abstract belief, Catherine brought that personal earnestness with which the high-toned and sensitive temperament enters into all that it undertakes. This was soon heightened by that affection Mary knew so well how to inspire. It is coloured in the loveliest and loftiest light of humanity: the picture of Catherine Seyton, cheering the solitude of her imprisoned mistress with the playful gaiety of a spirit, as yet unbroken, as it is unspotted by the world. What "high resolve and constancy" is in the courage with with she plans and looks forward to escape! How true to the more generous impulses of her age is the utter disbelief of all the charges brought against the queen! Suspicion and youth are no comrades for each other. Youth is frank, eager, and prone to believe in the good; it looks round, and it sees flowers; it looks up and sees stars; evil appears impossible, because it does not seem to be in ourselves. It remains for after and weary years to teach us, that even the young and the innocent may be led into crime by the strong influence of temptation. Passion first, and interest afterwards, lures the feet of men into dark and crooked paths, which none in earlier and holier hours deemed they could tread. We may have been often deceived, but it is not until we ourselves begin to deceive that we dread deceit. There is an arch playfulness about Catherine Seyton with which Scott delights to invest his creations—they
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