New-York daily tribune., 1865-11-16
NEW PUBLICATIONS.
AIRS. sTODDARD's TWO MEN =.
, MEN. NOVEL BY tLIEAsErin ,I,ii,i1,aU. saU'D


u,al asthe choice Of It's matcraIs, pe'I"!'
"o0' -, u,ono,dence of the usual traditions ol il"-
-+ Mrs. Stoddard has no prototype III NJ,
'N'' -" - oonnosition. She cannot be accusen
sf following the steps of any faVor'e
English authors. In tone ana Spir a""'' 49,. of
,oodero French schools may oe u'''''VU'
,onnoertap character, that Es esnno' -, .;a',a
,,s .onrce or found upon it the charge % WIS
-, Tho conception of the work, no iesS
49, ov,ontion. is original with the author It's
80. ,a i,s merits are equally her own in'
= .,orlar from the subtle power WIN "hi'u
,,,,,-scions and unloyey, indeed o''eu 'eF''''''
4,aria,s are wrought up into dramatic story OF
80. T. not fascinating, interest. No appeal is
30 70 the kindly charities of life, OF the purer
.nd ,rore spiritual emotions Of our nature; no
traits of nobeness or high moral worm open 'no
tountain of tears or exhilarae the heart Win -!
ous sy1npathv; no weak womany sentiment III
rairs the effect of the keen merciless hssecuoh o'
rass;on and motives which awaken an almost NOR
bideurosty In the reader 10 know the result ol 'H'
process that fixes his gaze; the march OF events Oh
snther of inward experiences, advances III grliu'
xoectral procession leaving usat the close 10 hoiio
the analytic skin of the author, her bold, vigorous
handling of the mysteries of passion, and hers'' VI
Sharp. incisive expression, instead Of feenng SYM
ratay with the fortunes of her characters OF
lingering over the remembrance of attractive scenes
or beautiful developments of life ana manners
1t evidently forms no part OF the author "o'N'u'
theory that the deneaton Of objects tnat are ioVey
a. grand in themselves, or pleasing through some
charm of association, is the appropriate function OF
art In this respect, she would satisfy the most
ygid Pre-Raphaelite who demands the expression
OF reality not the representation Of ideal beauty
Her aim has been 20 clothe her conceptions IN the
form and coloring of truth, TO depict with hdehiy
the images of her mind, to reproduce the scenes or
rather the forms OF passion, that her fancy mas
created instead Of heguing the soul of the reader
by suggestions of enchanting excellence or seduc-
live grace. Whether the characters which she has
embodied in the story actually true 10 nature is
another question; they are certainly in the highest
degree improbable; but they involve no contradic-
ton; and may, perhaps, be found among the monde
scripts which sometimes turn up in social hie' a.
well as among plants and animals. II is not at all
likely, however, that such combination Of eX
septional cratic natures were ever thrown togethc
III the natural intercourse of life some specimens
the normal type being usually preserved even IN th
widest yagaries Of humanity Still, the author ha
been faithful to her own convictions The person
ages of her story are realities TO herself she paints
them as they come before her mental vision; sh'
reproduces them with the exactness of photo
graph, Indifferent and unconscious as the sun
whether they awaken congeniol sympathy, q
prove objects OF aversion and disgust.
In uavdt 70 81 10 of traaf Mre 4
the most part employs the dramatic rather than The
narrative form. We become acquainted with be
characters, less from any formal description, tina
through their own conversation. The story ever
where takes the shape OF dialogue. We hearher pe
sous talk but are seldom told by the writer what tn
are, or What she wishes them 20 he. The conN'
sations are managed with very subtle art; q wol
ni meaning is often suggested by single phrt
and the confession of moment reveals the histo
al life. Little account is made in the story
external events, or scenes in nature, compar
with the illustration of character. It's purpose
tO lay bare the psychology of passion. 20 TO spea
not 10 stimulate curiosity by the succession Of OF
ward experiences. Stin there are frequent bits
description evincinga siDeuarly delicate sense
l4turl influences, and rare power of vor
painting. such vivid and charming pictures cou
proceed only from truthful eye end veoro
touch. They betrey the susceptibility OF The pa
snd the creative power Of The artist.
We have alluded to the unattractive character
the materials Is q proof Of the skill Of the authC
She awaken, no sympathy or love forthc personag
in her story but calls forth livel, intorsi in Il
Development of ihrir history Not one Ofthe ecto
iuhcrdrama Of passion touches the heart or chari
the Imagination. They inspire NO respect BY jhe
virtues. nor tender compassion for thcr i9fl'
1hey are persons whose acquaintance sLDu
Jpo- wish 20 cultivate. In real lie We fancy tht
would prove intolerable bores. 1hoy 10 not eve
pfesent the dazzling spleudors Of great cdm
which bewilder by their sudacl0us manifestation
O "a perverted nature. They are simply specimen
Of morbid intellectual growth, like the physi9
uonstIosties that are bottled up n spirit. iu m
cabinet of the surgeon. They may b. isolul f
The qualification Of scientific curiosity, bat ca
never minister gcnisllv 70 h,.dthy taste I'll
eldest Of the "Two Men, Jt,ol AustDr. is
mOOn-sirnck house Carpenter, Who, after W0uig.u
in dreams OF social reform which MAKE him re.. q
the neighbOrhOOd, eIoigrdles 10 distant town
where be begins 10 ply the broad az AND Jack
plane in moody. msurhropic Silence. lie zap
p~ar-d shy, cold ana Indifferent self-forgctfi anC
fnr<etf1 OF others" True his outer mao was no
thou, q species OF attraction; he had "oye
81 light blue frngcd with thick block lashes
which now somewhat vague aud wandering il
the soul should ever awaken. world ha.h Wit
sconquering power, OF difFuse tender appealing
rars.r A. i was he certainly was not handsom,