In view of this essentially artificial and even boyish style, it is not strange that one of his compositions should have been thus declined by the eminently just and impartial editor of the ‘North American Review,’ Jared Sparks. dear Sir,—I return the article you were so good as to send me. In many respects it has a good deal of merit, but on the whole I do not think it suited to the ‘Review.’ Many of the thoughts and reflections are good, but they want maturity and betray a young writer. The style, too, is a little ambitious, although not without[29] joints; the chairs are massive and curiously carved, but the sharper edges of the figures are breaking away; and the solemn line of portraits that cover the walls hang faded from black, melancholy frames, and declare their intention of soon leaving them forever. In a deep niche stands a heavy iron clock that rings the hours with hoarse and sullen voice; and opposite, in a similar niche, is deposited a gloomy figure in antique bronze. A recess, curtained with tapestry of faded green, has become the cemetery of departed genius, and, gathered in the embrace of this little sepulchre, the works of good and great men of ancient days are gradually mouldering away to dust again.
United States literary Gazette, i. 348.
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Boston and New York, Hougton, Mifflin and company, 1902.
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