e of situation is among possible events; that it may become
probable by supernatural interference. The Almighty has no attribute
that can take side with us in such a contest. But it is impossible to be
temperate and pursue this subject.'"

"That is stronger yet!" exclaimed Charlie. "I tell you, Nat, there are
no such Democrats now."

"Yes, there are; you see one sitting in this chair," replied Nat, "and I
believe there are many such. A person must believe so if he believes the
Declaration of Independence. Come, Charlie, you are as good a Democrat
as I am, only you won't own it."

"I certainly think well of Jefferson's principles, so far as you have
read them to me, but I am not quite ready to call myself a Democrat."

We can readily see that Nat's sympathies would lead him at once to
embrace the views of Jefferson on reading his life and writings. We have
seen enough of him in earlier scenes to know in what direction they
would run. His pity for the poor and needy, the unfortunate and injured,
even extending to abused dumb animals; his views and feelings respecting
the different orders of society; and his naturally kind and generous
heart, would prepare the way for his thus early taking sides in
politics. The traits of character discoverable in the court scene, when
he plead the case of the accused boys; his grief with Frank when he wept
over dead Trip; his condemnation of Sam Drake in defence of Spot, and
one or two other incidents, are also traceable in his interest in the
character and principles of Jefferson. There seemed to him more
_equality_ in those doctrines, more regard for the rights of the
people, more justice and humanity, than in any thing he had read.
Indeed, he had read nothing strictly political before, except what came
under his eye in the papers, and he was fully prepared to welcome such
views.

Jefferson's life and writings certainly made a lasting impression upon
Nat's mind. It was one of the works that contributed to his success.
Like the lives of Patrick Henry and of Dr. Franklin, and the address
upon the character of Count Rumford, it contained much that appealed
directly to his early aspirations. It is said that when Guido stood
gazing upon the inimitable works of Michael Angelo, he was first roused
to behold the field of effort for which he was evidently made, and he
exclaimed, "I, too, am a painter." So, it would seem, that direction was
given to the natural powers of Nat, and his thirst