as much as over the weather. Theodore Winthrop's inspiration, in this
instance at least, was strong and genuine enough to enable him to feel
what he was telling as the truth, and therefore it produces an effect of
truth upon the reader. How distinctly every incident of that ride remains
stamped on the memory, even after so long an interval as has elapsed since
it was written! And I recollect that one of the youthful devourers of this
book, who was of an artistic turn, was moved to paint three little water-
color pictures of the Gallop; the first showing the three horses,--the
White, the Gray, and the Black, scouring across the prairie, towards the
barrier of mountains behind which the sun was setting; the second
depicting Don Fulano, with Dick Wade and John Brent on his back, plunging
down the gorge upon the abductors, one of whom had just pulled the trigger
of his rifle; while the third gives the scene in which the heroic horse
receives his death-wound in carrying the fugitive across the creek away
from his pursuers. At this distance of time, I am unable to bear any
testimony as to the technical value of the little pictures; I am inclined
to fancy that they would have to be taken _cum grano amoris_, as they
certainly were executed _con amore_. But, however that may be, the
instance (which was doubtless only one of many analogous to it) shows that
Winthrop possessed the faculty of stimulating and electrifying the
imagination of his readers, which all our recent improvements in the art
and artifice of composition have not made too common, and for which, if
for nothing else, we might well feel indebted to him.




CHAPTER IX.

EMERSON AS AN AMERICAN.