In the character called "Jack Straw," you have the exhibition of an enfeebled intellect, tenderly shown under its lightest and happiest aspect, and used as a means of relief in some of the darkest scenes of terror and suspense occurring in this story. Again, in "Madame Fontaine," I have endeavored to work out the interesting moral problem, which takes for its groundwork the strongest of all instincts in a woman, the instinct of maternal love, and traces to its solution the restraining and purifying influence of this one virtue over an otherwise cruel, false, and degraded nature.
The events in which these two chief personages play their parts have been combined with all possible care, and have been derived, to the best of my ability, from natural and simple causes. In view of the distrust which certain readers feel, when a novelist builds his fiction on a foundation of fact, it may not be amiss to mention (before I close these lines), that the accessories of the scenes in the Deadhouse of Frankfort have been studied on the spot. The published rules and ground-plans of that curious mortuary establishment have also been laid on my desk, as aids to memory while I was writing the closing passages of the story.
With this, I commend "Jezebel's Daughter" to my good friend and brother in the art—who will present this last work also to the notice of Italian readers.
W. C.
Gloucester Place, London:
February 9, 1880.