The reader is aware that more than the three years have elapsed, of which time the preceding pages contain the harmless chronicle; and while Thomas Newcome’s leave has been running out and Clive’s mustachios growing, the fate of other persons connected with our story has also had its development, and their fortune has experienced its natural progress, its increase or decay. Our tale, such as it has hitherto been arranged, has passed leisurely in scenes wherein the present tense is perforce adopted; the writer acting as chorus to the drama, and occasionally explaining, by hints or more open statements, what has occurred during the intervals of the acts; and how it happens that the performers are in such or such a posture. In the modern theatre, as the play-going critic knows, the explanatory personage is usually of quite a third-rate order. He is the two walking-gentlemen friends of Sir Harry Courtly, who welcome the young baronet to London, and discourse about the niggardliness of Harry’s old uncle, the Nabob; and the depth of Courtly’s passion for Lady Annabel the _première amoureuse_. He is the confidant in white linen to the heroine in white satin. He is “Tom, you rascal,” the valet or tiger, more or less impudent and acute—that well-known menial in top-boots and a livery frock with red cuffs and collar, whom Sir Harry always retains in his service, addresses with scurrilous familiarity, and pays so irregularly: or he is Lucetta, Lady Annabel’s waiting-maid, who carries the _billets-doux_ and peeps into them; knows all about the family affairs; pops the lover under the sofa; and sings a comic song between the scenes. Our business now is to enter into Charles Honeyman’s privacy, to peer into the secrets of that reverend gentleman, and to tell what has happened to him during the past months, in which he has made fitful though graceful appearances on our scene.