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The Outlook.—'The Right of Way is the right stuff—romance the royal. It is dramatic. It abounds in good things. Its inspiration is heroic. It is a powerful and moving novel, in which strong and natural situations abound.'

The Standard.—'The story deals with those strong passions and intense emotions that do not depend for their interest on the framework and setting in which they are presented. Nowhere else has the author worked with a surer touch or more careful craftsmanship. He has painted on larger canvasses, but not with so much precision of line, so much restraint, and such just harmony of tint; nor does he elsewhere exhibit an equal command of unforced pathos and genuine tragedy. The story is full of dramatic incident, ingeniously contrived.'

The Morning Post.—'Several of the scenes are described with great dramatic power. The whole of the quiet life is depicted with infinite skill, so that one seems to have known the place in "the olden days long ago."'

The Daily Chronicle.—'Mr. Parker gives us some finely dramatic episodes, some poignant passages in his own very best manner, curt, vivid, and graphic.'

The St. James's Gazette.—'A fine book, stirring, dramatic, fascinating.'

The Yorkshire Herald.—'The Right of Way is a remarkable book. The author has built an exquisite structure upon entirely new ground. The love-story is exquisitely told. The characters are traced with the pen of a master. We have not read anything equal to it for some time.'

The Times.—'Not even in The Seats of the Mighty does Mr. Parker suggest such an impression of his strength as in the story which gives its title to the book. Strong and yet natural situations follow in rapid succession. In Madelinette Mr. Parker has idealized the noblest of women.'

Literature.—'The short story is very seldom wrought to perfection in England, but Mr. Gilbert Parker establishes once more his claim to be one of the very few writers who make that particular literary form a thing of art. He gives us once more the old Quebec type with its mood, so swiftly ranging from gaiety to pathos, its wit at once naïve and acute, and its devoted, even fanatical, love of tradition—a type which appeals more than any other in the empire to the English imagination. These stories are full of poetry, pathos, and dramatic force, and show a peculiar power of realising the possibilities of the short story.'