For although it must follow from the inherent difference in the design of the two works thus referred to, that in Godolphin there can be little of the satire or vivacity which have given popularity to its predecessor, yet, on the other hand, in Godolphin there ought to be a more faithful illustration of the even polish that belongs to luxurious life,--of the satiety that pleasure inflicts upon such of its votaries as are worthy of a higher service. The subject selected cannot adroit the same facility for observation of things that lie on the surface--but it may well lend itself to subtler investigation of character--allow more attempt at pathos, and more appeal to reflection. Regarded as a story, the defects of Godolphin most apparent to myself, are in the manner in which Lucilla is re-introduced in the later chapters, and in the final catastrophe of the hero. There is an exaggerated romance in the one, and the admission of accident as a crowning agency in the other, which my maturer judgment would certainly condemn, and which at all events appear to me out of keeping with the natural events, and the more patient investigation of moral causes and their consequences, from which the previous interest of the tale is sought to be attained. On the other hand, if I may presume to conjecture the most probable claim to favour which the work, regarded as a whole, may possess--it may possibly be found in a tolerably accurate description of certain phases of modern civilisation, and in the suggestion of some truths that may be worth considering in our examination of social influences or individual conduct. CHAPTER I. THE DEATH-BED OF JOHN VERNON.--HIS DYING WORDS.--DESCRIPTION OF HIS DAUGHTER, THE HEROINE.--THE OATH. "Is the night calm, Constance?" "Beautiful! the moon is up." "Open the shutters wider, there. It _is_ a beautiful night. How beautiful! Come hither, my child."