One of the usual disadvantages of choosing a leading character that is off the lines of heroic portraiture is that the author may seem to be in sympathy with a base part in life and with base opinions. In this novel I run a different risk. I shall not be surprised if I provoke some hostility in making the bad man justify his course by the gaunt and grim morality that masquerades as the morality of our own time, while the good man is made to justify his one dubious act by the full and sincere and just morality that too often wears now the garb of vice—the morality of the books of Moses. This novel relies, I trust, on the sheer humanities alone, but among its less aggressive purposes is that of a plea for the natural rights of the bastard. Those rights have been recognized in every country and by every race, except one, since the day when the outcast woman in the wilderness hearkened to the cry from heaven which said, "God hath heard the voice of the lad where he is." In England alone have the rights of blood been as nothing compared with the rights of property, and it is part of the business of this novel to exhibit these interests at a climax of strife. I have no fear that any true-hearted person will accuse me of a desire to cast reproach upon marriage as an ordinance. Recognizing the beauty and the sanctity of marriage, I have tried to show that true marriage is a higher thing than a ceremony, and that people who use the gibbet and stake for offenders against its forms are too often those who see no offense in the violation of its spirit.
My principal scenes are again among the mountains of Cumberland; but in this second attempt I have tried to realize more completely their solitude and sweetness, their breezy healthfulness, and their scent as of new-cut turf, by putting them side by side with scenes full of the garrulous clangor and the malodor of the dark side of London.
When I began, I thought to enlarge the popular knowledge of our robust north-country by the addition of some whimsical character and quaint folk-lore. If much of this quiet local atmosphere has had to make way before one strong current of tragic feeling, I trust some of it remains that is fresh and bracing in the incidents of the booth, the smithy, the dalesman's wedding, the rush-bearing, the cock-fighting, and the sheep-shearing. Those readers of the earlier book who found human nature and an element of humor in the patois, will regret with me the necessity so to modify the dialect in this book as to remove from it nearly all the race quality that comes of intonation.
I ought to add that one of my characters, Parson Christian, is a portrait of a dear, simple, honest soul long gone to his account, and that the words here put into his mouth are oftener his own than mine.
I trust this book may help to correct a prevailing misconception as to the morals and mind of the typical English peasantry. It is certain that the conventional peasant of literature, the broad-mouthed rustic in a smock-frock, dull-eyed, mulish, beetle-headed, doddering, too vacant to be vicious, too doltish to do amiss, does not exist as a type in England. What does exist in every corner of the country is a peasantry speaking a patois that is often of varying inflections, but is always full of racy poetry, illiterate and yet possessed of a vast oral literature, sharing brains with other classes more equally than education, humorous, nimble-witted; clear-sighted, astute, cynical, not too virtuous, and having a lofty, contempt for the wiseacres of the town.
The manners and customs, the folk lore and folk-talk of Cumberland are far from exhausted in my two Cumberland novels; but it is not probable that I shall work in this vein again. In parting from it, may I venture to hope that here and there a reader grown tired of the life of the great cities has sometimes found it a relief to escape with me into these mountain solitudes and look upon a life as real and more true; a life that is humble and yet not low; a life in which men may be men, and the rude people of the soil need study the face of no master save nature alone?
A SON OF HAGAR.
BOOK I.
RETRO ME, SATHANA!