Godolphin | Page 2

and the reason of things, and to know the wickedness of folly, even of foolishness and madness."
In Eugene Aram, the natural career of genius is arrested by a single crime; in Godolphin, a mind of inferior order, but more fanciful colouring, is wasted away by the indulgence of those morbid sentiments which are the nourishment of egotism, and the gradual influence of the frivolities which make the business of the idle. Here the Demon tempts or destroys the hermit in his solitary cell. There, he glides amidst the pomps and vanities of the world, and whispers away the soul in the voice of his soft familiars, Indolence and Pleasure.
Of all my numerous novels, Pelham and Godolphin are the only ones which take their absolute groundwork in what is called "The Fashionable World." I have sought in each to make the general composition in some harmony with the principal figure in the foreground. Pelham is represented as almost wholly unsusceptible to the more poetical influences. He has the physical compound, which, versatile and joyous, amalgamates easily with the world--he views life with the lenient philosophy that Horace commends in Aristippus: he laughs at the follies he shares; and is ever ready to turn into uses ultimately (if indirectly) serious, the frivolities that only serve to sharpen his wit, and augment that peculiar expression which we term "knowledge of the world." In a word, dispel all his fopperies, real or assumed, he is still the active man of crowds and cities, determined to succeed, and gifted with the ordinary qualities of success. Godolphin, on the contrary, is the man of poetical temperament, out of his place alike among the trifling idlers and the bustling actors of the world--wanting the stimulus of necessity--or the higher motive which springs from benevolence, to give energy to his powers, or definite purpose to his fluctuating desires; not strong enough to break the bonds that confine his genius--not supple enough to accommodate its movements to their purpose. He is the moral antipodes to Pelham. In evading the struggles of the world, he grows indifferent to its duties--he strives with no obstacles--he can triumph in no career. Represented as possessing mental qualities of a higher and a richer nature than those to which Pelham can pretend, he is also represented as very inferior to him in constitution of character, and he is certainly a more ordinary type of the intellectual trifler.
The characters grouped around Godolphin are those with which such a man usually associates his life. They are designed to have a certain grace--a certain harmony with one form or the other of his twofold temperament:--viz., either its conventional elegance of taste, or its constitutional poetry of idea. But all alike are brought under varying operations of similar influences; or whether in Saville, Constance, Fanny, or Lucilla--the picture presented is still the picture of gifts misapplied--of life misunderstood. The Preacher who exclaimed, "Vanity of vanities! all is vanity," perhaps solved his own mournful saying, when he added elsewhere, "This only have I found, that God made men upright--but they have sought out many inventions."
This work was first published anonymously, and for that reason perhaps it has been slow in attaining to its rightful station amongst its brethren--whose parentage at first was openly acknowledged. If compared with Pelham, it might lose, at the first glance, but would perhaps gain on any attentive reperusal.
For although it must follow from the inherent difference in the design of the two works thus referred to, that in Godolphin there can be little of the satire or vivacity which have given popularity to its predecessor, yet, on the other hand, in Godolphin there ought to be a more faithful illustration of the even polish that belongs to luxurious life,--of the satiety that pleasure inflicts upon such of its votaries as are worthy of a higher service. The subject selected cannot adroit the same facility for observation of things that lie on the surface--but it may well lend itself to subtler investigation of character--allow more attempt at pathos, and more appeal to reflection.
Regarded as a story, the defects of Godolphin most apparent to myself, are in the manner in which Lucilla is re-introduced in the later chapters, and in the final catastrophe of the hero. There is an exaggerated romance in the one, and the admission of accident as a crowning agency in the other, which my maturer judgment would certainly condemn, and which at all events appear to me out of keeping with the natural events, and the more patient investigation of moral causes and their consequences, from which the previous interest of the tale is sought to be attained. On the other hand, if I may presume to conjecture the most probable claim to favour which the work, regarded as a whole, may