IT is night. King street seems in a melancholy mood, the blue arch of heaven is bespangled with twinkling stars, the moon has mounted her high throne, and her beams, like messengers of love, dance joyously over the calm waters of the bay, so serenely skirted with dark woodland. The dull tramp of the guardman's horse now breaks the stillness; then the measured tread of the heavily-armed patrol, with which the city swarms at night, echoes and reoches along the narrow streets. A theatre reeking with the fumes of whiskey and tobacco; a sombre-looking guard-house, bristling with armed men, who usher forth to guard the fears of tyranny, or drag in some wretched slave; a dilapidated "Court House," at the corner, at which lazy-looking men lounge; a castellated "Work House," so grand without, and so full of bleeding hearts within; a "Poor House" on crutches, and in which infirm age and poverty die of treatment that makes the heart sicken-these are all the public buildings we can boast. Like ominous mounds, they seem sleeping in the calm and serene night. Ah! we had almost forgotten the sympathetic old hospital, with its verandas; the crabbed looking "City Hall," with its port holes; and the "Citadel," in which, when our youths have learned to fight duels, we learn them how to fight their way out of the Union. Duelling is our high art; getting out of the Union is our low. And, too, we have, and make no small boast that we have, two or three buildings called "Halls." In these our own supper-eating men riot, our soldiers drill (soldiering is our presiding genius), and our mob-politicians waste their spleen against the North. Unlike Boston, towering all bright and vigorous in the atmosphere of freedom, we have no galleries of statuary; no conservatories of paintings; no massive edifices of marble, dedicated to art and science; no princely school-houses, radiating their light of learning over a peace and justice-loving community; no majestic exchange, of granite and polished marble, so emblematic of a thrifty commerce;--we have no regal "State House" on the lofty hill, no glittering colleges everywhere striking the eye. The god of slavery-the god we worship, has no use for such temples; public libraries are his prison; his civilization is like a dull dead march; he is the enemy of his own heart, vitiating and making drear whatever he touches. He wages war on art, science, civilization! he trembles at the sight of temples reared for the enlightening of the masses. Tyranny is his law, a cotton-bag his judgment-seat. But we pride ourselves that we are a respectable people-what more would you have us?

The night is chilly without, in the fire-place of the antiquary's back parlor there burns a scanty wood fire. Tor has eaten his supper and retired to a little closet-like room overhead, where, in bed, he muses over what fell from Maria's lips, in their interview. Did she really cherish a passion for him? had her solicitude in years past something more than friendship in it? what did she mean? He was not one of those whose place in a woman's heart could never be supplied. How would an alliance with Maria affect his mother's dignity? All these things Tom evolves over and over in his mind. In point of position, a mechanic's daughter was not far removed from the slave; a mechanic's daughter was viewed only as a good object of seduction for some nice young gentleman. Antiquarians might get a few bows of planter's sons, the legal gentry, and cotton brokers (these make up our aristocracy), but practically no one would think of admitting them into decent society. They, of right, belong to that vulgar herd that live by labor at which the slave can be employed. To be anything in the eyes of good society, you must only live upon the earnings of slaves.

"Why," says Tom, "should I consult the dignity of a mother who discards me? The love of this lone daughter of the antiquary, this girl who strives to know my wants, and to promote my welfare, rises superior to all. I will away with such thoughts! I will be a man! Maria, with eager eye and thoughtful countenance, sits at the little antique centre-table, reading Longfellow's Evangeline, by the pale light of a candle. A lurid glare is shed over the cavern-like place. The reflection plays curiously upon the corrugated features of the old man, who, his favorite cat at his side, reclines on a stubby little sofa, drawn well up to the fire. The poet would not select Maria as his ideal of female loveliness; and yet there is a touching modesty in her demeanor, a sweet smile ever playing over her countenance, an artlessness in her conversation that more than makes up for the want of those charms novel writers are pleased to call transcendent. "Father!" she says, pausing, "some one knocks at the outer door." The old man starts and listens, then hastens to open it. There stands before him the figure of a strange female, veiled. "I am glad to find you, old man. Be not suspicious of my coming at this hour, for my mission is a strange one." The old man's crooked eyes flash, his deep curling lip quivers, his hand vibrates the candle he holds before him. "If on a mission to do nobody harm," he responds, "then you are welcome." "You will pardon me; I have seen you before. You have wished me well," she whispers in a musical voice. Gracefully she raises her veil over her Spanish hood, and advances cautiously, as the old man closes the door behind her. Then she uncovers her head, nervously. The white, jewelled fingers of her right hand, so delicate and tapering, wander over and smooth her silky black hair, that falls in waves over her Ion-like brow. How exquisite those features just ............