supercilious and a great deal more ignorant, a little less correct in their syntax and a great deal more vulgar.
The Orlando of Evangelical literature is the young curate, looked at from the point of view of the middle class, where cambric bands are understood to have as thrilling an effect on the hearts of young ladies as epaulettes have in the classes above and below it. In the ordinary type of these novels the hero is almost sure to be a young curate, frowned upon, perhaps by worldly mammas, but carrying captive the hearts of their daughters, who can "never forget that sermon;" tender glances are seized from the pulpit stairs instead of the opera-box; tête-à-têtes are seasoned with quotations from Scripture instead of quotations from the poets; and questions as to the state of the heroine's affections are mingled with anxieties as to the state of her soul. The young curate always has a background of well-dressed and wealthy if not fashionable society—for Evangelical silliness is as snobbish as any other kind of silliness—and the Evangelical lady novelist, while she explains to you the type of the scapegoat on one page, is ambitious on another to represent the manners and conversations of aristocratic people. Her pictures of fashionable society are often curious studies, considered as efforts of the Evangelical imagination; but in one particular the novels of the White Neck-cloth School are meritoriously realistic—their favorite hero, the Evangelical young curate, is always rather an insipid personage.
The most recent novel of this species that we happen to have before us is "The Old Grey Church." It is utterly tame and feeble; there is no one set of objects on which the writer seems to have a stronger grasp than on any other; and we should be entirely at a loss to conjecture among what phases of life her experience has been gained, but for certain vulgarisms of style which sufficiently indicate that she has had the advantage, though she has been unable to use it, of mingling chiefly with men and women whose manners and characters have not had all their bosses and angles rubbed down by refined conventionalism. It is less excusable in an Evangelical novelist than
