Lucretia — Volume 01
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About this ebook
In addition to being a politician, he wrote across all genres, from horror stories to historical fiction and action titles.
Edward Bulwer-Lytton
Edward Bulwer-Lytton, engl. Romanschriftsteller und Politiker, ist bekannt geworden durch seine populären historischen/metaphysischen und unvergleichlichen Romane wie „Zanoni“, „Rienzi“, „Die letzten Tage von Pompeji“ und „Das kommende Geschlecht“. Ihm wird die Mitgliedschaft in der sagenumwobenen Gemeinschaft der Rosenkreuzer nachgesagt. 1852 wurde er zum Kolonialminister von Großbritannien ernannt.
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Lucretia — Volume 01 - Edward Bulwer-Lytton
LUCRETIA — VOLUME 01
..................
Edward Bulwer-Lytton
YURITA PRESS
Thank you for reading. In the event that you appreciate this book, please consider sharing the good word(s) by leaving a review, or connect with the author.
This book is a work of fiction; its contents are wholly imagined.
All rights reserved. Aside from brief quotations for media coverage and reviews, no part of this book may be reproduced or distributed in any form without the author’s permission. Thank you for supporting authors and a diverse, creative culture by purchasing this book and complying with copyright laws.
Copyright © 2016 by Edward Bulwer-Lytton
Interior design by Pronoun
Distribution by Pronoun
TABLE OF CONTENTS
LUCRETIA
PREFACE TO THE EDITION OF 1853.
PREFACE TO THE FIRST EDITION.
PROLOGUE TO PART THE FIRST.
CHAPTER I.
CHAPTER II.
Lucretia — Volume 01
By
Edward Bulwer-Lytton
Lucretia — Volume 01
Published by Yurita Press
New York City, NY
First published circa 1873
Copyright © Yurita Press, 2015
All rights reserved
Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
About YURITA Press
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LUCRETIA
..................
by Edward Bulwer Lytton
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.
PREFACE TO THE FIRST EDITION.
..................
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. The vice I allude to is Impatience. That eager desire to press forward, not so much to conquer obstacles as to elude them; that gambling with the solemn destinies of life, seeking ever to set success upon the chance of a die; that hastening from the wish conceived to the end accomplished; that thirst after quick returns to ingenious toil, and breathless spurrings along short cuts to the goal, which we see everywhere around us, from the Mechanics’ Institute to the Stock Market,- -beginning in education with the primers of infancy, deluging us with Philosophies for the Million
and Sciences made Easy;
characterizing the books of our writers, the speeches of our statesmen, no less than the dealings of our speculators,—seem, I confess, to me to constitute a very diseased and very general symptom of the times. I hold that the greatest friend to man is labour; that knowledge without toil, if possible, were worthless; that toil in pursuit of knowledge is the best knowledge we can attain; that the continuous effort for fame is nobler than fame itself; that it is not wealth suddenly acquired which is deserving of homage, but the virtues which a man exercises in the slow pursuit of wealth,—the abilities so called forth, the self-denials so imposed; in a word, that Labour and Patience are the true schoolmasters on earth. While occupied with these ideas and this belief, whether right or wrong, and slowly convinced that it was only in that species of composition with which I was most familiar that I could work out some portion of the plan that I began to contemplate, I became acquainted with the histories of two criminals existing in our own age,—so remarkable, whether from the extent and darkness of the guilt committed, whether from the glittering accomplishments and lively temper of the one, the profound knowledge and intellectual capacities of the other, that the examination and analysis of characters so perverted became a study full of intense, if gloomy, interest.
In these