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dance on the village-green—the family dinner under the trees—the thousand merry-meetings that invigorate industry, by serving as a relief to the business of life. Without these, business is care; and it is from care, not from amusement, men fly to the bottle.

      The common mistake is to associate the idea of amusement with error of every kind; and this piece of moral asceticism is given forth as true wisdom, and, from sheer want of examination, is very generally received as such. A place of amusement concentrates a crowd, and whatever excesses may be committed, being confined to a small space, stand more prominently forward than at other times. This is all. The excesses are really fewer—far fewer—in proportion to the number assembled, than if no gathering had taken place. How can it be otherwise? The amusement is itself the excitement which the wearied heart longs for; it is the reaction which nature seeks; and in the comparatively few instances of a coarser intoxication being superadded, we see only the craving of depraved habit—a habit engendered, in all probability, by the want of amusement.

      No, good friends, let us laugh sometimes, if you love us. A dangerous character is of another kidney, as Cæsar knew to his cost:—

      'He loves no plays,

      As thou dost, Antony; he hears no music;

      Seldom he laughs;'

      and when he does, it is on the wrong side of his mouth.

      Let us be wiser. Let us laugh in fitting time and place, silently or aloud, each after his nature. Let us enjoy an innocent reaction rather than a guilty one, since reaction there must be. The bow that is always bent loses its elasticity, and becomes useless.

       MARGARET FULLER OSSOLI. 1

      The authoress of Woman in the Nineteenth Century, known also in this country by her Papers on Literature and Art, occupied among her own people a station as notable as that of De Staël among the French, or of Rahel von Ense in Germany. Mystic and transcendental as she was, her writings teem with proof of original power, and are the expression of a thoughtful and energetic, if also a wayward and undisciplined, mind. One of the two compilers of these Memoirs (Emerson and W. H. Channing) observes, that his first impression of her was that of a 'Yankee Corinna;' and such is not unlikely to be the last impression of ordinary readers, ourselves among the number. In a letter, dated 1841, we find her saying: 'I feel all Italy glowing beneath the Saxon crust'—an apt illustration of her mental structure and tone of sentiment, compounded of New Worldedness, as represented by Margaret Fuller, and of the feelings of Southern Europe, as embodied in the Marchesa Ossoli. Without at this time pausing to review her literary position, and her influence upon contemporary minds, we proceed to draw from these interesting, but frequently eccentric and extravagantly worded Memoirs, a sketch of her remarkable life-history.

      Margaret Fuller was born at Cambridge-Port, Massachusetts, in May 1810. Her father was a shrewd, practical, hard-headed lawyer, whose love for his wife 'was the green spot on which he stood apart from the commonplaces of a mere bread-winning, bread-bestowing existence.' That wife is described as a fair and flower-like nature, bound by one law with the blue sky, the dew, and the frolic birds. 'Of all persons whom I have known, she had in her most of the angelic—of that spontaneous love for every living thing, for man, and beast, and tree, which restores the Golden Age.'2 Mr Fuller, in undertaking the education of his daughter, committed the common error of excessive stimulation—thinking to gain time by forwarding the intellect as early as possible. He was himself a scholar, and hoped to make her the heir of all he knew, and of as much more as might be elsewhere attained. He was a severe and exacting disciplinarian, and permanently marred the nervous system of his child by the system he adopted of requiring her to recite her tasks on his return home at night, which was frequently very late. Hence a premature development of the brain, which, while it made her a youthful prodigy by day—one such youthful prodigy, it has been justly said, is often the pest of a whole neighbourhood—rendered her the nightly victim of spectral illusions, somnambulism, &c.; checked her growth; and eventually brought on continual headaches, weakness, and various nervous affections. As soon as the light was removed from her chamber at night, this ill-tended girl was haunted by colossal faces, that advanced slowly towards her, the eyes dilating, and each feature swelling loathsomely as they came; till at last, when they were about to close upon her, she started up with a shriek, which drove them away, but only to return when she lay down again. 'No wonder the child arose and walked in her sleep, moaning all over the house, till once, when they heard her, and came and waked her, and she told what she had dreamed, her father sharply bade her "leave off thinking of such nonsense, or she would be crazy"—never knowing that he was himself the cause of all these horrors of the night.' Her home seems to have been deficient in the charms and associations appropriate to childhood. Finding no relief from without, her already overexcited mind was driven for refuge from itself to the world of books. She tells us she was taught Latin and English grammar at the same time; in Latin, which she began to read at six years old, her father, and subsequently a tutor, trained her to a high degree of precision, expecting her to understand the mechanism of the language thoroughly, and to translate it tersely and unhesitatingly, with the definite clearness of one perfectly au fait in the philosophy of the classics. Thus she became imbued with an abiding interest in the genius of old Rome—'the power of will, the dignity of a fixed purpose'—where man takes a 'noble bronze in camps and battle-fields,' his brow well furrowed by the 'wrinkles of council,' and his eye 'cutting its way like the sword;' and thence she loved to escape, at Ovid's behest, to the enchanted gardens of the Greek mythology, to the gods and nymphs born of the sunbeam, the wave, the shadows on the hill—delighted to realise in those Greek forms the faith of a refined and intense childhood. Reading was now to her a habit and a passion. Its only rival attraction was the 'dear little garden' behind the house, where the best hours of her lonely child-life were spent. Within the house, everything, she says, was socially utilitarian; her books told of a proud world, but in another temper were the teachings of the little garden, where her thoughts could lie callow in the nest, and only be fed and kept warm, not called to fly or sing before the time. A range of blue hills, at about twelve miles' distance, allured her to reverie, and bred within her thoughts not too deep for tears. The books which exercised most power over her at this period were Shakspeare, Cervantes, and Molière—all three students of the 'natural history of man,' and inspired by fact, not fancy; reconstructing the world from materials which they collected on every side, not spinning from the desires of their own special natures; and accordingly teaching her, their open-eyed disciple, to distrust all invention which is not based on a wide experience, but, as she confesses, also doing her harm, since the child, fed with meat instead of milk, becomes too soon mature. For a few months, this bookish life was interrupted, or varied, by the presence of an English lady, whom Margaret invested with ideal perfections as her 'first friend,' and whom she worshipped as a star from the east—a morning-star; and at whose departure she fell into a profound depression. Her father sought to dispel this rooted melancholy, by sending her to school—a destiny from which her whole nature revolted, as something alien to its innermost being and cherished associations. To school, however, she went, and at first captivated, and then scandalised her fellow-pupils by her strange ways. Now, she surprised them by her physical faculty of rivalling the spinning dervishes of the East—now, by declaiming verses, and acting a whole répertoire of parts, both laughter-raising and tear-compelling—now, by waking in the night, and cheating her restlessness by inventions that alternately diverted and teased her companions. She was always devising means to infringe upon the school-room routine. This involved her at last in a trouble, from which she was only extricated by the judicious tenderness of her teacher—the circumstances attending which 'crisis' are detailed at length in her story of 'Mariana.'

      Her personal appearance at this time, and for some following years, is described by one of her friends as being that of a blooming girl of a florid complexion and vigorous health, with a tendency to robustness, which she unwisely endeavoured to suppress or conceal at the price of much future suffering. With no pretensions to beauty then, or at any time, her face was one that attracted, but baffled physiognomical art. 'She escaped the reproach of positive plainness, by her blond and abundant hair, by her excellent teeth, by her sparkling, busy eyes, which, though usually half-closed

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