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If none of my prose works have been so attacked as “Eugene Aram,” none have so completely triumphed over attack. It is true that, whether from real or affected ignorance of the true morality of fiction, a few critics may still reiterate the old commonplace charges of “selecting heroes from Newgate,” or “investing murderers with interest;” but the firm hold which the work has established in the opinion of the general public, and the favor it has received in every country where English literature is known, suffice to prove that, whatever its faults, it belongs to that legitimate class of fiction which illustrates life and truth, and only deals with crime as the recognized agency of pity and terror in the conduct of tragic narrative. All that I would say further on this score has been said in the general defence of my writings which I put forth two years ago; and I ask the indulgence of the reader if I repeat myself:—

“Here, unlike the milder guilt of Paul Clifford, the author was not to imply reform to society, nor open in this world atonement and pardon to the criminal. As it would have been wholly in vain to disguise, by mean tamperings with art and truth, the ordinary habits of life and attributes of character which all record and remembrance ascribed to Eugene Aram; as it would have defeated every end of the moral inculcated by his guilt, to portray, in the caricature of the murderer of melodrama, a man immersed in study, of whom it was noted that he turned aside from the worm in his path,—so I have allowed to him whatever contrasts with his inexpiable crime have been recorded on sufficient authority. But I have invariably taken care that the crime itself should stand stripped of every sophistry, and hideous to the perpetrator as well as to the world. Allowing all by which attention to his biography may explain the tremendous paradox of fearful guilt in a man aspiring after knowledge, and not generally inhumane; allowing that the crime came upon him in the partial insanity produced by the combining circumstances of a brain overwrought by intense study, disturbed by an excited imagination and the fumes of a momentary disease of the reasoning faculty, consumed by the desire of knowledge, unwholesome and morbid, because coveted as an end, not a means, added to the other physical causes of mental aberration to be found in loneliness, and want verging upon famine,—all these, which a biographer may suppose to have conspired to his crime, have never been used by the novelist as excuses for its enormity, nor indeed, lest they should seem as excuses, have they ever been clearly presented to the view. The moral consisted in showing more than the mere legal punishment at the close. It was to show how the consciousness of the deed was to exclude whatever humanity of character preceded and belied it from all active exercise, all social confidence; how the knowledge of the bar between the minds of others and his own deprived the criminal of all motive to ambition, and blighted knowledge of all fruit.

Miserable in his affections, barren in his intellect; clinging to solitude, yet accursed in it; dreading as a danger the fame he had once coveted; obscure in spite of learning, hopeless in spite of love, fruitless and joyless in his life, calamitous and shameful in his end,—surely such is no palliative of crime, no dalliance and toying with the grimness of evil! And surely to any ordinary comprehension and candid mind such is the moral conveyed by the fiction of ‘Eugene Aram.’”—[A word to the Public, 1847]

In point of composition “Eugene Aram” is, I think, entitled to rank amongst the best of my fictions. It somewhat humiliates me to acknowledge that neither practice nor study has enabled me to surpass a work written at a very early age, in the skilful construction and patient development of plot; and though I have since sought to call forth higher and more subtle passions, I doubt if I have ever excited the two elementary passions of tragedy,—namely, pity and terror,—to the same degree. In mere style, too, “Eugene Aram,” in spite of certain verbal oversights, and defects in youthful taste (some of which I have endeavored to remove from the present edition), appears to me unexcelled by any of my later writings,—at least in what I have always studied as the main essential of style in narrative; namely, its harmony with the subject selected and the passions to be moved,—while it exceeds them all in the minuteness and fidelity of its descriptions of external nature. This indeed it ought to do, since the study of external nature is made a peculiar attribute of the principal character, whose fate colors the narrative. I do not know whether it has been observed that the time occupied by the events of the story is conveyed through the medium of such descriptions. Each description is introduced, not for its own sake, but to serve as a calendar marking the gradual changes of the seasons as they bear on to his doom the guilty worshipper of Nature. And in this conception, and in the care with which it has been followed out, I recognize one of my earliest but most successful attempts at the subtler principles of narrative art.

In this edition I have made one alteration somewhat more important than mere verbal correction. On going, with maturer judgment, over all the evidences on which Aram was condemned, I have convinced myself that though an accomplice in the robbery of Clarke, he was free both from the premeditated design and the actual deed of murder. The crime, indeed, would still rest on his conscience and insure his punishment, as necessarily incidental to the robbery in which he was an accomplice, with Houseman; but finding my convictions, that in the murder itself he had no share, borne out by the opinion of many eminent lawyers by whom I have heard the subject discussed, I have accordingly so shaped his confession to Walter.

Perhaps it will not be without interest to the reader if I append to this preface an authentic specimen of Eugene Aram’s composition, for which I am indebted to the courtesy of a gentleman by whose grandfather it was received, with other papers (especially a remarkable “Outline of a New Lexicon”), during Aram’s confinement in York prison. The essay I select is, indeed, not without value in itself as a very curious and learned illustration of Popular Antiquities, and it serves also to show not only the comprehensive nature of Aram’s studies and the inquisitive eagerness of his mind, but also the fact that he was completely self-taught; for in contrast to much philological erudition, and to passages that evince considerable mastery in the higher resources of language, we may occasionally notice those lesser inaccuracies from which the writings of men solely self-educated are rarely free,—indeed Aram himself, in sending to a gentleman an elegy on Sir John Armitage, which shows much, but undisciplined, power of versification, says, “I send this elegy, which, indeed, if you had not had the curiosity to desire, I could not have had the assurance to offer, scarce believing I, who was hardly taught to read, have any abilities to write.”

THE MELSUPPER AND SHOUTING THE CHURN

These rural entertainments and usages were formerly more general all over England than they are at present, being become by time, necessity, or avarice, complex, confined, and altered. They are commonly insisted upon by the reapers as customary things, and a part of their due for the toils of the harvest, and complied with by their masters perhaps more through regards of interest than inclination; for should they refuse them the pleasures of this much-expected time, this festal night, the youth especially, of both sexes would decline serving them for the future, and employ their labors for others, who would promise them the rustic joys of the harvest-supper, mirth and music, dance and song. These feasts appear to be the relics of Pagan ceremonies or of Judaism, it is hard to say which, and carry in them more meaning and are of far higher antiquity than is generally apprehended. It is true the subject is more curious than important, and I believe altogether untouched; and as it seems to be little understood, has been as little adverted to. I do not remember it to have been so much as the subject of a conversation. Let us make, then, a little excursion into this field, for the same reason men sometimes take a walk. Its traces are discoverable at a very great distance of time from ours,—nay, seem as old as a sense of joy for the benefit of plentiful harvests and human gratitude to the eternal Creator for His munificence to men. We hear it under various names in different counties, and often in the same county; as, “melsupper,” “churn-supper,” “harvest-supper,” “harvest-home,” “feast of in-gathering,” etc. And perhaps this feast had been long observed, and by different tribes of people, before it became preceptive with the Jews. However, let that be as it will, the custom very lucidly appears from the following passages of S. S., Exod. xxiii. 16, “And the feast of harvest, the first-fruits of thy labors, which thou hast sown in the field.” And its institution as a sacred rite is commanded in Levit. xxiii. 39: “When ye have gathered in the fruit of the land ye shall keep a feast to the Lord.”

The Jews then, as is evident from hence, celebrated the feast of harvest, and that by precept; and though no vestiges of any such feast either are or can be produced before these, yet the oblation of the Primitae, of which this feast was a consequence, is met with prior to this, for we find that “Cain brought of the fruit of the ground an offering to the Lord” (Gen. iv. 3).

Yet this offering of the first-fruits, it may well be supposed was not peculiar to the Jews either at the time of, or after, its establishment by their legislator; neither the feast in consequence of it. Many other nations, either in imitation of the Jews, or rather by tradition from their several patriarchs, observed the rite of offering their Primitiae, and of solemnizing a festival after it, in religious acknowledgment for the blessing of harvest, though that acknowledgment was ignorantly misapplied in being directed to a secondary, not the primary, fountain of this benefit,—namely to Apollo, or the Sun.

For Callimachus affirms that these Primitiae were sent by the people of every nation to the temple of Apollo in Delos, the most distant that enjoyed the happiness of corn and harvest, even by the Hyperboreans in particular,—Hymn to Apol., “Bring the sacred sheafs and the mystic offerings.”

Herodotus also mentions this annual custom of the Hyperboreans, remarking that those of Delos talk of “Holy things tied up in sheaf of wheat conveyed from the Hyperboreans.” And the Jews, by the command of their law, offered also a sheaf: “And shall reap the harvest thereof, then ye shall bring a sheaf of the first-fruits of the harvest unto the priest.”

This is not introduced in proof of any feast observed by the people who had harvests, but to show the universality of the custom of offering the Primitiae, which preceded this feast. But yet it maybe looked upon as equivalent to a proof; for as the offering and the feast appear to have been always and intimately connected in countries affording records, so it is more than probable they were connected too in countries which had none, or none that ever survived to our times. An entertainment and gayety were still the concomitants of these rites, which with the vulgar, one may pretty truly suppose, were esteemed the most acceptable and material part of them, and a great reason of their having subsisted through such a length of ages, when both the populace and many of the learned too have lost sight of the object to which they had been originally directed. This, among many other ceremonies of the heathen worship, became disused in some places and retained in others, but still continued declining after the promulgation of the Gospel. In short, there seems great reason to conclude that this feast, which was once sacred to Apollo, was constantly maintained, when a far less valuable circumstance,—i.e., “shouting the churn,”—is observed to this day by the reapers, and from so old an era; for we read of this exclamation, Isa. xvi. 9: “For the shouting for thy summer fruits and for thy harvest is fallen;” and again, ver. 10: “And in the vineyards there shall be no singing, their shouting shall be no shouting.” Hence then, or from some of the Phoenician colonies, is our traditionary “shouting the churn.” But it seems these Orientals shouted both for joy of their harvest of grapes and of corn. We have no quantity of the first to occasion so much joy as does our plenty of the last; and I do not remember to have heard whether their vintages abroad are attended with this custom. Bread or cakes compose part of the Hebrew offering (Levit. xxiii. 13), and a cake thrown upon the head of the victim was also part of the Greek offering to Apollo (see Hom., Il., a), whose worship was formerly celebrated in Britain, where the May-pole yet continues one remain of it. This they adorned with garlands on May-day, to welcome the approach of Apollo, or the Sun, towards the North, and to signify that those flowers were the product of his presence and influence. But upon the progress of Christianity, as was observed above, Apollo lost his divinity again, and the adoration of his deity subsided by degrees. Yet so permanent is custom that this rite of the harvest-supper, together with that of the May-pole (of which last see Voss. de Orig. and Prag. Idolatr., 1, 2), have been preserved in Britain; and what had been anciently offered to the god, the reapers as prudently ate up themselves.

At last the use of the meal of the new corn was neglected, and the supper, so far as meal was concerned, was made indifferently of old or new corn, as was most agreeable to the founder. And here the usage itself accounts for the name of “Melsupper” (where mel signifies meal, or else the instrument called with us a “Mell,” wherewith antiquity reduced their corn to meal in a mortar, which still amounts to the same thing); for provisions of meal, or of corn in furmety, etc., composed by far the greatest part in these elder and country entertainments, perfectly conformable to the simplicity of those times, places, and persons, however meanly they may now be looked upon. And as the harvest was last concluded with several preparations of meal, or brought to be ready for the “mell,” this term became, in a translated signification, to mean the last of other things; as, when a horse comes last in the race, they often say in the North, “He has got the mell.”

All the other names of this country festivity sufficiently explain themselves, except “Churn-supper;” and this is entirely different from “Melsupper:” but they generally happen so near together that they are frequently confounded. The “Churn-supper” was always provided when all was shorn, but the “Melsupper” after all was got in. And it was called the “Churn-supper” because, from immemorial times, it was customary to produce in a churn a great quantity of cream, and to circulate it by dishfuls to each of the rustic company, to be eaten with bread. And here sometimes very extraordinary execution has been done upon cream. And though this custom has been disused in many places, and agreeably commuted for by ale, yet it survives still, and that about Whitby and Scarborough in the East, and round about Gisburn, etc., in Craven, in the West. But perhaps a century or two more will put an end to it, and both the thing and name shall die. Vicarious ale is now more approved, and the tankard almost everywhere politely preferred to the Churn.

This Churn (in our provincial pronunciation Kern) is the Hebrew Kern, or Keren, from its being circular, like most horns; and it is the Latin ‘corona’,—named so either from ‘radii’, resembling horns, as on some very ancient coins, or from its encircling the head: so a ring of people is called corona. Also the Celtic Koren, Keren, or corn, which continues according to its old pronunciation in Cornwall, etc., and our modern word horn is no more than this; the ancient hard sound of k in corn being softened into the aspirate h, as has been done in numberless instances.

The Irish Celtae also called a round stone ‘clogh crene’, where the variation is merely dialectic. Hence, too, our crane-berries,—i.e., round berries,—from this Celtic adjective ‘crene’, round.

The quotations from Scripture in Aram’s original MS. were both in the Hebrew character, and their value in English sounds.