We sketch the plot without compunction, for these people of Mr. De Forrest's are so unlike characters in novels as to be like people in life, and none will wish the less to see them because he knows the outline of their history. Not only is the plot good and very well managed, but there is scarcely a feebly painted character or scene in the book. As to the style, it is so praiseworthy that we will not specifically censure occasional defects,--for the most part, slight turgidities notable chiefly from their contrast to the prevailing simplicity of the narrative. Our war has not only left us the burden of a tremendous national debt, but has laid upon our literature a charge under which it has hitherto staggered very lamely. Every author who deals in fiction feels it to be his duty to contribute towards the payment of the accumulated interest in the events of the war, by relating his work to them; and the heroes of young-lady writers in the magazines have been everywhere fighting the late campaigns over again, as young ladies would have fought them. We do not say that this is not well, but we suspect that Mr. De Forrest is the first to treat the war really and artistically. His campaigns do not try the reader's constitution, his battles are not bores. His soldiers are the soldiers we actually know,--the green wood of the volunteers, the warped stuff of men torn from civilization and cast suddenly into the barbarism of camps, the hard, dry, tough, true fibre of the veterans that came out of the struggle. There could hardly be a better type of the conscientious and patriotic soldier than Captain Colburne; and if Colonel Carter must not stand as type of the officers of the old army, he mast be acknowledged as true to the semi-civilization of the South. On the whole he is more entertaining than Colburne, as immoral people are apt to be to those who suffer nothing from them. "His contrasts of slanginess and gentility, his mingled audacity and _insouciance_ of character, and all the picturesque ins and outs of his moral architecture, so different from the severe plainness of the spiritual temples common in New Boston," do take the eye of peace-bred Northerners, though never their sympathy. Throughout, we admire, as the author intends, Carter's thorough and enthusiastic soldiership, and we perceive the ruins of a generous nature in his aristocratic Virginian pride, his Virginian profusion, his imperfect Virginian sense of honor. When he comes to be shot, fighting bravely at the head of his column, after having swindled his government, and half unwillingly done his worst to break his wife's heart, we feel that our side has lost a good soldier, but that the world is on the whole something better for our loss. The reader must go to the novel itself for a perfect conception of this character, and preferably to those dialogues in which Colonel Carter so freely takes part; for in his development of Carter, at least, Mr. De Forrest is mainly dramatic.