tablishes a raw upon the nervous system, does soften to acuteness, mobility, and racy corrugation in the breast of its natural ally, the Doctor. For autocratic tempers are bland towards each other, and murderous characteristics can mutually impart something homologous to the refining interchange of beautiful souls. Therefore we do not yet know how much our climate is indebted to our doctors. It may be suspected that they understand each other, as the quack and the fool do, whose interests are identical.

But this will not account for the literary talent of the doctors. For they write books in England and Scotland, in France and temperate Germany, in every latitude and with a good deal; they are, however, defective in longitude, which is remarkable, when we consider how they will protract their cases. With their pens they are prompt, clean, humane in the matter of ink, their first intention almost always successful, their thought expelled by natural cerebral contraction without stimulus, (we speak of ergot, but of "old rye" we know nothing,) their passion running to its crisis in the minimum of time, and their affections altogether pleasanter than anything of the kind they accuse us of having, as well as less lingering. But with their pills - well, we all know how our ills are nursed by medicine. Is it a relief that their precept is less tedious than their practice? It is good policy for us, perhaps, if our minds are to be under treatment from their books, and it grows plainer every day that no person of mind can well escape from them,- that our bodies should continue subject to their boluses. Thus we may die daily, but our incorporeal part is better acclimated in the invisible world of truths and realities.

or race.

No, the doctors owe nothing to climate The intelligent ones are everywhere broad, acute, tender, and religious. They uniformly see what is natural and what is morbid, what is fact and what is fancy, what is cutaneous and what is vital, in men and women. They stand on unreal, conventional terms with nothing. They know healthy from inflamed tissues, and run down, grab, and give one dexterous fatal shake to a tissue of lies. One of Dr. Brown's terriers is not more swift, exact, and uncompromising after vermin. This

excellent sense for unvarnished realities has been attributed by some to their habit of visiting so many interiors- of men and of their houses whose swell-fronts are pervious to the sincerity of pain. We never see a doctor's chaise anchored at a door but we imagine the doctor taking in freight up-stairs. In these days he is beginning to receive more than he gives. Let no sarcastic person allude to doctors' fees. We mean that the physician, whose humanity and intelligence are broad diplomas, on presenting which the doors of hearts and houses open with a welcome, enters into the choicest field of his education and research, where his tender observation walks the wards of thought, feeling, and motive, to amass the facts of health and suffering, to be refined at the true drama of pathos, to be ennobled by the spectacle of fair and lofty spiritual traits, to be advised of the weaknesses which he learns to touch lightly with his caustic, while his knowing and friendly look deprecates all excess of pain. It is a school of shrewdness, gentleness, and faith.

But a rich subject is here, altogether too wide for a book-notice, and worthy of deliberate, but enthusiastic treatment. Dr. John Brown of Edinburgh has consulted his own interior, and frequented those of his diocese, to some purpose. The pieces in this volume, which the publishers have selected from the two volumes of "Horæ Subsecivæ," omitting the more professional papers, are full of humor, tenderness, and common sense. They betray only occasionally, in a technical way, that the author is a disciple, as well as admirer, of Sydenham, and his own countryman, Cullen. But they overflow with the best specifics of the healing art, shrewdness, independence, nice observation; they have a woman's kindness and a man's sturdiness. They honor human nature not the less because the writer knows how to manage it, to raise a smile at its absurdities, to rally, pique, and guide it into health and goodhumor. He is very clever with the edgetools in his surgeon's-case; he whips you out an excrescence before you are quite aware that he meditated an operation, and you find that he had chloroformed you with a shrewd writer's best anesthetic, a humorous and genial temper.

There is a great deal of nice writing

here. Happy words come at a call and occupy their inevitable places. Now and then a Scotch word, with a real terrier phiz and the best qualities of "black and tan," gives the page a local flavor which we should not like to miss. But the writing is not provincial. There is Scotch character everywhere: the keenness, intensity, reverence, shaggy humor, sly fun, and just a touch of the intolerance. The somewhat literal regard for Scripture, the awe, and the unquestioning, childlike way of being religious, with the independence of Kirk and Sessions and National Establishments, all belong to the best intelligence of Edinburgh. But the literary felicity, the scholarship, the various reading, the cultivated appreciation of books, men, and systems, while they make us admire as a good many bright volumes printed in Edinburgh have done before-the mental power and refinement which that most picturesque of Northern cities nourishes, do still belong to the great commonwealth of letters, remind us not of wynds and closes, and run away from the littleness of time and place.

If the reader would understand the difference between the sentimental and the pathetic treatment of a subject, let him see in "Rab and his Friends" how the pen of Dr. Brown follows the essential lines of that most pure and tender of all stories. In doing so he has given us a new creation in Ailie Noble. Not a line can be effectively added to that ideal narrative of a true history, not a word can be pushed from its place. The whole treatment is at once delicate, incisive, tender, reserved, and dramatic. And after reading it, with or without tears, according to your capacity for dogged resistance to a distended lachrymal duct, — you will be conscious of bearing away a sweet and subduing impression, like that which a rare friend can sometimes give, which lingers many days.

Let nobody omit to read the "Letter to John Cairns, D. D.," because he does not care for J. C. or know who he is. It contains some reminiscences by Dr. Brown of his father, a noted clergyman, of whose life and character Dr. Cairns had prepared a memoir. In this, and in the Essay upon Dr. Chalmers, Dr. Brown shows his capacity to observe and portray

human moods and characteristics. There are his usual literary excellences, brought to the service of a keen and faithfully reporting eye, and his fine humane qualities, his tenderness, reverence, and humor.

This volume is one of the best ventures of the literary year.

Cecil Dreeme. By THEODORE WINTHROP. Boston: Ticknor & Fields. 16mo.

IN the death of Major Winthrop, at the promising commencement of his military career, the nation lost one of its purest, noblest, and most capable spirits. His industry, sagacity, and intrepidity all rested on a firm basis of fixed principle and deep enthusiasm; and had he lived, we have little doubt that both his moral and practical power would have been felt among the palpable forces of the country. In the articles he contributed to this magazine, describing his brief military experience, every reader must have recognized the singular brightness of his mind and the singular joyousness of his courage. Powers which, in meditation, worked at the bidding of pensive or melancholy sentiments, seemed to be braced by action into unwonted healthiness and hilarity; and had he survived the experience of the present war, there can be little doubt that his intellect and imagination would, by contact with events, have been developed to their full capacity, and found expression in literary works of remarkable power.

"Cecil Dreeme" is one of several novels he wrote before the war broke out, and it conveys a striking impression of his genius and disposition. The utmost sensitiveness and delicacy of moral sense were combined in him with a rough delight in all the manifestations of manly strength; and these two tendencies of his nature are fitly embodied and exquisitely harmonized in the characters of Cecil Dreeme and Robert Byng. They are opposites which by their very nature are necessarily attracted to each other. The obstacle to their mental and moral union is found in a third person, Densdeth, in whom manly strength and genius have been corrupted by selfishness and sensuality into the worst form of spiritual evil. This person is simply abhorred by Cecil, while Byng finds in him

something which tempts appetite, piques curiosity, develops sensuous feeling, and provokes pride, as well as something which excites moral disgust and loathing. Byng's distrustful love for Emma Denman admirably represents this stage of his moral experience.

Densdeth is undoubtedly the central character of the book. It proves its creator to be a true spiritual as well as physical descendant of President Edwards; and not even his ancestor has shown more vividly the "exceeding sinfulness of sin." Densdeth is one of those evil natures in whom delight in evil pleasures has subsided into a delight in evil itself, and a desire to communicate it to others. He has the diabolical power of calling out the latent evil in all natures with whom his own comes in contact, and he corrupts, not so much by example, as by a direct communication of the corrupt spiritual life of his individual being. He is an accomplished devil, wearing the guise of a New-York man of fashion and fortune, a devil such as tempts every person thrown into the vortex of our daily commonplace life. Every pure sentiment, noble aspiration, and manly instinct, every natural affection, gentle feeling, and religious principle, is tainted by his contaminating companionship. He infuses a subtle skepticism of the reality of goodness by the mere magnetism of his evil presence. Persons who have been guarded against the usual contrivances by which the conventional Devil works his wonders find themselves impotent before the fascinations of Densdeth. They follow while they detest him, and are at once his victims and his accomplices. In those whose goodness, like that of Cecil Dreeme, is founded on purity of sentiment and strength of principle, he excites unmitigated abhorrence and strenuous opposition; but on all those whose excellence is "respectable" rather than vital, who are good by the felicity of their circumstances rather than the force of their conscience, he exercises a fascination almost irresistible. To everybody, indeed, who has in him any latent evil not overbalanced by the habitual performance of positive duties, Densdeth's companionship is morally blighting. The character, fearful in its way as the Mephistopheles of Goethe, is represented with considerable artistic skill.

Though the most really prominent person in the drama, he is, in the representation, kept in the background, - a cynical, sneering, brilliant demi-devil, who appears only when some plot against innocence is beginning its wiles or approaching its consummation.

The incidents of the novel occur in some of the best-known localities of New York. Nobody can mistake Chuzzlewit Hotel and Chrysalis College. Every traveller has put up at the first and visited some literary or artistic friend at the second. Indeed, Winthrop seems to have deliberately chosen the localities of his story with the special purpose of showing that passions almost as terrible as those which are celebrated in the tragedies of Æschylus and Sophocles may rage in the ordinary lodging-houses of New York. He has succeeded in throwing an atmosphere of mystery over places which are essentially commonplace; and he has done it by the intensity with which he has conceived and represented the internal thoughts, struggles, and emotions of the men and women by whom these edifices of brick and stone are inhabited.

Though a clear narrator, when the story required clear narration, Winthrop perfectly understood the art of narrating by implication and allusion. He paints distinctly and minutely, not omitting a single detail, when the occasion demands such faithful representation of real facts and localities; but he has also the power of flashing his meaning by suggestive hints which the most labored description and explication could not make more effective. He makes the mind of the reader work sympathetically with his own in building up the idea he seeks to convey. Crimes which are nameless are mutually understood by this refined communion between author and reader. The mystery of the plot is not directly explained, but each party seems to bring, as in private conversation, his individual sagacity to bear upon the right interpretation.

The style of the book is admirable. It is brief almost to abruptness. The words are few, and are crammed with all the meaning they can hold. There is not a page which does not show that the writ er is an economist of expression, and desirous of conveying his matter with

the slightest possible expenditure of ink. Charles Reade himself does not condense with a' more fretful impatience of all circumlocution and a profounder reliance on the absolute import of single words.

We might easily refer to particular scenes from this book, illustrative of the author's descriptive and representative powers. Among many which might be

noticed, we will allude to only two, — that in which Cecil is revived from his "sleep of death," and that in the opera-house, where Byng is apprised of the guilt of Emma Denman. Nobody can read either without feeling that in the disastrous fight of Great Bethel we lost a great novelist as well as a chivalrous soldier and a noble man.

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