PREFACE TO “AFTER DARK.”

      I have taken some pains to string together the various stories contained in this Volume on a single thread of interest, which, so far as I know, has at least the merit of not having been used before.

      The pages entitled “Leah’s Diary” are, however, intended to fulfill another purpose besides that of serving as the frame-work for my collection of tales. In this part of the book, and subsequently in the Prologues to the stories, it has been my object to give the reader one more glimpse at that artist-life which circumstances have afforded me peculiar opportunities of studying, and which I have already tried to represent, under another aspect, in my fiction, “Hide-and-Seek.” This time I wish to ask some sympathy for the joys and sorrows of a poor traveling portrait-painter—presented from his wife’s point of view in “Leah’s Diary,” and supposed to be briefly and simply narrated by himself in the Prologues to the stories. I have purposely kept these two portions of the book within certain limits; only giving, in the one case, as much as the wife might naturally write in her diary at intervals of household leisure; and, in the other, as much as a modest and sensible man would be likely to say about himself and about the characters he met with in his wanderings. If I have been so fortunate as to make my idea intelligible by this brief and simple mode of treatment, and if I have, at the same time, achieved the necessary object of gathering several separate stories together as neatly-fitting parts of one complete whole, I shall have succeeded in a design which I have for some time past been very anxious creditably to fulfill.

      Of the tales themselves, taken individually, I have only to say, by way of necessary explanation, that “The Lady of Glenwith Grange” is now offered to the reader for the first time; and that the other stories have appeared in the columns of Household Words. My best thanks are due to Mr. Charles Dickens for his kindness in allowing me to set them in their present frame-work.

      I must also gratefully acknowledge an obligation of another kind to the accomplished artist, Mr. W. S. Herrick, to whom I am indebted for the curious and interesting facts on which the tales of “The Terribly Strange Bed” and “The Yellow Mask” are founded.

      Although the statement may appear somewhat superfluous to those who know me, it may not be out of place to add, in conclusion, that these stories are entirely of my own imagining, constructing, and writing. The fact that the events of some of my tales occur on foreign ground, and are acted out by foreign personages, appears to have suggested in some quarters the inference that the stories themselves might be of foreign origin. Let me, once for all, assure any readers who may honor me with their attention, that in this, and in all other cases, they may depend on the genuineness of my literary offspring. The little children of my brain may be weakly enough, and may be sadly in want of a helping hand to aid them in their first attempts at walking on the stage of this great world; but, at any rate, they are not borrowed children. The members of my own literary family are indeed increasing so fast as to render the very idea of borrowing quite out of the question, and to suggest serious apprehension that I may not have done adding to the large book-population, on my own sole responsibility, even yet.