From the conversation of Harry and the botanist, his friend, the author retrospectively develops in its full beauty a character illustrated in only one phase by the episode which the passages from Edward Colvil's journal cover, while she sketches with other touches, slight, but skilful, the people of a whole neighborhood, and the events of years. Doctor Borrow, the botanist, is made to pass, by insensible changes, from a learned indifference concerning slavery to eloquent and ardent argument against it, and thus to present the history of the process by which even science, the coldest element of our civilization, found itself at last unconsciously arrayed against a system long abhorrent to feeling. In the Doctor's talk with Westlake, we have a close and clear comparison of the origin and result of the civilizations of New England and the South, the high equality of the North and the mean aristocracy of the Slave States, and the Doctor's first perfect consciousness of loving the one and hating the other. The supposititious Mandingo's observations of the state of Europe at the time of opening the African slave-trade form a humorous protest against judgment of Africa by travellers' stories, and suggest more than a doubt whether the first men-stealers were better than their victims, and whether they conferred the boon of a higher civilization upon negroes by enslaving them. But the humor of the book, like its learning, is subordinated to the story, which is imbued with a sentiment not wanting in warmth because so noble and lofty. The friendship of Colvil and Dudley is less like the friendship between two men, than the affectionate tenderness of two women for each other; and the character of Dudley in its purity and elevation is sometimes elusive. The personality of Colvil is also rather shadowy; but the Doctor is human and tangible, and the other persons, however slightly indicated, are all real, and bear palpable witness, in their lives, to the influences of that system which, though cruel to the oppressed, wrought a ruin yet more terrible in the oppressor. FOOTNOTES: [G] Of course we have no disposition to deny M. Renan's right to reduce Christ and every other historic figure to the standard of the most modern critical art. We merely mean to say that this is all M. Renan does, and that the all is not much.