When I heard this anecdote of my cousin and his friend, I thought that there could be no more romances written on the same kind of plot as Caleb Williams; the principal interest of which, to the superficial reader, consists in the alternation of hope and fear, that the hero may, or may not, escape his pursuer. It is long since I have read the story, and I forget the name of the offended and injured gentleman, whose privacy Caleb has invaded; but I know that his pursuit of Caleb—his detection of the various hiding-places of the latter—his following up of slight clues—all, in fact, depended upon his own energy, sagacity, and perseverance. The interest was caused by the struggle of man against man; and the uncertainty as to which would ultimately be successful in his object; the unrelenting pursuer, or the ingenious Caleb, who seeks by every device to conceal himself. Now, in 1851, the offended master would set the Detective Police to work; there would be no doubt as to their success; the only question would be as to the time that would elapse before the hiding-place could be detected, and that could not be a question long. It is no longer a struggle between man and man, but between a vast organized machinery, and a weak, solitary individual; we have no hopes, no fears—only certainty. But if the materials of pursuit and evasion, as long as the chase is confined to England, are taken away from the store-house of the romancer, at any rate we can no more be haunted by the idea of the possibility of mysterious disappearances; and any one who has associated much with those who were alive at the end of the last century, can testify that there was some reason for such fears.