life, save us from all the terrible practical evils of appeals to Rome, and yet which maintain the spirituality of the land, as the guardians under God of the great deposit of the Faith, in the very terms in which the Catholic Church of Christ has irom the beginning received, and to this day handed down fn its completeness, the inestimable gift.

ANONYMOUS ON "WAVERLEY"

[From The Quarterly Review, July, 1814]

Waverley; or, 'tis Sixty Years since. 3 vols. 12mo. Edinburgh, 1814.

We have had so many occasions to invite our readers' attention to that species of composition called Novels, and have so often stated our general views of the principles of this very agreeable branch of literature, that we shall venture on the consideration of our present subject with but a few observations, and those applicable to a class of novels, of which it is a favourable specimen.

The earlier novelists wrote at periods when society was not perfectly formed, and we find that their picture of life was an embodying of their own conceptions of the “beau idéal.”Heroes all generosity and ladies all chastity, exalted above the vulgarities of society and nature, maintain, through eternal folios, their visionary virtues, without the stain of any moral frailty, or the degradation of any human necessities. But this high-flown style went out of fashion as the great mass of mankind became more informed of each other's feelings and concerns, and as a nearer intercourse taught them that the real course of human life is a conflict of duty and desire, of virtue and passion, of right and wrong; in the description of which it is difficult to say whether uniform virtue or unredeemed vice would be in the greater degree tedious and absurd.

The novelists next endeavoured to exhibit a general view of society. The characters in Gil Blas and Tom Jones are not individuals so much as specimens of the human race; and these delightful works have been, are, and ever will be popular, because they present lively and accurate delineations of the workings of the human soul, and that every man who reads them is obliged to confess to himself, that in similar circumstances with the personages of Le Sage and Fielding, he would probably have acted in the way in which they are described to have done.

From this species the transition to a third was natural.

The first class was theory-it was improved into a generic description, and that again led the way to a more particular classification—a copying not of man in general, but of men of a peculiar nation, profession, or temper, or, to go a step further of individuals.

Thus Alcander and Cyrus could never have existed in human society they are neither French, nor English, nor Italian, because it is only allegorically that they are men. Tom Jones might have been a Frenchman, and Gil Blas an Englishman, because the essence of their characters is human nature, and the personal situation of the individual is almost indifferent to the success of the object which the author proposed to himself while, on the other hand, the characters of the most popular novels of later times are Irish, or Scotch, or French, and not in the abstract, men.-The general operations of nature are circumscribed to her effects on an individual character, and the modern novels of this class, compared with the broad and noble style of the earlier writers, may be considered as Dutch pictures, delightful in their vivid and minute details of common life, wonderfully entertaining to the close observer of peculiarities, and highly creditable to the accuracy, observation and humour of the painter, but exciting none of those more exalted feelings, giving none of those higher views of the human soul which delight and exalt the mind of the spectator of Raphael, Correggio, or Murillo.

But as in a gallery we are glad to see every style of excellence, and are ready to amuse ourselves with Teniers and Gerard Dow, so we derive great pleasure from the congenial delineations of Castle Rack-rent and Waverley; and we are well assured that any reader who is qualified to judge of the illustration we have borrowed from a sister art, will not accuse us of undervaluing, by this comparison, either Miss Edgeworth or the ingenious author of the work now under consideration. We mean only to say, that the line of writing which they have adopted is less comprehensive and less sublime, but not that it is less entertaining or less useful than that of their predecessors. On the contrary, so far as utility constitutes merit in a novel, we have no hesitation in preferring the moderns to their predecessors. We do not believe that any man or woman was ever improved in morals or manners by

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the reading of Tom Jones or Peregrine Pickle, though we are confident that many have profited by the Tales of Fashionable Life, and the Cottagers of Glenburnie.

We have heard Waverley called a Scotch Castle Rack-rent ; and we have ourselves alluded to a certain resemblance between these works; but we must beg leave to explain that the resemblance consists only in this, that the one is a description of the peculiarities of Scottish manners as the other is of those of Ireland; and that we are far from placing on the same level the merits and qualities of the works. Waverley is of a much higher strain, and may be safely placed far above the amusing vulgarity of Castle Rack-rent, and by the side of Ennui or the Absentee, the best undoubtedly of Miss Edgeworth's compositions.

We shall conclude this article, which has grown to an immoderate length, by observing what, indeed, our readers must have already discovered, that Waverley, who gives his name to the story, is far from being its hero, and that in truth the interest and merit of the work is derived, not from any of the ordinary qualities of a novel, but from the truth of its facts, and the accuracy of its delineations.

We confess that we have, speaking generally, a great objection to what may be called historical romance, in which real and fictitious personages, and actual and fabulous events are mixed together to the utter confusion of the reader, and the unsettling of all accurate recollections of past transactions; and we cannot but wish that the ingenious and intelligent author of Waverley had rather employed himself in recording historically the character and transactions of his countrymen Sixty Years since, than in writing a work, which, though it may be, in its facts, almost true, and in its delineations perfectly accurate, will yet, in sixty years hence, be regarded, or rather, probably, disregarded, as a mere romance, and the gratuitous invention of a facetious fancy.

ON SCOTT'S "TALES OF MY LANDLORD"

[From The Quarterly Review, January, 1817]

4 vols. 12mo. Third Edition.

Tales of My Landlord. 4 vols.

Blackwood, Edinburgh. John Murray, London. 1817. THESE Tales belong obviously to a class of novels which we have already had occasion repeatedly to notice, and which have attracted the attention of the public in no common degree, -we mean Waverley, Guy Mannering, and the Antiquary, and we have little hesitation to pronounce them either entirely, or in a great measure, the work of the same author. Why he should industriously endeavour to elude observation by taking leave of us in one character, and then suddenly popping out upon us in another, we cannot pretend to guess without knowing more of his personal reasons for preserving so strict an incognito that has hitherto reached us. We can, however, conceive many reasons for a writer observing this sort of mystery; not to mention that it has certainly had its effect in keeping up the interest which his works have excited.

We do not know if the imagination of our author will sink in the opinion of the public when deprived of that degree of invention which we have been hitherto disposed to ascribe to him; but we are certain that it ought to increase the value of his portraits, that human beings have actually sate for them. These coincidences between fiction and reality are perhaps the very circumstances to which the success of these novels is in a great measure to be attributed for, without depreciating the merit of the artist, every spectator at once recognizes in those scenes and faces which are copied from nature an air of distinct reality, which is not attached to fancy-pieces however happily conceived and elaborately executed. By what sort of freemasonry, if we may use the term, the mind arrives at this conviction, we do not pretend to guess, but every one must have felt that he instinctively and almost insensibly recognizes in painting, poetry, or other works of imagination, that which is copied from existing nature, and that he forthwith clings to it with that kindred interest which