After a long interval, I am again impelled by the restless spirit within me to continue my narration; but I must alter the mode which I have hitherto adopted. The details contained in the foregoing pages, apparently trivial, yet each slightest one weighing like lead in the depressed scale of human afflictions; this tedious dwelling on the sorrows of others, while my own were only in apprehension; this slowly laying bare of my soul’s wounds: this journal of death; this long drawn and tortuous path, leading to the ocean of countless tears, awakens me again to keen grief. I had used this history as an opiate; while it described my beloved friends, fresh with life and glowing with hope, active assistants on the scene, I was soothed; there will be a more melancholy pleasure in painting the end of all. But the intermediate steps, the climbing the wall, raised up between what was and is, while I still looked back nor saw the concealed desert beyond, is a labour past my strength. Time and experience have placed me on an height from which I can comprehend the past as a whole; and in this way I must describe it, bringing forward the leading incidents, and disposing light and shade so as to form a picture in whose very darkness there will be harmony. It would be needless to narrate those disastrous occurrences, for which a parallel might be found in any slighter visitation of our gigantic calamity. Does the reader wish to hear of the pest-houses, where death is the comforter—of the mournful passage of the death-cart—of the insensibility of the worthless, and the anguish of the loving heart—of harrowing shrieks and silence dire—of the variety of disease, desertion, famine, despair, and death? There are many books which can feed the appetite craving for these things; let them turn to the accounts of Boccaccio, De Foe, and Browne. The vast annihilation that has swallowed all things—the voiceless solitude of the once busy earth—the lonely state of singleness which hems me in, has deprived even such details of their stinging reality, and mellowing the lurid tints of past anguish with poetic hues, I am able to escape from the mosaic of circumstance, by perceiving and reflecting back the grouping and combined colouring of the past.