happy. I can't help feeling something of the same kind. Let it fall on Bolingbroke Place, if it will; it won't do much harm, I dare say.'

'No; I suppose no great harm comes of a storm in England. Still, the bare idea of anyone, perhaps, who is alive and happy now, being harmed or killed by something that seems trifling to us here-well, the truth is I am too happy, and my only trouble now is because I know there are others not so happy; that there are sad hearts; that there are eyes wet with tears of grief, while mine, my friend-I can't look up -are wet with tears of happiness.'

'Let us sit down here for a moment,' he said.

There was a wooden seat near them and they sat down, and she leaned on him, and for a while they were silent. Then they began to talk again. They talked of their plans and prospects, and of the future. and the past, in low tones suited to the place and the hour and the conditions of their new life. They spoke of what was to be done with the money that Fielding would not accept and Gabrielle would not keep, and had many ideas about the way in which some good might most surely be made to come of it. Gabrielle

was resolved to do something-she did not exactly know what to make Janet Charlton happy. Both remembered afterwards the curious fact that neither mentioned the name of Robert Charlton. In truth, both Gabrielle and Fielding had a conviction somehow that things were hopelessly wrong with Charlton, and each shrank from the intrusion of his name into the dreams and schemes of such an hour. They went over all the events of their past, according to the immemorial custom of lovers: the 'don't you remember' this day, that day, and the other; the times they met, the words they spoke, before either knew that the other loved; and the rest of the sweet purposeless talk which all the world talks when it is young and in love. Let us leave them to their love and their happiness, with the evening song of the birds and the soft murmur of the trees, and the ripple of the water; with the future bright before them, and the past endeared; let us leave them there and go our several ways.

THE END.

Spottiswoode & Co., Printers, New-street Square, London.

CHATTO & WINDUS'S LIST OF BOOKS.

Imperial 8vo, with 147 fine Engravings, half-morocco, 36s. THE EARLY TEUTONIC, ITALIAN,

AND FRENCH MASTERS.

66

'Cannot fail to be of the utmost use to students of art history."-TIMES. Crown 8vo, 1,200 pages, cloth extra, 12s. 6d.

THE READER'S HANDBOOK

OF ALLUSIONS, REFERENCES, PLOTS, AND STORIES. By the Rev. E. COBHAM BREWER, LL.D.

The object of this Handbook is to supply readers and speakers with a lucid bur very brief account of such names as are used in allusions and references, whether by poets or prose writers to furnish those who consult it with the plot of popular dramas, the story of epic poems, and the outline of well-known tales. Thus, it gives in a few lines the story of Homer's "Iliad" and "Odyssey," of Virgil's "Eneid," Lucan's "Pharsalia," and the "Thebaid" of Statius; of Dante's "Divine Comedy," Ariosto's "Orlando Furioso," and Tasso's " Jerusalem Delivered;" of Milton's "Paradise Lost" and "Paradise Regained;" of Thomson's "Seasons;" of Ossian's tales, the " Nibelungen Lied" of the German Minnesingers, the Romance of the Rose," the "Lusiad" of Camoens, the "Loves of Theagenes and Charicleia" by Heliodorus; with the several story poems of Chaucer, Gower, Piers Plowman, Hawes, Spenser, Drayton, Phineas Fletcher, Prior, Goldsmith, Campbell, Southey, Byron, Scott, Moore, Tennyson, Longfellow, and so on. Far from limiting its scope to poets, the Handbook tells, with similar brevity, the stories of our national fairy tales and romances, such novels as those by Charles Dickens, "Vanity Fair" by Thackeray, the "Rasselas" of Johnson, Gulliver's Travels" by Swift, the "Sentimental Journey" by Sterne, "Don Quixote" and "Gil Blas," "Telemachus" by Fénélon, and" Undine" by De la Motte Fouqué. Great pains have been taken with the Arthurian stories, whether from Sir T. Mallory's collection or from the "Mabinogion," because Tennyson has brought them to the front in his "Idylls of the King;" and the number of dramatic plots sketched out is many hundreds. Another striking and interesting feature of the book is the revelation of the source from which dramatists and romancers have derived their stories, and the strange repetitions of historic incidents. In the Appendix are added two lists: the first contains the dite and author of the several dramatic works set down; and the second, the date of the divers poems or novels given under their author's name.