No one can be more aware than the author that the construction of this tale is defective. The state of French society, and the strange scenes of the Fronde, beguiled me into a tale which has become rather a family record than a novel. Formerly the Muse of the historical romance was an independent and arbitrary personage, who could compress time, resuscitate the dead, give mighty deeds to imaginary heroes, exchange substitutes for popular martyrs on the scaffold, and make the most stubborn facts subservient to her purpose. Indeed, her most favoured son boldly asserted her right to bend time and place to her purpose, and to make the interest and effectiveness of her work the paramount object. But critics have lashed her out of these erratic ways, and she is now become the meek hand maid of Clio, creeping obediently in the track of the greater Muse, and never venturing on more than colouring and working up the grand outlines that her mistress has left undefined.