I have judged it better partially to forestall the interest of the reader in my narrative, by stating thus openly what he may expect, than to encounter the far less favourable impression (if he had been hitherto a believer in the old romance of Bona of Savoy), [I say the old romance of Bona of Savoy, so far as Edward's rejection of her hand for that of Elizabeth Gray is stated to have made the cause of his quarrel with Warwick. But I do not deny the possibility that such a marriage had been contemplated and advised by Warwick, though he neither sought to negotiate it, nor was wronged by Edward's preference of his fair subject.] that the author was taking an unwarrantable liberty with the real facts, when, in truth, it is upon the real facts, as far as they can be ascertained, that the author has built his tale, and his boldest inventions are but deductions from the amplest evidence he could collect. Nay, he even ventures to believe, that whoever hereafter shall write the history of Edward IV. will not disdain to avail himself of some suggestions scattered throughout these volumes, and tending to throw new light upon the events of that intricate but important period.
It is probable that this work will prove more popular in its nature than my last fiction of "Zanoni," which could only be relished by those interested in the examinations of the various problems in human life which it attempts to solve. But both fictions, however different and distinct their treatment, are constructed on those principles of art to which, in all my later works, however imperfect my success, I have sought at least steadily to adhere.
To my mind, a writer should sit down to compose a fiction as a painter prepares to compose a picture. His first care should be the conception of a whole as lofty as his intellect can grasp, as harmonious and complete as his art can accomplish; his second care, the character of the interest which the details are intended to sustain.
It is when we compare works of imagination in writing with works of imagination on the canvas, that we can best form a critical idea of the different schools which exist in each; for common both to the author and the painter are those styles which we call the Familiar, the Picturesque, and the Intellectual. By recurring to this comparison we can, without much difficulty, classify works of Fiction in their proper order, and estimate the rank they should severally hold. The Intellectual will probably never be the most widely popular for the moment. He who prefers to study in this school must be prepared for much depreciation, for its greatest excellences, even if he achieve them, are not the most obvious to the many. In discussing, for instance, a modern work, we hear it praised, perhaps, for some striking passage, some prominent character; but when do we ever hear any comment on its harmony of construction, on its fulness of design, on its ideal character,—on its essentials, in short, as a work of art? What we hear most valued in the picture, we often find the most neglected in the book,—namely, the composition; and this, simply because in England painting is recognized as an art, and estimated according to definite theories; but in literature we judge from a taste never formed, from a thousand prejudices and ignorant predilections. We do not yet comprehend that the author is an artist, and that the true rules of art by which he should be tested are precise and immutable. Hence the singular and fantastic caprices of the popular opinion,—its exaggerations of praise or censure, its passion and reaction. At one while, its solemn contempt for Wordsworth; at another, its absurd idolatry. At one while we are stunned by the noisy celebrity of Byron, at another we are calmly told that he can scarcely be called a poet. Each of these variations in the public is implicitly followed by the vulgar criticism; and as a few years back our journals vied with each other in ridiculing Wordsworth for the faults which he did not possess, they vie now with each other in eulogiums upon the merits which he has never displayed.
These violent fluctuations betray both a public and a criticism utterly unschooled in the elementary principles of literary art, and entitle the humblest author to dispute the censure of the hour, while they ought to render the greatest suspicious of its praise.
It is, then, in conformity, not with any presumptuous conviction of his own superiority, but with his common experience and common-sense, that every author who addresses an English audience in serious earnest is permitted to feel that his final sentence rests not with the jury before which he is first heard. The literary history of the day consists of a series of judgments set aside.
But this uncertainty must more essentially betide every student, however lowly, in the school I have called the Intellectual, which must ever be more or less at variance with the popular canons. It is its hard necessity to vex and disturb the lazy quietude of vulgar taste; for unless it did so, it could neither elevate nor move. He who resigns the Dutch art for the Italian must continue through the dark to explore the principles upon which he founds his design, to which he adapts his execution; in hope or in despondence still faithful to the theory which cares less for the amount of interest created than for the sources from which the interest is to be drawn; seeking in action the movement of the grander passions or the subtler springs of conduct, seeking in repose the colouring of intellectual beauty.
The Low and the High of Art are not very readily comprehended. They depend not upon the worldly degree or the physical condition of the characters delineated; they depend entirely upon the quality of the emotion which the characters are intended to excite,—namely, whether of sympathy for something low, or of admiration for something high. There is nothing high in a boor's head by Teniers, there is nothing low in a boor's head by Guido. What makes the difference between the two? The absence or presence of the Ideal! But every one can judge of the merit of the first, for it is of the Familiar school; it requires a connoisseur to see the merit of the last, for it is of the Intellectual.
I have the less scrupled to leave these remarks to cavil or to sarcasm, because this fiction is probably the last with which I shall trespass upon the Public, and I am desirous that it shall contain, at least, my avowal of the principles upon which it and its later predecessors have been composed. You know well, however others may dispute the fact, the earnestness with which those principles have been meditated and pursued,—with high desire, if but with poor results.
It is a pleasure to feel that the aim, which I value more than the success, is comprehended by one whose exquisite taste as a critic is only impaired by that far rarer quality,—the disposition to over- estimate the person you profess to esteem! Adieu, my sincere and valued friend; and accept, as a mute token of gratitude and regard, these flowers gathered in the Garden where we have so often roved together. E. L. B.
PREFACE TO THE LAST OF THE BARONS
This was the first attempt of the author in Historical Romance upon English ground. Nor would he have risked the disadvantage of comparison with the genius of Sir Walter Scott, had he not believed that that great writer and his numerous imitators had left altogether unoccupied the peculiar field in Historical Romance which the Author has here sought to bring into cultivation. In "The Last of the Barons," as in "Harold," the aim has been to illustrate the actual history of the period, and to bring into fuller display than general History itself has done the characters of the principal personages of the time, the motives by which they were probably actuated, the state of parties, the condition of the people, and the great social interests which were involved in what, regarded imperfectly, appear but the feuds of rival factions.
"The Last of the Barons" has been by many esteemed the best of the Author's romances; and perhaps in the portraiture of actual character, and the grouping of the various interests and agencies of the time, it may have produced effects which render it more vigorous and lifelike than any of the other attempts in romance by the same hand.
It will be observed that the purely imaginary characters introduced are very few; and, however prominent they may appear, still, in order not to interfere with the genuine passions and events of history, they are represented as the passive sufferers, not the active agents, of the real events. Of these imaginary characters, the most successful is Adam Warner, the philosopher in advance of his age; indeed, as an ideal portrait, I look upon it as the most original in conception,