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 'minor morals' and social habits of the Americans. The same year year authoress continued her satiric portraits in a novel entitled 'The Refugee in America,' marked by the same traits as her former work, but exhibiting little art or talent in the construction of a fable. Mrs. Trollope now tried new ground. In 1833 she published 'Belgium;' and 'Western Germany' in 1834, countries where she found much more to gratify and interest her than in America, and where the travelled in generally good humour. The only serious evil which Mrs. Trollope seems to have encountered in Germany was the tobacco-smoke, which she vituperates with unwearied perseverance. In 1837 she presented another novel, 'The Vicar of Wrexhill,' an able and entertaining work, full of prejudices, but containing some excellent painting of manners and eccentricities. In 1838 our authoress appears again as a traveller. 'Vienna and the Austrians' was of the same cast as 'Belgium and Germany,' but more deformed by prejudice. This journey also afforded Mrs. Trollope materials for a novel, which she entitled 'A Romance of Vienna.' Three novels were the fruit of 1839; namely, 'The Widow Barnaby,' a highly amusing work, particularly the delineation of the bustling, scheming, unprincipled husband-hunting widow; 'Michael Armstrong, or the Factory Boy,' a caricature of the evils attendant on the manufacturing system; and 'One Fault,' a domestic story, illustrating with uncommon vigour and effect the dismal consequences of that species of bad temper which proceeds from pride and over-sensitiveness. In 1840 we had 'The Widow Married;' and in 1841 'The Blue Belles of England,' and 'Charles Chesterfield.' The latter relates the history of a youth of genius, and contains a satirical picture of the state of literature In England, branding authors, editors, and publishers with unprincipled profligacy, selfishness, and corruption. In 1842, Mrs. Trollope, besides throwing off another novel, 'The Ward of Thorpe Combe,' gave the public the result of a second visit to Belgium, describing the changes that had been effected since 1833, and also 'A Visit to Italy.' The smart caustic style of our authoress was not so well adapted to the classic scenes, manners, and antiquities of Italy, as to the broader features of American life and character, and this work was not so successful as her previous publications. Returning to fiction, we find Mrs. Trollope, as usual prolific Three novels, of three volumes each, were the produce of 1842—'Hargrave,' 'Jessie Phillips,' and 'The Laurringtons.' The first is a sketch of a man of fashion; the second an attack on the new English poor-law; and the third a lively satire on 'superior people,' the 'bustling Botherbys' of society. Reviewing the aggregate labours of this industrious authoress, we cannot say that she has done good proportioned to her talents. Her satire is directed against the mere superficialities of life, and is not calculated to check vice or encourage virtue. In depicting high life, she wants the genial spirit of Theodore Hook. She has scattered amusement among novel-readers by some of her delineations; but in all her mirth there is a mocking and bitter spirit, which is often as misplaced as it is unfeminine."

To this we may add that in 1849 Mrs. Trollope published "Young Love," a novel, which is thus criticised in the "Athenæum." "The masculine vigour and shrewdness developed in Mrs. Trollope's earlier novels won for them a popularity which is fast waning