[80] _Caleb Williams_ helped to
popularise the criminal in fiction, and _Paul Clifford_, the
story of the chivalrous highwayman, is one of its literary
descendants.
Godwin was a pioneer breaking new ground in fiction; and, as he
was a man of talent rather than of genius, it is idle to expect
perfection of workmanship. The story is full of improbabilities,
but they are described in so matter-of-fact a style that we
"soberly acquiesce." After an hour of Godwin's grave society an
effervescent sense of humour subsides. A mind open to suggestion
is soon infected by his imperturbable seriousness, which
effectually stills "obstinate questionings." Even the brigands
who live with their philanthropic leader are accepted without
demur. After all, Raymond is only Robin Hood turned political
philosopher. The ingenious resources of _Caleb Williams_ when he
strives to elude his pursuer are part of the legitimate
stock-in-trade of the hero of a novel of adventure. He is not as
other men are, and comes through perilous escapades with
miraculous success. It is at first difficult to see why Falkland
does not realise that his plan of ceaselessly harassing his
victim is likely to force Williams to accuse him publicly, but
gradually we begin to regard his mental obliquity as one of the
decrees of fate.
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