In this respect the Novel of “Paul Clifford” is a loud cry to society to amend the circumstance—to redeem the victim. It is an appeal from Humanity to Law. And in this, if it could not pretend to influence or guide the temper of the times, it was at least a foresign of a coming change. Between the literature of imagination, and the practical interests of a people, there is a harmony as complete as it is mysterious. The heart of an author is the mirror of his age. The shadow of the sun is cast on the still surface of literature long before the light penetrates to law; but it is ever from the sun that the shadow falls, and the moment we see the shadow we may be certain of the light.
Since this work was written, society has been busy with the evils in which it was then silently acquiescent. The true movement of the last fifteen years has been the progress of one idea—Social Reform. There it advances with steady and noiseless march behind every louder question of constitutional change. Let us do justice to our time. There have been periods of more brilliant action on the destinies of States, but there is no time visible in History in which there was so earnest and general a desire to improve the condition of the great body of the people. In every circle of the community that healthful desire is astir. It unites in one object men of parties the most opposed; it affords the most attractive nucleus for public meetings; it has cleansed the statute-book from blood; it is ridding the world of the hangman. It animates the clergy of all sects in the remotest districts; it sets the squire on improving cottages and parcelling out allotments. Schools rise in every village; in books the lightest, the Grand Idea colours the page, and bequeaths the moral. The Government alone (despite the professions on which the present Ministry was founded) remains unpenetrated by the common genius of the age; but on that question, with all the subtleties it involves, and the experiments it demands—not indeed according to the dreams of an insane philosophy, but according to the immutable laws which proportion the rewards of labour to the respect for property—a Government must be formed at last.
There is in this work a subtler question suggested, but not solved—that question which perplexes us in the generous ardour of our early youth—which, unsatisfactory as all metaphysics, we rather escape from than decide as we advance in years; namely, make what laws we please, the man who lives within the pale can be as bad as the man without. Compare the Paul Clifford of the fiction with the William Brandon—the hunted son with the honoured father, the outcast of the law with the dispenser of the law, the felon with the judge; and as at the last they front each other—one on the seat of justice, the other at the convict's bar—who can lay his hand on his heart and say that the Paul Clifford is a worse man than the William Brandon.
There is no immorality in a truth that enforces this question; for it is precisely those offences which society cannot interfere with that society requires fiction to expose. Society is right, though youth is reluctant to acknowledge it. Society can form only certain regulations necessary for its self-defence—the fewer the better—punish those who invade, leave unquestioned those who respect them. But fiction follows truth into all the strongholds of convention; strikes through the disguise, lifts the mask, bares the heart, and leaves a moral wherever it brands a falsehood.
Out of this range of ideas the mind of the Author has, perhaps, emerged into an atmosphere which he believes to be more congenial to Art. But he can no more regret that he has passed through it than he can regret that while he dwelt there his heart, like his years, was young. Sympathy with the suffering that seems most actual, indignation at the frauds which seem most received as virtues, are the natural emotions of youth, if earnest. More sensible afterwards of the prerogatives, as of the elements, of Art, the Author, at least, seeks to escape where the man may not, and look on the practical world through the serener one of the ideal.
With the completion of this work closed an era in the writer's self-education. From “Pelham” to “Paul Clifford” (four fictions, all written at a very early age), the Author rather observes than imagines; rather deals with the ordinary surface of human life than attempts, however humbly, to soar above it or to dive beneath. From depicting in “Paul Clifford” the errors of society, it was almost the natural progress of reflection to pass to those which swell to crime in the solitary human heart—from the bold and open evils that spring from ignorance and example, to track those that lie coiled in the entanglements of refining knowledge and speculative pride. Looking back at this distance of years, I can see as clearly as if mapped before me, the paths which led across the boundary of invention from “Paul Clifford” to “Eugene Aram.” And, that last work done, no less clearly can I see where the first gleams from a fairer fancy broke upon my way, and rested on those more ideal images which I sought with a feeble hand to transfer to the “Pilgrims of the Rhine” and the “Last Days of Pompeii.” We authors, like the Children in the Fable, track our journey through the maze by the pebbles which we strew along the path. From others who wander after us, they may attract no notice, or, if noticed, seem to them but scattered by the caprice of chance; but we, when our memory would retrace our steps, review in the humble stones the witnesses of our progress, the landmarks of our way.
Kenelworth, 1848.
CHAPTER I.
Say, ye oppressed by some fantastic woes,
Some jarring nerve that baffles your repose,
Who press the downy couch while slaves advance
With timid eye to read the distant glance,
Who with sad prayers the weary doctor tease
To name the nameless, ever-new disease,
Who with mock patience dire complaints endure,
Which real pain and that alone can cure,
How would you bear in real pain to lie
Despised, neglected, left alone to die?
How would you bear to draw your latest breath
Where all that’s wretched paves the way to death?—Crabbe.
It was a dark and stormy night; the rain fell in torrents, except at occasional intervals, when it was checked by a violent gust of wind which swept up the streets (for it is in London that our scene lies), rattling along the house-tops, and fiercely agitating the scanty flame of the lamps that struggled against the darkness. Through one of the obscurest quarters of London, and among haunts little loved by the gentlemen of the police, a man, evidently of the lowest orders, was wending his solitary way. He stopped twice or thrice at different shops and houses of a description correspondent with the appearance of the quartier in which they were situated, and tended inquiry for some article or another which did not seem easily to be met with. All the answers he received were couched in the negative; and as he turned from each door he muttered to himself, in no very elegant phraseology, his disappointment and discontent. At length, at one house, the landlord, a sturdy butcher, after rendering the same reply the inquirer had hitherto received, added, “But if this vill do as vell, Dummie, it is quite at your sarvice!” Pausing reflectively for a moment, Dummie responded that he thought the thing proffered might do as well; and thrusting it into his ample pocket, he strode away with as rapid