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story by natural or mechanical causes is, that they are very seldom satisfactory, or competent to their object. This is eminently the case with the ventriloquism in Wieland. Even where they are competent, it may be doubted whether the reader, who has suffered his credulous fancy to be entranced by the spell of the magician, will be gratified to learn, at the end, by what cheap mechanical contrivance he has been duped. However this may be, it is certain that a very unfavourable effect, in another respect, is produced on his mind, after he is made acquainted with the nature of the secret spring by which the machinery is played, more especially when one leading circumstance, like ventriloquism in Wieland, is made the master-key, as it were, by which all the mysteries are to be unlocked and opened at once. With this explanation at hand, it is extremely difficult to rise to that sensation of mysterious awe and apprehension on which so much of the sublimity and general effect of the narrative necessarily depends. Instead of such feelings, the only ones which can enable us to do full justice to the author's conceptions, we sometimes, on the contrary, may detect a smile lurking in the corner of the mouth as we peruse scenes of positive power, from the contrast obviously suggested of the impotence of the apparatus and the portentous character of the results. The critic, therefore, possessed of the real key to the mysteries of the story, if he would do justice to his author's merits, must divest himself, as it were, of his previous