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involute story. The better to attain his object he has resorted to the expedient of writing his book backwards. This is a simple thing in itself, but may not be generally understood. An example will best convey the idea. Drawing near the dénouement of his tale, our novelist had proceeded so far as to render it necessary that means should be devised for the discovery of the missing marriage record. This record is in the old bureau—this bureau is at Fernside, originally the seat of Philip's father, but now in possession of one Lord Lilburne, a member of Robert Beaufort's family. Two things now strike the writer—first, that the retrieval of the hero's fortune should be brought about by no less a personage than the heroine—by some lady who should in the end be his bride—and, secondly, that this lady must procure access to Fernside. Up to this period in the narrative, it had been the design to make Camilla Beaufort, Philip's cousin, the heroine; but in such case, the cousin and Lord Lilburne being friends, the document must have been obtained by fair means; whereas foul means are the most dramatic. There would have been no difficulties to overcome in introducing Camilla into the house in question. She would have merely rung the bell and walked in. Moreover, in getting the paper, she would have had no chance of getting up a scene. This lady is therefore dropped as the heroine; Mr. Bulwer retraces his steps, creates Fanny, brings Philip to love her, and employs Lilburne (a courtly villain, invented for all the high dirty work, as De Burgh Smith for all the low dirty work of the story)—employs Lilburne to abduct her to Fernside, where the capture of the document is at length (more dramatically than naturally)