To the aristocracy—hence to the reading class—of the young American republic this atmospheric change, toned and tempered and with an influence less radical, was transmitted. It cried out aloud against the sham of character, while it maintained the poetry of diction; it was realistic in subject, romantic in method; it openly lauded the “Sentimental Journey,” while it secretly emulated “Tom Jones”; its aim was to portray life through truth rather than art—but the latter often unconsciously asserted itself; its grave defect was the attempt to commingle art and moral philosophy. In this literary atmosphere the “Power of Sympathy” was written, in character and color colonial, indigenous, to English soil, and true to humanity at all time. A little more than a century ago the style of telling a story through the medium of epistles was revived; it was thus Richardson wrote “Clarissa Harlowe” and “Pamela,” and Fielding his “Joseph Andrews.” In this form Mrs. Morton sought to tell her story. Both Richardson and Fielding are famous for the amount of detail with which they fetter some otherwise natural descriptions leaving no opportunity for the imagination. Tedious detail we do not find in the pages of the “Power of Sympathy”—all here is _not_ written; the phraseology is well balanced, paragraphing is handled with consummate skill, the chapters are for the most part short, the color suggestive; and if detail be employed at all, it is only when the author waxes mildly pedantic—robbed of which quality, she would not be true to the humanity of her time. What then can I say of her diction? Simply that it is of the best. To say so, is seemingly audacious. The modern grammarian may dispute it. Yet viewed against the background of her period and station, taking her style all in all as a medium of vivid, natural expression, where the economy of attention is second only to striking portrayal, where elegance, simplicity, directness are ever present but never obtrusive, there is reason enough for our remark. An examination of the suicide’s letters alone would excuse us from all prejudice in the matter. The “Power of Sympathy,” in facsimile form, is surely a valuable acquisition to the antiquarian; to the student of culture, the book is the realistic expression of life of a people and an era that are by no means lacking in interest and importance; and to the _littérateur_, it is not an unworthy example of more than ordinary literary art. WALTER LITTLEFIELD. BOSTON, JUNE 19, 1894. [Illustration] [Illustration] _PREFACE_ NOVELS have ever met with a ready reception into the Libraries of the Ladies, but this species of writing hath not been received with universal approbation: Futility is not the only charge brought against it.—Any attempt, therefore, to make these studies more advantageous, has at least a claim upon the patience and candour of the publick.