Transatlantic talent which had been recognised in this country.

The two volumes of the Sketch-Book appeared at different periods;
and, at the conclusion of the second, we find the following
apologetic postscript: "The author is conscious of the numerous
faults and imperfections of his work; and, well aware how little
he is disciplined and accomplished in the arts of authorship. His
deficiencies are also increased by a diffidence arising from his
peculiar situation. He finds himself writing in a strange land,
and appearing before a public, which he has been accustomed, from
childhood, to regard with the highest feelings of awe and reverence.
He is full of solicitude to secure their approbation, yet finds that
very solicitude continually embarrassing his powers, and depriving
him of that ease and confidence which are necessary to successful
exertion. Still the kindness with which he is treated encourages him
to go on, hoping that, in time, he may acquire a steadier footing; and
thus he proceeds, half venturing, half shrinking, surprised at his own
good fortune, and wondering at his own temerity."

The success of the Sketch-Book was followed by the almost equal
fortune of "Bracebridge Hall, or the Humorists;" a series of scenes
of Old English life, as displayed in one of those venerable halls,
that rise, here and there, in a British landscape, as monuments
of the hospitality of our ancestors, and better times. In the
autobiographical chapter of this work, the writer thus pleasantly
refers to his previous success, as "a matter of marvel, that a
man, from the wilds of America, should express himself in tolerable
English. I was looked upon as something new and strange in
literature,--a kind of demi-savage, with a leather in his hand,
instead of his head; and there was a curiosity to hear what such