Lucretia — Volume 01

Lucretia — Volume 01


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The Project Gutenberg EBook Lucretia, by Edward-Bulwer Lytton, Vol. 1 #113 in our series by Edward Bulwer-LyttonCopyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloadingor redistributing this or any other Project Gutenberg eBook.This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do notchange or edit the header without written permission.Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of thisfile. Included is important information about your specific rights and restrictions in how the file may be used. You can alsofind out about how to make a donation to Project Gutenberg, and how to get involved.**Welcome To The World of Free Plain Vanilla Electronic Texts****EBooks Readable By Both Humans and By Computers, Since 1971*******These EBooks Were Prepared By Thousands of Volunteers*****Title: Lucretia, Volume 1.Author: Edward Bulwer-LyttonRelease Date: March 2005 [EBook #7685] [Yes, we are more than one year ahead of schedule] [This file was firstposted on April 15, 2003]Edition: 10Language: English*** START OF THE PROJECT GUTENBERG EBOOK LUCRETIA, BY LYTTON, V1 ***This eBook was produced by Tapio Riikonen and David Widger, widger@cecomet.netLUCRETIAby Edward Bulwer LyttonPREFACE TO THE EDITION OF 1853."Lucretia; or, The Children of Night," was begun simultaneously with ...



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Title: Lucretia, Volume 1. Author: Edward Bulwer-Lytton Release Date: March 2005 [EBook #7685] [Yes, we are more than one year ahead of schedule] [This file was first posted on April 15, 2003] Edition: 10 Language: English
**Welcome To The World of Free Plain Vanilla Electronic Texts** **EBooks Readable By Both Humans and By Computers, Since 1971** *****These EBooks Were Prepared By Thousands of Volunteers*****
This eBook was produced by Tapio Riikonen and David Widger,
LUCRETIA by Edward Bulwer Lytton
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PREFACE TO THE EDITION OF 1853. "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.
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