Readers can scarcely have forgotten the amusing “turn-up” between the Rev. Mr. Kingsley and the Rev. Dr. Newman, in which the latter got the former “into Chancery,” and punished him so pitilessly. While reading the “Apologia pro Vitâ Sua,” one naturally reflected now and then upon the opinions, as stated in the books, of Dr. Newman’s antagonist; and the fight grew more and more comically exquisite as one gradually learnt the thorough agreement at bottom of the two who were struggling so fiercely at top. When I speak of Mr. Kingsley’s books, I mean his novels and romances, all of which (except the one not yet completely published) I have duly read and enjoyed. As for certain collections of sermons, a dialogue for loose thinkers, a _jeu d’esprit_ on the Pentateuch, together with various trifles by way of lectures on history and philosophy, I confess that none of these have I ever even attempted to peruse. To palliate this sin of omission I can only urge the high probability that a man of Mr. Kingsley’s character must find much more vigorous and ample expression in a free and easy novel than in any didactic or argumentative treatise, with its wearisome requirements of consecutiveness and cramping limitations of logic. I now ask the leaders of the _National Reformer_ to accompany me in a general review of his romances, because I think that such a review will develop two or three facts seldom noticed in the critiques—whether friendly or adverse—that abound upon his writings. Especially, I think that it will be found that the popular phrases, “Muscular Christianity” and “Broad Church,” by no means sufficiently characterise his religious tendency; and that, with all the superficial unlikeness, almost amounting to perfect contrast between him and Dr. Newman, the opponents as religious men are fundamentally alike in this—that their respective creeds satisfy, or appear to satisfy, in the same manner the same peculiarly intense want in their several natures. In every one of Mr. Kingsley’s romances there is a chief personage, more or less naturally good but decidedly godless at the beginning, god-fearing and saintly at the end. Some of the romances have each two or three of these convertites, the throes of whose regeneration are the principal “motives” of the most striking scenes, and may be thus fairly said to furnish the plot and passion of the book. My present object is not aesthetic, and I therefore need not argue the question whether narratives thus constructed can have any claim to rank as genuine works of art. With the melancholy Jaques in “As You Like It,” I believe: Out of these Convertites There is much matter to be heard and learned— so will stay “to see no pastime, I,” but run through the stories of these conversions, touching only the most salient points.