Her early life seems to have been very sad. We are again and again told how she was misunderstood and maltreated in her own home. Her health was bad until she was thirty; partly owing, as she supposed, to ill-treatment. She needed affection, and was treated with sternness. Justice she did not receive, nor kindness, and her heart was soured and her temper spoiled, so she tells us, by this mismanagement. As she does not specify, or give us the details of this ill-treatment, the story is useless as a warning; and we hardly see the reason for thus publishing the wrongs of her childhood. As children may be sometimes unjust to parents, no less than parents to children, the facts and the moral are both left uncertain. And, on the whole, her chief reason for telling the story appears to be the mental necessity she was under of judging and sentencing those from whom she supposes herself to have received ill-treatment in any part of her life. This is indeed the most painful feature of the work before us. Knowing the essentially generous and just spirit of Harriet Martineau, it is strange to see how carefully she has loaded this piece of artillery with explosive and lacerating missiles, to be discharged after her death among those with whom she had mingled in social intercourse or literary labors. Some against whom she launches her sarcasms are still living; some are dead, but have left friends behind, to be wounded by her caustic judgments. Is it that her deficiency in a woman's sensibility, or the absence of a poetic imagination, prevented her from realizing the suffering she would inflict? Or is it the habit of mind from which those are apt to suffer who devote themselves to the reform of abuses? As each kind of manual occupation exposes the workman to some special disease,--as those who dig canals suffer from malaria, and file-grinders from maladies of the lungs,--so it seems that each moral occupation has its appropriate moral danger. Clergymen are apt to be dogmatic or sectarian; lawyers become sharp and sophistical; musicians and artists are irritable; and the danger of a reformer is of becoming a censorious critic of those who cannot accept his methods, or who will not join his party. That Harriet Martineau did not escape this risk will presently appear.