the fact remain that it is a novel, so to speak, without a soul--that, so far from being of the essence of the Covenant, the Burleys, Mucklewraths, Mauses and Macbrairs are but so many of its accidents, and that thus the main issues of the historical drama are not involved in the romance. In other words, it is as though the tragedy of _Hamlet_ had been performed with great skill and _eclat_, only without the appearance of the Prince of Denmark upon the stage. And thus, if the historical novel is to play a part of any dignity in our literature, we may safely predict that it is upon the stock here supplied by Galt, rather than upon that supplied by Scott in _Old Mortality_, that it will have to be grafted. Having now assigned to our author the credit due to him for his choice and general treatment of a fine subject, it remains to touch briefly upon the technical skill which he has brought to bear upon the handling of its details. By resorting, then, to an ingenious and yet perfectly natural and legitimate device, he has contrived to extend his "household memorial" (for it is thus that he describes the story) so as to make it embrace the entire period of the religious struggle--from its inception under the regency of Marie of Lorraine to its close, or practical close, under the rule of the enlightened and tolerant William of Orange,--a period in all of full one hundred and thirty years. For the narrative, opening with the martyrdom of Walter Mill at St Andrews in 1558, is continued to the death of Claverhouse at Killiecrankie in 1689. And by this means the varying phases of the struggle are traced almost step by step, through the preachings of John Knox and the early image-breaking outrages, to the comparative lull of the reign of James the First of England, and thence again from the renewed exasperating of opposition by the shifty and infatuated Martyr King to the climax of the "Killing Time" under the younger of his sons. Few incidents of really primary or representative importance are omitted, and the skill shown by the Author in stringing the pearls of history upon the thread of his narrative is not the least of the merits he displays. But, as should be in a novel, the historical never overweights the human or fictitious interest, but is always properly subordinated to it.