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“Who then, is she-who! Truly his ‘guardian spirit’ hath stepped between him and the fearful words, which, however unmerited, must have hung as a pall over his future existence;-a spell which could not be unbound-which could not be unsaid.

“Of an earthly paleness, but calm with the still, iron-bound calmness of death-the only calm one there-Katherine stood; and her words smote on the ear in tones whose appallingly slow and separate intonation rung on the heart like a chill, isolated tolling of some fatal knell.

“‘He would have plighted me his faith, but I did not accept it; you cannot, therefore-you dare not curse him. And here,’ she continued, raising her hand to heaven, whither her large dark eyes also rose with a chastened glow, which, for the first time,
suffering
had lighted in those passionate orbs-‘here I promise, come weal, come woe, that Horace Wolchorley and I do never interchange vows without his mother’s sanction-without his mother’s blessing!'”

Here, and throughout the story, we see that confusion of purpose which is so characteristic of silly novels written by women. It is a story of quite modern drawing-room society-a society in which polkas are played and Puseyism discussed; yet we have characters, and incidents, and traits of manner introduced, which are mere shreds from the most heterogeneous romances. We have a blind Irish harper, “relic of the picturesque bards of yore,” startling us at a Sunday-school festival of tea and cake in an English village; we have a crazy gypsy, in a scarlet cloak, singing snatches of romantic song, and revealing a secret on her death-bed which, with the testimony of a dwarfish miserly merchant, who salutes strangers with a curse and a devilish laugh, goes to prove that Ernest, the model young clergyman, is Kate’s brother; and we have an ultra-virtuous Irish Barney, discovering that a document is forged, by comparing the date of the paper with the date of the alleged signature, although the same document has passed through a court of law and occasioned a fatal decision. The “Hall” in which Sir Lionel lives is the venerable country-seat of an old family, and this, we suppose, sets the imagination of the authoress flying to donjons and battlements, where “lo! the warder blows his horn;” for, as the inhabitants are in their bedrooms on a night certainly within the recollection of Pleaceman X. and a breeze springs up, which we are at first told was faint, and then that it made the old cedars bow their branches to the greensward, she falls into this mediæval vein of description (the italics are ours): “The banner unfurled it at the sound, and shook its guardian wing above, while the startled owl flapped her in the ivy; the firmament looking down through her ‘argus eyes’-

‘ Ministers of heaven’s mute melodies.’

And lo! two strokes tolled from out the warder tower, and ‘Two o’clock’ re-echoed its interpreter below.”

Such stories as this of “The Enigma” remind us of the pictures clever children sometimes draw “out of their own head,” where you will see a modern villa on the right, two knights in helmets fighting in the foreground, and a tiger grinning in a jungle on the left, the several objects being brought together because the artist thinks each pretty, and perhaps still more because he remembers seeing them in other pictures.

But we like the authoress much better on her mediæval stilts than on her oracular ones-when she talks of the Ich and of “subjective” and “objective,” and lays down the exact line of Christian verity, between “right-hand excesses and left-hand declensions.” Persons who deviate from this line are introduced with a patronizing air of charity. Of a certain Miss Inshquine she informs us, with all the lucidity of italics and small caps, that ” function, not form, AS the inevitable outer expression of the spirit in this tabernacle age, weakly engrossed her.” And.
à propos
of Miss Mayjar, an evangelical lady who is a little too apt to talk of her visits to sick women and the state of their souls, we are told that the model clergyman is “not one to disallow, through the super crust, the undercurrent toward good in the subject, or the positive benefits, nevertheless, to the object.” We imagine the double-refined accent and protrusion of chin which are feebly represented by the italics in this lady’s sentences! We abstain from quoting any of her oracular doctrinal passages, because they refer to matters too serious for our pages just now.