Introduction and Preface - Page 2

reluctance, not to say repugnance, that I became one of his opponents. I have partaken of his hospitality, and have had too much experience of the charming simplicity of his manner not to be among the readiest to at once admire and envy it. It is unfortunately true that I believe Mr. Darwin to have behaved badly to me; this is too notorious to be denied; but at the same time I cannot be blind to the fact that no man can be judge in his own case, and that after all Mr. Darwin may have been right, and I wrong.

At the present moment, let me impress this latter alternative upon my mind as far as possible, and dwell only upon that side of Mr. Darwin's work and character, about which there is no difference of opinion among either his admirers or his opponents.

April 21, 1882.

PREFACE.

Contrary to the advice of my friends, who caution me to avoid all appearance of singularity, I venture upon introducing a practice, the expediency of which I will submit to the judgment of the reader. It is one which has been adopted by musicians for more than a century--to the great convenience of all who are fond of music--and I observe that within the last few years two such distinguished painters as Mr. Alma-Tadema and Mr. Hubert Herkomer have taken to it. It is a matter for regret that the practice should not have been general at an earlier date, not only among painters and musicians, but also among the people who write books. It consists in signifying the number of a piece of music, picture, or book by the abbreviation "Op." and the number whatever it may happen to be.

No work can be judged intelligently unless not only the author's relations to his surroundings, but also the relation in which the work stands to the life and other works of the author, is understood and borne in mind; nor do I know any way of conveying this information at a glance, comparable to that which I now borrow from musicians. When we see the number against a work of Beethoven, we need ask no further to be informed concerning the general character of the music. The same holds good more or less with all composers. Handel's works were not numbered--not at least his operas and oratorios. Had they been so, the significance of the numbers on Susanna and Theodora would have been at once apparent, connected as they would have been with the number on Jephthah, Handel's next and last work, in which he emphatically repudiates the influence which, perhaps in a time of self-distrust, he had allowed contemporary German music to exert over him. Many painters have dated their works, but still more have neglected doing so, and some of these have been not a little misconceived in consequence. As for authors, it is unnecessary to go farther back than Lord Beaconsfield, Thackeray, Dickens, and Scott, to feel how much obliged we should have been to any custom that should have compelled them to number their works in the order in which they were written.