Эдвард Бульвер-Литтон - The Last of the Barons — Complete

These violent fluctuations betray both a public and a criticism utterly unschooled in the elementary principles of literary art, and entitle the humblest author to dispute the censure of the hour, while they ought to render the greatest suspicious of its praise.

It is, then, in conformity, not with any presumptuous conviction of his own superiority, but with his common experience and common-sense, that every author who addresses an English audience in serious earnest is permitted to feel that his final sentence rests not with the jury before which he is first heard. The literary history of the day consists of a series of judgments set aside.

But this uncertainty must more essentially betide every student, however lowly, in the school I have called the Intellectual, which must ever be more or less at variance with the popular canons. It is its hard necessity to vex and disturb the lazy quietude of vulgar taste; for unless it did so, it could neither elevate nor move. He who resigns the Dutch art for the Italian must continue through the dark to explore the principles upon which he founds his design, to which he adapts his execution; in hope or in despondence still faithful to the theory which cares less for the amount of interest created than for the sources from which the interest is to be drawn; seeking in action the movement of the grander passions or the subtler springs of conduct, seeking in repose the colouring of intellectual beauty.

The Low and the High of Art are not very readily comprehended. They depend not upon the worldly degree or the physical condition of the characters delineated; they depend entirely upon the quality of the emotion which the characters are intended to excite,—namely, whether of sympathy for something low, or of admiration for something high. There is nothing high in a boor’s head by Teniers, there is nothing low in a boor’s head by Guido. What makes the difference between the two? The absence or presence of the Ideal! But every one can judge of the merit of the first, for it is of the Familiar school; it requires a connoisseur to see the merit of the last, for it is of the Intellectual.

I have the less scrupled to leave these remarks to cavil or to sarcasm, because this fiction is probably the last with which I shall trespass upon the Public, and I am desirous that it shall contain, at least, my avowal of the principles upon which it and its later predecessors have been composed. You know well, however others may dispute the fact, the earnestness with which those principles have been meditated and pursued,—with high desire, if but with poor results.

It is a pleasure to feel that the aim, which I value more than the success, is comprehended by one whose exquisite taste as a critic is only impaired by that far rarer quality,—the disposition to over-estimate the person you profess to esteem! Adieu, my sincere and valued friend; and accept, as a mute token of gratitude and regard, these flowers gathered in the Garden where we have so often roved together.

This was the first attempt of the author in Historical Romance upon English ground. Nor would he have risked the disadvantage of comparison with the genius of Sir Walter Scott, had he not believed that that great writer and his numerous imitators had left altogether unoccupied the peculiar field in Historical Romance which the Author has here sought to bring into cultivation. In “The Last of the Barons,” as in “Harold,” the aim has been to illustrate the actual history of the period, and to bring into fuller display than general History itself has done the characters of the principal personages of the time, the motives by which they were probably actuated, the state of parties, the condition of the people, and the great social interests which were involved in what, regarded imperfectly, appear but the feuds of rival factions.

“The Last of the Barons” has been by many esteemed the best of the Author’s romances; and perhaps in the portraiture of actual character, and the grouping of the various interests and agencies of the time, it may have produced effects which render it more vigorous and lifelike than any of the other attempts in romance by the same hand.

It will be observed that the purely imaginary characters introduced are very few; and, however prominent they may appear, still, in order not to interfere with the genuine passions and events of history, they are represented as the passive sufferers, not the active agents, of the real events. Of these imaginary characters, the most successful is Adam Warner, the philosopher in advance of his age; indeed, as an ideal portrait, I look upon it as the most original in conception, and the most finished in execution, of any to be found in my numerous prose works, “Zanoni” alone excepted.

For the rest, I venture to think that the general reader will obtain from these pages a better notion of the important age, characterized by the decline of the feudal system, and immediately preceding that great change in society which we usually date from the accession of Henry VII., than he could otherwise gather, without wading through a vast mass of neglected chronicles and antiquarian dissertations.

Westward, beyond the still pleasant, but even then no longer solitary, hamlet of Charing, a broad space, broken here and there by scattered houses and venerable pollards, in the early spring of 1467, presented the rural scene for the sports and pastimes of the inhabitants of Westminster and London. Scarcely need we say that open spaces for the popular games and diversions were then numerous in the suburbs of the metropolis,—grateful to some the fresh pools of Islington; to others, the grass-bare fields of Finsbury; to all, the hedgeless plains of vast Mile-end. But the site to which we are now summoned was a new and maiden holiday-ground, lately bestowed upon the townsfolk of Westminster by the powerful Earl of Warwick.

Raised by a verdant slope above the low, marsh-grown soil of Westminster, the ground communicated to the left with the Brook-fields, through which stole the peaceful Ty-bourne, and commanded prospects, on all sides fair, and on each side varied. Behind, rose the twin green hills of Hampstead and Highgate, with the upland park and chase of Marybone,—its stately manor-house half hid in woods. In front might be seen the Convent of the Lepers, dedicated to Saint James, now a palace; then to the left, York House, [The residence of the Archbishops of York] now Whitehall; farther on, the spires of Westminster Abbey and the gloomy tower of the Sanctuary; next, the Palace, with its bulwark and vawmure, soaring from the river; while eastward, and nearer to the scene, stretched the long, bush-grown passage of the Strand, picturesquely varied with bridges, and flanked to the right by the embattled halls of feudal nobles, or the inns of the no less powerful prelates; while sombre and huge amidst hall and inn, loomed the gigantic ruins of the Savoy, demolished in the insurrection of Wat Tyler. Farther on, and farther yet, the eye wandered over tower and gate, and arch and spire, with frequent glimpses of the broad sunlit river, and the opposite shore crowned by the palace of Lambeth, and the Church of St. Mary Overies, till the indistinct cluster of battlements around the Fortress-Palatine bounded the curious gaze. As whatever is new is for a while popular, so to this pastime-ground, on the day we treat of, flocked, not only the idlers of Westminster, but the lordly dwellers of Ludgate and the Flete, and the wealthy citizens of tumultuous Chepe.

The ground was well suited to the purpose to which it was devoted. About the outskirts, indeed, there were swamps and fish-pools; but a considerable plot towards the centre presented a level sward, already worn bare and brown by the feet of the multitude. From this, towards the left, extended alleys, some recently planted, intended to afford, in summer, cool and shady places for the favourite game of bowls; while scattered clumps, chiefly of old pollards, to the right broke the space agreeably enough into detached portions, each of which afforded its separate pastime or diversion. Around were ranged many carts, or wagons; horses of all sorts and value were led to and fro, while their owners were at sport. Tents, awnings, hostelries, temporary buildings, stages for showmen and jugglers, abounded, and gave the scene the appearance of a fair; but what particularly now demands our attention was a broad plot in the ground, dedicated to the noble diversion of archery. The reigning House of York owed much of its military success to the superiority of the bowmen under its banners, and the Londoners themselves were jealous of their reputation in this martial accomplishment. For the last fifty years, notwithstanding the warlike nature of the times, the practice of the bow, in the intervals of peace, had been more neglected than seemed wise to the rulers. Both the king and his loyal city had of late taken much pains to enforce the due exercise of “Goddes instrumente,” [So called emphatically by Bishop Latimer, in his celebrated Sixth Sermon.] upon which an edict had declared that “the liberties and honour of England principally rested!”