iffe, of whom he disapproved, to the modern novel of realism, although his immediate influence and, so to speak, his stage properties, can hardly be traced later than the remarkable tale, also by a Philadelphian, called Stanley; or the man of the world, first published in 1839 in London, though the scene was laid in America.
This book was attributed, from its profuse literary quotations, to Edward Everett, but was soon understood to be the work of a very young man of twenty-one, Horace Binney Wallace.
In this book the influence of Bulwer and Disraeli is palpable, but Brown's concealed chambers and aimless conspiracies and sudden mysterious deaths also reappear in full force, not without some lingering power, and then vanish from American literature forever.
Brown's style, and especially the language put by him into the mouths of his characters, is perhaps unduly characterized by Professor Woodberry as being something never heard off the stage of melodrama.
What this able critic