then, as now, was the goal of every author's ambition—first fired Miss Benger's zeal. When we think of Miss Hannah More as a successful playwright, it is hard to understand how any one could fail; yet fail Miss Benger did, although we are assured by her biographer that "her genius appeared in many ways well adapted to the stage." She next wrote a mercilessly long poem upon the abolition of the slave trade (which was read only by anti-slavery agitators), and two novels,—"Marian," and "Valsinore: or, the Heart and the Fancy." Of these we are told that "their excellences were such as genius only can reach"; and if they also missed their mark, it must have been because—as Miss Aikin delicately insinuates—"no judicious reader could fail to perceive that the artist was superior to the work." This is always unfortunate. It is the work, and not the artist, which is offered for sale in the marketplace. Miss Benger's work is not much worse than a great deal which did sell, and she possessed at least the grace of an unflinching and courageous perseverance. Deliberately, and without aptitude or training, she began to write
