Of those who are invited to pay a visit to Beechcroft, there are some who, honestly acknowledging that amusement is their object, will be content to feel with Lilias, conjecture with Jane, and get into scrapes with Phyllis, without troubling themselves to extract any moral from their proceedings; and to these the Mohun family would only apologise for having led a very humdrum life during the eighteen months spent in their company.

There may, however, be more unreasonable visitors, who, professing only to come as parents and guardians, expect entertainment for themselves, as well as instruction for those who had rather it was out of sight,—look for antiques in carved cherry-stones,—and require plot, incident, and catastrophe in a chronicle of small beer.

To these the Mohuns beg respectfully to observe, that they hope their examples may not be altogether devoid of indirect instruction; and lest it should be supposed that they lived without object, aim, or principle, they would observe that the maxim which has influenced the delineation of the different Scenes and Characters is, that feeling, unguided and unrestrained, soon becomes mere selfishness; while the simple endeavour to fulfil each immediate claim of duty may lead to the highest acts of self-devotion.

New Court, Beechcroft,

18th January.

PREFACE (1886)

Perhaps this book is an instance to be adduced in support of the advice I have often given to young authors—not to print before they themselves are old enough to do justice to their freshest ideas.

Not that I can lay claim to its being a production of tender and interesting youth. It was my second actual publication, and I believe I was of age before it appeared—but I see now the failures that more experience might have enabled me to avoid; and I would not again have given it to the world if the same characters recurring in another story had not excited a certain desire to see their first start.

In fact they have been more or less my life-long companions. An almost solitary child, with periodical visits to the Elysium of a large family, it was natural to dream of other children and their ways and sports till they became almost realities. They took shape when my French master set me to write letters for him. The letters gradually became conversation and narrative, and the adventures of the family sweetened the toils of French composition. In the exigencies of village school building in those days gone by, before in every place

“It there behoved him to set up the standard of her Grace,”

the tale was actually printed for private sale, as a link between translations of short stories.

This process only stifled the family in my imagination for a time. They awoke once more with new names, but substantially the same, and were my companions in many a solitary walk, the results of which were scribbled down in leisure moments to be poured into my mother’s ever patient and sympathetic ears.

And then came the impulse to literature for young people given by the example of that memorable book the Fairy Bower, and followed up by Amy Herbert. It was felt that elder children needed something of a deeper tone than the Edgeworthian style, yet less directly religious than the Sherwood class of books; and on that wave of opinion, my little craft floated out into the great sea of the public.

Friends, whose kindness astonished me, and fills me with gratitude when I look back on it, gave me seasonable criticism and pruning, and finally launched me. My heroes and heroines had arranged themselves so as to work out a definite principle, and this was enough for us all.

Children’s books had not been supposed to require a plot. Miss Edgeworth’s, which I still continue to think gems in their own line, are made chronicles, or, more truly, illustrations of various truths worked out upon the same personages. Moreover, the skill of a Jane Austen or a Mrs. Gaskell is required to produce a perfect plot without doing violence to the ordinary events of an every-day life. It is all a matter of arrangement. Mrs. Gaskell can make a perfect little plot out of a sick lad and a canary bird; and another can do nothing with half a dozen murders and an explosion; and of arranging my materials so as to build up a story, I was quite incapable. It is still my great deficiency; but in those days I did not even understand that the attempt was desirable. Criticism was a more thorough thing in those times than it has since become through the multiplicity of books to be hurried over, and it was often very useful, as when it taught that such arrangement of incident was the means of developing the leading idea.

Yet, with all its faults, the children, who had been real to me, caught, chiefly by the youthful sense of fun and enjoyment, the attention of other children; and the curious semi-belief one has in the phantoms of one’s brain made me dwell on their after life and share my discoveries with my friends, not, however, writing them down till after the lapse of all these years the tenderness inspired by associations of early days led to taking up once more the old characters in The Two Sides of the Shield; and the kind welcome this has met with has led to the resuscitation of the crude and inexperienced tale which never pretended to be more than a mere family chronicle.

C. M. YONGE.

6th October 1886.

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