What strikes a European most, in his rambles through America, is the absence of the picturesque. The country is monotonous, and eternally the same. Burned-up fields, stumps of trees, forests, wooden houses all built on the same pattern. All the stations you pass are alike. All the towns are alike. To say that an American town is ten times larger than another simply means that it has ten times more blocks of houses. All the streets are alike, with the same telegraph poles, the same "Indian" as a sign for tobacconists, the same red, white, and blue pole as a sign for barbers. All the hotels are the same, all the _menus_ are the same, all the plates and dishes the same--why, all the ink-stands are the same. All the people are dressed in the same way. When you meet an American with all his beard, you want to shake his hands and thank him for not shaving it, as ninety-nine out of every hundred Americans do. Of course I have not seen California, the Rocky Mountains, and many other parts of America where the scenery is very beautiful; but I think my remarks can apply to those States most likely to be visited by a lecturer, that is, Ohio, Michigan, Indiana, Illinois, Wisconsin, Minnesota, and others, during the winter months, after the Indian summer, and before the renewal of verdure in May. [Illustration: "THE SAME 'INDIAN.'"] * * * * * After breakfast, that indefatigable man of business, that intolerable bore, who incessantly bangs the doors and brings his stock-in-trade to the cars, came and whispered in my ears: "New book--just out--a forbidden book!" "A forbidden book! What is that?" I inquired. He showed it to me. It was "Manon Lescaut." [Illustration: "NEW BOOK JUST OUT--A FORBIDDEN BOOK!"] Is it possible? That literary and artistic _chef-d'oeuvre_, which has been the original type of "Paul et Virginie" and "Atala"; that touching drama, which the prince of critics, Jules Janin, declared would be sufficient to save contemporary literature from complete oblivion, dragged in the mire, clothed in a dirty coarse English garb! and advertised as a forbidden book! Three generations of French people have wept over the pathetic story. Here it is now, stripped of its unique style and literary beauty, sold to the American public as an improper book--a libel by translation on a genius. British authors have complained for years that their books were stolen in America. They have suffered in pockets, it is true, but their reputation has spread through an immense continent. What is their complaint compared to that of the French authors who have the misfortune to see their works translated into American? It is not only their pockets that suffer, but their reputation. The poor French author is at the mercy of incapable and malicious translators hired at starvation wages by the American pirate publisher. He is liable to a species of defamation ten times worse than robbery.