bigots nor fanatics. The question was quite as much that of the sensitive, delicately responsive temperament of the child as of the doctrine in which she was reared. Being what she was, she realized to the full the possible horrors involved in the theology of the time, and imaginatively suffered intensely. She once said to a London interviewer:

While, however, the lack of a more encouraging interpretation of Divine Goodness undoubtedly was to a degree responsible for the minor chords which became habitual in her verse, the natural longing which is part of the poetic nature, was in Mrs. Moulton unusually strong and was exaggerated by the literary modes of her day. On the whole the influences of her childhood were sweet and sound and wholesome. Her natural love of beauty was fed and developed, her inherent literary taste was nourished by sympathy and by success, and her wonderful sensitiveness to literary form trained by early and constant practice. It is even possible that the very harshness of Calvinism, which was almost the only shadow, was a healthful influence which deepened and strengthened her art, that might without this have suffered from sunshine too uninterrupted.

CHAPTER II
1853-1860

At dawn of Love, at dawn of Life.—L.C.M.

IN a lyric written by Mrs. Moulton in after years, occurs the lovely line quoted above, which seems vividly to describe her as she stood, a girl of eighteen, on the threshold of a new phase of life.

Young as she was Miss Chandler had already, by her newspaper and magazine work, made for herself a reputation, and she now collected the papers which made up the volume spoken of in the previous chapter, "This, That, and the Other," with the encouraging result of a sale of twenty thousand copies. The North American Review was then almost the only magazine in the country exclusively devoted to criticism and the intellectual life. Much of the best literary work of the time, in the way of fiction and poetry, appeared in such periodicals as Godey's Lady's Book, Peterson's Magazine, and the like; and to these Miss Chandler was a constant contributor. The weekly newspapers were rich in poems by Longfellow, Emerson, Whittier, the Cary sisters, N.P. Willis, Poe, and many others of permanent fame. Besides these, a host of the transient singers of the day, literary meteors, flitted across the firmament, not unfrequently with some song or story which individually was quite as worthy of recognition as were those of their contemporaries whose power to sustain themselves in longer flights and to make good the early promise has earned their title to permanent recognition. Mrs. Moulton's scrapbooks indicate how rich were the literary columns of the newspapers in those days. There being then no international copyright law, the American editor enriched his page with the latest poem of Browning, Tennyson, Swinburne, or Mrs. Browning. Longfellow, Whittier, Holmes, Dr. Parsons, Nora Perry, William Winter, the Stoddards (Richard Henry and Elizabeth), N.P. Willis, Saxe, Mrs. Stowe, Jean Ingelow, Miss Mulock, Aldrich, and Mary Clemmer, are largely represented in these old scrapbooks. Many fugitive poems, too, appear, as the "Bertha" of Anne Whitney, a poem well entitled to literary immortality; the "Three Kisses of Farewell," by Saxe Holm; the "Unseen Spirits," by Willis, a poem too little known; and Mr. Aldrich's "The Unforgiven," excluded from his later editions, but which contains those beautiful lines:

Miss Chandler's book was one of over four hundred pages, illustrated by the famous Rouse (whose portrait of Emerson has always been so highly considered), and its fine engravings and its binding of crimson cloth combined to give it a sumptuous appearance. The Springfield Republican gave it pleasant recognition in these words: