We are entirely uncertain whether this work will be recognized for what it is by our young country-folk; but we are very certain, if it is not, it will be our young country-folk's loss. It is, we suppose, a novel. Its author admits that it is a story; but it is not at all the kind of banquet to which novel-readers are usually invited. We can fancy the consternation which awaits the devourers of story-books,--those persons, we mean, whose reading is confined to novels, who lie in wait for Mrs. Wood and Miss Braddon, and stretch their sales into the double-figured thousands, through whose passive brains plot after plot travels in quick succession and leaves no sign, and whose name, we fear, is Legion. They will eagerly seize this new story with the romantic title, be launched auspiciously into gay ball-rooms, glide graciously among the familiar flounces, dances, and small talk, only to find themselves suddenly and without warning in some gulf of grave discussion opening out deceptively from the sparkling stream of the story, or stranded on some lofty sentiment never dreamt of in their philosophy. For the author's mind is, in the best sense of the word, a discursive one. It is full of positive thought, and strikes out right and left like a school-boy who must needs relieve his superabundant spirits by pinching his sister's ear, thrusting his fists in his brother's face, kicking aside the foot-cushion, and making a plunge at the cat, while he is performing the simple operation of walking across the room. This book is written out of a mind so full of wit and wisdom that it overflows at the gentlest touch. It has more sense and learning and power than go to the making up of a dozen ordinary novels. The very prodigality of its resources is a stumbling-block. Its great fault is its _muchness_, if we may borrow a term from Hawthorne's mint. It is like a young minister's first sermon, into which he frantically attempts to cram the whole body of divinity. Especially in the early part of the book, we are constantly drawn away front the story by delightful little essays, sometimes read to us by the author himself,--sometimes wrought into the conversations by playful anecdotes, by effective character-sketches, and vivid scene and scenery-paintings. They do not always materially help forward the story, nor do they always hinder it. They often give it an air of reality, and they always help to utilize the author's idea. If they do not avail his art, they avail his didactics. Where they are not good for the story, they are good for something. By many thoughtless, and by all mere novel-readers, they will probably be _skipped_; but for ourselves, we confess, that, though high art may regard them as blemishes, we should not know how to give the order for their removal. Considered in themselves, in their style and sentiment, the little digressions, the long conversations, the carefully wrought side-scenes are so rich in a