home rule for Ireland or not.
He made a number of excellent addresses in England, besides a multitude of after-dinner speeches.
Perhaps the best of them was his address at the Coleridge celebration, in which he levelled an attack on the English canonization of what they call common sense, but which is really a new name for dogmatism.
Lowell, if not a transcendentalist, was always an idealist, and he knew that ideality was as necessary to Cromwell and Canning as it was to Shakespeare and Scott.
He was certainly more popular in England than he had ever been in America, and he openly admitted that he disliked to resign his position.
Professor Child said, in 1882: Lowell's conversation is witty, with a basis of literary cramming; and that seems to be what the English like.
He went to twenty-nine dinner parties in the month of June, and made a speech at each one of them.
In the last years of his life he was greatly infested with imitators who, as he said of Emerson in the Fab
proceeded to Egypt, where he wrote his well known book of Nile travels, while Cranch set out for Rome to perfect his art.
He studied there at a night-school, painting in water colors from nude models and arrangements of drapery, but not taking lessons from any regular instructor.
He never applied himself much to figure-painting, however.
He sold his paintings chiefly to American travellers, and when the Revolution broke out in 1848, he returned to Sorrento, where his second child, Mrs. Leonora Scott, was born.
His first child was born the year previous, in Rome, but afterwards died.
In 1851, he returned to New York and Fishkill, but not meeting with such good appreciation there as he had in Italy, he went to Europe again in the autumn of 1853, and resided in Paris.
One cause of this may have been the unfriendliness of his brother-in-law, who was a leading art critic in New York City, and who disliked Cranch on account of his wife, and never neglected an opportunity of disparagi
He could easily count the legislatures that would reject it. It finally passed through Congress on the last night of this session by a single vote, and was ratified by only three States!
As soon as Lincoln was inaugurated there was no more talk of compromise, and Seward was firmness itself.
He declined to receive the disunion commissioners;
At the same time he coquetted with them unofficially. he compelled the Secretary of War to reinforce Fort Pickens; he overhauled General Scott, who proved an impediment to vigorous military operations.
These facts tell their own tale.
After Seward and Chase had left the Senate Sumner was facile princeps. Trumbull was a vigorous orator and a rough-rider in debate, but he did not possess the store of legal knowledge and the vast fund of general information which Sumner could draw from.
One has to read the fourth volume of Pierce's biography to realize the dimensions of Sumner's work during the period from 1861 to 1869.
dramatic character needs to be a talkative person; one that either acts out his internal life, or indirectly exposes it. Hawthorne's best friends do not appear to have known what his real opinions were.
This perpetual reserve, this unwillingness to assimilate himself to others, may have been necessary for the perfection of his art.
The greater a writer or an artist, the more unique he is,--the more sharply defined from all other members of his class.
Hawthorne certainly did not resemble Scott, Dickens, or Thackeray, either in his life or his work.
He was perhaps more like Auerbach than any other writer of the nineteenth century, but still more like Goldsmith.
The Vicar of Wakefield and the House of the seven Gables are the two perfect romances in the English tongue; and the Deserted Village, though written in poetry, has very much the quality of Hawthorne's shorter sketches.
And tales much older than the ale went round is closely akin to Hawthorne's humor; yet there was littl