ly from the heart of genius. His home-life in the country is
a perpetual source of inspiration to Ik. Marvel, in his highest and best
creations. He describes rural scenes with a freshness and veracity, which
is the exclusive privilege of early recollections. In this respect, "the
child is father to the man." His pages are fragrant with the clover-fields
and new hay, in which he sported when a child. With feelings unworn by the
world, he lives over again the "dreams of his youth," which are so richly
peopled with fair and sad visions, drawing an abundant supply of materials
for his exquisite imagination to shape, and reproducing them in forms that
are equally admirable for their tenderness and their truth. What a
striking contrast does he present to those writers who trust merely to
fancy without the experience of life--whose rural pictures remind you of
nature as much as the green and red paint of an artificial flower reminds
you of a rose.

In the Dedication of this volume to Washington Irving, the author
gracefully alludes to the influence of that consummate master in enabling
him to attain the "facility in the use of language, and the fitness of
expression in which to dress his thoughts," which any may suppose to be
found in his writings. This is a beautiful testimony, alike honorable to
the giver and the receiver. The frankness with which the acknowledgment is
made, shows a true simplicity of purpose, altogether above the sphere of a
weak personal vanity. And the contagious action of Mr. Irving's literary
example on susceptible, generous minds can scarcely be overrated. The
writers now on the stage are more indebted to that noble veteran than they
are apt to remember, for the polished refinement of expression which he
was the first to make the fashion in this country. They may indeed
discover no more resemblance between Mr. Irving's style and their own,
than there is between that of Mr. Irving and Ik. Marvel. In this case, we
confess, we should not have suspected the relation alluded to by the
latter. We trace other and stronger influences in the formation of his
style than the example of Mr. Irving. But the beneficial effect of a great
master of composition is not to be estimated by the resemblance which it
produces to himself. The artist does not study the works of Raphael or
Michael Angelo in order to imitate their characteristics. His purpose is
rather to catch the spirit of beauty which pervades their productions