the sword from his adversary's hand, and spares him his life. The story then goes on, without any thing of importance occurring, until the conflict between the two parties in the Legislature, is decided in favor of the government, by the passage of a law for the suspension of the _habeas corpus_ act. The hatred between Talbot and Eustace had already become of the most rancorous and malignant character, and the arrest of the latter, who had been once saved by the sister of Talbot, is now effected by her brother at the head of a party of soldiers. Thus deprived of their chief support, in the person of Eustace, the insurgents are soon dispersed, not however without a skirmish, in which they are put to flight, in a way at once ludicrous and conclusive. The first fire disperses them, never to recover. Elizabeth Eustace and Mary Talbot, in the mean time, manage to bring about a reconciliation between the two hostile brothers, to whom they had been respectively engaged, and a double marriage consummates the happiness of this quartette, and concludes the second and last volume of the "Insurgents." So much for the story, which though simple enough in the detail, is liable to the serious objection, that must ever lie against that division of interest, the necessary consequence of introducing a double set of characters into a plot, that should be single and simple. The unities of the drama are not more essential to the perfection of pieces designed for theatrical representation, than is the preservation of an individual and prominent interest in the hero of a novel. The narrow compass of a couple of duodecimos, is not more than sufficient for the painting of one chief character, with the sketches of the minor _personæ_, necessary to sustain the interest of a plot. An attempt at double teaming a novel, with two sets of heroes, invariably results in destroying that prominence of interest, which a closer adherence to the legitimate form of the fable, naturally and necessarily insures; and no more striking illustration of our position could be found, than in the volumes before us. The characters of Eustace and Talbot, neither contrast with effect, nor harmonize in the general management of the plot; and the awkward and unnatural reconciliation, which is finally brought about, to say nothing of the perplexities into which the cross-loves of the four, plunge the writer, is the best evidence that this double-plotting has injured the effect of the story, by rendering it necessary to force a conclusion.