Bulwer has himself justly characterised this work, in the Introduction, as a romance and not a romance, as a truth for those who can comprehend it, and an extravagance for those who cannot. The most careless or matter-of-fact reader must see that the work, like the enigmatical “Faust,” deals in types and symbols; that the writer intends to suggest to the mind something more subtle and impalpable than that which is embodied to the senses. What that something is, hardly two persons will agree. The most obvious interpretation of the types is, that in Zanoni the author depicts to us humanity, perfected, sublimed, which lives not for self, but for others; in Mejnour, as we have before said, cold, passionless, self-sufficing intellect; in Glyndon, the young Englishman, the mingled strength and weakness of human nature; in the heartless, selfish artist, Nicot, icy, soulless atheism, believing nothing, hoping nothing, trusting and loving nothing; and in the beautiful, artless Viola, an exquisite creation, pure womanhood, loving, trusting and truthful. As a work of art the romance is one of great power. It is original in its conception, and pervaded by one central idea; but it would have been improved, we think, by a more sparing use of the supernatural. The inevitable effect of so much hackneyed diablerie—of such an accumulation of wonder upon wonder—is to deaden the impression they would naturally make upon us. In Hawthorne’s tales we see with what ease a great imaginative artist can produce a deeper thrill by a far slighter use of the weird and the mysterious.
The chief interest of the story for the ordinary reader centres, not in its ghostly characters and improbable machinery, the scenes in Mejnour’s chamber in the ruined castle among the Apennines, the colossal and appalling apparitions on Vesuvius, the hideous phantom with its burning eye that haunted Glyndon, but in the loves of Viola and the mysterious Zanoni, the blissful and the fearful scenes through which they pass, and their final destiny, when the hero of the story sacrifices his own “charmed life” to save hers, and the Immortal finds the only true immortality in death. Among the striking passages in the work are the pathetic sketch of the old violinist and composer, Pisani, with his sympathetic “barbiton” which moaned, groaned, growled, and laughed responsive to the feelings of its master; the description of Viola’s and her father’s triumph, when “The Siren,” his masterpiece, is performed at the San Carlo in Naples; Glyndon’s adventure at the Carnival in Naples; the death of his sister; the vivid pictures of the Reign of Terror in Paris, closing with the downfall of Robespierre and his satellites; and perhaps, above all, the thrilling scene where Zanoni leaves Viola asleep in prison when his guards call him to execution, and she, unconscious of the terrible sacrifice, but awaking and missing him, has a vision of the procession to the guillotine, with Zanoni there, radiant in youth and beauty, followed by the sudden vanishing of the headsman—the horror—and the “Welcome” of her loved one to Heaven in a myriad of melodies from the choral hosts above.
“Zanoni” was originally published by Saunders and Otley, London, in three volumes 12mo., in 1842. A translation into French, made by M. Sheldon under the direction of P. Lorain, was published in Paris in the “Bibliotheque des Meilleurs Romans Etrangers.”
W.M.
PREFACE TO THE EDITION OF 1853.
As a work of imagination, “Zanoni” ranks, perhaps, amongst the highest of my prose fictions. In the Poem of “King Arthur,” published many years afterwards, I have taken up an analogous design, in the contemplation of our positive life through a spiritual medium; and I have enforced, through a far wider development, and, I believe, with more complete and enduring success, that harmony between the external events which are all that the superficial behold on the surface of human affairs, and the subtle and intellectual agencies which in reality influence the conduct of individuals, and shape out the destinies of the world. As man has two lives—that of action and that of thought—so I conceive that work to be the truest representation of humanity which faithfully delineates both, and opens some elevating glimpse into the sublimest mysteries of our being, by establishing the inevitable union that exists between the plain things of the day, in which our earthly bodies perform their allotted part, and the latent, often uncultivated, often invisible, affinities of the soul with all the powers that eternally breathe and move throughout the Universe of Spirit.
I refer those who do me the honour to read “Zanoni” with more attention than is given to ordinary romance, to the Poem of “King Arthur,” for suggestive conjecture into most of the regions of speculative research, affecting the higher and more important condition of our ultimate being, which have engaged the students of immaterial philosophy in my own age.
Affixed to the “Note” with which this work concludes, and which treats of the distinctions between type and allegory, the reader will find, from the pen of one of our most eminent living writers, an ingenious attempt to explain the interior or typical meanings of the work now before him.
INTRODUCTION.
It is possible that among my readers there may be a few not unacquainted with an old-book shop, existing some years since in the neighbourhood of Covent Garden; I say a few, for certainly there was little enough to attract the many in those precious volumes which the labour of a life had accumulated on the dusty shelves of my old friend D—. There were to be found no popular treatises, no entertaining romances, no histories, no travels, no “Library for the People,” no “Amusement for the Million.” But there, perhaps, throughout all Europe, the curious might discover the most notable collection, ever amassed by an enthusiast, of the works of alchemist, cabalist, and astrologer. The owner had lavished a fortune in the purchase of unsalable treasures. But old D—did not desire to sell. It absolutely went to his heart when a customer entered his shop: he watched the movements of the presumptuous intruder with a vindictive glare; he fluttered around him with uneasy vigilance—he frowned, he groaned, when profane hands dislodged his idols from their niches. If it were one of the favourite sultanas of his wizard harem that attracted you, and the price named were not sufficiently enormous, he would not unfrequently double the sum. Demur, and in brisk delight he snatched the venerable charmer from your hands; accede, and he became the picture of despair—nor unfrequently, at the dead of night, would he knock at your door, and entreat you to sell him back, at your own terms, what you had so egregiously bought at his. A believer himself in his Averroes and Paracelsus, he was as loth as the philosophers he studied to communicate to the profane the learning he had collected.
It so chanced that some years ago, in my younger days, whether of authorship or life, I felt a desire to make myself acquainted with the true origin and tenets of the singular sect known by the name of Rosicrucians. Dissatisfied with the scanty and superficial accounts to be found in the works usually referred to on the subject, it struck me as possible that Mr. D—‘s collection, which was rich, not only in black-letter, but in manuscripts, might contain some more accurate and authentic records of that famous brotherhood—written, who knows? by one of their own order, and confirming by authority and detail the pretensions to wisdom and to virtue which Bringaret had arrogated