November 1860
Preface to Antonina
PREFACE TO THE PRESENT EDITION.
——————
Ten
years have passed since this historical romance was published in its
original form. The first volume, and part of the second, were written in the
quiet and seclusion of my father’s painting-room, to which I used to repair
with my pen and ink, in the evening, almost as regularly as he used to enter
it with his palette and brushes in the morning. His death suspended the
progress of the story, when I had completed nearly half of it. I put
Antonina aside, and addressed
myself to the writing of another story, which lay far nearer to my heart—the
story of my father’s life. In the “Memoirs of William Collins, R.A.,” I saw
my name on the title-page of a printed and published book, for the first
time.
After the publication of the biography, I once more opened the portfolio in
which Antonina had been put
away. How well I remember the feeling of discouragement with which I looked
at the half-finished manuscript, and thought of the doubtful future, if I
ever succeeded in bringing my work to an end! Two years previously, I had
tried my hand at writing a romance; had offered it to every publisher of
fiction in London; and had, in each case, received my manuscript back, with
a letter in which my proposals were politely declined. I am wise enough,
now, to know that the publishers were right, and that my earliest effort, as
a novelist, was made in the wrong direction. But, at the time, the
remembrance of my first failure hung ominously over my mind, and darkened
the fair white pages of my historical romance which were still to be filled
with writing. However, the natural interest that I felt in my work, for its
own sake, helped me to go on resolutely, if not hopefully, with my doubtful
venture. Antonina was finished in Paris, and was sent in the first instance
to the late Mr. Colburn—by whom the publication of the book was declined.
Fully prepared for a second series of letters of refusal from the
publishers, in acknowledgement of the offer of my second work of fiction, I
next applied to Mr. Bentley, who, to my surprise and delight, at once
accepted the book. Antonina (bound in great splendour) was published in
three volumes; and was received by the critical authorities with such a
chorus of praise as has never been sung over me since. The favourable
verdict of the reviews (whether merited or not) was endorsed, in time, by
the readers; many of my literary “elders and betters” kindly adding their
special tribute of encouragement and approval. In short, Antonina opened to
me a career as a novelist, and that career I have continued to follow to the
present time.
The
book which thus decided my vocation in life, is now presented to the reader
in a compact form. It would be idle to say that I do not look back at my
first work of fiction with a partiality which I cannot expect others to feel
for it. But I am not, on that account, altogether blind to its defects. My
later and better experience shows me blemishes in treatment and in style,
which it is now too late to remove from these pages. I can only hope I am
justified in believing that there are merits in this performance, which may
fairly be set against the faults.
Antonina may, I think, claim to be founded on a well-chosen subject.
The treatment of that subject, however far it may be from rising to the
importance of one of the grandest past events which the world has ever
witnessed, is at least free from the fatal display of learning which has
hopelessly damaged the popularity of the historical romance in these times.
And the story (if I may be allowed to say so) has, with all its youthful
crudities of execution, a certain freshness and vigour of dramatic interest,
which may carry the reader to the end—though the characters live in the
fifth century, and the events pass in the twilight magnificence of old Rome.
This is all I need say, in regard to the present edition. The critical
principles that guided me in framing the story, with other explanatory
matters relating to the details, will be found in the extract from the
original preface, which follows these lines.
Harley Street, London,
EXTRACT FROM THE ORIGINAL PREFACE.
In
preparing to compose a fiction founded on history, the writer of these pages
thought it no necessary requisite of such a work that the principal
characters appearing in it should be drawn from the historical personages of
the period. On the contrary, he felt that some very weighty objections
attached to this plan of composition. He knew well that it obliged a writer
to add largely from invention to what was actually known—to fill in with the
colouring of romantic fancy the bare outline of historic fact—and thus to
place the novelist’s fiction in what he could not but consider most
unfavourable contrast to the historian’s truth. He was further by no means
convinced that any story in which historical characters supplied the main
agents, could be preserved in its fit unity of design and restrained within
its due limits of development, without some falsification or confusion of
historical dates—a species of poetical licence of which he felt no
disposition to avail himself, as it was his main anxiety to make his plot
invariably arise, and proceed out of the great events of the era, exactly in
the order in which they occurred.
Influenced therefore by these considerations, he thought that by forming all
his principal characters from imagination, he should be able to mould them
as he please to the main necessities of the story; to display them, without
any impropriety, as influenced in whatever manner appeared most strikingly
interesting by its minor incidents; and further to make them, on all
occasions, without trammel or hindrance, the practical exponents of the
spirit of the age, of all the various historical illustrations of the
period, which the Author’s researches among conflicting but equally
important authorities had enabled him to garner up. While, at the same time,
the appearance of verisimilitude necessary to an historical romance might,
he imagined, be successfully preserved by the occasional introduction of the
living characters of the era, in those portions of the plot comprising
events with which they had been remarkably connected.
On
this plan the present work has been produced.
To
the fictitious characters alone is committed the task of representing the
spirit of the age. The Roman Emperor, Honorius, and the Gothic King, Alaric,
mix but little personally in the business of the story—only appearing in
such events, and acting under such circumstances, as the records of history
strictly authorise; but exact truth in respect to time, place, and
circumstance is observed in every historical event introduced in the plot,
from the period of the march of the Gothic invaders over the Alps to the
close of the first barbarian blockade of Rome.
Preface to Antonina; or, the Fall of
Rome. Sampson Low, Son, and Co., London 1861 |
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