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Among the works of every writer of Fiction there are generally one or two that owe their being to some haunting thought, long communed with—a thought which has at last found a living shape in some story of deed and passion.

I say one or two advisedly: for the span of man's active life is short and such haunting fancies are, of their essence, solitary. As a matter of fact, indeed, the majority of a novelist's creations belong to another class, must of necessity (if he be a prolific creator) find their conception in more sudden impulses. The great family of the "children of his brain" must be born of inspirations ever new, and in alluring freshness go forth into the world surrounded by the atmosphere of their author's present mood, decked in the colours of his latest imaginings, strengthened by his latest passional impressions and philosophical conclusions.

In the latter category the lack of long intimate acquaintance between the author and the friends or foes he depicts, is amply compensated for by the enthusiasm appertaining to new discoveries, as each character reveals itself, often in quite unforeseen manner, and the consequences of each event shape themselves inevitably and sometimes indeed almost against his will.

Although dissimilar in their genesis, both kinds of stories can, in the telling, be equally life-like and equally alluring to the reader. But what of the writer? Among his literary family is there not one nearer his heart than all the rest—his dream-child? It may be the stoutest of the breed or it may be the weakling; it may be the first-born, it often is the Benjamin. Fathers in the flesh know this secret tenderness. Many a child and many a book is brooded over with a special love even before its birth.—Loved thus, for no grace or merit of its own, this book is my dream-child.

* * * * *

Here, by the way, I should like to say my word in honour of Fiction—"fiction" contradistinguished from what is popularly termed "serious" writing.

If, in a story, the characters and the events are truly convincing; if the former are appealingly human and the latter are so carefully devised and described as never to evoke the idea of improbability, then it can make no difference in the intellectual pleasure of the reader whether what he is made to realise so vividly is a record of fact or of mere fancy. Facts we read of are of necessity past: what is past, what is beyond the immediate ken of our senses, can only be realised in imagination; and the picture we are able to make of it for ourselves depends altogether on the sympathetic skill of the recorder. Is not Diana Vernon, born and bred in Scott's imagination, to the full as living now before us as Rob Roy Macgregor whose existence was so undeniably tangible to the men of his days? Do we not see, in our mind's eye, and know as clearly the lovable "girt John Ridd" of Lorna Doone the romance as his contemporaries, Mr. Samuel Pepys of the hard and uncompromising Diary or King James of English Annals?

Pictures, alike of the plainest facts or of the veriest imaginings, are but pictures: it matters very little therefore whether the man or the woman we read of but never can see in the flesh has really lived or not, if what we do read raises an emotion in our hearts. To the novelist, every character, each in his own degree, is almost as living as a personal acquaintance; every event is as clear as a personal experience. And if this be true of the story written à la grâce de la plume, where both events and characters unfold themselves like the buds of some unknown plant, how much more strongly is it the case of the story that has so long been mused over that one day it had to be told! Then the marking events of the actors' lives, their adventures, whether of sorrow or of joy, their sayings and doings, noble or bright or mistaken, recorded in the book, are but a tithe of the adventures, sayings and doings with which the writer seems to be familiar. He might write or talk about them, in praise or vindictiveness as he loves or dreads them, for many a longer day—but he has one main theme to make clear to his hearers and must respect the modern canons of the Story-telling Art. Among the many things therefore he could tell, an he would, he selects that only which will unravel a particular thread of fate in the tangle of endless consequences; which will render plausible the growth of passions on which, in a continuous life-drama, is based one particular episode.

Of such a kind is the story of Adrian Landale.

The haunting thought round which the tale of the sorely tempest-tossed dreamer is gathered is one which, I think, must at one time or other have occurred to many a man as he neared the maturity of middle-life:—What form of turmoil would come into his heart if, when still in the strength of his age but after long years of hopeless separation, he were again brought face to face with the woman who had been the one passion of his life, the first and only love of his youth? And what if she were still then exactly as he had last seen her—she, untouched by years even as she had so long lived in his thoughts: he, with his soul scarred and seamed by many encounters bravely sustained in the Battle of Life?

The problem thus propounded is not solvable, even in fiction, unless it be by "fantastic" treatment. But perhaps the more so on this account did it haunt me. And out of the travail of my mind around it, out of the changing shadows of restless speculation, gradually emerged, clear and alive, the being of Adrian Landale and his two loves.

Here then was a man, whose mind, moulded by nature for grace and contemplation, was cast by fate amid all the turmoils of Romance and action. Here was one of those whose warm heart and idealising enthusiasm must wreathe the beauty of love into all the beauties of the world; whose ideals are spent on one adored object; who, having lost it, seems to have lost the very sense of love; to whom love never could return, save by some miracle. But fortune, that had been so cruelly hard on him, one day in her blind way brings back to his door the miraculous restitution—and there leaves him to struggle along the new path of his fate! It is there also that I take up the thread of the speculation, and watch through its vicissitudes the working of the problem raised by such a strange circumstance.

The surroundings in a story of this kind are, of the nature of things, all those of Romance. And by Romance, I would point out, is not necessarily meant in tale-telling, a chain of events fraught with greater improbability than those of so-called real life. (Indeed where is now the writer who will for a moment admit, even tacitly, that his records are not of reality?) It simply betokens, a specialisation of the wider genus Novel; a narrative of strong action and moving incident, in addition to the necessary analysis of character; a story in which the uncertain violence of the outside world turns the course of the actors' lives from the more obvious channels. It connotes also, as a rule, more poignant emotions—emotions born of strife or peril, even of horror; it tells of the shock of arms in life, rather than of the mere diplomacy of life.

Above all Romance depends upon picturesque and varied setting; upon the scenery of the drama, so to speak. On the other hand it is not essentially (though this has sometimes been advanced) a narrative of mere adventures as contrasted to the observation and dissection of character and manners we find in the true "novel." Rather be it said that it is one in which the hidden soul is made patent under the touchstone of blood-stirring incidents, of hairbreadth risks, of recklessness or fierceness. There are soaring passions, secrets of the innermost heart, that can only be set free in desperate situations—and those situations are not found in the tenor in every-day, well-ordered life: they belong to Romance.

Spirit-fathers have this advantage that they can bring forth their dream-children in what age and place they list: it is no times of now-a-days, no ordinary scenery, that would have suited such adventures as befell Adrian Landale, or Captain Jack, or "Murthering Moll the Second."

Romantic enough is the scene, which, in a manner, framed the display of a most human drama; and fraught it is, even to this day, in the eyes of any but the least imaginative, with potentialities for strange happenings.1 It is that great bight of Morecambe; that vast of brown and white shallows, deserted, silent, mysterious, and treacherous with its dreaded shifting sands; fringed in the inland distance by the Cumbrian hills, blue and misty; bordered outwards by the Irish sea, cold and grey. And in a corner of that waste, the islet, small and green and secure, with its ancient Peel, ruinous even as the noble abbey of which it was once the dependant stronghold; with its still sturdy keep, and the beacon, whose light-keeper was once a Dreamer of Beautiful Things.

And romantic the times, if by that word is implied a freer scope than can be found in modern years for elemental passions, for fighting and loving in despite of every-day conventions; for enterprise, risks, temptations unknown in the atmosphere of humdrum peace and order. They are the early days of the century, days when easy and rapid means of communication had not yet destroyed all the glamour of distance, when a county like Lancashire was as a far-off country, with a spirit, a language, customs and ideas unknown to the Metropolis; days when, if there were no lifeboat crews, there could still be found rather experienced "wreckers," and when the keeping of a beacon, to light a dangerous piece of sea, was still within the province of a public-spirited landlord. They are the days when the spread of education had not even yet begun (for weal or for woe) its levelling work; days of cruel monopolies and inane prohibitions, and ferocious penal laws, inept in the working, baleful in the result; days of keel-hauling and flogging; when the "free-trader" still swung, tarred and in chains, on conspicuous points of the coast—even as the highwayman rattled at the cross-road—for the encouragement of the brotherhood; when it was naturally considered more logical (since hang you must for almost any misdeed) to hang for a sheep than a lamb, and human life on the whole was held rather cheap in consequence. They are the days when in Liverpool the privateers were daily fitting out or bringing in the "prizes," and when, in Lord Street Offices, distant cargoes of "living ebony" were put to auction by steady, intensely respectable, Church-going merchants. But especially they are the days of war and the fortunes of war; days of pressgangs, to kidnap unwilling rulers of the waves; of hulks and prisons filled to overflowing, even in a mere commercial port like Liverpool, with French prisoners of war.

A long course of relentless hostilities, lasting the span of a full-grown generation, had cultivated the predatory instinct of all men with the temperament of action, and seemed to justify it. Venturesome, hot-spirited youths, with their way to make in the world (who in a former age might have been reduced to "the road") took up privateering on a systematic scale. In such an atmosphere there could not fail to return a belief in the good old border rule, "the simple plan: that they should take who have the power, and they should keep who can." And it must be remembered that an island country's border is the enemy's coast! On that ethical understanding many privateer owners built up large fortunes, still enjoyed by descendants who in these days would look upon high-sea looting of non-combatants with definite horror.

The years of the great French war, however, fostered a species of nautical enterprise more venturesome even than privateering, raiding, blockade-running and all the ordinary forms of smuggling that are usual when two coast lines are at enmity. I mean that smuggling of gold specie and bullion which incidentally was destined to affect the course of Sir Adrian's life so powerfully.

* * * * *

As Captain Jack's last venture may, at this distance of time, appear a little improbable, it is well to state here some little-known facts concerning the now rather incomprehensible pursuit of gold smuggling—a romantic subject if ever there was one.

The existence at one time of this form of "free-trade" is all but forgotten. Indeed very little was ever heard of it in the world, except among parties directly interested, even at the time when it played an important part in the machinery of governments. Its rise during the years of Napoleonic tyranny on the continent of Europe, and its continuance during the factitious calm of the First Restoration in France, were due to circumstances that never existed before and are little likely to occur again.

The accumulation of a fund of gold coin, reserved against sudden contingency, was one of Bonaparte's imperial ideas. In a modified and more modern form, this notion of a "war-chest," untouched and unproductive in peace-time, is still adhered to by the Germans: they have kept to heart many of their former conqueror's lessons, lessons forgotten by the French themselves—and the enormous treasure of gold bags guarded at Spandau is a matter of common knowledge. Napoleon, however, in his triumphant days never, and for obvious reasons, lacked money. It was less an actual treasure that he required and valued so highly for political and military purposes, than an ever ready reserve of wealth easily portable, of paramount value at all times; "concentrated," so to speak. And nothing could come nearer to that description than rolls of English guineas. Indeed the vast numbers of these coins which fitfully appeared in circulation throughout Europe justified the many weird legends concerning the power of "British Gold"—l'or Anglais!

There is every reason to believe that, in days when the national currency consisted chiefly of lumbering silver écus, the Bourbon government also appreciated to the full the value of a private gold reserve. At any rate it was at the time of the first Restoration that the golden guinea of England found in France its highest premium.

Without going into the vexed and dreary question of single or double standard, it will suffice to say that during the early years of the century now about to close, gold coin was leaving England at a rate which not only appeared phenomenal but was held to be injurious to the community.

As a matter of fact most of it was finding its way to France, whilst Great Britain was flooded with silver. It was then made illegal to export gold coin or bullion. The prohibition was stringently, indeed at one time, ruthlessly, enforced. In this manner the new and highly profitable traffic in English guineas entered the province of the "free-trader"; the difference introduced in his practice being merely one of degree. Whereas, in the case of prohibited imports, the chief task lay in running the illicit goods and distributing them, in the case of guinea-smuggling its arduousness was further increased by the danger of collecting the gold inland and clearing from home harbours.

Very little, as I said, has ever been heard of this singular trade, and for obvious reasons. In the first place it obtained only for a comparatively small number of years, the latter part of the Great War: the last of it belonging to the period of the Hundred Days. And in the second it was, at all times, of necessity confined to a very small number of free-trading skippers. Of adventurous men, in stirring days, there were of course a multitude. But few, naturally, were the men to whose honour the custody of so much ready wealth could safely be intrusted. "That is where," as Captain Jack says sometimes in this book, "the 'likes of me' come in."

The exchange was enormously profitable. As much as thirty-two shillings in silver value could, at one time, be obtained on the other side of the water for an English guinea. But the shipper and broker, in an illegal venture where contract could not be enforced, had to be a man whose simple word was warranty—and indeed, in the case of large consignments, this blind trust had to be extended to almost every man of his crew. What a romance could be written upon this theme alone!

In the story of Adrian Landale, however, it plays but a subsidiary part. Brave, joyous-hearted Captain Jack and his bold venture for a fortune appear only in the drama to turn its previous course to unforeseen channels; just as in most of our lives, the sudden intrusion of a new strong personality—transient though it may be, a tempest or a meteor—changes their seemingly inevitable trend to altogether new issues.

* * * * *

It was urged by my English publishers that, in "The Light of Scarthey," I relate two distinct love-stories and two distinct phases of one man's life; and that it were wiser (by which word I presume was meant more profitable) to distribute the tale between two books, one to be a sequel to the other. Happily I would not be persuaded to cut a fully composed canvas in two for the sake of the frames. "It is the fate of sequels," as Stevenson said in his dedication of Catriona, "to disappoint those who have waited for them." Besides, life is essentially continuous.—It may not be inept to state a truism of this kind in a world of novels where the climax of life, if not indeed its very conclusion, is held to be reached on the day of marriage! There is often, of course, more than one true passion of love in a man's life; and even if the second does not really kill the memory of the first, their course (should they be worth the telling) may well be told separately. But if, in the story of a man's love for two women, the past and the present are so closely interwoven as were the reality and the "might-have-been" in the mind of Adrian Landale, any separation of the two phases, youth and maturity, would surely have stultified the whole scheme of the story.

I have also been taken to task by some critics for having, the tale once opened at a given time and place, harked back to other days and other scenes: an inartistic and confusing method, I was told. I am still of contrary opinion. There are certain stories which belong, by their very essence, to certain places. All ancient buildings have, if we only knew them, their human dramas: this is the very soul of the hidden but irresistible attraction they retain for us even when deserted and dismantled as now the Peel of Scarthey. For the sake of harmonious proportions, and in order to give it its proper atmosphere, it was imperative that in this drama—wherever the intermediate scenes might be placed, whether on the banks of the Vilaine, on the open sea, or in Lancaster Castle—the Prologue should be witnessed on the green islet in the wilderness of sands, even as the Crisis and the Closing Scene of rest and tenderness.

E. C., 49, Sloane Gardens, London, S. W. October 1899.

1. Those who like to associate fiction with definite places may be interested to know that the prototype of Scarthey is the Piel of Foudrey, on the North Lancashire coast, near the edge of Morecambe Bay, and that Pulwick was suggested by Furness Abbey. Barrow-in-Furness was then but a straggling village. A floating light, facing the mouth of the Wyre, now fulfils the duties devolving on the beacon of Scarthey at the time of this story.