According to the love-idyl of the period, when Laura and Charles Henry, after unheard-of obstacles, are finally united, all cares and tribulations and responsibilities slip from their sleek backs like Christian's burden. The idea is a pretty one, theoretically, but, like some of those models in the Patent Office at Washington, it fails to work. Charles Henry does not go on sitting at Laura's feet and reading Tennyson to her forever: the rent of the cottage by the sea falls due with prosaic regularity; there are bakers, and butchers, and babies, and tax-collectors, and doctors, and undertakers, and sometimes gentlemen of the jury, to be attended to. Wedded life is not one long amatory poem with recurrent rhymes of love and dove, and kiss and bliss. Yet when the average sentimental novelist has supplied his hero and heroine with their bridal outfit and arranged that little matter of the marriage certificate, he usually turns off the gas, puts up his shutters, and saunters off with his hands in his pockets, as if the day's business were over. But we, who are honest dealers in real life and disdain to give short weight, know better. The business is by no means over; it is just begun. It is not Christian throwing off his pack for good and all, but Christian taking up a load heavier and more difficult than any he has carried. If Margaret Callaghan, when she meditated matrimony, indulged in any roseate dreams, they were quickly put to flight. She suddenly found herself dispossessed of a quiet, comfortable home, and face to face with the fact that she had a white elephant on her hands. It is not likely that Mr. O'Rourke assumed precisely the shape of a white elephant to her mental vision; but he was as useless and cumbersome and unmanageable as one.