Hakeem, the Divine founder of the sect, again present in human form, and
who will again be transformed, or "exalted," so soon as by the slaughter
of their tyrant he has set the Druses free. His bride will be exalted
with him. The imposture succeeds only too well. "Mystic" as well as
"schemer," Djabal, for a moment, deceives even himself; and when the
crisis is at hand, and reason and conscience reassert themselves, the
enthusiasm which he has kindled still forces him on. His only refuge is
in flight; and even this proves impossible. He nerves himself, before
escaping, to the Prefect's murder; and is confronted on the threshold
of the Prefect's chamber, by his promised wife, who has herself done the
deed.

Anael has loved Djabal, believing him Divine, with what seemed to her
too human a love. She felt unworthy to share his exaltation. She has
done that which her humanity disclaimed that she might no longer be so.
A few moments more, and they both know that the crime has been
superfluous. Lois, who also loves Anael, and hopes to win her, has
procured from the Chapter of his Order the removal of the tyrant, and
been appointed by it in his place; the day of Druse oppression was
already over. But Djabal and Anael are inseparably united. The scorn
with which she received his now inevitable confession was intense but
momentary. The woman's heart in her revels in its new freedom to cherish
and to protect; and she embraces her lover's shame with a far greater
joy than their common triumph could have aroused in her. She is brought
forward as the Prefect's murderer in presence of all the personages of
the drama; and falls dead with a cry of "Hakeem" on her lips. Djabal
stabs himself on her body, thus "exalting" himself to her. But he has
first committed his Druses to the care of Lois, to be led back to their
mountain home. He remains Hakeem for them, though branded as an impostor
by the rest of the world. Directly, or indirectly, he has done the work
of the deliverer.

"A BLOT IN THE 'SCUTCHEON" is a tragedy in three acts, less intricate as
well as shorter than those which precede it; and historical only in the
simple motive, the uncompromising action, and the mediaeval code of
honour, which in some degree fix its date. Mr. Browning places this
somewhere in the eighteenth century.

Lord Henry Mertoun has fallen in love with Mildred Tresham. His estates
adjoin those of Earl Tresham, her brother and guardian. He inherits a
nobl