There were other than faults of view or faults of statement that mark Cooper's writings at this time. The two novels published during the year 1838 show a radical change in the attitude he assumed to his art. What had been indicated in the stories whose scenes were laid in (p. 167) Europe, was now carried out completely. He may have been unconscious of the difference of his point of view, but none the less did it exist. The novel was no longer something in which he could embody his conceptions of beauty fairer, or truth higher than could actually be found in nature. It no longer served him as a refuge from the din of a clamorous, or the hostility of a censorious world. It became a sort of fortress, from the secure position of which he was enabled to deal out annoyance and defiance to his foes. He had not now so much a story to tell as a sermon to preach; and with him, as with many others, to preach meant to denounce. His spirit for a time became captive to the prejudices and the heated feelings which had been aroused by the sense of the injustice with which he had been treated. Though he at intervals worked himself out of this state of mind, upon much of his later work rested the shadow of the prison-house which he, for a season, had made his abiding-place. The result was that a good deal of what he afterwards wrote was marred by the obtrusion of personal likes and dislikes, and the taint of controversial discussion. These things rarely concerned the story in which they appeared, and they inspired hostility to the writer. Cooper, indeed, never learned to appreciate the fact that a reader has rights which an author is bound to respect. By dragging in irrelevant discussions, moreover, he was taking the surest way to lose the audience he most sought to influence. A little reflection would have taught him that there was little use in a prophet's crying in the wilderness, unless he can succeed in gathering the people together.