without a home, living with third-rate people—was depressing to both, and the picture was overcharged with shadows. Therefore a little glimpse has been given into that heaven to which all youthful and inexperienced novel-readers aspire.
Sir Joshua Reynolds, moreover, insists on a proper balance of lights and shadows. He says that it is false art to accumulate dark spots on one side of a picture without relieving them with a corresponding number of luminous foci on the other. Now in this story the reader has been given three deaths. Therefore, there must needs be the same number of marriages to produce equilibrium. Accordingly, over against the dark points of Archelaus Tubb, Lord Lamerton, and Captain Saltren, we set off the bright combinations of Samuel and Joan, of Captain Tubb and Marianne, and of Arminell and Jingles. These are not, it is true, spots of transcendent brilliancy, double stars of the first order, but of subdued and chastened effulgence. Not many roses crowned the hymeneal altar of Sam Ceely, nor would an impassioned epithalamium suit the nuptials of Mrs. Saltren, just recovered from a touch of paralysis. Nor will the beaker of ecstatic love brim over at the union of Arminell and Giles Saltren, seeing that it is largely filled with De Jongh's cod-liver oil. When a cook has over-salted the soup, he mixes white sugar with it, and this neutralises the brine and gives the soup a mellowness, and velvety softness to the palate. On the same principle, having put too many tears into this tale, I am shaking in the hymeneal sugar in just proportions.
I know very well I am letting the reader into the secrets of construction, telling the tricks of the trade, but as this narrative is written for instruction as well as for amusement, I do not scruple thus to indicate one of the principles of the art of novel writing; and I do this with purpose, to gain the favour of the reader, who I fear is a little ruffled and
