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was but eighteen when she raised the siege of Orléans and conquered city after city, until Charles VII. was crowned king at Rheims.

      Guizot, the distinguished French statesman and historian, seems to have been "a child who had no childhood." At eleven years of age he was able to read in their respective languages Thucydides, Demosthenes, Dante, Schiller, Gibbon, and Shakespeare.

      Robert Hall, the eloquent English clergyman, was a remarkable instance of early mental development. It is said that before he was ten years of age he perused with interest and understanding Edwards's treatises on the "Affections" and on the "Will." His sermons, essays, and writings generally were eagerly read and admired by the public; but excessive application at last brought on insanity. It was gracefully said of him that his imperial fancy laid all nature under tribute. Even in madness he did not lose his power of retort. A hypocritical condoler visited him in the mad-house, and asked in a servile tone: "Pray, what brought you here, Mr. Hall?" Hall touched his brow significantly with his finger, and replied, "What'll never bring you, sir, – too much brains!"34

      Macaulay had already won an exalted reputation for prose and poetry before he was twenty-three, and N. P. Willis, before he left college, had achieved enduring fame by his sacred poems,35 which, in fact, he never afterwards excelled in a long and successful literary career. Schiller wrote and published in his fourteenth year a poem on Moses. Klopstock began his "Messiah" at seventeen, and Tasso had produced his "Rinaldo," and completed the first three cantos of "Jerusalem Delivered," before he was nineteen. Milton was an unremitting student at ten. Southey began to write verses before he was eleven, Chaucer and Cowley at twelve, and Leigh Hunt at about the same age. Pope,36 like so many others, began to write poetry as a child, thus proving that "poets are born and not made." Chatterton, the remarkable literary prodigy, died at eighteen, but not until he had established a lasting reputation. Bulwer-Lytton was a successful author at about the same age, and so were Keats and Bayard Taylor. Dickens produced the "Pickwick Papers" before he was twenty-five, and it may safely be said that in wit, humor, and originality he never surpassed that delicious book. These seem interesting facts to remember, though they do not establish any actual criterion, since the thoughtful student of the past can adduce many notable examples of mature development in art and literature.

      Among these is that of Edmund Burke, on the whole the greatest of English philosophical statesmen. He is the most remarkable instance of a number of men of genius who seem to have grown younger as they grew older, – that is, mentally and morally. Macaulay has noticed that Bacon's writings towards the close of his career exceeded those of his youth and manhood "in eloquence, in sweetness and variety of expression, and in richness of illustration."37 He adds: "In this respect the history of his mind bears some resemblance to the history of the mind of Burke. The treatises on the 'Sublime and Beautiful,'38 though written on a subject which the coldest metaphysician could hardly treat without being occasionally betrayed into florid writing, is the most unadorned of Burke's works. It appeared when he was twenty-five or twenty-six. When, at forty, he wrote the 'Thoughts on the Causes of the Present Discontents,' his reason and judgment had reached their full maturity, but his eloquence was in its splendid dawn. At fifty his rhetoric was as rich as good taste would admit; and when he died, at almost seventy, it had become ungracefully gorgeous. In his youth he wrote on the emotions produced by mountains and cascades, by the masterpieces of painting and sculpture, by the faces and necks of beautiful women, in the style of a Parliamentary report. In his old age he discussed treaties and tariffs in the most fervid and brilliant language of romance."

      Socrates learned to play on musical instruments in his old age. Cato at eighty first studied the Greek language, and Plutarch did not apply himself to learn the Latin language until about the same age. Theophrastus39 began his "Character of Man" on his ninetieth birthday. Peter Rusard, one of the fathers of French poetry, did not develop his poetic faculty until nearly fifty. Arnauld, the learned French theologian and philosopher, translated Josephus in his eightieth year. Lope de Vega, one of the most learned men of the sixteenth century, wrote his best at seventy years of age. Dr. Johnson applied himself to learn the Dutch language at seventy. At seventy-three, when quite feeble, he composed a Latin prayer to test to his own satisfaction the loss or retention of his mental faculties. Chaucer's "Canterbury Tales" were the work of the author's last years. Franklin's philosophical pursuits were but fairly begun at fifty. La Mothe le Vayer's best treatises were written after he was eighty years of age, and Izaak Walton's when he was nearly ninety. Thomas Hobbes, the remarkable English philosopher and author, published his version of the Odyssey in his eighty-seventh year, and his Iliad in his eighty-eighth. Winckelmann,40 author of the "History of Ancient Art," lived in ignorance and obscurity until the prime of his life, when he became famous. Landor was busy with authorship until after he was eighty. The Earl of Chatham made his most remarkable oratorical effort at seventy, and our own American orator and statesman, Robert C. Winthrop, at a still later period of his life. Fontenelle continued his literary pursuits until he was ninety-nine, "blossoming in the winter of his days," as Lord Orrery wrote of him. Ménage, the celebrated French critic and scholar, wrote sonnets and epigrams at ninety. Julius Scaliger, the renowned Italian scholar and poet, dictated to his son, at the age of seventy, two hundred verses of his own composition from memory. Mr. Gladstone and John Bright, the English statesmen, are more recent examples of oratorical, mental, and physical powers in advanced years. George Bancroft the American historian, in his eighty-sixth year is still engaged in authorship, and Whittier and Holmes are writing with unabated vigor at nearly eighty years of age. Miss Elizabeth Peabody at eighty-four is still a vigorous writer and active philanthropist, and the same may be said of Mrs. Julia Ward Howe at the age of sixty-six. Mrs. Howe, indeed, is one of the foremost of American women, whether we regard the ripeness of her scholarship, the breadth of her understanding, the richness of her imagination, or the quiet intrepidity with which she champions great reforms.

      CHAPTER II

      Who does not enjoy recalling these silent friends, favorite authors grown dear to us by age and long association? Some one has said that authors, like coins, grow dearer as they grow old. Indeed, Samuel Rogers, the banker and poet, declared that when friends at his famous "breakfasts" were praising a new book, he forthwith began to re-read an old one. All these writers were double-sided, so to speak; they had their book natures and their human natures, and it is when we prefer to contemplate them in the latter aspect that we like them best. Carlyle calls them "the vanguard in the march of mind, the intellectual backwoodsmen reclaiming from the idle wilderness new territory for the thought and activity of their happier brethren." It is true that we can form but a partial judgment of authors by their books, their motives being not always as pure as we are inclined to believe.41 A traitor like Bolingbroke is quite capable of writing a captivating book on patriotism; and it has been said if Satan were to write one, it would be upon the advantages of virtue.

      It is certain he has ever shown such a hearty appreciation of virtue that he holds in highest estimation his success in corrupting it. Examples flash across the memory. There was Sir Thomas More advocating toleration, while he was himself a fierce persecutor; Sallust declaring against the licentiousness of his age, yet addicted to habitual debaucheries; Byron assuming a misanthropy which he never felt; and Cowley boasting of his mistresses, though he had not the courage even to address one. Smollett's descriptions and scenes were often indelicate, though he was himself in that respect a faultless man. "As a rule, the author who is not in genius far above his productions must be a second-rate one at best," says Bulwer-Lytton. Sometimes we detect striking likenesses between the author and his works. Goldsmith, for instance, was the same hero to low-bred women, and the same coward to ladies, that he depicts in his charming comedy. It is difficult, however, in the light of Handel's inspired music, to realize what an animal nature possessed him in his every-day mood, – what a glutton he was at table; or to reconcile the sublime strains of Mozart with his trivial personality.42 Still, Buffon persistently declares, "Le style c'est

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