In commending, with the New Year, a New Volume, we shall be permitted to say a few words by way of exordium to our usual chapter of Reviews ... (GM, XX, 68).

For one Dickens there are five million Smolletts, Fieldings, Marryatts, Arthurs, Cocktons, Bogtons and Frogtons (GM, XX, 187; H, XI, 90);

for effect upon what gave popularity to ‘Peregrine Pickle‘ — we mean practical joke. To men whose animal spirits are high, whatever may be their mental ability, such works are always acceptable ... It not only demands no reflection, but repels it, or dissipates it ... It is not in the least degree suggestive ... Yet during perusal, there has been a tingling physico-mental exhileration...But these things are not letters...mere incidents, whether serious or comic, whether occurring or described — mere incidents are not books. Neither are they the basis of books — of which the idiceyncracy is thought in contradistinction from deed. A book without action cannot be; but a book is only such, to the extent of its thought, independently of its deed. Thus of Algebra, which is, or should be, defined as ‘a mode of computing with symbols by means of signs’. With numbers, as [page 358:] Algebra, it has nothing to do; and although no algebraic computation can proceed without numbers, yet Algebra is only such to the extent of its analysis independently of its Arithmetic. We do not mean to find fault with the class of performances of which ’Stanley Thorn’ is one ... (we only object) to its claim on our attention as critic ... Being in no respect a work of, art, they neither deserve, nor are amenable to criticism (GM, XX, 69-70; H, XI, 11-13).

We place particular emphasis upon the mechanical style of these reprints. The criticisms which affects to despite those adventitious aids to the enjoyment of a work of art is at best but etourderie. The illustration, to be sure, is not always in accordance with our own understanding of the text; and this fact, although we never hear it urged, is, perhaps, the most reasonable objection which can be urged against pictorial embellishment — for the unity of conception is disturbed; but this disturbance takes place only in very slight measure (provided the work be worth illustration at all) and its disadvantages are far core than counterbalanced by the pleasure (to most minds a very acute one) of comparing our comprehension of the author's ideas with that of the artist ... We never knew a man of genius who did not confess an interest in even the worst illustrations of a good book...The designs are very nearly what they should be. They are sketchy, spirited cuts, depending for effect upon the [page 359:] higher merits rather than upon the minor morals or art(1) — upon skilful grouping of figures, vivacity, naivete (sic) and originality of fancy, and good drawing in the case — rather than upon finish in details, or too cautious adherence to the text ... In the, opening page of this Memoir is an error (perhaps typographical) which, as it is upon the opening page, has an awk-ward appearance, and should be corrected. We allude to the word ‘protegee's which, in the sense, or rather with the reference intended, should be printed protege. This is a very usual mistake (GM, XX, 70-71; H, XI, 8-10).

Barring some. trifling affectations (apparent, for example, in heading a plain English chapter with the French Pensees,) this volume is very creditable to Mrs. Rives ... A lady-like taste and delicacy (without high merit of any kind) pervade the whole. The style is somewhat disfigured by pleonasms — or rather, overburdened with epithets: a common fault with enthusiastic writers who want experience in the world of letters ... of mere errors in granmar there are more than sufficient; and we are constrained to say that the very first sentence of the book conveys. a gross instance of faulty construction (GM, XX, 71).

The qualities of Heber arevell understood. His poetry is of a high order. He is imaginative, glowings and vigorous, with a skill in the management of his means unsurapssed by any writer of his time, but without any high degree of originality ... few fine scholars, such as Heber truly was, are original ... The minor pieces generally are very naive (sic) and beautiful (GM, XX, 71).

The type is, of course, small — a fine nonpareil — hut very clear and beautiful; while the paper is of excellent quality, and the press-work carefully done...We make objection, however, and pointedly, to the omission of the biographer's name. A sketch of the nature here inserted is worth nothing when anonymous. Nine-tenths of the value attached to a certain very rambling collection of Lives, depends upon our cognizance of their having been indited by Plutarch (GM, XX, 71).

No man of his age has shown greater versatility of talent, and few, of any age, richer powers of imagination. ..His scholarship, if not profound, is excursive; his criticism, if not always honest, is analytical, enthusiastic, and original in manner. His wit is vigorous, his humor great, his sarcasm bitter.. His high animal spirits give a dashing, free, hearty and devil-may-care tone to all his compositions — a tone which has done more towards establishing his literary popularity and dominion than any single quality for which he is remarkable ... He is frequently led into gross injustice through personal feeling — this is his chief sin. His one is often flippant ... His style is apt to degenerate, or rather rush into a species of bombastic periphrasis and apostrophe, of which our own Mr. John Neal has given the best American specimens. His analysis, although true in principle, (as is always the case with the idealist) and often profound, is nevertheless deficient in that calm breadth and massive deliberateness which are the features of such intellects as that of Verulam. In short, the opinions of Professor Wilson can never be safely adopted without examination (GM, XX, 72).

Some years age [[ago]] vice had occasion to speak of ‘Zinzendorf and other Poems‘, by Mrs. Sigourney, and at that period we found, or fancied that we found many points, in her general manner, which called for critical animadversion ... We had accused her of imitation of Mrs. Hemans ... but this imitation is no longer apparent (GM, XX, 72).

... a very complete and certainly very piquant commentary on the events of his age ... It is really superfluous to recommend these books. Every man who pretends to a library will purchase them of course (GM, XX, 72).

The title of this volume does not fully explain its character ... This design, as far as we have been able to judge in a very cursory examination, is well executed (GM, XX, 72).

A magnificent edition — to our taste the most magnificent edition — of Robinson Crusoe. The designs by Grandville are in a very superb style of art — bold, striking, and original — the drawing capital (GM, XX, 72).

In the number of the ‘Philadelphia Saturday Evening Post‘, for May the 1st, 1841, (the tale having then only begun) (5) will be found a prospective notice of some length, in which we made use of the following words — (GM, XX, 127).

Here are both Dickens and Bulwer perpetually using the adverb ‘directly’ in the sense of ‘as soon as’. ‘Directly he came I did so and so (DR, XV, 586; H, XVI, 43);

Mr. Dickens’ English is usually pure. His most remarkable error is that of employing the adverb ‘directly’ in the sense of ‘as soon as! For example — ‘Directly he arrived, Rudge said’ &c. Bulwer is uniformly guilty of the same blunder (GM, XX, 128; H, XI, 60).

Could I imagine that, at any moment, you regarded a certain impudent and flippant critique as more than a matter to be laughed at, I would proffer you an apology on the spot. Since I scribbled the article in question, you yourself have given me fifty good reasons for being ashamed of it.(1)

Amid a good deal which is trite and imitative, this volume presents many passages of the truest poetry... ‘Titania's Renquet‘, although faulty as a whole, has likewise many richly ideal(1) beauties. The ‘Lyrical Pieces’ are very unequal — but one of diem called ‘Leila’ we shall be pardoned for quoting. Were it not for a certain resemblance which it bears to Pinckney's ‘Health‘, we should be tempted to speak of in (sic) terms of unqualified admiration ... on the very title-page the author has failed to perceive the gross blunder is the motto which reads

Quid Pandioniae restant nisi nomen Athenae? These things may as well be corrected in a new edition (GM, XX, February, back cover).

Its spirit is vigorous and healthy — thoroughly American — its style of composition is chaste, simple and natural, and many of its descriptions are drawn with exquisite grace and beauty ... This change of place affords abundant opportunity for various and graphic delineation of nature and manners. The plot is developed without violence to probability(3) ... The moral is obvious enough, without being painfully pounded and laboriously inculcated in terns on every page. It is to be found, es it should be, rather in the incidents and character of the story, than in a prosing comment by the author... We can say with sincerity that no juvenile work has recently fallen under our notice which we can commend so heartily as we are happy to commend ‘Worth and Wealth’ (GM, XX, February back cover).

He is particularly remarkable for the naivete (sic) and heartiness of his style, as well as for the simplicity of his subjects. Those who love natural homely thoughts, (without originality) expressed in the most unpretending, and in a somewhat rough manner, will be pleased with Thomas Miller (GM, XX, February back cover).

Its writer appears to us to be a man of true genius, but of a somewhat uncultivated intellect — of deficient education (BGM, V, 230).

A neat doudecimo of some 200 pages, in which the thesis of Kindness or Charity is thoroughly, if not ably handled ...The true value of the book, however, is happily independent of its English (GM, XX, February back cover).

This is a very neatly bound little volume, containing; a well written tale, the object of which is to show the moral worth and dignity of the artisan — to maintain the elevation of the mechanic. The idea is well carried out (GM, XX, February back cover).

Professor Harrison lists this (“Imagination”) — perhaps by an oversight — in is bibliography of Poe, but he does not include it in his edition. In the table of contents for the volume of Graham's in which the article appeared, it is ascribed to Park Benjamin.(1)

In our last number we had some nasty observations on these ‘Ballads‘ — observations which we now propose, in some measure, to amplify and explain (GM, XX, 248; H, XI, 68).

In our last number, we took occasion to say that a didactic moral might be happily made the under-current of a poetical theme... (GM, XX, 250; H, XI, 79).

We do not mean to say that a didactic moral may not be well made the under-current of a poetical thesis... (GM, XX, 190; H, XI, 68).

In our last number, he objected, to its metre — the ordinary Latin or Greek Hexameter — (Cas., XX, 250; H, XI, 81).

We allude to it, now especially, by way of corroborating what we said, in our January number, touching the ordinary character of the English review-system (GM, XX, 190; H, XI, 101).

The title of this work explains its nature with accuracy ... The design is chiefly, to classify, and thus present a dependent and clearly discernible whole (GM, XX, 191). [page 367:]

... it must have occurred to many as singular, that in a study whose very existence may be said to depend upon method, there should have been, hitherto, no attempt at coilecting the parts into an easily discernible whole (BGM, V, 61).

To those who have paid much attention to Natural History and the endless, unstable, and consequently vexatious classifications which there occur —— (GM, XX, 191).

— to those, in especial, who have labored over the ‘Conchologies’ of Be Blainville and Lamarck, some faint — some very faint idea of the difficulties attending such a labor as this, will occur (GM, XX, 191).

Mr. Park has chosen a highly artificial scheme of arrangement; and both reason and experience show us that natural classifications, or those which proceed upon broad and immediately recognizable distinctions, are alone practically or permanently successful (GM, XX, 191).

We must object to nearly all of the belles-lettres portion of the book. tie cannot stand being told, for example, that ‘Barlow's “Columbiad” is a poem of considerable merit; nor are we rendered more patient under the infliction of this and similar opinions, by the information that ‘Dander Vondel and Vander Loos (the deuce,’) wrote capital Dutch epics, while ‘the poems of Cats are said to be spirited and pious!’ We know nothing, about cats, nor cats about piety.

The volume is sadly disfigured by typographical errors. On the title-page of the very first ‘province’ is a blunder in Greek (GM, XX, 191).(1) [page 368:]

Now only imagine some of our third or fourth-rate dabblers in criticism, gravely in the Dutch, for example, that their epic poet, Cats, is a fine genius: They — even they! — would not be so besotted as to believe Americans better judges of Dutch than the Dutchmen themselves. They would reply, possibly, that Americans know nothing at all about Cats, nor cats about poetry.(1)

The Burschondom, of which we have all heard so much, yet so vaguely, is no modern or evanescent eccentricity; but a matter of firm and reverent faith coeval with the universities ... To the philosopher, to the man of the world, and, especially, to the man of imagination, this beautiful volume will prove a rare treat. Its novelty will startle all (GM, XX, 191).

Professor Smyth's system of history is remarkable, if not peculiar ... The effect is surprising through its force and perspicuity (GM, XX, 191). [page 369:]

Originality, however, is not drat we seek in a school-book, and this has the merit of tasteful selection and precision of style (GM, XX, 191).

This work is republished, we presume, not so much on account of its intrinsic merit, as on account of the present emeute in our immediate vicinity and elsewhere on the subject of Animal magnetism ... well narrated ... exceedingly pathetic (GM, XX, 192).

Hereafter we shall endeavor to speak of his tales with that deliberation which is their due (GM, XX, 192).

We like Mr. James far better as the historian or biographer than as the novelist. The truth is, it is sheer waste of time to read second-rate fictions by men of merely imitative talent ... (GM, XX, 192).

These volumes are satirical and have some fair hits at Mr. Cooper, against whom they are especially levelled; but we life neither this design of, personal ridicule nor the manner in which it is effected (GM, XX, 192).

This book excited and still excites great attention in England. It is needless to speak of its merits, which are well understood by all students of Physics (GM, XX, 192). [page 370:]

A republication from the Dublin Review of three able articles in defence of Catholicism (GM, XX, 192).

We need only say of this volume that is a continuation of the ‘First Book’ just noticed, although sufficiently distinct in itself (GM, XX, 192).

This is a very passable satirical fiction, in the manner of Gulliver. We should not be surprised if it were the composition of Dr. Beasely of this city (GM, XX, 192).

This is a very clever and amusing jeu-d‘esprit, in which the oddities, or what we regard as the oddities of ‘Life in China’ are divertingly caricatured (GM, XX, 192).

The plates are not only antique but trashy in other respects... Of the poems themselves, we have no space to speak fully this month. Some of them are excellent; and there are many which merit no commendation. Mrs. Sigourney deserves much, but by no means all of the applause which her compositions have elicited. It would be easy to cite, from the volume now before us, numerous brief passages of the truest beauty; but we fear that it would be more difficult to point out an entire poem which would bear examination, as a whole (GM, XX, 192). [page 371:]

We found fault with the too obtrusive nature of their didacticism. Some years ago we urged a similar objection to one or two of the longer pieces of Bryant (GM, XX, 248; H, XI, 68);(1)

In a notice, month before last, of Brainard's Poems, we took occasion to show ... (GM, XX, 249; H, XI, 76);

In our last number we took occasion to say that a didactic moral might be happily made the under-current of a poetical theme, and in ‘Burton's Magazine‘, some two years since, we treated this point at length, in a review of Moore's ‘Alciphron‘, ... (GM, XX, 250; H, XI, 79)(2)

Externally, this is a beautiful little volume, in which Mr. Longfellow's ‘Ballads‘, just noticed, are imitated with close precision. Internally no two publications could be more different (GM, XX, 254; H, XI, 114). [page 372:]

The general air of the whole is nevertheless commonplace. It has nothing, except its mechanical execution, to distinguish it from the multitudinous ephemera with which our national poetical press is now growing. is regards the minor morals of the Muse,(1) the author is either uninformed or unaffected ... He is endeavoring too, and very literally, to render confusion worse confounded by the introduction into poetry of Carlyle's hyper-ridiculous elisions in prose(2) ... The poet who would bring uninterruptedly together such letters as t h s p and r, has either no ear at all, or two unusually long ones (GM, XX, 254; H, XI, 114-5).

In May we shall endeavor to carry out our intention [a detailed review of Mr. Hawthorne as text for a treatment of “the value of the tale”] ... We postpone all farther comment until a more favorable opportunity (GM, XX, 254; H, XI, 102, 104).

We said a few hurried words about Mr. Hawthorne in our last number, with the design of speaking more fully in the present (GM, XX, 298; H, XI, 104).

Mr. Hawthorne's volumes appear to us misnamed in two respects ... If in the first collected edition they were twice told, of course now they are thrice-told ... In the second place, these compositions are by no means all ‘Tales’ ... (GM, XX, 254; H, XI, 103);

The book professes to be a collection of tales, yet is, in two respects, misnamed. These pieces are now in their third republication, and, of course, are thrice-told. Moreover, they are by no means all tales ... (GM, XX, 298; H, XI, 104).

With rare exception — in the case of Mr. Irving's ‘Tales of a Traveller’ and a few other works of a like cast — we have had no American tales of a high merit (GM, XX, 254; H, XI, 102);

May:

We have had few American tales of real merit — we may say indeed, none, with the exception of ‘The Tales of a Traveller’ of Washington Irving, and these ‘Twice-Told Tales’ of Mr. Hawthorne (GM, XX, 439; H, XI, 109-110).

Since the May review is proved Poe's by direct evidence, there is no doubt about the April.

Mr. Casserly is, perhaps, chargeable with inflation and Johnsonism as regards his own style — a defect from which we have never known one of his profession free (GM, XX, 254).

We see, or use fancy we see, in the wording of this Address, another instance of that tendency to Johnsonism which is the Scylla on the one hand, while a jejune style is the Charybdis on the other, of the philological scholar (SLM, II, 717; H, IX, 159).

The only noticeable demerit of Professor Anthon is diffuseuess, sometimes running into Johnsonism, of style (DR, XVIII, 272; H, XII, 113).

... in an article called ‘William Wilson‘, one of the ‘Tales of the Grotesque and Arabesque‘, we have not only the same idea, but the same idea similarly presented in several respects (GM, XX, 300; H, XI, 112).

... his poetic abilities have not as yet attracted that attention which is indubitably their due. ‘The Vigil of Faith,” a poem of fifty-two irregular stanzas, embodies a deeply interesting narrative ... it bears the impress of the true spirit on every line; but appears to be carelessly [page 375:] written. The occasional Poems are scarcely more beautiful, but, in general, am more complete and polished. Now and then, however, we observe, even in these, an inaccurate rhythm ... Mr. Hoffman is, also, somewhat too fond of a double rhyme, which, unduly employed, never fails to give a flippant air to a serious poem

The subject of the poem is happy ... The incidents interwoven are picturesque, and there are many quotable passages; the descriptive portions are particularly good ... ‘The Vigil of Faith’ is, upon the whole, one of our most meritorious poems. The shorter pieces in the collection have been more popular ... (GLB, XXXIII, 157; H, XV, 120).(1)

‘Greyslaer’ followed, a romance based on the well known murder of Sharp (sic), the Solicitor-general of Kentucky, by Beauchampe. W. Gilmore Simms, (who has far more power, more passion, more movement, more skill than Mr. Hoffman), and treated the subject more of effectively in his novel ‘Beauchampe‘; but the fact is that both gentlemen have positively failed, as might have peen expected. That both books are interesting is no merit either of Mr. H. or of Mr. S. The real events were more impressive than are the fictitious ones. The facts of this remarkable tragedy, as arranged by actual circumstance; would put to shame the skill [page 376:] of the most consummate artist. Nothing was left to the novelist but the amplification of character, and at this point neither the author of “Greyslaer’ nor of ‘Beauchampe’ is especially au fait. The incidents might be better woven into a tragedy (GLB, XXXIII, 157; H, XI, 113).

The events upon which this novel is based are but too real. No more thrilling, no more romantic tragedy did ever the brain of poet conceive than was the tragedy of Sharpe and Beauchampe. We are not sure that the author of ‘Border Beagles’ has done right in the selection of his theme. Too little has been left for invention. We are sure, however, that the theme is skillfully handled. The author of ‘Richard Hurdles’ is one among the best of our native novelists — pure, bold, vigorous, original (GM, XX, 300).

‘Beauchampe’ is intensely interesting; but the historical truth has somewhat hampered and repressed the natural strength of the artist (BJ, II, 190; H, XII, 248).

Nevertheless, leaving out of the question Brockden Brown and Hawthorne, (who are each a genius,) he is immeasurably the best writer of fiction in America. He has more vigor, more imagination, more movement, and more general capacity than all our novelists (save Cooper), combined (DR, XV, 535; H, XVI, 41).

This is a volume of remarkable beauty externally, and of a very high merit internally (GM, XX, 300).

This is the best collection of American Poets that has yet been made, whether we consider its completeness, its size, or the judgment displayed in its selections. The volume is issued in a style commensurate with its literary worth. The paper, type and printing are unexceptionable ... the finest volume of the season (GM, XX, 356; H, XI, 124). [page 378:]

It embraces selections from the poetical works of every true poet in America without exception; and these selections are prefixed, in each instance, with a brief memoir, for whose accuracy we can vouch (GM, XX, 300).

We know that no pains or expense have been spared in this compilation, which is, by very much indeed, the best of its class — affording, at one view, the justest idea of our poetical literature. Mr. Griswold is remarkably well qualified for the task he has undertaken (GM, XI, 300),

With the meagre published aids existing previously to Mr. Griswold's book, the labor of such an undertaking; must have been great; and not less great the industry and general information in respect to our literary affairs, which have enabled him so successfully to prosecute it... We know no one in America who could or who would, have performed the task here undertaken, at once so well in accordance with the judgment of the critical, and so much to the satisfaction of the public. The labors, the embarrassments, the great difficulties of the achievement are not easily estimated by those before the scenes ... The work before us is indeed so vast an improvement upon those of a similar character which have preceded it, that we do its author some wrong in classing all together. Having explained, somewhat minutely, our views of the proper mode of compilation, and of the general aims of the species of book in question,(1) it but remains to say that these views have been very nearly fulfilled in the ‘Poets and Poetry of America’, while altogether unsatisfied by the earlier publications (Boston Miscellany, II, 220; H, XI, 153, 155).

We have said that this volume is superior to any former collection of the American Poets, whether we regard its size, its completeness, or the taste(1) displayed in the selections. Tais is our general opinion of the book. We do not, however, always coincide with the judgment of the editor. There are several writers in the Appendix who have as good claims to appear in the body of the work as others who figure largely in the latter more honorable station. There are many mere versifiers included in the selection who should have been excluded, or else others who have been left out should have been admitted. Perhaps the author, without being aware of it himself, has unduly favored the writers of New England (GM, XX, 356; H, XI, 135).

The writer of this article, in saying that, individually, he disagrees with many of the opinions expressed by Mr. Griswold, is merely, suggesting what, in itself, would have been obvious without the suggestion ... we disagree then, with Mr. Griswold in many of his critical estimates; although in general, we are proud to find his decisions our own. He has omitted from the body of his book, some one or two whom we should have been tempted to introduce. On the other hand, he has scarcely made us amends by introducing some one or two dozen whom we should have treated with contempt. We might complain too of a prepossession, evidently unperceived by himself, for the writers of New England (Boston Miscellany, II, 221; H, XI, 155-56).

I shall make war to the knife against the New England assumption of ‘All the decency and all the talent” which has been so disgustingly manifested in the Rev. Rufus Griswold's ‘Poets and Poetry of America’.(2)

Circumstantial evidence supports the assumption in each case, and the notice of Griswold's book refers forward to Poe's [page 380:] acknowledged(1) review of that work in the issue of the following month.(2)

This article is included in the Harrison edition of Poe; but it does not appear in Griswold's edition; nor is it attributed to Poe by W. M. Griswold in his edition of his father's letters. And it is not mentioned by Poe in a list of his publications about Griswold sent the latter in 1849, in the hope; apparently, of placating him in advance of the publication of a forthcoming edition of his anthology, in which Poe was eager to receive favorable notice. Had Poe written the review he would in all likelihood have included it in his list; for it contains nothing that is especially disparaging to Griswold. Finally, there is Poe's declaration in his letter to Snodgrass of June 4, 1842, that he had withdrawn from Graham's with the May issue. All this makes Poe's title extremely questionable.(3)

The denying of this item to Poe apparently necessitates also the denying to him the brief notice of Griswold's book in the May issue of Graham's which I assigned to him in the Nation of December 23, 1909 (p.623).(4)

A glaring instance of this is the case of LOWELL, a young poet, to whom others than ourselves have assigned genius of the highest rank. A few years hence, Mr. Griswold himself will be amazed that he assigned no more space to LOWELL, Tuckerman, and others of [[Greek text]] (GM, XX, 356; H, XI, 175-76).

Mr. J. R. Lowell of Massachusetts, is entitled, in our opinion, to at least the second or third place among the poets of America (GM, XIX, 284; H, XV, 239).

...with ideality not richer than that of Longfellow, and with less artistical knowledge, has yet composed far truer poems ... no American poem equals it (“Rosaliae”) in the [page 382:] higher elements of song (GM, XX, 190; H, XI, 68).

Little more can be said in the way of criticism, unless are should follow up these remarks by further examples in detail. For this we have no inclination, since, after all, the book, as a vilole, is one of high merit; and, from the very nature of the work, it is impossible for an editor to produce a faultless volume. A thorough analysis of the book might induce many, whose minds are not comprehensive, to think it a bad, instead of what it reallf is, a food work (GM, XX, 356; H, XI, 126).

Have you seen Griswold's Book of Poetry? It is a most outrageous humbug, and I wish you would.’ use it; up’ ... Mr. Griswold who (whatever may be his abilities as the compiler of a Book of Poetry), is at all events a decent writer of English.(1)

I have no quarrel with either Mr. Graham or Mr. Griswold — although I hold neither in especial respect.(2)

Graham has made me a good offer to return. He is not especially pleased with Griswold, nor is any one else, with the exception of the Rev. gentleman himself, who has gotten himself into quite a hornet's nest by his ‘Poets and Poetry’ ... He is a pretty fellow to set himself up for an honest judge, or even as a capable one. About two months since, we were talking of the book, when I said that I thought of reviewing is full for the ‘Democratic Review‘ (3), but found my design anticipated by an article from that ass O’Sullivan, and that I knew no other work in which a notice could be readily admissable. Griswold said, in reply: ‘You need not trouble yourself about the publication of the review, should you decide on writing it, for I will attend to all that. I will get it in some reputable work, and look to it for the usual pay, in the meantime handing you what ever your charge would be.’ This, you see, was an ingenious insinuation of a bribe to puff his book. I accepted his offer forthwith, and wrote the review, handed it to him, and received from him the compensation; he never daring to look over the MS. in my presence, and taking it for granted that all was right. But that review has not yet appeared, and I am doubtful if it ever will. I wrote precisely as I would have [page 384:] written under ordinary circumstances, and be sure there was no predominance of praise.(1)

I like it (the anthology) decidely. It is of immense importance, as a guide to what we have done; but you have permitted your good nature to influence you to a degree. I would have omitted at least a dozen whom you have quoted, and I can think of five or six that should have been in. But with all its faults — you see I am perfectly frank with you — it is a better book then any other man in the United States could have made of the materials. This I will say.(3) [page 385:]

The scenes are described with that graphic force for which our author is distinguished above all writers of sea-tales... but there is nothing like character in the tale, and the plot is shamefully commonplace (GM, XX, 356).

Of the merits of the poem we shall not speak until July, when are trust to have leisure and space for the task (GM, XX, 356).