Produced by David Widger FALKLAND By Edward Bulwer-Lytton PREFATORY NOTE TO THE PRESENT EDITION. “FALKLAND” is the earliest of Lord Lytton’s prose fictions. Published before “Pelham,” it was written in the boyhood of its illustrious author. In the maturity of his manhood and the fulness of his literary popularity he withdrew it from print. This is one of the first English editions of his collected works in which the tale reappears. It is because the morality of it was condemned by his experienced judgment, that the author of “Falkland” deliberately omitted it from each of the numerous reprints of his novels and romances which were published in England during his lifetime. With the consent of the author’s son, “Falkland” is included in the present edition of his collected works. In the first place, this work has been for many years, and still is, accessible to English readers in every country except England. The continental edition of it, published by Baron Tauchnitz, has a wide circulation; and since for this reason the book cannot practically be withheld from the public, it is thought desirable that the publication of it should at least be accompanied by some record of the abovementioned fact. In the next place, the considerations which would naturally guide an author of established reputation in the selection of early compositions for subsequent republication, are obviously inapplicable to the preparation of a posthumous standard edition of his collected works. Those who read the tale of “Falkland” eight-and-forty years ago’ have long survived the age when character is influenced by the literature of sentiment. The readers to whom it is now presented are not Lord Lytton’s contemporaries; they are his posterity. To them his works have already become classical. It is only upon the minds of the young that the works of sentiment have any appreciable moral influence. But the sentiment of each age is peculiar to itself; and the purely moral influence of sentimental fiction seldom survives the age to which it was first addressed. The youngest and most impressionable reader of such works as the “Nouvelle Hemise,” “Werther,” “The Robbers,” “Corinne,” or “Rene,” is not now likely to be morally influenced, for good or ill, by the perusal of those masterpieces of genius. Had Byron attained the age at which great authors most realise the responsibilities of fame and genius, he might possibly have regretted, and endeavoured to suppress, the publication of “Don Juan;” but the possession of that immortal poem is an unmixed benefit to posterity, and the loss of it would have been an irreparable misfortune.