By A. D. Harvey (auth.)
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7 The novel has the awkward sincerity, not of inchoate political discourse, but of momentarily revealed personal trauma. The self-destructively symbiotic relationship of Caleb and Falkland, the nightmarish way in which actions provoke the opposite consequences from those intended, the novel's strong sense of inevitability and fatality, all suggest the human psyche hopelessly cast adrift in a world that has ceased to be comprehensible. Caleb Williams, of course, is one of the first explorations of the theme of the individual isolated and outside society, a theme which was to become characteristic of the next thirty years: one thinks of The Rime of the Ancient Mariner, Alastor, Frankenstein, The Siege of Corinth, Manfred, Me/moth the Wanderer, and Godwin's own later novels St Leon and Fleetwood.
Everyone, as far as my story has been known, has refused to assist me in my distress, and has execrated my name' (vol. 1, chap. 1). The virtuous Laura casts him off without staying to hear his explanation. Even the 'amiable, incomparable' Mr Collins shrinks from him. Caleb feels this bitterly: The greatest aggravation of my present lot was, that I was cut off from the friendship of mankind. I can safely affirm that poverty Types of Information 35 and hunger, that endless wanderings, that a blasted character and the curses that clung to my name, were all of them slight misfortunes compared to this.
This does not constitute a claim that the exposition of evils was guaranteed one hundred per cent factual: Disraeli's purpose was equally serious in his depiction of Wodgate in Sybil, fifty years later, but even though he took his details from a factory commissioners' report, he both selected and embroidered the facts to suit his theme. Godwin didn't have any blue books to crib from, and his interest in English local colour was much more incidental than Disraeli's: 'I was obviously led to place my scene, and draw my instances from the country with which I was best acquainted England.