"Balzac is an artist, and only an artist. In his tranquil,
unimpassioned, remorseless diagnosis of morbid phenomena, in his
cool method of treating the morbid anatomy of the heart, in his
curiously accurate dissection of the passions, in the patient and
painful attention with which, stethoscope in hand, finger on pulse,
eye everywhere, you see him watching every symptom, alive to every
sound and every breath, and in the scientific accuracy with which he
portrays the phenomena which have been the subject of his
investigation,--in all this calm and conscientious study of nature
he often reminds us of Goethe. Balzac, however, is only an artist
. . . He is neither moral nor immoral, but a calm and profound
observer of human society and human passions, and a minute, patient,
and powerful delineator of scenes and characters in the world before
his eyes. His readers must moralize for themselves. . . . It
is, perhaps, his defective style more than anything else which will
prevent his becoming a classic, for style above all other qualities
seems to embalm for posterity. As for his philosophy, his
principles, moral, political, or social, we repeat that he seems to
have none whatever. He looks for the picturesque and the striking.
He studies sentiments and sensations from an artistic point of view.
He is a physiognomist, a physiologist, a bit of an anatomist, a bit
of a mesmerist, a bit of a geologist, a Flemish painter, an
upholsterer, a micrological, misanthropical, sceptical philosopher;
but he is no moralist, and certainly no reformer."

Another article contributed by Mr. Motley to "The North American Review"
is to be found in the number for October, 1849. It is nominally a review
of Talvi's (Mrs. Robinson's) "Geschichte der Colonisation von New
England," but in reality an essay on the Polity of the Puritans,--an
historical disquisition on the principles of self-government evolved in