Yet the species of connexion in question, besides preserving the unity desired, _may_ be made, if well managed, a source of consistent and agreeable interest. It has been so made by Thomas Moore—the most skilful literary artist of his day—perhaps of any day—a man who stands in the singular and really wonderful predicament of being undervalued on account of the profusion with which he has scattered about him his good things. The brilliancies on any one page of Lalla Roohk would have sufficed to establish that very reputation which has been in a great measure self-dimmed by the galaxied lustre of the entire book. It seems that the horrid laws of political economy cannot be evaded even by the inspired, and that a perfect versification, a vigorous style, and a never-tiring fancy, may, like the water we drink and die without, yet despise, be so plentifully set forth as to be absolutely of no value at all. By far the greater portion of the volume now published, is occupied with the tale of “The Curiosity Shop,” narrated by Master Humphrey himself. The other stories are brief. The “Giant Chronicles” is the title of what appears to be meant for a series within a series, and we think this design doubly objectionable. The narrative of “The Bowyer,” as well as of “John Podgers,” is not altogether worthy of Mr. Dickens. They were probably sent to press to supply a demand for copy, while he was occupied with the “Curiosity Shop.” But the “Confession Found in a Prison in the Time of Charles the Second” is a paper of remarkable power, truly original in conception, and worked out with great ability.