Zanoni

erzae - Edward Bulwer Lytton Lytton

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300 pages

English

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Publié par	erzae
Publié le	08 décembre 2010
Nombre de lectures	22
Langue	English

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The Project Gutenberg EBook of Zanoni, by Edward Bulwer Lytton This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Zanoni Author: Edward Bulwer Lytton Release Date: February 18, 2006 [EBook #2664] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK ZANONI *** Produced by Dave Ceponis, Sue Asscher and David Widger ZANONI BY EDWARD BULWER LYTTON (PLATE: "Thou art good and fair," said Viola. Drawn by P. Kauffmann, etched by Deblois.) DEDICATORY EPISTLE First prefixed to the Edition of 1845 TO JOHN GIBSON, R.A., SCULPTOR. In looking round the wide and luminous circle of our great living Englishmen, to select one to whom I might fitly dedicate this work,—one who, in his life as in his genius, might illustrate the principle I have sought to convey; elevated by the ideal which he exalts, and serenely dwelling in a glorious existence with the images born of his imagination,—in looking round for some such man, my thoughts rested upon you. Afar from our turbulent cabals; from the ignoble jealousy and the sordid strife which degrade and acerbate the ambition of Genius,—in your Roman Home, you have lived amidst all that is loveliest and least perishable in the past, and contributed with the noblest aims, and in the purest spirit, to the mighty heirlooms of the future. Your youth has been devoted to toil, that your manhood may be consecrated to fame: a fame unsullied by one desire of gold. You have escaped the two worst perils that beset the artist in our time and land,—the debasing tendencies of commerce, and the angry rivalries of competition. You have not wrought your marble for the market,—you have not been tempted, by the praises which our vicious criticism has showered upon exaggeration and distortion, to lower your taste to the level of the hour; you have lived, and you have laboured, as if you had no rivals but in the dead,—no purchasers, save in judges of what is best. In the divine priesthood of the beautiful, you have sought only to increase her worshippers and enrich her temples. The pupil of Canova, you have inherited his excellences, while you have shunned his errors,—yours his delicacy, not his affectation. Your heart resembles him even more than your genius: you have the same noble enthusiasm for your sublime profession; the same lofty freedom from envy, and the spirit that depreciates; the same generous desire not to war with but to serve artists in your art; aiding, strengthening, advising, elevating the timidity of inexperience, and the vague aspirations of youth. By the intuition of a kindred mind, you have equalled the learning of Winckelman, and the plastic poetry of Goethe, in the intimate comprehension of the antique. Each work of yours, rightly studied, is in itself a CRITICISM, illustrating the sublime secrets of the Grecian Art, which, without the servility of plagiarism, you have contributed to revive amongst us; in you we behold its three great and long-undetected principles,—simplicity, calm, and concentration. But your admiration of the Greeks has not led you to the bigotry of the mere antiquarian, nor made you less sensible of the unappreciated excellence of the mighty modern, worthy to be your countryman,—though till his statue is in the streets of our capital, we show ourselves not worthy of the glory he has shed upon our land. You have not suffered even your gratitude to Canova to blind you to the superiority of Flaxman. When we become sensible of our titledeeds to renown in that single name, we may look for an English public capable of real patronage to English Art,—and not till then. I, artist in words, dedicate, then, to you, artist whose ideas speak in marble, this well-loved work of my matured manhood. I love it not the less because it has been little understood and superficially judged by the common herd: it was not meant for them. I love it not the more because it has found enthusiastic favorers amongst the Few. My affection for my work is rooted in the solemn and pure delight which it gave me to conceive and to perform. If I had graven it on the rocks of a desert, this apparition of my own innermost mind, in its least-clouded moments, would have been to me as dear; and this ought, I believe, to be the sentiment with which he whose Art is born of faith in the truth and beauty of the principles he seeks to illustrate, should regard his work. Your serener existence, uniform and holy, my lot denies,—if my heart covets. But our true nature is in our thoughts, not our deeds: and therefore, in books—which ARE his thoughts—the author's character lies bare to the discerning eye. It is not in the life of cities,—in the turmoil and the crowd; it is in the still, the lonely, and more sacred life, which for some hours, under every sun, the student lives (his stolen retreat from the Agora to the Cave), that I feel there is between us the bond of that secret sympathy, that magnetic chain, which unites the everlasting brotherhood of whose being Zanoni is the type. E.B.L. London, May, 1845. Contents INTRODUCTION I. PREFACE TO THE EDITION OF 1853. INTRODUCTION II. ZANONI. BOOK I. — THE MUSICIAN. CHAPTER 1.I. CHAPTER 1.II. CHAPTER 1.III. CHAPTER 1.IV. CHAPTER 1.V. CHAPTER 1.VI. CHAPTER 1.VII. CHAPTER 1.VIII. CHAPTER 1.IX. CHAPTER 1.X. BOOK II. — ART, LOVE, AND WONDER. CHAPTER 2.I. CHAPTER 2.II. CHAPTER 2.III. CHAPTER 2.IV. CHAPTER 2.V. CHAPTER 2.VI. CHAPTER 2.VII. CHAPTER 2.VIII. CHAPTER 2.IX. CHAPTER 2.X. BOOK III. — THEURGIA. CHAPTER 3.I. CHAPTER 3.II. CHAPTER 3.III. CHAPTER 3.IV. CHAPTER 3.V. CHAPTER 3.VI. CHAPTER 3.VII. CHAPTER 3.VIII. CHAPTER 3.IX. CHAPTER 3.X. CHAPTER 3.XI. CHAPTER 3.XII. CHAPTER 3.XIII. CHAPTER 3.XIV. CHAPTER 3.XV. CHAPTER 3.XVI. CHAPTER 3.XVII. CHAPTER 3.XVIII. BOOK IV. — THE DWELLER OF THE THRESHOLD. CHAPTER 4.I. CHAPTER 4.II. CHAPTER 4.III. CHAPTER 4.IV. CHAPTER 4.V. CHAPTER 4.VI. CHAPTER 4.VII. CHAPTER 4.VIII. CHAPTER 4.IX. CHAPTER 4.X. CHAPTER 4.XI. BOOK V. — THE EFFECTS OF THE ELIXIR. CHAPTER 5.I. CHAPTER 5.II. CHAPTER 5.III. CHAPTER 5.IV. CHAPTER 5.V. CHAPTER 5.VI. BOOK VI. — SUPERSTITION DESERTING FAITH. CHAPTER 6.I. CHAPTER 6.II. CHAPTER 6.III. CHAPTER 6.IV. CHAPTER 6.V. CHAPTER 6.VI. CHAPTER 6.VII. CHAPTER 6.VIII. CHAPTER 6.IX. BOOK VII. — THE REIGN OF TERROR. CHAPTER 7.I. CHAPTER 7.II. CHAPTER 7.III. CHAPTER 7.IV. CHAPTER 7.V. CHAPTER 7.VI. CHAPTER 7.VII. CHAPTER 7.VIII. CHAPTER 7.IX. CHAPTER 7.X. CHAPTER 7.XI. CHAPTER 7.XII. CHAPTER 7.XIII. CHAPTER 7.XIV. CHAPTER 7.XV. CHAPTER 7.XVI. CHAPTER 7.XVII. NOTE. "ZANONI EXPLAINED. INTRODUCTION. One of the peculiarities of Bulwer was his passion for occult studies. They had a charm for him early in life, and he pursued them with the earnestness which characterised his pursuit of other studies. He became absorbed in wizard lore; he equipped himself with magical implements,—with rods for transmitting influence, and crystal balls in which to discern coming scenes and persons; and communed with spiritualists and mediums. The fruit of these mystic studies is seen in "Zanoni" and "A strange Story," romances which were a labour of love to the author, and into which he threw all the power he possessed,—power re-enforced by multifarious reading and an instinctive appreciation of Oriental thought. These weird stories, in which the author has formulated his theory of magic, are of a wholly different type from his previous fictions, and, in place of the heroes and villains of every day life, we have beings that belong in part to another sphere, and that deal with mysterious and occult agencies. Once more the old forgotten lore of the Cabala is unfolded; the furnace of the alchemist, whose fires have been extinct for centuries, is lighted anew, and the lamp of the Rosicrucian reillumined. No other works of the author, contradictory as have been the opinions of them, have provoked such a diversity of criticism as these. To some persons they represent a temporary aberration of genius rather than any serious thought or definite purpose; while others regard them as surpassing in bold and original speculation, profound analysis of character, and thrilling interest, all of the author's other works. The truth, we believe, lies midway between these extremes. It is questionable whether the introduction into a novel of such subjects as are discussed in these romances be not an offence against good sense and good taste; but it is as unreasonable to deny the vigour and originality of their author's conceptions, as to deny that the execution is imperfect, and, at times, bungling and absurd. It has been justly said that the present half century has witnessed the rise and triumphs of science, the extent and marvels of which even Bacon's fancy never conceived, simultaneously with superstitions grosser than any which Bacon's age believed. "The one is, in fact, the natural reaction from the other. The more science seeks to exclude the miraculous, and reduce all nature, animate and inanimate, to an invariable law of sequences, the more does the natural instinct of man rebel, and seek an outlet for those obstinate questionings, those 'blank misgivings of a creature moving about in worlds not realised,' taking refuge in delusions as degrading as any of the so-called Dark Ages." It was the revolt from the chilling materialism of the age which inspired the mystic creations of "Zanoni" and "A Strange Story." Of these works, which support and supplement each other, one is the contemplation of our actual life through a spiritual medium, the other is designed to show that, without some gleams of the supernatural, man is not man, nor nature nature. In "Zanoni" the author introduces us to two human beings who have achieved immortality: one, Mejnour, void of all passion or feeling, calm, benig