Nevertheless, his reputation and the real excellence of the battle (p. 052) battle scenes, saved this work from seeming at the time so much of a failure as it actually was. Certainly whatever loss of credit he may have sustained as the result of writing "Lionel Lincoln," was much more than made up by the success of the tale that followed. In 1824 he had gone on an excursion to Saratoga, Lake George, and Lake Champlain, with a small party of English gentlemen. One of these was Mr. Stanley, the future Lord Derby. As they reached Glens Falls and were examining the caverns made by the river at that spot, Mr. Stanley told Cooper that here ought to be laid the scene of a romance. In reply, the novelist assured him that a book should be written in which these caverns should have a place. The promise was fulfilled. On the 4th of February, 1826, "The Last of the Mohicans" made its appearance. It was composed the previous year in a little cottage then situated in a quiet, open country, on which now stands the suburban village of Astoria. A severe illness attacked Cooper during its progress; but whatever effect it had upon his physical frame, it certainly did not impair in the slightest his intellectual force. The success of the work was both instantaneous and prodigious. Owing, perhaps, to the novelty of the scenes and characters, it was even greater in Europe than in America. But there was no lack of appreciation in his own land. In the estimation of his countrymen, the novel at once took its place at the head of his productions. An incidental fact will not only make clear its success, but the state of the book trade at that time. The demand for the work soon became so great and so persistent, that in April it was decided to stereotype it. It deserved fully the success it gained. Of all the novels written (p. 053) by Cooper, "The Last of the Mohicans" is the one in which the interest not only never halts, but never sinks. It is, indeed, an open question, whether a higher art would not have given more breathing-places in this exciting tale, in which the mind is hurried without pause from sensation to sensation. But this is a fault, if it be a fault, which the reader will always forgive, whatever the critic may say. The latter, indeed, can see much to blame if he look at the work purely as an artistic creation. He can find improbability of action, insufficiency of motive, and feebleness of outline in many of the leading characters. But these are minor drawbacks. They sink into absolute insignificance when compared with the wealth of power displayed. As they are unable to retard the unflagging interest with which the story is read, so they do not essentially modify the estimation of it after it has been read.