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 Justice" and "Caleb Williams." The moral speculations have a strength, and consistency, and boldness, which has been less clearly aimed at in his other works of fiction. The pleadings of Henrietta to Mandeville, after his recovery from madness, in favour of virtue and of benevolent energy, compose, in every respect, the most perfect and beautiful piece of writing of modern times. It is the genuine doctrine of "Political Justice," presented in one perspicacious and impressive river, and clothed in such enchanting melody of language, as seems, not less than the writings of Plato, to realize those lines of Milton:

How charming is divine philosophy— Not harsh and crabbed— But musical as is Apollo's lute!

Clifford's talk, too, about wealth, has a beautiful, and readily to be disentangled intermixture of truth and error. Clifford is a person, who, without those characteristics which usually constitute the sublime, is sublime from the mere excess of loveliness and innocence. Henrietta's first appearance to Mandeville, at Mandeville House, is an occurrence resplendent with the sunrise of life; it recalls to the memory many a vision—or perhaps but one—which the delusive exhalations of unbaffled hope have invested with a rose-like lustre as of morning, yet unlike morning—a light which, once extinguished, never can return. Henrietta seems at first to be all that a susceptible heart imagines in the object of its earliest passion. We scarcely can see her, she is so beautiful. There is a mist of dazzling loveliness which encircles her, and shuts out from the sight all that is mortal in her transcendent charms. But the veil is gradually undrawn, and she "fades into the light of common day." Her actions, and even her sentiments, do not correspond to the elevation of her speculative opinions, and the fearless sincerity which should be the accompaniment of truth and virtue. But