What man ever wrote anything really good who did not feel that he had the ability to write something better? Writing, after all, is a cold and a coarse interpreter of thought. How much of the imagination, how much of the intellect, evaporates and is lost while we seek to embody it in words! Man made language and God the genius. Nothing short of an eternity could enable men who imagine, think, and feel, to express all they have imagined, thought, and felt. Immortality, the spiritual desire, is the intellectual /necessity/. In "Devereux" I wished to portray a man flourishing in the last century with the train of mind and sentiment peculiar to the present; describing a life, and not its dramatic epitome, the historical characters introduced are not closely woven with the main plot, like those in the fictions of Sir Walter Scott, but are rather, like the narrative romances of an earlier school, designed to relieve the predominant interest, and give a greater air of truth and actuality to the supposed memoir. It is a fiction which deals less with the Picturesque than the Real. Of the principal character thus introduced (the celebrated and graceful, but charlatanic, Bolingbroke) I still think that my sketch, upon the whole, is substantially just. We must not judge of the politicians of one age by the lights of another. Happily we now demand in a statesman a desire for other aims than his own advancement; but at that period ambition was almost universally selfish--the Statesman was yet a Courtier--a man whose very destiny it was to intrigue, to plot, to glitter, to deceive. It is in proportion as politics have ceased to be a secret science, in proportion as courts are less to be flattered and tools to be managed, that politicians have become useful and honest men; and the statesman now directs a people, where once he outwitted an ante-chamber. Compare Bolingbroke--not with the men and by the rules of this day, but with the men and by the rules of the last. He will lose nothing in comparison with a Walpole, with a Marlborough on the one side,--with an Oxford or a Swift upon the other.