Читать книгу Eugene Aram — Volume 01 - Эдвард Джордж Бульвер-Литтон, Эдвард Бульвер-Литтон - Страница 4

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 inorance 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 prin cipal 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."