One comfort in tracing the tortuosities of this chivalric romance is that the action is rapid; but then there is so much of it, and it is so astounding! We are first introduced to the three sons of St. George, who are famous hunters in England, and whose mother, the lady Sabra, “catches her death,” by going out attired like Diana, to witness their achievements. The chivalric widower thereupon sets out for Jerusalem, his fellow-champions accompany, and George’s three sons, Guy, Alexander, and David, upon insinuation from their mother’s spirit, start too in pursuit. The lads were knighted by the king of England before they commenced their journey, which they perform with the golden spur of chivalry attached to their heels. They meet with the usual adventures by the way: destroying giants, and rescuing virgins, who in these troublesome times seem to have been allowed to travel about too much by themselves. Meanwhile, their sire is enacting greater prodigies still, and is continually delivering his fellow-champions from difficulties, from which they are unable to extricate themselves. Indeed, in all circumstances, his figure is the most prominent; and although the other half-dozen _must_ have rendered some service on each occasion, St. George makes no more mention of the same than Marshal St. Arnaud, in his letters on the victory at the Alma, does of the presence and services of the English. It is said that Mrs. Radcliffe, whose horrors used to delight and distress our mothers and aunts, in their younger days, became herself affected by the terrors which she only paints to explain away natural circumstances. What then must have been the end of Richard Johnson? His scene of the enchantments of the Black Castle is quite enough to have killed the author with bewilderment. There is a flooring in the old palace of the Prince of Orange in Brussels, which is so inlaid with small pieces of wood, of a thousand varieties of patterns, as to be a triumph of its kind. I was not at all surprised, when standing on that floor, to hear that when the artist had completed his inconceivable labor, he gave one wild gaze over the _parquet_ of the palace, and dropped dead of a fit of giddiness. I am sure that Richard Johnson must have met with some such calamity after revising this portion of his history. It is a portion in which it is impossible for the Champions or for the readers to go to sleep. The noise is terrific, the incidents fall like thunderbolts, the changes roll over each other in a succession made with electric rapidity, and when the end comes we are all the more rejoiced, because we have comprehended nothing; but we are especially glad to find that the knight of the Black Castle, who is the cause of all the mischief, is overcome, flies in a state of destitution to a neighboring wood, and being irretrievably “hard up,” stabs himself with the first thing at hand, as ruthlessly as the lover of the “Ratcatcher’s Daughter.”