"Friends," said the wounded man in a gloomy voice, after licking his mustaches, "beware! This is rich man's wine."
Notwithstanding this sinister warning, the democrats again filled their glasses, emptied them at a draught, and looked at each other with an air of incredulity. The wounded man fainted away. M. Levrault had him carried into a comfortable room, warmed his bed, and put him into it himself, sent for a surgeon to dress his wound, and put a wing of the hotel at the disposal of his new brothers, who needed little entreaty to install themselves there. On returning to the drawing-room, he found Laura pale and terrified.
"Wretched girl!" he cried, "see what your silly vanity has done! I wanted to marry you to Jolibois. You would be a Marchioness. And now God only knows what will become of us!"
Having said this, he crept stealthily down stairs, ran to the coach-house, painted over with his own hand the arms upon the carriages, stole up stairs again, took the plate boxes from the sideboard, hurried to the cellar, concealed his treasure in a cask, and went out to buy a few dozen forks and spoons of the best electro-plate.
We must hurry to a conclusion. Solon Marche-toujours (the name of the wounded man) is recognised, during his convalescence, as a son of M. Levrault, lost in his infancy, and to whom occasional reference has been made in the course of the novel. On discovering a rich father, he abjures communism, turns his comrades out of doors, and demands three hundred thousand francs to found a newspaper; but before he can extract them from the paternal purse, M. Levrault's entire fortune and Laura's dowry are swallowed up in one of the failures consequent on the revolution. Whereupon Solon reverts to his old principles, and finally emigrates to Icaria. The incident of the loss of the fortune, which, under ordinary circumstances, might seem forced, is rendered natural enough by the revolution, of which M. Sandeau has so ably availed himself. The moral of the tale is evident and good. All parties are punished where they have sinned. The political convulsion that abolishes the titles for which Levrault bartered his daughter, and Laura sold herself, sweeps away the money which the Marchioness lied and flattered, and Gaston misallied himself, to obtain. These four persons return to Brittany, the intriguing dowager being fain to accept M. Levrault's hospitality in what was once her own castle, but which she transferred to him in full expectation of appropriating in exchange his Parisian mansion. The cloth-merchant's tribulations are not yet at an end. He is arrested by Jolibois, who has been appointed commissioner of the Republic in Brittany. The Radical ex-notary, who has more mischief than malignity in his composition, relents and releases him, abandoning him on a desolate road in the middle of a stormy night, and at several miles distance from Chateau Levrault. There are some humorous scenes towards the end of the book; and hard knocks, richly deserved, are administered to the democrats. The most pleasing feature at the close of the narrative is the change that takes place in Gaston and his young wife, whose better qualities, dormant in their more prosperous days, are brought about by adversity, and who find compensation in mutual affection for loss of rank and wealth. The novel closes with their departure for Paris, where Gaston is resolved to work out, by toil and the exercise of his talents, the means of an honourable and independent existence. M. Levrault and the Marchioness remain in Brittany, where they beguile their weariness by keeping up their old feud. Jolibois, after sitting in the Constituent Assembly, subsides into private life, having in the meantime lost all his clients. Gaspard de Montflanquin, released from durance vile by the abolition of imprisonment for debt, and appointed consul to the Republic in Polynesia, passes his time teaching lansquenet to the savages.
Sacs et Parchemins is one of the best French novels that has appeared since the February revolution. Its tone and tendency are alike unobjectionable; and whatever its reception in France, we are quite sure that with English readers it will be a general favourite. It is fully time that the better class of French writers should exert themselves, and not suffer their novel reading countrymen to be reduced, for an idle hour's amusement, to the perusal of the contemptible and unwholesome trash of which the light literature of France has for the last two years principally consisted. It would be most agreeable and refreshing to behold the names of Foudras, Féval, Dumas junior, Montégrin, and all vain pretenders of the same sort, replaced in the catalogues by those of de Bernard, Reybaud, Mérimée, Karr, and others of whom we have occasionally made honourable mention. In the ranks of the latter and worthier body, M. Jules Sandeau's last novel fairly entitles him to a place.
CAIRD'S HIGH FARMING HARROWED.
"Tarry woo', O tarry woo',
Tarry woo' is ill to spin;
Caird it weel, O caird it weel,
Caird it weel ere ye begin."
Old National Song.
[With reference to the following friendly letter from Cato the Censor to Mr Caird, we must explain to our readers that the author of High Farming under Liberal Covenants, &c., has published a second pamphlet, entitled High Farming Vindicated, being a letter addressed to us, and professing to answer the article in our January number, on "British Agriculture and Foreign Competition." Mr Caird is a clever fellow in his way, but hardly the style of man to whom, under ordinary circumstances, we should feel called upon to devote so many of our pages. We shall therefore briefly explain our reasons for publishing the old Roman's letter in our columns.