shameful manner. Ale-houses, dicing-houses, taverns, and places of iniquity, beyond manner abounding in most places.'
Nor is it only in the pages of a puritanical, perhaps a satirical writer, that we find so shocking and disgusting a picture of the coarseness of the beginning of the seventeenth century. On the contrary, in all the comedies of the age, the principal character for gaiety and wit is a young heir, who has totally altered the establishment of the father to whom he has succeeded, and, to use the old simile, who resembles a fountain, which plays off in idleness and extravagance the wealth which its careful parents painfully had assembled in hidden reservoirs.
And yet, while that spirit of general extravagance seemed at work over a whole kingdom, another and very different sort of men were gradually forming the staid and resolved characters, which afterwards displayed themselves during the civil wars, and powerfully regulated and affected the character of the whole English nation, until, rushing from one extreme to another, they sunk in a gloomy fanaticism the splendid traces of the reviving fine arts.
From the quotations which I have produced, the selfish and disgusting conduct of Lord Dalgarno will not perhaps appear overstrained; nor will the scenes in Whitefriars and places of similar resort seem too highly coloured. This indeed is far from being the case. It was in James I.'s reign that vice first appeared affecting the better classes in its gross and undisguised depravity. The entertainments and amusements of Elizabeth's time had an air of that decent restraint which became the court of a maiden sovereign; and, in that earlier period, to use the words of Burke, vice lost half its evil by being deprived of all its grossness. In James's reign, on the contrary, the coarsest pleasures were publicly and unlimitedly indulged, since, according to Sir John Harrington, the men wallowed in beastly delights; and even ladies abandoned their delicacy and rolled about in intoxication. After a ludicrous account of a mask, in which the actors had got drunk, and behaved themselves accordingly, he adds, 'I have much marvelled at these strange pageantries, and they do bring to my recollection what passed of this sort in our Queen's days, in which I was sometimes an assistant and partaker: but never did I see such lack of good order and sobriety as I have now done. The gunpowder fright is got out of all our heads, and we are going on hereabout as if the devil was contriving every man should blow up himself by wild riot, excess, and devastation of time and temperance. The great ladies do go well masqued; and indeed, it be the only show of their modesty to conceal their countenance, but alack, they meet with such countenance to uphold their strange doings, that I marvel not at aught that happens.'[3]
Such being the state of the court, coarse sensuality brought along with it its ordinary companion, a brutal degree of undisguised selfishness, destructive alike of philanthropy and good breeding; both of which, in their several spheres, depend upon the regard paid by each individual to the interest as well as the feelings of others. It is in such a time that the heartless and shameless man of wealth and power may, like the supposed Lord Dalgarno, brazen out the shame of his villainies, and affect to triumph in their consequences, so long as they were personally advantageous to his own pleasures or profit.
Alsatia is elsewhere explained as a cant name for Whitefriars, which, possessing certain privileges of sanctuary, became for that reason a nest of those mischievous characters who were generally obnoxious to the law. These privileges were derived from its having been an establishment of the Carmelites, or White Friars, founded says Stow, in his Survey of London, by Sir Patrick Grey, in 1241. Edward I. gave them a plot of ground in Fleet Street, to build their church upon. The edifice then erected was rebuilt by Courtney, Earl of Devonshire, in the reign of Edward. In the time of the Reformation the place retained its immunities as a sanctuary, and James I. confirmed and added to them by a charter in 1608. Shadwell was the first author who made some literary use of Whitefriars, in his play of the Squire of Alsatia, which turns upon the plot of the Adelphi of Terence.
In this old play, two men of fortune, brothers, educate two young men, (sons to the one and nephews to the other,) each under his own separate system of rigour and indulgence. The elder of the subjects of this experiment, who has been very rigidly brought up, falls at once into all the vices of the town, is debauched by the cheats and bullies of Whitefriars, and, in a word, becomes the Squire of Alsatia. The poet gives, as the natural and congenial inhabitants of the place, such characters as the reader will find in the note. [Footnote: 'Cheatly, a rascal, who by reason of debts dares not stir out of Whitefriars, but there inveigles young heirs of entail, and helps them to goods and money upon great disadvantages, is bound for them, and shares with them till he undoes them. A lewd, impudent, debauched fellow, very expert in the cant about town.
'Shamwell, cousin to the Belfords, who, being ruined by Cheatly, is made a decoy-duck for others, not daring to stir out of Alsatia, where he lives. Is bound with Cheatly for heirs, and lives upon them a dissolute debauched life.
'Captain Hackum, a blockheaded bully of Alsatia, a cowardly, impudent, blustering fellow, formerly a sergeant in Flanders, who has run from his colours, and retreated into Whitefriars for a very small debt, where by the Alsatians he is dubb'd a captain, marries one that lets lodgings, sells cherry-brandy, and is a bawd.
'Scrapeall a hypocritical, repeating, praying, psalm-singing, precise fellow, pretending to great piety; a godly knave, who joins with Cheatly, and supplies young heirs with goods, and money.'—Dramatis Personae to the Squire of Alsatia, SHADWELL'S Works, vol. iv.] The play, as we learn from the dedication to the Earl of Dorset and Middlesex, was successful above the author's expectations, 'no comedy these many years having filled the theatre so long together. And I had the great honour,' continues Shadwell, 'to find so many friends, that the house was never so full since it was built as upon the third day of this play, and vast numbers went away that could not be admitted.'[4] From the Squire of Alsatia the author derived some few hints, and learned the footing on which the bullies and thieves of the Sanctuary stood with their neighbours, the fiery young students of the Temple, of which some intimation is given in the dramatic piece.
Such are the materials to which the author stands indebted for the composition of the Fortunes of Nigel, a novel, which may be perhaps one of those that are more amusing on a second perusal, than when read a first time for the sake of the story, the incidents of which are few and meagre.
The Introductory Epistle is written, in Lucio's phrase, 'according to the trick,' and would never have appeared had the writer meditated making his avowal of the work. As it is the privilege of a masque or incognito to speak in a feigned voice and assumed character, the author attempted, while in disguise, some liberties of the same sort; and while he continues to plead upon the various excuses which the introduction contains, the present acknowledgment must serve as an apology for a species of 'hoity toity, whisky frisky' pertness of manner, which, in his avowed character, the author should have considered as a departure from the rules of civility and good taste.
ABBOTSFORD. 1st July, 1831.
INTRODUCTORY EPISTLE
CAPTAIN CLUTTERBUCK TO THE REVEREND DR. DRYASDUST
DEAR SIR,
I readily accept of, and reply to the civilities with which you have been pleased to honour me in your obliging letter, and entirely agree with your quotation, of
You are aware that the share which I had in introducing the Romance, called THE MONASTERY, to public notice, has given me a sort of character in the literature of our Scottish metropolis. I no longer stand in the outer shop of our bibliopolists, bargaining for the objects of my curiosity with an unrespective shop-lad, hustled among boys who come to buy Corderies and copy-books, and servant girls cheapening a pennyworth of paper, but am cordially welcomed by the bibliopolist himself, with, 'Pray, walk into the back-shop, Captain. Boy, get a chair for Captain Clutterbuck. There is the newspaper, Captain—to-day's paper;' or, 'Here is the last new work—there is a folder, make free with the leaves;' or, 'Put it in your pocket and carry it home;' or, 'We will make a bookseller of you, sir, and you shall have it at trade price.' Or, perhaps if it is the worthy trader's own publication, his liberality
