LITMIR.BIZ

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the crime planned, and the cause, whether accidental or otherwise, of the murder.]

      The guilt of Eugene Aram is not that of a vulgar ruffian; it leads to views and considerations vitally and wholly distinct from those with which profligate knavery and brutal cruelty revolt and displease us in the literature of Newgate and the hulks. His crime does, in fact, belong to those startling paradoxes which the poetry of all countries, and especially of our own, has always delighted to contemplate and examine. Whenever crime appears the aberration and monstrous product of a great intellect or of a nature ordinarily virtuous, it becomes not only the subject for genius, which deals with passions, to describe, but a problem for philosophy, which deals with actions, to investigate and solve; hence the Macbeths and Richards, the Iagos and Othellos. My regret, therefore, is not that I chose a subject unworthy of elevated fiction, but that such a subject did not occur to some one capable of treating it as it deserves; and I never felt this more strongly than when the late Mr. Godwin (in conversing with me after the publication of this romance) observed that he had always thought the story of Eugene Aram peculiarly adapted for fiction, and that he had more than once entertained the notion of making it the foundation of a novel. I can well conceive what depth and power that gloomy record would have taken from the dark and inquiring genius of the author of "Caleb Williams." In fact, the crime and trial of Eugene Aram arrested the attention and engaged the conjectures of many of the most eminent men of his own time. His guilt or innocence was the matter of strong contest; and so keen and so enduring was the sensation created by an event thus completely distinct from the ordinary annals of human crime that even History turned aside from the sonorous narrative of the struggles of parties and the feuds of kings to commemorate the learning and the guilt of the humble schoolmaster of Lynn. Did I want any other answer to the animadversions of commonplace criticism, it might be sufficient to say that what the historian relates the novelist has little right to disdain.

      Before entering on this romance, I examined with some care the probabilities of Aram's guilt; for I need scarcely perhaps observe that the legal evidence against him is extremely deficient,—furnished almost entirely by one (Houseman) confessedly an accomplice of the crime and a partner in the booty, and that in the present day a man tried upon evidence so scanty and suspicious would unquestionably escape conviction. Nevertheless, I must frankly own that the moral evidence appeared to me more convincing than the legal; and though not without some doubt, which, in common with many, I still entertain of the real facts of the murder, I adopted that view which, at all events, was the best suited to the higher purposes of fiction. On the whole, I still think that if the crime were committed by Aram, the motive was not very far removed from one which led recently to a remarkable murder in Spain. A priest in that country, wholly absorbed in learned pursuits, and apparently of spotless life, confessed that, being debarred by extreme poverty from prosecuting a study which had become the sole passion of his existence, he had reasoned himself into the belief that it would be admissible to rob a very dissolute, worthless man if he applied the money so obtained to the acquisition of a knowledge which he could not otherwise acquire, and which he held to be profitable to mankind. Unfortunately, the dissolute rich man was not willing to be robbed for so excellent a purpose; he was armed and he resisted. A struggle ensued, and the crime of homicide was added to that of robbery. The robbery was premeditated; the murder was accidental. But he who would accept some similar interpretation of Aram's crime must, to comprehend fully the lessons which belong to so terrible a picture of frenzy and guilt, consider also the physical circumstances and condition of the criminal at the time,—severe illness, intense labor of the brain, poverty bordering upon famine, the mind preternaturally at work devising schemes and excuses to arrive at the means for ends ardently desired. And all this duly considered, the reader may see the crime bodying itself out from the shades and chimeras of a horrible hallucination,—the awful dream of a brief but delirious and convulsed disease. It is thus only that we can account for the contradiction of one deed at war with a whole life,—blasting, indeed, forever the happiness, but making little revolution in the pursuits and disposition of the character. No one who has examined with care and thoughtfulness the aspects of Life and Nature but must allow that in the contemplation of such a spectacle, great and most moral truths must force themselves on the notice and sink deep into the heart. The entanglements of human reasoning; the influence of circumstance upon deeds; the perversion that may be made, by one self-palter with the Fiend, of elements the most glorious; the secret effect of conscience in frustrating all for which the crime was done, leaving genius without hope, knowledge without fruit, deadening benevolence into mechanism, tainting love itself with terror and suspicion,—such reflections (leading, with subtler minds, to many more vast and complicated theorems in the consideration of our nature, social and individual) arise out of the tragic moral which the story of Eugene Aram (were it but adequately treated) could not fail to convey.

      BRUSSELS, August, 1840.

      PREFACE

      TO THE PRESENT EDITION

      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

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