But let us return to the Romance, in whose clear though shadowy atmosphere the thunders and throes of the preparatory struggle are inaudible and invisible, save as they are implied in the fineness of substance and beauty of form of the artistic structure. The story is divided into two parts, the scene of the first being laid in America; that of the second, in England. Internal evidence of various kinds goes to show that the second part was the first written; or, in other words, that the present first part is a rewriting of an original first part, afterwards discarded, and of which the existing second part is the continuation. The two parts overlap, and it shall be left to the ingenuity of critics to detect the precise point of junction. In rewriting the first part, the author made sundry minor alterations in the plot and characters of the story, which alterations were not carried into the second part. It results from this that the manuscript presents various apparent inconsistencies. In transcribing the work for the press, these inconsistent sentences and passages have been withdrawn from the text and inserted in the Appendix; or, in a few unimportant instances, omitted altogether. In other respects, the text is printed as the author left it, with the exception of the names of the characters. In the manuscript each personage figures in the course of the narrative under from three to six different names. This difficulty has been met by bestowing upon each of the _dramatis personæ_ the name which last identified him to the author’s mind, and keeping him to it throughout the volume. The story, as a story, is complete as it stands; it has a beginning, a middle, and an end. There is no break in the narrative, and the legitimate conclusion is reached. To say that the story is complete as a work of art, would be quite another matter. It lacks balance and proportion. Some characters and incidents are portrayed with minute elaboration; others, perhaps not less important, are merely sketched in outline. Beyond a doubt it was the author’s purpose to rewrite the entire work from the first page to the last, enlarging it, deepening it, adorning it with every kind of spiritual and physical beauty, and rounding out a moral worthy of the noble materials. But these last transfiguring touches to Aladdin’s Tower were never to be given; and he has departed, taking with him his Wonderful Lamp. Nevertheless there is great splendor in the structure as we behold it. The character of old Doctor Grimshawe, and the picture of his surroundings, are hardly surpassed in vigor by anything their author has produced; and the dusky vision of the secret chamber, which sends a mysterious shiver through the tale, seems to be unique even in Hawthorne.