PREFACE.
The drama contained in the following pages has nothing to commend it to the attention or the good will of the public. It has not, to attract the interest of political disputants, the advantage of the veto of the official censorship, nor even, to win for it at the outset the literary sympathy of men of taste, the honour of having been formally rejected by an infallible reading committee.
It presents itself, therefore, to the public gaze, naked and friendless, like the infirm man of the Gospel—solus, pauper, nudus.
Not without some hesitation, moreover, did the author determine to burden his drama with a preface. Such things are usually of very little interest to the reader. He inquires concerning the talent of a writer rather than concerning his point of view; and in determining whether a work is good or bad, it matters little to him upon what ideas it is based, or in what sort of mind it germinated. One seldom inspects the cellars of a house after visiting its salons, and when one eats the fruit of a tree, one cares but little about its root.
On the other hand, notes and prefaces are sometimes a convenient method of adding to the weight of a book, and of magnifying, in appearance at least, the importance of a work; as a matter of tactics this is not dissimilar to that of the general who, to make his battlefront more imposing, puts everything, even his baggage-trains, in the line. And then, while critics fall foul of the preface and scholars of the notes, it may happen that the work itself will escape them, passing uninjured between their crossfires, as an army extricates itself from a dangerous position between two skirmishes of outposts and rear-guards.
These reasons, weighty as they may seem, are not those which influenced the author. This volume did not need to be inflated, it was already too stout by far. Furthermore, and the author does not know why it is so, his
