"We are proud of you, dear George. We love you, my dear nephew—we all love you, we are all proud of you"

"Yes; but I like Harry best," says a little voice.

"-not because you are wealthy! Screwby, take Master Miles to his governor. Go, dear child. Not because you are blest with great estates and an ancient name; but because, George, you have put to good use the talents with which heaven has adorned you: because you have fought and bled in your country's cause, in your monarch's cause, and as such are indeed worthy of the favour of the best of sovereigns. General Lambert, you have kindly condescended to look in on a country family, and partake of our unpretending meal. I hope we may see you some day when our hospitality is a little less homely. Yes, by George, General, you must and shall name a day when you and Mrs. Lambert, and your dear girls, will dine with us. I'll take no refusal now, by George I won't," bawls the

knight.

"You will accompany us, I trust, to my drawing-room?" says my lady, rising.

Mr. Lambert pleaded to be excused; but the ladies on no account would let dear George go away. No, positively, he should not go. They wanted to make acquaintance with their cousin. They must hear about that dreadful battle and escape from the Indians. Tom Claypool came in and heard some of the story. Flora was listening to it with her handkerchief to her eyes, and little Miles had just said

"Why do you take your handkerchief, Flora? You're not crying a bit."

Being a man of great humour, Martin Lambert, when he went home, could not help entertaining his wife with an account of the new family with which he had made acquaintance. A certain cant word called humbug had lately come into vogue. Will it be believed that the General used it to designate the family of this virtuous country gentleman? He described the eager hospitalities of the father, the pompous flatteries of the mother, and the daughters' looks of admiration; the toughness and scarcity of the mutton, and the abominable taste and odour of the cordial; and we may be sure Mrs. Lambert contrasted Lady Warrington's recent behaviour to poor Harry with her present conduct to George.

"Is this Miss Warrington really handsome ?" asks Mrs. Lambert.

"Yes; she is very handsome indeed, and the most astounding flirt I have ever set eyes on," replies the General.

"The hypocrite! I have no patience with such people!" cries the lady.

To which the General, strange to say, only replied by the monosyllable "Bo!"

"Why do you say 'Bo!' Martin ?" asks the lady.

I say 'Bo!' to a goose, my dear," answers the General.

And his wife vows she does not know what he means, or of what he is thinking, and the General says—

"Of course not."

CHAPTER XI.

IN WHICH WE ARE TREATED TO A PLAY.

HE real business of life, I fancy, can form but little portion of the novelist's budget. When he is speaking of the profession of arms, in which men can

show courage or the reverse, and in treating of which the writer naturally has to deal with interesting circumstances, actions, and characters, introducing recitals of danger, devotedness, heroic deaths, and the like, the novelist may perhaps venture to deal with actual

affairs of life: but otherwise, they scarcely can enter into our stories. The main part of Ficulnus's life, for instance, is spent in selling sugar, spices, and cheese; of Causidicus's in poring over musty volumes of black-letter law; of Sartorius's in sitting, cross-legged, on a board after measuring gentlemen for coats and breeches. What can a story-teller say about the professional existence of these men? Would a real rustical history of hobnails and eighteenpence a-day be endurable? In the days whereof we are writing, the poets of the

time chose to represent a shepherd in pink breeches and a chintz waistcoat, dancing before his flocks, and playing a flageolet tied up with a blue satin ribbon. I say, in reply to some objections which have been urged by potent and friendly critics, that of the actual affairs of life the novelist cannot be expected to treat-with the almost single exception of war before named. But law, stockbroking, polemical theology, linen-drapery, apothecary-business, and the like, how can writers manage fully to develop these in their stories? All authors can do, is to depict men out of their business— in their passions, loves, laughters, amusements, hatreds, and what not -and describe these as well as they can, taking the business-part for granted, and leaving it as it were for subaudition.

Thus, in talking of the present or the past world, I know I am only dangling about the theatre-lobbies, coffee-houses, ridottos, pleasure-haunts, fair-booths, and feasting and fiddling rooms of life; that, meanwhile, the great serious past or present world is plodding in its chambers, toiling at its humdrum looms, or jogging on its accustomed labours, and we are only seeing our characters away from their work. Corydon has to cart the litter and thresh the barley, as well as to make love to Phillis; Ancillula has to dress and wash the nursery, to wait at breakfast and on her misses, to take the children out, &c., before she can have her brief sweet interview through the area-railings with Boopis, the policeman. All day long have his heels to beat the stale pavement before he has the opportunity to snatch the hasty kiss or the furtive cold pie. It is only at moments, and away from these labours, that we can light upon one character or the other; and hence, though most of the persons of whom we are writing have doubtless their grave employments and avocations, it is only when they are disengaged and away from their work, that we can bring them and the equally disengaged reader together.

The macaronis and fine gentlemen at White's and Arthur's continued to show poor Harry Warrington such a very cold shoulder, that he sought their society less and less, and the Ring and the Mall and the gaming-table knew him no more. Madame de Bernstein was for her nephew's braving the indifference of the world, and vowed that it would be conquered, if he would but have courage to face it; but the young man was too honest to wear a smiling face when he was discontented; to disguise mortification or anger; to parry slights by adroit flatteries or cunning impudence; as many