t belief in many polemics, which I suppose gave
people a sufficiently false notion of him; and he showed his faith by
works in fiction which better illustrated his motive. Gunnar stands at
the beginning of these works, and at the farthest remove from it in
matter and method stands 'The Mammon of Unrighteousness'. The lovely
idyl won him fame and friendship, and the great novel added neither to
him, though he had put the experience and the observation of his ripened
life into it. Whether it is too late or too early for it to win the
place in literature which it merits I do not know; but it always seemed
to me the very spite of fate that it should have failed of popular
effect. Yet I must own that it has so failed, and I own this without
bitterness towards Gunnar, which embalmed the spirit of his youth as 'The
Mammon of Unrighteousness' embodied the thought of his manhood.

III.

It was my pleasure, my privilege, to bring Gunnar before the public as
editor of the Atlantic Monthly, and to second the author in many a
struggle with the strange idiom he had cast the story in. The proofs
went back and forth between us till the author had profited by every hint
and suggestion of the editor. He was quick to profit by any hint, and he
never made the same mistake twice. He lived his English as fast as he
learned it; the right word became part of him; and he put away the wrong
word with instant and final rejection. He had not learned American
English without learning newspaper English, but if one touched a phrase
of it in his work, he felt in his nerves, which are the ultimate arbiters
in such matters, its difference from true American and true English. It
was wonderful how apt and how elect his diction was in those days; it
seemed as if his thought clothed itself in the fittest phrase without his
choosing. In his poetry he had extraordinary good fortune from the
first; his mind had an apparent affinity with what was most native, most
racy in our speech; and I have just been looking over Gunnar and
marvelling anew at the felicity and the beauty of his phrasing.

I do not know whether those who read his books stop much to consider how
rare his achievement was in the mere means of expression. Our speech is
rather more hospitable than most, and yet I can remember but five other
writers born to different languages who have handled English with
anything like his mastery. Two Italians, Ruffini, the novelist, and
Gallenga, the jou