more glaring than even exaggerated incident. In the hands of such a writer as Defoe, the story of _Alton Locke_ would have assumed the aspect of woeful and sad reality. Not an expression would have been allowed to enter which could betray the absolute and irreconcilable difference between the mental powers, habits, and acquirements of the author and his fictitious hero: we should have had no idealism, at least of the transcendental kind; and no dreams, decidedly of a tawdry and uninterpretable description, which bear internal evidence of having been copied at second-hand from Richter. Let it, however, be understood, that these remarks of ours are not intended to detract from the genius, the learning, or the descriptive powers of the writer. Where excellencies such as these exist, even though they may be of rare occurrence, anything approaching to absurdity or incongruity is far more painfully, or rather provokingly, apparent than in the work of a common hackneyed novelist, from whom we expect no better things: and the error is peculiarly felt when it is calculated in any degree to convey the notion that the pictures shadowed forth upon the canvass are rather ideal than true. This mode of dealing with a subject is by no means the best to insure sympathy. Men are naturally incredulous of pain, and unwilling to believe in suffering, more especially when it is said to exist in their own vicinity, and may be the effect of their own indifference or caprice. Many persons will read _Alton Locke_, not unmoved by the wretchedness which it depicts--not without feeling a thrill of indignation at the bondage under which the operative is said to labour from the ruthless system of competition--and yet lay down the book unconvinced of the actual existence of such misery, and no more inclined to bestir themselves for its remedy than if they had been the spectators of a tragedy, the scene of which was laid in another country, and the period indicated as occurring in the middle ages. Nor is it possible to blame them for this; for, as the whole tenor of the work belies its assumed character, it is hard to expect that any one shall give credence to mere details, or such qualified credence as shall enable him to accept them as accurate representations of existing facts, in the face of the evident obstacle which meets him at the beginning. The usefulness of many clever books in this range of literature has been impaired by the authors' wanton neglect, or rather wilful breach, of the leading rules of propriety. Few people will accept Mr D'Israeli's novel of _Sybil_ as containing an accurate representation of the state of the people of England in the middle of the nineteenth century, simply because the writer is chargeable with the same error; and yet recent disclosures have abundantly proved that many of the social pictures contained in _Sybil_ were drawn with extreme accuracy, and without any attempt at exaggeration.