The author, a man about fifty years of age, and by birth a Silesian, is editor of the _Grenz-bote_ (Border Messenger), a highly-esteemed political and literary journal, published in Leipsic. His residence alternates between that city and a small estate near Gotha. Growing up amid the influences of a highly cultivated family circle, and having become an accomplished philologist under Lachmann, of Berlin, he early acquired valuable life-experience, and formed distinguished social connections. He also gained reputation as an author by skillfully arranged and carefully elaborated dramatic compositions--the weak point in the modern German school. The enthusiastic reception of his novel can not, however, be attributed to these earlier labors, nor to the personal influence of its author. The favor of the public has certainly been obtained in great measure by the rare intrinsic merit of the composition, in which we find aptly chosen and melodious language, thoroughly artistic conception, life-like portraiture, and highly cultivated literary taste. We see before us a national and classic writer, not one of those mere journalists who count nowadays in Germany for men of letters. The story, very unpretending in its opening, soon expands and becomes more exciting, always increasing in significance as it proceeds. The pattern of the web is soon disclosed after the various threads have been arranged upon the loom; and yet the reader is occasionally surprised, now by the appearance on the stage of a clever Americanized German, now by the unexpected introduction of threatening complications, and even of important political events. Though confined within a seemingly narrow circle, every incident, and especially the Polish struggle, is depicted grandly and to the life. In all this the author proves himself to be a perfect artist and a true poet, not only in the treatment of separate events, but in the far more rare and higher art of leading his conception to a satisfactory development and _denouement_. As this requirement does not seem to be generally apprehended either by the writers or the critics of our modern novels, I shall take the liberty of somewhat more earnestly attempting its vindication. The romance of modern times, if at all deserving of the name it inherits from its predecessors in the _romantic_ Middle Ages, represents the latest _stadium_ of the epic.