In 1797--seven years after the date of the first edition of "Charlotte Temple"--the second of our two novels appeared. It was called "The Coquette" and was written by Mrs. Hannah Foster, the wife of a Brighton, Massachusetts, minister. For many years it was read and re-read throughout the country, the latest edition appearing in 1866. Like "Charlotte Temple" its theme was the tragedy of abandonment. It seems, indeed, that the writer who wished to intrigue the interest of our ancestors of this period was compelled to hang his plot on the judiciously interwoven threads of sentiment and gloom. Perhaps no further proof of this is needed than the example of Charles Brockden Brown's portentous and sinister romances, with their undeniable flashes of genius. But it is well to remember, too, that these were the days when "The Castle of Otranto," "Clarissa Harlowe," and "The Vicar of Wakefield" were all popular, and all exhibited varying phases of the literary vogue of the day. In other words, though the prevailing mode of thought found expression in different forms, the imaginative impulses beneath the various manifestations were the same. Therefore it is not surprising to find little relief from the tragic note in "The Coquette." It is true that the author endeavors to present the heroine, Eliza Wharton, as a worldly and volatile young woman, but these touches of lightness have lost with the passing years whatever approaches to polite comedy they may have once implied. One must confess that regarded strictly as a piece of fiction the book makes rather hard reading today. But examined with some knowledge of the mystery upon which it is founded, the old novel becomes a genuine human document. Mrs. Foster was a family connection of Elizabeth Whitman, the original of "Eliza Wharton," and may have known her. Whatever the shortcomings of her portrayal may be, it is clear that the authoress was endeavoring to set forth in her book the character, as she estimated it, of the charming and gifted girl, the tragedy of whose death is still unexplained. It is true that the accuracy of the portrait in all respects may be doubted. For example, the few letters of Elizabeth Whitman that have been preserved are far more spontaneous and delightful than any of Eliza Wharton's epistles which constitute so large a part of the story. Evidently they are the letters of a different person, as well as a more attractive one, than Mrs. Foster's heroine. Then, too, Mrs. Foster's tale has something of the effect of a tract, of a moral effort. She is driving home an ethical lesson and Eliza is the example to be shunned, whereas modern speculation, grown more tolerant, is apt to question the pre-judgment which guided the novelist's pen. He who today seeks to penetrate the old secret realizes that he is furnished with only half of the evidence. On that incomplete data how can a verdict of condemnation be fairly based? Elizabeth's own story has never been told.