led Warner incidentally to enter into an entirely new field of literary exertion. This was novel-writing. Something of this nature he had attempted in conjunction with Mark Twain in the composition of "The Gilded Age," which appeared in 1873. The result, however, was unsatisfactory to both the collaborators. Each had humor, but the humor of each was fundamentally different. But the magazine with which Warner had become connected was desirous that he should prepare for it an account of some of the principal watering-places and summer resorts of the country. Each was to be visited in turn and its salient features were to be described. It was finally suggested that this could be done most effectively by weaving into a love story occurrences that might happen at a number of these places which were made the subjects of description. The principal characters were to take their tours under the personal conduct of the novelist. They were to go to the particular spots selected North and South, according to the varying seasons of the year. It was a somewhat novel way of, visiting resorts of this nature; there are those to whom it will seem altogether more agreeable than would be the visiting of them in person. Hence appeared in 1886 the articles which were collected later in the volume entitled "Their Pilgrimage."

Warner executed the task which had been assigned him with his wonted skill. The completed work met with success—with so much success indeed that he was led later to try his fortune further in the same field and bring out the trilogy of novels which go under the names respectively of "A Little Journey in the World," "The Golden House," and "That Fortune." Each of these is complete in itself, each can be read by itself; but the effect of each and of the whole series can be best secured by reading them in succession. In the first it is the story of how a great fortune was made in the stock market; in the second, how it was fraudulently diverted from the object for which it was intended; and in the third, how it was most beneficially and satisfactorily lost. The scene of the last novel was laid in part in Warner's early home in Charlemont. These works were produced with considerable intervals of time between their respective appearances, the first coming out in 1889 and the third ten years later. This detracted to some extent from the popularity which they would have attained had the different members followed one another rapidly. Still, they met with distinct success, though it has always been a question whether this success was due so much to the story as to the shrewd observation and caustic wit which were brought to bear upon what was essentially a serious study of one side of American social life.

The work with which Warner himself was least satisfied was his life of Captain John Smith, which came out in 18881. It was originally intended to be one of a series of biographies of noted men, which were to give the facts accurately but to treat them humorously. History and comedy, however, have never been blended successfully, though desperate attempts have occasionally been made to achieve that result. Warner had not long been engaged in the task before he recognized its hopelessness. For its preparation it required a special study of the man and the period, and the more time he spent upon the preliminary work, the more the humorous element tended to recede. Thus acted on by two impulses, one of a light and one of a grave nature, he moved for a while in a sort of diagonal between the two to nowhere in particular; but finally ended in treating the subject seriously.

In giving himself up to a biography in which he had no special interest, Warner felt conscious that he could not interest others. His forebodings were realized. The work, though made from a careful study of original sources, did not please him, nor did it attract the public. The attempt was all the more unfortunate because the time and toil he spent upon it diverted him from carrying out a scheme which had then taken full possession of his thoughts. This was the production of a series of essays to be entitled "Conversations on Horseback." Had it been worked up as he sketched it in his mind, it would have been the outdoor counterpart of his "Backlog Studies." Though in a measure based upon a horseback ride which he took in Pennsylvania in 1880, the incidents of travel as he outlined its intended treatment would have barely furnished the slightest of backgrounds. Captain John Smith, however, interfered with a project specially suited to his abilities and congenial to his tastes. That he did so possibly led the author of his life to exhibit a somewhat hostile attitude towards his hero. When the biography was finished, other engagements were pressing upon his attention. The opportunity of taking up and completing the projected series of essays never presented itself, though the subject lay in his mind for a long time and he himself believed that it would have turned out one of the best pieces of work he ever did.

It was unfortunate. For to me—and very likely to many others if not to most—Warner's strength lay above all in essay-writing. What he accomplished in this line was almost invariably pervaded by that genial grace which makes work of the kind attractive, and he exhibited everywhere in it the delicate but sure touch which preserves the just mean between saying too much and too little. The essay was in his nature, and his occupation as a journalist had developed the tendency towards this form of literary activity, as well as skill in its manipulation. Whether he wrote sketches of travel, or whether he wrote fiction, the scene depicted was from the point of view of the essayist rather than from that of the tourist or of the novelist. It is this characteristic which gives to his work in the former field its enduring interest. Again in his novels, it was not so much the story that was in his thoughts as the opportunity the varying scenes afforded for amusing observations upon manners, for comments upon life, sometimes good-natured, sometimes severe, but always entertaining, and above all, for serious study of the social problems which present themselves on every side for examination. This is distinctly the province of the essayist, and in it Warner always displayed his fullest strength.

We have seen that his first purely humorous publication of this nature was the one which made him known to the general public. It was speedily followed, however, by one of a somewhat graver character, which became at the time and has since remained a special favorite of cultivated readers. This is the volume entitled "Backlog Studies." The attractiveness of this work is as much due to the suggestive social and literary discussions with which it abounds as to the delicate and refined humor with which the ideas are expressed. Something of the same characteristics was displayed in the two little volumes of short pieces dealing with social topics, which came out later under the respective titles of "As We Were Saying," and "As We Go." But there was a deeper and more serious side of his nature which found utterance in several of his essays, particularly in some which were given in the form of addresses delivered at various institutions of learning. They exhibit the charm which belongs to all his writings; but his feelings were too profoundly interested in the subjects considered to allow him to give more than occasional play to his humor. Essays contained in such a volume, for instance, as "The Relation of Literature to Life" will not appeal to him whose main object in reading is amusement. Into them Warner put his deepest and most earnest convictions. The subject from which the book just mentioned derived its title lay near to his heart. No one felt more strongly than he the importance of art of all kinds, but especially of literary art, for the uplifting of a nation. No one saw more distinctly the absolute necessity of its fullest recognition in a moneymaking age and in a money-making land, if