In writing this series Cooper was undertaking what was on the face of it a hazardous experiment. The peril was not, as thoughtless criticism has had it, in transferring his scenes and characters to a foreign soil. Human nature suffers no material change in passing from America to Europe. The danger lay in the fact that these were novels written with a purpose. The story was not told for its own sake, but for the sake of enforcing certain political opinions. It required, therefore, unusual skill in its construction and in the management of its details. For whatever may be the exact truth contained in the doctrine of art for art's sake, this is certainly clear, that in a work of fiction designed to advance successfully any cause, or support any theory, the didactic element must be made entirely subordinate to the purely creative element. Otherwise we impart to the novel the tediousness of a homily without its accepted authority. Art must be wooed as a mistress; she can never be commanded as a slave. He, therefore, who seeks to press (p. 110) fiction into a work so foreign to its nature as the inculcation of political opinions, must, if he hopes to succeed, make the story suggest the lesson without conveying it obtrusively. Above all is there need of delicate touch and skillful handling, if the aim be to affect those who are prejudiced against the views expressed, or whose interests are involved in the fate of those attacked. But Cooper's was never a delicate touch. What he thought he never insinuated; what he believed himself he never allowed to make its way indirectly into the minds of others. He always uttered it boldly, and sometimes offensively. Effective this assuredly is in compositions of a certain class; but it is entirely out of place in a work of fiction. In the case of these particular novels the purpose is avowed openly and repeatedly. Cooper, indeed, takes care never to let it escape the reader's attention. He may almost be said to stand by his shoulder to jog him if he once happens to forget that the story has a moral. American institutions, especially, were constantly held up as models in which the best results were seen, and which it was the policy of all other countries to imitate. The course taken was a mark of patriotism; but it was not the way to gain converts. It is, in truth, the misfortune of the novelist, burdened with a moral purpose, that the reader usually feels the burden and is not affected by the moral. It was not by methods like these that Scott threw about chivalry and aristocracy that glamour which outlasts the most minute acquaintance with the reality, and influences the imagination in spite of the protest of the judgment.