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第35部分（第2页）

AFTER　MANY　YEARS

I　dedicate　this　my　first　story

to

That　Unknown　Lady；

once　seen；　but　unforgotten；　the

mould　and　model　of　Angela；

the　magic　of　whose　face　turned　my　mind

to　the　making　of　books。

Here　I　may　as　well　tell　the　history　of　this　book。　Some　of　it；　or　rather　of　the　first　draft　of　it；　I　think　I　wrote　at　Norwood。　Towards　Christmas　of　1882　my　wife　and　I　made　up　our　minds　to　return　to　this　house　at　Ditchingham；　which　was　standing　empty　and　furnished；　while　I　pursued　my　studies　at　the　Bar。　Hither　we　came　accordingly　a　little　while　before　the　birth　of　my　eldest　daughter。　She　was　named　Angela　after　the　heroine　of　my　novel；　which　shows　that　at　this　time　it　must　either　have　been　written　or　well　advanced。

There　appear　to　be　three　drafts　of　this　work；　the　first　of　which　（inplete）　is　named　“Angela；”　after　the　heroine；　the　second；　five　hundred　and　fifty…four　closely　written　foolscap　sheets　long（！）；　estimated；　I　observe；　upon　the　title…page　to　print　into　about　a　thousand　pages；　called　“There　Remaih　a　Rest”；　and　the　third；　bound　MS。　（unnamed）；　four　hundred　and　niy…three　foolscap　sheets。　The　history　of　them　is　briefly　as　follows。　With　pain　and　labour　I　wrote　the　work　—　five　hundred　and　fifty…four　foolscap　sheets　do　take　some　labour　in　the　actual　matter　of　calligraphy；　without　considering　the　mental　effort。　Then　I　sent　the　result　to　sundry　publishers　—　who　they　were　I　entirely　forget。　Evidently；　however；　Smith　and　Elder　must　have　been　one　of　them；　as　is　shown　by　the　allusion　to　James　Payn　in　a　letter　from　the　late　Mr。　Cordy　Jeaffreson；　which　I　shall　presently　quote。

These　publishers；　or　their　readers；　had　no　great　opinion　of　“Angela”　or　“There　Remaih　a　Rest；”　by　whichever　title　it　was　then　called。　After　these　rebuffs　most　people　would　have　put　that　mighty　mass　of　manuscript　into　the　fire　or　an　upstairs　cupboard。　But　I　must　have　been　a　persistent　young　man　thirty　years　or　so　ago；　and　I　did　not　take　this　course。　On　the　contrary；　I　consulted　Mr。　Trubner；　with　whom　I　had　bee　personally　acquainted　since　the　publication　of　“Cetewayo　and　his　White　Neighbours。”　Indeed　he　and　I　struck　up　some　kind　of　a　friendship；　as　is　shown　by　the　fact　that　he　gave　me　his　photograph　in　a　little　olive…wood　frame；　which　photograph　has　stood　on　a　shelf　in　my　room　from　that　day　to　this。　It　is　a　clever　old　face　which　is　pictured　there；　and　he　was　a　clever　old　man。　He　used　to　tell　me　anecdotes　in　his　queer；　half…German　talk　about　the　literary　celebrities　of　bygone　days；　and　I　remember　that　his　description　of　George　Eliot　was　extremely　epigrammatic　and　amusing。　This；　however；　I　will　not　repeat。　He　was　good　enough　to　take　some　interest　in　the　story；　and　to　suggest　that　it　should　be　sent　to　the　late　Mr。　Cordy　Jeaffreson　for　his　opinion。　This　was　done；　and　on　April　27；　1883；　Jeaffreson　sent　me　his　opinion；　which　is　so　thorough　and　able　that　I　erely　omitting　his　detailed　criticism　of　the　work。

24　Carlton　Road；　Maida　Vale；　N。W。：

April　27；　1883。

Dear　Sir；　—　I　have　read　your　story　deliberately　and　read　it　with　considerable　interest；　which　would　of　course　have　been　greater　had　I　read　it　in　type。

Payn　was　not　wrong。　Your　opening　chapters　have　a　superabundance　of　action；　and　several　highly　dramatic　positions；　but　they　lack　dramatic　interest；　i。e。　the　interest　that　es　from　an　exhibition　of　the　influence　of　character　upon　character。　Novels　being　what　they　are　just　now；　it　is　small　praise　to　say　that　Angela’s　love…story　is　better　than　two…thirds　of　the　stories　that　are　published。　I　could　say　much　more　in　its　favour。　Still　I　urge　you　not　to　publish　it　in　its　present　rude　form。　Indeed；　the　story　has　caused　me　to　take　so　much　interest　in　its　writer　that　I　could　almost　entreat　you　not　to　publish　it。

I　take　it　you　are　a　young　man。　You　are　certainly　a　novice　in　literature：　and　like　most　beginners　in　the　really　difficult　art　of　novel…writing　you　have　plied　your　pen　under　the　notion　that　novels　are　dashed　off。　Inferior　novels　are　so　written；　but　you　have　the　making　of　a　good　novelist　in　you；　if　you　are　seriously　bent　on　being　one。　It　would　therefore　be　ill　for　you　in　several　ways　to　make　your　debut　with　a　tale　that　would　do　you　injustice。　I　don’t　counsel　you　to　try　again　with　new　materials。　I　advise　you　to　make　your　present　essay；　what　it　might　be　made；　a　work　of　art　and　a　really　good　performance。

You　have　written　it　with　your　left　hand　without　strenuous　pains；　you　must　rewrite　it　with　your　right　hand；　throwing　all　your　force　into　it。　If　you　produce　it　in　its　present　crude　state　you　will　do　so　only　to　regret　in　a　few　weeks　you　did　not　burn　it。　If　you　rewrite　it　slowly　with　your　right　hand　—　suppressing　much；　expanding　much；　making　every　chapter　a　picture　by　itself；　and　polishing　up　every　sentence　so　that　each　page　bears　testimony　to　the　power　of　its　producer　—　the　story　will　be　the　beginning　of　such　a　literary　career　as　I　conceive　you　to　be　desirous　of　running。　Get　the　better　of　the　mon　notion　that　novels　may　be　dashed　off　—　by　remembering　how　often　Lord　Lytton　rewrote　“Pelham；”　thinking　over　every　part　of　it；　now　pressing　and　now　expanding　the　narrative；　before　he　ventured　to　give　it　to　the　world。　Go　to　the　Charles　Dickens　rooms　in　the　S。　Kensington　Museum　and　observe　the　erasures；　the　insertions；　the　amendments　of　every　paragraph　of　his　writing　。　。　。　。

Here　follows　a　long　and　able　criticism　of　the　story。

Having　read　your　MS。　I　have　packed　it　and　will　do　anything　you　like　with　it　—　with　the　exception　of　sending　it　to　a　publisher　in　its　present　state。　You　will　succeed　in　literary　enterprise　if　it　will　be　your　ambition　to　do　so。

Yo