Throughout the yellowing pages there is evident striving, not to say straining, for a literary style, the most literary style possible, and the very first page commemorates a visit to the Lunatic Asylum in terms of a noble participial construction. "Passing up the broad graveled path to the door of the institution, we entered the office, and leaving our hats on the table we proceeded on our way. The first room we entered contained those who were nearly cured. There was in it no one but an old and a young man. The old man I did not notice much, but the young one attracted my attention. He paced the floor all the time, not taking the least notice of us; then we went up-stairs where the most unmanageable ones were kept. Here was a motley crew, some of them lying at full length on the floor, standing up and walking about, while crownless hats and dilapidated shirt-bosoms were the order of the day. In the midst of these terrible men, thoughtless as the brute and ferocious as the tiger, stood a small man (the assistant physician) whom they could have torn limb from limb in a moment. Here was a beautiful instance of the power of mind over brute force. He was reading poetry to them, and the men, totally bereft of reason, listening like little children to the sweet cadence of the verse." All this and more is in a fine script, so sloping that it is almost lying down, either from the exhausting emotions of the diarist or from a temporary ideal of elegance. But the very next day it braces itself for a new effort and it is not many days before it stands upright in a bold, vertical file. The writer does not know any boys except in the printing-office, and these he knows only in a shrinking sort, not venturing to take part, except once, in their wild hilarity, and scarcely knowing their names, even the name of the boy whom he is afterward to associate himself with in their first venture with a volume of verse. His chief companionship is with his father, whom he goes long walks and holds long talks with, and it is his father who encourages him in his versifying and who presently steals into the print of the newspaper employing them both a poem on the premature warm weather which has invited the bluebirds and blackbirds into the northern March. At first the boy was in dismay at the sight of the poem, with the introductory editorial note customary in those days, but he hides this from his diary, where he confides his joy in finding his verses "copied into a New York paper, and also in the Cincinnati _Commercial_. I mean the piece on Winter." But the poet kept on and wrote more and more, while the diarist wrote less and less. It is needless to follow him through the pieces which were mostly imitated from some favorite poet of the moment or more originally drawn from the scenes of life known to the author. One of these, painting an emigrant's farewell to the home he is leaving, tells how he stoops over--