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The Atlantic Monthly, Volume 01, No. 1, November, 1857 - A Magazine of Literature, Art, and Politics by Various
page 23 of 282 (08%)
he had any preference for one kind or form of government over another.
I repeat,--his radicalism was that of a humorist. He despised big-wigs,
and pomp of all sorts, and, above all, humbug and formalism. But his
radicalism was important as a sign that our institutions are ceasing
to be picturesque; of which, if you consider his nature, you will see
that his radicalism was a sign. And he did service to his cause. Not an
abuse, whether from the corruption of something old, or the injustice of
something new, but Douglas was out against it with his sling. He threw his
thought into some epigram which stuck. Praising journalism once, he said,
"When Luther wanted to crush the Devil, didn't he throw _ink_ at him?"
Recommending Australia, he wrote, "Earth is so kindly there, that, tickle
her with a hoe, and she laughs with a harvest." The last of these sayings
is in his best manner, and would be hard to match anywhere for grace and
neatness. Here was a man to serve his cause, for he embodied its truths in
forms of beauty. His use to his party could not be measured like that of
commoner men, because of the rarity and attractive nature of the gifts
which he brought to its service. They had a kind of incalculable value,
like that of a fine day, or of starlight.

He was now immersed in literary activity. He had all kinds of work on hand.
He brought out occasionally a five-act comedy, full as usual of wit. He
wrote in "Punch,"--started a newspaper,--started a magazine,--published
a romance,--all within a few years of each other. The romance was "A Man
made of Money," which bids fair, I think, to be read longer than any of
his works. It is one of those fictions in which, as in "Zanoni," "Peter
Schlemil," and others, the supernatural appears as an element, and yet is
made to conform itself in action to real and every-day life, in such a
way that the understanding is not shocked, because it reassures itself by
referring the supernatural to the regions of allegory. Shall we call this a
kind of bastard-allegory? Jericho, when he first appears, is a common man
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