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holds undisturbed through the first half of the book, and more. Not until, in the latter half of it, the author comes to describe slavery in the Far South, likewise the harsh relations between the colonists and the Indians, finally the outbreak of the tempest of civil war, does his book give out its second note—the note of pain. By its inclusion of these sombre and agonising aspects of life in America, the book gains, as is most obvious, both in authenticity and literary strength. It is not hard to understand why, at such a time, a book like this should soon have made its way into the languages of Europe, particularly those of France, Germany, and Holland; nor why it should have fascinated multitudes of readers in all parts of the Continent, even beguiling many of them—too many of them, perhaps—to try their fortunes in that blithe and hospitable portion of the planet where the struggle for existence seemed almost a thing unknown. In England, likewise, the book won for itself, as was natural, a wide and a gracious consideration; its praises lasted among English men of letters as long, at least, as until the time of Hazlitt and Charles Lamb; while its idealised treatment of rural life in America wrought quite traceable effects upon the imagination of Campbell, Byron, Southey, and Coleridge, and furnished not a few materials for such captivating and airy schemes of literary colonisation in America as that of “Pantisocracy.”
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