Many other indications of the same healthy and natural sense, which gives so much of their characteristic charm to the Scotch novels, might be pointed out, if it were necessary to weary our readers by dwelling longer on a point we have already laboured so much. One more, however, demands notice because of its importance, and perhaps also because, from its somewhat less obvious character, it might otherwise escape without notice. There has been frequent controversy as to the penal code, if we may so call it, of fiction; that is, as to the apportionment of reward and punishment respectively to the good and evil personages therein delineated; and the practice of authors has been as various as the legislation of critics. One school abandons all thought on the matter, and declares that in the real life we see around us, good people often fail, and wicked people continually prosper; and would deduce the precept, that it is unwise in an art which should hold the ‘mirror up to nature,’ not to copy the uncertain and irregular distribution of its sanctions. Another school, with an exactness which savours at times of pedantry, apportions the success and the failure, the pain and the pleasure of fictitious life to the moral qualities of those who are living in it—does not think at all, or but little, of any other quality in those characters, and does not at all care whether the penalty and reward are evolved in natural sequence from the circumstances and characters of the tale, or are owing to some monstrous accident far removed from all relation of cause or consequence to those facts and people. Both these classes of writers produce works which jar on the natural sense of common readers, and are at issue with the analytic criticism of the best critics. One school leaves an impression of an uncared-for world, in which there is no right and no wrong; the other, of a sort of Governesses’ Institution of a world, where all praise and all blame, all good and all pain, are made to turn on special graces and petty offences, pesteringly spoken of and teasingly watched for. The manner of Scott is thoroughly different; you can scarcely lay down any novel of his without a strong feeling that the world in which the fiction has been laid, and in which your imagination has been moving, is one subject to laws of retribution which, though not apparent on a superficial glance, are yet in steady and consistent operation, and will be quite sure to work their due effect, if time is only given to them. Sagacious men know that this is in its best aspect the condition of life. Certain of the ungodly may, notwithstanding the Psalmist, flourish even through life like a green bay-tree; for providence, in external appearance (far differently from the real truth of things, as we may one day see it), works by a scheme of averages. Most people who ought to succeed, do succeed; most people who do fail, ought to fail. But there