The characters of the marshals are kept up with the greatest spirit, and that power of seizing leading traits that gives these sketches the greatness of dramatic poetry. The marshals are majestic figures; men vulgar and undeveloped on many sides, but always clear and strong in their own way. One mind animates them, and of that mind Napoleon is the culminating point. He did not choose them; they were a part of himself, a part of the same thought of which he was the most forcible expression. If sometimes inclined to disparage them, it was as a man might disparage his hand by saying it was not his head. He truly felt that he was the central force, though some of them were greater in the details of action than himself. Attempts have often been made to darken even the military fame of Napoleon and his generals--attempts disgraceful enough from a foe whom they so long held in terror. But to any unprejudiced mind there is evident in the conduct of their battles, the development of the instincts of genius in mighty force, and to inevitable results. With all the haste of hand and inequality of touch they show, these sketches are full of strength and brilliancy, an honor to the country that produced them. There is no got-up harmony, no attempt at originality or acuteness; all is living,--the overflow of the mind; we like Mr. Headley; even in his faults he is a most agreeable contrast to the made men of the day. In the sketches of the Marshals we have the men before us, a living reality. Massena, at the siege of Genoa, is represented with a great deal of simple force. The whole personality of Murat, with his "Oriental nature" and Oriental dress, is admirably depicted. Why had nobody ever before had the clearness of perception to see just this, _and no more_, in the "theatrical" Murat? Of his darling hero, Ney, the writer has implied so much all along, that he lays less stress on what he says of him directly. He thinks it is all understood, and it is. Take this book for just what it is; do not look for cool discussion, impartial criticism, but take it as a vivacious and feeling representation of events and actors in a great era: you will find it full of truth, such as only sympathy could teach, and will derive from it a pleasure and profit lively and genuine as itself. As to denying or correcting its statements, it is very desirable that those who are able should do that part of the work; but, in doing it, let them be grateful for what _is_ done, and what _they_ could not do; grateful for reproduction such as he who throws himself into the genius and the persons of the time may hope for; but he never can who keeps himself composed in critical distance and self-possession. You cannot have all excellences combined in one person; let us then cheerfully work together to complete the beautiful whole,--beautiful in its unity,--no less beautiful in its variety. PHYSICAL EDUCATION.[13]