polity of the Puritans,--an historical disquisition on the principles of self-government evolved in New England, broad in its views, eloquent in its language. Its spirit is thoroughly American, and its estimate of the Puritan character is not narrowed by the nearsighted liberalism which sees the past in the pitiless light of the present,--which looks around at high noon and finds fault with early dawn for its long and dark shadows. Here is a sentence or two from the article:--

"With all the faults of the system devised by the Puritans, it was a practical system. With all their foibles, with all their teasing, tyrannical, and arbitrary notions, the Pilgrims were lovers of liberty as well as sticklers for authority. . . . Nowhere can a better description of liberty be found than that given by Winthrop, in his defence of himself before the General Court on a charge of arbitrary conduct. 'Nor would I have you mistake your own liberty,' he says. 'There is a freedom of doing what we list, without regard to law or justice; this liberty is indeed inconsistent with authority; but civil, moral, and federal liberty consists in every man's enjoying his property and having the benefit of the laws of his country; which is very consistent with a due subjection to the civil magistrate.' . . .

"We enjoy an inestimable advantage in America. One can be a republican, a democrat, without being a radical. A radical, one who would uproot, is a man whose trade is dangerous to society. Here is but little to uproot. The trade cannot flourish. All classes are conservative by necessity, for none can wish to change the structure of our polity. . .

"The country without a past cannot be intoxicated by visions of the past of other lands. Upon this absence of the past it seems to us that much of the security of our institutions depends. Nothing interferes with the development of what is now felt to be the true principle of government, the will of the people legitimately expressed. To establish that great truth, nothing was to be torn down, nothing to be uprooted. It grew up in New England out of the seed unconsciously planted by the first Pilgrims, was not crushed out by the weight of a thousand years of error spread over the whole continent, and the Revolution was proclaimed and recognized."

JOSEPH LEWIS STACKPOLE, THE FRIEND OF MOTLEY. HIS SUDDEN DEATH.--MOTLEY IN THE MASSACHUSETTS HOUSE OF REPRESENTATIVES.--SECOND NOVEL, "MERRY- MOUNT, A ROMANCE OF THE MASSACHUSETTS COLONY."

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