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novel proper. In Belinda she strove to delineate the follies and hollowness of fashionable life. The heroine is rather a lifeless puppet; but the more truly prominent figure, Lady Delacour, is drawn with power and keen intuition. A woman of gay and frivolous antecedents, striving to rise into a higher atmosphere under the ennobling influences of a pure friendship, and finding the task a difficult one, was no easy character to draw or to sustain. Had Lady Delacour died heroically, as Miss Edgeworth had planned, and as the whole course of the story leads the reader to expect, the book would have been a success. But to allow her to recover, to cause her to evolve a reformed character after a type psychologically impossible to one of her temperament, weakened the force of the foregoing pages, and rendered them untrue. Again, it is on Miss Edgeworth's spoken testimony to Mrs. Barbauld that we learn that she meant to make Lady Delacour die, but that it was her father who suggested the alteration; and since it was a part of the Edgeworthian creed to believe in such simple and sudden reformations, she accepted his counsel, to the artistic injury of her tale. It was Mr. Edgeworth, too, who wrote and interpolated the worthless, and high-flown Virginia episode in which Clarence Harvey takes to the freak of wife-training after the pattern of Mr. Day. This incident is quite out of keeping with the character of Clarence, who is depicted a wooden dandy, but not a romantic fool. These changes, willingly submitted to by Miss Edgeworth, who had the most unbounded belief in her father's superior wisdom on all points whatsoever, also mark his idiosyncracy, for Mr. Edgeworth was a most rare and curious compound of utilitarianism and wild romance.