rally unaccompanied by
that rough Georgian hurly-burly, common in Smollett, which is so
interesting to contemplate from a comfortable distance, and which goes so
far towards making his fiction seem real. Nor are the characters, for
the most part, life-like enough to be interesting. There is an apparent
exception, to be sure, in the hero's mother, already mentioned, the
hardened camp-follower, whom we confidently expect to become vitalised
after the savage fashion of Smollett's characters. But, alas! we have no
chance to learn the lady's style of conversation, for the few words that
come from her lips are but partially characteristic; we have only too
little chance to learn her manners and customs. In the fourth chapter,
while she is making sure with her dagger that all those on the field of
battle whom she wishes to rifle are really dead, an officer of the
hussars, who has been watching her lucrative progress, unfeelingly puts a
brace of bullets into the lady's brain, just as she raises her hand to
smite him to the heart. Perhaps it is as well that she is thus removed
before our disappointment at the non-fulfilment of her promise becomes
poignant. So far as we may judge from the other personages of Count
Fathom, even this interesting Amazon would sooner or later have turned
into a wooden figure, with a label giving the necessary information as to
her character.

Such certainly is her son, Fathom, the hero of the book. Because he is
placarded, "Shrewd villain of monstrous inhumanity," we are fain to
accept him for what his creator intended; but seldom in word or deed is
he a convincingly real villain. His friend and foil, the noble young
Count de Melvil, is no more alive than he; and equally wooden are Joshua,
the high-minded, saint-like Jew, and that tedious, foolish Don Diego.
Neither is the heroine alive, the peerless Monimia, but then, in her
case, want of vitality is not surprising; the presence of it would amaze
us. If she were a woman throbbing with life, she would be different from
Smollett's other heroines. The "second lady" of the melodrama,
Mademoiselle de Melvil, though by no means vivified, is yet more real
than her sister-in-law.

The fact that they are mostly inanimate figures is not the only surprise
given us by the personages of Count Fathom. It is a surprise to find few
of them strikingly whimsical; it is a surprise to find them in some cases
far more distinctly conceived than any of the peo