understand the second.Secondly: after Rogue Herries had made some friends it was in someplaces assumed that 'NOW, of course, I would write a sequel.'And thirdly: the principal criticism of Rogue Herries was on theground of its diffuseness.I must explain then that, firstly, the story of Judith Paris may befollowed without any knowledge of her father or curiosity as to herdescendants. Then, far from considering a sequel to Rogue Herriesfor the first time AFTER its publication, I must here confess thatI had, more than twenty years ago, the plan of writing the historyof an English family that should cover two hundred years and thatshould have, throughout, the same English scene for its centre.This was, I think (although Mr. Galsworthy may correct me), beforethe later Forsytes were thought of, or any suspicion of Sagas hungin the literary air.Thirdly, I hope that when any who are interested realise (possiblywith dismay and indignation) that there are to be, in all, fourvolumes of Herries history, certain details and characters will notseem so unnecessary, nor certain scenes so diffuse.I would like, very modestly, to defend the fact that I write, andmust write, from my own point of view. I can see that the Herriesfamily offers, in its history, subject-matter for every kind ofhistorian. But my view of the Herries in these volumes is franklya romantic one.Every historian, whether of a country or a family, is compelled byhis temperament to his own individual vision. I can see that thereis a Herries history that is realistic, one that is comic, one thatis scientific. Any of these might be more broadly convincing thanmy own, but I must mix my own colours and stand by the result.As to diffuseness, compression in such a scheme as this is noteasy. I might have written a novel, a long one too, only aboutJennifer. Even with Judith I have been compelled to squeeze tenyears of her life into one chapter. Those ten years could well bethe subject of another novel. The Rockages at Grosset fascinateme, but my theme compels me to keep them minor. And how much moreI know about Georges Paris in London or Charlie Watson inWatendlath than I have space to tell!Every scene and character has been deliberately chosen by mebecause of the book's continuous theme. At the awful word 'Theme,'however, I feel that I am growing altogether too serious andsolemn.My intention is simply to record scenes from the life of an Englishfamily during two hundred years of English change and fortune, andbeyond that to pay a tribute to a part of England that I dearlylove.Judith Paris may be read as a quite independent novel, but the fourbooks are seen together in my mind as a piece of gaily-tintedtapestry worked in English colours.