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man knowledge. The still and solemn hours of night are disturbed by the unearthly summons. The other actors of the drama are thrown into strange perplexity, and an underplot of events is curiously entangled by the occurrence of unaccountable sights as well as sounds. By the heated fancy of Wieland they are referred to supernatural agency. A fearful destiny seems to preside over the scene, and to carry the actors onward to some awful catastrophe. At length the hour arrives. A solemn, mysterious voice announces to Wieland that he is now called on to testify his submission to the Divine will by the sacrifice of his earthly affections—to surrender up the affectionate partner of his bosom, on whom he had reposed all his hopes of happiness in this life. He obeys the mandate of Heaven. The stormy conflict of passion into which his mind is thrown, as the fearful sacrifice he is about to make calls up all the tender remembrances of conjugal fidelity and love, is painted with frightful strength of colouring. Although it presents, on the whole, as pertinent an example as we could offer from any of Brown's writings of the peculiar power and vividness of his conceptions, the whole scene is too long for insertion here. We will mutilate it, however, by a brief extract, as an illustration of our author's manner, more satisfactory than any criticism can be. Wieland, after receiving the fatal mandate, is represented in an apartment alone with his wife. His courage, or, rather, his desperation, fails him, and he sends her, on some pretext,