Christian Doctrine, I little dreamed upon what a study I had entered. Again, after reading it through, I as little dreamed upon what a sea of speculation I had launched." May the result of such reading prove as fruitful of good to all readers as to Myrrha ! But such results seem to happen oftener in books than in real, selfish life. The best of this story is its ending, which, this time, is neither marriage nor death for the lovers.

FLEURANGE. By Mme. Augustus Craven. Translated by M. P. T. New York: The Catholic Publication Society. 1872.

Rarely, indeed, have we met a work whose author exhibits so many of the qualities indespensable in a good novelist, as the one under consideration. Artistic in conception, pure and elevated in style, it is withal faultless in tone and sentiment. It is not our purpose to give an outline of the plot of this tale, or to enlarge on the actors through whom it is evolved, but we shall confine ourselves to some observations on certain characteristics of the writer as developed in her work.

The author manifests a high degree of insight and the aesthetic sense, an intimate knowledge of feminine nature, and more of that of the opposite sex than its members may dream of-in acquiring which the delicate intuitions of her own sex doubtless serve a better purpose than the mere logic and learning of ours. Although the story introduces the reader into the highest social circles, and its incidents are of the most absorbing interest, there is no sacrifice of the dramatic unities, or any departure from the essential simplicity of the narrative. This severity of style, we may say, is at once the most winning quality of a work of genius, and the best test of its success; making the latter dependent on inherent excellence, rather than adventitious aids. In works of this character, art in letters reaches its highest development—that in which it becomes the most natural.

A noticeable feature is the epigrammatic conciseness with which a sentiment or description is finished. The reader is never wearied with platitudes or overminuteness of limning. Whatever idea occurs to the writer which she is willing to share with the reader is expressed in the fewest possible words. Is a Scene to be presented to the mind's eye?- a few touches of the

artist's pencil bring it vividly befo The reader finds himself moved nately to mirthfulness, or tears, or a ishment, as he encounters an unexp bit of humor, and exquisite burs pathos, or some reflection almost stai in depth or suggestiveness. Some sages are open to obvious infer while others constitute studies i would probe their philosophy. It v question with those who watched serial progress of the story, how author could bring order and han out of the complications in which had involved her principal charac and the way this has been accompli will be acknowledged as not the lea her achievements. No characters interchanged or lose their identity. acts his part as naturally, and retain individuality, as in real life; so that, the dramatis persona are at length moned to the footlights for a final a we feel inclined to protest, in the r of all the delighted auditors, agains call, as a premature termination of a pleasant intercourse.

The reception Fleurange has met thus far is very flattering. It has mended itself to the favorable judgi of the London Saturday Review, and o authorities of like critical acumen; been crowned by the French Acade and received the general approval of press and public, so far as we have le ed, while passing through the page Le Correspondant and THE CATH WORLD. We know of no recent ima ative work of which we could spea terms of more unqualified approba or better deserving a permanent plac our literature, both as a work of art for the sound principles by which pervaded and informed.

On the translation, we do not k that we could bestow higher praise to say that it reads like an original w of the first order; while we are conv ed that it is a faithful and conscient rendering from the French text.

LEGENDS OF ST. PATRICK By Aul De Vere. Dublin: McGlashan & London: Henry S. King & Co. I (New York: Sold by The Cath Publication Society.)

"If the Ireland of early times ever understood, it will not be till a thoughtful men have deemed her lege worthy of their serious attention." 1

ligious truth frequently experience some difficulty in understanding the ceremonies of the church and the various devotional practices of Catholics. We know of no more suitable book to place in the hands of such persons than this little treatise of Canon Oakeley. It is concise, clear, and methodical. Nothing is left unexplained, from the practice of taking holy water upon enter ing the church to the consecration of a bishop. This book will be found to be of great use not only to converts, but to Catholics in general, containing as it does a thoroughly reliable explanation of everything connected with our worship. This second edition is an evidence of the favor with which it has been received by the Catholic public.

THE SHADOW OF THE OBELISK, and Other Poems. By Thomas William Parsons. London: Hatchards, Piccadilly. 1872.

This modest volume is from the author whose translations from Dante, that have appeared in our magazine, are attracting deserved attention.

Mr. Parsons' powers as a lyric poet are considerable. His verse has, for the most part, the easy and often careless diction of a school which many think gone out, but which we believe destined to revive. Yet here and there we see the

influence of Tennyson. The lines," To Henry Wadsworth Longfellow," are in the latter style. For strength his sonnets are his best efforts. We wish he had favored us with more of them.

There is ample variety in the pieces collected. The poet has travelled much. "The Shadow of the Obelisk" sets us musing in Rome. "The Birthplace of Robert Burns" takes us to "bonnie Scotland." " St. James' Park" tells us the writer has philosophized in London. While the "Willey House," "On the Death of Daniel Webster," and "Hudson River" are themes from his native America. The lines, "On a Magnolia Flower," are fragrant with the South -the pale, sad South-and one of the gems of the book.

Mr. Parsons is a Unitarian, as he takes care to indicate; but, like Longfellow, he has Catholic sympathies. However, there is one short translation from Dante, entitled "A Lesson for Easter," the last two lines of which seem to talk Protestantism:

"Ye have the Testament, the Old and New, And this for your salvation is enough." But the preceding lines should throw light on the Catholic poet's meaning: "Christians, be staid : walk wisely and serene: Be grave, and shun the flippant speech of those Who think that every wave will wash them clean

That any field will serve them for repose.
Be not a feather to each wind that blows:
There is a Shepherd and a Fold for you:
Ye have a Leader when your way is rough."

All this is unmistakable orthodoxy; and, therefore, the two lines quoted, which come next, speak of the evidence of the Old and the New Testament for the "one Fold and one Shepherd" and the infallible" Leader."

We conclude by hoping that Mr. Par sons will vouchsafe us another volume of minor poems, and especially of sonnets.

THE LIFE OF FATHER MATHEW, THE PEOPLE'S SOGGARTH AROON. By Sister Mary Francis Clare, Author of The Illustrated History of Ireland, Advice to Irish Girls in America, Hornehurst Rectory, etc.

The indefatigable Nun of Kenmare could not have employed her pen on a worthier subject than the life and labors of the Apostle of Temperance. She will have accomplished a great end if this work serves to keep green in the hearts of her countrymen and of all Ca tholics the memory of one who accomplished more good than many who pos sessed more brilliant abilities, yet who neglected to employ their talents in that usurious activity which wins a blessing. DAILY STEPS TO HEAVEN. New York. D. & J. Sadlier & Co. 1872.

This, as well as the preceding work, belongs to a series of publications by the same author, embracing religious, historical, and miscellaneous books, which have attained an extraordinary popular ity in the old country and in the United States.

A BIOGRAPHICAL DICTIONARY. By Rev. Reuben Parsons, D.D. New York: D. & J. Sadlier & Co.

This work has been compiled "for the use of colleges, schools, and families." It contains short biographical sketches of the principal characters of history, together with chronological tables. The subjects are for the most part well selected, and, as far as we have read, are well and correctly treated. The style of the

author is terse and vigorous, and well adapted to this kind of composition.

The printing is excellent, the binding neat, but the figure in the frontispiece has suffered not a little at the hands of the artist-an accident which mars somewhat the general appearance of the book,

THE NEW GOD. Translated from the German of Conrad von Bolanden, by Very Rev. Theodore Noethen, V.G. Albany: M. O'Sullivan. 1872.

Our readers have already had a sufficient taste of this author's quality in "The Progressionists," now going through our pages, to desire the further treat to be found in the new products of his pen. We do not recall any series of fictitious writings, designed to combat vicious principles and actions, more admirable as specimens of vigorous and effective composition. The most obtuse progressionist could scarcely fail to comprehend the drift of the underlying argument, while the more fastidious reader will be carried along by the interest of the tale through which it is conveyed. Father Noethen is performing an acceptable service in making these works known to the English reader.

Bolanden's works fairly palpitate with the gravity of themes of living interest. The new German Government, the burthen of the present tale, has given evidence of their telling effect by ordering their suppression.

GERALDINE: A TALE OF CONSCIENCE. By E. C. A. New York: P. O'Shea. Geraldine was one of the first successful religious novels which followed the revival of Catholic doctrine in England, and bids fair to hold its own for many a year to come. It enjoys a wider reputation than either of Miss Agnew's other works, one of which, Rome and the Abbey, forms a sequel to this.

Mr. O'Shea also issues a reprint of Cardinal Wiseman's Lectures on the Connection between Science and Revealed Relirion; intended, apparently, as the commencement of an uniform series of the great author's works.

It is to be regretted that this work had not undergone a thorough revision by some competent hand before its reappearance, in order to adapt it to the present state of scientific investigation. Although true science can never be out of harmony with revelation, its successive developments may enable us to see

the conditions of that harmony and relation in a clearer light than when the Lectures were originally published.

THE HISTORY OF THE BLESSED VIRGIN MARY. Translated from the French of the Abbé Orsini, by the Very Rev. F. C. Husenbeth, D.D., V.G. Boston: Patrick Donahoe. 1872.

This work is already known to many readers in the presentation edition issued by the Messrs. Sadlier some years since, and the recent English edition of which the above is a fac-simile. We are glad to see an edition like this made accessible to the great body of readers, though the fire in which the publisher was involved, will interfere for a time with that consummation. It has a number of pictorial illustrations, and there are appended the letters apostolic concerning the dogmatic definition of the Immaculate Conception.

Liza is another work from the pen of M. Turgenieff, the distinguished Russian novelist, several of whose works are already familiar to us. His quiet sarcasm in depicting the Russian of the old school, who needs no scratching to reveal the genuine Tartar-crafty and brutal, but with a kindly streak withal-and the Russian of the present generation who has imbibed foreign habits and theories by no means elevating, is admirably cal culated to correct the evils of a transi. tion state of society. The former affords us two affecting pictures in this book of women of repressed lives, who humbly kiss with their dying lips the hand that has crushed them. One of them leaves a young son, Fedor Lavretsky, who never forgets his pale and gentle mother, who in turn hardly dared caress him for fear of the sharp eyes and cutting tongue of her sister-in-law, Glafira, who had taken charge of the child. He is brought up under a system of repression, and, when his father dies, he goes to Moscow deter mined to repair the defects of his education. There he falls in love with the face of a beautiful girl who regards him as a schöne Partie and marries him. He gives himself up to the happiness of his new life, and is induced by his wife to leave his estate, and, after various changes, to go to Paris, where admiration seems to have intoxicated her. Fedor, becoming aware of her real character, settles an an

nuity on her, leaves her, and returns to his native land. He cannot bear, how.ever, to go to his own seat where he passed the first happy days of his married life, but betakes himself to his aunt's place the stern Glafira, who had died during his absence. The desolate house is once more opened, and he stands alone in the room where she breathed her last, and looks with softened heart on the sacred icons in their gilded frames in the corner, and the worn carpet, covered with drippings from the wax candles she had burned before them, and on which she had knelt to pray. His old servant waits on him, he drinks tea out of the great cup he had used in his boyhood, looks over the large book full of mysterious pictures which he had found so wondrous in childish days. Everything recalls the earlier remembrances of his life. "On a woman's love my best years have been wasted," thought he.

Going to pay his respects to his great aunt, who is admirably drawn with a few vivid touches, he meets with Liza, whom he left a child, but is now nineteen years of age. There is a natural grace about her person; her face is pale, but fresh; her eyes lustrous and thoughtful, her smile fascinating, but grave, and she has a frank, innocent way of looking you directly in the face. Lavretsky is instantly struck with her appearance, and the impression is deepened the oftener he sees her. Liza's mother is one of those women, qui n'a pas inventé la poudre, la bonne dame, as one of her visitors ungratefully remarks. Her daughter owes the elevation and purity of her character to the nurse of her childhood, who gave herself up to penitential observances. Instead of nursery tales, she told Liza of the Blessed Virgin, the holy hermits who had been fed in their caves by the birds, and the female martyrs from whose blood sprang up sweet flowers. She used to speak of these things seriously and humbly, as if unworthy to utter such high and holy names, and Liza sat at her feet with reverent awe drinking in the holy influences of her words. Aglafia also taught her to pray, and took her at early dawn to the matin service. Liza grew up thoroughly penetrated with a sense of duty, loving everybody, but loving God supremely and with tender enthusiasm. Till Lavretsky came, no one had troubled the calmness of her inner life.

After some time, learning through a

newspaper that his wife is dead, he confesses his love to Liza. She feels drawn towards him, her heart seems to respond to his love, but it is hardly with genuine passion; it is rather the agitation of lily too rudely stirred by the breeze Not that she has no depth of feeling but, as she afterwards acknowledges when she did indulge in hopes of happi ness, her heart shuddered within her Love seemed almost a profanation, as if stranger had entered her pure maider chamber.

Suddenly, the wife, supposed to b dead, reappears. It is all a mistake Her husband is stunned. He feels h can never give back his love to one wh has no longer his respect. And Liza i lost to him. After several attempts, h sees her again. Her eyes have grow dimmer and sunken, her face is pale, an her lips have lost their color. She im plores him to be reconciled to his wife and they part without her allowing he hand to meet his.

Six months later, Liza takes the vei in a remote convent in Russia. Th Greek as well as the Latin conven seems to be the ideal refuge of start led innocence and purity. Once Lay retsky goes there, hoping to catch glimpse of her. He sees her as she i leaving the choir. She passes close b him with the quick, noiseless step of nun, but keeps steadily on without look ing at him. But he sees the almost im perceptible tremor of her eye; she bend her emaciated face still lower, and the hands that hold the rosary are clasped more tightly together.

But the chief value of M. Turgenie novels to a Catholic lies not in the sto ries themselves certainly, but in the de lightful pictures of Russian life and manners they present, and the influenc they have had in softening the rugged manners of the north and changing the condition of the serfs.

WONDERS OF THE MOON. Translated from the French of Amédée Guillemin by Miss M. G. Mead. Edited, with additions, by Maria Mitchell, of Vassa College. Illustrated with forty-thre engravings. New York: Scribner Armstrong & Co. 1873.

This little book contains a tolerably full account of all that is known abou the moon, and that is of interest to the general reader. Our knowledge of cu