graphical affairs of the artist Alphonso Murietta in Italy (The One Fair Woman). In what we may call his final period, after his return to California in the middle 'eighties, there grew strong in him a sense that he was the leader of a native poetical movement, a spiritual seer with Messianic or at least prophetic mission, and in the flowing hair and beard of his last years, stalking majestically under the trees which he had planted by his monuments on. The Hights, and gazing dreamily out over the Pacific, he looked the part.
Now, whatever one may think of Miller's actual contribution to poetry or to prose fiction, this evolution of an Indian fighter into the Moses of the Golden Gate is an extraordinary phenomenon. Considered merely as a detached individual, he is abundantly interesting to the biographer. But he repays sympathetic curiosity most generously perhaps when one regards and studies him as a register of the power exerted upon the individual by the American environment and the national culture, even at their thinnest and crudest. To study him in this fashion, the first requisite is a more coherent account of his career than has hitherto been available. Joaquin Miller was his own principal hero, but by a singular fatality his adventures have never been adequately written. Certain scenes and events he himself sketched repeatedly; but concerning many passages of his history he was extremely reticent. What is more serious, he had no steady narrative power.
