For the more coarse and homely passages with which the drama is interspersed, I must make the same apology. I put them there because they were there--because the Middle Age was, in the gross, a coarse, barbarous, and profligate age--because it was necessary, in order to bring out fairly the beauty of the central character, to show 'the crooked and perverse generation' in which she was 'a child of God without rebuke.' It was, in fact, the very ferocity and foulness of the time which, by a natural revulsion, called forth at the same time the Apostolic holiness and the Manichean asceticism of the Mediaeval Saints. The world was so bad that, to be Saints at all, they were compelled to go out of the world. It was necessary, moreover, in depicting the poor man's patroness, to show the material on which she worked; and those who know the poor, know also that we can no more judge truly of their characters in the presence of their benefactors, than we can tell by seeing clay in the potter's hands what it was in its native pit. These scenes have, therefore, been laid principally in Elizabeth's absence, in order to preserve their only use and meaning. So rough and common a life-picture of the Middle Age will, I am afraid, whether faithful or not, be far from acceptable to those who take their notions of that period principally from such exquisite dreams as the fictions of Fouque, and of certain moderns whose graceful minds, like some enchanted well, In whose calm depths the pure and beautiful Alone are mirrored, are, on account of their very sweetness and simplicity, singularly unfitted to convey any true likeness of the coarse and stormy Middle Age. I have been already accused, by others than Romanists, of profaning this whole subject--i.e. of telling the whole truth, pleasant or not, about it. But really, time enough has been lost in ignorant abuse of that period, and time enough also, lately, in blind adoration of it. When shall we learn to see it as it was?-- the dawning manhood of Europe--rich with all the tenderness, the simplicity, the enthusiasm of youth--but also darkened, alas! with its full share of youth's precipitance and extravagance, fierce passions and blind self-will--its virtues and its vices colossal, and, for that very reason, always haunted by the twin-imp of the colossal--the caricatured. Lastly, the many miraculous stories which the biographer of Elizabeth relates of her, I had no right, for the sake of truth, to interweave in the plot, while it was necessary to indicate at least their existence. I have, therefore, put such of them as seemed least absurd into the mouth of Conrad, to whom, in fact, they owe their original publication, and have done so, as I hope, not without a just ethical purpose.