tion that she exercised over all that came within her "charmed circle." How well, too, the thoughtlessness, the impetuosity, and the imprudence are indicated, rather than expressed. She encourages the attachment between Catherine Seyton and Roland Gramme, without one moment's consideration of what the consequent unhappiness may be from the difference in their station: she cannot repress the biting sarcasm, though next to madness in her position; and the tendency to dissemble is shown in those slight things which are the stepping-stones to more important acts. The scene where Mary signs the papers of her abdication is among Scott's very finest. The relenting of the rough old earl is full of humanity; it shows also, most strikingly, the influence of Mary's fascination. But the authority, dependent on such fascination, builds its tower of strength on the sand; favour is deceitful, and beauty is vain; such an empire calls forth too much passion, and too many weaknesses; false hopes are entertained, jealousies arise, and envyings and bitterness remain—a foe is more easily made than a friend; and how difficult, or rather how impossible, so to apportion smile and word as to please rivals stimulated by every variety of vanity! It was with Mary Stuart as with Marie Antoinette, the loveliness became a snare, and hatred grew more envenomed, because made personal, from the mortification of unreasonable expectation. When
