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[147] readers, hover about his charming stories for children; to have missed The Wonder-book is like having grown old without ever catching the sweetness of the green world at dawn. But our public has learned to enjoy a wholly different kind of style, taught by the daily journals, a nervous, graphic, sensational, physical style, fit for describing an automobile, a department store, a steamship, a lynching party. It is the style of our day, and judged by it Hawthorne, who wrote with severity, conscience, and good taste, seems somewhat oldfashioned, like Irving or Addison. He is perhaps too completely a New Englander to be understood by men of other stock, and has never, like Poe and Whitman, excited strong interest among European minds.

Yet no American is surer, generation after generation, of finding a fit audience. Hawthorne's genius was meditative rather than dramatic. His artistic material was moral rather than physical; he brooded over the soul of man as affected by this and that condition and situation. The child of a new analytical age, he thought out with rigid accuracy the precise circumstances surrounding each one of his cases and modifying it. Many of his sketches and short stories and most of his

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