‘in purple and in pall,’ like the Lady Alice of an old ballad, nor reduced to the primitive nakedness of a modern fashionable at a rout.  From this my choice of an era the understanding critic may farther presage that the object of my tale is more a description of men than manners.  A tale of manners, to be interesting, must either refer to antiquity so great as to have become venerable, or it must bear a vivid reflection of those scenes which are passing daily before our eyes, and are interesting from their novelty.  Thus the coat-of-mail of our ancestors, and the triple-furred pelisse of our modern beaux, may, though for very different reasons, be equally fit for the array of a fictitious character; but who, meaning the costume of his hero to be impressive, would willingly attire him in the court dress of George the Second’s reign, with its no collar, large sleeves, and low pocket-holes?  The same may be urged, with equal truth, of the Gothic hall, which, with its darkened and tinted windows, its elevated and gloomy roof, and massive oaken table garnished with boar’s-head and rosemary, pheasants and peacocks, cranes and cygnets, has an excellent effect in fictitious description.  Much may also be gained by a lively display of a modern fete, such as we have daily recorded in that part of a newspaper entitled the Mirror of Fashion, if we contrast these, or either of them, with the splendid formality of an entertainment given Sixty Years Since; and thus it will be readily seen how much the painter of antique or of fashionable manners gains over him who delineates those of the last generation.

Considering the disadvantages inseparable from this part of my subject, I must be understood to have resolved to avoid them as much as possible, by throwing the force of my narrative upon the characters and passions of the actors;—­those passions common to men in all stages of society, and which have alike agitated the human heart, whether it throbbed under the steel corslet of the fifteenth century, the brocaded coat of the eighteenth, or the blue frock and white dimity waistcoat of the present day. [Footnote:  Alas’ that attire, respectable and gentlemanlike in 1805, or thereabouts, is now as antiquated as the Author of Waverley has himself become since that period!  The reader of fashion will please to fill up the costume with an embroidered waistcoat of purple velvet or silk, and a coat of whatever colour he pleases.] Upon these passions it is no doubt true that the state of manners and laws casts a necessary colouring; but the bearings, to use the language of heraldry, remain the same, though the tincture may be not only different, but opposed in strong contradistinction.  The wrath of our ancestors, for example, was coloured gules; it broke forth in acts of open and sanguinary violence against the objects of its fury.  Our malignant feelings, which must seek gratification through more indirect channels, and undermine the obstacles which they cannot openly bear down, may be