Have you ever thought about what fiction is? Probably, such a question may seem surprising: and so everything is clear. Every person throughout his life has to repeatedly create the works he needs for specific purposes - statements, autobiographies, dictations - using not gypsum or clay, not musical notes, not paints, but just a word. At the same time, almost every person will be very surprised if he is told that he thereby created a work of fiction, which is very different from visual art, music and sculpture making. However, everyone understands that a student's essay or dictation is fundamentally different from novels, short stories, news that are created by professional writers. In the works of professionals there is the most important difference - excogitation. But, oddly enough, in a school literature course, you don’t realize the full power of fiction. So using our website in your free time discover fiction for yourself. The Last of the Barons — Complete by Baron Edward Bulwer Lytton Lytton (reading an ebook .TXT) 📖
Book online «The Last of the Barons — Complete by Baron Edward Bulwer Lytton Lytton (reading an ebook .TXT) 📖». Author Baron Edward Bulwer Lytton Lytton
CHAPTER V. THE LOVER AND THE GALLANT—WOMAN’S CHOICE
CHAPTER VI. WARWICK RETURNS—APPEASES A DISCONTENTED PRINCE—AND CONFERS WITH A REVENGEFUL CONSPIRATOR
CHAPTER VII. THE FEAR AND THE FLIGHT
CHAPTER VIII. THE GROUP ROUND THE DEATH-BED OF THE LANCASTRIAN WIDOW
BOOK IX. THE WANDERERS AND THE EXILES
CHAPTER I. HOW THE GREAT BARON BECOMES AS GREAT A REBEL
CHAPTER II. MANY THINGS BRIEFLY TOLD
CHAPTER III. THE PLOT OF THE HOSTELRY—THE MAID AND THE SCHOLAR IN THEIR HOME
CHAPTER IV. THE WORLD’S JUSTICE, AND THE WISDOM OF OUR ANCESTORS
CHAPTER V. THE FUGITIVES ARE CAPTURED—THE TYMBESTERES REAPPEAR—MOONLIGHT ON THE REVEL OF THE LIVING—MOONLIGHT ON THE SLUMBER OF THE DEAD
CHAPTER VI. THE SUBTLE CRAFT OF RICHARD OF GLOUCESTER
CHAPTER VII. WARWICK AND HIS FAMILY IN EXILE
CHAPTER VIII. HOW THE HEIR OF LANCASTER MEETS THE KING-MAKER
CHAPTER IX. THE INTERVIEW OF EARL WARWICK AND QUEEN MARGARET
CHAPTER X. LOVE AND MARRIAGE—DOUBTS OF CONSCIENCE—DOMESTIC JEALOUSY—AND HOUSEHOLD TREASON
BOOK X. THE RETURN OF THE KING-MAKER
CHAPTER I. THE MAID’S HOPE, THE COURTIER’S LOVE, AND THE SAGE’S COMFORT
CHAPTER II. THE MAN AWAKES IN THE SAGE, AND THE SHE-WOLF AGAIN HATH TRACKED THE LAMB
CHAPTER III. VIRTUOUS RESOLVES SUBMITTED TO THE TEST OF VANITY AND THE WORLD
CHAPTER IV. THE STRIFE WHICH SIBYLL HAD COURTED, BETWEEN KATHERINE AND HERSELF, COMMENCES IN SERIOUS EARNEST
CHAPTER V. THE MEETING OF HASTINGS AND KATHERINE
CHAPTER VI. HASTINGS LEARNS WHAT HAS BEFALLEN SIBYLL, REPAIRS TO THE KING, AND ENCOUNTERS AN OLD RIVAL
CHAPTER VII. THE LANDING OF LORD WARWICK, AND THE EVENTS THAT ENSUE THEREON
CHAPTER VIII. WHAT BEFELL ADAM WARNER AND SIBYLL WHEN MADE SUBJECT TO THE GREAT FRIAR BUNGEY
CHAPTER IX. THE DELIBERATIONS OF MAYOR AND COUNCIL, WHILE LORD WARWICK MARCHES UPON LONDON
CHAPTER X. THE TRIUMPHAL ENTRY OF THE EARL—THE ROYAL CAPTIVE IN THE TOWER—THE MEETING BETWEEN KING-MAKER AND KING
CHAPTER XI. THE TOWER IN COMMOTION
BOOK XI. THE NEW POSITION OF THE KING-MAKER
CHAPTER I. WHEREIN MASTER ADAM WARNER IS NOTABLY COMMENDED AND ADVANCED—AND GREATNESS SAYS TO WISDOM, “THY DESTINY BE MINE, AMEN.”
CHAPTER II. THE PROSPERITY OF THE OUTER SHOW—THE CARES OF THE INNER MAN
CHAPTER III. FURTHER VIEWS INTO THE HEART OF MAN, AND THE CONDITIONS OF POWER
CHAPTER IV. THE RETURN OF EDWARD OF YORK
CHAPTER V. THE PROGRESS OF THE PLANTAGENET
CHAPTER VI. LORD WARWICK, WITH THE FOE IN THE FIELD AND THE TRAITOR AT THE HEARTH
BOOK XII. THE BATTLE OF BARNET
CHAPTER I. A KING IN HIS CITY HOPES TO RECOVER HIS REALM—A WOMAN IN HER CHAMBER FEARS TO FORFEIT HER OWN
CHAPTER II. SHARP IS THE KISS OF THE FALCON’S BEAR
CHAPTER III. A PAUSE
CHAPTER IV. THE BATTLE
CHAPTER V. THE BATTLE
CHAPTER VI. THE BATTLE
CHAPTER VII. THE LAST PILGRIMS IN THE LONG PROCESSION TO THE COMMON BOURNE
NOTES.
DEDICATORY EPISTLE.
I dedicate to you, my indulgent Critic and long-tried Friend, the work which owes its origin to your suggestion. Long since, you urged me to attempt a fiction which might borrow its characters from our own Records, and serve to illustrate some of those truths which History is too often compelled to leave to the Tale-teller, the Dramatist, and the Poet. Unquestionably, Fiction, when aspiring to something higher than mere romance, does not pervert, but elucidate Facts. He who employs it worthily must, like a biographer, study the time and the characters he selects, with a minute and earnest diligence which the general historian, whose range extends over centuries, can scarcely be expected to bestow upon the things and the men of a single epoch. His descriptions should fill up with colour and detail the cold outlines of the rapid chronicler; and in spite of all that has been argued by pseudo-critics, the very fancy which urged and animated his theme should necessarily tend to increase the reader’s practical and familiar acquaintance with the habits, the motives, and the modes of thought which constitute the true idiosyncrasy of an age. More than all, to Fiction is permitted that liberal use of Analogical Hypothesis which is denied to History, and which, if sobered by research, and enlightened by that knowledge of mankind (without which Fiction can neither harm nor profit, for it becomes unreadable), tends to clear up much that were otherwise obscure, and to solve the disputes and difficulties of contradictory evidence by the philosophy of the human heart.
My own impression of the greatness of the labour to which you invited me made me the more diffident of success, inasmuch as the field of English historical fiction had been so amply cultivated, not only by the most brilliant of our many glorious Novelists, but by later writers of high and merited reputation. But however the annals of our History have been exhausted by the industry of romance, the subject you finally pressed on my choice is unquestionably one which, whether in the delineation of character, the expression of passion, or the suggestion of historical truths, can hardly fail to direct the Novelist to paths wholly untrodden by his predecessors in the Land of Fiction.
Encouraged by you, I commenced my task; encouraged by you, I venture, on concluding it, to believe that, despite the partial adoption of that established compromise between the modern and the elder diction, which Sir Walter Scott so artistically improved from the more rugged phraseology employed by Strutt, and which later writers have perhaps somewhat overhackneyed, I may yet have avoided all material trespass upon ground which others have already redeemed from the waste. Whatever the produce of the soil I have selected, I claim, at least, to have cleared it with my own labour,
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