The following paper revisits Mirat-ul-Urus, translated as The Bride’s Mirror to uncover the ethnographic basis of the work. It argues, borrowing concepts from New Historicism, the text’s susceptibility to absorb ethnographic details of an Indian Muslim, middle class household living in colonial Delhi. By focusing on the constituent parts of the text, namely the translator’s note, the preface and the introduction, the paper establishes how native fiction from 19th century colonial India fraternizes with colonial ethnographic accounts, and records events, cultures, and minor histories of Muslim women. The text’s metatextuality, namely the text’s self-referential quality whereby the text comments on itself and offers a critical analysis, lends it a status of a historical/cultural document that sheds light on the emergence of middle class in the Muslim community.