story is conveyed through the medium of such descriptions. Each
description is introduced, not for its own sake, but to serve as a
calendar marking the gradual changes of the seasons as they bear on to
his doom the guilty worshipper of Nature. And in this conception, and in
the care with which it has been followed out, I recognize one of my
earliest but most successful attempts at the subtler principles of
narrative art.

In this edition I have made one alteration somewhat more important than
mere verbal correction. On going, with maturer judgment, over all the
evidences on which Aram was condemned, I have convinced myself that
though an accomplice in the robbery of Clarke, he was free both from the
premeditated design and the actual deed of murder. The crime, indeed,
would still rest on his conscience and insure his punishment, as
necessarily incidental to the robbery in which he was an accomplice, with
Houseman; but finding my convictions, that in the murder itself he had no
share, borne out by the opinion of many eminent lawyers by whom I have
heard the subject discussed, I have accordingly so shaped his confession
to Walter.

Perhaps it will not be without interest to the reader if I append to this
preface an authentic specimen of Eugene Aram's composition, for which I
am indebted to the courtesy of a gentleman by whose grandfather it was
received, with other papers (especially a remarkable "Outline of a New
Lexicon"), during Aram's confinement in York prison. The essay I select
is, indeed, not without value in itself as a very curious and learned
illustration of Popular Antiquities, and it serves also to show not only
the comprehensive nature of Aram's studies and the inquisitive eagerness
of his mind, but also the fact that he was completely self-taught; for in
contrast to much philological erudition, and to passages that evince