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‘ [1115] material worked in.’ Margaret's portrait-painting intellect treated persons in this way. She saw them as God designed them,—omitting the loss from wear and tear, from false position, from friction of untoward circumstances. If we may be permitted to take a somewhat transcendental distinction, she saw them not as they actually were, but as they really were. This accounts for her high estimate of her friends,—too high, too flattering, indeed, but justified to her mind by her knowledge of their interior capabilities.

The following extract illustrates her power, even at the age of nineteen, of comprehending the relations of two things lying far apart from each other, and of rising to a point of view which could overlook both:—

I have had,—while staying a day or two in Boston,—some of Shirley's, Ford's, and Heywood's plays from the Athenaeum. There are some noble strains of proud rage, and intellectual, but most poetical, allabsorbing, passion. One of the finest fictions I recollect in those specimens of the Italian novelists,— which you, I think, read when I did,—noble, where it illustrated the Italian national spirit, is ruined by the English novelist, who has transplanted it to an uncongenial soil; yet he has given it beauties which an Italian eye could not see, by investing the actors with deep, continuing, truly English affections.

The following criticism on some of the dialogues of Plato, (dated June 3d, 1833,) in a letter returning the hook, illustrates her downright way of asking worldrevered

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