Back Aa

Margaret Fuller (Marchesa Ossoli)

<h3>CHAPTER XVII.</h3> <h5>MARGARET FULLER'S LITERARY REMAINS.</h5> The preceding narrative has necessarily involved some consideration of the writings which gave its subject her place among the authors of her time. This consideration has been carefully interwoven with the story of the life which it was intended to illustrate, not to interrupt. With all this care, however, much has been left unsaid which should be said concerning the value of Margaret's contributions to the critical literature of her time. Of this, our present limits will allow us to make brief mention only. Margaret so lived in the life of her own day and generation, so keenly felt its good and ill, that many remember her as a woman whose spoken word and presence had in them a power which is but faintly imaged in her writings. Nor is this impression wholly a mistaken one. Certain it is that those who recall the enchantment of her conversation always maintain that the same charm is not to be found in the productions of her pen. Yet if we attentively read[281] what she has left us, without this disparagement, we shall find that it entitles her to a position of honor among the prose writers of her time. The defects of her style are easily seen. They are in some degree the result of her assiduous study of foreign languages, in which the pure and severe idioms of the English tongue were sometimes lost sight of. Among them may be mentioned a want of measure in expression, and also something akin to the fault which is called on the stage "anti-climax," by which some saying of weight and significance loses its point by being followed by another of equal emphasis. With all this, the high quality of her mind has left its stamp upon all that she gave to the reading public. Much of this first appeared in the form of contributions to the "Tribune," the "Dial," and other journals and magazines. Some of these papers are brief and even fragmentary; but the shortest of them show careful study and conscientious judgment. All of them are valuable for the admirable view which they present of the time in which Margaret wrote, of its difficulties and limitations, and of the hopes and convictions which, cherished then in the hearts of the few, were destined to make themselves a law to the conscience of the whole community. The most important of the more elaborate essays is undoubtedly that entitled "Woman in[282] the Nineteenth Century," of which some account has already been given in the preceding pages. Of the four volumes published in 1875, one bears this title. A second, entitled "Art, Literature, and the Drama," contains many of the papers to which reference has been made in our brief account of Margaret and her contemporaries. From a third volume, entitled "At Home and Abroad," we have quoted some of her most interesting statements concerning the liberal movement in Europe, of which she was so ardent a friend and promoter. A last volume was collected and published in 1859, by her brother, the Rev. Arthur B. Fuller, who served as an army chaplain in the War of the Southern Rebellion, and met his death on one of its battle-fields. This volume is called "Life Without and Life Within," and is spoken of in Mr. Fuller's preface as containing, for the most part, matter never before given to the world in book form, and also poems and prose fragments never before published. In this volume, two papers seem to us to ask for especial mention. One of these is a review of Carlyle's "Cromwell," written when the book was fresh before the public. It deserves to be read for its felicity of diction, as well as for the justice of the thought expressed. If we take into consideration the immense popularity of Mr. Carlyle in America at the time when this[283] work of his appeared, we shall prize the courage and firmness with which Margaret applies to it her keen power of criticism. The moral insufficiency of the doctrine of the divine right of force is clearly shown by her; and her own view of Cromwell's character maintains itself in spite of the vituperations with which Carlyle visits those who will not judge his hero as he does. She even returns these threats with the following humorous passage at arms:— "Nobody ever doubted his [Cromwell's] great abilities and force of will; neither doubt we that he was made an instrument, just as he proposeth. But as to looking on him through Mr. Carlyle's glasses, we shall not be sneered or stormed into it, unless he has other proof to offer than is shown yet.... If he has become interested in Oliver, or any other pet hyena, by studying his habits, is that any reason why we should admit him to our pantheon? No! our imbecility shall keep fast the door against anything short of proofs that in the hyena a god is incarnated.... We know you do with all your soul love kings and heroes, Mr. Carlyle, but we are not sure you would always know the Sauls from the Davids. We fear, if you had the disposal of the holy oil, you would be tempted to pour it on the head of him who is taller by a head than all his brethren."[284] Of Cromwell himself, the following is Margaret's estimate:— "We see a man of strong and wise mind, educated by the pressure of great occasions to the station of command. We see him wearing the religious garb which was the custom of the times, and even preaching to himself as well as others. But we never see Heaven answering his invocations in any way that can interfere with the rise of his fortunes or the accomplishment of his plans. To ourselves, the tone of these religious holdings-forth is sufficiently expressive: they all ring hollow.... Again, we see Cromwell ruling with a strong arm, and carrying the spirit of monarchy to an excess which no Stuart could surpass. Cromwell, indeed, is wise, and the king he punished with death is foolish: Charles is faithless and Cromwell crafty; we see no other difference. Cromwell does not in power abide by the principles that led him to it; and we cannot help, so rose-water imbecile are we, admiring those who do. To us it looks black for one who kills kings to grow to be more kingly than a king." The other paper of which we desire to speak in this connection, is one treating of the French novelists prominent at the time, and in particular of Balzac, Eugène Sue, and De Vigny. Of these three names, the first alone retains the prestige which it had when Margaret wrote her[285] essay. De Vigny, remarkable mostly for purity of sentiment, finish of style, and a power of setting and limiting his pictures, is a boudoir author, and one read only in boudoirs of studious refinement. Sue, to whose motives Margaret gives the most humanitarian interpretation, has failed to commend his method to posterity. His autopsy of a diseased state of society is thought to spread too widely the infection of the evils which he deplores. His intention is also too humane for the present day. The world of the last decade and of the present is too deeply wedded to the hard worship of money to be touched by the pathos of women who perish, or of men who starve. The grievances of the poor against the rich find to-day no one to give ear to them, and few even to utter them; since those who escape starvation are too busy with beggary and plunder to waste time in such useless musings. Of the three here cited, Balzac alone remains a king among novelists; and Margaret's study of him imports as much to us to-day as it did to the world of her time. She begins by commenting upon the lamentation general at that time, and not uncommon in this, over the depravity of taste and of life already becoming familiar to the youth of America through the medium of the French novel. Concerning this, she says:—[286] "It is useless to bewail what is the inevitable result of the movement of our time. Europe must pour her corruptions no less than her riches on our shores, both in the form of books and of living men. She cannot, if she would, check the tide which bears them hitherward. No defences are possible, on our vast extent of shore, that can preclude their ingress. Our only hope lies in rousing in our own community a soul of goodness, a wise aspiration, that shall give us strength to assimilate this unwholesome food to better substance, or to cast off its contaminations." In view of the translation and republication of these works, Margaret remarks that it would be desirable for our people to know something of the position which the writers occupy in their own country. She says, moreover, what we would fain hope may be true to-day, that "our imitation of Europe does not yet go so far that the American milliner can be depended on to copy anything from the Parisian grisette, except her cap." Margaret speaks at some length of Balzac's novel "Le Père Goriot," which she had just read. "The author," she says, "reminds one of the Spanish romancers in the fearlessness with which he takes mud into his hands, and dips his foot in slime. We cannot endure this when[287] done, as by most Frenchmen, with an air of recklessness and gayety; but Balzac does it with the stern manliness of a Spaniard." The conception of this novel appears to her "so sublime," that she compares its perusal to a walk through the catacombs, which the reader would not willingly have missed; "though the light of day seems stained afterwards with the mould of horror and dismay." She infers from much of its tenor that Balzac was "familiar with that which makes the agony of poverty—its vulgarity. Dirt, confusion, shabby expedients, living to live,—these are what make poverty terrible and odious; and in these Balzac would seem to have been steeped to the very lips." The skill with which he illustrates both the connection and the contrast between the depth of poverty and the height of luxury co-existing in Parisian life, is much dwelt upon by Margaret, as well as the praise-worthy fact that he depicts with equal faithfulness the vices developed by these opposite conditions. His insight and mastery appear to her "admirable throughout," the characters "excellently drawn," especially that of the Père Goriot, the father of two heartless women, for whom he has sacrificed everything, and who in turn sacrifice him without mercy to their own pleasures and ambitions. Admirable, too, she finds him "in his description[288] of look, tone, gesture. He has a keen sense of whatever is peculiar to the individual." With this acute appreciation of the great novelist's merits, Margaret unites an equally comprehensive perception of his fatal defects of character. His scepticism regarding virtue she calls fearful, his spirit Mephistophelian. "He delights to analyze, to classify. But he has no hatred for what is loathsome, no contempt for what is base, no love for what is lovely, no faith for what is noble. To him there is no virtue and no vice; men and women are more or less finely organized; noble and tender conduct is more agreeable than the reverse,—that is all." His novels show "goodness, aspiration, the loveliest instincts, stifled, strangled by fate in the form of our own brute nature." Margaret did not, perhaps, foresee how popular strangling of this kind was destined to become in the romance of the period following her own. Contrasting Eugène Sue with Balzac, she finds in the first an equal power of observation, disturbed by a more variable temperament, and enhanced by "the heart and faith that Balzac lacks." She sees him standing, pen in hand, armed with this slight but keen weapon, as "the champion of poverty, innocence, and humanity against superstition, selfishness, and prejudice." His works,[289] she thinks, with "all their strong points and brilliant decorations, may erelong be forgotten. Still, the writer's name shall be held in imperishable honor as the teacher of the ignorant, the guardian of the weak." She sums up thus the merits of the two: "Balzac is the heartless surgeon, probing the wounds and describing the delirium of suffering men for the amusement of his students. Sue, a bold and glittering crusader, with endless ballads jingling in the silence of night before the battle." She finds both of them "much right and a good deal wrong," since their most virtuous personages are allowed to practise stratagems, falsehood, and violence,—a taint, she thinks, of the old régime under which "La belle France has worn rouge so long that the purest mountain air will not soon restore the natural hues to her complexion." Two ideal sketches, "The Rich Man" and "The Poor Man," are also preserved in this volume, and are noticeable as treating of differences and difficulties which have rather become aggravated than diminished since Margaret's time. The "Rich Man" is a merchant, who "sees in commerce a representation of most important interests, a grand school that may teach the heart and soul of the civilized world to a willing, thinking mind. He plays his part in the game, but not for himself alone. He sees the interests of[290] all mankind engaged with his, and remembers them while he furthers his own." In regard of his social status, she says:— "Our nation is not silly in striving for an aristocracy. Humanity longs for its upper classes. The silliness consists in making them out of clothes, equipage, and a servile imitation of foreign manners, instead of the genuine elegance and distinction that can only be produced by genuine culture.... Our merchant shall be a real nobleman, whose noble manners spring from a noble mind; his fashions from a sincere, intelligent love of the beautiful." Margaret's "Poor Man" is an industrious artisan, not too poor to be sure of daily bread, cleanliness, and reasonable comfort. His advantages will be in the harder training and deeper experience which his circumstances will involve. Suffering privation in his own person, he will, she thinks, feel for the sufferings of others. Having no adventitious aids to bring him into prominence, there will be small chance for him "to escape a well-tempered modesty." He must learn enough to convince himself that mental growth and refinement are not secured by one set of employments, or lost through another. "Mahomet was not a wealthy merchant; profound philosophers have ripened on the benches, not of the lawyers, but of the shoemakers.[291] It did not hurt Milton to be a school-master, nor Shakespeare to do the errands of a London playhouse. Yes, 'the mind is its own place;' and if it will keep that place, all doors will be opened from it." This ideal poor man must be "religious, wise, dignified, and humble, grasping at nothing, claiming all; willing to wait, never willing to give up; servile to none, the servant of all,—esteeming it the glory of a man to serve." Such a type of character, she tells us, is rare, but not unattainable. The poems in this volume may be termed fugitive pieces, rhymes twined and dropped in the pathway of a life too busy for much versification. They somewhat recall Mr. Emerson's manner, but have not the point and felicity which have made him scarcely less eminent in verse than in prose. They will, however, well repay a perusal. In order that this volume may not be wholly lacking in their grace, we subjoin two short poems, which we have chosen from among a number of perhaps equal interest. One of these apostrophizes an artist whose rendering of her Greeks made him dear to her:— FLAXMAN. We deemed the secret lost, the spirit gone, Which spake in Greek simplicity of thought, And in the forms of gods and heroes wrought Eternal beauty from the sculptured stone,—[292] A higher charm than modern culture won With all the wealth of metaphysic lore, Gifted to analyze, dissect, explore. A many-colored light flows from one sun; Art, 'neath its beams, a motley thread has spun; The prism modifies the perfect day; But thou hast known such mediums to shun, And cast once more on life a pure, white ray. Absorbed in the creations of thy mind, Forgetting daily self, my truest self I find. The other poem interprets for us the significance of one of the few jewels which queenly Margaret deigned to wear,—a signet ring, bearing the image of Mercury:— MY SEAL-RING. Mercury has cast aside The signs of intellectual pride, Freely offers thee the soul: Art thou noble to receive? Canst thou give or take the whole, Nobly promise, and believe? Then thou wholly human art, A spotless, radiant ruby heart, And the golden chain of love Has bound thee to the realm above. If there be one small, mean doubt, One serpent thought that fled not out, Take instead the serpent-rod,— Thou art neither man nor God. Guard thee from the powers of evil,— Who cannot trust, vows to the devil. Walk thy slow and spell-bound way; Keep on thy mask, or shun the day,— Let go my hand upon the way. [293] <h3>INDEX.</h3> <ul> <li>Alcott, A. Bronson, his impressions of Margaret Fuller, 61, 62; <ul><li>a contributor to the "Dial," 72</li> </ul> </li> <li>Allston, Washington, as a poet and painter, 77; <ul><li>Margaret Fuller's criticism of his paintings, 79-82</li></ul></li> <li>Arago, Margaret's estimate of, 196</li> <li>Arconati, Marchesa Visconti, Margaret Fuller's acquaintance and friendship with, 212, 252, 261</li> <li class="alpha">Baillie, Joanna, Margaret Fuller's admiration of, and visit to, 180, 181</li> <li>Balzac, Margaret Fuller's estimate of the works of, 285-289</li> <li>Belgiojoso, Princess, organizes the military hospitals at Rome, 243</li> <li>Ben Lomond, Margaret Fuller's ascent of, and adventure on, 175-177</li> <li>Béranger, 189; <ul><li>Margaret Fuller's mention of, 196</li></ul></li> <li>Berry, Miss, Margaret Fuller's visit to, 181</li> <li>Berryer, M., Margaret Fuller's estimate of, 197</li> <li>Brook Farm Community, the, its origin and existence, 91, 97</li> <li>Brougham, Lord, 179</li> <li>Browning, Elizabeth Barrett, 188, 217, 261</li> <li>Bryant, William Cullen, Margaret Fuller's estimate of, 164</li> <li>Burgess, Tristam, 66</li> <li class="alpha">Carlyle, Thomas, 179; <ul><li>Margaret Fuller's intercourse with, and impressions of, 181-185;</li> <li>his impressions of Margaret Fuller, 186;</li> <li>Margaret Fuller's review of his "Cromwell," 282-284</li></ul></li> <li>Cass, Lewis, American Envoy at Rome, 249</li> <li>Chalmers, Dr., 172</li> <li>Channing, Dr., Margaret Fuller's high appreciation of, 30; <ul><li>his intercourse with Margaret Fuller, 63</li></ul></li> <li>Channing, William Ellery, 72</li> <li>Channing, William Henry, 72; <ul><li>his portrait of Margaret Fuller, 86-90</li></ul></li> <li>Chopin, 189; <ul><li>Margaret Fuller's mention of, 193</li></ul></li> <li>Clarke, James Freeman, early friendship of, with Margaret Fuller, 23, 24</li> <li>Clarke, William Hull, his intimacy with Margaret Fuller at the Lakes, 118</li> <li>Combe, Dr. Andrew, 172</li> <li>Cranch, Christopher P., 72</li> <li class="alpha">Dana, Richard H., mention of, by Margaret Fuller, 67</li> <li>Dawson, George, 177</li> <li>De Balzac, 189</li> <li>De Quincey, Margaret Fuller's description of, 173</li> <li>De Vigny, 284</li> <li>"Dial," the, its life and death, 71, 72; <ul><li>its contributors and their contributions, 72-76</li></ul></li> <li>Dickens, Charles, 178</li> <li>Dumas, Alexandre (père), 189</li> <li class="alpha">Emerson, Ralph Waldo, his acquaintance with Margaret Fuller, 40; <ul><li>his first impressions of her, 40, 41;</li> <li>his high appreciation of her social pre-eminence, 42;</li> <li>a contributor to the "Dial," 72;</li> <li>his estimation of Margaret Fuller as an art critic, 83.</li> </ul> </li> <li class="alpha">Fox, William, Margaret Fuller's estimate of, 178</li> <li>Freiligrath, 180</li> <li>Fuller, Margaret Crane, Mother of Margaret, 2; <ul><li>some account of, 2, 3</li> </ul> </li> <li>Fuller, Sarah Margaret, early biographical sketches of, 1; <ul><li>her childhood and early youth, 1-10;</li> <li>birth and birthplace of, 2;</li> <li>her early Puritanical training, 4;</li> <li>her early course of studies and its effect, 5-7;</li> <li>begins the study of the Latin authors, 7;</li> <li>her interest in the study of Shakespeare, 8;</li> <li>her earliest friendship, 8-10;</li> <li>leaves home for boarding-school, 11;</li> <li>anecdotes of her school life at Groton, Mass., 11-16;</li> <li>beneficial effect of her school life and its trials, 17;</li> <li>end of her school days, and her return home, 18;</li> <li>her girlhood as described by Dr. Hedge, 19, 20;</li> <li>her passionate love for the beautiful, 20;</li> <li>her systematic and arduous pursuit of culture, 20, 21;</li> <li>her portraiture of Miss Francis (Lydia Maria Child), 22;</li> <li>her friendship with James Freeman Clarke, 24-28;</li> <li>her magnetic influence upon the minds of others, 25, 26;</li> <li>the faulty appreciation of her character by the public, 27, 38, 39;</li> <li>her study and comparative estimate of the German authors, 28;</li> <li>her intense interest in self-culture and questions of public thought, 29, 30;</li> <li>her desire for intellectual improvement the outgrowth of personal rather than religious motives, 30, 31;</li> <li>her religious beliefs, 32-38;</li> <li>anecdote relating her many doubts and trials in the matter of religion, 35-38;</li> <li>her first acquaintance with Ralph Waldo Emerson, 40;</li> <li>satirical proclivities of, as mentioned by Mr. Emerson, 41;</li> <li>her beneficent influence upon friends and intimates, 42, 43;</li> <li>an enthusiastic and appreciative student of art, 44-47;</li> <li>notes on the Athenæum Gallery of Sculpture by, 45;</li> <li>self-esteem one of her most prominent and valuable qualities, 47-49;</li> <li>removal from Cambridge to Groton, 49;</li> <li>the literary activity of, in the seclusion of her Groton home, 50, 59;</li> <li>extract from her correspondence while at Groton, 51-54;</li> <li>her meeting with, and sincere friendship for, Harriet Martineau, 54, 55;</li> <li>her very serious illness, 55, 56;</li> <li>her grief at the death of her father, 56;</li> <li>the straitened circumstances of, attendant on her father's death, 56, 57;</li> <li>finds prayer a constant source of relief and support, 57;</li> <li>her devotion to her family, 57-59;</li> <li>her removal to Boston, 60, 61;</li> <li>a teacher in Mr. Alcott's school, 61;</li> <li>brief sketch of her labors while in Boston, 62-65;</li> <li>her connection with Greene Street School, Providence, R. I., 65;</li> <li>brief account of her life and acquaintances in Providence, 66, 67;</li> <li>extract from her farewell address to her pupils at Providence, 68, 69;</li> <li>her criticism of Harriet Martineau's book on America, 69, 70;</li> <li>accepts the editorship of the "Dial," 70;</li> <li>extract from her contributions to the "Dial," 74-77;</li> <li>her estimate of Washington Allston's pictures, 76, 79-83;</li> <li>her friendship with Mr. Emerson the outgrowth of mutual esteem rather than of personal sympathy, 84, 85;</li> <li>her relations with William Henry Channing, 86-90;</li> <li>her relation to the Transcendental movement in New England, 92-99;</li> <li>her visit to the Brook Farm Community, 97, 98;</li> <li>her love for little children, 100;</li> <li>her visit to Concord after the death of Ralph Waldo Emerson's son, 101;</li> <li>extracts from her journal, 101-103;</li> <li>her conversations in Boston, 104-115;</li> <li>the extraordinary success of her undertaking, 108;</li> <li>the second series of her conversations, 111, 114;</li> <li>variety of topics discussed in her conversations, 114;</li> <li>her summer on the Lakes, 115;</li> <li>extracts from her record of the journey, 115-125;</li> <li>her visit to, and impressions of, the Indians, 120-125;</li> <li>the composition of her "Summer on the Lakes," 126, 127;</li> <li>her engagement on the "New York Tribune," and consequent close of her New England life, 127;</li> <li>her intercourse with Horace Greeley, 130, 131;</li> <li>her contributions to the "Tribune," 133;</li> <li>remarks on some of her literary contemporaries, 134, 135;</li> <li>her criticism of George Sand, 137-139;</li> <li>her residence at the Greeley mansion, 130, 140, 141;</li> <li>her entrance into New York society, 142;</li> <li>her visits to the women's prison at Sing Sing, and address to its inmates, 143-146;</li> <li>visits Blackwell's Island, 146;</li> <li>letters of, to her brothers, 147-150;</li> <li>publication of her "Woman in the Nineteenth Century," 147, 149, 150;</li> <li>brief review of the work, 151-158;</li> <li>essay on American Literature, 159-167, 282;</li> <li>her criticism of contemporary authors, 162-167;</li> <li>concerning the justice of her criticism, 168, 169;</li> <li>her visit to Europe, 170-277;</li> <li>her anticipations of the journey, 170, 171;</li> <li>the voyage and arrival at Liverpool, 171;</li> <li>her visit to the lake country, 171, 172;</li> <li>impressions of her visit to Wordsworth, 172;</li> <li>renewal of her intercourse with Harriet Martineau, 172;</li> <li>her visit to Edinburgh and meeting</li> <li>with literary men, 172, 173;</li> <li>her impression of De Quincey, 173;</li> <li>her meditations on Mary, Queen of Scots, while in Scotland, 174;</li> <li>makes an excursion to the Highlands, 174;</li> <li>her ascent to Ben Lomond, 175-177;</li> <li>her comparison of George Dawson, William Fox, and James Martineau with Dr. Channing and Theodore Parker, 177;</li> <li>her remarks on the social condition of England, 179, 180;</li> <li>visits the different institutions of science, art, and benevolence in London, 180;</li> <li>mention of her visit to Joanna Baillie, 180, 181;</li> <li>her visit to Miss Berry, 181;</li> <li>her intercourse with Thomas Carlyle, 180-185;</li> <li>Thomas Carlyle's impressions of, 186;</li> <li>her high estimation of Mazzini and his work, 186-188;</li> <li>her visit to Paris and her reception there, 189, 190;</li> <li>her visit to and impressions of George Sand, 191-193;</li> <li>her acquaintance with Chopin, 193;</li> <li>her remarks on the French stage and its actors, 194-196;</li> <li>calls upon Lamennais, 196;</li> <li>her mention of Béranger, 196;</li> <li>visits the Chamber of Deputies, 197;</li> <li>attends a ball at the Tuileries, and the Italian opera in Paris, 197, 198;</li> <li>her acquaintance with Alexandre Vattemare, 198;</li> <li>her visits to places of interest in Paris, and her impressions of them, 198, 199;</li> <li>her journey to Italy, 200, 201;</li> <li>visits Rome, 202;</li> <li>her visits to the studios and galleries of Rome, 206;</li> <li>her study of and remarks upon the old masters, 206, 207;</li> <li>her interest in the political condition of Italy, 207;</li> <li>impressions and reminiscences of her visits to Perugia, Bologna, Florence, Ravenna, Venice, Milan, and other cities of Northern Italy, 208-212;</li> <li>her mention of a state ball on the Grand Canal at Venice, 210;</li> <li>her estimation of Manzoni, 211;</li> <li>visits the Italian lakes and Switzerland, 212;</li> <li>her grief and indignation at the unhappy political condition in Italy, 213, 214;</li> <li>visits Pavia, Parma, and Modena, 214;</li> <li>revisits Florence on her way to Rome, 214;</li> <li>her zeal for Italian freedom, 217;</li> <li>her return to Rome, 218;</li> <li>reminiscences of her delightful experiences during her second visit to Rome, 218-220;</li> <li>her many discomforts during the rainy season, 221-223;</li> <li>leaves Rome for Aquila, 231;</li> <li>her marriage with Marchese Ossoli, 232;</li> <li>her first meeting and subsequent intimacy with him, 233, 234;</li> <li>leaves Aquila for Rieti, 235;</li> <li>birth of her son, Angelo Eugene Ossoli, 236;</li> <li>leaves her child at Rieti and returns to Rome, 238;</li> <li>extract from a letter to her mother, 238;</li> <li>her anxiety about her child, 241, 242;</li> <li>her intercourse with Mazzini, 243;</li> <li>her care of the hospitals, 244-246;</li> <li>her anxiety about her husband and child during the siege of Rome, 246;</li> <li>her mention of the bombardment and final surrender of Rome, 247, 248;</li> <li>has a severe sickness and confides the story of her marriage to Mrs. Story and Lewis Cass, 249, 250;</li> <li>joins her husband at his post, 250;</li> <li>the sickness of her child, 251;</li> <li>comment in both Italy and America attendant upon the acknowledgment of her marriage, 251, 252;</li> <li>extracts from her correspondence regarding her marriage, 252, 253;</li> <li>revisits Perugia with her husband and child, 253;</li> <li>passes the winter in Florence, 253;</li> <li>applies herself to writing a history of the Revolution in Italy, 255;</li> <li>the character of her husband and their devotion to each other, 256, 257;</li> <li>her literary occupation during her stay at Florence, 258;</li> <li>reminiscences of her visit to the Duomo at Florence, 258, 259;</li> <li>her home life and surroundings, 259, 260;</li> <li>her intimacy with Horace Sumner and estimate of him, 260, 261;</li> <li>anecdotes showing her love for and influence upon the people of Italy, 262-264;</li> <li>her preparations for and anticipations of her return to America, 265, 266;</li> <li>extract from her last letter to her mother, 266, 267;</li> <li>engages passage in the barque "Elizabeth" from Leghorn, 267;</li> <li>her presentiment and foreboding of misfortune, 268, 269;</li> <li>death of the captain and subsequent sickness of her child, 269, 270;</li> <li>minor incidents of the voyage as related by Mrs. Hasty, 270;</li> <li>her calmness and care for her child at the time of the shipwreck, 272;</li> <li>her death, 274;</li> <li>brief testimony to her high character and aspirations, 278;</li> <li>the literary remains of, 280-292;</li> <li>brief criticism of her style, 281;</li> <li>"Woman in the Nineteenth Century," 282;</li> <li>"Life Without and Life Within," 282;</li> <li>extracts from her review of Carlyle's "Cromwell," 282-284;</li> <li>extracts from a paper on the prominent French novelists of her day, 284-289;</li> <li>her appreciation of the writings of Balzac, 286-288;</li> <li>her contrast of Balzac with Eugène Sue, 288, 289;</li> <li>mention of her "Rich Man," and "Poor Man," with extracts, 289-291;</li> <li>"Flaxman" and "My Seal-Ring," two short poems by, 291, 292</li></ul></li> <li>Fuller, Timothy, father of Margaret, 2; <ul><li>some account of, 2;</li> <li>Margaret's estimation of, 3;</li> <li>his death, 56.</li></ul></li> <li class="alpha">Garibaldi, his devotion to the cause of freedom in Italy, 247, 248</li> <li>Gonzaga, Marquis Guerrieri, 213</li> <li>Greeley, Horace, his interest in Margaret Fuller and subsequent engagement of her on the staff of the "Tribune," 129, 130; <ul><li>his acquaintance with and estimation of Margaret Fuller, 130-132</li></ul></li> <li>Guizot, 189</li> <li>Gurney, Joseph John, 67</li> <li class="alpha">Hasty, Mrs., a fellow-passenger of Margaret Fuller on the barque "Elizabeth," for America, 268; <ul><li>her account of the voyage and subsequent loss of the vessel, 270-274;</li> <li>her rescue from the wreck, 274</li></ul></li> <li>Hedge, Dr., early friendship of, with Margaret Fuller, 19, 20</li> <li>Houghton, Lord, 179</li> <li>Hugo, Victor, 189</li> <li>Hurlbut, William Henry, his remarks upon the character of Marchese Ossoli and relations with his wife, 257, 258; <ul><li>his description of Margaret Fuller's home life and surroundings at Florence, 259, 260.</li></ul></li> <li class="alpha">Iron Duke, the, 179</li> <li>Italy, the political condition of, in 1847, 207, 213, 216, 217, 223-230, 238-241; <ul><li>popular revolt in, 229, 230.</li> </ul></li> <li class="alpha">Kenyon, John, 178</li> <li class="alpha">Lamennais, Margaret Fuller's mention of, 196</li> <li>Leverrier, Margaret Fuller's mention of, 197.</li> <li>Liszt, 189</li> <li>Longfellow, Henry Wadsworth, Margaret Fuller's criticism on, 164-167</li> <li>Louis Philippe, 190</li> <li>Lowell, James Russell, his satire on Margaret Fuller in the "Fable for Critics," 39, 40; <ul><li>a criticism on, by Margaret Fuller, 167.</li> </ul></li> <li class="alpha">Manzoni, Margaret Fuller's estimate of, 211</li> <li>Mariotti, 188</li> <li>Martineau, Harriet, her efforts to introduce Margaret Fuller to Mr. Emerson, 40; <ul><li>publication of her book on America, 69;</li> <li>Margaret Fuller's visit to, while in Scotland, 172</li></ul></li> <li>Martineau, James, Margaret Fuller's estimate of, 178</li> <li>Mazzini, his connection with works of benevolence, 180; <ul><li>Margaret Fuller's high estimation of, 186-188, 243;</li> <li>his letter to Pope Pius on the political condition of Italy, 225-228</li></ul></li> <li>Mickiewicz, 193</li> <li>Milman, Dean, Margaret Fuller's description of, 172</li> <li>Moore, Thomas, 179</li> <li class="alpha">Neal, John, 66</li> <li>Norton, Mrs., 179</li> <li class="alpha">Ossoli, Marchese, the personal description of, 233; <ul><li>his first meeting with Margaret Fuller, 233;</li> <li>his marriage, 234;</li> <li>reasons for not making his marriage public, 234, 235;</li> <li>his zeal for the cause of freedom, 234, 235, 246;</li> <li>his personal character and love for his wife as described by William Henry Hurlbut, 257, 258;</li> <li>his calmness and forgetfulness of self at the time of the shipwreck, 272;</li> <li>his death, 274.</li> </ul></li> <li class="alpha">Paris, the city of, and its celebrities at the time of Margaret Fuller's visit, 189, 190</li> <li>Parker, Theodore, 72; <ul><li>Margaret Fuller's high estimation of, 177</li></ul></li> <li>Peabody, Miss, the first of Margaret Fuller's conversations held at the rooms of, 105, 106</li> <li>Pius, Pope, 207; <ul><li>first symptoms of his unpopularity at Rome, 221;</li> <li>his desertion of the cause of freedom, 230;</li> <li>his flight from Rome, 239.</li> </ul></li> <li class="alpha">Rachel, the queen of the tragic stage at Paris, 189; <ul><li>Margaret Fuller's estimate of her dramatic powers, 195, 196</li></ul></li> <li>Ripley, George, organizes the brook Farm Community, 91</li> <li>Rogers, Samuel, 178</li> <li>Rome, at the time of Margaret's visit in 1847, 202, 203; <ul><li>celebration of the birthday of, 208;</li> <li>celebration of the creation of the National Guard at, 215;</li> <li>review of the Civic Guard at, 218;</li> <li>evidence of political reform and celebration of the event at, 223, 224;</li> <li>the political situation and popular excitement at, 224, 225;</li> <li>opening of the Constitutional Assembly at, 240;</li> <li>universal enthusiasm at the formation of a Roman republic, 240;</li> <li>its relations with France, 242, 243;</li> <li>the siege of, 243-247;</li> <li>its surrender, 247, 248.</li> </ul></li> <li class="alpha">Sand, George, as a woman and a writer, 135-137; <ul><li>her literary supremacy in Paris, 189;</li> <li>Margaret Fuller's visit to, and portrait of, 191-193</li></ul></li> <li>Smith, Sydney, 178</li> <li>Sue, Eugène, Margaret Fuller's estimate of his writings, 288, 289</li> <li>Sumner, Horace, his intimacy with Margaret Fuller at Venice, 260, 261, 268; <ul><li>his death, 274</li></ul></li> <li>Sutherland, Duchess of, 179</li> <li class="alpha">Taglioni, 210</li> <li>Thackeray, William M., 178</li> <li>Transcendentalism, its birth and development, 90, 91, 95</li> <li class="alpha">Vattemare, Alexandre, Margaret Fuller's intercourse with, 198</li> <li class="alpha">Wilkinson, James Garth, Margaret Fuller's estimate of, 188</li> <li>Wordsworth, William, Margaret Fuller's visit to, 172</li> </ul> <hr class="full" /> <h2>MARGARET FULLER'S WORKS AND MEMOIRS.</h2> <hr /> WOMAN IN THE NINETEENTH CENTURY, and kindred papers relating to the Sphere, Condition, and Duties of Woman. Edited by her brother, Arthur B. Fuller; with an Introduction by Horace Greeley. In 1 vol. 16mo. $1.50. ART, LITERATURE, AND THE DRAMA. 1 vol. 16mo. $1.50. LIFE WITHOUT AND LIFE WITHIN; or, Reviews, Narratives, Essays, and Poems. 1 vol. 16mo. $1.50. AT HOME AND ABROAD; or, Things and Thoughts in America and Europe. 1 vol. 16mo. $1.50. MEMOIRS OF MARGARET FULLER OSSOLI. By Ralph Waldo Emerson, William Henry Channing, and James Freeman Clarke. With Portrait and Appendix. 2 vols. 16mo. $3.00. <hr /> Margaret Fuller will be remembered as one of the "Great Conversers," the "Prophet of the Woman Movement" in this country, and her Memoirs will be read with delight as among the tenderest specimens of biographical writing in our language. She was never an extremist. She considered woman neither man's rival nor his foe, but his complement. As she herself said, she believed that the development of one could not be affected without that of the other. Her words, so noble in tone, so moderate in spirit, so eloquent in utterance, should not be forgotten by her sisters. Horace Greeley, in his introduction to her "Woman in the Nineteenth Century," says: "She was one of the earliest, as well as ablest, among American women to demand for her sex equality before the law with her titular lord and master. Her writings on this subject have the force that springs from the ripening of profound reflection into assured conviction. It is due to her memory, as well as to the great and living cause of which she was so eminent and so fearless an advocate, that what she thought and said with regard to the position of her sex and its limitations should be fully and fairly placed before the public." No woman who wishes to understand the full scope of what is called the woman's movement should fail to read these pages, and see in them how one woman proved her right to a position in literature hitherto occupied by men, by filling it nobly. The Story of this rich, sad, striving, unsatisfied life, with its depths of emotion and its surface sparkling and glowing, is told tenderly and reverently by her biographers. Their praise is eulogy, and their words often seem extravagant; but they knew her well, they spoke as they felt. The character that could awaken such interest and love surely is a rare one. The above are uniformly bound in cloth, and sold separately or in sets. <hr /> Sold everywhere. Mailed, post-paid, by the Publishers, ROBERTS BROTHERS, Boston. <hr class="full" /> Messrs. Roberts Brothers' Publications. <h2>FAMOUS WOMEN SERIES.</h2> <h1 class="top5">EMILY BRONTË.</h1> By A. MARY F. ROBINSON. One vol. 16mo. Cloth. Price, $1.00. "Miss Robinson has written a fascinating biography.... Emily Brontë is interesting, not because she wrote 'Wuthering Heights,' but because of her brave, baffled, human life, so lonely, so full of pain, but with a great hope shining beyond all the darkness, and a passionate defiance in bearing more than the burdens that were laid upon her. The story of the three sisters is infinitely sad, but it is the ennobling sadness that belongs to large natures cramped and striving for freedom to heroic, almost desperate, work, with little or no result. The author of this intensely interesting, sympathetic, and eloquent biography, is a young lady and a poet, to whom a place is given in a recent anthology of living English poets, which is supposed to contain only the best poems of the best writers."—Boston Daily Advertiser. "Miss Robinson had many excellent qualifications for the task she has performed in this little volume, among which may be named, an enthusiastic interest in her subject and a real sympathy with Emily Brontë's sad and heroic life. 'To represent her as she was,' says Miss Robinson, 'would be her noblest and most fitting monument.' ... Emily Brontë here becomes well known to us and, in one sense, this should be praise enough for any biography."—New York Times. "The biographer who finds such material before him as the lives and characters of the Brontë family need have no anxiety as to the interest of his work. Characters not only strong but so uniquely strong, genius so supreme, misfortunes so overwhelming, set in its scenery so forlornly picturesque, could not fail to attract all readers, if told even in the most prosaic language. When we add to this, that Miss Robinson has told their story not in prosaic language, but with a literary style exhibiting all the qualities essential to good biography, our readers will understand that this life of Emily Brontë is not only as interesting as a novel, but a great deal more interesting than most novels. As it presents most vividly a general picture of the family, there seems hardly a reason for giving it Emily's name alone, except perhaps for the masterly chapters on 'Wuthering Heights,' which the reader will find a grateful condensation of the best in that powerful but somewhat forbidding story. We know of no point in the Brontë history—their genius, their surroundings, their faults, their happiness, their misery, their love and friendships, their peculiarities, their power, their gentleness, their patience, their pride,—which Miss Robinson has not touched upon with conscientiousness and sympathy."—The Critic. "'Emily Brontë' is the second of the 'Famous Women Series,' which Roberts Brothers, Boston, propose to publish, and of which 'George Eliot' was the initial volume. Not the least remarkable of a very remarkable family, the personage whose life is here written, possesses a peculiar interest to all who are at all familiar with the sad and singular history of herself and her sister Charlotte. That the author, Miss A. Mary F. Robinson, has done her work with minute fidelity to facts as well as affectionate devotion to the subject of her sketch, is plainly to be seen all through the book."—Washington Post. <hr /> Sold by all Booksellers, or mailed, post-paid, on receipt of price, by the Publishers, ROBERTS BROTHERS, Boston. <hr class="full" /> Messrs. Roberts Brothers' Publications. <h2>FAMOUS WOMEN SERIES.</h2> <hr /> <h1 class="top5">GEORGE SAND.</h1> By BERTHA THOMAS. One volume. 16mo. Cloth. Price, $1.00. "Miss Thomas has accomplished a difficult task with as much good sense as good feeling. She presents the main facts of George Sand's life, extenuating nothing, and setting naught down in malice, but wisely leaving her readers to form their own conclusions. Everybody knows that it was not such a life as the women of England and America are accustomed to live, and as the worst of men are glad to have them live.... Whatever may be said against it, its result on George Sand was not what it would have been upon an English or American woman of genius."—New York Mail and Express. "This is a volume of the 'Famous Women Series,' which was begun so well with George Eliot and Emily Brontë. The book is a review and critical analysis of George Sand's life and work, by no means a detailed biography. Amantine Lucile Aurore Dupin, the maiden, or Mme. Dudevant, the married woman, is forgotten in the renown of the pseudonym George Sand. "Altogether, George Sand, with all her excesses and defects, is a representative woman, one of the names of the nineteenth century. She was great among the greatest, the friend and compeer of the finest intellects, and Miss Thomas's essay will be a useful and agreeable introduction to a more extended study of her life and works."—Knickerbocker. "The biography of this famous woman, by Miss Thomas, is the only one in existence. Those who have awaited it with pleasurable anticipation, but with some trepidation as to the treatment of the erratic side of her character, cannot fail to be pleased with the skill by which it is done. It is the best production on George Sand that has yet been published. The author modestly refers to it as a sketch, which it undoubtedly is, but a sketch that gives a just and discriminating analysis of George Sand's life, tastes, occupations, and of the motives and impulses which prompted her unconventional actions, that were misunderstood by a narrow public. The difficulties encountered by the writer in describing this remarkable character are shown in the first line of the opening chapter, which says, 'In naming George Sand we name something more exceptional than even a great genius.' That tells the whole story. Misconstruction, condemnation, and isolation are the penalties enforced upon the great leaders in the realm of advanced thought, by the bigoted people of their time. The thinkers soar beyond the common herd, whose soul-wings are not strong enough to fly aloft to clearer atmospheres, and consequently they censure or ridicule what they are powerless to reach. George Sand, even to a greater extent than her contemporary, George Eliot, was a victim to ignorant social prejudices, but even the conservative world was forced to recognize the matchless genius of these two extraordinary women, each widely different in her character and method of thought and writing.... She has told much that is good which has been untold, and just what will interest the reader, and no more, in the same easy, entertaining style that characterizes all of these unpretentious biographies."—Hartford Times. <hr /> Sold everywhere. Mailed, post-paid, on receipt of price, by the publishers, ROBERTS BROTHERS, Boston. <hr class="full" /> Messrs. Roberts Brothers' Publications. <h2>FAMOUS WOMEN SERIES.</h2> <h1 class="top5">MARY LAMB.</h1> By ANNE GILCHRIST. One volume. 16mo. Cloth. Price, $1.00. "The story of Mary Lamb has long been familiar to the readers of Elia, but never in its entirety as in the monograph which Mrs. Anne Gilchrist has just contributed to the Famous Women Series. Darkly hinted at by Talfourd in his Final Memorials of Charles Lamb, it became better known as the years went on and that imperfect work was followed by fuller and franker biographies,—became so well known, in fact, that no one could recall the memory of Lamb without recalling at the same time the memory of his sister."—New York Mail and Express. "A biography of Mary Lamb must inevitably be also, almost more, a biography of Charles Lamb, so completely was the life of the sister encompassed by that of her brother; and it must be allowed that Mrs. Anne Gilchrist has performed a difficult biographical task with taste and ability.... The reader is at least likely to lay down the book with the feeling that if Mary Lamb is not famous she certainly deserves to be, and that a debt of gratitude is due Mrs. Gilchrist for this well-considered record of her life."—Boston Courier. "Mary Lamb, who was the embodiment of everything that is tenderest in woman, combined with this a heroism which bore her on for a while through the terrors of insanity. Think of a highly intellectual woman struggling year after year with madness, triumphant over it for a season, and then at last succumbing to it. The saddest lines that ever were written are those descriptive of this brother and sister just before Mary, on some return of insanity, was to leave Charles Lamb. 'On one occasion Mr. Charles Lloyd met them slowly pacing together a little foot-path in Hoxton Fields, both weeping bitterly, and found, on joining them, that they were taking their solemn way to the accustomed asylum.' What pathos is there not here?"—New York Times. "This life was worth writing, for all records of weakness conquered, of pain patiently borne, of success won from difficulty, of cheerfulness in sorrow and affliction, make the world better. Mrs. Gilchrist's biography is unaffected and simple. She has told the sweet and melancholy story with judicious sympathy, showing always the light shining through darkness."—Philadelphia Press. <hr /> Sold by all Booksellers. Mailed, post-paid, on receipt of the price, by the Publishers, ROBERTS BROTHERS, Boston. <hr class="full" /> <h3 class="top5">A SELECTION FROM</h3> <h1 class="top5">Messrs. ROBERTS BROTHERS'</h1> <h2>Latest New Publications.</h2> <hr /> <table summary="cost"><tr valign="bottom"><td> FIGURES OF THE PAST. From the Leaves of Old Journals. By Josiah Quincy (Class of 1821, Harvard College). 16mo. Price, </td><td>$1.50 </td></tr> </table> "There are chapters on life in the Academy at Andover, on Harvard Sixty Years Ago, on Commencement Day in 1821, the year of the author's graduation, and on visits to and talks with John Adams, with reminiscences of Lafayette, Judge Story, John Randolph, Jackson and other eminent persons, and sketches of old Washington and old Boston society. The kindly pen of the author is never dipped in gall—he remembers the pleasing aspects of character, and his stories and anecdotes are told in the best of humor and leave no sting. The book is of a kind which we are not likely to have again, for the men of Mr. Quincy's generation, those at least who had his social opportunities, are nearly all gone. These pictures of old social and political conditions are especially suggestive as reminding us that a single life, only lately closed, linked us with days, events and men that were a part of our early history and appear remote because of the multitude of changes that have transformed society in the interval."—Boston Journal. <table summary="cost"><tr valign="bottom"><td> WHIST, OR BUMBLEPUPPY? By Pembridge. From the Second London Edition. 16mo. Cloth. Price, </td><td>.50 </td></tr> </table> Definition of Bumblepuppy—Bumblepuppy is persisting to play whist, either in utter ignorance of all its known principles, or in defiance of them, or both. "'Whist, or Bumblepuppy?' is one of the most entertaining, and at the same time one of the soundest books on whist ever written. Its drollery may blind some readers to the value of its advice; no man who knows anything about whist, however, will fail to read it with interest, and few will fail to read it with advantage. Upon the ordinary rules of whist, Pembridge supplies much sensible and thoroughly amusing comment. The best player in the world may gain from his observations, and a mediocre player can scarcely find a better counsellor. There is scarcely an opinion expressed with which we do not coincide."—London Sunday Times. <table summary="cost"><tr valign="bottom"><td> RECOLLECTIONS OF DANTE GABRIEL ROSSETTI. By T. Hall Caine. With Portrait. One vol. 8vo. Cloth, gilt. Price, </td><td>$3.00 </td></tr> </table> "Mr. Caine's 'Recollections of Rossetti' throws light upon many events in Rossetti's life over which there hung a veil of mystery.... A book that must survive."—London Athenæum. ⁂Our publications are for sale by all booksellers, or will be sent post-paid on receipt of advertised price. ROBERTS BROTHERS, Boston. <hr class="full" /> MESSRS. ROBERTS BROTHERS' PUBLICATIONS. <h2>Famous Women Series.</h2> <h1 class="top5">GEORGE ELIOT.</h1> By MATHILDE BLIND. One vol. 16mo. Cloth. Price, $1.00. "Messrs. Roberts Brothers begin a series of Biographies of Famous Women with a life of George Eliot, by Mathilde Blind. The idea of the series is an excellent one, and the reputation of its publishers is a guarantee for its adequate execution. This book contains about three hundred pages in open type, and not only collects and condenses the main facts that are known in regard to the history of George Eliot, but supplies other material from personal research. It is agreeably written, and with a good idea of proportion in a memoir of its size. The critical study of its subject's works, which is made in the order of their appearance, is particularly well done. In fact, good taste and good judgment pervade the memoir throughout."—Saturday Evening Gazette. "Miss Blind's little book is written with admirable good taste and judgment, and with notable self-restraint. It does not weary the reader with critical discursiveness, nor with attempts to search out high-flown meanings and recondite oracles in the plain 'yea' and 'nay' of life. It is a graceful and unpretentious little biography, and tells all that need be told concerning one of the greatest writers of the time. It is a deeply interesting if not fascinating woman whom Miss Blind presents," says the New York Tribune. "Miss Blind's little biographical study of George Eliot is written with sympathy and good taste, and is very welcome. It gives us a graphic if not elaborate sketch of the personality and development of the great novelist, is particularly full and authentic concerning her earlier years, tells enough of the leading motives in her work to give the general reader a lucid idea of the true drift and purpose of her art, and analyzes carefully her various writings, with no attempt at profound criticism or fine writing, but with appreciation, insight, and a clear grasp of those underlying psychological principles which are so closely interwoven in every production that came from her pen."—Traveller. "The lives of few great writers have attracted more curiosity and speculation than that of George Eliot. Had she only lived earlier in the century she might easily have become the centre of a mythos. As it is, many of the anecdotes commonly repeated about her are made up largely of fable. It is, therefore, well, before it is too late, to reduce the true story of her career to the lowest terms, and this service has been well done by the author of the present volume."—Philadelphia Press. <hr /> Sold by all booksellers, or mailed, post-paid, on receipt of price, by the publishers, ROBERTS BROTHERS, Boston. <hr class="full" /> <table summary="cost"><tr valign="bottom"><td> THE WISDOM OF THE BRAHMIN. A Didactic Poem. Translated from the German of Friedrich Rückert. By Chas. T. Brooks. Six cantos. 16mo. Cloth. Price, </td><td>$1.25 </td></tr> </table> "The Brahmin," says the translator, "is a poem of vast range, expressing the world-wisdom which the author had been for years storing up in his large heart, and evolving out of his creative soul." Says Dr. Beyer, in his Life of Rückert: "'The Wisdom of the Brahmin' is a poetic house-treasure of which our nation may justly be proud. So much has been said and sung of late years of 'The Light of Asia,' the 'Sympathy of Religions,' and the like, that the present seemed to be an auspicious moment to venture a volume of Rückert's greatest work." "'These twenty books are a sea of thoughts and contemplations full of Brahminic tranquility and German depth and fullness, in simple gnomes, sentences, epigrams, parables, fables and tales.' Gottsschall declares the work to be 'a poetic treasure of which the German nation may justly be proud.' The translator, speaking of his own experiences, says the poem has affected him as 'a sparkling flood of heart-searching and soul-lifting thought and sentiment, such as no other work within our knowledge has ever presented.'"—Home Journal. SOCRATES. The Apology and Crito of Plato, and the Phædo of Plato. Uniform with "Marcus Aurelius," "Imitation of Christ," etc. 18mo. Flexible cloth, red edges. Price, 50 cents each. Two series in one volume. Cloth, red edges. Price, 75 cents. "If, as is strongly asserted, there may be found in the writings of Plato all the wisdom and learning of the ancients, as well as the treasure-house from which all succeeding writers have borrowed their best ideas, then are these little books worth their weight in gold, for they contain some of the choicest gems to be found in the collected works of the famous Greek philosopher. They are companion volumes, the text being taken unabridged from Professor Jowett's revised translation of Plato. They tell the whole story of the trial, imprisonment and death of Socrates. The Apology gives the defence, the Crito relates the offer of escape, the Phædo describes the last hours. The more studiously and the more frequently these books are read the more keen will be the appreciation of their intellectual and moral excellence."—Providence Journal. <table summary="cost"><tr valign="bottom"><td> JEAN INGELOW'S NOVELS. Off the Skelligs; Fated to be Free; Sarah de Berenger; Don John. A new edition. 4 vols. 16mo. Imitation half calf. Price, </td><td>$5.00 </td></tr> </table> <hr /> ⁂Our publications are for sale by all booksellers, or will be sent post-paid on receipt of advertised price. ROBERTS BROTHERS, Boston. <hr class="full" /> <table summary="cost"><tr valign="bottom"><td> A LITTLE PILGRIM. Reprinted from Macmillan's Magazine. 16mo. Cloth. Red edges. Price, </td><td> $ .75 </td></tr> </table> "An exquisitely written little sketch is found in that remarkable production, 'The Little Pilgrim,'—which is just now attracting much attention both in Europe and America. It is highly imaginative in its scope, representing one of the world-worn and weary pilgrims of our earthly sphere as entering upon the delights of heaven after death. The picture of heaven is drawn with the rarest delicacy and refinement, and is in agreeable contrast in this respect to the material sketch of this future home furnished in Miss Stuart Phelps's well-remembered 'Gates Ajar.' The book will be a balm to the heart of many readers who are in accord with the faith of its author; and to others its reading will afford rare pleasure from the exceeding beauty and affecting simplicity of its almost perfect literary style."—Saturday Evening Gazette. "The life beyond the grave, when the short life in this world is ended, is to many a source of dread—to all a mystery. 'A Little Pilgrim' has apparently solved it, and, indeed, it seems on reading this little book as it there were a great probability about it. A soft, gentle tone pervades its every sentence, and one cannot read it without feeling refreshed and strengthened."—The Alta California. <table summary="cost"><tr valign="bottom"><td> THE GREAT EPICS OF MEDIÆVAL GERMANY. An Outline of their Contents and History. By George Theodore Dippold, Professor at Boston University and Wellesley College. 16mo. Cloth. Price, </td><td>$1.50 </td></tr> </table> Professor Francis J. Child, of Harvard College, says: "It is an excellent account of the chief German heroic poems of the Middle Ages, accompanied with spirited translations. It is a book which gives both a brief and popular, and also an accurate, account of this important section of literature, and will be very welcome here and at other colleges." "No student of modern literature, and above all no student who aims to understand the literary development of Europe in its fullest range, can leave this rich and ample world of early song unexplored. To all such Professor Dippold's book will have the value of a trustworthy guide.... It has all the interest of a chapter in the growth of the human mind into comprehension of the universe and of itself, and it has the pervading charm of the vast realm of poetry through which it moves."—Christian Union. <table summary="cost"><tr valign="bottom"><td> MY HOUSEHOLD OF PETS. By Theophile Gautier. Translated from the French by Susan Coolidge. With illustrations by Frank Rogers. 16mo. Cloth. Price, </td><td>$1.25 </td></tr> </table> "This little book will interest lovers of animals, and the quaint style in which M. Gautier tells of the wisdom of his household pets will please every one. The translator, too, is happy in her work, for she has succeeded in rendering the text into English without loss of the French tone, which makes it fascinating. These household pets consisted of white and black cats, dogs, chameleons, lizards, magpies, and horses, each of which has a character and story of its own. Illustrations and a pretty binding add to the attractions of the volume."—Worcester Spy. "The ease and elegance of Theophile Gautier's diction is wonderful, and the translator has preserved the charm of the French author with far more than the average fidelity. 'My Household of Pets' is a book which can be read with pleasure by young and old. It is a charming volume."—St. Louis Spectator. <hr /> ⁂Our publications are for sale by all booksellers, or will be sent post-paid on receipt of advertised price. ROBERTS BROTHERS, Boston. <hr class="full" /> <table summary="cost"><tr valign="bottom"><td> PHYLLIS BROWNE. A Story. By Flora L. Shaw. Author of "Castle Blair" and "Hector." 16mo. Cloth. Illustrated. Price, </td><td>$1.00 </td></tr> </table> "'Castle Blair' and 'Hector' are such good stories that a third, by the same author, Flora L. Shaw, will be equally welcomed. 'Hector' was one of the most charming books ever written about a boy. 'Phyllis Browne' is the new story. She is evidently the author's ideal girl, as Hector was her ideal boy, and a noble, splendid girl she is. Yet the book is not a child's book; it is about children, but not for them. The story is far more interesting than most novels are, and far more exciting. The rash generosity of the children is beautiful; their free, trustful lives are noble and sweet; but when they undertake to right social wrongs, and gallantly set their brave hearts and childish inexperience against the established wrongs of society, they come to grief, but in no commonplace way. Their dangers are as unusual and on as large a scale as their characters and courage are. The book is full of tender and loving things; it makes the heart larger, and brings back the splendid dreams of one's own youth," says the Boston correspondent of the Worcester Spy. <table summary="cost"><tr valign="bottom"><td> THE MARQUIS OF CARABAS. A Romance. By Harriet Prescott Spofford, author of "The Amber Gods," "The Thief in the Night," etc. 16mo. Cloth. Price, </td><td>$1.00 </td></tr> </table> "This is the latest offering of the author of 'The Amber Gods,' and it is as odd as striking, and as impressive in its shadowy implication as anything she has ever written. Handled differently, the incidents would seem theatrical; as told by Mrs. Spofford, the story is like the vivid passages of a drama from which, once seen, you cannot escape. Pleasant or unpleasant they force themselves upon the consideration and lay hold of the imagination. So it is with 'The Marquis of Carabas.'"—Chicago Inter-Ocean. "'The Marquis of Carabas,' by Harriet Prescott Spofford, is a work of unique quality, being really a poem in the guise of a prose novel. The thought is tense and sublimated, and the style glowing, musical and polished. There is abundant invention in the story, and nothing of common-place and indolent imitation which in the case of ordinary raconteurs contributes so largely to swell the bulk of results. The narrative fascinates one, but the fascination is not of a stream flowing largely and naturally through the landscape; it is rather that of silver bells, whose clear, finely modulated chimes touch the finer issues of feeling, but not without some obtrusive sense of study and premeditation."—Home Journal. <table summary="cost" cellpadding="4" cellspacing="0"><tr valign="bottom"><td colspan="2" align="center"> LANDOR'S IMAGINARY CONVERSATIONS.</td></tr> <tr valign="bottom"><td>With a portrait. A new edition. 5 volumes. 16mo.</td></tr> <tr valign="bottom"><td>Cloth. Oxford style. Price,</td><td>$5.00</td></tr> <tr valign="bottom"><td>Imitation half calf,</td><td>$6.25</td></tr> </table> <hr /> ⁂Our publications are for sale by all booksellers, or will be sent post-paid on receipt of advertised price. ROBERTS BROTHERS, Boston. <hr class="full" /> MESSRS. ROBERTS BROTHERS' <h2>Classic Series.</h2> <hr /> A collection of world-renowned works selected from the literatures of all nations, printed from new type in the best manner, and neatly and durably bound. Handy books, convenient to hold, and an ornament to the library shelves. READY AND IN PREPARATION. Sir Walter Scott's "Lay of the Last Minstrel," "Marmion," and "The Lady of the Lake." The three poems in one volume. "There are no books for boys like these poems by Sir Walter Scott. Every boy likes them, if they are not put into his hands too late. They surpass everything for boy reading."—Ralph Waldo Emerson. Oliver Goldsmith's "The Vicar of Wakefield." With Illustrations by Mulready. Defoe's "Robinson Crusoe." With Illustrations by Stothard. Bernardin de Saint-Pierre's "Paul and Virginia." With Illustrations by Lalauze. Southey's "Life of Nelson." With Illustrations by Birket Foster. Voltaire's "Life of Charles the Twelfth." With Maps and Portraits. Maria Edgeworth's "Classic Tales." With a biographical Sketch by Grace A. Oliver. Lord Macaulay's "Lays of Ancient Rome." With a Biographical Sketch and Illustrations. Bunyan's "Pilgrim's Progress." With all of the original Illustrations in fac-simile. Classic Heroic Ballads. Edited by the Editor of "Quiet Hours." Classic Tales. By Anna Letitia Barbauld. With a Biographical Sketch by Grace A. Oliver. Classic Tales. By Ann and Jane Taylor. With a Biographical Sketch by Grace A. Oliver. AND OTHERS. <hr class="full" /> <div class="footnotes"><h3 class="top5">FOOTNOTES:</h3> <div class="footnote">[A] Pückler-Muskau. </div> <div class="footnote">[B] Quoted from Mr. Emerson's reminiscences. </div> <div class="footnote">[C] Cabot, a well-known Boston patronymic. </div> <div class="footnote">[D] Mrs. Story, wife of the eminent sculptor. </div> <div class="footnote">[E] Wet-nurse. </div> <div class="footnote">[F] Mrs. Story. </div> <div class="footnote">[G] Cathedral. </div> <div class="footnote">[H] Foreigners. </div> <div class="footnote">[I] Mrs. Story's reminiscences. </div> <div class="footnote">[J] James Freeman Clarke. </div> The following supposed typographical error has been corrected: Beethoven, Romaic poetry => Beethoven, Romantic poetry Herrman => Herman Abroad and at Home => At Home and Abroad [etext transcriber's note] </div> <div style="break-after:column;"></div>

1 of 2

2 of 2

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.