Writing these lines now, while men's hearts are throbbing anxiously for the tidings any day may produce, and when the earth is already tremulous under the march of distant squadrons, I own that even the faint, weak picture of that struggle in this story appeals to myself with a more than common interest. I have no more to add than my grateful acknowledgments to such as still hold me in their favor, and to write myself their devoted servant, CHARLES LEVER. THE DALTONS, OR THREE ROADS IN LIFE. CHAPTER I. BADEN OUT OF SEASON. A THEATRE by daylight, a great historical picture in the process of cleaning, a ballet-dancer of a wet day hastening to rehearsal, the favorite for the Oaks dead-lame in a straw-yard, are scarcely more stripped of their legitimate illusions than is a fashionable watering-place on the approach of winter. The gay shops and stalls of flaunting wares are closed; the promenades, lately kept in trimmest order, are weed-grown and neglected; the “sear and yellow leaves” are fluttering and rustling along the alleys where “Beauty's step was wont to tread.” Both music and fountains have ceased to play; the very statues are putting on great overcoats of snow, while the orange-trees file off like a sad funeral procession to hide themselves in dusky sheds till the coming spring. You see as you look around you that nature has been as unreal as art itself, and that all the bright hues of foliage and flower, all the odors that floated from bed and parterre, all the rippling flow of stream and fountain, have been just as artistically devised, and as much “got up,” as the transparencies or the Tyrolese singers, the fireworks or the fancy fair, or any other of those ingenious “spectacles” which amuse the grown children of fashion. The few who yet linger seem to have undergone a strange transmutation. The smiling landlord of the “Adler” we refer particularly to Germany as the very land of watering-places is a half-sulky, farmer-looking personage, busily engaged in storing up his Indian corn and his firewood and his forage, against the season of snows. The bland “croupier,” on whose impassive countenance no shade of fortune was able to mark even a passing emotion, is now seen higgling with a peasant for a sack of charcoal, in all the eagerness of avarice. The trim maiden, whose golden locks and soft blue eyes made the bouquets she sold seem fairer to look on, is a stout wench, whose uncouth fur cap and wooden shoes are the very antidotes to romance. All the transformations take the same sad colors. It is a pantomime read backwards.