death make the first act; the second, which is no more than an illustrative episode and serves to fill out the history of the house itself, is the tale of Alice, the mesmerized victim of a later generation, in which the witchcraft element of the first story is half rationalized; the third part, which these two lead up to and explain, is the body of the novel, and contains the working out of the curse and its dissipation in the marriage of the descendants of the Colonel and the old wizard Maule, from whose dying lips it had come. The curse itself, "God will give him blood to drink," is made physical by the fact that death comes to the successive heirs by apoplexy, an end which lends itself to an atmosphere of secrecy, mysteriousness, and judgments; but the permanence of those traits which made the Colonel's character harsh and harmful, his ambition, will-power, and cruelty, gives moral probability to the curse and secures its operation as a thing of nature. There is, nevertheless, a lax unity in the novel, owing to this dispersion of the action; and its somewhat thin material in the contemporary part needs the strengthening and enrichment that it derives from the historical elements. The series is united by the uncut thread of a vengeful punishment that must continue until the original wrong itself shall disappear; but when that happens, the Indian deed hidden behind the portrait is worthless, the male line is extinct, and the house itself a thing of the past. The presence of the past in life, both as
