hy, in the course of which he has
some severe reflections on the ignorance of Mr. Lewes and Mr. Mill. On
account of these valuable notes, and also for the alterations made
by Schwegler himself, we feel that we must invite American scholars
possessing the Seelye translation to replace it or accompany it by
this present version, which is a cheap and compassable volume.

Joseph Noirel's Revenge. By Victor Cherbuliez. Translated from the
French by Wm. F. West, A.M. New York: Holt & Williams.

M. Victor Cherbuliez belongs to a Genevese family long and honorably
connected with literature in the capacity of publishers both at Paris
and Geneva. It is in the latter town and the adjacent region that the
scene of the present story--the first, we believe, of the author's
works which has found its way into English--is laid; and much of
its charm is derived from the local coloring with which many of the
characters and incidents are invested. Even the quiet home-life of
so beautiful and renowned a place cannot but be tinted by reflections
from the incomparable beauties of its surroundings, and from the
grand and vivid passages of its singularly picturesque history. The
subordinate figures on the canvas have accordingly an interest greater
than what arises from their commonplace individualities and their
meagre part in the action--like barndoor fowls pecking and clucking
beside larger bipeds in a walled yard steeped in sunlight. But the
sunlight which gives a delicious warmth and brightness to the earlier
chapters of the novel is soon succeeded by gloom and tempest. The
interest is more and more concentrated on the few principal persons;
and the action, which at the outset promised to be light and amusing,
with merely so much of tenderness and pathos as may belong to the
higher comedy, becomes by degrees deeply tragical, and ends in a
catastrophe which is saved from being horrible and revolting only by
the shadows that forecast and the softening strains that attend it. In
point of construction and skillful handling the story is as effective
as French art alone could have made it, while it has an under-meaning
rendered all the more suggestive by being left to find its way into
the reader's reflections without any obvious prompting. The heroine,
sole child of a prosperous bourgeois couple, stands between two
lovers--one the last relic of a noble Burgundian family; the other a
workman with socialist tendencies. Marguerite Mirion is i