Again, it is more than likely that the reader is clever, very clever, and that any attempts at concealment would be merely futile. From the first page he has discovered who is the villain, and who the victim: the title alone tells him of the golden hinge on which the story turns: he can look through stone walls, if need be, or mesmerically see, without making use of eyes: no peep-holes for him, as for Pyramus and Thisbe: no initiation requisite for any hidden mysteries; all arcana are revealed to him, every sanctum is a highway. No art of mortal pen can defeat this mischief of acuteness: character is character; oaks grow of acorns, and the plan of a life may be detected in a microscopic speech. The career of Mr. Jennings is as much predestined by us to iniquity, from the first intimation that he never makes excuse, as honest Roger is to trouble and temptation from the weary effort wherewithal he woke. And, even now, pretty Grace and young Sir John, the reader thinks that he can guess at nature's consequence; while, with respect to Roger's going forth to dig this morning, he sees it straight before him, need not ask for the result. Well, if the shrewd reader has the eye of Lieuenhöeck, and can discern, cradled in the small triangular beech-mast, a noble forest-tree, with silvery trunk, branching arms, and dark-green foliage, he deserves to be complimented indeed, for his own keen skill; but, at the same time, Nature will not hurry herself for him, but will quietly educe results which he foreknew--or thought he did--a century ago. And is there not the highest Art in this unveiled simplicity: to lead the reader onwards by a straight road, with the setting sun a-blaze at the end of it, knowing his path, knowing its object, yet still borne on with spirits unexhausted and unflagging foot? Trust me, there is better praise in this, than in dazzling the distracted glance with a perpetual succession of luminous fire-flies, and dragging your fair novel-reader, harried and excited, through the mazes of a thousand incidents.
Thirdly, and lastly, in this prefatorial say, there is to be considered that inevitable defeator of all printed secrets--impatience. Nothing is easier, nothing commoner (most wise people do it, whose fate is, that they must keep up with the race of current publication, and therefore must keep down the still-increasing crowd of authorial creations), nothing is more venial, more laudable, than to read the last chapter first; and so, finding out all mysteries at once, to save one's self a vast deal of unnecessary trouble. And, for mere tale-telling, this may be sufficient. What need to burden memory with imaginary statements, or to weary out one's sympathies on trite fictitious woes?--come to the catastrophe at once: the uncle hanged; the heir righted; the heroine, an orange-flowered bride; and the white-headed grandmother, after all her wrongs, winding up the story with a prudent moral. Now, this may all be very well with histories that merely carry a sting in the tail, whose moral is the warning of the rattlesnake, and whose hot-exciting interest is posted with the scorpion's venom. They are the Dragon of Wantley, with one caudal point--a barbed termination: we, like Moore of Moore Hall, all point, covered with spikes: every where we boast ourselves an ethical hedge-hog, all-over-armed with keen morals--a Rumour painted full of tongues, echoing all around with revealing of secrets. The feelings of our humble hero, altered Roger Acton, are worthy to be studied by the great, to be sifted by the rich; and Grace's simple tongue may teach the sage, for its wisdom cometh from above; and Jonathan, for all his shoulder-knot and smart cockade, is worthy to give lessons to his master: that master, also, is far better than you think him; and poor Burke too, for true humanity's sake: so we get a mint of morals, set aside the story. It is not raw material, but the workmanship, that gives its value to the flowered damask; our grand-dames' sumptuous taffeties and stand-alone brocades are but spun silk-worms' interiors; the fairest statue is intrinsically but a mass of clumsy stone, until, indeed, the sculptor has rough-hewn it, and shaped it, and chiselled it, and finished all the touches with sand-paper. This story of '_The Crock of Gold_' purports to be a Dutch picture, as becometh boors, their huts, their short and simple annals; so that, after its moralities, the mass of minute detail is the only thing that gives it any value.