Chat Sprague

The "Writings of CHARLES SPRAGUE" were first collected and published about nine months ago by Mr. Charles S. Francis of New York. At the time of the issue of the book we expressed our opinion frankly in respect to the general merits of the author-an opinion with which one or two members of the Boston press did not see fit to agree —but which, as yet, we have found no reason for modifying. What we say now is, in spirit, merely a repetition of what we said then. Mr. Sprague is an accomplished belles-lettres scholar, so far as the usual ideas of scholarship extend. He is a very correct rhetorician of the old school. His versification has not been equalled by that of any American -has been surpassed by no one living or dead. In this regard there are to be found finer passages in his poems than any elsewhere. These are his chief merits. In the essentials of poetry he is excelled by twenty of our countrymen whom we could name. Except in a very few instances he gives no evidence of the loftier ideality. His "Winged Worshippers" and "Lines on the Death of M. S. C." are beautiful poems-but he has written nothing else which should be called so. His "Shakspeare Ode," upon which his high reputation mainly depended, is quite a second-hand affair-with no merit whatever beyond that of a polished and vigorous versification. Its imitation of "Collins' Ode to the Passions" is obvious. Its allegorical conduct is mawkish, passé, and absurd. The poem, upon the whole, is just such a one as would have obtained its author an Etonian prize some forty or fifty years ago. It is an exquisite specimen of mannerism, without meaning and without merit—of an artificial, but most inartistical style of composition, of which conventionality is the soul,-taste, nature, and reason the antipodes. A man may be a clever financier without being a genius.

It requires but little effort to see in Mr. Sprague's MS. all the idiosyncrasy of his intellect. Here are distinctness, precision, and vigour-but vigour employed upon grace rather than upon its legitimate functions. The signature fully indicates the general hand-in which the spirit of elegant imitation and conservatism may be seen reflected as in a mirror.

Camellin Matheus

Mr. CORNELIUS MATHEWs is one of the editors of "Arcturus," a monthly journal which has attained much. reputation during the brief period of its existence. He is the author of "Puffer Hopkins," a clever satirical tale somewhat given to excess in caricature, and also of the wellwritten retrospective criticisms which appear in his Magazine. He is better known, however, by "The Motley Book," published some years ago—a work which we had no opportunity of reading. He is a gentleman of taste and judgment unquestionably.

His MS. is much to our liking-bold, distinct, and picturesque such a hand as no one destitute of talent indites. The signature conveys the hand.

Puszittippman

Mr. CHARLES FENNO HOFFMAN is the author of "A Winter in the West," "Greyslaer," and other productions of merit. At one time he edited, with much ability, the "American Monthly Magazine" in conjunction with Mr. Benjamin, and subsequently with Dr. Bird. He is a gentleman of talent.

His chirography is not unlike that of Mr. Mathews. It has the same boldness, strength, and picturesqueness, but is more diffuse, more ornamented, and less legible. Our fac

simile is from a somewhat hurried signature, which fails in giving a correct idea of the general hand.

Horace Eveels

Mr. HORACE GREELEY, present editor of "The Tribune," and formerly of the "New-Yorker," has for many years been remarked as one of the most able and honest of American editors. He has written much and invariably well. His political knowledge is equal to that of any of his contemporaries his general information extensive. As a belleslettres critic he is entitled to high respect.

His MS. is a remarkable one-having about it a peculiarity which we know not how better to designate than as a converse of the picturesque. His characters are scratchy and irregular, ending with an abrupt taper-if we may be allowed this contradiction in terms, where we have the facsimile to prove that there is no contradiction in fact. All abrupt MSS., save this, have square or concise terminations of the letters. The whole chirography puts us in mind of a jig. We can fancy the writer jerking up his hand from the paper at the end of each word, and, indeed, of each letter. What mental idiosyncrasy lies perdu beneath all this is more than we can say, but we will venture to assert that Mr. Greeley (whom we do not know personally) is, personally, a very remarkable man.

Prosper M Wolwond

The name of Mr. PROSPER M. WETMORE is familiar to all readers of American light literature. He has written a great deal, at various periods, both in prose and poetry (but principally in the latter) for our Papers, Magazines, and Annuals. Of late days we have seen but little, comparatively speaking, from his pen.

His MS. is not unlike that of Fitz-Greene Halleck, but

is by no means so good. Its clerky flourishes indicate a love of the beautiful with an undue straining for effectqualities which are distinctly traceable in his poetic efforts. As many as five or six words are occasionally run together; and no man who writes thus will be noted for finish of style. Mr. Wetmore is sometimes very slovenly in his best compositions.

Professor WARE, of Harvard, has written some very excellent poetry, but is chiefly known by his "Life of the Saviour,” “Hints on Extemporaneous Preaching," and other religious works.

His MS. is fully shown in the signature. It evinces the direct unpretending strength and simplicity which characterise the man, not less than his general compositions.

William BO. Leabody

The name of WILLIAM B. O. PEABODY, like that of Mr. Wetmore, is known chiefly to the readers of our light literature, and much more familiarly to Northern than to Southern readers. He is a resident of Springfield, Mass. His occasional poems have been much admired.

His chirography is what would be called beautiful by the ladies universally, and, perhaps, by a large majority of the bolder sex. Individually, we think it a miserable one— too careful, undecided, tapering, and effeminate. It is not unlike Mr. Paulding's, but is more regular and more legible, with less force. We hold it as undeniable that no man of genius ever wrote such a hand.

Free Sargent

EPES SARGENT, Esq., has acquired high reputation as the author of "Velasco," a tragedy full of beauty as a poem, but not adapted-perhaps not intended-for representation. He has written, besides, many very excellent poems—“ The Missing Ship," for example, published in the "Knickerbocker"-the "Night Storm at Sea"-and, especially, a fine production entitled "Shells and Sea-Weeds." One or two Theatrical Addresses from his pen are very creditable in their way—but the way itself is, as we have before said, execrable. As an editor, Mr. Sargent has also distinguished himself. He is a gentleman of taste and high talent.

His MS. is too much in the usual clerk style to be either vigorous, graceful, or easily read. It resembles Mr. Wetmore's, but has somewhat more force. The signature is better than the general hand, but conveys its idea very well.

W. Allston

The name of "WASHINGTON ALLSTON," the poet and painter, is one that has been long before the public. Of his paintings we have here nothing to say-except briefly, that the most noted of them are not to our taste. His poems are not all of a high order of merit; and, in truth, the faults of his pencil and of his pen are identical. Yet every reader will remember his "Spanish Maid" with pleasure, and the " Address to Great Britain," first published in Coleridge's "Sibylline Leaves," and attributed to an English author, is a production of which Mr. Allston may be proud.

His MS., notwithstanding an exceedingly simple and boyish air, is one which we particularly admire. It is forcible, picturesque, and legible, without ornament of any description. Each letter is formed with a thorough dis