im which reminds of the race of essayists preceding the
brilliant dogmatists of our time; and we confess that we find a great
enjoyment in the lazy mood in which he here gossips of twenty desultory
matters. The name of the present work is, to be sure, a somewhat
formidable mask under which to hide the cheerful visage of a rambler
among Inns, Pictures, Sepulchres, Statues and Bridges, and a tattler of
Authors, Doctors, Holidays, Lawyers, Actors, Newspapers, and Preachers;
but it is only a mask after all, and the talk really tests nothing,--not
even the reader's patience. With much charming information from books
concerning these things, Mr. Tuckerman agreeably blends personal
knowledge of many of the subjects. Bits of reminiscence drift down the
tranquil current of story and anecdote, and there is just enough of
intelligent comment and well-bred discussion to give each paper union
and direction. In fine, "The Criterion" is one of the best of that very
pleasant class of books made for the days of unoccupied men and the
half-hours of busy ones,--which may be laid down at any moment without
offence to their purpose, and taken up again with profit to their
readers.

_The History of Henry the Fifth: King of England, Lord of Ireland, and
Heir of France._ By GEORGE MAKEPEACE TOWLE. New York: D. Appleton & Co.

The doubt whether Mr. Towle is writing historical romance or romantic
history must often embarrass the reader of a work uniting the amiable
weaknesses of both species of composition, and presenting much more that
is tedious in narration, affected in style, and feeble in thought, than
we have lately found in any large octavo volume of five hundred pages.
We begin with four introductory chapters recounting the events which led
to the usurpation of Bolingbroke, and the succession of Mr. Towle's hero
to the English throne; we go on with two chapters descriptive of the
youthful character and career of Henry the Fifth; we end with six
chapters devoted to the facts of his reign. Through all this, it appears
to us, we are conducted at a pace of singular equality, not to be
lightened by the triviality of minor incidents, nor greatly delayed by
the most important occurrences. Nearly all the figures of the picture
are in the foreground, and few are more prominent than the least
significant accessory of the landscape; and, for once, it is scarcely
possible to say that the picture would have been better if the painter
had taken mor