You tell me, my dear Eugenius, that you are hesitating between the novel and the drama: you know not which to attack; and you wish me to give you some suggestions on the subject. You are candid enough to say that it is not point-blank advice that you ask, which you would probably heed just as much as good counsel is generally heeded by those who apply for it; but you would have me lay before you such ideas as may occur to me, in order that you may have the picking and choosing amongst them, with the chance of finding something to your mind—something which may assist you to a decision. Artists in arabesque get an idea by watching the shifting forms of the kaleidoscope; in the same manner you hope—if I will but turn my mind about a little—that some lucky adjustment of its fragments of observation may help you to a serviceable thought or two. At all events, you shall not have to complain of too much method in what follows.

If I could only, my dear Eugenius, persuade you to leave them both alone!—drama and novel both! But this is hopeless. The love one bears to a woman may be conquered—not indeed by good counsel, but by speedy flight; but the passion that draws us to poetry and romance can only die out, it cannot be expelled; for in this passion, go where we will, we carry our Helen with us. She steals upon us at each unguarded moment, and renews in secret her kisses upon our lip. Well, if I cannot persuade you to leave both alone, my next advice is that you attack both; for if you endeavour to express in either of these forms of composition all that is probably fermenting in your mind, the chance is that you spoil your work.

And by all means lay your hands first upon the drama. True, it is the higher aim of the two, and I will not pretend to augur any very brilliant success. But still it is the more appropriate to the first ebullitions of genius, and the spasmodic efforts of youth. The heart is at this time full of poetry, which, be its value what it may, must be got rid of before the stream of prose will run clear. Besides, the very effort of verse seems necessary to this age, which disdains a facile task, and seeks to expend its utmost vigour on its chosen labour. Moreover, to write a good novel one should have passed through the spring-time and enthusiasm of youth—one should be able to survey life with some degree of tranquillity; neither wrapped in its illusions, nor full of indignation at its discovered hollowness. At two-and-twenty, even if the heart is not burning with fever heat of some kind—some enthusiastic passion or misanthropical disgust—the head at least is preoccupied with some engrossing idea, which so besets the man, that he can see nothing clearly in the world around him. At this age he has a philosophy, a metaphysical system, which he really believes in, (a species of delusion the first to quit us,) and he persists in seeing his dogma reflected to him from all sides. This is supportable, or may be disguised in poetry; it becomes intolerable in prose. Add to all which, that the writer of a novel should have had some experience in the realities of life, a certain empirical knowledge of the manner in which the passions develop themselves in men and women. The high ideal forms of good and evil he may learn from his own heart; but there is in actual life, so to speak, a vulgar monstrosity which must be seen to be credited. I can figure to myself the writer of a drama musing out his subject in solitude, whether the solitude of the seashore or of a garret in London; but the successful novelist must have mingled with the world, and should know whatever the club, the drawing-room, and, above all, the boudoir can reveal to him.

Of course it is understood between us, that in speaking of the drama we make no reference to the stage. Indeed, you can hardly contemplate writing for the stage, as there is no stage to write for. We speak of the drama solely as a form of composition, presented, like any other, to the reader. I have heard the opinion expressed that the drama, viewed as a composition designed only to be read, is destined to be entirely superseded by the novel, which admits of so great a variety of material being worked into its structure, and affords an unrivalled scope for the development both of story and of character. To me it seems that the drama, especially in its more classic form, apart from its application to the stage, has a vitality of its own, and will stand its ground in literature, let the novel advance as it may.

All the passions of man represent themselves in his speech, the great prerogative of the human being; almost every thing he does is transacted through the medium of speech, or accompanied by it; even in solitude his thoughts are thrown into words, which are frequently uttered aloud, and the soliloquy is wellnigh as natural as the dialogue. Give, therefore, a fair representation of the speech of men throughout every great transaction, and you give the best and truest representations of their actions and their passions, and this in the briefest form possible. You have all that is essential to the most faithful portrait, without the distraction of detail and circumstance. With a reader of the drama the eye is little exercised; he seems to be brought into immediate contact with the minds of those imaginary persons who are rather thinking and feeling, than acting before him. To this select representation of humanity is added the charm of verse, the strange power of harmonizing diction. If the drama rarely captivates the eye, it takes possession of the ear. May it never lose its appropriate language of verse—that language which so well comports with its high ideal character, being one which, as a French poet has happily expressed it, the world understands, but does not speak—

The drama is peculiarly appropriate to the ideal; and it seems to me that the very fact, that whatever appertains to the middle region of art, or requires the aid of much circumstance and detail, has found in the novel a far more perfect development, ought to induce us to purify the drama, and retain amongst us its most exalted type. It is in vain that it strives to compete with the novel in the intricacy of its plot, in the number of its dramatis personÆ, in the representation of the peculiarities, or as they used to be called, the humours of men. These have now a better scene for their exhibition than the old five-act play, or tragi-comedy, could afford them; but the high passions of mankind, whatever is most elevated or most tender, whatever naturally leads the mind, be it good or evil, to profound contemplation—this will still find its most complete, and powerful, and graceful development in the poetic form of the drama.

The novel and the drama have thus their several characteristics. Do you wish to hurry on your reader with a untiring curiosity? you will, of course, select the novel. Do you wish to hold him lingering, meditative, to your pages—pages which he shall turn backwards as well as forwards? you were wise to choose the drama. Both should have character, and passion, and incident; but in the first the interest of the story should pervade the whole, in the second the interest of the passion should predominate. If you write a novel, do not expect your readers very often to stand still and meditate profoundly; if you write a drama, forego entirely the charm of curiosity. Do not hope, by any contrivance of your plot, to entrap or allure the attention of your readers, who must come to you—there is no help for it—with something of the spirit, and something of the unwillingness, of the student. What some man of genius may one day perform, or not perform, it were presumptuous to assert; for it is the privilege of genius to prove to the critic what is possible; but, speaking according to our present lights, we should say that the sustaining of the main characteristic interest of the novel, is incompatible with the more intense efforts of reflection or of poetry. One cannot be dragged on and chained to the spot at the same time. Some one may arise who shall combine the genius of Lord Byron and of Sir Walter Scott; but till the prodigy makes his appearance, I shall continue to think that no intellectual chymistry could present to us, in one compound, the charms of Ivanhoe and of Sardanapalus.

I should be very ungrateful—I who have been an idle man—if I underrated the novel. It is hardly possible to imagine a form of composition more fit to display the varied powers of an author; for wit and pathos, the tragic and the comic, descriptions, reflections, dialogue, narrative, each takes its turn; but I cannot consent that it carry off all our regard from its elder sister, the drama. In the novel every thing passes by in dizzy rapidity; we are whirled along over hill and valley, through the grandeur and the filth of cities, and a thousand noble and a thousand grotesque objects flit over our field of vision. In the drama, it is true, we often toil on, slow as a tired pedestrian; but then how often do we sit down, as at the foot of some mountain, and fill our eyes and our hearts with the prospect before us? How gay is the first!—even when terrible, she has still her own vivacity; but then she exhausts at once all the artillery of her charms. How severe is the second!—even when gayest, she is still thoughtful, still maintains her intricate movement, and her habit of involved allusions; but then at each visit some fresh beauty discloses itself. It was once my good fortune—I who am now old, may prattle of these things—to be something a favourite with a fair lady who, with the world at large, had little reputation for beauty. Her sparkling sister, with her sunny locks and still more sunny countenance, carried away all hearts; she, pale and silent, sat often unregarded. But, oh, Eugenius! when she turned upon you her eyes lit with the light of love and genius, that pale and dark-browed girl grew suddenly more beautiful than I have any words to express. You must make the application yourself; for having once conjured up her image to my mind, I cannot consent to compare her even to the most eloquent poetry that was ever penned.

Undoubtedly the first dramatic writer amongst our contemporaries is Henry Taylor, and the most admirable dramatic poem which these times have witnessed is Philip van Artevelde. How well he uses the language of the old masters! how completely has he made it his own! and how replete is the poem with that sagacious observation which penetrates the very core of human life, and which is so appropriate to the drama! Yet the author of Philip van Artevelde, I shall be told, has evidently taken a very different view of the powers and functions of the drama at this day than what I have been expressing. In his poem we have the whole lifetime of a man described, and a considerable portion of the history of a people sketched out; we have a canvass so ample, and so well filled, that all the materials for a long novel might be found there. But the example of Philip van Artevelde rather confirms than shakes my opinion. I am persuaded that that drama, good as it is, would have been fifty times better, had it been framed on a more restricted plan. You, of course, have read and admired this poem. Now recall to mind those parts which you probably marked with your pencil as you proceeded, and which you afterwards read a second and a third and a fourth time; bring them together, and you will at once perceive how little the poem would have lost, how much it would have gained, if it had been curtailed, or rather constructed on a simpler plan. What care we for his Sir Simon Bette and his Guisebert Grutt? And of what avail is it to attempt, within the limits of a drama, and under the trammels of verse, what can be much better done in the freedom and amplitude of prose? Under what disadvantages does the historical play appear after the historical novels of the Author of Waverley!

The author of Philip van Artevelde, and Edwin the Fair, seems to shrink from idealizing character, lest he should depart from historic truth. But historic truth is not the sort of truth most essential to the drama. We are pleased when we meet with it; but its presence will never justify the author for neglecting the higher resources of his art. Do not think, however, that in making this observation I intend to impeach the character of Philip van Artevelde himself. Artevelde I admire without stint, and without exception. Compare this character with the Wallenstein of Schiller, and you will see at once its excellence. They are both leaders of armies, and both men of reflection. But in Wallenstein the habit of self-examination has led to an irresolution which we feel at once, in such a man, to be a degrading weakness, and altogether inconsistent with the part he is playing in life. It is an indecision which, in spite of the philosophical tone it assumes, pronounces him to be unfit for the command of men, or to sway the destinies of a people. Artevelde, too, reflects, examines himself, pauses, considers, and his will is the servant of his thought; but reflection with him comes in aid of resolution, matures it, establishes it. He can discuss with himself, whether he shall pursue a life of peaceful retirement, or plunge into one of stormy action; but having once made his election, he proceeds along his devoted path with perfect self-confidence, and without a look that speaks of retreat. A world of thought is still around him; he carries with him, at each step, his old habit of reflection—for this, no man who has once possessed, can ever relinquish—but nothing of all this disturbs or impedes him.

Do not you, Eugenius, be led by the cant of criticism to sacrifice the real interest of your dramatis personÆ. Some dry censor will tell you that your Greeks are by no means Greek, nor your Romans Roman. See you first that they are real men, and be not afraid to throw your own heart into them. Little will it console either you or your readers, if, after you have repelled us by some frigid formal figure, a complimentary critic of this school should propose to place it as a frontispiece to a new edition of Potter or of Adam—applauding you the while for having faithfully preserved the classic costume. I tell you that the classic costume must ruffle and stir with passions kindred to our own, or it had better be left hanging against the wall. And what a deception it is that the scholastic imagination is perpetually imposing on itself in this matter! Accustomed to dwell on the points of difference between the men of one age and of another, it revolts from admitting the many mere points of resemblance which must have existed between them; it hardly takes into account the great fund of humanity common to them both. The politics of Cicero, it is true, would be unintelligible to one unversed in the constitution and history of Rome; but the ambition of Cicero, the embarrassment of the politician, the meditated treachery, the boasted independence, the doubt, the fear, the hesitation,—all this will be better studied in a living House of Commons, than in all the manuscripts of the Vatican. Sacrifice nothing of what you know to be the substantial interest of your piece, to what these critics call the colour of the age, which, after all, is nothing better than one guess amongst many at historic truth. Schiller fell a victim, in one or two instances, to this sort of criticism, and, in obedience to it, contradicted the natural bias of his genius. In his Wilhelm Tell, instead of the hero of liberty and of Switzerland, he has given us little more than a sturdy peasant, who, in destroying Gessler, follows only a personal revenge, and feels the remorse of a common assassin. If this were historic truth, it was not the part of the poet to be the first to discover and proclaim it. Was he to degrade the character below the rank which ordinary historians assigned to it? We do not want a drama to frame the portrait of a Lincolnshire farmer; it is the place, if place there is, for the representation of the higher forms of humanity.

After taking note of the distinctive qualities of the drama and the novel, it were well—O author that will be!—to take note of thyself, and observe what manner of talent is strongest within thee. There are two descriptions of men of genius. The one are men of genius in virtue of their own quick feelings and intense reflection; they have imagination, but it is chiefly kindled by their own personal emotions: they write from the inspiration of their own hearts; they see the world in the height of their own joys and afflictions. These amiable egotists fill all nature with the voice of their own plaints, and they have ever a tangled skein of their own peculiar thoughts to unravel and to ravel again. The second order of men of genius, albeit they are not deficient in keen susceptibility or profound reflection, see the world outstretched before them, as it lies beneath the impartial light of heaven; they understand, they master it; they turn the great globe round under the sun; they make their own mimic variations after its strange and varied pattern. Now you must take rank, high or low, amongst this second order of men of genius, if you are to prosper in the land of fiction and romance. Pray, do you—as I half suspect—do you, when sitting down to sketch out some budding romance, find that you have filled your paper with the analysis of a character or a sentiment, and that you have risen from your desk without relating a single incident, or advancing your story beyond the first attitude, the first pose of your hero? If so, I doubt of your aptitude for the novel. I know that you have some noble ideas of elevating the standard of the romance, and, by retarding and subduing the interest of the narrative, to make this combine with more elaborate beauties, and more subtle thought, that has been hitherto considered as legitimately appertaining to the novel. I like the idea—I should rejoice to see it executed; but pardon me, if the very circumstance of you being possessed with this idea, leads me to augur ill of you as a writer of fiction. You have not love enough for your story, nor sufficient confidence in it. You are afraid of every sentence which has in it no peculiar beauty of diction or of sentiment. A novelist must be liberal of letter-press, must feel no remorse at leading us down, page after page, destitute of all other merit than that of conducting us to his dÉnouement: he writes not by sentences; takes no account of paragraphs; he strides from chapter to chapter, from volume to volume.

"Verily," I think I hear you say, "you are the most consolatory of counsellors; you advise me to commence with the drama—but with no prospect of success—in order to prepare myself for a failure in the novel!"

My dear Eugenius, you shall not fail. You shall write a very powerful, exciting, affecting romance. Pray, do not be too severe upon our sensibilities, do not put us on the rack more than is absolutely necessary. It has always seemed to me—and I am glad to have this opportunity of unburdening my heart upon the point—it has always seemed to me, that there was something barbarous in that torture of the sympathies in which the novelist delights, and which his reader, it must be supposed, finds peculiarly grateful. It really reminds me of that pleasure which certain savages are said to take in cutting themselves with knives, and inflicting other wounds upon themselves when in a state of great excitement. I have myself often flung away the work of fiction, when it seemed bent upon raising my sympathies only to torture them. Pray, spare us when you, in your time, shall have become a potent magician. Follow the example of the poets, who, when they bear the sword, yet hide it in such a clustre of laurels that its sharpness is not seen.

To take very common instance—All the world knows that the catastrophe of a romance must be inevitably postponed, that suspense must be prolonged, and that the two lovers whose fate we have become interested in, cannot possibly be made happy in the first or even in the second volume. But the expedients employed to delay this term of felicity, are sometimes such as the laws of a civilized society ought really to proscribe. I will mention the first example that occurs to me, though your better memory will directly suggest many more striking and more flagrant. It is taken from the work of no mean artist; indeed, none but a writer of more or less talent could inflict this gratuitous anguish upon us. In the novel of Rienzi, a young nobleman, Adrian, goes to Florence, at that time visited by the plague, to seek his betrothed Irene, sister of the Tribune. Fatigue, the extreme heat, and his own dreadful anxiety, have thrown him into a fever, and he sinks down in the public thoroughfare. It is Irene herself who rushes to his assistance. Every one else avoids him, thinking him struck by the plague. She and a benevolent friar convey him, still in a state of unconsciousness, into an empty and deserted palace which stood by, and of which there were many at that time in Florence. She tends him, nurses him day and night, aided only by the same pious and charitable friar. In his delirium he raves of that Irene who is standing by his head, and who thus learns that it is to seek her he has exposed himself to the horrors of the plague. At the end of this time the friar, who had administered to the patient some healing draught, tells her, on leaving, that Adrian will shortly fall into a sound slumber—that this will be the crisis of his fever—that he will either wake from this sleep restored to consciousness and health, or will sink under his malady. Adrian falls accordingly into a sound sleep, Irene watching by his side. Now we know that the patient is doing well, and our hearts have been sedulously prepared for the happy interview that is promised us, when, on awaking, he will see beside him the loved Irene whom he has been seeking, and recognise in her the saviour of his life. But this sleep lasts longer than Irene had anticipated; she becomes alarmed, and goes away to seek the friar. The moment she has left the room, Adrian wakes!—finds himself well and alone—there is no one to tell him who it is that has preserved his life; nor has Irene, it seems, left any trace of her presence. He sallies forth again into the city of the plague to seek her, and she is destined to return to the empty chamber! Taken to a hideous sort of charnel-house, Adrian is shown the body of a female clad in a mantle that had once been Irene's, and concludes that it is the corpse of her who, for the last three days and nights, has been tending on him. I recollect that, when I came to this part of the novel, I threw the book down, and stalked for five minutes indignantly about the room, exclaiming that it was cruel—barbarous—savage, to be sporting thus with human sympathies. To be sure, I ought to add, in justice to the author, that, after exhaling my rage in this manner, I again took up the novel, and read on to the end.

I do beseech you, Eugenius, do not give us a philosophical novel. Every work of art of a high order will, in one sense of the word, be philosophical; there will be philosophy there for those who can penetrate it, and sometimes the reader will gather a profounder and juster meaning, than the author himself detected in his fiction. I mean, of course, those works where some theory or some dogma is expressly taught, where a vein of scholastic, or political, or ethical matter alternates with a vein of narrative and fictitious matter. I dislike the whole genus. Either one is interested in your story, and then your philosophy is a bore; or one is not interested in it, and then your philosophy can gain no currency by being tacked to it. Suppose the narrative and didactic portions of such a book equally good, it is still essentially two books in one, and should be read once for the story, and once without. We are repeatedly told that people are induced to peruse, in the shape of a novel, what they would have avoided as dry and uninteresting in the shape of an essay. Pray, can you get people to take knowledge, as you get children to take physic, without knowing what it is they swallow? So that the powder was in the jelly, and the jelly goes down the throat, the business, in the one case, is done. But I rather think, in gaining knowledge, one must taste the powder; there is no help for it. Really, the manner in which these good nurses of the public talk of passing off their wisdom upon us, reminds us of the old and approved fashion in which Paddy passes his bad shilling, by slipping it between two sound penny pieces. To be sure it is but twopence after all, and he gets neither more nor less than his twopenny-worth of intoxication, but he has succeeded in putting his shilling into circulation. Just such a circulation of wisdom may we expect from novels which are to teach philosophy, and politics, and political economy, and I know not what else. But such works have succeeded, you will tell me. What shall I say to Tremaine?—what to Coningsby? In Tremaine, so far as I remember, the didactic portion had sunk like a sort of sediment, and being collected into a dense mass in the third volume, could easily be avoided. As to Coningsby, I deny that it any where calls upon the reader for much exercise of his reflective powers. The novel has some sparkling scenes written in the vivacious manner of our neighbours, the French, and these we read. Some Eton boys talk politics, and as they talk just as boys should talk, their prattle is easily tolerated. Besides, I am not responsible for the caprice of fashion, nor for those adventitious circumstances which give currency to books, and which may sometimes compel us all to read what none of us heartily admires.

Certainly, if I were admitted to the counsels of a novelist, I should never have finished with my list of grievances, my entreaties, and deprecations. I will not inflict it upon you. But there is one little request I cannot help making even to a novelist in embryo. I have been annoyed beyond measure at the habit our writers of fiction have fallen into, of throwing their heroes perpetually into a sort of swoon or delirium, or state of half consciousness. That a heroine should occasionally faint, and so permit the author to carry her quietly off the stage—this is an old expedient, natural and allowable. What I complain of is, that whenever the passions of the hero himself rise to a certain pitch; or whenever the necessities of the plot require him to do one thing, whilst both his reason and his feelings would plainly lead him to do another—he is immediately thrown into a state of half frenzy, has a "vague consciousness" of something or other, makes a complete nightmare of the business; is cast, in short, into a state of coma, in which the author can carry him hither and thither, and communicate to him whatever impulse he pleases. In this sort of dream he raves and resolves, he fights or he flies, and then wakes to confused memory of just what the author thinks fit to call to his recollection. It is very interesting and edifying, truly, to watch the movements of an irrational puppet! I do beg of you, when you take up the functions of the novelist, not to distribute this species of intoxication amongst your dramatis personÆ, more largely than is absolutely necessary. Keep them in a rational state as long as you can. Depend upon it they will not grow more interesting in proportion as they approximate to madmen or idiots.

And so, dear Eugenius, you are resolved, at all events, in some form or other, to be the author! This is decided. What was that desperate phrase I once heard you utter—you would strike one blow, though you put your whole life into the stroke, and died upon the broken sword!

Ah! but one does not die upon the broken sword; one has to live on. Would that I could dissuade you from this inky pestilence! This poetizing spirit, which gives all life so much significance to the imagination, strikes it with sterility in every thing which should beget or prosper a personal career. It opens the heart—true, but keeps it open; it closes in on nothing—shuts in nothing for itself. It is an open heart, and the sunshine enters there, and the bird alights there; but nothing retains them, and the light and the song depart as freely as they came. You lose the spring of action, and forfeit the easy intercourse with the world; for, believe me, however you struggle against it, so long as you live a poet, will you feel yourself a stranger or a child amongst men. And all for what? I have that confidence in your talent, that I am sure you will make no ridiculous failures. What you write for fame, will be far superior to what others write for popularity. But these will attain their end, and you, with far more merit, will be only known as having failed. And know you not that men revenge on mediocrity the praise extorted from them by indisputable celebrity? It is a crime to be above the vulgar, and yet not overawe the vulgar. There are a few great names they cannot refuse to extol; men of genuine merit, of a larger merit than they can measure, who yet cannot confessedly approach to these select few, they treat with derision and contempt.

But suppose the most complete success that you can rationally expect—what have you done? You have added one work of art the more to a literature already so rich, that the life of a man can hardly exhaust it; so rich, that it is compelled to drop by the way, as booty it cannot preserve, what in another literature, or at an earlier period of its own career, would have been considered invaluable treasure.

But the question of success or failure is not, after all, the first or most important to your happiness. Could the hope of literary fame, could the passion for it, could the esteem even of its possession, keep a steady place in your mind, there were but little danger in admitting this species of ambition as the ruling spirit of your house. But, alas! whilst it is the most tenacious, it is also the most fluctuating of passions. It rises all radiant with the morning, and before the sun is in the zenith, it forsakes you, and the bright world at your feet is as a glittering desert. But if you should make good resolutions to reform and eject your tyrant, it will not fail to return before the night descends to dash and confound them.

I remember meeting somewhere with the complaint of a young poet who had made trial of his muse and failed; the style was perhaps somewhat quaint, but it spoke the language of truth, and I copied it out. I will transcribe it for your edification, and so conclude this wandering epistle. You must not ask me for the title of the book, for I am not sure that I could give it you correctly. Besides, it would be of no use, as the work I know is out of print.

"I could do better," says the poet in reply to his friend, who had been suggesting the usual consolations and lenitives applicable to the case, "but I could not so far excel what I have written, as to make all the difference between obscurity and fame. It is not a brief and tolerated existence in the world of letters that can be a sanction and motive to my endeavours; and since a noble immortality is denied me, I am willing to sink at once into oblivion. The sentence has been passed. I have not that obstinacy of hope which can make an appeal to the decision of posterity. My labours have been futile—my whole being has been an error—my life is without aim or meaning."

"I sought it not," continued the disappointed bard, "I sought not this gift of poesy—I despised not the ruder toils of existence—I strove to pursue them, but I strove in vain. I could not walk along this earth with the busy forward tread of other men. The fair wonder detained and withheld me. Flowers on their slender stalks could prove an hindrance in my path; the light acacia would fling the barrier of its beauty across my way; the slow-thoughted stream would bend me to its winding current. Was it fault of mine that all nature was replete with feeling that compassed and enthralled me? On the surface of the lake at eventide, there lay how sweet a sadness! Hope visited me from the blue hills. There was perpetual revelry of thought amidst the clouds, and in the wide cope of heaven. This passion of the poet came to me, not knowing what it was. It came the gift of tranquil skies, and was breathed by playful zephyrs, and fell on me, with many a serene influence from the bright and silent stars.

"I saw others pursuing and enjoying the varied prosperity of life—I felt no envy at their success, and no participation in their desires. I could not call in and limit my mind to the concerns of a personal welfare. I had leaned my ear unto the earth, and heard the beating of her mighty heart, and the murmur of her mysteries, and my spirit lost its fitness for any selfish aim or narrow purpose. I stood forth to be the interpreter of his own word to man. Alas! I myself am but one—the poorest—of the restless and craving multitude.

"Gone! gone for ever! is the pleasant hope that danced before me on my path, with feet that never wearied, and timbrel that never paused! Oh, gay illusion! whither hast thou led me? and to what desolation has the music of thy course conducted? I am laden, as it were, with the fruitage of cultivated affections, but I myself am forlorn and disregarded. I kindle with innumerable sympathies, but am shut out for ever from social endearments—from the sweet relationships that make happy the homes of other men. I am faint with love of the beautiful, and my heart pants with an unclaimed devotion—but who may love the poet in his poverty?"