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Rh romance; but it seems just to show the scope of Mary's imaginative conception. There are certainly both imagination and power in carrying it out. It is true that the idea seems founded, to some extent, on Godwin's Caleb Williams, the man passing through, life with a mystery; the similar names of Falkner and Falkland may even be meant to call attention to this fact. The three-volume form, in this as in many novels, seems to detract from the strength of the work in parts, the second volume being noticeably drawn oat here and there. It may be questioned, also, whether the form adopted in this as in many romances of giving the early history by way of narrative told by one of the dramatis persona to another, is the desirable one a point to which we have already adverted in relation to Frankenstein. Can it be true to nature to make one character give a description, over a hundred pages long, repeating at length, word for word, long conversations which he has never heard, marking the changes of colour which he has not seen and all this with a minuteness which even the firmest memory and the most loquacious tongue could not recall? Does not this give an unreality to the style incompatible with art, which ought to be the mainspring of all imaginative work? This, however, is not Mrs. Shelley's error alone, but is traceable through many masterpieces. The author, the creator, who sees the workings of the souls of his characters, has, naturally, memory and perception for all. Yet Mary Shelley, in this as in most of her work, has great insight into character. Elizabeth's grandfather in his dotage is quite a photograph from life; old Oswig Raby, who was more shrivelled with narrowness of mind than with age, but who felt himself and his house, the oldest in England,