story was written in 1831, the year before the passing of the Reform Bill. It ends with a scene suggested by the agricultural riots of that time. In the ninth chapter, again, there is a passage dealing with Sir Walter Scott after the fashion of the criticisms in the “Four Ages of Poetry.” But this critical satire gave nobody pain. Always there was a ground-work of good sense, and the broad sweep of the satire was utterly unlike the nibbling censure of the men whose wit is tainted with ill-humour. We may see also that the poet’s nature cannot be expelled. In this volume we should find the touch of a poet’s hand in the tale itself when dealing with the adventures of Mr. Chainmail, while he stays at the Welsh mountain inn, if the story did not again and again break out into actual song, for it includes half-a-dozen little poems. When Peacock wrote his attack on Poetry, he had, only two years before, produced a poem of his own—“Rhododaphne”—with a Greek fancy of the true and the false love daintily worked out. It was his chief work in verse, and gave much pleasure to a few, among them his friend Shelley. But he felt that, as the world went, he was not strong enough to help it by his singing, so he confined his writing to the novels, in which he could speak his mind in his own way, while doing his duty by his country in the East India House, where he obtained a post in 1818. From 1836 to 1856, when he retired on a pension, he was Examiner of India Correspondence. Peacock died in 1866, aged eighty-one. H. M. NOTE that in this tale Mac Quedy is Mac Q. E. D., son of a demonstration; Mr. Skionar, the transcendentalist, is named from Ski(as) onar, the dream of a shadow; and Mr. Philpot,—who loves rivers, is Phil(o)pot(amos). CHAPTER I. THE VILLA. _Captain Jamy_. I wad full fain hear some question ’tween you tway. HENRY V.