Caleb Williams

of his famous novel, “Caleb Williams,” have been for more tha

d purpose, and contains some passages of singular eloquence and beauty.Godwin married the authoress of the “Rights of Woman,” Mary Wollstonecraft, in 1797, losing her the same year. Their daughter was the gifted wife of the poet Shelley. He was a social man, particularly fond of whist, and was on terms of intimacy and affection with many celebrated men and women. Tom Paine, Josiah Wedgwood, and Curran were among his closest male friends, while the story of his friendships with Mrs. Inchbald, Amelia Opie, with the lady immortalized by Shelley as Maria Gisborne, and with those literary sisters, Sophia and Harriet Lee, authors of the “Canterbury Tales,” has a certain sentimental interest. Afterwards he became known to Wordsworth, Coleridge, and Lamb. He married Mrs. Clairmont in 1801. His later years were clouded by great embarrassments, and not till 1833 was he put out of reach of the worst privations by the gift of a small sinecure, that of yeoman usher of the Exchequer. He died in 1836.Among the contradictory judgments passed on “Caleb Williams” by Godwin’s contemporaries those of Hazlitt, Sir James Mackintosh, and Sir T. N. Talfourd were perhaps the most eulogistic, whilst De Quincey and Allan Cunningham criticized the book with considerable severity. Hazlitt’s opinion is quoted from the “Spirit of the Age”:“A masterpiece, both as to invention and execution. The romantic and chivalrous principle of the love of personal fame is embodied in the finest possible manner in the character of Falkland; as in Caleb Williams (who is not the first, but the second character in the piece), we see the very demon of curiosity personified. Perhaps the art with which these two characters are contrived to relieve and set off each other has never been surpassed by any work of fiction, with the exception of the immortal satire of Cervantes.”Sir Leslie Stephen said of it the other day:“It has lived — though in comparative obscurity — for over a century, and high authorities tell us that vitality prolonged for that period raises a presumption that a book deserves the title of classic.”— National Review, February, 1902.To understand how the work came to be written, and its aim, it is advisable to read carefully all three of Godwin’s prefaces, more particularly the last and the most candid, written in 1832. This will, I think, dispose of the objection that the story was expressly constructed to illustrate a moral, a moral that, as Sir Leslie Stephen says, “eludes him.” He says:“I formed a conception of a book of fictitious adventure that should in some way be distinguished by a very powerful interest. Pursuing this idea, I invented first the third volume of my tale, then the second, and, last of all, the first. I bent myself to the conception of a series of adventures of flight and pursuit; the fugitive in perpetual apprehension of being overwhelmed with the worst calamities, and the pursuer, by his ingenuity and resources, keeping his victim in a state of the most fearful alarm. This was the project of my third volume.”He goes on to describe in more detail the “dramatic and impressive” situations and the “fearful events” that were to be evolved, making it pretty clear that the purpose somewhat vaguely and cautiously outlined in the earliest preface was rather of the na