explain the mystery, and gaze unblinking into the depths of the light, and measure the immeasurable vastness to a hair? O name, that God’s people of old did fear to utter! O light, that God’s prophet would have perished had he seen! Who are these that are now so familiar with it?--Women, truly; for the most part weak women--weak in intellect, weak mayhap in spelling and grammar, but marvellously strong in faith:--women, who step down to the people with stately step and voice of authority, and deliver their twopenny tablets as if there were some Divine authority for the wretched nonsense recorded there! With regard to the spelling and grammar, our Parisian Pythoness stands, in the goodly fellowship, remarkable. Her style is a noble, and, as far as a foreigner can judge, a strange tongue, beautifully rich and pure. She has a very exuberant imagination, and, with it, a very chaste style of expression. She never scarcely indulges in declamation, as other modern prophets do, and yet her sentences are exquisitely melodious and full. She seldom runs a thought to death (after the manner of some prophets, who, when they catch a little one, toy with it until they kill it), but she leaves you at the end of one of her brief, rich, melancholy sentences, with plenty of food for future cogitation. I can’t express to you the charm of them; they seem to me like the sound of country bells--provoking I don’t know what vein of musing and meditation, and falling sweetly and sadly on the ear. This wonderful power of language must have been felt by most people who read Madame Sand’s first books, _Valentine_ and _Indiana_: in _Spiridion_ it is greater, I think, than ever; and for those who are not afraid of the matter of the novel, the manner will be found most delightful. The author’s intention, I presume, is to describe, in a parable, her notions of the downfall of the Catholic Church; and, indeed, of the whole Christian scheme: and she places her hero in a monastery in Italy, where, among the characters about him, and the events which occur, the particular tenets of Madame Dudevant’s doctrine are not inaptly laid down. Innocent, faithful, tender-hearted, a young monk, by name Angel, finds himself, when he has pronounced his vows, an object of aversion and hatred to the godly men whose lives he so much respects, and whose love he would make any sacrifice to win. After enduring much, he flings himself at the feet of his confessor, and begs for his sympathy and counsel; but the confessor spurns him away, and accuses him, fiercely, of some unknown and terrible crime--bids him never return to the confessional until contrition has touched his heart, and the stains which sully his spirit are, by sincere repentance, washed away.