GENIUS AND OTHER ESSAYS
hit, was speedily the popular favorite, and even at this day we may say that the air and words are the surest key, on the reappearance of a pet diva, to unlock the hearts of her welcomers. Those who were present will not forget the return of Kellogg to our Academy on the 19th of last October, and the tenderness and grace with which she sang them; nor the encores of the audience, and the flowers which dropped around her till she seemed like a melodious bird in Eden. "Sweet Home" was only reckoned at £30 to its author, but was a fortune to those who purchased it. In 1832, 100,000 copies had been sold by the original publisher, and the profits within two years after its issue were two thousand guineas. For all this, it is nothing but a homely, unpoetical statement of the most characteristic sentiment of the Teutonic race. The music had gained no former triumph; but wedded to the idea of home, and sounded in Anglo-Saxon ears, it became irresistible, and will hold its own for generations. "'Midst pleasures and palaces" is as bad as bad can be, but match it with the assertion "There's no place like Home!" and we all accept the one for the sake of the other.
Nor is it strange that in America—where homes are so transitory and people are like the brooks which go on forever—this sentiment should take hold as firmly as in the Motherland. It is because our home-tenure here is so precarious that we cling to its idealization. Conversely, we have little of that itch to possess land—to own so many roods of earth to the centre—which our adopted citizens display. The Yankee
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