This was in autumn. As winter drew nigh we moved into an Italian city, much frequented by foreigners, and especially the resort of our countrymen. The new life of this place and the interest they excited, so totally unlike all that I had left at my little villa, effected a complete revolution in my thoughts, utterly routing the belief I had indulged in as to the characters of my story, and the incidents in which they displayed themselves. Up to this all my efforts had been, as it were, to refresh my mind as to a variety of events and people I had once known, and to try if I could not recall certain situations which had interested me. Now the spell was broken, all the charm of the illusion gone, and I awoke to the dreary consciousness of my creatures being mere shadows, and their actions as unreal as themselves.
There is a sort of intellectual bankruptcy in such awakenings; and I know of few things so discouraging as this sudden revulsion from dream-land to the cold terra firma of unadorned fact.
There was little in the city we now lived in to harmonize with “romance.” It was, in fact, all that realism could accomplish with the aids of every taste and passion of modern society. That this life of present-day dissipation should be enacted in scenes where every palace and every street, every monument, and indeed every name recalled a glorious past, may not impossibly have heightened the enjoyment of the drama, but most unquestionably it vulgarized the actors.
Instead of the Orinoco and its lands of feathery palms, I had now before me the Arno and its gay crowds of loungers, the endless tide of equipages, and the strong pulse-beat of an existence that even, in the highways of life, denotes passion and emotion.
What I had of a plan was lost to me from that hour. I was again in the whirlpool of active existence, and the world around me was deep—triple deep—in all cases of loving and hating, and plotting and gambling, of intriguing, countermining, and betraying, as very polite people would know how to do: occupations to watch, which inspire an intensity of interest unknown in any other condition of existence.
Out of these impressions thus enforced came all the characters of my story. Not one was a portrait, though in each and all were traits taken from life. If I suffered myself on one single occasion to amass too many of the characteristics of an individual into a sketch, it was in the picture of the beau of Drumcondera; but there I was drawing from recollection and not able to correct, as I should otherwise have done, what might seem too close adherence to a model. I have been told that in the character of Linton I have exaggerated wickedness beyond all belief. I am sorry to reply that I made but a faint copy of him who suggested that personage, and who lives and walks the stage of life as I write. One or two persons—not more—who know him whose traits furnished the picture, are well aware that I have neither overdrawn my sketch, nor exaggerated my drawing.
The Kennyfeck young ladies—I am anxious to say—are not from life, nor is Lady Kilgoff, though I have heard surmises to the contrary.
These are all the explanations and excuses that occur to me I have to make of this story. Its graver faults are not within the pale of apology; and for these I only ask indulgence,—the same indulgence that has never been denied me.
CHARLES LEVER.
Trieste, 1872.