The Secret Oath

The Secret Oath

The Secret Oath: Or Blood-stained Dagger, a Romance

Author: Mary Anne Radcliffe
Publisher: Tegg and Castleman
Publication Year: 1802
Language: English
Book Dimensions: 11cm x 18cm
Pages: 68
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.E575


This story written by Mary Anne Radcliffe in 1802 follows a family left destitute after the French Revolution and their quest to start a new life. The only thing in their way is a string of murders.


Material History

The Secret Oath or Blood-Stained Dagger, a Romance is the second story in volume one of The Entertainer. Seven stories make up the volume, each containing seventy-two pages, except for The Secret Oath (sixty-eight pages) and Frederic Staun, or the Revenge of Disappointment (four pages). Each time a new story starts, the page numbers restart, with the exception of Frederic Staun, or the Revenge of Disappointment, which continues pagination from the previous story, The Secret Oath, to result in a total of seventy-two pages. Each story has seventy-two pages because it matches the method of folding used to bind books at this time. The volume is bound in brown, acid-splattered leather and has gold lettering of The Entertainer on the spine. The text block has blue speckles for decoration. The Entertainer vol. 1 measures 18cm in height, 11cm in width, and 3cm in thickness.

The cover of The Entertainer

In the front cover, there is a handwritten table of contents and a list of exact duplicates also in the Sadleir Black Collection. Overall, the pages of the book are in good condition. All the text in The Secret Oath is readable apart from a small hole with a diameter of about 0.5cm on page 61, but this does not affect the overall understanding of the text. The pages inThe Secret Oath or Blood-Stained Dagger, a Romance and Frederic Staun, or the Revenge of Disappointment are a slightly darker brown than the rest of the stories. This discoloration is caused by different types of paper used in the volume.

The pages in The Secret Oath use a consistent font and single-spaced lines. The margins differ due to folding techniques. The left-hand pages have side margins of 1cm while the right-hand pages have side margins of 0.5cm. The top margin for a page is either 1 or 2 cm. Each page has the title The Secret Oath on the top. The margin at the bottom of all the pages is 1cm. At the bottom of some right-hand pages, there are signature marks that indicate how the book should be folded. They start with “Ii” and end with “Oo3”. On the last page of the story, the word “Frederic” is present as a catch word for the book maker to know which story goes next. Frederic Staun, or the Revenge of Disappointment was added after The Secret Oath to make the section 72 pages for folding purposes.

At the start of The Secret Oath, there is a title page that reads “The // Secret Oath // or // Blood-Stained Dagger, // a Romancewith a black and white illustration of a house in front of the woods. To the left of the title page, there is another illustration depicting a character reaching for a dagger while looking at a statue of a woman and her baby. This black and white illustration of a woman bled on to the title page and can be seen in a faint brown outline.


Textual History

This edition was printed by J. H. Hart and published for Tegg and Castleman in London on November 1, 1802. There is another edition of this chapbook in the University of Virginia Special Collections Library printed by T. Plummer and published for T. Hurst in London on November 1, 1802. The chapbook has many existing editions both in libraries and as online scans. For instance, there is a version in volume one of the second edition of The Marvelous Magazine published by T. Hurst.

Handwritten table of contents in the flyleaf and endpaper of The Entertainer

The author of The Secret Oath is not present on the title page or frontispiece. However, another chapbook entitled Monkish Mysteries; Or, the Miraculous Escape: Containing the History and the Villanies of the Monk Bertrand; The Detection of His Impious Frauds, and Subsequent Repentance and Retribution includes a printed note that says: “The whole written, adjusted and compiled solely for this work, by Mrs. Mary Anne Radclife, of Wimbledon in Surrey, author of the Secret oath, or blood-stained dagger” (Radcliffe Monkish Mysteries 2). This connects Mary Anne Radclife, usually spelled “Radcliffe,” to the The Secret Oath. There is another book in the University of Virginia Special Collections Library that includes the same note connecting Mary Anne Radcliffe to The Secret Oath called The Adventures of Capt. Duncan, A Journey From Europe, Over the Arabian Deserts, to the British Settlements in India; : Containing, Among Other Particulars, an Account of the Perils He Experienced in Those Terrific Regions, the Eccentric Humors of His Tartarian Guide, His Shipwreck, and Distresses in the War With Hyder Ally, &C (Radcliffe Adventures 2).

First page of The Secret Oath

Mary Anne Radcliffe was born in 1746 to James Clayton and Sarah née Bladderwick (Grundy). Her father died when she was four, and she was educated at Bar Convent in York, England. After fourteen years of life, she married Joseph Radcliffe, age thirty-five, in an elopement and had eight children with him throughout their marriage.

Her most known works include The Female Advocate (1799), Radcliffe’s New Novelist Pocket Magazine (1802), and Memoirs… in Familiar Letters to her Female Friend (1810). Some of these works are similar to The Secret Oath in the sense that they are sensationalized stories written for cheap entertainment, but others follow a feminist perspective on life and create arguments about more serious topics such as the shrinking job market for women and the risk of prostitution. Radcliffe was advertised in newspapers as an elegant entertainment writer, and her Radcliffe’s New Novelist’s Pocket Magazine was sold for six-pence at the time of its release (“Advertisements and Newspapers” 4). This magazine, which is more like a collection of stories, includes The Secret Oath. Radcliffe’s New Novelist’s Pocket Magazine was published by Thomas Hurst.

Isobel Grundy suggests that Radcliffe requested that her name remain out of some of her pieces, but that this was not always respected. Specifically, Radcliffe’s name was put on The Female Advocate despite her wish to remain anonymous. This connected her to Radcliffe’s New Novelist’s Pocket Magazine and other chapbooks. Her publisher was also known to switch published works with a different author’s name to Radcliffe’s name after the first edition of a book had been published. For example, The Mysterious Baron (1808) was switched from Eliza Ratcliffe to Mary Anne Radcliffe after its initial print (Grundy). The reason for these changes is unknown, but it is likely that the publisher was using the similarities between Radcliffe’s name and the more famous Ann Radcliffe, author of A Sicilian Romance (1790), to catch the eye of readers. Another possibility is that Radcliffe used a false name for some books in order to remain more anonymous.

After having eight children and publishing many works focusing on topics from thrilling murders to the issues of women, Radcliffe died of a health decline in August of 1818 and is buried in Old Calton cemetery, Edinburgh (Grundy).


Narrative Point of View

The Secret Oath is narrated in third-person past tense. The narrator is omniscient and never appears as a character in the text. The narration focuses on characters’ actions and emotions and uses long sentences separated by commas for each thought. The narrator does not focus on the setting and does not use descriptive language to describe the environment. The focus is on the actions of characters in the story and the feelings of each character.

Sample Passage:

They entered the old cabriolet, and after a rude journey arrived at Maschere, where they entered an Inn, and a surgeon was sent for to dress the Marquis’s wounds. – He pronounced it impossible to proceed on the journey without endangering his patient’s life ; in consequence of which, the Marchioness hired some apartments at a farm-house, on the road to Caffagiolo, contiguous to his surgeon. De Montfort had mental as well as bodily wounds to struggle with : he con-sidered himself as the murderer of Dorville–he, who had preserved his life, and illuminated the gloom of exile with the balm of friendship. – His daughter also felt a perpetual pang in the reflection that Dorville, whom she esteemed more than any man living, had been slain by her father’s hand ! (33–4)

This excerpt demonstrates how the narrator focuses on the emotions and actions of each character over any other aspect of the story. With its third-person point of view, the narration takes away any bias that a first-person perspective would have, but this does not take away all of the suspense. Omniscient narration here gives an insight to all the characters’ feelings and experiences, which tie into the universal knowledge of the narrator, but some details are left out throughout the novel to maintain suspense. How a person is feeling is not left a secret, but their fate is unknown until an action comes to determine it. This stylistic choice keeps the story mysterious while also providing insight to each character’s interiority.


Summary

A Secret Oath or Blood-Stained Dagger, a Romance follows an ex-Marquis named Albert de Montfort, his wife Madame de Montfort, and his daughter Serina. The book describes how the family is forced to flee from Paris, France in 1792 during the French revolution. After fourteen years of poverty following their escape, de Montfort accepts an invitation from his deceased father’s godson, M. Dodier, to stay at his chateau until the family can get back on their feet. De Montfort is hesitant to accept because M. Dodier received the de Montfort family fortune after the death of Albert de Montfort’s father, and there is a lack of trust between the two men. Serina convinces her father to accept the invitation and the family moves to the chateau. The house is completely empty except for Aquilina and Orsano Cormazzo, the mysterious caretakers of the property.

Frontispiece for The Secret Oath depicting Serina de Montfort

One day, de Montfort comes home covered in blood after gambling with friends. He claims that he was trying to save a dying man in the woods. Law enforcement accuses him of the murder, and they discover evidence in Madame de Montfort and Serina’s rooms that also connect them to the crime. De Montfort and his family are taken to prison in a faraway town, but one by one they avoid their sentence with the help of various people. Serina’s helper saves her under the condition that she marry Argand, M. Dodier’s son. Next, Madame de Montfort is released after the murder victim is revealed to have survived. She reunites with Serina after hearing rumors of her location. De Montfort was the last to be released. On the way to find his family, the living victim of the attack, Dorville, offers to help find his wife and daughter because he feels bad that de Montfort was sent to prison for no reason. De Montfort accepts, and eventually they find Madame and Serina. De Montfort makes it clear that Serina will not be marrying Argand because he does not want the man who took his family inheritance to take his daughter too. M. Dodier kicks the family out of the chateau, and Dorville offers to let the family stay in his mansion a few cities away.

They travel through France to get to Dorville’s home. Dorville and Serina become close. While staying in an apartment overnight, Serina wakes to a man in a black mask holding a dagger above her heart. The masked man realizes he has the wrong person and claims that if she keeps this visit a secret then her father may live, but if she says anything he will kill her father and Dorville. Serina swears the secret oath, and the man gives her an ebony crucifix with the word “Remember!” carved on the back as a reminder of her promise (21).

After her visit by the mysterious man, Serina goes to a church to confess. After she divulges her oath, the abbot demands that she stay in the church for six months to pray in darkness. She has no escape from her punishment and is brought to a garden to pray. In this garden, a mysterious man helps her escape. Once the pair is over the wall, there is a fight between new attackers and Serina’s helper. Serina’s helper reigns victorious in the fight. However, Serina’s father was planning on saving her too, and when he sees the man and Serina surrounded by bodies, de Montfort attacks the man and kills him. Serina sees that her helper was Dorville. She is extremely sad but must run from the church to avoid another imprisonment.

Title page

The family adopts the false name of Berthier to protect their identity. With the help of an attorney named Cattivo, they purchase an apartment and stay out of the public eye. Since the family has no money, de Montfort uses a ring that he won while gambling as payment. Cattivo takes a liking to Serina and demands her hand in marriage. The family says no, and Cattivo threatens to blackmail the Berthiers unless Serina marries him. They still say no, so Cattivo takes de Montfort to court and accuses him of stealing the ring that was used to pay for the apartment. The ring is found to belong to a Count Cuculli, a man de Montfort used to gamble with. The count arrives at court, recognizes de Montfort as the accused “M. Berthier”, and drops all charges because he trusts de Montfort’s integrity.

After de Montfort is released from jail, he receives a note that he should go to the count’s mansion. De Montfort runs over to the mansion and finds his wife and daughter. They tell de Montfort that the count discovered a plot to hurt Serina. The count decided to keep watch over their room while de Montfort was in jail awaiting release. Men came and attacked the two ladies, but the count stabbed one attacker, who was later revealed to be M. Dodier, and saved the women. Serina and Madame de Montfort stayed with the count until de Montfort was released. They continue to stay with the count as a family.

One day, Serina is basking in the sunlight when Dorville appears and starts talking to her. He rambles about how he is married to a sickly woman and how he was manipulated by another woman named Maria. Serina is in near hysterics that he is alive, so they agree to meet the next day and talk once she has calmed down. The next day, Dorville says that he never left his home until now, so the man that de Montfort killed in the church garden was not him. However, during this time, he was forced to marry a sickly woman even though they did not love each other. Serina is crushed that Dorville is married, but de Montfort is happy that Dorville is not dead and invites him to stay with them in the count’s house.

Sample text of page 63 of The Secret Oath

After talking all night about Dorville’s journey, the two men make connections about the past. During the time de Montfort thought he was dead, Dorville visited the house of Monsieur Beaulieu, a wealthy man with a much younger wife named Maria. Dorville was seduced by Maria and almost fell for her. However, he realized that she only wanted his money. Maria was known to have many men in her life, one of note being Cattivo. He confessed that he loved Serina to get out of the relationship. After this story is told, the men figure out that Maria is the person who is responsible for the attacks on Serina. Her jealousy has made her vengeful. It is revealed that she enlisted Cattivo to kill Serina. The men decide to go to the house of Maria to confront her.

At the house, Dorville learns nothing from Maria. While they talk, de Montfort witnesses the murder of Monsieur Beaulieu, Maria’s husband. De Montfort is accused of the murder. Dorville pressures Maria to testify in court on de Montfort’s behalf, and she agrees. She clears de Montfort’s name and blames the murder on Cattivo, the attorney who sold the Montfort’s their old apartment and who is also Maria’s lover. After Monsieur Beaulieu’s death, the men bring the rest of the Montfort family to the house of Monsieur Beaulieu. The motive behind some attacks is unclear until M. Dodier shows up to the house and asks to confess his crimes. He suffers from a stab wound that was inflicted a few days ago and fears that he will die. He admits that the entire plot to kill de Montfort was based on revenge because de Montfort said that his son could not marry Serina. He attempted to kill de Montfort in the woods of the chateau, but he accidentally attacked Dorville. This left a witness to his crimes, so M. Dodier tried to eliminate Dorville again, but this time he accidentally went to Serina’s room. He was the masked man that made her swear the secret oath. Before M. Dodier could say more, he died of the stab wound the count gave him while protecting Serina. In the end, Maria tries to flee the country with Cattivo to avoid imprisonment for her murder plot, but Cattivo murders Maria because she accused him in the trial of her husband’s death. Serina and Dorville get married after Dorville’s first wife died of sickness, and the entire family moved to England in search of financial prosperity.


Bibliography

“Advertisement and Notices.” Northampton Mercury, 28 Aug. 1802, 1–4. British Library Newspapers, link.gale.com/apps/doc/GR3218890636/BNCN?u=viva_uva&sid=bookmark-BNCN&xid=a13a0781. Accessed 4 Nov. 2021.

Grundy, Isobel. “Radcliffe, Mary Ann (b. c. 1746, d. in or after 1810), Writer.” Oxford Dictionary of National Biography, 23 Sept. 2004, https://doi.org/10.1093/ref:odnb/37876. Accessed 4 Nov. 2021.

Radcliffe, Mary Anne. The Adventures of Capt. Duncan, A Journey From Europe, Over the Arabian Deserts, to the British Settlements In India; : Containing, Among Other Particulars, an Account of the Perils He Experienced In Those Terrific Regions, the Eccentric Humors of His Tartarian Guide, His Shipwreck, and Distresses In the War With Hyder Ally, &C. London, T. Hurst, 1802. Nineteenth Century Collections Online,
https://search.lib.virginia.edu/sources/uva_library/items/u4351511. Accessed 4 Nov. 2021.

——. Monkish Mysteries; Or, the Miraculous Escape: Containing the History and the Villanies of the Monk Bertrand; :The Detection of His Impious Frauds, and Subsequent Repentance and Retribution. Nottingham, T. Hurst, 1802. Nineteenth Century Collections Online, https://search.lib.virginia.edu/sources/uva_library/items/u4351072. Accessed 4 Nov. 2021.

——. The Secret Oath: Or Blood-stained Dagger, a Romance. London 2nd ed., vol. 1, Printed for T. Hurst, 1802. Nineteenth Century Collections Online, https://search.lib.virginia.edu/sources/uva_library/items/u835942. Accessed 4 Nov. 2021.

——. The Secret Oath: Or Blood-stained Dagger, a Romance. London, Tegg and Castleman, 1802. Nineteenth Century Collections Online, https://search.lib.virginia.edu/sources/uva_library/items/u835019. Accessed 4 Nov. 2021.


Researcher: D. Smith

Tales of the Passions: Jealousy

Tales of the Passions: Jealousy

Tales of the Passions; The Married Man; An English Tale: In Which is Attempted an Illustration of the Passion of Jealousy in Its Effects on the Human Mind

Author: George Moore
Publisher: G. Wilkie and J. Robinson
Publication Year: 1811
Language: English
Book Dimensions: 14cm x 22.8cm
Pages: 455
University of Virginia Library Call Number, Sadleir-Black Collection: PZ2 .M663 T 1811 v.2


In this 1811 book by English author George Moore, an envious husband wreaks havoc until finally learning to trust his family and control his passions.


Material History

The gothic novel, Tales of the Passions; The Married Man; An English Tale: In Which is Attempted an Illustration of the Passion of Jealousy in Its Effects on the Human Mind, was written by English author George Moore. Its full title stands as such, but either Moore or his publisher shortened the full title to Tales of the Passions in certain places within the novel. For example, the first title page, located after a single blank page at the beginning of the book, simply uses Tales of the Passions as its title. The title page also includes the author’s name, written as George Moore, and publishing information, including the name of the publishers, G. Wilkie and J. Robinson, and where it was printed in London, which was Paternoster Row. It also lists the publication date of 1811. This title page is followed by an uncut page, meaning that for this particular novel the top of the page remains folded and unbroken. Because large pages were folded to create a bound book, it was common practice for manufacturers to sell books uncut. This means that the pages remained folded over at either the top or side of the novel, which made printing cheaper and thus made novels more affordable to the common consumer. When readers bought the books, they could either have had the books taken to a binder who would cleanly cut the novel, or they could cut it themselves, which is apparently what the reader of this particular copy of the novel did, since this person never ended up slicing open the page in question.

The title page for Tales of the Passions: Jealousy

This uncut page reads “Tale II: Jealousy” with the word “Jealousy” printed far beneath Tale II and further separated by a small, floral symbol. This page is also printed in a slightly more intricate font than the title page. Such a font seems to be suggestive of handwritten cursive due to the ways the letters curve and flow. Following this page is the second title page with the novel’s full title. Interestingly, the font size of different sections of the title change; for example, the “Married Man” portion of the title is quite large relative to the size of the other text, but the “In which it is attempted” is quite small. Furthermore, Tales of the Passions is also engraved in cursive on the spine of the novel below the surname Moore. Two lines also bracket this combination, separating it from a numerical 2, indicating the volume number, written several inches further down the spine.

Aside from the pages the reader cut to consume the novel, it otherwise largely remains unchanged; thus, it is paper-bound with a plain hard cover and unevenly cut pages such that they stick out irregularly on the novel’s side. Aside from the ragged nature of the pages, it appears strikingly similar to the way hardback books look today with their book jackets removed. The cover is a plain navy blue color with a tan binding, and both the binding and the cover of the novel are made out of paper. It should be noted that at the time, books were originally sold simply like this; not only were the pages sealed at the top or side like aforementioned, but they were also unevenly cut, as they were thus cheaper to print, causing them to also be more inexpensive. However, if an individual had enough wealth, he or she might go to a binder and have the novel rebound in leather and the pages cut evenly. Neither happened with this copy.

This page remains uncut

The state of the book is in relatively good condition. It is largely unmarked save for a couple of light stains on some of the pages, most of which are inexplicable save for one page that appears to be stained with what looks like ink splotches. There is also what appears to be perhaps indirect ink stains or charcoal visible on the bottom edges of the pages of the novel when the book is closed. Other notable physical alterations of the book include the presence of a small insect on page 243. It is unknown what species of insect it is without the aid of an entomologist, but more tantalizing is the consideration of how long it has been inside the book: whether it was preserved accidentally by the original owners or trapped in its afterlife in the archive.

The pages themselves are lightly tanned by age, but do not seem to be exceptionally delicate due to the fact that the paper the manufacturer used is sturdy and thick. There are no illustrations throughout the text, and no written comments either; indeed, the only visible signs of it being read before are the aforementioned stains. The set of the page includes large amounts of white space and copious margins with large text set far apart. Thus, while the novel itself is long at around 400 pages, the structure of the print accounts for much of the relative length of the novel.


Textual History

Tales of the Passions was written by George Moore, published by  G. Wilkie and J. Robinson, and printed by S. Hamilton. The publishers, G. Wilkie and J Robinson, were involved with a variety of novels, including renditions of Shakespeare’s plays (Murphy 347­–48). There is little information available about the author, George Moore, which contrasts with the informal, welcoming tone of his preface, where he directly discusses his reasoning for why he wrote the novel as well as explaining the different plot choices he decided to keep in the final version. Moore also included a dedication where he discloses that he is independent from patrons as well as noting how important independence is to him on a personal level. Furthermore, he also dedicates the novel to his mother. It should be noted that in regards to Moore’s own obscurity, there is a significant confounding variable: a far more famous Irish writer from later in the nineteenth century shares his name exactly. Thus while many results do appear when searching for the name George Moore, they all appear to be about this other writer.

This second full title page includes a different title

There is some evidence that Tales of the Passions, while never truly popular at any point of history, received some recognition when it was initially published. For example, the novel is listed in a British periodical where new British novel releases were listed for the year, although it is only listed by name and without summary in a list with hundreds of name-only releases (“List of New Works” 514). More notably, there are also records of two articles written in the early nineteenth century that focus on Moore’s work. A literary journal called Monthly Review reviewed Tales of the Passion: Jealousy in 1812.The review provides insight into how Moore’s writing style and plot may have been similarly received by the general public. The article’s author sums up the way Moore writes perfectly: “without climbing to the eminences of his profession, he walks much above the plain of ordinary novelists” (Tay 388). Furthermore, the article goes on to mention that the story was made too complex by “unintelligible relationships between subordinate personages,” and that the West Indies plotline was “improbable, difficult to remember, and not essential to the catastrophe” (Tay 388). His next section of the review focuses on the lack of realism in Moore’s flowery prose of the novel, giving the specific example of Osmond’s speech when he is ill and near death. The reviewer notes how the fact that Osmond’s speech patterns do not change even then weakens the effect of Osmond’s illness because sick minds are more “concise” and “abrupt” (Tay 390). The article then argues that the focus of Felix’s jealousy should have been concentrated on one person, and that the reader should have been led to believe the wife was cheating as well to give Felix’s character more moral standing and depth.

There is also another review in Monthly Review about Moore’s Tales of the Passions, but this one focuses on the first volume of the series, originally published in 1808  and focusing on the passion of revenge. This reviewer structures his article in a similar way to the review of the second volume, as both begin by recommending various changes they feel would make the novel more powerful. Both of the reviews make note of the fact that Joanna Baillie’s Plays on the Passions inspired Mooreto write his novel, but this second review goes into far more depth about the subject. It even goes so far as to include an entire statement that Moore released regarding the topic, where he discusses how the idea of focusing a work on various passions was an engaging one, and how he enjoyed Baillie’s work so much he decided to write his own “moral tale” about domestic life focused on a single passion (Meri 262). The reviewer then goes on to discuss the plotline of the first volume, and concludes by noting that while Moore “evidently possesses powers which are calculated to raise him to distinction in this walk of literature,” his work is “not polished nor accurate” and he has “palpable violations of grammar and of propriety” (Meri 266).

Another possible influence for Moore’s writing of the novel comes from a quote he includes in the title page of Tales of the Passions: Jealousy, where he added a section from what he titles as Collins’s “Ode on the Passions,” but in actuality is part of William Collins’s “The Passions: An Ode for Music.”

Exulting, trembling, raging, fainting,
Possest beyond the Muse’s painting,
By turns they felt the glowing mind,
Disturb’d, delighted, raised, refined:
‘Till once, ’tis said, when all were fired,
Fill’d with fury, rapt, inspired
[…]
Each, for Madness ruled the hour,
Would prove his own expressive power.

Unlike Baillie’s plays, it is impossible to know precisely how this poem might have inspired the text or whether Moore decided to include some verses that fit well with his novel’s thematic purpose and plotline.

Other than the two nineteenth-century reviews and one mention in a periodical, Moore and his work are not well-documented on either the Internet or in print form. There are digital editions of both volumes of Tales of the Passions available, on Google books. Yet they appear to have had only one run of publishing in the nineteenth century. The novel also lacks adaptations to various other forms of media. Combined with the two reviews that concentrated on the mediocrity of his novels, such a lukewarm response to Moore’s works have likely contributed to the fact there has been a near-complete absence of scholarly attention on Tales of the Passions.


Narrative Point of View

Tales of the Passions: Jealousy is narrated in the third person. This third-person narration focuses on the thoughts and feelings of the main character, Felix Earlvin, hinting at a third-person limited point of view, although this framework is complicated by the fact the narrator occasionally also discusses thoughts and events Earvin is not aware of. Because Earlvin’s mindset is the one that directs the novel the vast majority of the time, the narration thus hovers between limited and omniscient third-person narration. Due to the fact that the novel explicitly explores the idea of jealousy as an emotion, there are many and repetitive examples of Earlvin thinking about the way he feels and how he is acting, and the plot and action are often interrupted by these episodes of reverie and meditation on his actions. The writing style itself often uses simple and uncomplicated language, but the sentences can be long and complicated by many phrases, creating runon sentences that can be difficult to follow.

Sample Passage:

But Onslow heard him not, while Earlvin kneeling, by the side of his wife, pressed his lips to her cold and pallid cheek in silent agony. In a short time two or three persons arrived at the spot, and the driver informed them of the circumstances which had happened. From the appearance of Mrs. Earlvin, they supposed surgical assistance could be of little service, and therefore prepared to secure him who had wounded her, as the first and principal duty incumbent upon them. The instant, however, they attempted to move him, he was roused from a torpid state of suffering to the most violent emotions of anguish and despair. He repelled their efforts with a power and resolution they had much difficulty to overcome. He called on the names of his children and declared himself the murderer of their mother. He entreated, he implored, that he might not be removed from her side and struggled to release himself with convulsive energy. At length he sunk on the ground incapable of farther resistance, and was conveyed to a small house near the road-side, insensible to the vulgar and cruel upbraidings of those by whom he was surrounded. (394)

The narrative style of Tales of the Passions: Jealousy is interesting in that the writing articulates some complex thematic ideas. However, the power of Moore’s writing is often undermined through the presence of seemingly unintentional runon or awkward sentences. Furthermore, the narrator often repeats his key ideas in the text in the same language every time, making his central theme seem triter each time he repeats it. As for Moore’s choice to focus his writing on telling the story from Felix’s perspective while also occasionally including the thoughts of other characters, such a framework is convenient because the shifts occur when the narrator needs to explain a plot point that would otherwise be difficult to explain from simply Felix’s point of view. Such a method of storytelling is also important when considering the fact that Tales of the Passions: Jealousy functions in large part as a mystery, so the shifts in point of view not only allow the narrator to reveal new information but also add a flair of dramatic irony.


Summary

Tales of the Passions: Jealousy focuses on an Englishman named Felix Earlvin. Earlvin is a moderately wealthy nobleman whose kind heart permits him to marry a woman far below his rank. Nevertheless, his wife, Julia, is extremely well tempered and kind, and for several years they have lived happily in the countryside with their children. Felix and Julia’s marriage is generally peaceful, but Felix has one fatal flaw: he becomes jealous very easily, which, combined with his fear of discussing his thoughts and secrets with other people, can lead to conflict and chaos. Julia is aware of this personality trait, but has, up to the point when the novel starts, been easily able to dispel his jealous fears.

Nonetheless, at the beginning of the novel an event occurs that becomes a catalyst for problems in their marriage. Felix is on his daily evening walk when he hears his wife’s name. He follows the sound and finds a dilapidated hovel with an old woman and a well-dressed young man inside. He sees the old woman clearly but the young man is hidden in shadow. Felix is instantly suspicious, but vows to return to the hut the next day to talk to the woman alone because he is unarmed and could not take the man on if it turned into a fight. That night, he shares dinner with his wife and his neighbor, Mr. Osmond, and Felix is able to largely act normal until he happens to read an article in the newspaper after dinner about a couple that was going to get divorced because the wife was unfaithful, a problem compounded by the fact that the couple has children. Julia, when she hears of the case, initially says she thinks the wife still deserves pity, but because of the scene Felix had witnessed in the forest, he has an outburst at her, which causes his wife to nearly cry and remain quiet and dejected for the rest of the night. Felix is stressed and starts to feel ill; they are forced to call Dr. Sulfit. This doctor is greedy and selfish, and throughout the novel he overcharges characters for his medicine or makes up illnesses in order to receive more benefits. However, he also often moves the plot along, as he does in this scene, where he discusses how he saw a finely dressed stranger wandering around their property on a nice horse, and that this stranger passed the house several times and then disappeared without speaking to anyone. Felix then asks the doctor whether he has also seen any old women, a fact that Julia seems very alarmed by, but the doctor says he has not seen anyone. Nevertheless, Felix continues to be agitated by what he has seen, and he ends up traveling back to the hovel after he has fully recovered only to learn from a neighboring farmer that the hovel had not been lived in for years and it has thus been demolished a couple days ago.

At this point, the novel transitions to the backstory of Felix’s grandfather, Abel. Abel had been a poor orphan who a farmer adopted in order to use him for menial labor, though he was also very intelligent. Abel grew to admire and desire wealth because the farmer would regularly favor his children over Abel by giving them all the material goods they desired while leaving Abel with nothing. When he left the farmer’s abusive household for London, Abel worked hard to accumulate wealth, and eventually became an accountant with a sizable income, which, due to the fact Abel loved money and would never spend it on anything other than necessities, he was able to amass a sizeable fortune. He also married his employer’s daughter out of desire to further increase his status. His wife dies within two years, but she gives him a son that Abel adores because he dreams of passing on his wealth to his progeny and becoming more officially part of the elite circle. His father-in-law dies and leaves him substantial sums of money, and he also becomes increasingly richer from things like trade, speculations, and contracts with companies. Thus, he raises his son like an aristocrat, sending him to Eton and Oxford and giving him the best private tutors and education possible. However, this education does little because his son is naturally unintelligent. He is also noted to be a nice person, but one easily taken advantage of. This becomes a problem when Abel’s son goes abroad because he quickly becomes corrupted and increasingly greedy and prideful. One of Abel’s friends suggests marriage, a solution also convenient for the friend because he has only moderate wealth and a daughter of marriageable age. This daughter proves to be a greedy and controlling person, and she quickly becomes the unofficial leader of the household, controlling the finances and allowing her husband to be the laughingstock of their friends. When they give birth to Felix, he becomes his grandfather’s last hope for passing on his vision of preserving his household’s name. He teaches Felix to resent his father’s weakness and his mother’s transgressions, and leads him to fear being in a marriage like his parents’. Thus, Felix values morality more than wealth, and although Julia’s father, Mr. Roseville, is an unprincipled, immoral gambler, Julia herself is intelligent and honorable. They end up courting for two years because Felix wavers over whether he wants to marry her due to her father’s sinful nature, but when her father dies, he decides to marry her and they retire to his largest estate, which is located in the countryside in a little English town called Monmouthshire.

Back in the present, Felix continues to be disturbed about the scene he saw in the woods, but he also realizes he is being cruel to his family. He ends up seeking advice from his neighbor, Osmond, again. Osmond is raising a teenage girl named Caroline Almond, even though they are ostensibly not related. She is intelligent and accomplished but he does not allow her to go very far from him. During their conversation, Osmond hints at the possibility of Julia duping Felix, and he also discusses how he became celibate to avoid what he calls “female manners” (60). Several days later, Felix returns from his walk to find Julia at her desk reading a letter that appears to reduce her to tears, which reinforces his fears.

A sample page of text from within Tales of the Passions: Jealousy

The next time the doctor visits, he tells a story about how Caroline accidentally ended up falling into a lake on Osmond’s property and was saved by the son of another noble, Sir William. The son, Herbert William, took her back to the house, but Caroline remained distressed. Julia asked the doctor if she could see Julia since Osmond is away. When Julia arrives at the Osmond residence, Osmond has already returned, but he acts cold to Herbert as well as Caroline, whom he chides for being careless. Indeed, rather than appearing to be worried, he is irate about the obligation he now has to pay back to the William family. When Julia queries Caroline about his behavior, she confesses she wants them to be closer, but she had previously attempted to close the gap between them and he continued to be apathetic to her. Herbert is clearly fond of Caroline, but Osmond’s antipathy forces him to leave quickly. Julia also likes Caroline, and she invites her to the Earlvin household, but Caroline tells her it is likely impossible for her to visit because of Osmond’s restrictions upon her.

The next large incident in Felix and Julia’s life occurs when Herbert visits the household when Felix is there. After he leaves, Julia innocently praises his virtues to Felix, which causes Felix to feel lonely and jealous. During a visit with Osmond, Felix learns that Caroline will be unable to visit because the two are going to London indefinitely. Osmond also insinuates that Herbert is dangerous and that his popularity in the village is limited to only women, and that Julia’s virtue could fall to him. The doctor, who is present to see Caroline, mentions how he had just seen Herbert going to the Earlvin residence for what Herbert called “urgent business” (111). Felix becomes furious because it seems to him as though Julia attempted to get him out of the house to see the young man, who he views as superior in youth and novelty to him. After Felix leaves, Osmond’s purpose is also revealed: he lusts after Felix’s wife, but he always believed it was hopeless because their marriage appeared very resilient. However, one day he happened upon Felix’s penchant for petty jealousy and now uses it to attempt to drive them apart so he can have Julia.

Meanwhile, Felix attempts to think of ways to avoid Herbert and Julia coming in contact with each other. He finally comes to the conclusion that if he, like Osmond, went to London with Julia and his children, he could get Julia away from Herbert in the countryside. Julia is initially wary of this proposal but ultimately agrees to go. However, when Felix returns from his evening walk, he finds his wife conversing once again with Herbert. Of course, he is thrown back into complete disarray. Luckily, Julia realizes Felix’s problem stems from jealousy and she explains to him that Herbert is loves Caroline and wanted advice from Julia. This statement nearly causes Felix to confess his jealous fears to her, but he ends up deciding it would cause her added injury and does not do so.

They begin their travels to London and end up stopping in a small inn along the way. The inn is small enough it is difficult to fit Felix’s entire party of servants, and the innkeeper ends up attempting to kick out a paying customer from the inn. Felix stops him and ends up talking to the older man, a failed poet named Selville who has endured great hardship but has become a more moral person because of it. When they arrive in London, they find Osmond is having a party that evening. The party is difficult for Felix; he overhears men talking about his wife and becomes increasingly infuriated. He goes to sit with Julia and implies he wants to leave, but she appears to be greatly enjoying interacting with everyone. One person in particular, Mr. Onslow, a wealthy man from West India who Osmond ostensibly wants Caroline to marry, disturbs Felix with his conduct towards Julia, as the two act far too friendly for his comfort. Felix becomes ruder and ruder, and ends up spoiling the atmosphere.

Julia and Felix argue once again when they return to their London lodgings, but end up forgiving each other until Julia gets a letter about a masquerade ball from Onslow. Felix tells her she should not go, and she agrees but stipulates he should go instead, telling him he should have some fun. Felix is initially compliant but begins to worry why she might want him gone. During the party, Caroline asks him to set up a meeting between her and Julia, and he agrees to do so. He is then dragged away by a person he describes as an “obi woman,” who acts like a seer or magical being (244). She asks him if he wants his future worries told, and believing she is in jest, he agrees, and she mysteriously answers with “look to your wife” (246). Afterwards, he overhears Onslow and this woman arguing. The woman removes her mask, and Felix recognizes her as the woman he saw in the woods.

When Felix returns to their accommodations, he is surprised and incensed that Herbert came from the countryside to meet with Julia. Julia explains he came to see Caroline away from Osmond. The next day, someone Felix met at Osmond’s party, Mr. Parrot, also comes to meet with Felix. He had promised to find information about Onslow for Felix, and he reveals the person Felix saw was Onslow’s mother. She was briefly romantically involved with Mr. Wellsford, and although he decides not to marry her he later adopts her son. He moves to Jamaica after inheriting a plantation. He gets married twice, once to a frivolous woman who leaves him and takes his first-born daughter away from him, and again to a woman who gives him another daughter but quickly dies from disease. His second daughter goes to England to avoid greater illness, but before Wellsford can settle his plantations and go to England to be with his daughter, he hears word she has died. His loneliness over his lost children prompts him to adopt Onslow as his own son. Mr. Parrot also reveals Onslow and Julia had previously met each other, but yet they had acted like strangers at the party. Indeed, the man the doctor saw in front of the house and Felix saw inside the hovel was in fact Onslow, and the two had apparently met while Felix was out. Felix is terrified and extremely jealous, and while Parrot attempts to reassure him, he is too far gone.

Julia goes to Osmond’s house to see Caroline, leaving Felix jealous. When Julia arrives, she first meets with Osmond. During their conversation, Osmond confesses he is wants to enter a relationship with her. She becomes terrified, and attempts to leave but Osmond stops her. Osmond accosts her verbally, telling her it is her fault Felix is becoming abusive because of the fact she had a visitor she did not tell her husband about even though she knew he would be jealous, implying he knew Onslow visited her several months prior. Onslow coincidentally arrives and saves Julia. In his carriage, Julia initially wants to return to Caroline, but Onslow insists they continue on their way. She also asks to go straight home, but he insists on riding through a park to aid her recovery of her spirits. Felix, on his way to Osmond’s place, sees Onslow and Julia in the coach together, which causes his jealousy to reach new heights. When he talks to Osmond, Osmond convinces him to go to a tavern instead of returning home, where he would hear the truth about his intentions from Julia, and also further convinces Felix to hold on to his suspicions by saying Julia wants to stop the marriage between Caroline and Osmond but not explaining her reasoning behind it.

This page of texts shows ink splotches from a previous reader

The next chapter delves into more backstory, explaining that Osmond is Wellsford’s second wife’s brother and thus, in order to execute the will, Onslow had to meet with Osmond, which is why he went to Monmouthshire in the first place. Onslow also explains that Wellsford’s first wife eloped with Roseville, who was a ship captain, in order to leave for England, and that Julia is in actuality Wellsford’s first daughter. When Onslow explains these circumstances to Osmond upon his visit, Osmond pretends it is his first time hearing it, even though in actuality he heard Roseville confess the story on his sickbed. He advises Onslow to meet with Julia secretly to tell her the truth about her life. He explains this to Onslow by saying that even though Felix is a good person, he is easily jealous so it would be better to not let him know about the visit, and that perhaps hearing about Roseville, who Felix detested, would also inflame his anger. He also asks that Onslow not let anyone know he is involved because it might cause more problems. Onslow agrees on both accounts, and lets Julia know by letter he is coming to visit. Julia sets up the time for when Felix is gone for similar reasons to the ones Osmond gave. Onslow’s mother was there because she wanted to receive better clothes from him in order to travel to Bristol, and they moved into the hovel because the weather turned for the worse, and thus everything had a logical reason behind it.

On his way to the tavern, Felix happens upon Selville, the poet he met in the inn on the way to London, and he is in such great despair he rambles loosely about jealousy and then asks Selville to accompany him to the tavern. Selville is so worried about Felix he agrees, but his presence does little to prevent Osmond from convincing a drunken Felix to vow to leave his wife and challenge Onslow to a duel to the death. Osmond then returns to the main area of the inn to ask Selville to deliver Felix’s dueling letter to Onslow, which Selville debates doing. He ultimately decides to carry it out but to discuss it with Felix in the morning when he is not intoxicated.

Osmond returns to his London home questioning whether it was morally correct of him to carry out his plan. When he arrives at his home, he finds Dr. Sulfit there, who tells him Herbert is in London in order to see Caroline. Osmond asks his servants to bring Caroline to him, but he learns she has left for the Earlvin’s household, causing him to worry that the two will find each other and elope. He thus sends the doctor in order to find Caroline and bring her back.

Felix continues to obsess over his impending duel with Onslow, and fetches a pistol and horse to attempt to find him. He sees a carriage and wonders whether it holds Onslow and Julia, and when finds that it does, he is furious. Julia is so terrified that there is a man with a gun she falls against Onslow, which makes Felix even more enraged to the point he prepares to shoot himself in the temple and commit suicide. However, Julia looks back upon him, recognizes him, and then appears to recoil, something that makes him so angry he aims the pistol towards the carriage. His wife starts to run to him in order to embrace him, but he ends up shooting her instead and appears to kill her. He instantly is in the agony of remorse and refuses to leave her body. However, she is not dead and she quickly gets medical attention. The surgeons call for all people who have medical experience, and they come across Dr. Sulfit, who explains he is looking for someone in order to help his friend. During the doctor’s explanation, Onslow realizes Osmond must have been tricking all of them and he goes with the doctor in order to find him and challenge him to a duel himself to compensate for the betrayal. Osmond accepts the duel, but Onslow easily shoots him, although he is not killed and only badly wounded.

Julia and Osmond slowly recover from their wounds, while Selville attempts to comfort Felix in his misery over his violent actions. Osmond, in an attempt to repent his sins, calls Caroline and Selville to his bedside the next morning to explain his life. He too had a frivolous, extravagant mother who caused their father to lose his riches and fortune, and because he was the favorite of his mother, he became a greedy, weak man. Osmond lived for a time in the Indies close to his wife and her husband, Wellsford. However, he moved back to England in order to attempt to gain a larger fortune, which he did by investing Wellsford’s properties. Thus, when the woman taking care of Wellsford’s second child said a fever had taken ahold of the girl and would likely kill her, he told Wellsford the girl was dead both because he did not want his shady dealings discovered, as Wellsford was unlikely to return to England if his daughter died, and because he thought she would anyway. However, she did not, and he instead took her in as a weak form of retribution. Thus, Julia and Caroline are revealed to be in fact sisters.

Julia recovers in about a month, and she forgives Felix for nearly killing her and instead embraces him together with their children. Felix now feels unworthy of their love, but he slowly attempts to right his wrongs by treating them correctly for the rest of his life. Osmond moves to Lisbon to attempt to recover, but he grows continually weaker, and without anyone who loves him, he dies in only a few months. Herbert and Caroline get married, which cools Herbert’s passions slightly and makes him more mature. Felix and Julia stay together and grow old watching their children grow up. From his transgressions, Felix realizes the importance of his duties he has to his family, as well as how important it is to control passion in order to maintain happiness.


Bibliography

Collins, William. “The Passions: An Ode for Music.” English Poetry II: From Collins to Fitzgerald. Bartleby. www.bartleby.com/41/296.html.

“List of New Works.” The British Review, and London Critical Journal, No. 1 (Jan. 1811): 514.

Meri. “ART. VII. Tales of the Passions; in which is Attempted an Illustration of their Effects on the Human Mind.” Monthly Review, Vol. 57 (Nov. 1808): 262–66.

Moore, George. Tales of the Passions; The Married Man; An English Tale: In Which is Attempted an Illustration of the Passion of Jealousy in Its Effects on the Human Mind. London,\ G. Wilkie and J. Robinson, 1811.

Murphy, Andrew. Shakespeare in Print: A History and Chronology of Shakespeare Publishing. Cambridge, Cambridge University Press, 2003.

Tay, Jr. “ART. VI. Tales of the Passion; in which is attempted an Illustration of their Effects on the Human Mind: each Tale comprized in one Volume, and forming the Subject of a single Passion.” Monthly Review, Vol.67 (Apr. 1812): 388–90.


Researcher: Elise Cooper

Paul and Virginia

Paul and Virginia

The History of Paul and Virginia; or the Shipwreck

Author: Jacques-Henri Bernardin de Saint-Pierre
Publisher: T. Maiden, Ann Lemoine
Publication Year: 1802
Language: English
Book Dimensions: 10.8 x 17.8
Pages: 48
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.S36 H 1802


This chapbook, set on the island of Mauritius, tells the forbidden love story of two best friends. The author, Bernardin, lived on this island for a short period and part of this story was inspired by an actual shipwreck he witnessed there.


Material History

The volume is 17.8 cm long, 10.8 cm wide. The book lacks a cover and the pages are held together by a half-worn binding spine. The first page is blank and does not include any information like the author’s name or title of the book. This shows that the book had a cover once but was torn off over time. There is a big sticker on the upper left of the first page indicating that the book is the property of the Sadleir-Black Collection. The last page of the book also acts as the last page of the story. There is a relatively larger “FINIS.” printed at the bottom center of the final page. Also printed at the very bottom of this page is “Printed by T. Maiden Sherbourne Lane,” indicating the exact location where the book was produced.

The title page for Paul and Virginia

The book does not include any chapters. From beginning to end, the text is continuous and not interrupted by any titles or subtitles which explains why there is not a table of contents page at the beginning of the book.

Turning the pages requires full attention because they are very light and delicate. The first two pages have noticeable discoloration from age. Other pages have some brown and yellow spots resembling fingerprints, but they are mostly in a good condition. Also, on a few pages, there are some deformations in letters that make the reading challenging but not impossible.

At the top of the first page, there is a shortened title of the book, “Paul and Virginia.” This frontispiece page contains an illustration from one of the most thrilling incidents of the book. We see the devastated face of Paul and his companion mourning near Virginia’s dead body. Also, in the background, there is a sinking ship that gives some clue regarding how this incident might have occurred. Below the illustration, there is a caption: “The corpse of Virginia discovered upon the beach” and a page number (41) indicating where in the story this event occurs.

The title page follows, containing the full title of the book, “The History of Paul and Virginia or the Shipwreck.” The title is written with bold and varying font sizes. Some letters have extra inks on them which gives a spillover feeling. The title is followed by the author’s name which is the first and only time it appears. After the author’s name, there is a shipwreck illustration which is a similar version of the frontispiece. At the bottom of the page, the publication details are included which gives information about the publication location, the printer’s name, address of the publication facility, and the publication date. At the very bottom of the page, the price of the book included as “[Price Six-Pence.]”


Textual History

This chapbook is an abridgement of a much longer novel originally published in French by Jacques-Henri Bernardin de Saint-Pierre. Paul and Virginia was first published in 1788 as the fourth volume of Studies of Nature in the French language with the original title of Paul et Virginie. The book was translated to English in 1789, for the first time by Daniel Malthus as Paul and Mary: An Indian Story, published in London. The novel is considered the first extensive exotic novel in France, and nineteenth-century authors quoted the book many times. Even though Bernardin’s most famous work is Paul and Virginia, he published many other books as a volume of Studies of Nature. As a result, he became a very popular literary figure during the French Revolution. The king granted him the administration of “Garden of the King” in July 1972 as a result of his literary accomplishments. After the revolution, Bernardin served as a professor of republican morality in the Ecole Normale Supérievre (Cook).

This page includes a letter attributed to the novel’s main character Virginia

It is believed that, in 1777, Bernardin read selections from Paul and Virginia before its publication in the salon of Suzanne Necker (Cook). Hence, there is a good possibility that Bernardin started to work on his novel over ten years before its publication date. He finished the luxury quarto editing of the novel in 1806. This edition had gorgeous illustrations and designs but did not sell as much as expected. Cook notes that Paul and Virginia “has never been out of print.”

The story of Paul and Virginia is based on an island. A New York Times article, “The First Idea of Paul and Virginia,” explains that Bernardin was designated as an engineer on Madagascar in charge of the road construction team. After over five months of an exhausting voyage, he learned that he had been called in to manage the slave trade. He refused to go to Madagascar and remained instead on the Isle of France. He could not make any friends there because of his political opinions and lived in a solitary state with his only friend, a dog. He spent most of his time studying botany and natural history, and witnessed the wreck of a St. Gérant ship while he was living there. Everyone in the ship died except seven sailors. The Times article explains that the captain of the ship refused to take off his clothes and swim to the shore even though he had the opportunity. It is suggested that Bernardin watched all the incidents from the shore and that this story inspired the author greatly. When Bernardin wrote Paul et Virginie, he changed very few details of this incident.

Paul and Virginia was performed as an opera many times in Europe and North America, including the 1806 production Paul and Virginia: A Musical Entertainment, in Two Acts written by James Cobb. Even though the main scenario of the book was not changed, Cobb added some new characters to the script that do not appear in the book. Another notable opera adaptation was written by well-known French composer Victor Masse. Another New York Times article, “Affairs in France,” gives important details about how Bernardin’s character of Virginia was shaped. According to this article, in regards to the captain who went down with the shipwreck, “It would not be appropriate for a man of his position and dignity to arrive on shore entirely naked; besides he also has valuable state papers.” By contrast, Bernardin’s fictional Virginia was on the same ship and she actually swam to shore almost entirely naked. Virginia was not actually drowned because of her modesty, but the captain was.


Narrative Point of View

The History of Paul and Virginia is narrated in third person by an anonymous narrator with an omniscient point of view. The novel is written in the past tense without using flourished language. The narrator does not dive into the characters’ psychology; instead, the narrator uses simple expressive sentences to describe characters’ internal features and emotions. The story is told by using many flashbacks via Virginia’s letters to her mother which helps the novel to be more dramatic.

Sample Passage:

In this manner lived those children of nature. No care had troubled their peace, no intemperance had corrupted their blood, no misplaced passion had depraved their hearts. Love, innocence, and piety, possessed their souls: and those intellectual graces unfolded themselves in their features, their attitudes, and their motions. Still in the morning of life, they had all its blooming freshness: and surely such in the garden of Eden appeared our first parents, when coming from the hands of God, they first saw, and approached each other, and conversed together, like brother and sister. Virginia was gentle, modest, and confiding as Eve; and Paul, like Adam, united the stature of manhood with the simplicity of a child. (19)

In the novel, characters generally express themselves with dialogue, however, from time to time the narrator intervenes to portray their relationship in a wider context. The narration in this passage accounts for the intensity of Virginia and Paul’s affection for each other. The narrator justifies why it is morally and even Biblically right for Paul and Virginia to be together by emphasizing the innocence and purity of their relationship and aligning their romantic relationship with the bond of siblings, both of which are encompassed here by the comparison with Adam and Eve.


Summary

The novel starts with a long description of the island of Mauritius. The island is described as having a pleasant unbounded landscape that gives the feeling of having uninterrupted solitude to those who live there. The story of Paul and Virginia starts with the narration of an old man. He begins the story by telling important parts of Monsieur de la Tour’s life.

The opening page for Paul and Virginia

Monsieur de la Tour is a soldier in the French army. He decides to seek his fortune on the island of Mauritius and arrives there in 1726. He brings Madame la Tour with him to settle down and live a peaceful life. Monsieur and Madame de la Tour come from two different social classes. She belongs to a rich and noble family, while he belongs to an ordinary family without high social status. Even though her parents do not approve of this marriage, they marry without obtaining her parents’ permission. Soon, Monsieur de la Tour travels to Madagascar to purchase a few slaves to help him establish a plantation on the island. After landing in Madagascar, he becomes very ill and, after a while, he dies.

Madame de la Tour lives on the island on her own and learns that she is pregnant. She becomes friends with a young woman named Margaret who was abandoned by her husband when he learned she was pregnant. Margaret gives birth to a boy and Madame de la Tour gives him the name of Paul. After a short while, Madame de la Tour gives birth to a girl. This time, at the request of Madame, Margaret gives her the name of Virginia. The similar destiny of Madame and Margaret provides them with a strong friendship and they start to raise their children together. Paul and Virginia spend all their time together as if they are brother and sister.

After Paul and Virginia enter their teenage years, they begin to see each other as more than a friend. They start to express their emotions to each other with poetic descriptions. Even though both of them know there are sexual and romantic feelings between them, neither of them dares to advance their friendship to a romantic relationship at first. Virginia has a difficult time keeping her affection for Paul to herself. Madame de la Tour understands her daughter’s uneasiness and tells her that God placed them on earth to test their virtue and she will be rewarded after if she can be virtuous in this life. Virginia misinterprets her mother’s advice to be that it is not right to have a romantic relationship with Paul. Hence, she refuses to respond to Paul’s affection for her.

In the meantime, Margaret asks Madame about why do not they let their children marry since they have a strong attachment for each other. Madame de la Tour says that they are too young and poor to start a family together. She believes that they would not live a happy life until Paul comes of age to provide for his family by his labor. Virginia’s aunt wants her niece to return to France in order to give Virginia a proper education and help her to marry a nobleman. She also promises to leave all her fortune to Virginia. Madame de la Tour thinks this would be a good opportunity to separate Paul and Virginia until they come to an age where they can build a happy marriage. Virginia sees her mother’s request as a duty and decides to go to France.

The final page for Paul and Virginia

One and a half years passes and, finally, a letter arrives for Madame de la Tour. Virginia says that even though she received a very good education on various subjects, she is still not happy to be so far away. Her aunt forces her to renounce the name of “la Tour” which she refuses to do out of respect to her father. In the meantime, Paul dreams about going to France, to be near Virginia and make a great fortune by serving the king. He believes that then Virginia’s aunt will allow them to get married.

After a while, Virginia sends her mother a letter about her aunt’s ill-treatment of her because of her request to marry Paul. The aunt disinherits Virginia and sends back her to Mauritius during hurricane season. Upon Virginia’s arrival on the island, a terrific hurricane appears. As a result, the ship is torn apart. Even though sailors tell Virginia to take her clothes off to be able to swim, she refuses to do so. She stays in the ship and drowns as Paul watches. After Virginia’s death, Paul’s health starts to decline rapidly. He becomes severely ill and dies two months later.


Bibliography

“Affairs in France.” The New York Times, 26 Nov. 1876, https://timesmachine.nytimes.com/timesmachine/1876/11/26/84623906.pdf

Bernardin de Saint-Pierre, Jacques-Henri. The History of Paul and Virginia; or the Shipwreck. T. Maiden and Ann Lemoine, 1802.

Cobb, J. Paul and Virginia: A musical entertainment in two acts. 1806.

Cook, Malcolm. “Jacques-Henri Bernardin de Saint-Pierre.” Writers of the French Enlightenment I, edited by Samia I. Spencer, Gale, 2005. Dictionary of Literary Biography Vol. 313. Gale, Literature Resource Center, https://link.gale.com/apps/doc/H1200012581/LitRC?u=viva_uva&sid=LitRC&xid=8404413d

“The First Idea of Paul and Virginia.” The New York Times, 8 No. 1874.
https://timesmachine.nytimes.com/timesmachine/1874/11/08/105199480.pdf


Researcher: Ali Atabay

The Mystic Tower

The Mystic Tower

The Mystic Tower, or, Villainy Punished. A Romance.

Author: Unknown
Publisher: Printed for Kaygill by W. Glindon
Publication Year: 1800
Language: English
Book Dimensions: 10.75cm x 17.5cm
Pages: 42
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.M894 1800


Published in 1800 without identifying an author, this shilling-shocker set during the Holy Wars tells a tale of romance, murder, terror, and mystery.


Material History

One’s first impressions upon introduction to the Sadlier-Black Collection’s edition of The Mystic Tower, or, Villainy Punished. A Romance. most likely will include the frail binding holding together the forty-two time-worn pages, as well as the curious lack of a cover. Upon closer inspection, one can find a few remnants of what seems to be tan leather stuck to bits of dried glue along the spine of the chapbook. This suggests that the book was once a part of a collection of works, bound together for sale by the publisher. Once the first blank page, acting as the cover, is turned, an intricate frontispiece is found to inhabit the reverse. The image of a man and a woman moving away from an oncoming knight is central to the illustration, and is surrounded by detailing of weaponry and armor. Beneath the image the shortened title, The Mystic Tower, is revealed, instead of a caption, creating a sense of mystery around what might be occurring in the preceding scene.

The title page for The Mystic Tower.

The peculiar intrigue of these yellowed pages continues onto the title page where “The Mystic Tower, or, Villainy Punished. A Romance” is emblazoned in a combination of different fonts across the top half of the page, yet there is no author to be found. Instead, there are a few curious clues that follow, some indicating themes present in the story and others towards the origins of the work itself. Just below the title is another illustration, this time depicting a woman standing in the doorway of a low-ceilinged room with a look of astonishment on her face as she looks down upon a knight emerging from the floorboards. Following this is an excerpt from Shakespeare’s Macbeth that reads, “’Tis done! The scene of life will quickly close; Ambition’s vain, delusive dreams are fled, And now I wake to darkness, guilt, and horror…..I cannot bear it!…………….” Both the foreshadowing illustration and the ominous quote allude to the drama that is to come throughout the novel.

Tracking down the page, again, there is a note that mentions this book was printed in London for “KAYGILL, at his Circulating Library, Upper Rathbone Place; MACE, New Round-court, Strand; and ADCOCK Charles-street, Fitzroy-square; and may be had of all other Book-sellers in Town or Country.” This indicates where other copies of this work could be found throughout London, specifically mentioning a few circulating libraries at which interested subscribers could obtain the book for sixpence, as denoted in fine print below the message. At the very bottom of the page, the printer, W. Glindon, and the location of his shop, 48, Rupert-Street, Covenrry-Street, are listed. Though the publisher and the location of other copies of the book are helpful hints, the author of the work remains a mystery. The aged, brittle pages that follow hold narrowly spaced text, signature marks that allowed the bookbinder to order the sheets correctly, and a handful of stains from past careless readers, but no mention of the elusive author. There are no handwritten notes, pencil marks, stains, or tears among the pages, leaving no physical clues about this particular copy’s journey through the ages.


Textual History

The Mystic Tower has no known author, which makes it difficult for scholars to trace the work’s publication history.

The frontispiece for the The Mystic Tower, depicting Father Austin and Matilda standing terrified by the knight.

The Sadlier-Black collection’s copy of this chapbook is one of three currently recorded copies, and was printed specifically for T. Kaygill “at his circulating library” by W. Glindon (“T Kaygill,” “W Glindon”). Both of these men were British printers and publishers whose careers flourished in the early 1800’s. Though no specific publication date is available for this text, it was most likely published between 1803 and 1807. These dates encompass when T. Kaygill was at the address listed on the title page of the book (39 Upper Rathbone Place, London) (“T Kaygill”).

Many of the primary catalogues of nineteenth-century gothic works are devoid of any information on The Mystic Tower, so there is no record of advertisements for the book or public reception of the work. Aside from being briefly mentioned in Montague Summers’s A Gothic Bibliography,Frederick S. Frank’s The Gothic Romance 1762–1820 holds the most robust assessment of the book. He claims that its hurried “penny-a-line” writing style and plot mimic John Palmer’s Mystery of the Black Tower and ensconce the chapbook as a typical low-brow shilling shocker (Frank 123). This criticism leads scholars to believe that the book was not wildly popular, and was most likely not reprinted or adapted after its original publication.


Narrative Point of View

The Mystic Tower, or, Villainy Punished. A Romance. is written with a third-person anonymous narrator whose identity is never revealed in the text. The narrator adopts an omniscient perspective and offers insights about most of the main characters, while mainly telling the story as if following Matilda along her journey. Holistically, the narration is succinct, colloquial, and typically devoid of characters’ inner thoughts. The sentences the narrator uses are very long and littered with commas, but the language is clear and reads very comfortably. Only occasionally does the narrator hint at how Matilda would feel about a certain situation through well placed adjectives and emotionally connotated verbs. The only time that the voice of the narrator changes is when Matilda reads the letter titled “The Life of Lady Malvina Fitzwalter.” In this interpolated tale presented as a letter, Lady Malvina is writing in the first person and describing how she came to be in the curious position in which the young women found her.

Sample passage of third-person narration:

“The baron and baroness having been appraised of her illness entered at this moment, when the former approaching the bed, Matilda started back, exclaiming ‘did you murder him?’ ‘murder whom?’ exclaimed de Malvern. ‘The dark spirit in the tower,’ returned Matilda; ‘what is all this?’ said the baroness, turning to Clara, who without delay told them all she knew. They made no comments on her information, but commending Matilda to her care, both retired. The simple narrative of Clara, sunk deep in the mind of the baron, his reflections in supportable; the many reports he had heard in spirits that wandered in the ruined tower, and about the walls of the castle, rushed on his mind and in a convulsive agony he threw himself on a couch, groaning most piteously.” (15)

In this passage, Romaldi and Oswena are coming to check on Matilda after her encounter with the ominous knight. She is terrified and is convinced that her parents must have had something to do with the death of the de Malvern men for them to be haunted by such a terrifying being. The beginning of the passage sticks solely to the plot, describing the new baron and baroness approaching their daughter, but quickly switches to the dialogue in which Matilda makes her accusations about their involvement in the tragic deaths of the de Malverns. The narrator then resurges to describe how Matilda is put to bed by Clara, and then follows Sir Romaldi to detail the unrest he faces because of his deep-seated guilt for facilitating the death of the former Baron and his son. The focus of the passage is Matilda’s fear and her conversation with her parents, but when she is not in the scene the narrator is able to shed light on the experiences of some of the secondary characters.

Sample passage of first-person narration:

“Having the misfortune to lose my mother at an early age, I, the only child of lord Fitzwalter, was educated by an amiable woman with the utmost tenderness, and instructed in every branch of literature proper for a female mind.” (22)

This passage comes at the beginning of Lady Malvina’s letter to Matilda, explaining her rather tragic past. She speaks in the first person, using “I” frequently and colloquially, which indicates the intimacy of the contents of the letter and the authenticity of the story being told.  Readers are invited to sit in the shoes of Matilda during this break from the established narrative style, since the letter reads as a direct address, which highlights the flashback being recounted in the letter.


Summary

The story begins with Sir Romaldi, a poor knight returning home from his tour in the Holy Wars, trudging towards his castle and stewing over his jealousy of his relative, the rich Baron de Malvern. The Baron and his son are still fighting in the wars, and his inner monologue reveals that if they should die before they return from fighting, he himself would be next in line to inherit their estate and riches. While he is secretly wishing that a perilous fate befalls the father and son, a ghostly figure appears in his path, murmuring a prophecy about how his grim wishes will come true. Frightened by the eerie apparition, Sir Romaldi hurries home to meet his wife, Oswena, and his daughter, Matilda.

The story then delves into a flashback, featuring Matilda. One morning she was walking in the woods near the family castle, when a hunter appears from the woods claiming that he has lost his companions and asking if he can rest with her for a while. She agrees and the two exchange pleasantries. It becomes apparent that the young hunter, named Percy, has taken a liking to Matilda, and suddenly realizes that she is the daughter of Sir Romaldi. He exclaims that he cannot be seen with her, due to some deeply ingrained fissure between their families, but that he would like to meet Matilda again in the secret of the night. She, again, agrees, but is deeply troubled by the fact that he cannot meet her father, so after their first rendezvous she tells him she will no longer come to their meeting spot. She adheres to this promise for the next two years by not returning to their clandestine spot, but one evening she passes by and sees Percy walking below the battlement. She realizes how much she misses him, but it is too late because he is leaving to fight in the Holy Wars. To remind him that her prayers are with him she gives him a crucifix necklace and bids him goodbye.

A sample of the text, from page 13 of The Mystic Tower.

A return to the present hones in on a conversation between Sir Romaldi and Oswena, in which he explains the eerie apparition on his journey home and she replies that he should have the Baron de Malvern and his son slain to secure the prophecy that the ethereal figure foretold.  After falling into a terrified stupor, he gathers his resolve and agrees that the foul deed must be done.

Months later, a message arrives at Sir Romaldi’s castle that the Baron and his son have died, and that he is to inherit the de Malvern estate. The small family gathers their things and immediately moves into the new castle. An ominous tension falls over the household as Romaldi walks in, with the minstrels unable to play their instruments and other household servants running in terror. As Matilda is walking around her new home with her attendant, Clara, the servant girl explains to her that there is a suit of armor rumored to wander the halls of the unrenovated part of the castle at night, as well as a particular portrait whose inhabitant occasionally leaps from it to walk to the same mysterious tower, said to house the spirits of the castle. Matilda tries to mitigate the fears of Clara, but one night they are able to see a light moving in the windows of the tower which reinvigorates terror in both of the girls. They send for the family priest, who tells them they are being superstitious and foolish, but all three are then confronted with the large black suit of armor that the rumors foretold. Matilda rushes to her parents to tell them of her terrifying encounters, and asks them if they had some hand in killing the Baron or his son. They assure her that she has nothing to worry about, but they share a moment of concern knowing that these hauntings are very likely due to their nefariously plotted murder.

Tensions and fears settle, and Romaldi begins to bring suitors to the castle to eventually find a match for Matilda. She, however, is approached by a boy that gives her the crucifix she gave to Percy, with the promise that he would return it to her shortly before he came home to ask for her hand in marriage. When her father tells her that he intends to give her hand to a particularly distasteful Lord she refuses and, in his anger, he has Matilda and Clara locked in her room until the next day when she is to be wed. Clara helps Matilda escape her arranged fate through a series of trap doors and tunnels that lead from her room to the outside of the castle, and in the middle of their flight they are met again by the darkly armored knight, and are terrified but are still able to escape the walls of the castle. Matilda and Clara hide in the nearby convent, but are quickly discovered by Romaldi, and are sent a letter demanding their return home. The abbess helps the girls escape to travel to another convent, but after becoming fatigued during their journey, they come upon the benevolent and ethereal Lady Malvina. The girls are showered with Malvina’s compassion and kindness in her hidden underground dwelling in the forest.

One evening, Matilda is presented with a letter detailing Lady Malvina’s mysterious history. Reading it, she discovers that as a girl Malvina was the sole heir to a large estate, promised to be married to her lover, Sir Egbert, and had met a distressed young woman, named Josephine, in the woods and secretly took her into her own care. She lived in pure happiness until her father died, after which Sir Egbert began to act coldly towards her and Josephine left her to grieve the loss of her lover alone, which she later discovered to be the result of an affair between her two closest companions. She tried to go through with the marriage as planned, but at the altar exclaimed that her friends were and love and should be married instead, despite the great pain and sorrow it caused her. Later, when she was invited by Sir Egbert to visit them, it was revealed that he was unhappy with the ill-intentioned Josephine and asked for Malvina’s forgiveness. Having heard the conversation between the former lovers and feeling enraged, Josephine storms in and murders Sir Egbert. Suffering from such deep pain, Malvina moved into her current subterranean apartments to protect herself from accusations that she had killed Egbert and the cruel world that injured her so greatly. Matilda weeps for her friend’s losses, and feels a deep connection with her as she is the only mother figure Matilda has ever possessed.

The final page of The Mystic Tower.

Soon Matilda and Clara receive a letter stating that the son of Baron de Malvern has survived his time in the war, and a foray outside with Malvina results in the three women being discovered by Josephine’s men. They are taken to Josephine’s court, but Matilda is cast aside, and is taken back to the de Malvern castle. She is left by Josephine’s guard to get into the castle herself and after sleeping outside for a couple days, she manages to sneak into the castle, where she finds her father lying on the floor covered in blood. He is only able to explain that he has slain himself, her mother has been poisoned, and to apologize for his cruelty to her before he dies, and Matilda, horror stricken, is only able to find her way to a chair before she faints. 

She awakes to Percy holding her and he reveals that he is the son of the Baron de Malvern and rightful heir of the title and estate. He also tells her that her father sent an assassin to kill him and his father, though he only managed to murder the Baron, and that he sent a loyal friend to watch over the castle, giving an explanation to the eerie suit of dark armor Matilda had seen wandering the castle. Matilda then tells her story leading up to the present, and concludes with her sorrow over the fate of Malvina. Percy takes Matilda to Josephine’s castle to rescue her friend but Josephine, surprised and overwhelmed by the invasion, stabs herself in the heart to avoid capture. They find Malvina in the dungeon and bring her back to safety with them, securing her innocence for Sir Egbert’s death with the king. Matilda marries Percy to become Lady de Malvern and the two live long happy lives together with their children. Malvina remains heavily involved in Matilda’s life, and is able to spend her dying breath in Matilda’s arms.


Bibliography

Frank, Frederick. “The Gothic Romance 1762–1820.” Horror Literature: A Core Collection and Reference Guide, edited by Marshall Tymn. R. R. Bowker Company, 1981, pp. 3–175.

The Mystic Tower; or Villainy Punished. London, W. Glindon, N.D.

Summers, Montague. A Gothic Bibliography. The Fortune Press, 1940.

“T Kaygill,” British Museum, https://www.britishmuseum.org/collection/term/BIOG154036. Accessed 28 Oct. 2020.

“W Glindon,” British Museum, https://www.britishmuseum.org/collection/term/BIOG159720. Accessed 19 Nov. 2020.


Researcher: Olivia M. Walker

Spectre of the Turret

Spectre of the Turret

Spectre of the Turret; or Guolto Castle

Author: Isaac Crookenden
Publisher: Printed and Sold by R. Harrild
Publication Year: Unknown
Language: English
Book Dimensions: 10.9cm x 17.8cm
Pages: 32
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.C76 Sp n.d.


This early nineteenth-century chapbook by Isaac Crookenden presents an intricate story about relationships and family, weaving together romance, violence, betrayal, and the actions of a supernatural force.


Material History

Upon first glance, Spectre of the Turret looks simple and modest. The book was recently rebound in plain dark brown cloth. There is no text indicating the title or author nor are there any illustrations or decorations on the cover or the back of the book. The exact dimensions of the book are 17.8 by 10.9 cm. After opening the book, there is a mark of ownership on the left-hand side of the inside of the cover of the book. It is a medium sized cream sticker that has a blue University of Virginia symbol with the call number of the book. Below the UVA symbol and the call number, it states the words: “The Sadleir-Black Collection” and underneath it says: “Presented by Robert K. Black.” 

The title page for Spectre of the Turret

There is one blank page when opening the book. On the front of the next page, a ghost image of a rectangle can be found. This is from the illustration bleeding through from the back of the page. The illustration is hand-colored and is still quite vivid. Since it is hand-colored, it can remain quite colorful if it is not exposed to light unlike the actual text of the story which looks faded. The picture depicts a man dressed in the outfit similar to a knight’s, and he is holding up a bloodied cloth. There is also a dagger stained with blood lying on the floor next to him. The caption appears right under the illustration and says “The Handkerchief was stained with Life’s Crimson Stream and the Dagger was encrusted with blood! – See pg. 18” On the next page, the title and author are revealed. The full title says “Spectre of the Turret; or Guolto Castle.” The title is fairly large and centered on the page, and the words of the title are done in various fonts. This was a stylistic choice that was popular at the time to make the titles seem more interesting. Written right below the title are the words: “A Romance.” Underneath these words, the name of the author is written: “By Isaac Crookenden.” Following the author’s name and written beneath, there is a quote by Shakespeare as follows: “Tremble thou wretch, who has within Thee crimes, unwhipt of justice! Hide thee thy bloody hand!” Under this, information about the publisher is written as: “London: Printed and Sold by R. Harrild, 20, Great Eastcheap.” On the title page, there is a small faded pencil marking in the upper right-hand corner of the page. The pencil marking seems to be from a bookseller to indicate the price of the book and the stock number.

This page shows the small rips at the top of the page and the only footnote in the entire text

After the back of the title page, which is left blank, the next page contains the text of the actual story. Right above where the story starts, the shortened title of the story is written: “Spectre of the Turret.” The following pages contain the text of the story. The pages are light cream in color, but they are slightly browned in some areas. There are a couple of stains but none that make the text unreadable. To the touch, the pages are not brittle, but they do show a few signs of aging. There are page numbers on the top of every page ranging from 4 to 32. The text is black in color but looks slightly faded. This is because the paper ages and, with it, the text fades as well. The font is small and closely set, but it is still quite easy to read. The margins on the sides of the book are small, but the margins on the top and bottom are much wider. This is a result of the book not being trimmed very much after it was printed. Some pages have tiny rips on the top but none that obstruct the text.

There is no table of contents page in the book. Once the actual story begins, the text is the only thing present. There are no additional illustrations or decorations. There is a footnote present on page 11 for clarification on a specific word. Each page ends with a catchword, where the first word of the next page is printed in the footer in order to ensure that the printer ordered the pages correctly. The last page in the book ends with “FINIS” after the few final lines of the story. Altogether, this copy of Spectre of the Turret is in fairly good condition as it has been recently rebound so it is intact and the pages have not shown signs of significant aging or damage.


Textual History

Spectre of the Turret was written by Isaac Crookenden. He was known as a famous plagiarizer during his career and made a significant amount of money from stealing other people’s ideas and using them in his stories. Crookenden is “probably the most notorious counterfeiter of legitimate Gothic novels” (Frank 59). Isaac Crookenden wrote many chapbooks during the early nineteenth century. Some of his other works include The Skeleton, The Mysterious Murder, and Horrible Revenge, or, The Monster of Italy!!. The date of publication of Spectre of the Turret is not listed on the Sadlier-Black Collection at the University of Virginia, and it is indicated as undated in Frederick S. Frank’s “The Gothic Romance 1762–1820” as well. The publisher listed on the chapbook is R. Harrild in London. However, multiple copies of the book at different libraries, listed on WorldCat, have stated 1815 as the publication date. One copy of the book from the Huntington Library listed O Hodgson as the publisher and the publication date as 1810. Montague Summers’s A Gothic Bibliography supplies the date of publication for the work as around 1810. The Oxford Dictionary of National Biographylists the four publishers that Crookenden worked for as: S. Fisher, A. Neil, J. Lee, and R. Harrild as well as stating that the publication date for Spectre of the Turret was between 1810 and 1820. The speculation between the publishers and publication dates for the book might indicate that other editions were printed as well in different places, but does not conclusively determine the precise printing of this edition. 

The frontispiece for Spectre of the Turret

This work does not have a preface or introduction and does not have a prequel or sequel either. “The Gothic Romance 1762–1820” states that there are “several crude drawings” and says that “a half-dozen tower Gothics are mixed together and condensed into this garrish bluebook” (Frank 59). There have been no reprintings of this work in the later nineteenth century or twentieth and twenty-first centuries. The Oxford Dictionary of National Biography notes that none of Crookenden’s works were reviewed by scholars, and this text was not adapted in any form.

There are two contemporary digital copies available through Google Books. One of the digital copies says the original edition is from the British Library. These two digital copies also state the publication date as 1815 in the information about the book but not explicitly in the text. They seem slightly different from the chapbook from the Sadlier-Black Collection. The illustration has a different color scheme in the digital copies. The specific version of Spectre of the Turretfrom the Sadlier-Black Collection has an illustration with a light brown background and a man wearing a cream coat and red pants while kneeling next to a yellow chest. In the digital copies on Google Books, the illustration has a very dark background and a man wearing a royal blue coat and red pants while kneeling next to a red chest. This might be further evidence that there were other editions published of this chapbook, or that the same edition was hand-painted after publication. 

Other locations that have this book are: Harvard University, Princeton University, the Huntington Library, Pennsylvania State University, University of Oxford, British Library Reference Collections, and Universiteit Leiden in the Netherlands.


Narrative Point of View

Spectre of the Turret contains two different types of narration. The majority of the story is told from a third-person point of view. However, there are also a few instances when the narrator uses first-person plural pronouns such as “we” when directly addressing the reader. The narration, as a whole, includes lengthy physical descriptions of the characters and offers brief glimpses into their minds, while also focusing on the plot and the action.

Sample Passage of Third-Person Narration:

A huge mass of armour was the contents, which Florielmo instantly proceeded to examine, and discovered a napkin stuffed into the hollow of the helmet, which on being unfolded, a dagger dropt out of it; the handkerchief was stained with life’s crimson stream, and the dagger was encrusted with blood! Here was a demonstration of the truth of the spectre’s awful words. Florielmo carefully concealed these bloody proofs; and making no other discovery of any importance, he closed the chest in such a manner as to elude suspicion, and waited the arrival of the man with his breakfast. The day was past by Florielmo in ruminating on his uncle’s unparalleled baseness, of his mother’s horrible fate, and of the possibility of divulging the guilty secret to the world; absorbed in these thoughts, night again overtook him. (18)

Sample Passage of Narration Using First-Person Plural and Direct Address:

We now beg the reader’s attention while we relate the misfortunes of that young man, and show how unjustly he has been accused. (11)

The two types of narrative styles affect the story in two distinct ways. The third-person point of view creates fast-paced events, placing emphasis on the action and the conversations between characters. The first-person point of view and moments of direct address emerge when there are turning points in the plot. Each instance of direct address temporarily slows down the pace of the plot, while simultaneously signifying that what follows is essential to the story. The few sentences that use direct address also portray a more personal relationship between the narrator and the characters, indicating that the narrator cares for the characters in some way or, as in the example above, that the narrator is biased in the character’s favor. 


Summary

Spectre of the Turret opens with Signor Guolto coming home to his castle on the banks of the Tagus after years of serving his country. His wife died while he was away fighting in the Spanish War, and the narrator notes that even though his wife was lower in status than him, they still had a loving marriage. He sends for his daughter who is staying at his sister’s home. His sister looked down on him for marrying someone below his status and, because of this, she did not treat Signor Guolto’s daughter very well. His daughter, Aspasia, is very happy to come home and see her father. 

A young man named Don Florielmo comes to visit Aspasia and her father. He is the son of Guolto’s dear friend who died in battle and who once wished for Aspasia and Floriellmo to get married. Florielmo’s mother had disappeared after her husband’s death. Aspasia and Florielmo are very much in love, and are ready to get married. Florielmo receives a letter from his uncle, Manuel, that half of the estate has been taken by a fire and that Florielmo is needed back at home. Florielmo tells Aspasia that he will be back shortly, but she is very sad that he is leaving so soon. A month passes by without any word from Florielmo until one day Aspasia receives a letter that says that Florielmo is breaking up with her. She is completely heartbroken. 

A man named Lord Mountguardo comes to the castle to talk to Aspasia’s father. Even though he seems nice, Aspasia feels that there is something else hidden behind his outward character. Mountguardo reveals that he wants to marry Aspasia. He tells her that he knew Florielmo, and he has heard him brag about how much Aspasia has completely fallen for him. She becomes incredibly sad after hearing this about Florielmo. 

The scene transfers from Aspasia’s father consoling her after Mountguardo’s visit to what really happened to Florielmo. Florielmo is travelling to his home and lays down to get some sleep when he suddenly wakes up, tied up in a boat. The two men in the boat bring him to his own castle, and he thinks that they are going to murder him. They bring him into the castle and keep him prisoner in a turret in one of the towers. Florielmo is very confused about what is happening and worried about what Aspasia will think. The turret is a small room that contains a bed, a bookcase full of books, and a locked wooden chest. Since there is nothing for him to do, Florielmo takes a book and starts reading. The title is “The Noble Slave” and begins with a woman named Rudolpha and her husband, Orlando, awaiting a boat from their friend Lupo to take them away from their persecutors. However, when Lupo arrives, it is clear to see that he betrayed them as three soldiers come forward and seize Orlando. They are about to hit him when Rudolpha intervenes. Florielmo is interrupted in his reading by the arrival of breakfast and a letter from his uncle, Count Manuel. The letter states that Florielmo will remain a prisoner in the turret if he doesn’t sign half of his estates away to his uncle. His uncle makes it clear that he is very desperate for the money. Florielmo says that he will never do this and would rather remain in the turret forever. Aspasia comes to his mind at this moment, and he wonders what will happen to their relationship. He feels a strange parallel between his current life and the story that he has just been reading.

Florielmo goes to sleep and starts dreaming that he is reading the book. In his dream, while he is reading, a ghost-like woman appears with a stab wound on her chest that is pouring out with blood. Florielmo wakes up in terror and sees that same woman standing in the room. She reveals herself to be his mother and that she was killed by his uncle. She urges him to look at the locked chest to discover more evidence. The woman also says that it was the servants’ fault that he was put in this turret and that the count thinks that he is prisoner in the northern tower. She continues speaking and says that he should not sign his estates away. His mother vanishes when the clock strikes midnight. Florielmo wakes up from his dream and is in shock for awhile but decides to break open the chest. He finds armour and a napkin covering a dagger stained with old blood and a bloodied handkerchief. He hides this evidence away and closes the chest before anyone comes up to his room and discovers it. 

The final page of text in Spectre of the Turret

The story changes from Florielmo’s situation to Aspasia’s. Lord Mountguardo keeps visiting to woo her. Signor Guolto likes him, but Aspasia cannot feel the same way towards him as she had with Florielmo. Her father wants her to get married before he dies, and she finally decides to go through with it to make her father happy. Everyone is preparing for the wedding when a letter from Guolto’s sister arrives saying he and Aspasia have to come see her because she’s sick. Guolto decides that Aspasia should get married before the journey to his sister. Aspasia is dreading the moment of the wedding on her wedding day. However, right before she says the words to be united in marriage to Mountguardo at the altar, a figure in white comes between them and says they cannot get married. The priest states that God has deemed that this marriage cannot go through. After this incident, Aspasia and her father do not hear anything from Mountguardo. They decide to travel to see Guolto’s sister, Lady Loveni. When they arrive at her home, she apologizes to her brother for looking down on him for the past nineteen years. The lady’s son, Don Antonio, is about to get married. He and his fiancé, Georgiana, come to his mother’s home to look after her because of her illness. Georgiana and Aspasia become instantly close friends, but Aspasia does not reveal information about loving Florielmo because she does not want to tarnish his character. Georgiana finds her crying often and is unsure why. Aspasia tells her that she will reveal everything after the wedding between Antonio and Georgiana. However, Georgiana immediately jumps to the conclusion that Aspasia loves Antonio and that she is more worthy than herself to marry Antonio. Aspasia is shocked and says that she does not love Antonio, and he also fools around way more than is to her liking. She says she found a knife of his tied to a letter and says she is going to read it. Antonio reveals that he completely forgot about the knife, and he had found it in an old castle. Aspasia suddenly screams and faints while clutching the letter. When she awakes, she says that Florielmo has been betrayed and actually still loves her. The letter is from Florielmo, and he explains that the letter he received while visiting her was a trap. 

Mountguardo suddenly arrives to talk to Aspasia and happens to take a look at the letter. Aspasia does not trust him after he spoke ill about Florielmo. Just then, a man arrives who looks like a prince. He is very pale and fatigued. To everyone’s surprise, the man is Florielmo and he reveals that Mountguardo is actually his uncle, Count Manuel. Florielmo provides the proof from the chest that Manuel is the one who killed his mother. He goes on to explain that he had to kill another with that same dagger so he could escape through a secret passage he found when leaving the turret. Because of the shame of everything brought to light, Manuel takes the dagger from Florielmo and stabs himself, and dies soon after. 

Everyone is in shock at this turn of events, but things get back to normal after some time. There is a funeral for Manuel, and Florielmo decides not to expose the crimes to everyone else because he does not want to dwell on these past incidents after the man’s death. In the end, both couples decide to get married on the same day. Aspasia and Georgiana also end up both delivering babies on the same day as well. Since it is a boy and a girl, Florielmo and Antonio decide to betroth the babies to each other for a marriage in the future.


Bibliography

Baines, Paul. “Crookenden, Isaac.” Oxford Dictionary of National Biography, Oxford University Press, 23 Sept. 2004.

Crookenden, Isaac. Spectre of the Turret: Or, Guolto Castle. A Romance. Printed and Sold by R. Harrild, n.d.

Frank, Frederick S. “The Gothic Romance: 1762-1820.” Horror Literature: A Core  Collection and Reference Guide, edited by Marshall B. Tymn, New York, R.R. Bowker Company, 1981, pp. 3–175.

Summers, Montague. A Gothic Bibliography. London, The Fortune Press, 1941.


Researcher: Rachel Chiramel

The Affecting History of Louisa

The Affecting History of Louisa

The Affecting History of Louisa, the Wandering Maniac, or, ‘Lady of the Hay-Stack;’ So called, from having taken up her Residence under that Shelter, in the Village of Bourton, Near Bristol, in a State of Melancholy Derangement; and supposed to be a Natural Daughter of Francis I. Emperor of Germany. A Real Tale of Woe.

Author: Unknown
Publisher: A. Neil
Publication Year: 1804
Language: English
Book Dimensions: 10cm x 17cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.A388 1804


This 1804 chapbook, a shorter version of George Henry Glasse’s English translation of L’Inconnue Histoire Véritable, connects the life of Louisa, a deranged wanderer of Bourton, England, to her greatest loss—the social denial of her identity as the natural daughter of Francis I, Emperor of Germany.


Material History

The title page for The Affecting History of Louisa.

The Affecting History of Louisa, the Wandering Maniac, or, ‘Lady of the Hay-Stack;’ So called, from having taken up her Residence under that Shelter, in the Village of Bourton, Near Bristol, in a State of Melancholy Derangement; and supposed to be a Natural Daughter of Francis I. Emperor of Germany. A Real Tale of Woe. If you are still here after reading this vehement title, congratulations—you have what it takes to dive into this 1804 gothic chapbook.

This “shilling shocker” is more popularly known as The Affecting History of Louisa. Though an unsung art by many, this novel does possess a special role at the University of Virginia by existing as an individualized, treasured lens of history in the Sadleir-Black Collection presented by Robert K. Black. The Sadleir-Black Collection’s version of the novel is a fragile, well-worn 10cm by 17cm. A beautiful yet dreary illustration adorns the primary page of the coverless and boundless novel. There is evidence of past stitching and binding of the pages, which possibly suggest that the novel was removed from a larger accumulation of gothic novels. 

The pages of Robert Black’s The Affecting History of Louisa are brittle, yellow, and stained, yet they hold many secrets to the publishing and history of the unique novel. Throughout a series of 36 pages (the pages are numbered; however, the numbering begins six pages in with 8, and ends with 38), there are details including catchwords (a repeated/prewritten word located on the following page of a subsequent paragraph) and signature marks (numerical/alphabetical markings) which were used to assist the bookbinders and printers and to ensure correct book assembly on their part.

The frontispiece for The Affecting History of Louisa.

The precision and care that went into the assembling of the book is also reflected in the structured form of the printed words. With 1.5 cm side margins and a 2.5 cm bottom margin, the dainty 2 mm letters with their didonesque font are able to flow across the page and make an impact through their meaning more so than through their appearance. Several of the letters do attempt to make their own statements by being unconventional compared to current norms. Throughout the novel, the character “s” is depicted in multiple forms; sometimes taking on the conventional “s” form, but also sometimes being printed as a long S that looks more like an “f.” This printing trend began to dwindle following the eighteenth century. Between the cultural switch, there were some words where the flow of calligraphy followed the shape of a modern day “s,” and several words still followed that of an “f.” The printing of this novel simply adhered to those social norms of orthography. 

Not only does the interior of this chapbook portray the textual effects of social change, but the exterior does as well. On the cover page of the novel, there is a small, handwritten “5” on the top-left corner. This handwritten “5” could represent several things: perhaps a monetary value, or perhaps a set volume in a more mass pamphlet. Either way, it is evident that this novel has had its experiences with society. The Affecting History of Louisa appears to have been worn and appreciated by previous readers. 


Textual History

The Affecting History of Louisa is a petite chapbook with an extensive title within its first pages: The Affecting History of Louisa, the Wandering Maniac, or, “Lady of the Hay-Stack;” So called, from having taken up her Residence under that Shelter, in the Village of Bourton, near Bristol, in a State of Melancholy Derangement; and supposed to be a Natural Daughter of Francis I. Emperor of Germany. A Real Tale of Woe. There is no author listed for this chapbook.

This image presents an advertisement for a drama by James Boaden titled The Maid of Bristol, which inspired the reiteration of its story via this chapbook. 

The initial ambiguity of the chapbook’s authorship stems from the fact that the original work was a French text titled L’Inconnue Histoire Véritable; moreover, English translations included many different titles and forms. George Henry Glasse, a scholar and clergyman, first translated this text into English as A Narrative of Facts. A second edition of Glasse’s translation appeared in 1801 as Louisa: A Narrative of Facts, Supposed to Throw Light on the Mysterious History of “The Lady of the Haystack.” This book was popular enough that it “quickly reached a third edition” (Vian and Ellis). There exists another edition of Glasse’s translation with yet another title, A Narrative of Facts: Supposed to Throw Light on the History of the Bristol-Stranger; Known by the Name of the Maid of the Hay-stack. Translated From the French, which includes an introduction signed by Philalethes. 

Glasse’s translations also inspired a three-act play called The Maid of Bristol, dramatized by James Boaden. Boaden was a dramatist whose works revolved around the gothic genre. While The Maid of Bristol is not well-known for its popularity today, the play is still accessible and available for purchase online. The Affecting History of Louisa, the Wandering Maniac is a shorter chapbook version of Glasse’s translation and was, in particular, “induced” by the popularity of Boaden’s play; the advertisement in this chapbook states, “Mr. Boaden having, with so much success, dramatized the following interesting Tale, under the title of ‘The Maid of Bristol,’ induced us to present the Public with the original Narrative; which we are enabled to do, from the most authentic documents” (Affecting History 6). The Affecting History of Louisa, then, arrived on the publication scene after many translations and iterations of the original French text that aims for a genuine, historically accurate account of the mystery at the center of the story: the true natural daughter of Francis I. 


Narrative Point of View

The Affecting History of Louisa is narrated from a third-person perspective. The frame narration opens and closes with an anonymous third-person narrator who presents part of Louisa’s history with an objective and occasionally empathetic tone. 

Sample of Third-Person Frame Narration:

Some few years ago, a young woman stopped at the village of Bourton, near Bristol, and begged the refreshment of a little milk, There [sic] was something so attractive in her whole appearance, as to engage the attention of all around her. (7)

This third-person frame narration also introduces two other embedded narratives. The first embedded narrative is an oral account by a man from Bristol who spoke with Louisa directly. The chapbook’s narrator explains that the “respectful gentleman in Bristol … has favoured us with some authentic memoirs” and then includes this oral account for several pages (15). The narrative demarcates the Bristol man’s oral narrative with quotation marks at the beginning of each paragraph. 

Sample of Bristol Man’s Oral Narrative about Louisa: 

“I should have conceived her,” says the writer, “to be about five-and-twenty; and notwithstanding the injuries which her situation and mode of life must inevitably have occasioned in her looks, she had still a very pleasing countenance. Interesting it certainly was in a high degree; but it is not easy to say how much this impression was to be attributed to the previous knowledge of her story. She had fine, expressive, black eyes and eye-brows; her complexion was wan, but not fickly; her under jaw projected a little, and I fancied I could distinguish something of the Austrian lip; but it was not decidedly marked. Her nose had nothing particular; her hair was very dark, if not black, and in length about a year and a half’s growth, not being thick, but coming down on her forehead; her arm and hand were delicate, with small long fingers.” (9)

The Bristol man’s oral narrative ends without additional commentary from the chapbook’s frame narration. Then there is a line indicating a break in the narrative, and then an italicized description of how a French narrative was found that suggests Louisa is La Fruëlen, and that the chapbook will now include the translation of this narrative. This translated narrative is presented in the third person and focuses on La Fruëlen’s tale for the next twenty-two pages. 

Sample of Translated French Narrative of La Fruëlen’s Tale: 

When the priest came to take her from her house in Bohemia, he told her, that he was going to conduct her to a convent in France. Ignorant as she was, the little which Catharine and her mama had told her of a religious life, taught her to consider a convent as an horrible prison, from which there was no escape: and this idea had so disturbed her mind, that from the moment of her quitting her habitation in Bohemia, she had formed the project of flying, as soon as possible, from such captivity. (28)

By addressing the story with a frame narrative that includes two separately sourced tales (one an oral memoir, and one a translation from a French text), the story of Louisa becomes a type of reality or history that the reader is discovering. The frame narrative works well to connect the woman who claims to be La Fruëlen to the story of the late Emperor, as well as connecting that woman to Louisa, which ultimately connects their stories in a complete manner, defining the tragic, affecting history of Louisa. 


Summary

The first page of this chapbook.

The Affecting History of Louisa is introduced as a recent tale of woe, as the narrative begins, “Some few years ago” (7). The reader is introduced to a woman of the past, in the village of Bourton, England, who is begging for milk. She is described as being young, attractive, and elegant despite her begging state. While she is beautiful, it is evident that over the years, she has experienced hardship, sickness, exposure to the natural elements, and misery. Due to the fact that no one is aware of the nature of her origin, they call her Louisa. She is infamous for her obsessive connection to sleeping in an old haystack rather than a home. As a woman who has experienced multiple episodes of insanity, there have been multiple times when Louisa has been relocated to different hospitals and villages. Despite being relocated, she always manages to find her way back to the haystack. Louisa did not put her worth in items, but spent her days interacting with the village children and going about on her own. 

After a while in the village, she is finally relocated to the village of Bitton in Gloucestershire, England, to be supported by Miss Hannah Moore and her sisters. It seemed evident that Louisa is a foreigner, so Miss Moore attempts to find out which country she is from. Miss Hannah Moore arranges for a Bristol man to visit and speak with Louisa in different languages. First, when the man speaks French, Louisa seems confused—but when he speaks German, she becomes over-emotional. When she can finally gain her composure, she denies knowing the language. The chapbook’s third-person narrator explains that this Bristol man “favoured us with some authentic memoirs” and goes on to include several pages of the Bristol man’s account of Louisa (9). The Bristol man describes Louisa as having fine, expressive black eyes, a pale complexion, a slight jut of the jaw, dark hair, delicate features, and lips that were perhaps Austrian. The Bristol man speaks to Louisa in the way a man speaks to a child. She is not dumb, but slow. He wants to know more of Louisa’s origin. While she is very guarded, he discovers that she responds well to kindness, and he learns that she is fixated on two people called mama and papa, that she understands French, that she is amused at his German, and that she has a large mark or wound on the lower part of her head behind the ear.

This page shows the introduction to the narrative translated from French.

In the next section, the chapbook begins with italicized narration explaining that a “Narrative made its appearance on the Continent” showing “so many striking coincidences” that suggest that Louisa is actually La Fruëlen, the natural daughter of Francis I, the late Emperor of Germany (15). The narrative goes on to include the entirety of the supposed translation of this originally French narrative, which begins in 1768. The narrative first introduces the Count M. de Cobenzel, the imperial minister at Brussels. He receives a letter stating that he should not be surprised if his advice and friendship are sought after. The letter is written in French, and signed La Fruëlen from Bourdeaux. He receives other letters encouraging him to support La Fruëlen, from people such as Le Comte J. de Weissendorff from Prague and Le Comte Dietrichstein from Vienna. Cobenzel begins to write with La Fruëlen, offering his support. At the beginning of 1769, the Court of Vienna informs Versailles that La Fruëlen should be arrested and taken to Brussels to be examined by Cobenzel and the First President, M. de Neny, for being an imposter. The Court of Vienna had discovered Fruëlen’s existence because the King of Spain had received a letter encouraging him to defend her, which he then shared with the Emperor, who shared it with the Empress, who called for her arrest. 

As La Fruëlen arrives in Brussels, she is met with an unsigned letter encouraging her that there is an attempt to save her so she should not despair. Cobenzel and M. de Neny question her and her origin. They describe the woman who goes by La Fruëlen as being tall, elegantly formed, with simple and majestic brown hair, fair skin, and fine dark eyes. She also speaks French with a German accent. The two men dive into the story of her childhood. She explains how she is uncertain of her birthplace, but knows she was educated in Bohemia, and grew up in a sequestered house in the country under the care of mama, Catherine, and the priest – who opposed her learning to read and write for unstated religious reasons. She describes how a stranger in huntsmen clothes would visit periodically, and while he was a stranger to her, he seemed to know her. On one visit, she noticed a red mark on his neck, and when she questioned him about it, he explained that it was the distinction of an officer, and implied that she is the daughter of one. After their conversation, the man had to depart again, but promised to return soon. This promise was broken thereafter because he had fallen ill and could not travel. The novel goes on to explain how this is historically accurate to the life of the late Emperor. On his final visit, he leaves her with a photo of himself, the Empress, and her mother. On his departure, he makes her promise to never marry and that she will be and taken care of and happy. 

After this story, the woman called Louisa describes her departure from Bohemia. First, because she is scared to share her story in front of everyone, she conjures a grand lie that seems too good to be true. Cobenzel catches her in her lie, and she is forced to tell the truth in hopes of regaining his trust. The truth behind her departure from Bohemia is that her priest had planned for her to move to a convent, but she decided to run away instead out of fear of the stories she had heard about convents. She hid in the barn of a generous farmer who provided her with the necessities she required. She still needed to gain distance from Hamburgh, though, so she journeyed to Sweden. On this journey, she injured her head with a nasty cut and required a surgeon to heal it. She then joined a compassionate Dutch family who was journeying to Sweden as well. Once she reached Stockholm, she left the travelers and stayed in the house of a German woman. She became great friends with this woman, but one day, she overheard from her hairdresser that the imperial minister of Stockholm was wondering about an escaped girl. Her fear of poverty overcame her fear of the Convent, so she turned herself in to M. de Belgioioso. He took good care of her. He first gave her housing and money, and then he invited her into his own house for safety. Within those walls, she saw a portrait of the late Emperor Francis, and fainted. They struggled to wake her and she had a bad fever, which was almost fatal. 

The final page to this “real tale of woe.”

La Fruëlen’s story becomes tragic as she explains how her supply of financial aid was cut off suddenly, and she accumulated a great amount of debt. In order to gain support, she herself wrote the letters to the people addressed at the beginning of this explanation, including Cobenzel and the King of Spain. She claimed, however, that not all the letters were forged by her, and that several had truly been sent.

Ultimately, M. de Neny is in denial that she is in fact the daughter of the Emperor. He believes that she is truly just a merchant’s runaway daughter. M. de Neny declares that she should return to her city and face her debtors as a punishment for her lies and sins. Cobenzel disagrees, however, he is near death. The day before Cobenzel dies, he receives an anonymous letter saying not to dismiss La Fruëlen, however, the note is burned and dies with him. Four days after Cobenzel’s death, La Fruëlen is released from prison, given a little bit of money for travel, and abandoned to her wretched destiny. 

At this point, the translation of the French narrative ends and the original chapbook narration resumes. This narration explains that “poor Louisa is no more” with her death on December 19, 1801 (37). The final resolution to this tale is announced in the simple fact that Louisa was discovered under the haystack in the year 1776.


Bibliography

The Affecting History of Louisa, the Wandering Maniac. London, A. Neil, 1804.

Boeden, James. The Maid of Bristol: A Play in Three Acts. New York, Printed and Published by D. Longworth, 1803.

Glasse, G. H. A Narrative of Facts: Supposed to Throw Light on the History of the Bristol-Stranger; Known by the Name of the Maid of the Hay-stack. Translated From the French. Printed for Mr. H. Gardner, Mr. Bull, Mr. Lloyd, Messrs. Evans and Hazell, and Mr. Harward. 

Glasse, G. H. Louisa: A Narrative of Facts, Supposed to Throw Light on the Mysterious History of “The Lady of the Haystack.” P. Norbury, 1801, wellcomecollection.org/works/a4226rdm/items?canvas=5&langCode=eng&sierraId=b22021437.

L’Inconnue Histoire Véritable. 1785.

Vian, Alsager and Mari G. Ellis. “George Henry (1761–1809).” Oxford Dictionary of National Biography. July 9, 2020. Oxford University Press. https://doi-org.proxy01.its.virginia.edu/10.1093/ref:odnb/10803.


Researcher: Abigail Grace Kiss

The Invisible Ring

The Invisible Ring

The Invisible Ring; or, the Water Monster, and Fire Spectre

Author: Unknown
Publisher: Printed by T. Maiden for Ann Lemoine, J. Roe
Publication Year: 1806
Language: English
Book Dimensions: 8cm x 11.5cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.I548 1806


In this 1806 chapbook set in the Grecian Isles, an evil magician and his accomplice stop at nothing to thwart the marriage of the beautiful Princess Evelina and her true love, Prince Valentia.


Material History

The University of Virginia’s Sadleir-Black Collection of Gothic Fiction contains an edition of “The Invisible Ring.” The full title of the book—“The Invisible Ring; or, the Water Monster, and Fire Spectre”—appears only once in the whole text. This can be found on the first page of the book following the cover. The title is then referred to as simply “The Invisible Ring” atop each page of text. The name of the author is not included anywhere in the book. The most specific reference given is a brief sentence indicating that The Invisible Ring was published in England in 1806. There is one illustration in the whole book which lies on the inside cover. It depicts a woman standing alone on a small piece of land surrounded by water. She is chained to a large boulder, representing a scene from the book. The monochrome image is captioned simply “Invisible Ring.”

The title page of The Invisible Ring

The book’s dimensions are 11.5 by 8 centimeters; it is 36 pages long. The binding is no longer in place, but a strip of leftover leather remains along the seam. The front and back covers are now simply reduced to paper. The quality of the paper in the book is thin and weathered; the overall appearance is worn, damaged, old, faded, and small. Many pages have small tears beginning at the edges, and several pages towards the end are even entirely detached. Each page is covered from top to bottom with closely-set text in very fine print. There is little white space leftover. At the bottom of each page is a letter followed by a number: for example, “G1.” This style of marking was used to maintain page order during printing. However, the first page begins on the letter “G,” indicating that there once may have been preceding pages of separate stories that have since been lost.

Written on the first page under the full title are the words, “Founded on the popular Aquatic Melo-Drama, as performed with universal applause at Sadler’s Wells.” Sadler’s Wells is a prominent theater and dance company in London that is still in existence today. Additionally, following the story, there is a section devoted to the full lyrics of each song mentioned in the book. 

On the last two blank pages of the book, there are penciled-in notes, including a list of ten book titles such as The Invisible Ring and Blackbeard, the Notorious Pirate. Publication years are also written down next to each book title. These notes may have been taken by Michael Sadlier or another reader in an attempt to discover other books belonging to a collection of short stories with The Invisible Ring. This would also provide an explanation for the missing pages at the beginning of the book. Moreover, the notetaker hypothesized in his notes that The Invisible Ring may be related to another chapbook: “This must be a sequel to The TellTale (1805).”


Textual History

The chapbook The Invisible Ring; or, the Water Monster, and Fire Spectre was published by T. Maiden for Ann Lemoine in London, 1806. This chapbook was a version of a play that was popular the same year in London. The author of the chapbook is unknown, but the playwright of The Invisible Ring was the celebrated dramatist Charles Dibdin Jr., and the music in the play was composed by William Reeve. It premiered on June 25th, 1806 at Sadler’s Wells Aquatic Theatre.

Collection of song lyrics in The Invisible Ring

Due to little digital evidence, there are many unknowns surrounding the chapbook’s history: it is unclear whether there were multiple editions of the chapbook, if it was ever translated, if there are prequels or sequels, how it was advertised and received, or if it was ever adapted. However, although information regarding the chapbook is scarce, the play version from Sadler’s Wells has a significant digital footprint. To that point, there are no digital copies of the chapbook to be found online, but there are multiple references to the Sadler’s Wells production on GoogleBooks (Greene 4517). 

The writer of the play, Charles Isaac Mungo Dibdin (1768–1833), was the first son of Charles Didbin, who was also a playwright and composer. Dibdin the younger launched his career in the theatrical world when he became the manager of Sadler’s Wells in the year 1800 (Kilburn). He took the theatre to new heights in 1804 by installing a water tank below the stage rebranding Sadler’s Wells as an aquatic theatre. The water tank was ninety feet long, twenty-four feet wide, and three feet deep (Press 223). The water was sourced from a nearby river. However, the process of changing out the water took many workers and many hours, so it was only done once every three weeks (Press 224). The aquatic theatre allowed for far more realistic productions than before, consisting of actors swimming across the stage during aquatic scenes. This included naval attack scenes in a war play as well as an oceanic setting for a play about Poseidon, the Greek god of the sea. The aquatic feature was utilized in The Invisible Ring during its last scene.

Markings at the end of The Invisible Ring

At the end of The Invisible Ring chapbook, there is a list of lyrics from the songs that originate in the play. These were written by William Reeve. Reeve (1757–1815) was a composer for Sadler’s Wells for many years, owning a full eighth of the company by the year 1802 (Halliwell). He worked closely with Dibdin during this time. However, he was known for his habit of using other composers’ music in his arrangements, leading his work to be criticized by many (Halliwell).

In terms of reviews of the play, newspaper clippings from the week of the first performance of The Invisible Ring indicate that Sadler’s Wells was a popular theatre with many supporters (“Aquatic Theatre Sadler’s Wells” 3). The play was likely well-received by the public as a result of its “variety of supernatural appearances performed on real water” (“Aquatic Theatre Sadler’s Wells” 3). However, an incident at the theatre in 1807 marks the decline of Dibdin’s success at Sadler’s Wells. A false fire alarm was set off during a performance and the resulting stampede killed eighteen people (Kilburn). The Napoleonic Wars occuring at the same time put a further stress on the entertainment industry, eventually leading to Dibdin’s bankruptcy. He eventually sold his shares of the theatre to pay off his debt (Kilburn). The Invisible Ring along with all the notable productions of the time were likely soon forgotten.


Narrative Point of View

The Invisible Ring is narrated in the third person omniscient by an anonymous narrator who does not appear in the text. The narrator describes events concerning each character in the story, as well as each character’s internal reactions to major plot points. In addition, the narrator gives the reader insight into events that some characters are not privy to. The narration is composed of lengthy sentences with lots of punctuation.

Sample Passage: 

We will leave them wandering for the present, and return to the intrepid Jeannot, who had voluntarily undertook a hazardous enterprize, in which there was very little chance of succeeding, but a very great one of losing her own life: but this she was willing to risk for the sake of her dear mistress. (15–16)

This style of narration gives the chapbook the feel of a play where the audience is directly involved in the production. Additionally, the passage shows a verbose sentence structure. The use of long sentences allows the narrator to give vivid descriptions of events and characters’ emotions. For example, the narrator uses this passage to delve into Jeannot, who is a minor character in The Invisible Ring. Though her role is small, the narrator still provides an explanation for her actions and builds her character into not just an arbitrary servant, but a loyal confidant of the princess.


Summary

The story takes place on an isle in the ancient Grecian empire. The plot is introduced with the forthcoming wedding of Prince Valentia and his beautiful betrothed, Princess Evelina. Alas, a neighboring governor named Ernulph seeks the princess for his own. He journeys to the cave of the mysterious sorcerer and magician, Alnaschar, to ask for help in his scheme to prevent Valentia and Evelina’s matrimony. There, the two form a sinister partnership.

The frontispiece of The Invisible Ring

Valentia and Evelina’s wedding day arrives. The ceremony is just beginning when an apparition of Evelina’s deceased mother appears. In reality, she is merely a guise of an evil spirit conjured by Alnaschar to create a diversion at the wedding. While she chants prophecies of warning, Ernulph, Alnaschar, and his henchman, Nervoso, kidnap Evelina. Valentia sends his captain of the guard after them, but Alnaschar escapes with Evelina through the use of a magic ring that renders its wearer invisible. 

The captured Ernulph and Nervoso are taken to a prison for interrogation. When Nervoso agrees to comply with Valentia’s demands, Ernulph begins to attack him, so Valentia orders for the two to be imprisoned separately. Shortly after, a violent fight ensues between Ernulph, the captain, and Valentia. Ernulph is defeated, but Valentia mercifully gives him his freedom, hoping the act of kindness will result in friendship. However, Ernulph leaves angrier than before. 

Afterwards, Valentia questions Nervoso, who confesses Ernulph’s entire scheme. He promises to steal Alnaschar’s invisible ring so that Valentia can use it to rescue Evelina, who is being held captive in Ernulph’s castle, which is guarded by impenetrable magical forces. Valentia releases Nervoso, who journeys to Alnashcar’s cave. He waits until the magician is asleep, then puts a magic ointment on his eyelids that will keep him asleep for twenty-four hours. He then steals the ring and begins the journey back to Valentia’s castle. Meanwhile, Valentia pays a visit to Evelina’s fairy godmother, Bonoma. She produces a dragon for him to use in pursuit of Evelina. 

When Nervoso arrives back at the castle, Valentia is not there, so he uses the stolen ring to play tricks on Evelina’s maids, Marianetta and Jeannot. Jeannot quickly realizes that their pesterer is Nervoso with the invisibility ring. She manages to steal it off his finger and takes it for herself. Valentia returns to the castle three days later after an unsuccessful attempt to rescue Evelina with the dragon. Nervoso informs him of how he lost the ring to Jeannot. Then the two journey to the forest surrounding Ernulph’s castle to gather intel and hatch a new escape plan. 

Jeannot, in the meantime, uses the advantages of the invisibility ring to bypass the magician’s enchantments and enter Enrulph’s castle in an attempt to save her beloved princess, Evelina. She finds Evelina being held captive in a room with Alnaschar and Ernulph. Due to her invisibility, the three dismiss her entrance as a gust of wind. Alnaschar begins preparations for a potion that will render Evelina unconscious, leaving her unprotected from Ernulph’s wicked intentions. But when he gives it to Evelina, the invisible Jeannot knocks the glass out of her hands. Ernulph and Alnaschar plot once more and decide on another means of tricking Evelina: an enchanted belt that will allow Alnaschar to control her will. However, Jeannot hears their plan and again destroys the belt just as Evelina is about to wear it. Amidst Ernulph and Alnaschar’s confusion, Jeannot slips the invisibility ring onto Evelina’s finger and hides behind a sofa. Realizing Evelina’s disappearance, Ernulph and Alnaschar leave the room in search of her; Jeannot uses the opportunity to escape back to Valentia’s castle. 

Sample text from page 28 of The Invisible Ring

Back at Ernulph’s castle, Evelina uses the power of the ring to secure her escape. She makes it to the forest where she encounters Valentia and Nervoso. There is a joyous reunion between Evelina and Valentia, and also between Nervoso and the invisibility ring he cannot believe to have found again. Just as they are making their exit from the forest, Ernulph, Alnaschar, and several of their attendants arrive on the scene; a battle ensues. The princess is taken again and Alnaschar draws a magical line before Valentia that he cannot cross. However, Nervoso, invisible by the ring, evades the line and follows Alnaschar in order to rescue Evelina. He finds her trapped in a tower. She must accept a marriage proposal from Ernulph or she will soon be chained to a boulder on an island where a sea monster resides. Nervoso reports back to Valentia with the news, then travels to the fairy Bonoma for more help. 

Meanwhile, Evelina refuses Ernulph’s proposal, so Alnaschar and Ernulph deliver her to the island. Just as the sea monster emerges to devour her, Valentia arrives on his dragon and begins to fight the sea monster. Nervoso arrives too and discovers Ernulph and Alnaschar on the island. While Valentia and Nervoso duel with Ernulph and Alnaschar, Bonoma arrives and frees Evelina from the enchanted rock. Valentia and Nervoso defeat Ernulph and Alnaschar, who then sink into the lake. 

Valentia and Evelina return to Valentia’s castle and are married the next day. Nervoso and Jeannot receive recompense for their bravery and the two get married several days later as well. 


Bibliography

“Aquatic Theatre Sadler’s Wells” The Observer, 20 July 1806, 3.

Greene, John C. “Appendix: New London Plays, 1745-1820” Theatre in Dublin, 1745–1820: A Calendar of Performances, Volume 6. Lehigh University Press, 2011, pp. 4517. 

Halliwell, Victoria. “Reeve, William (1757–1815), actor and composer.” Oxford Dictionary of National Biography. September 23, 2004. Oxford University Press. https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-23304

The Invisible Ring: Or, the Water Monster, and Fire Spectre. A Romantic Tale Founded On the Popular Aquatic Melo-drama, As Performed With Universal Applause At Sadler’s Wells. London, printed by T. Maiden for Ann Lemoine, 1806.

Kilburn, Matthew. “Dibdin, Charles Isaac Mungo [known as Charles Isaac Pitt; performing name Charles Dibdin the younger] (1768–1833), theatre manager and writer.” Oxford Dictionary of National Biography. September 23, 2004. Oxford University Press. https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-7586

Press, Anita L. Sadler’s Wells Theatre Under Charles Dibdin the Younger from 1800 to 1819: When Britannia Ruled the Stage. 1994. ProQuest.


Researcher: Isabella Mehrotra

Edward and Eleonora

Edward and Eleonora

Edward and Eleonora; or, The Adventures of A Stroller

Author: Frederic Chamberlain
Publisher: J. Lee
Publication Year: Unknown, likely between 1804 and 1824
Language: English
Book Dimensions: 11.2cm x 18.6cm
Pages: 38
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.C43 E n.d.


This circa early nineteenth-century chapbook by Frederic Chamberlain demonstrates how a farmer’s generosity leads to the reunion of two long lost family members, as well as the spark of a fated romance. 


Material History

The cover of Edward and Eleonora has no title and is just a blank paper binding that features only the mark of the Sadleir-Black Collection presented by Robert K. Black. When the book is opened, the backside of the cover features an illustration of two men and a woman, standing by a tree with what appears to be a small castle or church protruding not far behind them in the background. One man is holding a shovel in his left hand and the other stands behind the woman holding her. They all appear to be looking downwards at a grave that rests at the foot of the tree and gesturing to it with their hands. Beneath the illustration on the same page, in formal cursive text, is the caption, “With downeast Looks she surveyed the Grave of the dear departed.”

The title page for Edward and Eleonora

The title of the chapbook first appears at the top of the following page in bold capital letters. It states “EDWARD AND ELEONORA;” and then beneath it in a different font, “or, THE ADVENTURES of A STROLLER.” Beneath this title there is a bolded horizontal line that separates the title from “A ROMANCE” followed by another horizontal line beneath that separating the authors name, “BY FREDERICK CHAMBERLAIN,” with another line beneath his name. Underneath the author’s name reads “London: printed and published by J. LEE, No.24, Half Moon Street, Bishopsgate: and sold by all the booksellers.” At the bottom of the title page are the words: “Price Sixpence.” This title page is the only one in the book that features the title or the author’s name.

The dimensions of the book in centimeters are 18.6 by 11.2. The title page is on page 3, and the book starts on page 4 and finishes on page 38. One’s first impressions of the book are that it is small, both in dimensions and length. Furthermore, it appears quite old, worn, and cheap, especially around the edges of the pages where they are slightly frayed and torn in places. Despite this, the paper is in relatively good shape as there are no significant tears and the paper is fairly sturdy. The paper has a yellowed color to it and is flexible. The binding is paper and the book is disbound, with no decorations featured on the binding. There are no other decorations found anywhere on the cover or within the pages of the book. Additionally, the frontispiece illustration is the only one throughout the book. The pages within the book have fairly large top and bottom margins, with smaller side margins. The text on the page is small, close together, and there is little space between each line. It is dark and easy to read and only slightly faded on a few pages. On the last page of the book at the end of the text the word “FINIS” appears at the bottom. Apart from the pages appearing worn, there are no post-production markings anywhere on the pages from previous readers.


Textual History

The author of Edward and Eleonora; or the adventures of a stroller is known only from his chapbooks as Frederic Chamberlain. He is described as a “novelist, of whom hardly anything is known” (“Mulvey-Roberts”). It is unknown where he is from but Edward and Eleonora was a fictional chapbook, printed and published in London by a man known only as J. Lee. The chapbook was originally written in English and is thought to have been printed and published sometime between 1804 and 1824 (WorldCat). Frederic Chamberlain wrote another chapbook called Lucretia; or, The Robbers of the Hyrcanean Forest. Both Lucretia and Edward and Eleonora were short gothic romances, showing a general trend in the type of genre towards which Frederic Chamberlain tended to gravitate.

The frontispiece for Edward and Eleonora

There exists another story, titled Edward and Eleonora: A Tragedy, by British writer James Thomson. This play was published shortly before Frederic Chamberlain’s, in 1751. Furthermore, it was adapted to the stage in 1795 by Thomas Hull. The plots of Thomson’s Edward and Eleonora and Chamberlain’s Edward and Eleonora appear to be unrelated and generically distinct, since one is a tragedy and the other a romance. However, there are a few uncanny similarities between the actual history of James Thomson’s play and the fictional plot of Frederic Chamberlain’s chapbook. It is very likely that Frederic Chamberlain derived the title for his chapbook from the popularity of James Thomson’s tragedy. In both stories, the characters Edward and Eleonora are husband and wife. Furthermore, much of Frederic Chamberlain’s plot in his story revolves around Edward trying to obtain a license from Frederick, Eleonora’s brother, that would permit him to perform a play for Frederick and Eleonora. Interestingly, in the eighteenth century, James Thomson’s play was originally banned from performance at Covent Garden by the Lord Chamberlain, due to the licensing act of 1737, which restrained what was allowed to be said about the British Government in theatrical performances (“Wilson” 175). The play was banned because the portrayal of James Thomson’s characters, Edward, Prince of Wales, and his relationship with his father, Henry III, was viewed as a political attack that reflected the real life relationship of Frederick, Prince of Wales, and his father, George II, at the time (“Wilson” 177). Frederic Chamberlain’s plot in Edward and Eleonora, involves Edward attempting to obtain a license from Frederick so he can perform a play. Similarly, James Thomson could not perform his play Edward and Eleonora because he could not obtain the license from Lord Chamberlain, since his characters were representations of Frederick, Prince of Wales, and his father. It appears clear that Frederic Chamberlain’s plot and characters in Edward and Eleonora loosely model much of the actual conflict James Thomson experienced with his play Edward and Eleonora. Furthermore, there is evidence to suggest that Frederick Chamberlain was also a member of the Inns of Court, and thus a barrister himself (see the history for Chamberlain’s other chapbook, Lucretia).

There is no evidence of any prequels or sequels to Edward and Eleonora and no introduction or preface. Additionally, there is no information regarding the popularity of the chapbook when it was published and nothing to suggest it was ever advertised in any way, neither at the time of publication nor at a later date. It appears there are no later publications of the book, as well as no alternate versions or existing digitized copies. The book is held in the University of Virginia Special Collections Library among the Sadleir-Black Collection of Gothic Fiction. The only other known locations of the book are in the University of California, Los Angeles Special Collections, and New York University’s Fales Library and Special Collections in the Elmer Holmes Bobst Library. There is no scholarly study to be found on this book, however, the title and author are briefly cited in A Gothic Bibliography by Montague Summers (304).


Narrative Point of View

The narration of Edward and Eleonora is in the third person by a narrator whose identity is never revealed to the reader. The narrator goes into detail about the characters’ thought processes and emotions. The narration describes each individual situation with long sentences containing mini tangents that describe a character’s action. The style feels old-fashioned, with a lot of antiquated syntax and diction. The narrator is most frequently used as a means to transition between character dialogue.

Sample Passage:

Justice Manly was petrified — every nerve trembled — he had scarce power to call his domestics, — for his tongue denied the power of utterance ; however, he hobbled to the apartment wherein Eleonora and her brother were, by which time he was enabled to make known the situation of our hero. They precipitately entered the room, and found him stretched on the floor, with eyes strongly fixed on the portraits of his departed parents. — A flood of tears relieved him — he looked wildly at the objects around him, and enquired by what means those portraits came in the possession of Justice Manly, who replied, they were the portraits of his beloved sister and brother. — Our hero looked him steadfastly in the face, and exclaimed aloud; ‘Behold then, your unworthy nephew ; whose irregularities were the cause of a loss, which is now irreparable — your affectionate sister. — Ah what a sting has death left behind — an arrow has pierced this heart which can never be withdrawn. (35)

The narrator incorporates descriptive phrases like “every nerve trembled,” and a “flood of tears relieved him” to display the detailed imagery of the way each character experiences the scene. While the narrator describes the present situation in the book, they also employ the use of many brief tangents within the sentences to extrapolate on the emotions of the characters within the situation. This passage demonstrates the use of antiquated syntax which emulates the old-fashioned style the narrator uses to depict each scene with grace and fluidity. At the end of the passage, the narrator transitions to the next dialogue, reflecting the way the narration is used to explain the feelings of the characters in the text and then proceed into the next conversation between the characters that further continues the story.


Summary

Frederick and Eleonora are brother and sister who come into possession of their well-respected father’s farm, Friendly Hall, when he leaves it and all its livestock for them and retires elsewhere. In the following year, during a period of great harvest, a group of poor “strollers” (or vagabonds) come to town seeking hospitality (4). Their presence is met with hostility from the townspeople out of fear that their food supply will not be enough to support these newcomers.

A sample page from Edward and Eleonora

Everyone rejects their request for asylum except for Edward and Eleonora who empathize for these people who possess so much less than they do. The head of the strollers arrives at Friendly hall requesting to speak with Frederick. When Frederick arrives and speaks with the stroller he feels bad for him, hands the man a generous amount of money, and tells him to return in an hour while he considers his request. Eleonora recognizes something familiar about the stroller but cannot figure out why.

Frederick runs into the Squire Saveall who warns Frederick that it is risky to take this group of strollers in. Frederick welcomes the Squire into his home where they discuss with Eleonora. The stroller heads back to his anxiously awaiting group where he shows them the cash Frederick gave him and explains his conversation. The group of strollers use their newfound money to buy food and ale from Redcap (their current host) to celebrate. After their feast, the head of the strollers leaves for Friendly Hall to inquire about his request with Frederick.

Despite the Squire’s recommendation to Frederick, Frederick meets with the stroller. They discuss terms of the stay and Frederick decides to allow the group to stay for free. The Stroller is immensely grateful and assures Frederick that he will make sure his group will strictly adhere to any rules. The two go on to discuss ways in which the group could attain a license that would allow them to open a theater for the town’s amusement. Frederick concludes that he will speak with Justice Manly about getting them a license.

When Justice Manly arrives at Friendly Hall, Frederick asks where he has been for so long. The justice goes on to tell them a story about his quest to find his sister and nephew who had gone missing. On his quest he learns that his sister died out of grief for loss for her son (his nephew). The justice tells Frederick and Eleonora how he was left with nothing but portraits of his family members following the funeral and returned to the town. The justice says he will get the license for the strollers and leaves Friendly Hall. Back at the Crooked Billet, the group of Strollers celebrate at the news embracing in laughter and conversation. They all get drunk and proceed to sing as the night comes to a close. Meanwhile, the squire tells a story to Eleonora about a man he knew named Hawthorne who possessed admirable qualities. He was wrongly sentenced to serve in the war due to the false accusations of a woman, and there he met his fate. When the story ends the squire leaves Friendly Hall but Frederick convinces the justice to stay.

The final page of Edward and Eleonora

The next morning the stroller visits Frederick, who tells him his group can stay in the barn and set up their theater there. Meanwhile the justice has breakfast with Frederick and Eleonora where he officially writes them the license. Frederick gives the license to the Stroller who tells them they can visit the set. When Frederick and Eleonora visit the set, they are met with disappointment of only two sets of scenes. The performance goes on that night and despite their initial apprehensions, the conclusion is met with approval and applause from the entire audience. That night, both the justice and Eleonora feel confusion and uneasiness about the familiarity of the leader and go to bed with great sadness.

The next morning, the stroller wakes up to look for Frederick but finds out he already left to visit the justice. The stroller then decides to go to the justice’s home where he sees the portraits of the justice’s sister and brother-in-law. He then falls to the floor in agony at the sight of his lost parents. Justice Manly realizes it is his nephew who was the leader of the group of strollers and confirms it by asking him questions about his parents. The justice tells Frederick and Eleonora the truth and she is delighted in the discovery of his nephew she once admired. The justice convinces his nephew to leave the group and stay with him where his possessions will be his. The nephew goes to Eleonora and introduces himself to her as Edward. Eleonora and Edward later marry each other with an unforgettable ceremony that fills the village with joy.


Bibliography

Chamberlain, Frederic. Edward and Eleonora: Or, the Adventures of a Stroller. A Romance. J. Lee. n.d.

Hull, Thomas. Edward and Eleonora: A Tragedy. London, Printed for George Cawthorn, 1795.

Mulvey-Roberts, Marie. “Biographies of Gothic Novelists.” Gothic Fiction – Biographies, www.ampltd.co.uk/digital_guides/gothic_fiction/Biographies.aspx.

Summers, Montague. A Gothic Bibliography. London, Fortune Press, 1941.

Thomson, James. Edward and Eleonora: A Tragedy. Dublin, Printed for G. Risk, G. and A. Ewing, and W. Smith (booksellers), 1751.

Wilson, Brett D. A Race of Female Patriots: Women and Public Spirit on the British Stage, 1688–1745. Lexington Books, 2012.


Researcher: Magnus Gould

The Alpine Wanderers

The Alpine Wanderers

The Alpine Wanderers; Or the Vindictive Relative: A Tale, Founded on Facts

Author: A. Brown
Publisher: J. Scales, J. McGowen, J. Bailey
Publication Year: Unknown
Language: English
Book Dimensions: 10.7cm x 17.8cm
Pages: 38
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.B77 A 1820


In this chapbook, discover dark family secrets and old rivalries in a tale of love, revenge, and deception set in the Italian countryside.


Material History

The title page of The Alpine Wanderers.

The full title of this book is The Alpine Wanderers; or the Vindictive Relative: A Tale, Founded on Facts. This title appears in full only on the interior title page of the book, and the partial title, The Alpine Wanderers, appears on the spine of the book. The exterior of the book is otherwise extremely plain with no other inscriptions on the cover. The author’s name, given as A. Brown, appears only on the title page and not on the cover or anywhere else in the book. It is bound in brown paper, which looks similar to cardboard. This book is about 18 cm tall and 11 cm wide. It consists of thirty-eight pages of text. This particular copy of the book was rebound by the library at some point, and several pages of thick cardstock-like paper were added to the back of the book in order to make it thicker to make the book easier to bind. 

The interior of the book appears well used. The actual pages the story is printed on are very thin and soft. Most of the pages have browned with age and wear. The edges of many of the pages are torn or bent from being turned, and fingerprints have been left on a few of the pages. The text of the book is somewhat small but not tiny. Space is left above the text of the story on each page for the book’s title and the page number to be printed. The text is faded or smudged at some places in the book, and in others, the pages are so thin that the text on one side of the page shows through to the other. 

The final page of The Alpine Wanderers, which shows the book’s second printer.

On the very first page of the book, immediately preceding the title page, there is a black and white illustration depicting a fight between three men inside a house. The illustration is captioned “Alpine Wanderers.” This is an illustration of a scene that occurs on page 28 of the book. At the bottom of page 28, there is a note, “*See Frontispiece,” directing the reader to this illustration at the front of the book. 

This copy of the book consists of pages appearing to be printed by two different print shops. Up until page 14 of the story, the pages have catchwords on the bottom of the pages. Catchwords are when the printer puts the first word of the next page on the bottom of the page they are setting in order to help ensure they set the pages in the correct order. Pages 15 through 38 do not have these catchwords at the bottom. The bottom of title page of the book is marked with “J. McGowen, Printer, Church Street, Blackfriars Road,” and the bottom of the last page of the story is marked with “J. Bailey, Printer, 116, Chancery Lane.” Based on this, it is likely that the title pages and the story through page 14 were printed by J. McGowen, and the rest of the book, pages 15 through 38, were printed by J. Bailey.


Textual History

Very little information about The Alpine Wanderers is available from the time that it was published. The title page of this copy of The Alpine Wanderers lists the author as A. Brown. Several sources, notably including Montague Summers’s A Gothic Bibliography, list the book without a known author, which may indicate that other editions of the book were not attributed to any author (230). There do not seem to be any other chapbooks or other similar literature attributed to an A. Brown. The publishing date for book is not certain, with some sources, such as A Gothic Bibliography, listing it as published as early as 1800 and others, such as National Union Catalog, pre-1956 imprints showing dates as late as 1820 (Summers 230, National Union Catalog 536). Most library listings use one of these two dates, and most note the uncertainty of the date. This edition was printed for J. Scales in London, and was printed by J. McGowen of Church Street, Blackfriars Road and J. Bailey of 116, Chancery Lane (Brown 3). Other copies of the book from the nineteenth century all had some variation on this publishing information if any was given. There are no known contemporary advertisements or reviews for the book. 

A page of sample text from The Alpine Wanderers with a reference to the book’s frontispiece. 

Copies of The Alpine Wanderers appear for sale in multiple catalogues from the early twentieth century. One is a 1900–1902 copy of An Illustrated Catalogue of Old and Rare Books for Sale, with prices affixed from rare book dealers Pickering and Chatto (82). Another is from a catalogue of the 1916 estate auction of one Col. Prideaux by auctioneers Southeby, Wilkinson, & Hodge (59). In both catalogues, the book is sold as part of larger lots of chapbooks. The lot of Col. Prideaux’s chapbooks lists an alternate title for the book as The Castle of Montrose (Southeby, Wilkinson, & Hodge 59)In the text, Montrose Castle is named once at the beginning of the story as the dwelling place the main characters are fleeing at the beginning. A Montrose Castle did exist, but it was located in Scotland, while the book is specified as taking place in the Italian countryside, and Montrose Castle was destroyed several centuries before this book was published (“Montrose, Fort Hill”). Other instances could not be found of this book being referred to by this alternate title or any copy of the book with this title listed on it. 

Several other libraries own copies of The Alpine Wanderers. Harvard University’s Houghton Library owns a copy that has also been digitized, and seems to be the same edition the University of Virginia owns. Harvard’s library catalog lists this copy as having a color frontispiece, which differs from the black and white frontispiece of the edition in the Sadleir-Black Collection, but the Harvard edition frontispiece is not included in the digital scan available online. Stanford University’s library also owns a copy, which their library catalog lists as including a hand colored frontispiece. Princeton University owns a copy of the book, also with a color frontispiece; its library catalog listing identifies its previous owner as Michael Sadlier. Princeton’s copy was also part of a two-volume collection of chapbooks bound together under the title Romance. The books from this collection were published mainly in or around 1810, with estimated publishing dates as early as 1800 and as late as 1826, and have a variety of different publishers and printers. It seems likely that these chapbooks were bound together at some point after their separate printing and publishing, though it is not clear when. The University of Oklahoma, the University of Nebraska, and the British Library also all own copies of The Alpine Wanderers.


Narrative Point of View

The Alpine Wanderers is predominantly narrated in third person by an anonymous narrator who is removed from the events of the story. In a few places throughout the story, such as the opening, the narrator will add first-person comments or address the reader directly. The story also includes multiple long stretches when a character spends an extended amount of time recounting their own backstory and takes over the narration in their first-person perspective. The longest of these interpolated tales is presented as a written manuscript. The storytelling focuses on character actions and interactions, with frequent lengthy sections of dialogue and long sentences describing plot, but little time spent on setting and description. 

Sample Passage of Third-Person Narration: 

Let us now return to St. Alver’s Cottage. The little family had just finished their evening repast when they were alarmed by a loud knocking at the Door. Alice demanded who knock’d, a voice from without replied, “A friend who has something of importance to communicate”. The door was opened, and a man entered who wore a mask. On casting his eyes round the group before him, he singled out the Count and told him “He wished to speak with him in private”. In evident agitation St. Alvers followed the stranger into another room. When they were alone the Count begged the man would inform him of his business. “You have reasons, Seignior, or am I mistaken, for concealment; Say; is it not so?” The Count paused, at length he answered “No” The stranger again said, “If not it is all well, but I had reason to believe you were in imminent danger. I am a Friend, but shall not discover who I am at present. If you are the person, destruction awaits you unless you accept of my assistance which I freely offer. -Perhaps it was not you that was alluded to, if so, I beg pardon- Seignor, I meant well. (18–19)

Sample Passage of Third-Person Narration Speaking in the First Person: 

Poor Mary dared not urge more, and retired in the utmost affliction. Their rural sports were almost neglected, the thoughts of the approaching departure of their beloved brothers damped the usual gaiety. I shall pass over the separation between these beloved relatives, as it can be much better conceived than described; for who has not, at some period of their lives, endured a like separation? (13)

Sample Passage of Interpolated Manuscript: 

“For the satisfaction of my children, I write this, that they may know and avoid the crimes of their father, and likewise that they may claim certain estates, which, while my bitter foe lives, I dare not. At the age of twenty-two, I came into possession of a large unencumbered estate, by the death of my father, with the titles and honors annexed to the name of Lindford (for that is my real name.) My sister, yet an infant, was left under my protection. The gaieties of life with me were just began, every kind of dissipation I launched into with avidity; nor did I awake from this giddy dream, until informed by my steward, I had no longer resources, except from the mortgage of part of my estates; it was then I cast my eyes around for a wife, whose wealth would be likely to rescue me from my unpleasant situation.” (26)

The subtitle of The Alpine Wanderers declares the story “a tale, founded on facts.” The narrator attempts to present the story as events that could have occurred in real life. The narrator’s insertion of their own thoughts in first person usually serve to further the idea that this is a real story that they are recounting and commenting on by suggesting they have limited knowledge of the story at certain points or are intentionally skipping over periods of time in their retelling. There is just enough setting description for the reader to be given a general understanding of where events are taking place and for the mood of the story to be set, but there is overall a lack of physical description that again contributes to the premise that the narrator is recounting a true story secondhand rather than making a story up or speaking of a personal experience. The insertion of a long stretch of backstory via a manuscript written by a character allows for the narrator to recount an important part of a main character’s story with specific details, opinions, and emotions recounted by the character himself that helps add depth to the character and his story while giving an in-text reason that the narrator would be able to have this level of detail and insight on this section of the story.


Summary

The Alpine Wanderers opens on the Count St. Alvers and his family fleeing their castle home on a stormy night. He, his four children, and the family’s two servants had inhabited this castle for ten years, remaining almost entirely isolated from their neighbors during this time. The Count’s wife had lived with the family for some of this time, but had been a withdrawn and despondent presence in the castle and had died after a few years. The family’s flight from the castle had been instigated by a recently received letter. The Count did not reveal the contents of the letter to his children, but had been visibly distraught upon reading it. 

The first page of text for The Alpine Wanderers.

The family travels around Italy in an erratic fashion for several days before coming to rest in a new village. Here, he and his two daughters, Olivia and Mary, will take on the appearance of average peasants while his two sons, Frederic and Robert, will be sent to England for their education. The village is also home to the Chateau of the Marchesa de Cortes, who comes to visit while the family is staying there. The Marchesa brings with her a company which includes her two young nephews, William and Henry. The two boys encounter Olivia and Mary and are quite taken with the beautiful young women. Mary rebuffs Henry’s advances while maintaining her role as a peasant, but Olivia begins to form a relationship with William, who begins to entertain the idea of marriage. He speaks to her father about the subject, but the Count rejects the proposal. The Marchesa overhears her nephew’s discussions about Olivia and also disapproves of him marrying a girl below his station. 

That same night, a masked man comes to the home of the Count and his family and informs the count that he is an ally coming to warn him of imminent danger. The masked man informs the count that his family must flee for their safety and offers his assistance in finding them shelter until more permanent arrangements can be made. The Count is alarmed by this news, but believes him, so the family once again flees in the middle of the night. The masked stranger leads them to an unpleasant underground chamber and locks them inside, and the family soon realizes that they have actually been imprisoned. After being kept in this dungeon for three days, the family is visited by the Marchesa, who had assumed the suspicious behavior of the family as they tried to present as peasants had been covering some criminal activity. 

Upon seeing the Marchesa, who he had yet to encounter in person, the Count recognizes her as his long-lost sister and reveals his true identity to her as the Lord Linford, an English nobleman. The Marchesa, excited to have found her brother, who she had believed to be lost in a shipwreck years ago, releases the family and brings them into her home. She explains to her brother that since they had last seen each other, she had married the Marches de Cortes, who had later died and left her his fortune and his sister’s sons as her charges. She then informs Henry and William that now that she knows the true status of Olivia and Mary, she fully supports their marriages. 

The frontispiece of The Alpine Wanderers.

It is then Lord Linford’s turn to explain where he has been since he and his sister parted. He gives the others a manuscript explaining that when he was young, his father died and left him the family fortune. The Lord quickly squandered the fortune and needed to marry a woman with money. He met his children’s mother, who was not nobility but was promised to inherit a decent amount of money from her father. Her family disapproved of the couple, so the two left the country and married without her family’s consent. This led to tensions between the Lord and his wife’s father and brother. On multiple occasions, this tension boiled over and led to physical fighting. On one occasion, Lord Lindford injured his brother-in-law, and on another, he accidentally dealt his father-in-law a fatal blow while attempting to defend himself from his brother-in-law. His brother-in-law had him arrested for the murder of his father, but Lady Lindford helped him escape. They and their children fled the country, eventually ending up in Italy, where they found the castle they were living in at the beginning of the story. While the Lord’s wife believed that her father’s death had been an accident, she still remained distant from her husband and outwardly unhappy until she eventually died. The Lord stayed in this castle until the day he received a letter warning him that the Lady’s brother had learned he was in Italy and was coming to take vengeance for his father’s death. This prompted the family’s flight from the beginning of the book. 

Once the Lord has recounted his tale, his sister informs him that his brother-in-law has since died and with his final words, admitted that his father’s death had been an accident and not an intentional murder. With the Lord’s name cleared, the family is free to return to their homeland of England. Upon their arrival, they reunite with Frederic and Robert, who had already been in the country for their education. During his stay, Frederic has fallen in love with a General’s daughter. He and his love have both been fearful that the General would not approve of Frederic, but upon learning he is a Lord, the General grants Frederic his blessing to marry his daughter. The story ends with the three weddings: Frederic and the General’s daughter, Olivia and William, and Mary and Henry. The book then gives the reader a final warning that wrongdoing will receive punishment, good deeds will receive reward, and that nothing good ever comes from disobeying one’s parents. 


Bibliography

Brown, A. The Alpine Wanderers: Or the Vindictive Relative: A Tale, Founded On Facts. London, Printed for J. Scales.

American Library Association. Committee on Resources of American Libraries. National Union Catalog Subcommittee, and Library of Congress. “The National Union Catalog, Pre-1956 Imprints: a Cumulative Author List Representing Library of Congress Printed Cards And Titles Reported by Other American Libraries.” London: Mansell, 1968–1981. 

“Montrose, Fort Hill.” Canmore, canmore.org.uk/site/36242/montrose-fort-hill

Pickering & Chatto. An Illustrated Catalogue of Old And Rare Books for Sale, With Prices Affixed … London, Pickering & Chatto, 1900–1902. https://hdl.handle.net/2027/hvd.32044080263072

Sotheby, Wilkson, & Hodge. (London, England). “Catalogue of the Very Interesting and Extensive of the Late Col. W. F. Prideaux, C.S.I of Hopeville, St. Peter’s-in-Thanet (Sold by Order of the Executor).” [Catalogues of sales]. 1914-1917. London, Sotheby, Wilkson, & Hodge, 1916. https://hdl.handle.net/2027/mdp.39015059847577.

Summers, Montague. A Gothic Bibliography. Fortune Press, 1941. 


Researcher: Hannah Lothrop

Arthur and Mary

Arthur and Mary

Arthur and Mary, or the Fortunate Fugitives 

Author: John Corry
Publisher: B. Crosby and Co. 
Publication Year: 1803
Language: English
Book Dimensions: 10.80cm x 17.15cm
Pages: 32
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.C674 A 1803


A tale of adventure, romance, and friendship, John Corry’s 1803 chapbook follows a protagonist’s escape from political persecution, and later follows the story of distant lovers. 


Material History

Arthur and Mary, a gothic novel written by John Corry, was published in 1803. Arthur and Mary is currently located in the Sadler-Black Collection of Gothic Fiction in the University of Virginia’s Special Collections Library. It is interesting to note that the edition of Arthur and Mary in the University of Virginia’s Special Collections Library bears the full title Arthur and Mary, or the Fortunate Fugitives. The title page of this book looks especially modern, with a clear description of the title, author, and publisher of this book. The author’s name, John Corry, is qualified by a sentence reading “author of a satirical view of London, The Detector of quackery, & c.” While the general organization of the book looks modern, such as the title page and the way that book is split into chapters with page numbers at the top of each page, the age of this book is clearly seen in the novel’s appearance. This novel is fairly small, about 6.75 inches long by 4.25 inches wide, with delicate, thin pages. These pages are yellowed, somewhat textured, brittle, and have faint fingerprints on a few pages. The color of these pages resembles a paper that is covered with marks from tea bags. It appears as though only a thin layer of glue is holding the pages of this book together, as there is no clear material binding. This novel most likely had a leather binding with string running through each page holding the pages together, as this was a common binding method during the time period in which Arthur and Mary, or the Fortunate Fugitives was printed. Similarly, there are multiple holes on the side of the pages, suggesting that there was in fact a string that used to hold this book together. This book is clearly aged, and representative of what a book printed over two-hundred years ago would look like.

The frontispiece for Arthur and Mary depicting Mary holding on to a rock after a shipwreck

The overall appearance of this book is worn, used, and stained. The structured format of the title pages and chapters as well as the detailed illustration on inside of the front cover, gives an elegant feel to the book, and suggests thoughtful writing. However, the fact that the original binding of this book is not preserved and that the gothic genre was considered an unsophisticated genre during the time that this book was printed lends a cheap feel to this book. When looking at a randomly selected page in the book, it is clear that there is consistency within the novel. For instance, like the various pages in the novel, the randomly selected page was yellowed, somewhat textured, brittle, and had faint fingerprint marks. The text on all of the pages appears smaller than a standard font in more modern novels, which might be due to the small size of the book in general. 

The illustration on the inside cover of the first page is captioned “Mary half dead, held by the rock with the instinctive eagerness of self-preservation,” and depicts a scene from the novel. In the foreground, this illustration depicts a woman holding on to rocks in the middle of a sea, in somewhat of a helpless way. In the background, this illustration depicts a shipwreck, as well as another person located on the other side of the rocks. There are no illustrations throughout the rest of the book, but there does appear to be decorative elements on the title page and on the pages that start a new chapter. The last page of the book is the last page of the story. There is no additional page after the final page of text. 

There are no indications of ownership in this book: no names written in the book, notes in the margin, stamps from libraries, bookplates, inserts, or other post-production marks. This could suggest that the book was in the hands of only a few people. 


Textual History

The title page for Arthur and Mary

John Corry—author of Arthur and Mary, or the Fortunate Fugitives—was born in north Ireland, and began his writing career in Dublin as a journalist (Mulvihill). His upbringing and education are unknown, and the Oxford Dictionary of National Biography states that he is presumed to have been self-taught (Goodwinn). In the early 1790s, he moved to London where he became a bookseller and publisher at Princess Street, Leicester Square, and also became a member of the Philological Society of Manchester (Mulvihill, Pitcher 83). The journals The Miscellaneous Works of John Corry, and Romantic London: John Corry and the Georgic City both cite the difficulty in articulating John Corry’s cannon (Mulvihill, Pitcher 83). The Miscellaneous Works of John Corry cites that the reason for this lack of a cannon is because “many of [John Corry’s] publications have been difficult to date accurately, because new editions and reissues of titles were frequent, and because works first published as part of a series were often reprinted separately” (Pitcher 83). However, it is certain that Corry’s work included poetry, novels, biographies, histories, satires, and juvenile literature (Mulvihill, Pitcher 83). Corry’s main writings in London are A Satirical View of LondonThe English MetropolisMemoirs of Edward Thornton, and A Sketch of Modern Dissipation in London (Mulvihill). Corry’ biographical writings include biographies on George Washington (1800), William Cowper (1803), and Joseph Priestley (1804) (Goodwinn). In addition to Arthur and Mary, John Corry published seventeen other books from 1800 to 1815. Limited information about John Corry’s life after 1825 is known, and the Oxford Dictionary of National Biography states that his “works have now fallen into complete obscurity” (Goodwinn).

The advertisement for Arthur and Mary

In 1803, Crosby and Co, a London-based publishing company, published Arthur and Mary (Mulvihill). Crosby and Co. published Arthur and Mary in English, and English is assumed to be the only language that Arthur and Mary has been published in as there are no indications of this book being translated. The journal article “Making Austen Mad: Benjamin Crosby and the Non-Publication of ‘Susan,’” examines all of Crosby and Co.’s publications, and notes that Crosby and Co. published mainly “musical pieces and songs,” as well as “numerous children’s works” (Mandal 513). These musical pieces and songs mainly consisted of religious discourses and sermons, and the children’s works mainly consisted of conduct-books and educational textbooks (Mandal 513). Thus, Arthur and Mary was a less popular type of publication for Crosby and Co. The journal article argues that Crosby and Co. “was certainty not as low-key as” some critics have professed, as proven by prominent titles that Crosby and Co. published (Mandal 513). This journal article, however, does not categorize Arthur and Mary as one of these prominent titles, and states that “Crosby and Co.’s less eminent credentials are underlined by the fair number of chapbooks it published” (Mandal 513). In its footnote, this journal article cites Arthur and Mary as one of these chapbooks.

One edition of Arthur and Mary is located in the Sadleir-Black Collection in the Special Collections Library at the University of Virginia. Arthur and Mary is cited in Montague Summers’s Gothic Bibliography (236). The WorldCat database indicates that other than the University of Virginia library, there are only four other libraries that have Arthur and Mary in their collections. These libraries include the Northwestern University Library in Illinois, US, the University of Notre Dame Library in Indiana, US, and the University of Oxford Library in the UK. This suggests that there are not many publications of Arthur and Mary in circulation, and possibly not many printings or subsequent editions of this book. There is no indication that this book has any prequels or sequels, or that there are any contemporary digital copies of this book on the Internet. 

There is not much information about how Arthur and Mary was received when it was originally published, demonstrated by the absence of reviews about this book, or of any information about how many copies of this book were sold. Arthur and Mary, however, is mentioned in Franz J. Potter’s The History of Gothic Publishing, 1800–1835 in Appendix 2 “Gothic Bluebooks, 1799–1835” (166). 


Narrative Point of View

Arthur and Mary is narrated in third person by an omniscient narrator who is never introduced in the text. The narrator’s style consists of detailed descriptions of scenery, events, and characters’ internal emotions. The narration begins following only Arthur, the protagonist of the novel, and his journey away from his home due to political persecution. The narrator later follows Mary, Arthur’s love interest, in addition to Arthur, and tells both storylines of the characters falling in love and each character’s journey traveling from Ireland to London. The narration is chronological, told in the past tense, and does not contain any flashbacks. The narrator writes in concise, yet descriptive, sentences with a hopeful and passionate tone. 

Example of Third-Person Narration:

When Mary retired to her room she found this letter, and read it with a tumultuous emotion of mingling passions. Surprise, love, and joy, electrified every nerve. She resolved to answer the letter, which she read repeatedly, and her vanity was not a little gratified with the contents. It was the first love-letter she had ever received; but how to answer it was the point. She placed paper upon the table before her, dipped her pen into the ink, and after casting a scrutinizing glance round her chamber, she began with a palpitating heart. Her hand trembled so much that she could not write one word — she desisted — went to a window and opened it to admit fresh air — her spirits revived, and summoning all her fortitude, she wrote as follows… (14)

The narrator’s concise yet heavily detailed sentences are present throughout this passage. This passage occurs directly after Mary finds Arthur’s letter, in which he professes his love for her, and directly before the narrator tells of what is said in Mary’s letter back to Arthur. The explicit description of Mary’s emotions after Mary reads Arthur’s letter, using words like “tumultuous,” “mingling,” “electrified,” “palpitating,” and “trembled,” adds to the suspense of the novel, as these words signify such great levels of feeling and passion. Consequently, this passage, as representative of the narration throughout the novel, demands attention from the reader. The thorough description of Mary’s actions after reading the letter are also consistent with many gothic tropes, including romance, mystery and fear, and confinement. Verbs like “began” and “revived” in this passage reveal the hopeful and passionate tone found throughout the novel, as this language suggests possibility. 


Summary

This novel begins by introducing Arthur, a sixteen-year-old boy living just outside of Newry, Ireland. Arthur is the son of a farmer, and is taken out of school in order to be homeschooled in agriculture. The novel quickly transitions to Arthur at the age of twenty-two, and describes Arthur as a “tall and well-made” man, whose “mind was ardent,” “passions [were] strong,” and who “view[ed] the world through the medium of enthusiasm” with an “erroneous opinion” (6). With Ireland’s politics in turmoil, Arthur joins the popular party. His outspoken opinions prompt a neighbor to inform the town of Newry, Ireland, that Arthur is a “disseminator of sedition” (6). As a result, soldiers arrive at Arthur’s home and search for him, but Arthur escapes and sets out for England.

On his journey across Ireland, Arthur travels over mountains, passing small villages, and appreciates the mountains, sea, and nature surrounding him. Hunger prompts him to find a large farmhouse, where Owen Conolly, the owner of the farm, receives him with hospitality. Owen is the proprietor of the valley in which this farm is located, and his ancestors had taken possession of this valley when they sought asylum from English King Oliver Cromwell. Arthur sleeps over at this farmhouse, and when he wakes up, he is introduced to Owen’s eighteen-year-old daughter, Mary.

Mary is reserved and bashful, and her “feminine charms” catch Arthur’s admiration (2). As a result, Arthur decides that he should stay at the farm until the political persecution in Newry is over, and during this time he will tutor Mary each day to “further [the] improvement of her mind” (11). Each day, Mary’s beauty captivates Arthur, and he begins falling in love with her. Arthur writes a note to Mary detailing that he has liked her since the moment he saw her, and now he is in love with her and requests that she accept his heart. In finding this letter, Mary is filled with emotions, and writes back saying that she worries Arthur is not genuine in his expression of love, as he is a “gentleman” and she is a “poor woman” (14). Nevertheless, Arthur professes his love for Mary a second time while on a walk together, and she reciprocates these feelings. They kiss, and vow to temporarily keep their love a secret.

This page shows the large margins, justified text, and worn pages, as well as the confrontation when the soldiers find Arthur.

Owen’s oblivion to Arthur and Mary’s love prompts him to give his blessing to Terence Finn, a rich young farmer who became enamored with Mary after seeing her at mass. Terence arrives at the farmhouse, and professes his affection for Mary, but Mary rejects this affection and turns down Terence. Earlier that evening, Owen informed Terence of Arthur’s predicament, and how he is seeking protection from Newry soldiers. When Terence realizes that Mary is in love with Arthur, Terence rides to Newry and informs Arthur’s rivals of Arthur’s whereabouts.

The following day, soldiers arrived at the farmhouse. The soldiers take Arthur into custody, and shove Mary to the ground as she runs to Arthur’s defense and demands that the soldiers take her too. Enraged by the soldier’s aggression towards Mary, Arthur attacks the soldier, and consequently is shot and taken to the county jail in Newry. In distress, Mary travels to the county jail with her loyal friend, Anna. Anna creates an escape plan where she and Arthur switch clothes in order to create a disguise for Arthur. This plan works and Arthur escapes with Mary. Mary returns to her village and Arthur travels to Liverpool. 

Jobless with no friends in Liverpool, Arthur travels to Birmingham. One night during the journey, he wakes up with a fever due to his extensive travels. He slowly recovers after a week of illness, and continues his journey to Birmingham with no money and no home. During this journey, he meets Mr. Heron, a native of Ireland who had just sold his small estate in Ireland. Mr. Heron is traveling across Europe by foot, and Arthur joins him on his way to Birmingham. Throughout their journey, Arthur is charmed by Mr. Heron’s charisma and has a strong belief that philanthropy is a “duty we owe to society” (23). When they reach Birmingham, Mr. Heron urges Arthur to accompany him further on his journey across Europe. Mary’s “voice of love secretly remind[s] Arthur of his solemn promise,” and prompts Arthur to refuse Mr. Heron’s request. Arthur and Mr. Heron part ways (23).

Arthur sets out to London and starts an academy for instructing the youth of London. He constantly writes to Mary, and urges her to come to London. Upon getting Owen’s approval, Mary prepares to travel to London with Anna. Mary and Anna begin their voyage at sea, and Mary is devastated to leave her father and possibly never again return to Ireland, but determined to reconnect with Arthur. Mary and Anna come in contact with a major storm towards the end of their voyage, as they are just off of the Welsh Coast. This storm creates massive waves, thrusting the ship towards the rocky Welsh Coast. The ship crashes into the coast and breaks into pieces, forcing the passengers to swim to shore for survival. Mary and Anna grab wood from the destroyed ship, and venture towards the coast. As they arrive on the coast, Anna helps Mary get on to a rock, but as she attempts to also get on the rock, her traction is lost. The strong waves forcefully throw Anna into the rock, and she is killed.

Other survivors of the shipwreck carry Mary to a farmhouse on the coast, where Mary is distraught about Anna’s death. She writes to Arthur, telling him about the shipwreck, and about her arrival in Conway, Wales. Arthur arrives in Conway and he and Mary are reunited. When they reunite, Mary forgets all of her misfortunes. 

Arthur and Mary get married in Conway, and set out for Arthur’s home in Birmingham the next day. Arthur is said to love England, and to frequently write both his parents and Owen. The novel ends with Arthur happily in love with Mary, engaged in teaching the youth as his occupation, and enjoying “all those social gratifications which are essential to rational felicity” (36).


Bibliography

A. A. Mandal. “Making Austen Mad: Benjamin Crosby and the Non-Publication of ‘Susan.’” The Review of English Studies, vol. 57, no. 231, 2006, pp. 507–25

Corry, John. Arthur and Mary: Or the Fortunate Fugitives. Printed for B. Crosby and Co. [etc.], 1803.

Goodwinn, G. “Corry, John” Oxford Dictionary of National Biography. 2004, September 23. doi:https://www-oxforddnb-com.proxy01.its.virginia.edu/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-6357 

Mulvihill, James D. “Romantic London: John Corry and the Georgic City.” Studies in the Literary Imagination, vol. 40, no. 1, 2007. Gale Literature Resource Centerhttps://link.gale.com/apps/doc/A180642018/LitRC?u=viva_uva&sid=LitRC&xid=0215b794. Accessed 27 Oct. 2020.

PITCHER, E. W. “The Miscellaneous Works of John Corry (1760?–1825?).” The Papers of the Bibliographical Society of America, vol. 80, no. 1, 1986, pp. 83–90.

Potter, Franz J. The History of Gothic Publishing, 1800–1835: Exhuming the Trade. Palgrave Macmillan, 2005.


Researcher: Carolyn R. Santangelo