in regard to Mrs. Stowe. Neither of these great writers would have
appeared to Cambridge of the last literary quality; their fame was with a
world too vast to be the test that her own

"One entire and perfect crysolite"

would have formed. Whittier in fact had not arrived at the clear
splendor of his later work without some earlier turbidity; he was still
from time to time capable of a false rhyme, like morn and dawn. As for
the author of 'Uncle Tom's Cabin' her syntax was such a snare to her that
it sometimes needed the combined skill of all the proof-readers and the
assistant editor to extricate her. Of course, nothing was ever written
into her work, but in changes of diction, in correction of solecisms, in
transposition of phrases, the text was largely rewritten on the margin of
her proofs. The soul of her art was present, but the form was so often
absent, that when it was clothed on anew, it would have been hard to say
whose cut the garment was of in many places. In fact, the proof-reading
of the 'Atlantic Monthly' was something almost fearfully scrupulous and
perfect. The proofs were first read by the under proof-reader in the
printing-office; then the head reader passed them to me perfectly clean
as to typography, with his own abundant and most intelligent comments on
the literature; and then I read them, making what changes I chose, and
verifying every quotation, every date, every geographical and
biographical name, every foreign word to the last accent, every technical
and scientific term. Where it was possible or at all desirable the proof
was next submitted to the author. When it came back to me, I revised it,
accepting or rejecting the author's judgment according as he was entitled
by his ability and knowledge or not to have them. The proof now went to
the printers for correction; they sent it again to the head reader, who
carefully revised it and returned it again to me. I read it a second