THE PILOT

can be depended on to read with a quickened pulse. Notable among these are the rescue of the frigate from the shoals, and the fight between the 'Alacrity' and 'Ariel.'

There is much human nature in the speech of the men if not of the women. The dialogue between Borroughcliffe and Manual would not shame books more celebrated for humor than The Pilot. Vast refreshment can be found in the racy and picturesque talk of Long Tom Coffin, the most original character in Cooper's gallery of seamen; also in that of Boltrope, who from an early 'prejudy ce' against knee-breeches (he somehow always imagined Satan as wearing them) never became fully reconciled to the ship's chaplain until that worthy left off 'scudding under bare poles and garbed himself like other men. Dillon, the lawyer, is too obviously the scoundrel. As the Cacique of Pedee,' however, he serves a good end. His kinsman, Colonel Howard, walks the stage with dignity, a worthy specimen of the loyalist of the American Revolution, and typical of the class for whom Cooper had much sympathy.

The young women are far from being lay figures. They have beauty, intelligence, courage, even audacity. That they are too perfect in feature, form, manner, was a defect common to all fiction of the time; the art of making a heroine of a plain woman was in its infancy. Cooper, who could describe a girl, had always a deal of trouble to make

her talk. Did he never listen to the conversation of those interesting creatures known, in the parlance of his day, as females'? Would Alice Dunscombe, meeting her lover after a separation of six years, have used the phrases Cooper put into her lips? All these young women might with justice have complained that the speaking parts assigned them were not representative. But they were at the author's mercy and did as they were told.

Cooper's principal biographer, to whom we are all vastly indebted, says that the female charac'ters of his earlier novels are never able to do 'anything successfully but faint.' This is unfair. Katherine Plowden, a brunette beauty, whom Professor Lounsbury has allowed himself to forget, goes habited en garçon to seek her lover, and does not faint when she finds him, only laughs like the gay Rosalind she is.

The story of Mr. Gray the pilot' is good, but The Red Rover is better. Cooper gave the public something new in pirates. The old-fashioned corsair, in theatrical phrase, looked his part. He swore horribly, was awful to behold, black-whiskered, visibly blood-stained, a walking stand of arms, like the monsters described in Esquemeling's Buccaneers of America. Unlike L'Olonnois, of evil memory, the captain of the 'Dolphin' is almost a Brummell; his cabin is a boudoir, and he has the wit to eschew the old-fashioned device of skull

THE RED ROVER

and cross-bones. One is inclined, however, to laugh when the pirate 'throws his form on a divan' and bids music discourse. The Rover was somewhat given to posing, and in moments of deep thought wore a 'look of faded marble.'

There is nothing fantastic in Wilder, the young captain, and nothing to be desired in his handling of the Royal Caroline.' The description of the flight before the strange cruiser is a splendidly nervous piece of writing. From the moment when the Bristol trader disentangles herself from the slaver's side in the harbor of Newport until she becomes a wreck on the high seas and the diabolpursuer passes like a hurricane, the interest is cumulative.

ical

The book has its quota of garrulous old salts, some of whom talk too much, others not enough. 'Mister Nightingale' promises well, but has little of value to say after his discourse anent the quantity of sail a ship may carry in a white squall off the coast of Guinea. The reader will find amusement in the other characters, notably Fid and that strange being, Scipio Africanus.

The Water-Witch concerns a mysterious and beautiful smuggling brigantine with a wonderful gift for eluding Her Majesty's revenue cruiser under command of Captain Ludlow. The time is the close of Lord Cornbury's administration, the scene, New York harbor and the adjacent estuaries. The story is fantastic and melodramatic,

and the dialogue stilted, even for Cooper. Compared with The Red Rover, a romance like The Water-Witch is hard reading. With such characters as Alderman Van Beverout, Alida de Barbérie, and 'Seadrift' with her epicene beauty, it is not surprising that The Water-Witch should have been dramatized.

The Two Admirals is an engaging picture of manly affection. He who has made the acquaintance of Sir Gervaise Oakes and his friend Richard Bluewater is to be congratulated, for a more sterling-hearted pair of worthies is seldom to be found. Other pleasant company may be had for the asking; the aged baronet Sir Wycherly Wychecombe, hospitable to excess, bemoaning the inconvenience of not having a satisfactory heir, and wondering why his brother never married, though he had never given himself the trouble to undergo the discipline of wedlock. Agreeable in their several ways are Mildred Dutton, Wycherly Wychecombe the young Virginian, and Galleygo the top man turned steward, he of the picturesque language. The story has a conventional plot, and one is supposed to be eager to know the validity of the Virginian's claim to the ancient estate of the Wychecombes. The plot is in danger of being forgotten when Cooper carries his people to sea, and describes the action between French and English fleets off Cape la Hogue.

Wing-and-Wing relates the adventures of a

WING-AND-WING

French privateer in the Mediterranean in 1798. One has not to read far before becoming enamoured of the diabolical little lugger and her audacious captain. As creatures of romance go, the goodhumored and handsome Raoul Yvard (alias Sir 'Smees') is real and attractive. His arguments with Ghita (they talk theology not at all after the manner of Mrs. Humphry Ward's characters) move one to turn the pages hurriedly. Raoul may be forgiven; Ghita drove him to it, being orthodox and fond of proselyting. One can always take refuge with the vice-governatore and the podestà. These worthies are long-winded, but it were unfair to call them dull.

Ithuel Bolt, that long-legged, loose-jointed son of the Granite State, is new in Cooper's gallery of seamen. He makes an interesting figure in the wine-shop at Porto Ferrajo, his chair, creaking under his weight, tipped back on two legs against the wall, the uprights digging into the plaster, his knees apart, 'you fancy how,' and his long arms over the backs of neighboring chairs, giving him a resemblance to a spread eagle. Next to the wine of the country, which he abuses while succumbing to its influence, he detests the saints. Filippo, the Genoese sailor, undertakes a feeble defence. Says the Yankee: A saint is but a human'a man like you and me, after all the fuss you 'make about 'em. Saints abound in my coun'try, if you'd believe people's account of them