In all this, I do not overlook the benefits of abstract representations of the beauty of virtue and the ugliness of vice. These belong to the department of the imagination, where no principle of action resides; and every one knows that the images must be embodied, in particular instances taken from the real world of flesh and blood, so that the historian of real occurrences must still work as an adjunct even to the fancy. If it be said that he narrates stories that are revolting, the answer would seem to be that, as the law still justifies example, and society calls for it, the objection that the interest of a story is _too deep_ can only be used by those who view the records of wickedness as a stimulant and not as a terror, or those who, amidst the still-recurring daily murders, consider society as beyond the need of amendment. The objection is thus an adjection. Fortunately, none of us are acquainted with _amiable_ enormities, and the longer these remain unknown to us, the better for us and mankind; so that it seems to follow, that he who can render the acted crimes of history as disagreeable and hateful as they can be made, even with the aid of the dark shadows of his fancy, performs an act favourable to the interests of society. Yet I have done my best to save from revolt the feelings of the virtuous, as far as is consistent with the moral effect intended by Providence to be produced on the vicious. YORK LODGE, TRINITY, _September 1861_. CONTENTS. PAGE FIRST APPEARANCE IN SURGEON'S SQUARE, 1 INTERCALARY, 8 THE YOUNG AMATEURS, 22 THE REGULAR STAFF, 42 SYMPATHISING SEXTONS, DOCTORS, AND RELATIVES, 53 PREYING ON EACH OTHER, 66 RESUMPTION OF THE GREAT DRAMA, 77 THE QUATERNION, 90 THE OPENING OF THE COURT--THE OLD WOMAN OF GILMERTON, 107 THE MOTHER AND DAUGHTER, 119 THE GRANDMOTHER AND THE DUMB BOY, 132 THE STRAY WAIFS, 145 THE RELATIVE, 154 THE STUDY FOR THE ARTIST, 163 DAFT JAMIE, 179 THE BRISK LITTLE OLD WOMAN, 194 THE DISCOVERY, 202 THE COMPLICITY OF THE DOCTORS, 216 THE TRIAL, 230 THE JAIL, 251 VEJOVE, 259