The Black Baronet; or, The Chronicles Of Ballytrain. William Carleton

published. The individual for whom it was originally written, but who had no more claim upon it than the Shah of Persia, misrepresented me, or rather calumniated me, so grossly to Messrs. Saunders & Otley, who published it, that he prevailed upon them to threaten me with criminal proceedings for having disposed of my own work, and I accordingly received an attorney's letter, affording me that very agreeable intimation. Of course they soon found they had been misled, and that it would have been not only an unparalleled outrage, but a matter attended with too much danger, and involving too severe a penalty to proceed in. Little I knew or suspected at the time, however, that the sinister and unscrupulous delusions which occasioned me and my family so much trouble, vexation, and embarrassment, were only the foreshadowings of that pitiable and melancholy malady which not long afterwards occasioned the unhappy man to be placed apart from society, which, it is to be feared, he is never likely to rejoin. I allude to those matters, not only to account for the limited number of the work that was printed, but to satisfy those London publishers to whom the individual in question so foully misrepresented me, that my conduct in every transaction I have had with booksellers has been straightforward, just, and honorable, and that I can publicly make this assertion, without the slightest apprehension of being contradicted. That the book was cushioned in this country, I am fully aware, and this is all I shall say upon that part of the subject. Indeed it was never properly published at all—never advertised—never reviewed, and, until now, lay nearly in as much obscurity as if it had been still in manuscript. A few copies of it got into circulating libraries, but, in point of fact, it was never placed before the public at all. What-ever be its merits, however, it is now in the hands of a gentleman who will do it justice, if it fails, the fault will not at least be his.

      My object in writing the book was to exhibit, in contrast, three of the most powerful passions that can agitate the human heart—I mean love, ambition, and revenge. To contrive the successive incidents, by which the respective individuals on whose characters they were to operate should manifest their influence with adequate motives, and without departing from actual life and nature, as we observe them in action about us, was a task which required a very close study of the human mind when placed in peculiar circumstances. In this case the great struggle was between love and ambition. By ambition, I do not mean the ambition of the truly great man, who wishes to associate it with truth and virtue, and whose object is, in the first place, to gratify it by elevating his country and his kind; no, but that most hateful species of it which exists in the contrivance and working out of family arrangements and insane projects for the aggrandizement of our offspring, under circumstances where we must know that they cannot be accomplished without wrecking the happiness of those to whom they are proposed. Such a passion, in its darkest aspect—and in this I have drawn it—has nothing more in view than the cruel, selfish and undignified object of acquiring some poor and paltry title or distinction for a son or daughter, without reference either to inclination or will, and too frequently in opposition to both. It is like introducing a system of penal laws into domestic life, and establishing the tyranny of a moral despot among the affections of the heart. Sometimes, especially in the case of an only child, this ambition grows to a terrific size, and its miserable victim acts with all the unconscious violence of a monomaniac.

      In Sir Thomas Gourlay, the reader will perceive that it became the great and engrossing object of his life, and that its violence was strong in proportion to that want of all moral restraint, which resulted from the creed of an infidel and sceptic. And I may say here, that it was my object to exhibit occasionally the gloomy agonies and hollow delusions of the latter, as the hard and melancholy system on which he based his cruel and unsparing ambition. His character was by far the most difficult to manage. Love has an object; and, in this case, in the person of Lucy Gourlay it had a reasonable and a noble one. Revenge has an object; and in the person of Anthony Corbet, or Dunphy, it also had, according to the unchristian maxims of life, an unusually strong argument on which to work and sustain itself. But, as for Sir Thomas Gourlay's mad ambition, I felt that, considering his sufficiently elevated state of life, I could only compensate for its want of all rational design, by making him scorn and reject the laws both civil and religious by which human society is regulated, and all this because he had blinded his eyes against the traces of Providence, rather than take his own heart to task for its ambition. Had he been a Christian, I do not think he could have acted as he did. He shaped his own creed, however, and consequently, his own destiny. In Lady Edward Gourlay, I have endeavored to draw such a character as only the true and obedient Christian can present; and in that of his daughter, a girl endowed with the highest principles, the best heart, and the purest sense of honor—a woman who would have been precisely such a character as Lady Gourlay was, had she lived longer and been subjected to the same trials. Throughout the whole work, however, I trust that I have succeeded in the purity and loftiness of the moral, which was to show the pernicious effects of infidelity and scepticism, striving to sustain and justify an insane ambition; or, in a word, I endeavored

      “To vindicate the ways of God to man.”

      A literary friend of mine told me, a few days ago, that the poet Massinger had selected the same subject for his play of. “A New Way to pay Old Debts,” the same in which Sir Giles Overreach is the prominent character. I ought to feel ashamed to say, as I did say, in reply to this, that I never read the play alluded to, nor a single line of Massinger's works; neither have I ever seen Sir Giles Overreach even upon the stage. If, then, there should appear any resemblance in the scope or conduct of the play or novel, or in the character of Sir Thomas Gourlay and Overreach, I cannot be charged either with theft or imitation, as I am utterly ignorant of the play and of the character of Sir Giles Overreach alluded to.

      I fear I have dwelt much too long on this subject, and I shall therefore close it by a short anecdote.

      Some months ago I chanced to read a work—I think by an American writer—called, as well as I can recollect, “The Reminiscences of a late Physician.” I felt curious to read the book, simply because I thought that the man who could, after, “The Diary of a late Physician,” come out with a production so named, must possess at the least either very great genius or the most astounding assurance. Well, I went on perusing the work, and found almost at once that it was what is called a catchpenny, and depended altogether, for its success, upon the fame and reputation of its predecessor of nearly the same name. I saw the trick at once, and bitterly regretted that I, in common I suppose with others, had been taken in and bit. Judge of my astonishment, however, when, as I proceeded to read the description of an American lunatic asylum, I found it to be literatim et verbatim taken—stolen—pirated—sentence by sentence and page by page, from my own description of one in the third volume of the first edition of this book, and which I myself took from close observation, when, some years ago, accompanied by Dr. White, I was searching in the Grangegorman Lunatic Asylum and in Swift's for a case of madness arising from disappointment in love. I was then writing. “Jane Sinclair,” and to the honor of the sex, I have to confess that in neither of those establishments, nor any others either in or about Dublin, could I find such a case. Here, however, in the Yankee's book, there were neither inverted commas, nor the slightest acknowledgment of the source from which the unprincipled felon had stolen it.

      With respect to mad-houses, especially as they were conducted up until within the last thirty years, I must say with truth, that if every fact originating in craft, avarice, oppression, and the most unscrupulous ambition for family wealth and hereditary rank, were known, such a dark series of crime and cruelty would come to light as time public mind could scarcely conceive—nay, as would shock humanity itself. Nor has this secret system altogether departed from us. It is not long since the police offices developed some facts rather suspicious, and pretty plainly impressed with the stamp of the old practice. The Lunatic Commission is now at work, and I trust it will not confine its investigations merely to public institutions of that kind, but will, if it possess authority to do so, strictly and rigidly examine every private asylum for lunatics in the kingdom.

      Of one other character, Ginty Cooper, I have a word to say. Any person acquainted with the brilliant and classical little capital of Cultra, lying on the confines of Monaghan and Cavan, will not fail to recognize the remains of grace and beatty, which once characterized that celebrated, and well-known individual.

      With respect to the watch-house scene, and that in the police office, together