Let no one expect the critic to sketch the plot of this romance. It is a grouping of motives and temperaments under the names of men and women, concerning whom many subtile things are said and hinted; and they are pushed into and out of complicated situations, by stress of brilliant authorship, without lifting their fingers. There is no necessary development nor movement: the people are like the bits of glass which shake into the surprising patterns of the kaleidoscope. The relation of the parties to each other is a great mystification, bunglingly managed: we cannot understand at last how Victor, the hero of the chief love-passage, turns out to be the son of a clergyman instead of a lord, and Flamin the son of a lord in spite of the plain declaration on the first page that he belongs to a clergyman. No key-notes of expectation and surmise are struck; the reader is as blind as the old lord who is Victor's reputed father, and not a glimmer of light reaches him till suddenly and causelessly he is dazed. The author has emphasized his sentiments, but has not shaded and brought out the features of his story. It is plain, that, when he began to write, not the faintest notion of a _denouement_ had dawned upon his fancy. The best-defined action in the book results from Flamin's ignorance that he is Clotilde's brother, for he is thus jealous of his friend Victor's love for her. How break off Flamin's love for his unknown sister? How rescue Victor from his self-imposed delicacy and win for him a bride? This is the substance of the story, hampered by wild, spasmodic interpolations and intrigues and didactic explanations.