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Lucretia   By: (1803-1873)

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By Edward Bulwer Lytton


"Lucretia; or, The Children of Night," was begun simultaneously with "The Caxtons: a Family Picture." The two fictions were intended as pendants; both serving, amongst other collateral aims and objects, to show the influence of home education, of early circumstance and example, upon after character and conduct. "Lucretia" was completed and published before "The Caxtons." The moral design of the first was misunderstood and assailed; that of the last was generally acknowledged and approved: the moral design in both was nevertheless precisely the same. But in one it was sought through the darker side of human nature; in the other through the more sunny and cheerful: one shows the evil, the other the salutary influences, of early circumstance and training. Necessarily, therefore, the first resorts to the tragic elements of awe and distress, the second to the comic elements of humour and agreeable emotion. These differences serve to explain the different reception that awaited the two, and may teach us how little the real conception of an author is known, and how little it is cared for; we judge, not by the purpose he conceives, but according as the impressions he effects are pleasurable or painful. But while I cannot acquiesce in much of the hostile criticism this fiction produced at its first appearance, I readily allow that as a mere question of art the story might have been improved in itself, and rendered more acceptable to the reader, by diminishing the gloom of the catastrophe. In this edition I have endeavoured to do so; and the victim whose fate in the former cast of the work most revolted the reader, as a violation of the trite but amiable law of Poetical Justice, is saved from the hands of the Children of Night. Perhaps, whatever the faults of this work, it equals most of its companions in the sustainment of interest, and in that coincidence between the gradual development of motive or passion, and the sequences of external events constituting plot, which mainly distinguish the physical awe of tragedy from the coarse horrors of melodrama. I trust at least that I shall now find few readers who will not readily acknowledge that the delineation of crime has only been employed for the grave and impressive purpose which brings it within the due province of the poet, as an element of terror and a warning to the heart.

LONDON, December 7.


It is somewhere about four years since I appeared before the public as the writer of a fiction, which I then intimated would probably be my last; but bad habits are stronger than good intentions. When Fabricio, in his hospital, resolved upon abjuring the vocation of the Poet, he was, in truth, recommencing his desperate career by a Farewell to the Muses, I need not apply the allusion.

I must own, however, that there had long been a desire in my mind to trace, in some work or other, the strange and secret ways through which that Arch ruler of Civilization, familiarly called "Money," insinuates itself into our thoughts and motives, our hearts and actions; affecting those who undervalue as those who overestimate its importance; ruining virtues in the spendthrift no less than engendering vices in the miser. But when I half implied my farewell to the character of a novelist, I had imagined that this conception might be best worked out upon the stage. After some unpublished and imperfect attempts towards so realizing my design, I found either that the subject was too wide for the limits of the Drama, or that I wanted that faculty of concentration which alone enables the dramatist to compress multiform varieties into a very limited compass. With this design, I desired to unite some exhibition of what seems to me a principal vice in the hot and emulous chase for happiness or fame, fortune or knowledge, which is almost synonymous with the cant phrase of "the March of Intellect," in that crisis of society to which we have arrived... Continue reading book >>

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