The Author of the Waverley Novels had hitherto proceeded in an unabated course of popularity, and might, in his peculiar1 district of literature, have been termed "L'Enfant Gate" of success. It was plain, however, that frequent publication must finally wear out the public favour, unless some mode could be devised to give an appearance of novelty to subsequent productions. Scottish manners, Scottish dialect, and Scottish characters of note, being those with which the author was most intimately, and familiarly acquainted, were the groundwork upon which he had hitherto relied for giving effect to his narrative2. It was, however, obvious, that this kind of interest must in the end occasion a degree of sameness and repetition, if exclusively resorted to, and that the reader was likely at length to adopt the language of Edwin, in Parnell's Tale:
"'Reverse the spell,' he cries, 'And let it fairly now suffice. The gambol3 has been shown.'"
Nothing can be more dangerous for the fame of a professor of the fine arts, than to permit (if he can possibly prevent it) the character of a mannerist4 to be attached to him, or that he should be supposed capable of success only in a particular and limited style. The public are, in general, very ready to adopt the opinion, that he who has pleased them in one peculiar mode of composition, is, by means of that very talent, rendered incapable5 of venturing upon other subjects. The effect of this disinclination, on the part of the public, towards the artificers of their pleasures, when they attempt to enlarge their means of amusing, may be seen in the censures6 usually passed by vulgar criticism upon actors or artists who venture to change the character of their efforts, that, in so doing, they may enlarge the scale of their art.
There is some justice in this opinion, as there always is in such as attain7 general currency. It may often happen on the stage, that an actor, by possessing in a preeminent8 degree the external qualities necessary to give effect to comedy, may be deprived of the right to aspire9 to tragic10 excellence11; and in painting or literary composition, an artist or poet may be master exclusively of modes of thought, and powers of expression, which confine him to a single course of subjects. But much more frequently the same capacity which carries a man to popularity in one department will obtain for him success in another, and that must be more particularly the case in literary composition, than either in acting12 or painting, because the adventurer in that department is not impeded13 in his exertions14 by any peculiarity15 of features, or conformation of person, proper for particular parts, or, by any peculiar mechanical habits of using the pencil, limited to a particular class of subjects.
Whether this reasoning be correct or otherwise, the present author felt, that, in confining himself to subjects purely16 Scottish, he was not only likely to weary out the indulgence of his readers, but also greatly to limit his own power of affording them pleasure. In a highly polished country, where so much genius is monthly employed in catering17 for public amusement, a fresh topic, such as he had himself had the happiness to light upon, is the untasted spring of the desert;---
"Men bless their stars and call it luxury."
But when men and horses, cattle, camels, and dromedaries, have poached the spring into mud, it becomes loathsome18 to those who at first drank of it with rapture19; and he who had the merit of discovering it, if he would preserve his reputation with the tribe, must display his talent by a fresh discovery of untasted fountains.
If the author, who finds himself limited to a particular class of subjects, endeavours to sustain his reputation by striving to add a novelty of attraction to themes of the same character which have been formerly20 successful under his management, there are manifest reasons why, after a certain point, he is likely to fail. If the mine be not wrought21 out, the strength and capacity of the miner become necessarily exhausted22. If he closely imitates the narratives23 which he has before rendered successful, he is doomed24 to "wonder that they please no more." If he struggles to take a different view of the same class of subjects, he speedily discovers that what is obvious, graceful25, and natural, has been exhausted; and, in order to obtain the indispensable charm of novelty, he is forced upon caricature, and, to avoid being trite26, must become extravagant27.
It is not, perhaps, necessary to enumerate28 so many reasons why the author of the Scottish Novels, as they were then exclusively termed, should be desirous to make an experiment on a subject purely English. It was his purpose, at the same time, to have rendered the experiment as complete as possible, by bringing the intended work before the public as the effort of a new candidate for their favour, in order that no degree of prejudice, whether favourable29 or the reverse, might attach to it, as a new production of the Author of Waverley; but this intention was afterwards departed from, for reasons to be hereafter mentioned.
The period of the narrative adopted was the reign30 of Richard I., not only as abounding31 with characters whose very names were sure to attract general attention, but as affording a striking contrast betwixt the Saxons, by whom the soil was cultivated, and the Normans, who still reigned32 in it as conquerors33, reluctant to mix with the vanquished34, or acknowledge themselves of the same stock. The idea of this contrast was taken from the ingenious and unfortunate Logan's tragedy of Runnamede, in which, about the same period of history, the author had seen the Saxon and Norman barons35 opposed to each other on different sides of the stage. He does not recollect36 that there was any attempt to contrast the two races in their habits and sentiments; and indeed it was obvious, that history was violated by introducing the Saxons still existing as a high-minded and martial37 race of nobles.
They did, however, survive as a people, and some of the ancient Saxon families possessed38 wealth and power, although they were exceptions to the humble39 condition of the race in general. It seemed to the author, that the existence of the two races in the same country, the vanquished distinguished40 by their plain, homely41, blunt manners, and the free spirit infused by their ancient institutions and laws; the victors, by the high spirit of military fame, personal adventure, and whatever could distinguish them as the Flower of Chivalry42, might, intermixed with other characters belonging to the same time and country, interest the reader by the contrast, if the author should not fail on his part.
Scotland, however, had been of late used so exclusively as the scene of what is called Historical Romance, that the preliminary letter of Mr Laurence Templeton became in some measure necessary. To this, as to an Introduction, the reader is referred, as expressing author's purpose and opinions in undertaking43 this species of composition, under the necessary reservation, that he is far from thinking he has attained44 the point at which he aimed.
It is scarcely necessary to add, that there was no idea or wish to pass off the supposed Mr Templeton as a real person. But a kind of continuation of the Tales of my Landlord had been recently attempted by a stranger, and it was supposed this Dedicatory Epistle might pass for some imitation of the same kind, and thus putting enquirers upon a false scent46, induce them to believe they had before them the work of some new candidate for their favour.
After a considerable part of the work had been finished and printed, the Publishers, who pretended to discern in it a germ of popularity, remonstrated47 strenuously48 against its appearing as an absolutely anonymous49 production, and contended that it should have the advantage of being announced as by the Author of Waverley. The author did not make any obstinate50 opposition51, for he began to be of opinion with Dr Wheeler, in Miss Edgeworth's excellent tale of "Maneuvering," that "Trick upon Trick" might be too much for the patience of an indulgent public, and might be reasonably considered as trifling52 with their favour.
The book, therefore, appeared as an avowed53 continuation of the Waverley Novels; and it would be ungrateful not to acknowledge, that it met with the same favourable reception as its predecessors54.
Such annotations55 as may be useful to assist the reader in comprehending the characters of the Jew, the Templar, the Captain of the mercenaries, or Free Companions, as they were called, and others proper to the period, are added, but with a sparing hand, since sufficient information on these subjects is to be found in general history.
An incident in the tale, which had the good fortune to find favour in the eyes of many readers, is more directly borrowed from the stores of old romance. I mean the meeting of the King with Friar Tuck at the cell of that buxom56 hermit57. The general tone of the story belongs to all ranks and all countries, which emulate58 each other in describing the rambles59 of a disguised sovereign, who, going in search of information or amusement, into the lower ranks of life, meets with adventures diverting to the reader or hearer, from the contrast betwixt the monarch's outward appearance, and his real character. The Eastern tale-teller has for his theme the disguised expeditions of Haroun Alraschid with his faithful attendants, Mesrour and Giafar, through the midnight streets of Bagdad; and Scottish tradition dwells upon the similar exploits of James V., distinguished during such excursions by the travelling name of the Goodman of Ballengeigh, as the Commander of the Faithful, when he desired to be incognito60, was known by that of Il Bondocani. The French minstrels are not silent on so popular a theme. There must have been a Norman original of the Scottish metrical romance of Rauf Colziar, in which Charlemagne is introduced as the unknown guest of a charcoal-man.*
* This very curious poem, long a desideratum in Scottish * literature, and given up as irrecoverably lost, was * lately brought to light by the researches of Dr Irvine of * the Advocates' Library, and has been reprinted by Mr David * Laing, Edinburgh.
It seems to have been the original of other poems of the kind.
In merry England there is no end of popular ballads61 on this theme. The poem of John the Reeve, or Steward62, mentioned by Bishop63 Percy, in the Reliques of English Poetry,* is said to
* Vol. ii. p. 167.
have turned on such an incident; and we have besides, the King and the Tanner of Tamworth, the King and the Miller64 of Mansfield, and others on the same topic. But the peculiar tale of this nature to which the author of Ivanhoe has to acknowledge an obligation, is more ancient by two centuries than any of these last mentioned.
It was first communicated to the public in that curious record of ancient literature, which has been accumulated by the combined exertions of Sir Egerton Brydges. and Mr Hazlewood, in the periodical work entitled the British Bibliographer65. From thence it has been transferred by the Reverend Charles Henry Hartsborne, M.A., editor of a very curious volume, entitled "Ancient Metrical Tales, printed chiefly from original sources, 1829." Mr Hartshorne gives no other authority for the present fragment, except the article in the Bibliographer, where it is entitled the Kyng and the Hermite. A short abstract of its contents will show its similarity to the meeting of King Richard and Friar Tuck.
King Edward (we are not told which among the monarchs66 of that name, but, from his temper and habits, we may suppose Edward IV.) sets forth67 with his court to a gallant68 hunting-match in Sherwood Forest, in which, as is not unusual for princes in romance, he falls in with a deer of extraordinary size and swiftness, and pursues it closely, till he has outstripped69 his whole retinue70, tired out hounds and horse, and finds himself alone under the gloom of an extensive forest, upon which night is descending71. Under the apprehensions72 natural to a situation so uncomfortable, the king recollects74 that he has heard how poor men, when apprehensive75 of a bad nights lodging76, pray to Saint Julian, who, in the Romish calendar, stands Quarter-Master-General to all forlorn travellers that render him due homage77. Edward puts up his orisons accordingly, and by the guidance, doubtless, of the good Saint, reaches a small path, conducting him to a chapel78 in the forest, having a hermit's cell in its close vicinity. The King hears the reverend man, with a companion of his solitude79, telling his beads80 within, and meekly81 requests of him quarters for the night. "I have no accommodation for such a lord as ye be," said the Hermit. "I live here in the wilderness82 upon roots and rinds, and may not receive into my dwelling83 even the poorest wretch84 that lives, unless it were to save his life." The King enquires85 the way to the next town, and, understanding it is by a road which he cannot find without difficulty, even if he had daylight to befriend him, he declares, that with or without the Hermit's consent, he is determined86 to be his guest that night. He is admitted accordingly, not without a hint from the Recluse87, that were he himself out of his priestly weeds, he would care little for his threats of using violence, and that he gives way to him not out of intimidation88, but simply to avoid scandal.
The King is admitted into the cell --- two bundles of straw are shaken down for his accommodation, and he comforts himself that he is now under shelter, and that
"A night will soon be gone."
Other wants, however, arise. The guest becomes clamorous89 for supper, observing,
"For certainly, as I you say, I ne had never so sorry a day, That I ne had a merry night."
But this indication of his taste for good cheer, joined to the annunciation of his being a follower90 of the Court, who had lost himself at the great hunting-match, cannot induce the niggard Hermit to produce better fare than bread and cheese, for which his guest showed little appetite; and "thin drink," which was even less acceptable. At length the King presses his host on a point to which he had more than once alluded91, without obtaining a satisfactory reply:
"Then said the King, 'by God's grace, Thou wert in a merry place, To shoot should thou here When the foresters go to rest, Sometyme thou might have of the best, All of the wild deer; I wold hold it for no scathe92, Though thou hadst bow and arrows baith, Althoff thou best a Frere.'"
The Hermit, in return, expresses his apprehension73 that his guest means to drag him into some confession93 of offence against the forest laws, which, being betrayed to the King, might cost him his life. Edward answers by fresh assurances of secrecy94, and again urges on him the necessity of procuring95 some venison. The Hermit replies, by once more insisting on the duties incumbent96 upon him as a churchman, and continues to affirm himself free from all such breaches97 of order:
"Many day I have here been, And flesh-meat I eat never, But milk of the kye; Warm thee well, and go to sleep, And I will lap thee with my cope, Softly to lye."
It would seem that the manuscript is here imperfect, for we do not find the reasons which finally induce the curtal Friar to amend98 the King's cheer. But acknowledging his guest to be such a "good fellow" as has seldom graced his board, the holy man at length produces the best his cell affords. Two candles are placed on a table, white bread and baked pasties are displayed by the light, besides choice of venison, both salt and fresh, from which they select collops. "I might have eaten my bread dry," said the King, "had I not pressed thee on the score of archery, but now have I dined like a prince---if we had but drink enow."
This too is afforded by the hospitable99 anchorite, who dispatches an assistant to fetch a pot of four gallons from a secret corner near his bed, and the whole three set in to serious drinking. This amusement is superintended by the Friar, according to the recurrence100 of certain fustian101 words, to be repeated by every compotator in turn before he drank---a species of High Jinks, as it were, by which they regulated their potations, as toasts were given in latter times. The one toper says "fusty bandias", to which the other is obliged to reply, "strike pantnere", and the Friar passes many jests on the King's want of memory, who sometimes forgets the words of action. The night is spent in this jolly pastime. Before his departure in the morning, the King invites his reverend host to Court, promises, at least, to requite102 his hospitality, and expresses himself much pleased with his entertainment. The jolly Hermit at length agrees to venture thither103, and to enquire45 for Jack104 Fletcher, which is the name assumed by the King. After the Hermit has shown Edward some feats105 of archery, the joyous106 pair separate. The King rides home, and rejoins his retinue. As the romance is imperfect, we are not acquainted how the discovery takes place; but it is probably much in the same manner as in other narratives turning on the same subject, where the host, apprehensive of death for having trespassed107 on the respect due to his Sovereign, while incognito, is agreeably surprised by receiving honours and reward.
In Mr Hartshorne's collection, there is a romance on the same foundation, called King Edward and the Shepherd,*
* Like the Hermit, the Shepherd makes havock amongst the * King's game; but by means of a sling108, not of a bow; like * the Hermit, too, he has his peculiar phrases of * compotation, the sign and countersign109 being Passelodion * and Berafriend. One can scarce conceive what humour our * ancestors found in this species of gibberish; but * "I warrant it proved an excuse for the glass."
which, considered as illustrating110 manners, is still more curious than the King and the Hermit; but it is foreign to the present purpose. The reader has here the original legend from which the incident in the romance is derived111; and the identifying the irregular Eremite with the Friar Tuck of Robin113 Hood's story, was an obvious expedient114.
The name of Ivanhoe was suggested by an old rhyme. All novelists have had occasion at some time or other to wish with Falstaff, that they knew where a commodity of good names was to be had. On such an occasion the author chanced to call to memory a rhyme recording115 three names of the manors116 forfeited117 by the ancestor of the celebrated118 Hampden, for striking the Black Prince a blow with his racket, when they quarrelled at tennis:
"Tring, Wing, and Ivanhoe, For striking of a blow, Hampden did forego, And glad he could escape so."
The word suited the author's purpose in two material respects, ---for, first, it had an ancient English sound; and secondly119, it conveyed no indication whatever of the nature of the story. He presumes to hold this last quality to be of no small importance. What is called a taking title, serves the direct interest of the bookseller or publisher, who by this means sometimes sells an edition while it is yet passing the press. But if the author permits an over degree of attention to be drawn120 to his work ere it has appeared, he places himself in the embarrassing condition of having excited a degree of expectation which, if he proves unable to satisfy, is an error fatal to his literary reputation. Besides, when we meet such a title as the Gunpowder121 Plot, or any other connected with general history, each reader, before he has seen the book, has formed to himself some particular idea of the sort of manner in which the story is to be conducted, and the nature of the amusement which he is to derive112 from it. In this he is probably disappointed, and in that case may be naturally disposed to visit upon the author or the work, the unpleasant feelings thus excited. In such a case the literary adventurer is censured122, not for having missed the mark at which he himself aimed, but for not having shot off his shaft123 in a direction he never thought of.
On the footing of unreserved communication which the Author has established with the reader, he may here add the trifling circumstance, that a roll of Norman warriors124, occurring in the Auchinleck Manuscript, gave him the formidable name of Front-de-Boeuf.
Ivanhoe was highly successful upon its appearance, and may be said to have procured125 for its author the freedom of the Rules, since he has ever since been permitted to exercise his powers of fictitious126 composition in England, as well as Scotland.
The character of the fair Jewess found so much favour in the eyes of some fair readers, that the writer was censured, because, when arranging the fates of the characters of the drama, he had not assigned the hand of Wilfred to Rebecca, rather than the less interesting Rowena. But, not to mention that the prejudices of the age rendered such an union almost impossible, the author may, in passing, observe, that he thinks a character of a highly virtuous127 and lofty stamp, is degraded rather than exalted128 by an attempt to reward virtue129 with temporal prosperity. Such is not the recompense which Providence130 has deemed worthy131 of suffering merit, and it is a dangerous and fatal doctrine132 to teach young persons, the most common readers of romance, that rectitude of conduct and of principle are either naturally allied133 with, or adequately rewarded by, the gratification of our passions, or attainment134 of our wishes. In a word, if a virtuous and self-denied character is dismissed with temporal wealth, greatness, rank, or the indulgence of such a rashly formed or ill assorted135 passion as that of Rebecca for Ivanhoe, the reader will be apt to say, verily Virtue has had its reward. But a glance on the great picture of life will show, that the duties of self-denial, and the sacrifice of passion to principle, are seldom thus remunerated; and that the internal consciousness of their high-minded discharge of duty, produces on their own reflections a more adequate recompense, in the form of that peace which the world cannot give or take away.
Abbotsford, 1st September, 1830.
威弗利小说作者的名望迄今为止一直不断上升，在这个特殊的文学领域，他已称得上是成功的宠儿。然而很清楚，一再的重复势必导致公众兴趣的衰退，除非他能找到一种方式，给后来的出版物技上新的面貌。苏格兰的风俗习惯，苏格兰的方言土语，苏格兰的知名人物，都是作者所深切理解和十分熟悉的，它们是他迄今为止的作品的基础，他的叙述也得力于此。然而如果完全以此为凭借，一成不变，日久之后，这种爱好必然造成一定程度的雷同和反复，最后读者很可能会发出帕内尔 (注)的《神话故事》中埃德温所讲的话：
“收回你的符咒吧，”他喊道，
“这场表演已经淋漓尽致，
再也引不起新的兴趣了。”
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(注)托马斯·帕内尔（1679—1718），英国诗人，《神话故事》是他的一篇诗。
对一个艺术家的声誉而言，最危险的莫过于听任（如果他可以制止的话）别人把墨守成规的恶名加在他的身上，仿佛他只能在一种独特的、固定的风格中获得成功。一般说，读者往往对他怀有一种看法，认为他既然在一种写作方式上赢得了人们的欢心，这种才能也会使他对其他题材不敢轻易尝试。读者一旦对给他们提供乐趣的作者，产生这样的成见，那么在他企图扩大他的写作范围时，通常也会像演员或画家为了扩大自己的艺术表现手段，改变努力的性质时一样，遭到来自庸俗批评界的指责。
这种看法含有一定的道理，它之得以流行，原因便在于此。在舞台艺术上常有这样的情形：一个演员在很大程度上掌握了产生喜剧效果所必需的一些外形表现特点，可能因而失去悲剧表演上出神入化的权利；在绘画或文学写作方面，一个画家或诗人所擅长的思想方式或表现能力，也可能只适用于一类题材。然而在绝大多数场合，能在一个部门给人带来声誉的才力，也能在别的部门使他获得成功；在文学写作方面，比在表演或绘画方面尤其如此，因为在那个部门施展抱负的人，他的努力不受任何特殊面部表情，人体某些部分所特有的造型方式，或者画笔运用上的任何独特操作方式的限制，以致只适合于表现某一类题材。
不论这些推理是否正确，本文作者觉得，把他的作品局限在纯粹的苏格兰题材上，不仅会逐渐丧失读者对他的青睐，而且会大大降低他为他们提供乐趣的能力。一个高度发达的国家人才辈出，每月都有不少人在竞相争夺公众的好感，这时谁有幸发现一种新鲜题材，它便会像沙漠中涌现的无人问津过的清泉：
人们庆幸它的出现，称之为意外的享乐。但是当人和马，牛群和骆驼，把这泓清泉践踏成污泥后，那些起先对它赞不绝口的人，便会产生厌倦之感；而那个曾因发现它而博得赞誉的人，若要保持他的声誉，就得运用他的才能，发掘无人问津过的新源泉了。
假定作者发现他只限于表现某一类题材，为了维护他的名声，尽量给他以前获得成功的同一类主题，增添新的吸引力，那么超过一定的限度，他便可能以失败告终，这原因是很明显的。如果不是矿藏已采掘净尽，一定是采矿者的力量和才能枯竭了。如果他一成不变，继续照以前给他带来成功的故事模式做去，他注定会“惊异不止，发现它不再受到欢迎了”。如果他力图从不同的观点来叙述同一类事物，他也马上会发觉，那鲜明、优美和自然的一切，都已丧失殆尽；为了获得不可缺少的新的魅力，他只得求助于怪诞，为了避免老一套，只得采取夸大失实的手法。
当时被专门称之为苏格兰小说的作者，为什么需要在纯粹的英国题材方面进行尝试，理由是很多的，似乎不必-一缕述。同时，他的意图是要使他的尝试尽可能彻底，让他打算带给读者的作品，作为争取他们好评的一位新人的努力成果出现，免得它作为威弗利作者的新成果，受到读者对他的成见的丝毫影响，不论这些成见对他是否有利；但是这个意图后来没有实现，原因后面会提到。
这故事选择的时期是在理查一世治下，它不仅充满了必然引起广泛兴趣的许多人物，而且提供了开发这片土地的撒克逊人和仍作为胜利者统治着这个地区，不愿与战败者混合，或者不承认自己与他们属于同一种人的诺曼人之间的强烈对照。这个对照的想法来自卓越而不幸的洛根(注)的悲剧《兰尼米德》，它写的是同一历史时期，作者看到在戏里，撒克逊和诺曼贵族作为对立的双方出现在舞台上。据作者看来，戏中不存在把两个种族的生活习惯和思想情绪加以对比的任何意图；确实，让撒克逊贵族仍作为意气风发、具有尚武精神的民族出现，这显然是违反历史的。
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(注)约翰·洛根（1748—1788），苏格兰教士和诗人。兰尼米德是英国萨里郡的一个地方，1215年6月英王约翰（即本书中的约翰亲王，他于1199年继理查一世为国王）在这里与贵族签定“大宪章”，《兰尼米德》一剧即写此事。
不过他们仍作为一支民族存在着，某些古老的撒克逊家族依然拥有财富和权力，尽管从整个民族所处的委曲求全的地位而言，它们只是一些例外。作者认为，在一个国家中存在着两支种族，一支为战败者，他们的特点是浑厚、简朴、粗犷的生活作风，以及古老制度及法律所培植的自由精神，另一支是胜利者，特点是高涨的军事声望和个人的冒险精神，以及作为骑士阶级精华的各种品质，它们与属于这个时代和国家的其他特点结合在一起，如果作者处理恰当的话，便可以为读者提供有趣的对照。
然而近来，苏格兰已成为历史传奇故事的独一无二的背景，以致劳伦斯·坦普尔顿先生前言性质的信函在一定程度上是必要的。读者应该把它看作与前言一样，表现了作者从事这类著述的意图和看法，必要的保留只是他根本不认为他已达到了预期的目的。
几乎用不到再说，让虚构的坦普尔顿先生充当真实人物的想法或希望，这里是没有的。但是最近有一个局外人企图续写《我的地主的故事》(注)，这篇致敬信便很可能被当作是仿效这类做法的，因而成为迷惑好事者的假象，诱使他们相信，他们面对的是希冀获取他们好感的一位新人的作品。
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(注)司各特给自己的一系列小说起的一个名称，由于它不符合它们的内容，因此后来很少使用。
当这著作的大部分业已完成并付印后，出版者认为从中看到了可以大受欢迎的因素，因而竭力反对它作为完全匿名的作品问世，主张它有权署上“威弗利作者”的大名。作者对此没有坚决反对，因为他开始赞同埃奇沃思小姐(注)的优秀故事《演习》中惠勒博士的意见，即“过分故弄玄虚”可能使宽厚的读者忍受不了，因而理所当然地被认为是在玩弄他们对他的偏爱。
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(注)玛丽亚·埃奇沃思（1767—1849），英国小说家，司各特十分推重她的作品。
这样，本书便公开作为威弗利小说的继续出现了；而且我不能忘恩负义，不承认它也像它的前辈一样，受到了热情的接待。
为了帮助读者理解犹太人、圣殿骑士、号称自由兵团的雇佣兵的队长、以及这个时期特有的其他人物的性质，我加上了一些在这方面有用的注释，但尽量做到要言不烦，因为有关这些问题的情况在一般历史书中都可找到。
在这篇故事中有一个插曲很幸运，获得了许多读者的喜爱，它更直接来自一些古老的传奇故事。我指的是国王与塔克修士在那位身强力壮的隐士的小屋中的邂逅。这样的故事，一切阶层和一切国家都有，它带有普遍的性质，它们竞相描写乔装改扮的君主微服私行，深入下层社会了解民情或者寻找乐趣，由于国王的外表和实际身份的不同，引起了一些对读者或听众饶有兴趣的奇遇。东方故事中也有这类题材，鲁纳·拉施德(注1)如何带着忠实的随从马师伦和张尔蕃，在巴格达午夜的街道上私行察访；苏格兰传说中也有詹姆斯五世(注2)的类似活动，他在微眼出行时，自称为巴伦格奇的商人，就像那位“穆民的长官”(注3)在不希望人家知道他的身份时，自称为庞多卡尼的商人一样。法国的行吟诗人自然不会放弃这种流行的主题。苏格兰的诗体小说《烧炭人劳夫之歌》，似乎便以诺曼人的原作为依据，它讲的是查理大帝作为匿名的客人出现在烧炭人屋中的故事(注4)。这看来也是其他同类诗歌的来源。
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(注1)《一千零一夜》中阿拉伯国家的哈里发（君主），马师伦和张尔著是他的大臣，关于他私行察访的事即见该书。
(注2)詹姆斯五世（1512一1542），苏格兰国王，出生十七个月即继承王位，至去世为止。
(注3)伊斯兰国家的哈里发（君主），自称为“穆民的长官”，即穆斯林民众的首领。
(注4)这篇非常罕见的诗歌，长期以来在苏格兰文学中一直是寻找的目标，被认为已经失传，无法找到了，直到最近由于律师图书馆的欧文博士的多方搜求，才得以重见天日，并由爱丁堡的戴维·莱恩先生予以印行。——原注
在快活的英格兰，这类题材的民谣多不胜数。拍西主教(注)在《英诗辑古》中提到的《村吏约翰》，据说便写到了这样的事；此外，我们还有《国王和塔姆沃斯的皮革匠》、《国王和曼斯菲德的磨坊主》等，都涉及这一主题。但是对本书作者而言，他特别应该感谢的，是比上面提到的那些诗歌更早两个世纪的一篇作品。
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(注)托马斯·帕西（1729—1816），英国教士，古诗研究者。1765年将其辑录的英国古诗编成《英诗辑古》出版，该书在英国古诗研究中具有重要意义，司各特早期的诗歌创作也深受它的影响。
它最先发表在名为《英国文献学家》(注)的期刊上，由于埃杰顿·布里奇斯爵士和黑兹尔伍德先生的共同努力，这刊物收集了大量古代文学精品。后来查尔斯·亨利·哈茨霍恩牧师，又把它载入他编的一本非常珍贵的文集中，该书于1829年出版，书名为《古代诗歌故事（主要根据原始资料辑集）》。关于这段故事，哈茨霍恩先生除了《文献学家》上的文章，没有提供其他依据，它在那里的题目是《国王和隐士》。就它的内容作一简单摘要，便足以看出，它与理查国王和塔克修士的邂逅如何相似。
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(注)1810一1814年在英国出版的文献学期刊，由埃杰顿·布里奇斯（1762—1837）
爱德华国王（我们不知道这是指哪一位国王，但是从他的性情和作风看，我们可以假定这是爱德华四世(注1)）带着他的臣子们，在舍伍德森林进行盛大的打猎活动；正如传奇故事中国工们常有的遭遇一样，他遇到了一头特别大、又跑得特别快的鹿，于是对它紧追不舍，终于离开了他的全部扈从人员，猎狗和马也给弄得疲乏不堪，最后他独自一人落进了一片昏暗的大森林中，天也逐渐黑了。处在这种不利状况，国王自然感到担忧，他想起他曾听说，穷人在找不到宿处时，往往祈求圣朱利安(注2)的保佑，因为在罗马历书中，后者对一切绝望的旅人可以发挥军需官的作用。爱德华便照此行事，作了祈祷，不用说，在善良的圣徒的指引下，他来到了一条小路上，它通向森林中的一栋教堂，离教堂不远便是一所隐修士的小屋。国王听到，那位修士与一个孤独的同伴正在屋里诵经，于是他委婉地央求他让他进屋过夜。修士答道：“我无法供应你这样一位老爷的食宿，这儿是荒野，我只能靠树皮草根过活，哪怕最穷苦的可怜虫，我这儿也无法接待，除非是为了救他的性命。”国王便打听到附近城镇的道路，在得知这条路哪怕在大白天也不能轻易找到以后，他宣称，不论隐修士答应不答应，他非在他这儿过夜不可。这样总算让他进屋了，但隐士还是声明，要不是他穿着这身教士衣服，他根本不会把他的武力威胁放在心上，他对他让步不是出于害怕，只是为了避免闹出不愉快的事。
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(注1)1461—1483年的英国国王。
(注2)旅人的保护神。
国王给放进了屋子，两捆麦秆丢在地上作他的床铺；他现在庆幸有了个宿处，心想一夜时间很快就会过去。
然而其他的需要出现了。客人开始嚷嚷要吃晚饭，他指出：
“毫无疑问，我得告诉你，
我从没有过这种落魄的日子，
我每夜都是在灯红酒绿中度过的。”
但是他想吃好酒好菜的这种表示，连同他声称他是在盛大的打猎活动中失散的朝廷臣子的话，至多只能使吝啬的隐士拿出一些面包和乳酪供他食用，可是他的客人对这种伙食胃口不大，那“淡而无味的酒”更引不起他的兴趣。最后国王利用他一再提到，却没有得到满意答复的一点，对主人施加压力：
“于是国王说道：‘上帝保佑，
你生活在一个快活的地方，
射击应该是你的拿手好戏；
等管林人上床休息的时候，
森林便成了你的一统天下，
野鹿都落进了你的手掌之中；
我认为这无伤大雅，
反正你手里有的是弓和箭，
尽管你名义上是一位教士。”
隐修士的回答表示他担心，这是他的客人想引诱他供认他违反了森林法，如果这事报告了国王，便可使他因而丧命。爱德华重又保证他会严守秘密，并且再次敦促他必须设法搞到些鹿肉。隐修士再度重申他作为教士应尽的职责，继续声明他从未干过这类违法勾当：
“我在这儿生活过许多岁月，
但从未吃过一块新鲜鹿肉，
“我只喝牛奶；
你还是盖好被子，安心睡觉吧，
我会再给你盖上我的斗篷，
让你睡得舒服一些。”
看来原稿在这里并不完整，因为我们没有看到促使那位粗野的修士最后满足国王的食欲的原因。但是教士后来承认，他的客人是一个“有趣的家伙”，他还很少接待过这样的人，因此终于把他最好的食品端了出来。两支蜡烛放上了桌子，烛光下出现了白面包和烤馅饼，此外还有精美的鹿肉，有咸的也有新鲜的，可以任意选择。国王说：“要是我不凭那副弓箭逼你一下，我就只能光靠面包充饥，现在只要还有足够的美酒，我这顿饭就吃得像神仙一样了。”
好客的隐士也满足了他的这个要求，打发助手从床边的秘密角落中拿出了一坛酒，足足四加仑，三个人便坐下去开怀畅饮。这场娱乐山修士主持，用一句粗俗的话轮流打趣，每个人在喝酒以前都得对上一句，就这么一边胡闹一边喝酒，就像后来人们祝酒干杯一样。一个人说：“喝了一杯又一杯”，另一个人便得说：“再来一杯成双对”，隐修士不断取笑国王，说他记性不行，老是忘记那些关键的词。这么寻欢作乐闹腾了一夜，到早晨离开的时候，国王邀请尊敬的主人访问朝廷，答应至少得报答他的款待，并表示对这场酒宴十分满意。快活的隐士最后接受了邀请，答应一定去探望杰克·弗莱彻--国王当时用的名字。隐士向国王表演了一些射箭武艺后，这对兴高采烈的朋友便分手了。国王骑马回家，找到了他的扈从队伍。由于这篇故事并不完整，我们不知道真相是怎么发现的；但是很可能，它也与同类题材的其他作品一样，主人心事重重，担心冲撞了隐姓埋名的国王，会给处死，结果却大吃一惊，受到了殷勤的接待和报答。
在哈茨霍恩先生的集子中，还有一则同样情节的故事，题目是《爱德华国王和牧羊人》，它的描写方式甚至比《国王和隐士》更为离奇，但这与我们目前的问题无关。由此可见，小说中写到的那件事，便来源于这个传说；用罗宾汉故事中的塔克修士来代替那个不修边幅的隐士，显然只是权宜之计。
艾文荷这个名称来自一篇旧歌谣。所有的小说家都像福斯塔夫一样，有时希望知道，哪里有好名字出卖(注1)。当时作者正好想起一篇民谣中提到过三个庄园的名字，这是著名的汉普登的一个祖先，由于在打网球时发生争吵，用球拍打了一下黑王子，因而被没收的：(注2)
“只因用球拍打了一下，
汉普登便丢掉了三座庄园：
特林、温格和艾文荷，
这使他追悔莫及。”
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(注1)见莎士比亚的《亨利四世上篇》第一幕第二场，福斯塔夫说：“但愿上帝指示我们什么地方有好名字出卖。”
(注2)这里著名的汉普登指约翰·汉普登（1594—1643），英国著名政治家和国会领袖；“黑王子”系英王爱德华三世的长子爱德华（1330—1376）的诨名，他以作战骁勇闻名，曾在英法百年战争中屡立战功。英国人的姓名一般包括教名和姓两部分，姓的来源十分复杂，有一种即以地名或该人所有的领地或庄园的名称为姓，如本书中威尔弗莱德是教名，艾文荷是庄园名称，因此本书中称他为艾文荷的威尔弗莱德，有时便直接称他为艾文荷，仿佛这便成了他的姓。
这个名字在两个方面适合作者的要求：第一，它具有古老的英国音调；第二，它不致提示故事的任何情节。作者认为后面这点非常重要。一个所谓动人的名称，对书商或出版商往往有直接的利害关系，他们靠这个名称，有时可在书籍还在排印时巳销售一空。但是作者允许在书籍问世前对书名引起过多的兴趣，他必将使自己陷入尴尬的处境，因为如果事后证明，这书名引起的期望，作者无法予以满足，那么这对他的文学声誉会造成致命的误差。此外，如果我们看到一本书名为“火药阴谋”，或其他与一般历史有关的事，每个读者势必在阅读这书以前，便对书中所要叙述的故事，以及它所能提供的乐趣的性质，产生某种观念。可是在这一点上，他可能会失望，这样，理所当然，他便会对作者或作品产生不合心意的印象。于是这位耍笔杆的先生便得受到指责，原因倒不在于作者没有达到预定的目的，只是因为他的箭没有射向他从未希望射中的那个目标。
作者为了毫无保留地与读者互通声气起见，不妨在这里再提一件小事，即牛面将军这个可怕的名字，是从《奥琴勒克文稿》(注)中收录的诺曼武士的名册中找到的。
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(注)奥琴勒克是苏格兰一个传记作家詹姆斯·鲍斯韦尔家的庄园名称，所谓《奥琴勒克文稿》可能即指他所写的大量带有考证性的文稿。
《艾文荷》一出版，立刻获得了极大的成功，可以说，自从作者得以在英国和苏格兰小说中运用他的虚构才智以来，他这才真正在这方面取得了游刃有余的支配能力。
美丽的犹太姑娘的性格，受到了一些女读者的特别青睐，她们甚至因此批评作者，在安排小说人物的命运时，没有让威尔弗莱德和丽贝卡结合，却让他娶了她们不太感兴趣的罗文娜。但是且不说在那个时代的偏见支配下，这样的结合几乎是不可能的，作者还不妨顺便指出，他认为，把世俗的幸福作为对一个道德高尚、行为端正的人物的还报，这不是提高了这个人物，而是贬低了这个人物。这不是上天认为历尽磨难的优良品质必须得到的补偿；我们的小说最普通的读者是年轻人，如果我们教育他们，正直的行为和尊重原则的精神，天然会得到适当的报酬，因而使我们的欲望得到满足，我们的要求达到目的，那么这种说教是危险的，也是有害无益的。一句话，如果有了贞洁的、自我牺牲的品质，便能得到世俗的财富、利益和地位，或者便能使没有基础的或并不般配的感情，例如丽贝卡对艾文荷的那种感情如愿以偿，那么读者固然会说：“德行确实得到了好报。”但是只要对这个大千世界的真实状况看上一眼，便会明白，自我牺牲的义务，为原则捐弃感情的行为，是很少获得这样的报答的；履行责任的高尚精神在人们的回顾中引起的内心感受，是更为恰当的补偿，这表现为一种恬静的心境，它是世界所不能给予，也无从夺走的。
1830年9月1日于艾博茨福德
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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gambol
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| v.欢呼，雀跃 | |
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mannerist
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incapable
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| adj.无能力的，不能做某事的 | |
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censures
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| v.指责，非难，谴责( censure的第三人称单数 ) | |
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attain
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| vt.达到，获得，完成 | |
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preeminent
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aspire
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| vi.(to，after)渴望，追求，有志于 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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acting
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| n.演戏，行为，假装；adj.代理的，临时的，演出用的 | |
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impeded
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| 阻碍，妨碍，阻止( impede的过去式和过去分词 ) | |
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exertions
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| n.努力( exertion的名词复数 )；费力；（能力、权力等的）运用；行使 | |
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peculiarity
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| n.独特性，特色；特殊的东西；怪癖 | |
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purely
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catering
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loathsome
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rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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formerly
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wrought
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exhausted
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narratives
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| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
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24
doomed
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| 命定的 | |
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25
graceful
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| adj.优美的，优雅的；得体的 | |
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26
trite
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| adj.陈腐的 | |
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27
extravagant
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| adj.奢侈的；过分的；(言行等)放肆的 | |
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28
enumerate
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| v.列举，计算，枚举，数 | |
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29
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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30
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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31
abounding
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| adj.丰富的，大量的v.大量存在，充满，富于( abound的现在分词 ) | |
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32
reigned
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| vi.当政，统治（reign的过去式形式） | |
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33
conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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34
vanquished
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| v.征服( vanquish的过去式和过去分词 )；战胜；克服；抑制 | |
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35
barons
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| 男爵( baron的名词复数 )； 巨头； 大王； 大亨 | |
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36
recollect
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| v.回忆，想起，记起，忆起，记得 | |
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37
martial
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| adj.战争的，军事的，尚武的，威武的 | |
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38
possessed
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| adj.疯狂的；拥有的，占有的 | |
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39
humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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40
distinguished
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| adj.卓越的，杰出的，著名的 | |
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41
homely
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| adj.家常的，简朴的；不漂亮的 | |
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42
chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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43
undertaking
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| n.保证，许诺，事业 | |
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44
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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45
enquire
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| v.打听，询问；调查，查问 | |
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46
scent
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| n.气味，香味，香水，线索，嗅觉；v.嗅，发觉 | |
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47
remonstrated
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| v.抗议( remonstrate的过去式和过去分词 )；告诫 | |
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48
strenuously
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| adv.奋发地，费力地 | |
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49
anonymous
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| adj.无名的；匿名的；无特色的 | |
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50
obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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51
opposition
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| n.反对，敌对 | |
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52
trifling
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| adj.微不足道的；没什么价值的 | |
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53
avowed
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| adj.公开声明的，承认的v.公开声明，承认( avow的过去式和过去分词) | |
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54
predecessors
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| n.前任( predecessor的名词复数 )；前辈；（被取代的）原有事物；前身 | |
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55
annotations
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| n.注释( annotation的名词复数 )；附注 | |
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56
buxom
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| adj.（妇女）丰满的，有健康美的 | |
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57
hermit
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| n.隐士，修道者；隐居 | |
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58
emulate
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| v.努力赶上或超越，与…竞争；效仿 | |
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59
rambles
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| （无目的地）漫游( ramble的第三人称单数 )； （喻）漫谈； 扯淡； 长篇大论 | |
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60
incognito
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| adv.匿名地；n.隐姓埋名；adj.化装的，用假名的，隐匿姓名身份的 | |
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61
ballads
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| 民歌，民谣，特别指叙述故事的歌( ballad的名词复数 )； 讴 | |
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62
steward
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| n.乘务员，服务员；看管人；膳食管理员 | |
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63
bishop
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| n.主教，（国际象棋）象 | |
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64
miller
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| n.磨坊主 | |
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65
bibliographer
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| 书志学家，书目提要编著人 | |
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66
monarchs
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| 君主，帝王( monarch的名词复数 ) | |
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67
forth
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| adv.向前；向外，往外 | |
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68
gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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69
outstripped
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| v.做得比…更好，（在赛跑等中）超过( outstrip的过去式和过去分词 ) | |
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70
retinue
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| n.侍从；随员 | |
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71
descending
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| n. 下行 adj. 下降的 | |
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72
apprehensions
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| 疑惧 | |
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73
apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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74
recollects
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| v.记起，想起( recollect的第三人称单数 ) | |
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75
apprehensive
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| adj.担心的，恐惧的，善于领会的 | |
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76
lodging
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| n.寄宿，住所；(大学生的)校外宿舍 | |
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77
homage
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| n.尊敬，敬意，崇敬 | |
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78
chapel
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| n.小教堂，殡仪馆 | |
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79
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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80
beads
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| n.（空心）小珠子( bead的名词复数 )；水珠；珠子项链 | |
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81
meekly
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| adv.温顺地，逆来顺受地 | |
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82
wilderness
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| n.杳无人烟的一片陆地、水等，荒漠 | |
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83
dwelling
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| n.住宅，住所，寓所 | |
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84
wretch
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| n.可怜的人，不幸的人；卑鄙的人 | |
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85
enquires
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| 打听( enquire的第三人称单数 )； 询问； 问问题； 查问 | |
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86
determined
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| adj.坚定的；有决心的 | |
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87
recluse
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| n.隐居者 | |
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88
intimidation
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| n.恐吓，威胁 | |
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89
clamorous
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| adj.吵闹的，喧哗的 | |
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90
follower
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| n.跟随者；随员；门徒；信徒 | |
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91
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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92
scathe
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| v.损伤；n.伤害 | |
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93
confession
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| n.自白，供认，承认 | |
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94
secrecy
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| n.秘密，保密，隐蔽 | |
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95
procuring
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| v.（努力）取得， （设法）获得( procure的现在分词 )；拉皮条 | |
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96
incumbent
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| adj.成为责任的，有义务的；现任的，在职的 | |
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97
breaches
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| 破坏( breach的名词复数 )； 破裂； 缺口； 违背 | |
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98
amend
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| vt.修改，修订，改进；n.[pl.]赔罪，赔偿 | |
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99
hospitable
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| adj.好客的；宽容的；有利的，适宜的 | |
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100
recurrence
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| n.复发，反复，重现 | |
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101
fustian
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| n.浮夸的；厚粗棉布 | |
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102
requite
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| v.报酬，报答 | |
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103
thither
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| adv.向那里；adj.在那边的，对岸的 | |
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104
jack
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| n.插座，千斤顶，男人；v.抬起，提醒，扛举；n.（Jake）杰克 | |
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105
feats
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| 功绩，伟业，技艺( feat的名词复数 ) | |
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106
joyous
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| adj.充满快乐的；令人高兴的 | |
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107
trespassed
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| （trespass的过去式与过去分词形式） | |
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108
sling
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| vt.扔；悬挂；n.挂带；吊索，吊兜；弹弓 | |
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109
countersign
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| v.副署，会签 | |
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110
illustrating
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| 给…加插图( illustrate的现在分词 )； 说明； 表明； （用示例、图画等）说明 | |
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111
derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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112
derive
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| v.取得；导出；引申；来自；源自；出自 | |
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113
robin
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| n.知更鸟，红襟鸟 | |
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114
expedient
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| adj.有用的，有利的；n.紧急的办法，权宜之计 | |
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115
recording
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| n.录音，记录 | |
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116
manors
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| n.庄园（manor的复数形式） | |
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117
forfeited
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| （因违反协议、犯规、受罚等）丧失，失去( forfeit的过去式和过去分词 ) | |
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118
celebrated
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| adj.有名的，声誉卓著的 | |
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119
secondly
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| adv.第二，其次 | |
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120
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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121
gunpowder
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| n.火药 | |
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122
censured
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| v.指责，非难，谴责( censure的过去式 ) | |
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123
shaft
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| n.(工具的)柄，杆状物 | |
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124
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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125
procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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126
fictitious
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| adj.虚构的，假设的；空头的 | |
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127
virtuous
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| adj.有品德的，善良的，贞洁的，有效力的 | |
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128
exalted
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| adj.(地位等)高的，崇高的；尊贵的，高尚的 | |
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129
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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130
providence
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| n.深谋远虑，天道，天意；远见；节约；上帝 | |
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131
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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132
doctrine
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| n.教义；主义；学说 | |
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133
allied
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| adj.协约国的；同盟国的 | |
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134
attainment
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| n.达到，到达；［常pl.］成就，造诣 | |
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135
assorted
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| adj.各种各样的，各色俱备的 | |
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