and therefore an honest partisan, feeling that he could work more efficiently for good government within party lines than outside them. He resigned from the Free Trade League because his party was committed to the policy of protection. In 1884 he supported his party's platform and candidate, instead of joining the Mugwumps and voting for Cleveland, though at the National Republican Convention, to which he went as a delegate, he had opposed the nomination of Blaine. I do not believe that his motive in this decision was selfish, or that he quailed under the snap of the party lash because he was threatened with political death in case he disobeyed. Theodore Roosevelt was nobody's man. He thought, as he frankly explained, that one who leaves his faction for every slight occasion, loses his influence and his power for good. Better to compromise, to swallow some differences and to stick to the crowd which, upon the whole and in the long run, embodies one's convictions. This is a comprehensible attitude, and possibly it is the correct one for the man in public life who is frequently a candidate for office. Yet I wish he could have broken with his party and voted for Cleveland. For, ironically enough, it was Roosevelt himself who afterward split his party and brought in Wilson and the Democrats.

Disregarding his political side and considering him simply as man of letters, one seeks for comparisons with other men of letters who were at once big sportsmen and big writers; Christopher North, for example: "Christopher in his Aviary" and "Christopher in his Shooting Jacket." The likeness here is only a very partial one, to be sure. The American was like the Scotchman in his athleticism, high spirits, breezy optimism, love of the open air, intense enjoyment of life. But he had not North's roystering conviviality and uproarious Toryism; and the kinds of literature that they cultivated were quite unlike.

Charles Kingsley offers a closer resemblance, though the differences here are as numerous as the analogies. Roosevelt was not a clergyman, and not a creative writer, a novelist, or poet. His temperament was not very similar to Kingsley's. Yet the two shared a love for bold adventure, a passion for sport, and an eager interest in the life of animals and plants. Sport with Kingsley took the shape of trout fishing and of riding to hounds, not of killing lions with the rifle. He was fond of horses and dogs; associated democratically with gamekeepers, grooms, whippers-in, poachers even; as Roosevelt did with cowboys, tarpon fishers, wilderness guides, beaters, trappers, and all whom Walt Whitman calls "powerful uneducated persons," loving them for their pluck, coolness, strength, and skill. Kingsley's "At Last, a Christmas in the West Indies," exhibits the same curiosity as to tropical botany and zoology that Roosevelt shows in his African and Brazilian journeys. Not only tastes, but many ideals and opinions the two men had in common. "Parson Lot," the Chartist and Christian Socialist, had the same sympathy with the poor and the same desire to improve the condition of agricultural laborers and London artisans which led Roosevelt to promote employers' liability laws and other legislation to protect the workingman from exploitation by conscienceless wealth. Kingsley, like Roosevelt, was essentially Protestant. Neither he nor Mr. Roosevelt liked asceticism or celibacy. As a historian, Kingsley did not rank at all with the author of "The Winning of the West" and the "Naval War of 1812." On the other hand, if Roosevelt had written novels and poetry, I think he would have rejoiced greatly to write "Westward Ho," "The Last Buccaneer," and "Ode to the North-East Wind."

In fine, whatever lasting fortune may be in store for Roosevelt's writings, the disappearance of his vivid figure leaves a blank in the contemporary scene. And those who were against him can join with those who were for him in slightly paraphrasing Carlyle's words of dismissal to Walter Scott, "Theodore Roosevelt, pride of all Americans, take our proud and sad farewell."

FIFTY YEARS OF HAWTHORNE

Hawthorne was an excellent critic of his own writings. He recognizes repeatedly the impersonal and purely objective nature of his fiction. R. H. Hutton once called him the ghost of New England; and those who love his exquisite, though shadowy, art are impelled to give corporeal substance to this disembodied spirit: to draw him nearer out of his chill aloofness, by associating him with people and places with which they too have associations.

I heard Colonel Higginson say, in a lecture at Concord, that if a few drops of redder blood could have been added to Hawthorne's style, he would have been the foremost imaginative writer of his century. The ghosts in "The Æneid" were unable to speak aloud until they had drunk blood. Instinctively, then, one seeks to infuse more red corpuscles into the somewhat anæmic veins of these tales and romances. For Hawthorne's fiction is almost wholly ideal. He does not copy life like Thackeray, whose procedure is inductive: does not start with observed characters, but with an imagined problem or situation of the soul, inventing characters to fit. There is always a dreamy quality about the action: no violent quarrels, no passionate love scenes. Thus it has been often pointed out that in "The Scarlet Letter" we do not get the history of Dimmesdale's and Hester's sin: not the passion itself, but only its sequels in the conscience. So in "The House of the Seven Gables," and "The Marble Faun," a crime has preceded the opening of the story, which deals with the working out of the retribution.

When Hawthorne handled real persons, it was in the form of the character sketch—often the satirical character sketch,—as in the introduction to "The Scarlet Letter" which scandalized the people of Salem. If he could have made a novel out of his custom-house acquaintances, he might have given us something less immaterial. He felt the lack of solidity in his own creations: the folly of constructing "the semblance of a world out of airy matter"; the "value hidden in petty incidents and ordinary characters." "A better book than I shall ever write was there," he confesses, but "my brain wanted the insight and my hand the cunning to transcribe it."

Now and then, when he worked from observation, or utilized his own experiences, a piece of drastic realism results. The suicide of Zenobia is transferred, with the necessary changes, from a long passage in "The American Note Books," in which he tells of going out at night, with his neighbors, to drag for the body of a girl who had drowned herself in the Concord. Yet he did not refrain the touch of symbolism even here. There is a wound on Zenobia's breast, inflicted by the pole with which Hollingsworth is groping the river bottom.

And this is why one finds his "American Note Books" quite as interesting reading as his stories. Very remarkable things, these note books. They have puzzled Mr. James, who asks what the author would be at in them, and suggests that he is writing letters to himself, or practising his hand at description. They are