Eugene Aram — Complete. Эдвард Бульвер-Литтон

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      Eugene Aram — Complete

      TO SIR WALTER SCOTT, BART., ETC.

      SIR,—It has long been my ambition to add some humble tribute to the offerings laid upon the shrine of your genius. At each succeeding book that I have given to the world, I have paused to consider if it were worthy to be inscribed with your great name, and at each I have played the procrastinator, and hoped for that morrow of better desert which never came. But ‘defluat amnis’,—the time runs on; and I am tired of waiting for the ford which the tides refuse. I seize, then, the present opportunity, not as the best, but as the only one I can be sure of commanding, to express that affectionate admiration with which you have inspired me in common with all your contemporaries, and which a French writer has not ungracefully termed “the happiest prerogative of genius.” As a Poet and as a Novelist your fame has attained to that height in which praise has become superfluous; but in the character of the writer there seems to me a yet higher claim to veneration than in that of the writings. The example your genius sets us, who can emulate? The example your moderation bequeaths to us, who shall forget? That nature must indeed be gentle which has conciliated the envy that pursues intellectual greatness, and left without an enemy a man who has no living equal in renown.

      You have gone for a while from the scenes you have immortalized, to regain, we trust, the health which has been impaired by your noble labors or by the manly struggles with adverse fortunes which have not found the frame as indomitable as the mind. Take with you the prayers of all whom your genius, with playful art, has soothed in sickness, or has strengthened, with generous precepts, against the calamities of life.

      [Written at the time of Sir W. Scott’s visit to Italy, after the great blow to his health and fortunes.]

                “Navis quae, tibi creditum

                 Debes Virgilium...

                 Reddas incolumem!”

           “O ship, thou owest to us Virgil! Restore in

           safety him whom we intrusted to thee.”

      You, I feel assured, will not deem it presumptuous in one who, to that bright and undying flame which now streams from the gray hills of Scotland,—the last halo with which you have crowned her literary glories,—has turned from his first childhood with a deep and unrelaxing devotion; you, I feel assured, will not deem it presumptuous in him to inscribe an idle work with your illustrious name,—a work which, however worthless in itself, assumes something of value in his eyes when thus rendered a tribute of respect to you.

THE AUTHOR OF “EUGENE ARAM.”

      LONDON, December 22, 1831.

      PREFACE TO THE EDITION OF 1831

      Since, dear Reader, I last addressed thee, in “Paul Clifford,” nearly two years have elapsed, and somewhat more than four years since, in “Pelham,” our familiarity first began. The Tale which I now submit to thee differs equally from the last as from the first of those works; for of the two evils, perhaps it is even better to disappoint thee in a new style than to weary thee with an old. With the facts on which the tale of “Eugene Aram” is founded, I have exercised the common and fair license of writers of fiction it is chiefly the more homely parts of the real story that have been altered; and for what I have added, and what omitted, I have the sanction of all established authorities, who have taken greater liberties with characters yet more recent, and far more protected by historical recollections. The book was, for the most part, written in the early part of the year, when the interest which the task created in the Author was undivided by other subjects of excitement, and he had leisure enough not only to be ‘nescio quid meditans nugarum,’ but also to be ‘totes in illis.’

      [“Not only to be meditating I know not what of trifles, but also to be wholly engaged on them.”]

      I originally intended to adapt the story of Eugene Aram to the Stage. That design was abandoned when more than half completed; but I wished to impart to this Romance something of the nature of Tragedy,—something of the more transferable of its qualities. Enough of this: it is not the Author’s wishes, but the Author’s books that the world will judge him by. Perhaps, then (with this I conclude), in the dull monotony of public affairs, and in these long winter evenings, when we gather round the fire, prepared for the gossip’s tale, willing to indulge the fear and to believe the legend, perhaps, dear Reader, thou mayest turn, not reluctantly, even to these pages, for at least a newer excitement than the Cholera, or for momentary relief from the everlasting discussion on “the Bill.” [The year of the Reform Bill.]

      LONDON, December 22, 1831.

      PREFACE TO THE EDITION OF 1840

      The strange history of Eugene Aram had excited my interest and wonder long before the present work was composed or conceived. It so happened that during Aram’s residence at Lynn his reputation for learning had attracted the notice of my grandfather,—a country gentleman living in the same county, and of more intelligence and accomplishments than, at that day, usually characterized his class. Aram frequently visited at Heydon (my grandfather’s house), and gave lessons—probably in no very elevated branches of erudition—to the younger members of the family. This I chanced to hear when I was on a visit in Norfolk some two years before this novel was published; and it tended to increase the interest with which I had previously speculated on the phenomena of a trial which, take it altogether, is perhaps the most remarkable in the register of English crime. I endeavored to collect such anecdotes of Aram’s life and manners as tradition and hearsay still kept afloat. These anecdotes were so far uniform that they all concurred in representing him as a person who, till the detection of the crime for which he was sentenced, had appeared of the mildest character and the most unexceptionable morals. An invariable gentleness and patience in his mode of tuition—qualities then very uncommon at school—had made him so beloved by his pupils at Lynn that, in after life, there was scarcely one of them who did not persist in the belief of his innocence.

      His personal and moral peculiarities, as described in these pages, are such as were related to me by persons who had heard him described by his contemporaries, the calm, benign countenance; the delicate health; the thoughtful stoop; the noiseless step; the custom, not uncommon with scholars and absent men, of muttering to himself; a singular eloquence in conversation, when once roused from silence; an active tenderness and charity to the poor, with whom he was always ready to share his own scanty means; an apparent disregard for money, except when employed in the purchase of books; an utter indifference to the ambition usually accompanying self-taught talent, whether to better the condition or to increase the repute: these, and other traits of the character portrayed in the novel, are, as far as I can rely on my information, faithful to the features of the original.

      That a man thus described—so benevolent that he would rob his own necessities to administer to those of another, so humane that he would turn aside from the worm in his path—should have been guilty of the foulest of human crimes, namely, murder for the sake of gain; that a crime thus committed should have been so episodical and apart from the rest of his career that, however it might rankle in his conscience, it should never have hardened his nature; that through a life of some duration, none of the errors, none of the vices, which would seem essentially to belong to a character capable of a deed so black, from motives apparently so sordid, should have been discovered or suspected,—all this presents all anomaly in human conduct so rare and surprising that it would be difficult to find any subject more adapted for that metaphysical speculation and analysis, in order to indulge which, Fiction, whether in the drama or the higher class of romance, seeks its materials and grounds its lessons in the chronicles of passion and crime.

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