no pains to be accurate, falls into the most extraordinary anachronisms in almost every chapter. Brutus in a bob-wig, Othello in a swallow-tail coat, could hardly be more incongruously equipped than some of his characters in the manner of thought, the phrases, the way of bearing themselves which belong to them in the tale, but never could have belonged to characters of our Revolutionary period. He goes so far in his carelessness as to mix up dates in such a way as almost to convince us that he never looked over his own manuscript or proofs. His hero is in Prague in June, 1777, reading a letter received from America in less than a fortnight from the date of its being written; in August of the same year he is in the American camp, where he is found in the company of a certain Colonel Waldron, an officer of some standing in the Revolutionary Army, with whom he is said to have been constantly associated for some three months, having arrived in America, as he says, on the 15th of May, that is to say, six weeks or more before he sailed, according to his previous account. Bohemia seems to have bewitched his chronology as it did Shakespeare's geography. To have made his story a consistent series of contradictions, Morton should have sailed from that Bohemian seashore which may be found in “A Winter's Tale,” but not in the map of Europe.
And yet in the midst of all these marks of haste and negligence, here and there the philosophical student of history betrays himself, the ideal of noble achievement glows in an eloquent paragraph, or is embodied in a loving portrait like that of the professor and historian Harlem. The novel, taken in connection with the subsequent developments of the writer's mind, is a study of singular interest. It is a chaos before the creative epoch; the light has not been divided from the darkness; the firmament has not yet divided the waters from the waters. The forces at work in a human intelligence to bring harmony out of its discordant movements are as mysterious, as miraculous, we might truly say, as those which give shape and order to the confused materials out of which habitable worlds are evolved. It is too late now to be sensitive over this unsuccessful attempt as a story and unconscious success as a self-portraiture. The first sketches of Paul Veronese, the first patterns of the Gobelin tapestry, are not to be criticised for the sake of pointing out their inevitable and too manifest imperfections. They are to be carefully studied as the earliest efforts of the hand which painted the Marriage at Cana, of the art which taught the rude fabrics made to be trodden under foot to rival the glowing canvas of the great painters. None of Motley's subsequent writings give such an insight into his character and mental history. It took many years to train the as yet undisciplined powers into orderly obedience, and to bring the unarranged materials into the organic connection which was needed in the construction of a work that should endure. There was a long interval between his early manhood and the middle term of life, during which the slow process of evolution was going on. There are plants which open their flowers with the first rays of the sun; there are others that wait until evening to spread their petals. It was already the high noon of life with him before his genius had truly shown itself; if he had not lived beyond this period, he would have left nothing to give him a lasting name.
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