The exchange was enormously profitable. As much as thirty-two shillings in silver value could, at one time, be obtained on the other side of the water for an English guinea. But the shipper and broker, in an illegal venture where contract could not be enforced, had to be a man whose simple word was warranty—and indeed, in the case of large consignments, this blind trust had to be extended to almost every man of his crew. What a romance could be written upon this theme alone!
In the story of Adrian Landale, however, it plays but a subsidiary part. Brave, joyous-hearted Captain Jack and his bold venture for a fortune appear only in the drama to turn its previous course to unforeseen channels; just as in most of our lives, the sudden intrusion of a new strong personality—transient though it may be, a tempest or a meteor—changes their seemingly inevitable trend to altogether new issues.
It was urged by my English publishers that, in "The Light of Scarthey," I relate two distinct love-stories and two distinct phases of one man's life; and that it were wiser (by which word I presume was meant more profitable) to distribute the tale between two books, one to be a sequel to the other. Happily I would not be persuaded to cut a fully composed canvas in two for the sake of the frames. "It is the fate of sequels," as Stevenson said in his dedication of Catriona, "to disappoint those who have waited for them." Besides, life is essentially continuous.—It may not be inept to state a truism of this kind in a world of novels where the climax of life, if not indeed its very conclusion, is held to be reached on the day of marriage! There is often, of course, more than one true passion of love in a man's life; and even if the second does not really kill the memory of the first, their course (should they be worth the telling) may well be told separately. But if, in the story of a man's love for two women, the past and the present are so closely interwoven as were the reality and the "might-have-been" in the mind of Adrian Landale, any separation of the two phases, youth and maturity, would surely have stultified the whole scheme of the story.
I have also been taken to task by some critics for having, the tale once opened at a given time and place, harked back to other days and other scenes: an inartistic and confusing method, I was told. I am still of contrary opinion. There are certain stories which belong, by their very essence, to certain places. All ancient buildings have, if we only knew them, their human dramas: this is the very soul of the hidden but irresistible attraction they retain for us even when deserted and dismantled as now the Peel of Scarthey. For the sake of harmonious proportions, and in order to give it its proper atmosphere, it was imperative that in this drama—wherever the intermediate scenes might be placed, whether on the banks of the Vilaine, on the open sea, or in Lancaster Castle—the Prologue should be witnessed on the green islet in the wilderness of sands, even as the Crisis and the Closing Scene of rest and tenderness.
E. C.,
49, Sloane Gardens,
London, S. W.
October 1899.
[A] Those who like to associate fiction with definite places may be interested to know that the prototype of Scarthey is the Piel of Foudrey, on the North Lancashire coast, near the edge of Morecambe Bay, and that Pulwick was suggested by Furness Abbey. Barrow-in-Furness was then but a straggling village. A floating light, facing the mouth of the Wyre, now fulfils the duties devolving on the beacon of Scarthey at the time of this story.