elsewhere, "The best society seems to me bad, if I find in it one troublesome, wicked, slanderous, envious, or perfidious person." Now, taking into consideration that St. Pierre sometimes imagined persons who were really good, to be deserving of these strong and very contumacious epithets, it would have been difficult indeed to find a society in which he could have been happy. He was, therefore, wise, in seeking retirement, and indulging in solitude. His mistakes,—for they were mistakes,—arose from a too quick perception of evil, united to an exquisite and diffuse sensibility. When he felt wounded by a thorn, he forgot the beauty and perfume of the rose to which it belonged, and from which perhaps it could not be separated. And he was exposed (as often happens) to the very description of trials that were least in harmony with his defects. Few dispositions could have run a career like his, and have remained unscathed. But one less tender than his own would have been less soured by it. For many years, he bore about with him the consciousness of unacknowledged talent. The world cannot be blamed for not appreciating that which had never been revealed. But we know not what the jostling and elbowing of that world, in the meantime, may have been to him—how often he may have felt himself unworthily treated—or how far that treatment may have preyed upon and corroded his heart. Who shall say that with this consciousness there did not mingle a quick and instinctive perception of the hidden motives of action,—that he did not sometimes detect, where others might have been blind, the under-shuffling of the hands, in the by-play of the world?

Through all his writings, and throughout his correspondence, there are beautiful proofs of the tenderness of his feelings,—the most essential quality, perhaps, in any writer. It is at least, one that if not possessed, can never be attained. The familiarity of his imagination with natural objects, when he was living far removed from them, is remarkable, and often affecting.

"I have arranged," he says to Mr. Henin, his friend and patron, "very interesting materials, but it is only with the light of Heaven over me that I can recover my strength. Obtain for me a rabbit's hole, in which I may pass the summer in the country." And again, "With the first violet, I shall come to see you." It is soothing to find, in passages like these, such pleasing and convincing evidence that

In the noise of a great city, in the midst of annoyances of many kinds these images, impressed with quietness and beauty, came back to the mind of St. Pierre, to cheer and animate him.

In alluding to his miseries, it is but fair to quote a passage from his "Voyage," which reveals his fond remembrance of his native land. "I should ever prefer my own country to every other," he says, "not because it was more beautiful, but because I was brought up in it. Happy he, who sees again the places where all was loved, and all was lovely!—the meadows in which he played, and the orchard that he robbed!"

He returned to this country, so fondly loved and deeply cherished in absence, to experience only trouble and difficulty. Away from it, he had yearned to behold it,—to fold it, as it were, once more to his bosom. He returned to feel as if neglected by it, and all his rapturous emotions were changed to bitterness and gall. His hopes had proved delusions—his expectations, mockeries. Oh! who but must look with charity and mercy on all discontent and irritation consequent on such a depth of disappointment: on what must have then appeared to him such unmitigable woe. Under the influence of these saddened feelings, his thoughts flew back to the island he had left, to place all beauty, as well as all happiness, there!

One great proof that he did beautify the distant, may be found in the contrast of some of the descriptions in the "Voyage a l'Ile de France," and those in "Paul and Virginia." That spot, which when peopled by the cherished creatures of his imagination, he described as an enchanting and delightful Eden, he had previously spoken of as a "rugged country covered with rocks,"—"a land of Cyclops blackened by fire." Truth, probably, lies between the two representations; the sadness of exile having darkened the one, and the exuberance of his imagination embellished the other.

St. Pierre's merit as an author has been too long and too universally acknowledged, to make it needful that it should be dwelt on here. A careful review of the circumstances of his life induces the belief, that his writings grew (if it may be permitted so to speak) out of his life. In his most imaginative passages, to whatever height his fancy soared, the starting point seems ever from a fact. The past appears to have been always spread out before him when he wrote, like a beautiful landscape, on which his eye rested with complacency, and from which his mind transferred and idealized some objects, without a servile imitation of any. When at Berlin, he had had it in his power to marry Virginia Tabenheim; and in Russia, Mlle. de la Tour, the niece of General Dubosquet, would have accepted his hand. He was too poor to marry either. A grateful recollection caused him to bestow the names of the two on his most beloved creation. Paul was the name of a friar, with whom he had associated in his childhood, and whose life he wished to imitate. How little had the owners of these names anticipated that they were to become the baptismal appellations of half a generation in France, and to be re-echoed through the world to the end of time!

It was St. Pierre who first discovered the poverty of language with regard to picturesque descriptions. In his earliest work, the often-quoted "Voyages," he complains, that the terms for describing nature are not yet invented. "Endeavour," he says, "to describe a mountain in such a manner that it may be recognised. When you have spoken of its base, its sides, its summit, you will have said all! But what variety there is to be found in those swelling, lengthened, flattened, or cavernous forms! It is only by periphrasis that all this can be expressed. The same difficulty exists for plains and valleys. But if you have a palace to describe, there is no longer any difficulty. Every moulding has its appropriate name."

It was St. Pierre's glory, in some degree, to triumph over this dearth of expression. Few authors ever introduced more new terms into descriptive writing: yet are his innovations ever chastened, and in good taste. His style, in its elegant simplicity, is, indeed, perfection. It is at once sonorous and sweet, and always in harmony with the sentiment he would express, or the subject he would discuss. Chenier might well arm himself with "Paul and Virginia," and the "Chaumiere Indienne," in opposition to those writers, who, as he said, made prose unnatural, by seeking to elevate it into verse.

The "Etudes de la Nature" embraced a thousand different subjects, and contained some new ideas on all. It is to the honour of human nature, that after the uptearing of so many sacred opinions, a production like this, revealing the chain of connection through the works of Creation, and the Creator in his works, should have been hailed, as it was, with enthusiasm.

His motto, from his favourite poet Virgil, "Taught by calamity, I pity the unhappy," won for him, perhaps many readers. And in its touching illusions, the unhappy may have found suspension from the realities of life, as well as encouragement to support its trials. For, throughout, it infuses admiration of the arrangements of Providence, and a desire for virtue. More than one modern poet may be supposed to have drawn a portion of his inspiration, from the "Etudes." As a work of science it contains many errors. These, particularly his theory of the tides,(*) St. Pierre maintained to the last, and so eloquently, that it was said at the time, to be impossible to unite less reason with