him, after surviving the brief episode of
love, we feel--though he does not tell us so--that he is alone in the
world. He is represented as a keen observer and a successful actor in
the busy theatre of mankind, precisely in proportion as no cloud from
the heart obscures the cold clearness of the mind. In the scenes of
pleasure there is no joy in his smile; in the contests of ambition there
is no quicker beat of the pulse. Attaining in the prime of manhood such
position and honour as would first content and then sate a man of this
mould, he has nothing left but to discover the vanities of this world
and to ponder on the hopes of the next; and, his last passion dying
out in the retribution that falls on his foe, he finally sits down in
retirement to rebuild the ruined home of his youth,--unconscious that to
that solitude the Destinies have led him to repair the waste and ravages
of his own melancholy soul.

But while outward Dramatic harmonies between cause and effect, and the
proportionate agencies which characters introduced in the Drama bring
to bear upon event and catastrophe, are carefully shunned,--as real life
does for the most part shun them,--yet there is a latent coherence in
all that, by influencing the mind, do, though indirectly, shape out the
fate and guide the actions.

Dialogue and adventures which, considered dramatically, would be
episodical,--considered biographically, will be found essential to the
formation, change, and development of the narrator's character. The
grave conversations with Bolingbroke and Richard Cromwell, the light
scenes in London and at Paris, the favour obtained with the Czar of
Russia, are all essential to the creation of that mixture of wearied
satiety and mournful thought which conducts the Probationer to the
lonely spot in which he is destined to learn at once the mystery of his
past life and to clear his reason from the doubts that had obscured the
future world.

Viewing the work in this more subtile and contemplative light, the
reader will find not only the true test by which to judge of its design
and nature, but he may also recognize sources of interest in the story
which might otherwise have been lost to him; and if so, the Author will
not be without excuse for this criticism upon the scope and intention of
his own work. For it is not only the privilege of an artist, but it is
also sometimes his duty to the principles of Art, to place the spectator
in that point of vie