profound study of history, who takes a few well-known historical
facts as a foundation for an airy castle of romantic invention and
fantastic adventure, may easily write an Historical Romance; for him
history is only the nude manikin which he clothes and adorns
according to his own taste, and to which he gives the place and
position most agreeable to himself. But only the writer who is in
earnest with respect to historical truth, who is not impelled by
levity or conceited presumption, is justified in attempting this
species of composition; thoroughly impressed with the greatness of
his undertaking, he will with modest humility constantly remember
that he has proposed to himself a great and sublime work which,
however, it will be difficult if not impossible for him wholly and
completely to accomplish.

But what is this great, this sublime end, which the Historical
Romance writer proposes to attain? It is this: to illustrate
history, to popularize it; to bring forth from the silent studio of
the scholar and to expose in the public market of life, for the
common good, the great men and great deeds embalmed in history, and
of which only the studious have hitherto enjoyed the monopoly. Thus,
at least, have I considered the vocation I have chosen, not vainly
or inconsiderately, but with a profound conviction of the greatness
of my undertaking, and with a depressing consciousness that my power
and acquirements may prove inadequate for the attainment of my
proposed end.

But I am also fully conscious of what was and still is my greatest
desire: to give an agreeable and popular form to our national
history, which may attract the attention and affections of our
people, which may open their understandings to the tendencies of