tions of youth and virility.

While he was reading law he constantly exercised his pen in the
composition of essays, some of which were published under the title of
the "Rhapsodist;" but it was not until 1797 that his career as an author
began, by the publication of "Alcuin: a Dialogue on the Rights of Women."
This and the romances which followed it show the powerful influence upon
him of the school of fiction of William Godwin, and the movement of
emancipation of which Mary Wollstonecraft was the leader. The period of
social and political ferment during which "Alcuin" was put forth was not
unlike that which may be said to have reached its height in extravagance
and millennial expectation in 1847-48. In "Alcuin" are anticipated most
of the subsequent discussions on the right of women to property and to
self-control, and the desirability of revising the marriage relation.
The injustice of any more enduring union than that founded upon the
inclination of the hour is as ingeniously urged in "Alcuin" as it has
been in our own day.

Mr. Brown's reputation rests upon six romances: "Wieland," "Ormond,"
"Arthur Mervyn," "Edgar Huntly," "Clara Howard," and "Jane Talbot." The
first five were published in the interval between the spring of 1798 and
the summer of 1801, in which he completed his thirtieth year. "Jane
Talbot" appeared somewhat later. In scenery and character, these
romances are entirely unreal. There is in them an affectation of
psychological purpose which is not very well sustained, and a somewhat
clumsy introduction of supernatural machinery. Yet they have a power of
engaging the attention in the rapid succession of startling and uncanny
incidents and in adventures in which the horrible is sometimes
dangerously near the ludicrous. Brown had not a particle of humor.
Of literary art there is little, of invention considerable; and while the
style is to a certain extent unformed and immature, it is neither feeble
nor obscure, and admirably serves the author's purpose of creating what
the children call a "crawly" impression. There is undeniable power in
many of his scenes, notably in the descriptions of the yellow fever in
Philadelphia, found in the romance of "Arthur Mervyn." There is,
however, over all of them a false and pallid light; his characters are
seen in a spectral atmosphere. If a romance is to be judged, not by
literary rules, but by its power of making an impression upon the mind,
such power as a ghastly s