to this. But, as I need hardly point out, poetical and historical truth
are not the same thing; for historical truth must remain, as far as
possible, unbiassed by the subjective feeling of the writer, while
poetical truth can only find expression through the medium of the
artist's fancy.

As in my last two romances, so in "The Emperor," I have added no notes:
I do this in the pleasant conviction of having won the confidence of my
readers by my historical and other labors. Nothing has encouraged me to
fresh imaginative works so much as the fact that through these romances
the branch of learning that I profess has enlisted many disciples whose
names are now mentioned with respect among Egyptologists. Every one who
is familiar with the history of Hadrian's time will easily discern by
trifling traits from what author or from which inscription or monument
the minor details have been derived, and I do not care to interrupt the
course of the narrative and so spoil the pleasure of the larger class of
readers. It would be a happiness to me to believe that this tale
deserves to be called a real work of art, and, as such, its first
function should be to charm and elevate the mind. Those who at the same
time enrich their knowledge by its study ought not to detect the fact
that they are learning.

Those who are learned in the history of Alexandria under the Romans may
wonder that I should have made no mention of the Therapeutai on Lake
Mareotis. I had originally meant to devote a chapter to them, but Luca's
recent investigations led me to decide on leaving it unwritten. I have
given years of study to the early youth of Christianity, particularly in
Egypt, and it affords me particular satisfaction to help others to
realize how, in Hadrian's time, the pure teaching of the Saviour, as yet
little sullied by the contributions of human minds, conquered--and could