entry in the catalogue; another in one of the cellars (the cellar where the music accumulates) of the Advocates' Library at Edinburgh; and a third, bound in morocco, in the possession of Gideon Forsyth. To account for the very different fate attending this third exemplar, the readiest theory is to suppose that Gideon admired the tale. How to explain that admiration might appear (to those who have perused the work) more difficult; but the weakness of a parent is extreme, and Gideon (and not his uncle, whose initials he had humorously borrowed) was the author of 'Who Put Back the Clock?' He had never acknowledged it, or only to some intimate friends while it was still in proof; after its appearance and alarming failure, the modesty of the novelist had become more pressing, and the secret was now likely to be better kept than that of the authorship of 'Waverley'.
A copy of the work (for the date of my tale is already yesterday) still figured in dusty solitude in the bookstall at Waterloo; and Gideon, as he passed with his ticket for Hampton Court, smiled contemptuously at the creature of his thoughts. What an idle ambition was the author's! How far beneath him was the practice of that childish art! With his hand closing on his first brief, he felt himself a man
