Last of the Barons | Page 7

memory one crime more or less matters but little, it may here be observed that so far from there being any ground to suppose that Gloucester was an accomplice in the assassination of the young prince Edward of Lancaster, there is some ground to believe that that prince was not assassinated at all, but died (as we would fain hope the grandson of Henry V. did die) fighting manfully in the field.-- "Harleian Manuscripts;" Stowe, "Chronicle of Tewksbury;" Sharon Turner, vol. iii. p. 335.] It is also noticeable, that when, not as Shakspeare represents, but after long solicitation, and apparently by positive coercion, Anne formed her second marriage, she seems to have been kept carefully by Richard from his gay brother's court, and rarely, if ever, to have appeared in London till Edward was no more.
That considerable obscurity should always rest upon the facts connected with Edward's meditated crime,--that they should never be published amongst the grievances of the haughty rebel is natural from the very dignity of the parties, and the character of the offence; that in such obscurity sober History should not venture too far on the hypothesis suggested by the chronicler, is right and laudable. But probably it will be conceded by all, that here Fiction finds its lawful province, and that it may reasonably help, by no improbable nor groundless conjecture, to render connected and clear the most broken and the darkest fragments of our annals.
I have judged it better partially to forestall the interest of the reader in my narrative, by stating thus openly what he may expect, than to encounter the far less favourable impression (if he had been hitherto a believer in the old romance of Bona of Savoy), [I say the old romance of Bona of Savoy, so far as Edward's rejection of her hand for that of Elizabeth Gray is stated to have made the cause of his quarrel with Warwick. But I do not deny the possibility that such a marriage had been contemplated and advised by Warwick, though he neither sought to negotiate it, nor was wronged by Edward's preference of his fair subject.] that the author was taking an unwarrantable liberty with the real facts, when, in truth, it is upon the real facts, as far as they can be ascertained, that the author has built his tale, and his boldest inventions are but deductions from the amplest evidence he could collect. Nay, he even ventures to believe, that whoever hereafter shall write the history of Edward IV. will not disdain to avail himself of some suggestions scattered throughout these volumes, and tending to throw new light upon the events of that intricate but important period.
It is probable that this work will prove more popular in its nature than my last fiction of "Zanoni," which could only be relished by those interested in the examinations of the various problems in human life which it attempts to solve. But both fictions, however different and distinct their treatment, are constructed on those principles of art to which, in all my later works, however imperfect my success, I have sought at least steadily to adhere.
To my mind, a writer should sit down to compose a fiction as a painter prepares to compose a picture. His first care should be the conception of a whole as lofty as his intellect can grasp, as harmonious and complete as his art can accomplish; his second care, the character of the interest which the details are intended to sustain.
It is when we compare works of imagination in writing with works of imagination on the canvas, that we can best form a critical idea of the different schools which exist in each; for common both to the author and the painter are those styles which we call the Familiar, the Picturesque, and the Intellectual. By recurring to this comparison we can, without much difficulty, classify works of Fiction in their proper order, and estimate the rank they should severally hold. The Intellectual will probably never be the most widely popular for the moment. He who prefers to study in this school must be prepared for much depreciation, for its greatest excellences, even if he achieve them, are not the most obvious to the many. In discussing, for instance, a modern work, we hear it praised, perhaps, for some striking passage, some prominent character; but when do we ever hear any comment on its harmony of construction, on its fulness of design, on its ideal character,--on its essentials, in short, as a work of art? What we hear most valued in the picture, we often find the most neglected in the book,--namely, the composition; and this, simply because in England painting is recognized as an art, and estimated according to definite theories; but in literature we judge