1807 | Project Gothic

The Castle Spectre; or, Family Horrors

The Castle Spectre; or, Family Horrors: A Gothic Story

Author: Sarah Scudgell Wilkinson
Publisher: Printed for T. and R. Hughes
Publication Year: 1807
Language: English
Book Dimensions: 12cm x 20cm
Pages: 38
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.W55 Ca 1807

Set in Scotland, England, and Italy, Sarah Scudgell Wilkinson’s 1807 chapbook is a complicated tale of vengeance, violence, and long-lost love. And there’s a ghost!

Material History

At first glance, The Castle Spectre; or, Family Horrors: A Gothic Story is nothing more than a small, nondescript book. It is bound in a spotless cardboard cover, with no title or images on the front or back. The spine has a small red rectangle in which The Castle Spectre or Family Horrors is written in gold writing. The chapbook is about 12 centimeters wide, 20 centimeters long, and 1 centimeter thick.

The frontispiece of *The Castle Spectre*, which was glued onto a blank page for support

Upon opening the book, it is evident that it has been rebound. The pages inside are soft, yellowed, and worn. The edges are tattered and uneven and the pages are of different sizes. The frontispiece appears to have been glued to a blank page for structural support, as it was ripped and about two inches of the page is missing from the bottom. This page contains a colorful image of two knights in front of a red castle. They are holding blue shields with gold crosses and are wearing red skirts. Behind the knights is a woman in a pink dress; she is surrounded by what appears to be sunbeams and looks as if she is floating with her arm raised. Some of the colors go beyond the edge of the picture, indicating it may have been painted with watercolor. Beneath the image is a caption that says, “GERTRUDE rising from the Rubbish before the CASTLE”. Below the caption is a note about the print company.

The title page contains the title, written as follows: “The // Castle Spectre; // or, // Family Horrors: // A Gothic Story.” The words are all uppercase, except for “A Gothic Story,” which is written in a more elaborate gothic typeface. Beneath the title is a quote by Langhorne, and then a note on the publisher: “London: // Printed for T. and R. Hughes, // 35, Ludgate-Street.” “London” is written in the same gothic font, while the rest is again all capitalized. Beneath this is the publishing date: 1807. The title page has a small, rather illegible phrase written in pencil in the upper left corner, and a large stain on the right. The back of the title page is blank, except for a small stamp in the bottom left corner that says, “Printed by Bewick and Clarke, Aldergates-street.” It should be noted that the name of the author is never mentioned.

On the first page of the text, the title is again printed, but this time as The Castle Spectre. The chapbook contains thirty-eight pages, and the page sizes vary slightly. The upper and lower margins range from about 1.5 centimeters to 2.5 centimeters. “Castle Spectre” is written on the top margin of every page, and there are page numbers in the upper corners. The text is small and tight, and the inner margin is very narrow. On the left pages, the words run almost into the spine. On some pages, the text is fading and in certain instances, can be seen through from the back of the page. The pages are speckled with light stains, but none that obscure much text. The bottom margins of a few pages contain signature marks, such as B3, C, and C3. These marks indicate how the pages should be folded together, as the book was printed on one large sheet and then folded and trimmed. This binding technique also explains why the pages vary in size. There are nine blank pages at the end of the book. These pages seem newer and are larger; they were likely added to make the book slightly thicker, as it is difficult to bind such a thin book.

An index card is loosely placed in the front of the book, containing the title and publishing information. It appears to be written in Michael Sadleir’s handwriting and was likely used for cataloging purposes. The note indicates that the book was originally unbound, but then mounted on modern board and engraved. This explains the discrepancy between the wear of the cover and that of the pages. “Louisiana” is written on the upper left corner; Sadleir presumably got the book from someone who lived there. A line on the bottom of the card indicates his belief that the plot was plagiarized, as he notes the book is “a theft of title and idea.”

Michael Sadleir’s cataloguing card inserted within *The Castle Spectre*

Textual History

The Castle Spectre by Sarah Scudgell Wilkinson was printed by Bewick and Clarke for T. and R. Hughes in 1807. According to Michael Sadleir’s handwritten note, the copy in the University of Virginia Sadleir-Black Collection was originally unbound and then rebound as a stand-alone chapbook. It appears there is only one edition, the 1807 version, but some other copies are bound in volumes with other chapbooks. According to WorldCat, there are six copies of this edition located at Dartmouth Library, Columbia University Library, and the National Library of Wales, among others. As of 2021, there are no digital copies of the story, though GoogleBooks has information about the title, author, and publishing company.

The title page of *The Castle Spectre*, which features slight pencil markings and stains

Wilkinson’s The Castle Spectre; or, Family Horrors: A Gothic Story is often misinterpreted as being inspired by Matthew Gregory Lewis’s play The Castle Spectre. Though part of the title is the same, the actual plot, characters, and setting are entirely unrelated. The confusion has arisen because Wilkinson published two chapbooks with similar titles: The Castle Spectre; or, Family Horrors: A Gothic Story in 1807 and The Castle Spectre: An Ancient Baronial Romance; Founded on the Original Drama of M. G. Lewis in 1820. This second text, The Castle Spectre: An Ancient Baronial Romance, is in fact based upon Lewis’s play (as accurately suggested by the subtitle), with the same characters, setting, and plot. By contrast, the 1807 chapbook, The Castle Spectre; or, Family Horrors, remains separate and unrelated except for its similar main title.

Though the two Castle Spectre texts by Wilkinson are entirely separate, they are frequently confused for one another. For instance, Franz J. Potter notes in The History of Gothic Publishing that Wilkinson “also adapted two versions of Matthew Lewis’s melodrama ‘The Castle Spectre’ publishing The Castle Spectre; or, Family Horrors (2.58) in 1807 with Thomas Hughes, and The Castle Spectre; An Ancient Baronial Romance, Founded on the Original Drama M. G. L. (2.57) in 1820 with John Bailey” (119). In his section on the “Family Horrors” version of Wilkinson’s chapbook, Frederick S. Frank notes that she “transformed Lewis’s Gothic drama, The Castle Spectre [l-219], back into a Gothic novel” (171). Franz J. Potter similarly states that this “Family Horrors” version was “founded on Lewis’s The Castle Spectre. A Drama in Five Acts” (Gothic Chapbooks 39). Even an article in UVA Today makes this common error, stating “Lewis’ work was regularly plagiarized and used in this way, as it is in ‘The Castle Spectre, or, Family Horrors: a Gothic Story,’ by Sarah Scudgell Wilkinson” (McNally).

Many sources that make the claim of a link between The Castle Spectre and Matthew Lewis’s play cite Montague Summers’s Gothic Bibliography, which lists The Castle Spectre by Sarah Wilkinson without specifying the subtitle or a publication date. Summers’s entry reads: “Castle Spectre, The. By Sarah Wilkinson. Founded upon Matthew Gregory Lewis’ famous drama, The Castle Spectre, produced at Drury Lane on Thursday, December 14^th, 1797” (268). Of the libraries that own The Castle Spectre; or, Family Horrors, many list M. G. Lewis as an author, and these library catalogs frequently reference Summers’s Gothic Bibliography, echoing his statement that the story is “Founded upon Matthew Gregory Lewis’ famous drama ‘The castle spectre’.” Some libraries note the link to Lewis’s play based upon The National Union Catalog Pre-1956 Imprints, and this source also cites back to Summers’s Gothic Bibliography. It is possible Summers’s entry for The Castle Spectre was misunderstood to be about the “Family Horrors” version, when it was meant to reference the “Baronial Romance” version, which specifically claims to be founded upon Lewis’s play. Whatever the reason, this misunderstanding has spurred many sources, including library catalogs, to erroneously note a connection between the plot of Lewis’s The Castle Spectre play and Wilkinson’s The Castle Spectre; or, Family Horrors chapbook.

It should also be noted that some sources discuss a similarity between the two distinct chapbooks Wilkinson wrote under the titles The Castle Spectre. Diane L. Hoeveler, for instance, suggests that Wilkinson was plagiarizing herself in these two chapbooks, indicating she believes the plots to be “virtually identical and indicate how authors as well as publishers had no qualms about ‘borrowing’ literary texts from others as well as themselves” (14). Hoeveler writes, “Wilkinson’s The Castle Spectre: An Ancient Baronial Romance is actually her second attempt to capitalize on the popularity of Lewis’s 1797 drama The Castle Spectre”, naming as the “other version” The Castle Spectre; or, Family Horrors: a Gothic Story (14). Yet while it is true that Wilkinson used the same main title for two different books, they are not “virtually identical”: the plots, characters’ names, and setting of the story have no similarities. A potential reason for the similar titles was that Wilkinson used the phrase “Castle Spectre” precisely because of its popularity at the time to attract readers, despite the “Family Horrors” version being a unique story.

On a separate note, the title page of The Castle Spectre; or, Family Horrors includes a portion of a poem by John Langhorne. It appears to be an edited stanza from a longer poem entitled “Fable VII. The Wall-flower” from his collection of poems, The Fables of Flora (Johnson 447). It is unclear whether the poem was adapted by Wilkinson or the publishing company, but the poem alludes to the idea of remembrance and telling the stories of the dead. This theme reflects in the story of Gertrude’s death and Richard’s journey of avenging her.

Narrative Point of View

The Castle Spectre is, for the most part, narrated in the third person by an anonymous narrator who is not present in the plot. There are a few occasions throughout the story when the narrator speaks in first-person plural, referencing the history of the story and its translations. The narration follows the knight, Sir Richard, throughout the entire story, and much of the chapbook contains dialogue and interpolated tales spoken by a variety of the characters with whom Richard interacts, such as Douglas. The narrative focuses more on plot and less on characters’ thoughts, and the sentences are often long and descriptive. There is a bit of insight into Richard’s feelings, but the narrator does not discuss other characters’ emotions unless the characters reveal their feelings aloud in dialogue. There is also an instance where Sir Richard and Sir Kenelm exchange letters, which are printed within the text in quotation marks; both Sir Richard and Sir Kenelm refer to themselves in the third person in their letters. At times when Elenora (also known as Gertrude) appears as a ghost, she also refers to herself in the third person during her tales.

Sample of Third-Person Narration:

The moon, emerging from a black cloud just as he entered, enabled him to ascertain he was in a grand spacious hall, in the centre of which stood a large banquetting table He seized an extinguished taper, which he with difficulty lighted by the friction of some wood he found on the hearth. He had now an opportunity to observe the place more accurately. The table was laden with viands, some in a putrid state, some mouldering to powder; and to his eager view appeared vases filled with the juice of the generous grape. In a corner of the apartment he beheld the body of a man extended in death on the floor, the boards of which were stained with congealed blood. A murder had been committed here but a short time before. The sight of this did not alarm him; he knew not fear, but emotions of pity rose in his breast, for the unfortunate object before him, and a desire to develope the mysteries of the place he was in, prevailed over ever other consideration. (6)

Sample of First-Person Plural Narration:

But we must not anticipate in our story too much, and the Scottish manuscript from whence we translate, mentions some transactions that will better appear hereafter. In the mean time we must observe that after much consultation on these transactions, Lord Mackworth advised Sir Richard to appoint a meeting with Sir Kenelm at midnight. (16)

Sample of Sir Richard’s Third-Person Letter to Sir Kenelm Cromar:

Sir Richard, brother to Lady Gertrude, returning from the Holy Wars, finds his venerable father mouldering into dust, brought to the grave by grief for the untimely fate of a beloved daughter, whose fair fame was basely called into question, and her dear life sacrificed to lawless love. —Sir Kenelm must account for this, and inform Sir Richard what is become of a dear sister. For which purpose Sir Richard challenges Sir Kenelm to meet him, in single combat, near that castle-gate where he, Sir Kenelm, banquetting with his new bride, beheld the injured shade of Lady Gertrude, when, for a slight offence, he stabbed his cupbearer. Eight days hence, exactly at the hour of twelve, Sir Richard will be there, with two of his most trusty friends. (16)

Sample of Sir Henry Mackworth’s Interpolated Tale:

At his return to Palestine, finding I was in confinement, his generosity and friendship made him hazard his life to rescue me from my confinement. He succeeded beyond our most sanguine expectations. We continued together some time. We had but one heart, one purse, and were a pattern of friendship throughout camp and country. Clemena was often the subject of our conversation. I ventured to hint the inclination I felt for her, from his description and the picture I had seen. ‘Alas!’ said he, ‘I dare not flatter you with the least hope of success; my sister has been educated in a convent, and ever been intended by our parents for a nun, their fortune being too small to support us both in a manner suitable to our rank…’ I remonstrated with Vertolini on the cruelty of secluding a beloved sister, for life, within the dreary walls of a convent… (33).

The various types of narration in The Castle Spectre allow for a deeper exploration of different characters’ actions and emotions, as well as greater detail on the setting and history of the story. The Castle Spectre utilizes several techniques to augment suspense. On numerous occasions, the names of the characters Richard meets are not revealed until the end of that individual’s story, and the reveals often occur casually amidst the dialogue or narrative with little emphasis. The reveal of the characters’ names has a great impact on the entire plot, and the narration’s nonchalant delivery augments the suspense and adds an element of surprise. As a result, many key details and surprises are revealed suddenly and without foreshadowing. Though the narrator does not touch on characters’ feelings often, the dialogue provides greater insight into the different characters’ personalities and emotions. Because so many different plots are embedded into the chapbook, the story is both engaging and, at times, confusing: the chapbook is extremely fast-paced because so much action is packed into each sentence, and in some cases it is difficult to follow the story and to distinguish who is speaking or who characters are because the plot jumps back and forth in time or between the different story lines. The moments of first-person plural narration detail the story as if it were true by discussing the sources from which the story was translated. These moments where the narrator speaks as “we” directly to the reader, along with the detailed setting and long rambling sentences, all conspire to make the story oral in feel, as if being told to a friend.

Summary

The Castle Spectre follows the knight Sir Richard over a period of several years. The story begins on a stormy night in the Scottish Highlands. Sir Richard is traveling to his father’s castle in the Grampian Mountains after a four-year deployment to the Holy War in Palestine. He seeks shelter to ride out the storm, but no one will take him in. In a flash of lightning, he sees the turret of a castle; he sounds his bugle numerous times with no response, so he dismounts his horse and tries the door. By chance, the door is unlocked, and Richard enters the banquet hall of the castle. With only the moon and occasional flash of lightning to guide him, the knight explores. The hall is filled with food and drink that appears to have been placed there recently. In the corner of the hall lies the dead body of a man; the floor is soaked with congealed blood. Sir Richard vows to unravel the mystery of the catastrophe that occurred.

Sir Richard tours the rest of the castle, which is magnificently decorated in gothic splendor. No one is to be found and all is silent. He comes upon a great bed, and as he is exhausted from his journey, he jumps in and falls into a deep sleep. At one o’clock, a bell rings and Sir Richard wakes to the curtains of the bed being ripped open. Standing at the foot of the bed bathed in blue light is a veiled woman in a white dress. As he approaches her, the woman’s veil falls off and a stream of blood gushes from a wound in her side. Richard looks into the woman’s face, and it is none other than his sister! He calls to the apparition “by her name Elenora” (though later in the story she is referred to predominantly as Gertrude, with no explanation given for the shift in name) (7). Elenora the apparition stands, not speaking, while holding her hand over the seemingly fresh wound in her side. After repeated prodding, Elenora explains the story of her brutal murder in the castle, revealing that two years after Richard left, she married the owner of this castle, and in a fit of frenzy he stabbed her (while she was pregnant) and left her corpse in a rubbish pile. Left to rot without a proper Christian burial, she haunts her murderer and his new wife. The scene that Richard came upon in the banquet hall was the remnants of their wedding, which was ruined when Elenora appeared and terrorized the guests. Finally, with a clap of thunder and a flash of lightning, Elenora vanishes in a swirl of blue flame.

Shocked and overcome with emotion, Sir Richard decides to leave and avenge his beloved sister. He lets his horse take the reins on the way to his father’s estate and does not realize the horse has gone down the wrong road. They come upon a cottage where he is treated with great hospitality. The owner, Douglas, tells the story of his childhood and time as a soldier, where he saved the life of the “worthy nobleman, under whose banners I had enlisted” and was thus assured protection and this cottage (11). Douglas explains that the nobleman has died and his son is at war; he fears thar if he does not return, Sir Kenelm Cromar will take over his estates and leave Douglas and his family to live out their days in poverty. During this story, Douglas reveals the name of his former nobleman to be Duncan, and Sir Richard reveals that Duncan was his father! This means that Sir Richard is the son who has now returned home; the Douglas family rejoices. Douglas’s story also reveals that Sir Kenelm’s first wife was Elenora (now predominately referred to as Gertrude in the story). Upon Gertrude and Kenelm’s marriage, Ally (Douglas’s daughter) moved into the castle where Sir Kenelm “began to take great liberties with her” (12). Douglas says Lady Gertrude is now missing and so is Ally. Because of Gertrude’s ghost’s daily visits, Sir Kenelm and his new wife have moved to his hunting lodge so the castle remains uninhabited. Sir Richard thanks Douglas and promises him a life of friendship and protection.

When he finally arrives home, the servants rejoice at the return of their young lord. They tell the knight all that has happened and grieve for the good young lady Gertrude and their master Duncan. Enraged, Sir Richard vows to avenge her and lay her body to rest in a Christian burial. He seeks out his father’s friend, Lord Mackworth, and tells the man the story. Richard decides to challenge Sir Kenelm to single combat, with Mackworth’s assistance. As part of their agreement, Mackworth wants Sir Richard to marry his daughter and Sir Richard agrees. Sir Kenelm accepts Richard’s request, mentioning that though it is illegal to fight in this manner, he will do it anyways to honor the memory of the venerable Duncan. Meanwhile, Kenelm sends a letter to the king, requesting that he send men and imprison Richard before the fight occurs. Instead, the king decides the two men will have an impartial hearing at his court and he will support whichever cause is more just.

It is now the night of combat, and the marshal Lord Glencairn asks if any last-minute accommodations can be made. Richard declines, unless Sir Kenelm will admit to murdering Gertrude and surrender to public justice. Kenelm refuses, saying that Gertrude abandoned him for a lover, and Richard is about to stab him in rage when suddenly, they are both commanded prisoners and summoned to the king’s court. Before they leave with the soldiers, the clock strikes one and in a swirl of thunder and lightning, Gertrude appears. She shares her story and explains that three times now she has prevented Kenelm from murdering his new wife. She requests a proper burial, asks Mackworth to protect Richard, and vanishes in a thick blue flame amidst a crack of lightning and tremendous peal of thunder. Richard breaks the silence and tells the soldiers to bring them to the court, so that he can share the full story in front of the king. The hearing occurs, and Kenelm is found guilty and sent to prison; he later has a public trial and is condemned to death. Gertrude’s remains are recovered and she has a proper burial; all the churches in the surrounding area hold masses in her honor and her final wish is granted.

Finally, Richard goes home. He keeps his house open to serve his father’s tenants, and the neighboring nobility congratulate him on his return from the war and for bringing Kenelm to justice. Nevertheless, Sir Richard is unhappy; he mourns the loss of his father and sister and misses his lost love Lady Jane. The story now shifts back many years, before Richard went to the Holy Land. He fell in love with Mackworth’s daughter, Jane, and she waited for him to return from the war. In the four years of his absence, Jane denied many marriage offers from wealthy prospects, one of them being Lord Glendour. Finally, Richard returns and they are set to marry. We learn that two years before Richard left, Mackworth’s son went to war and never returned. They mourned his death, and Mackworth received Richard as a son and the heir to his estates and domains. As they prepare for the wedding at the Mackworth estate, Richard returns to his familial castle, and in his absence, an unfortunate event occurs. One evening, Jane is kidnapped while on a walk through the gardens. Mackworth sends news to Richard, who vows never to return until he finds his love. He searches for weeks with no sign of Jane, until he comes across a hut offering refreshments to travelers. The man inside mentions that a gagged woman and man had come through just before and were on their way to Italy. Richard chases them to the river’s edge and resolves to follow them. For years, he traverses all of Italy, hopelessly searching convents for his lover. He falls ill and almost dies from grief, but dreams of Jane and vows to recover and free her.

A sample of the body text of *The Castle Spectre*

The story jumps back in time to Jane’s kidnapping, and it is revealed that Lord Glendour, one of Kenelm’s friends, fell madly in love with her and kidnapped Jane to be with her. He requests her hand in marriage, but she refuses. She tricks him into allowing her to pass the time in a convent in Italy, where she is watched over by the Lady Abbess and not allowed to leave. Back in the present, Richard meets an English man in the middle of Venice. They become friends and visit the man’s villa. Richard recognizes someone in one of the family pictures and asks the man to share the story of why he left England. The man says the story is long, but he has written it down for his children and will one day give Richard a copy to read. After months of visits, Richard reads the man’s story and is surprised by the similarities between them. The man, Wentworth, was the eldest son of a noble house in England. He fell in love with a peasant girl Louisa, and though he was promised to marry a noble woman Anna, he runs away with his lover. He fakes illness and tells his father he will go to the Holy War; Louisa goes with him, and they marry and have a son and daughter. He returns from the war and vows to sort out his betrothal to Anna. Leaving his wife and children in the protection of her father, he goes back to his paternal castle. He sets a plan for his brother, William, to marry Anna instead, and it works. Elatedly, Wentworth returns to the cottage and is devastated to find Louisa and his infant son missing. They were tricked by a letter claiming to be from him, and Wentworth suspects his own father to have sent it. For five years, Wentworth and his daughter travel the world, though nothing can make him forget Louisa. Receiving word of his father’s ill health, he returns to England. On his death bed, Wentworth’s father reveals he sent Louisa to a convent in Italy, but she escaped. Wentworth and his daughter go back to Italy to search for her, but he never finds Louisa. He lives like a recluse in his villa, and this is where Richard reenters the story.

Richard again visits Wentworth. The man reveals he is Richard’s uncle but used a fake family name so that he may retire in peace, away from the nobility. Richard explains that during his search for Jane, he saw Louisa and her son in the Pyrenees. Together, Richard and Wentworth begin their journey to the mountains to find the long-lost wife and son. They come across a cottage that Richard had visited before and reunite with Louisa and the son. Wentworth, now revealed to be called Sir George, decides to return to his family home in England. Richard promises to join them, if they can spare a few weeks for him to search for Jane.

One night on his return to the Italian villa, Richard sees two criminals attacking a man. He intervenes, and they admit they were hired by Count Vertolini to kill him. Richard and the man go back to his house, so they may speak safely. The young man then explains his story: he came from England to fight in the Holy War and had a father and sister at home who he had not heard from in years. During the war, he became great friends with an Italian man, Vertolini, who had a sister named Clemena. The man falls in love with her, but is then taken prisoner in Palestine. Four years later, Vertolini bribed the soldiers and freed his friend, and they carry on their travels together. The Italian man reveals his sister is promised to a convent, so she cannot be with his friend despite his love for her. They meet the sister in Italy, where he becomes even more enamored. Clemena admits she does not want to join the convent, but it is necessary for her honor. Vertolini vows to save her before she takes the veil, and the siblings try in vain to convince their father to free her. The father, Count Vertolini, refuses the young man’s wedding proposal, and advises him to leave Italy immediately. It is now revealed that the young man is Sir Henry Mackworth, Lord Mackworth’s long lost son and Jane’s brother.

Back in the present, Richard and Henry plan to rescue Clemena. While at the convent, a girl hands the knight a note telling him to return at midnight to find something of great importance. He listens, and that night, finds Lady Jane at the convent! She explains her story and begs him to free her. Richard and Henry return to the convent to demand her release, but the Lady Abbess refuses. The next day, Henry interrupts the veiling ceremony and saves Clemena from the convent. Richard goes back to England with Henry and Clemena, where he hurries to find Mackworth. Together, they apply to the king and receive his royal mandate to imprison Lord Glendour. The king sends word to the Pope, and Mackworth and Sir Richard go back to Italy to retrieve a freed Jane. With Richard’s lover in tow, they return to England. Wentworth lives in his castle with his family, there are numerous weddings, Glendour dies in a convent, and Sir Richard is blessed with years of happiness with Jane, Henry, Wentworth, and the others. They all live happily ever after.

Bibliography

Frank, Frederick S. “A Gothic Romance.” Horror Literature: A Core Collection and Reference Guide, by Marshall B. Tymn, New York City, R.R. Bowker, 1981.

Hoeveler, Diane L., “Sarah Wilkinson: Female Gothic Entrepreneur” (2015). Gothic Archive: Related Scholarship. 7. https://epublications.marquette.edu/gothic_scholar/7.

Johnson, Samuel. The Works of the English Poets, from Chaucer to Cowper: Including the Series Edited with Prefaces, Biographical and Critical. United Kingdom, J. Johnson, 1810.

McNally, Katie. “Fearsome Ink.” UVA Today, 29 Apr. 2016, http://news.virginia.edu/content/fearsome-ink-uva-library-boasts-worlds-finest-collection-english-gothic-literature. Accessed 4 Nov. 2021.

The National Union Catalog Pre-1956 Imprints. Vol. 664, London, Mansell, 1968. 754 vols.

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

Potter, Franz J. Gothic Chapbooks, Bluebooks and Shilling Shockers, 1797–1830. University of Wales Press, 2021.

Summers, Montague. A Gothic Bibliography. The Fortune press, 1941.

Wilkinson, Sarah Scudgell. The Castle Spectre; Or, Family Horrors: A Gothic Story. Printed for T. and R. Hughes, 1807.

Wilkinson, Sarah Scudgell, and Lewis, M. G. (Matthew Gregory). The Castle Spectre: An Ancient Baronial Romance; Founded On the Original Drama of M. G. Lewis. Published by J. Bailey, Printer, 1820.

Researcher: Abby Minkin

Stories of the Ship

Stories of the Ship OR, THE BRITISH SEAMEN’S PLEASING COMPANION: ILLUSTRATED IN A Series of Curious and Singular ADVENTURES

Author: Unknown
Publisher: W. Harris
Publication Year: 1807
Language: English
Book Dimensions: 10.5cm x 18cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .S736 1807

A collection of stories related to the sea and sailors, this 1807 chapbook includes humorous anecdotes as well as adventurous tales of heroic resilience.

Material History

Stories of the Ship is a short chapbook of thirty-six pages, written in English. The book’s dimensions are 10.5cm in width and 18cm in length.

Upon first glance, Stories of the Ship lacks a cover. The first page, before the book is opened, is completely devoid of any printed marking and allows for easy observation of the remnants of paper binding at the spine. This is typical of chapbooks in that due to their small size they were often rebound into one’s personal collection after being bought; it is probable that when sold, the book possessed a paper cover.

On the interior of the first page, the first of two illustrations within the pages of this text is found. Depicted in the foreground is a black dog and a Caucasian man gazing at one another. The man is taking refuge from the sea on the floating remnants of a wooden ship, which is exploding in the background. No other living beings, aside from the man and dog, exist in the picture. Notably, there is a slight brown discoloration in the paper under the man’s leftmost leg (from the reader’s point of view). Exactly beneath the image, very small italicized text reads: “Rarlow sculp”. Below this, in larger cursive text, the picture is captioned: “Explosion of a Dutch Ship.” Even further below, in the same small italicized text as right under the image, is a reference to the publisher that says “London. Published by W. Harris August 22nd 1807.”

The title page for *Stories of the Ship*

To the right is the second illustration, centered amongst various fonts and formats that fill the length of the second page. From top to bottom, the second page begins with the title, completely capitalized: “STORIES OF THE SHIP.” Succeeding the title is a semicolon that transitions the reader into the subtitle, which spans the next few lines, reading: “OR, THE BRITISH SEAMEN’S PLEASING COMPANION: ILLUSTRATED IN A Series of Curious and Singular ADVENTURES.” It should be noted that the font size of “OR, THE” is significantly smaller than that of the title, and occupies its own line. “IN A” shares these same characteristics. Both “BRITISH SEAMAN’S” and “Series of Curious and Singular” are italicized and fill their own respective lines. “PLEASING COMPANION:” and “ADVENTURES.” share the same physical characteristics as the title, but are respectively in a slightly smaller font size. Similarly, they also occupy their own lines. Following this are two sets of horizontal double lines that serve as dividers, within which is a four-line rhyme. Beneath the second divider is the aforementioned illustration, depicting in black ink what appears to be a wooden ship (in the foreground) in contact with an iceberg (in the background). Also in the foreground, to the right of the ship, are three polar bears. Even further beneath the illustration, which bears no caption, is a reference to the place of publication and sale (“London”), the publisher (“Printed for W. HARRIS, 96, High-Street, Shadwell :”), the merchants (“And sold by T. Hughes, Ludgate-Street ; Champante and Whitrow, Aldgate ; A. Cleugh, and T. Soutter, Ratcliff-Highway ; S. Elliott, High-Street, Shadwell ; Wilmot and Hill, and A. Kemmish, Borough; and J. Mackenzie, Old Bailey.”), the price (“PRICE SIX-PENCE.”), and lastly, beneath a long and flat diamond divider, the printer (T. PLUMMER, PRINTER, SEETHING-LANE. 1807.”). There is no explicit reference anywhere in these first few pages, nor anywhere else in the text, to the author.

On the next page (behind that which first mentions the title), there is a page that is blank save for “Entered at the Stamp-Office.” between a singular line right above and below. Beneath is a square outline, slightly discolored, that might have at some point been a stamp. However, there is nothing distinguishable to indicate anything more than that. As for the rest of the book, the size of the font remains constant, as do the margins, which are generally a 1.5cm indent from the outside of the page, although it is important to note that songs and poetry are more indented than the rest of the text. Page numbers appear on the top of the pages, in the outermost corners. The title of the chapbook, Stories of the Ship., is also centered, in all capital letters, at the top of every page. Pages 17 through 20 are approximately 0.75cm shorter than the rest at the bottom. There are some brown stains throughout the pages of the book, but they are very small and irregular. The book ends with “FINIS.”, and the last page of the story is also the last page of the book. At the very bottom of the page, there is another reference to the printer, T. Plummer.

Textual History

There is not substantial information on the history of Stories of the Ship. The author remains unknown; however, the publisher, printer, and booksellers are divulged on the title page. The chapbook was published on August 22nd, 1807 for William Harris and printed by Thomas Plummer, both who practiced in London. This book is likely the original and only publication and edition. There are only three copies worldwide, located at the University of Virginia, The Mariners’ Museum Library, and within the New York Public Library System. Stories of the Ship has not been digitized or reprinted since 1807; neither has it appeared in any scholarly works, which is likely due to its apparent inconsequentiality in the literature and society of its time.

The publisher, William Harris, at 96, High-Street, Shadwell, also worked as a bookbinder and was active from 1802 until 1822 (Cowie 118). Stories of the Ship seems to be the only work for which he served as publisher. The printer, Thomas Plummer, was active from 1798 until 1836 and printed many chapbooks and a couple of works related to sea fiction. The booksellers include Thomas Hughes (a. 1807–1833), Champante and Whitrow (wholesale stationers, fl. 1784–1801), Alexander Cleugh (a. 1785–1811), Thomas Soutter, S. Elliott, Wilmot and Hill, Ann Kemmish (fl. 1800), and Joseph Mackenzie (a. 1806–1807). All are located in London, and S. Elliott and Thomas Hughes are named to be some of the most frequent sellers of well-known author Anne Ker’s bluebooks. However, there is no information on the popularity or public opinion on Stories of the Ship.

The frontispiece for *Stories of the Ship*

There are two illustrations within the first couple pages of the book. The first, a frontispiece, is captioned by a reference to the British printmaker and engraver Inigo Barlow, reading “Rarlow sculp,” as in Barlow sculpture. Notably, the name is misspelled; however, the font and phrase match the captions of many of his other illustrations. He was active most prominently around 1790. The frontispiece image depicts a scene from the first story within the book, “Affecting Narrative of a Dutch Sailor,” in which a Dutch ship explodes. It is likely that the author derived inspiration from an actual event that occurred earlier in the year 1807. The disaster took place in Leiden, Holland, in which a wooden ship, carrying hundreds of barrels of gunpowder, exploded, resulting in fatalities, injuries, and destruction (Reitsma 1). The incident was eventually attributed to the neglect of the crew. This scenario is very similar to the plot of “Affecting Narrative of a Dutch Sailor,” in which not the ship but instead the protagonist is Dutch, and this ship is not in town, but rather out at sea. Another potential source of inspiration for the author is the municipality and castle of Ortenberg, which shares a name with the aforementioned Dutch sailor protagonist. Ortenberg (the town) is located not far from the Black Forest, and the castle, built in the eleventh and twelfth centuries, is located just above the town. Again, however, these connections are not certain.

There is an entry for a book entitled Songs of the Ship (for 1807), or, the British Seamen’s Cheerful Songster in John Stainer’s book cataloguing his collection of English song books. The details under this entry match the publisher, publication year, and page length of Stories of the Ship; however, the description, which reads “containing a valuable collection of the newest and most celebrated Sea-Songs, sung at all Places of public amusement, To which are added, a Collection of Toasts and Sentiments” is uncharacteristic of Stories of the Ship, which implies likelihood of an accompanying songbook by the same author (Stainer 79).

Narrative Point of View

The first (and longest) story of the chapbook Stories of the Ship has the most complex narrative point of view within the book, but is predominantly told in first person by a Dutch sailor. Despite its narrative complexity, the story is told in a concise and objective manner, as it recounts a past adventure. Though not necessarily of the same form, all other stories in this book maintain a similar condensed style. However, the stories within the book vary in narrative point of view. Sometimes identified, sometimes anonymous, the narrators speak either in first or third person as well as in either present or past tense. The third-person narrators within this book tend to be objective and omniscient, acting as observers to their narratives, while the first-person narrators are necessarily more limited in their narration even as they function as characters within the story themselves.

Sample of First-Person Narrator from “The Dolphin, a droll Story”:

The dame now grinned with passion, but Joe perceiving she quickened her pace, snatched up the rod and net, and made the best of his way, still pointing to the sign as he passed under it, with his mother at his heels. She’ll not look up for a guinea, thought I. No more she did, and hobbling on at a pretty quick pace, was soon out of sight. (16)

Sample of Third-Person Narrator from “An Irish Sailor’s Opinion of Matrimony, a laughable Tale”:

The steward (for he was captain’s steward) was of a disposition that required but little invitation, particularly from a friend. He ate heartily, drank free, and cracked his joke. (25)

Overall, the narrative style is plot- and action-based. It is also non-personal, and in this lack of emphasis on emotion, it becomes easy to focus on and follow the swift narrative style of so many of the sections. Notably, the lack of emotional emphasis exists even when the form is more personal, as occurs in the last story of the book, written in the form of a letter. Additionally, despite the disparity of content and narrative style, there is a surprising lack of confusion derived from these constant switches. This is likely because of the storytelling style and introduction of many of the narrators, as can be seen in the aforementioned excerpts. In “Affecting Narrative of a Dutch Sailor,” the dominant narrator is introduced by another, as if the story is being passed along repeatedly, and has eventually made its way into this book. This embedded narrative style is seen in the opening of “Affecting Narrative of a Dutch Sailor,” which reads as follows:

You know, said Ortenberg, (for that was his name), that I left Holland clandestinely. The ship in which I went, was destined to sail for Batavia; the captain was an honest fellow, and had promised to procure me a place in the counting-house of one of his friends at Java. (3)

The story begins with an implied third-person narrator; however, beyond this first sentence there is no narrative point of view other than that of the first-person narration by Ortenberg, the main character.

In other instances, there is an objective narrator that infrequently uses first person, as their role within the story is limited. Such is the case in “The Dolphin, a droll Story,” excerpted above. This casual approach to the narratives encourages an element of humor as well as insinuates that the book is perhaps meant to be read aloud.

Summary

Stories of the Ship is a collection of short stories and anecdotes; the length of each section ranges from a few lines to multiple pages. The following summaries, listed in the order they appear within the chapbook, will reflect these inconsistencies in length. Additionally, the capitalization and punctuation within titles reflect their printing in the book.

Affecting Narrative of a Dutch Sailor

This story is told by a sailor named Ortenberg, who recalls “the Explosion of the Ship in which he was, and his miraculous preservation” (3). This ship experiences smooth sailing until an alarm is raised regarding a fire in the hold; a huge endeavor is made to extinguish the fire, but the efforts prove fruitless. There is no land or ship in sight, and general panic aboard the ship heightens. Most everyone steals away on boats, and the captain and Ortenberg attempt to chase them down in the ship, but success is again just out of reach. Shortly thereafter, the oil-casks catch fire, and it is not long before the entire ship explodes.

Upon returning to his senses, Ortenberg discovers himself to be the only survivor and laments his circumstances. He and his dog are reunited. Ortenberg then catches sight of the longboat, which had once accompanied the ship, a great distance away. As dawn rises the following day, the boat is near, and he is able to join those aboard who had escaped the ship before its calamity. Ortenberg is appointed captain of the longboat. They journey on, eventually run out of food, and are forced to resort to eating Ortenberg’s dog. Meanwhile, the people grow doubtful that land is near, and Ortenberg is given three days to discover land, or a plan of cannibalism will unfold. As a storm clears from the sky, land and a Dutch fleet are revealed. The story ends with the weary survivors being rescued and fed.

A British Seaman’s Humanity

Narrated in first-person by “a Gentleman,” this story recounts the gentleman opening a subscription at a library for a crazy old cottager who had lost her sailor lover (13). An English sailor, upon hearing her story, laments her tale in a series of metaphors comparing the woman to a ship. As the sailor departs the library, a Bond-street lounger insults him behind his back. The sailor overhears this comment and defends himself as a sailor under a commendable and honorable king, simultaneously attacking the honor of the lounger and leaving him looking like a fool.

The Dolphin, a droll Story

Told by an anonymous first-person narrator, begins with a mother chastising her son, Joe, for not catching enough fish. She proudly declares that she will do much better than he has, and will even catch a dolphin. The woman casts her line into deep and muddy water, and somehow her rod snaps. She then pulls the line in only to find that she had pulled in a stone. Having made a fool of herself (broken rod, muddy dress, and all), Joe pokes fun at her predicament.

Remarkable Instance of the Affection of a Bear for her Cubs, extracted from Commodore Phipps’ Voyage

Narrated in third-person, this tale begins with three bears, a mother and two cubs, making their way over ice towards ships nearby where a sea-horse had been killed. Feasting on the sea-horse, the bears are shot by the sailors, killing the cubs, and wounding the mother. Though in pain, the mother bear presents more meat to her cubs, hoping in vain that they are alive. They remain unmoving and she “endeavor[s] to raise them up” with no success (17). Moaning all the while, she walks away but returns repeatedly, and when she realizes they are dead, growls towards the ship, to which they respond by shooting her dead.

Adventures of Arthur Douglas, the little Scotsman, and Tom Reefem, an English Tar, an affecting Story

This story unfolds with Tom, an experienced sailor, offering aid to a despairing Arthur, who has run away from home to travel the world. Tom, taking pity on Arthur, feeds him, but not before Arthur has mistaken the returning Tom for a ghost. After eating, Arthur’s suspicions of Tom wane in favor of gratitude. Tom introduces Arthur to the captain, whose approval is contrasted by that of a London trader, who sentences Arthur to return to his parents. Arthur, despairing, is given an opportunity by the captain to work aboard his ship. He works under Tom, who he grows to love as a father, and after a few years, returns to England having become well-learned. However, just before docking, war has been declared against France, and Tom and Arthur are wounded in a fight against the French. Arthur, however, proves valiant in further engagements and is appointed midshipman by an admiral. Tom continues to accompany Arthur in his new role, and their friendship is well known.

An Irish Sailor’s Opinion of Matrimony, a laughable Tale

Narrated in third-person, this is a conversation between shipmates Patrick and Thomas. Thomas wants their captain to be married, but Patrick wholeheartedly disagrees with the notion, indicating that marriage is too confining. Thomas responds by advocating the absence of danger in marriage; Patrick refutes that indeed there is danger, most prominently in the form of jealousy, but also in marriage’s other passions and complexities.

This page shows the formatting used to separate stories and anecdotes.

Nocturnal Illumination

Also told by a third-person narrator, this anecdote describes a “finical lieutenant” asking for a light, which he calls a “nocturnal illumination” to be put out, and when he is misunderstood, he complains of the sailor’s stupidity (28). The boatswain, to whom the lieutenant speaks, translates the command into the words of a sailor, and the job is completed.

Anecdote of Admiral Haddock

In which a dying admiral leaves his son a small fortune devoid of dirty money.

Anecdote of a Sailor and Quaker

In which an English sailor attempts to instigate a Quaker to violence, to which the Quaker squeezes and shakes but does not strike the sailor into submission.

The Press-Gang

In which a gang accosts a gentleman, claiming they need him to teach their guards manners.

Extraordinary Instance of Bravery

This is a story of a hero who first sneaks aboard an enemy French ship and attempts to pull down their colors, while holding off, successfully, several attackers. He then saves a fellow countryman’s life, and shortly thereafter narrowly escapes death with a fractured leg, but continues to fight on his knees. After, he is doing well in the hospital.

The Admiral’s Escutcheon

In which an admiral’s home is mistaken for an alehouse by a sailor, who asks for a cup of ale. The admiral then orders his servant to bring one to the sailor, and tells him that he might pay the next time he comes by.

King Charles II and the Sailor

This is a correspondence between Jack, “the best seamen in [the] navy,” headed for the gallows as a result of stealing, and King Charles Rex, who saves him from the gallows (32).

A Sailor’s Frolic

This anecdote tells of a sailor endeavoring for “every tub [to] stand upon its own bottom” (32).

Wapping Ball

An anecdote about colliers at a ball who aim to level themselves with well-clothed sailors.

Account of the Battle of Trafalgar

A letter from a sailor by the name of Jack Handspike to his landlord regarding his experience in the Battle of Trafalgar. He begins by commending Lord Nelson but quickly transitions to the onset of the battle, during which Jack injures two of his fingers and ends up cutting them off and wrapping them so that he is able to captain a gun on the main-deck until the British victory. He then asks for several items to be bought for his wife, Sall, and reassures that although he is injured, and that he will be well recompensed for his service to the country. The letter ends with a song celebrating the death of Lord Nelson.

Bibliography

“Ann Kemmish” The British Museum, The Trustees of the British Museum, www.britishmuseum.org/collection/term/BIOG235671.

“Champante and Whitrow.” The British Museum, The Trustees of the British Museum, www.britishmuseum.org/collection/term/BIOG155232.

“Cleugh, Alexander” [WorldCat Identities], www.worldcat.org/wcidentities/lccn-no2017003446.

Cowie, George. The Bookbinder’s Manual: Containing a Full Description of Leather And Vellum Binding : Also, Directions for Gilding of Paper & Book-edges, And Numerous Valuable Recipes for Sprinkling, Colouring, & Marbling : Together With a Scale of Bookbinders’ Charges : a List of All the Book And Vellum Binders In London, &c., &c. 5th ed. London: William Strange, 18501859.

“Harris, William” [WorldCat Identities], www.worldcat.org/identities/lccn-no2016030213/.

“Inigo Barlow.” The British Museum, The Trustees of the British Museum, www.britishmuseum.org/collection/term/BIOG198601.

“Hughes, Thomas” [WorldCat Identities], www.worldcat.org/wcidentities/lccn-no2015023168/.

“Mackenzie, Joseph” [WorldCat Identities], www.worldcat.org/wcidentities/lccn-no2019147675/.

“Plummer, Thomas” [WorldCat Identities], www.worldcat.org/wcidentities/lccn-nr93018798/.

Reitsma, H.J., and A. Ponsen. “THE LEIDEN DISASTER OF 1807.” Icon, vol. 13, 2007, pp. 1–18.

“Soutter, Thomas” [WorldCat Identities], www.worldcat.org/wcidentities/lccn-no2019147374/.

Stainer, John. Catalogue of English Song Books Forming a Portion of the Library of Sir John Stainer: With Appendices of Foreign Song Books, Collections of Carols, Books On Bells, &c. London: Printed for private circulation by Novello, Ewer, 1891.

Steele, John Gladstone. “Anne and John Ker.” Cardiff Corvey: Reading the Romantic Text, no. 12, 2204.

Stories of the Ship OR, THE BRITISH SEAMEN’S PLEASING COMPANION: ILLUSTRATED IN A Series of Curious and Singular ADVENTURES. William Harris, 1807.

Researcher: Lauren Smits

Parental Murder

Parental Murder; or, the Brothers, an Interesting Romance; in which Virtue and Villainy are Contrasted, and Followed by Reward and Retribution.

Author: Unknown
Publisher: T. and R. Hughes
Publication Year: 1807
Language: English
Book Dimensions: 11cm x 18cm
Pages: 40
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2.P345 1807

Set in the Italian countryside, this 1807 chapbook sees seemingly supernatural justice dealt after a deceitful and power-hungry prince murders his father, usurps the throne, and abducts his brother’s lover.

Material History

Parental Murder is anineteenth-century chapbook written by an unknown author. When the novel is opened past its first blank page, one is presented with an illustration on the second page, and the title page appears on the third. The bulk of the title page is dedicated to the novel’s full title and a brief description: “PARENTAL MURDER; OR, THE BROTHERS, AN INTERESTING ROMANCE; IN WHICH VIRTUE AND VILLAINY ARE CONTRASTED, AND FOLLOWED BY REWARD AND RETRIBUTION.” The title page indicates that the novel was printed for T. and R. Hughes by printers Lewis & Hamblin. A date at the bottom of the title page indicates that it was published in 1807. Interestingly, the title page makes no mention of the novel’s author.

The illustration on the second page is in black-and-white, depicting a scene from the main text. In the image, a woman clad in flowing white robes looks down upon a man lying dead on the ground, facing upward. The illustration is accompanied by a caption reading, “A fire-ball, impelled by the arm of unerring Omnipotence, laid the libertine dead at my feet. Page 27.” As suggested, this text appears in a passage on page 27.

The chapbook itself measures 11cm wide by 18cm tall. Stitching holes in each page’s inner margins suggest that the chapbook was originally bound, but this particular book has had its binding removed, and its first blank page serves as a kind of cover. The book’s paper is thin, brittle, yellowed, and very grainy—one feels pulp as they run their finger across each page. At its edges, the paper is frayed and rough. The book appears to have been printed on relatively cheap material, and this particular copy is especially well-worn; several of its pages are on the brink of coming apart from one another.

The chapbook is numbered as containing forty pages; however, counting from the novel’s blank first page, there are actually only thirty-eight pages. The novel’s first numbered page—page 8—appears only six pages in. Every page number thereafter is consecutive; if these two pages are missing, they must have been taken from before page 8. It is ultimately unclear if any pages actually are missing; no content appears to be omitted from these first pages. It is probable that either the two absent pages are blank or that page counting simply begins at an unusual number.

The cover page for *Parental Murder*, complete with ownership markings.

The blank first page—while devoid of print—does contain several ownership markings. The name “Sophia” is stamped identically three times near the top. Underneath, a partially-legible script indicates the name “Barbara Bounby” and the date range June 3^rd to June 16^th, 1810. (However, the specific days in June are somewhat unclear—the script is blotted and individual characters become difficult to decipher.) Near the bottom of the page, “Le” is written in a similar script with identical color.

After the main body of the text begins, the title of the book appears only in its abbreviated form: “PARENTAL MURDER; OR,” alongside “THE BROTHERS.” printed in the top margins of the left and right pages, respectively. Each page in the text’s main body has thin margins. The type is small, seriffed, and heavyset. The lines are short and tightly packed; the pages, while small, are dense. The body of the text contains no illustrations beyond the introductory frontispiece on the second page.

The body text is marked on two separate pages. First, on page 22, two x-marks made in pencil surround the phrase “of his heart.” Higher up on the same page, an (ostensibly accidental) pencil marking veers off the top edge. On page 31, the word “Regicide!” is underlined in pen. These two pages are the only two with obvious, visible annotations; the rest of the text is unmarked.

Textual History

Very little information is available concerning the writing, publication, or reception of Parental Murder. Its author is anonymous—the only names listed in the chapbook are those of the publisher and printer. Published in London in 1807, it was apparently released to little fanfare: there are no records of Parental Murder being advertised or reviewed in any periodicals of its time. Furthermore, searches for contemporary literary criticism—or any other kind of secondary scholarship—on the chapbook yield few references.

There are, however, indications that Parental Murder did not go entirely unnoticed by the scholarly community. For instance: it is listed in the expansive Gothic Bibliography by Montague Summers, described simply as “Parental Murder. Chapbook. 1807” (457).A slightly more detailed listing appears in Douglass Thomson’s Gothic Writers: A Critical and Bibliographical Guide; his account includes the chapbook’s full subtitle, its city of publication, and the names of its editors (137). More interesting, however, is Parental Murder’s omission from Gothic Writers’ section on modern reprintings or updated editions. In this section, Thomson maintains a comprehensive list of reprintings, updated editions, and other reproductions of the works he tracks. From this, we can infer that Parental Murder was probably never reprinted or republished as a new edition. Thomson’s finding is consistent with searches across several online catalogs: in each case, no later editions of the chapbook appear. The available scholarly information on the chapbook, while relatively minute, suggests that only one edition has ever been published.

As previously noted, Parental Murder makes no indication of its author; it does, however, include the names of its printers and publishers. Before the body of the text, and once more at its close, the names and address of the books’ printmakers are listed: “Printed by Lewis & Hamblin, Paternoster-row” (Parental Murder 40). Similarly, the title page displays the name and address of the publishers: “Printed for T. and R. Hughes, 35, Ludgate-Hill, Corner of Stationers-Court” (Parental Murder 5). Biographical information on these figures is scarce; Lewis, Hamblin, and R. Hughes are all absent from searches for London printmakers or publishers active during 1807. A brief biographical entry for T. Hughes, however, does appear. The British Museum indicates that he was a British publisher and printmaker located at 35 Ludgate-Hill, consistent with the information in the chapbook. The page also indicates that this figure is “perhaps identical with T Hughes of Stationers’ Court” (“T Hughes”). Observing that the listed address in Parental Murder names both Ludgate-Hill and Stationers’ Court, we can confirm that these two figures likely both refer to the same printmaker.

The British Museum also notes that T. Hughes published several prints by George Cruikshank, a prominent illustrator of the time. Cruikshank was widely known for his political cartoons and illustrations for the likes of Charles Dickens, and his work remains prolific today. The uncredited illustration preceding Parental Murder is almost certainly unconnected to Cruikshank, however, as the chapbook’s publication in 1807predates Cruikshank’s rise as an illustrator in 1811.

Investigating the site of Parental Murder’s printing and publication places the chapbook at the center of the bustling London publishing and printmaking industries. Paternoster-row, the address attributed to printers Lewis and Hamblin, was a nexus of printmaking and principally occupied by “stationers and text-writers” (Thornbury chapter 23). The chapbook’s publishers, T. and R. Hughes, were situated at the corner of the nearby Stationers’ Court. Stationers’ Court is a small path that departs from Ludgate Hill Street and leads to the entrance of Stationers’ Hall (see this Ordnance Survey map to view the precise streets). Stationers’ Hall housed the Stationers’ Company, a government-chartered literary authority that extensively vetted and registered British publications: “almost every publication … was required to be ‘entered at Stationers’ Hall’” (Thornbury chapter 19). In this sense, the sites of Parental Murder’s printing and publication were both mere footsteps away from the epicenter of London publishing, pinning the chapbook’s production to the literal geographic center of a flourishing literary trade.

Narrative Point of View

Parental Murder features an anonymous, third-person narrator whose relationship to the text is left undefined. The novel’s prose is grandiose, long-winded, and, at times, almost breathless in nature: short and succinct sentences are often interposed with very long, grammatically complex ones. The narration shifts freely between making matter-of-fact observations on plot points and offering reflections on the inner thoughts, emotions, and secret motivations of the characters.

Sample Passage:

With malicious looks, Rabano saw that all the favours he had been suing for at the side of this lovely peerless maiden were unhesitatingly granted to his brother, and with such an arch plausibility of excuse, that it was impossible to refuse without exposing his disappointment and vexation. Romano afterwards danced with her, and the whisper every where ran, “What a figure! what grace! what sweetness!” “It must be so!” exclaimed Rabano inwardly; “I must—I will have her; and Zalarra shall decide upon the measures to be pursued!” (20)

Parental Murder’s willingness to freely transition between objective, plot-driven narration and inward, emotionally focused musings serves primarily to align its high-octane, action-packed storyline with a core thematic message about the supreme importance of virtue. Looking at plot events alone, the novel’s storyline traces out a familiar dramatic arc: the power-hungry, parricidal son whose sins catch up to him in the end. At the same time, the insights into characters’ private thoughts and motivations help to drive the thematic content: from these insights, it becomes clear that Romano is to be seen as virtuous, and his brother Rabano is not. In the passage above, Rabano’s inward exclamations of jealousy and lust serve to cement him as the iniquitous foil to his virtuous brother. Having established this characterization, when Romano ultimately triumphs, the narrator is able to assert that “virtue is the only true path to greatness, love, and glory!” (40). In this way, the intermingling narrative delivery of plot content and emotional content is key to presenting a compelling plot while also making a clear statement of theme.

Summary

Baretti is a powerful king who rules over an expansive dominion in Italy. He has two sons, Rabano and Romano. Romano, the younger brother, is the clear favorite of the two; he is revered by his parents for his virtuous character. In contrast, Rabano is power-hungry and ruthless. He resolves to conquer land for himself and sets his sights on the land of Ardini, a nearby ally. Baretti sees a learning opportunity: he supplies Rabano with men and armaments, hoping that brutal defeat will show Rabano to be incapable of leadership.

One day, Ardini’s men trespass on Baretti’s land, and Rabano seizes the opportunity to mount a retaliatory attack. But when it becomes clear that Rabano is interested in senseless brutality, Baretti and his men come to Ardini’s aid; their forces combined, Rabano will certainly suffer crushing defeat. Rabano, realizing this, develops a burning hatred for his father and resolves to get revenge. He enlists his trusted assistant Zalarra to disguise himself as a priest and sneak to Ardini’s camp, where Baretti is currently staying. Zalarra finds Baretti in the camp and tells him that Rabano is prepared to make a peace offering.

Baretti follows him to meet Rabano in an isolated dell. But when he arrives, Rabano gives his father an ultimatum: betray Ardini and aid in the conquest of his land, or be killed where he stands. Baretti realizes that the peace offering was a setup and begins to fight his assailants, but he is eventually overcome and stabbed. Baretti is buried in a prepared grave, and the assassins return home.

The next morning, Ardini’s camp is in a state of confusion. Without orders from Baretti, the supplementary forces will not go into battle—condemning Ardini to certain defeat at the hands of Rabano. They enact a short truce with Rabano while they search for Baretti—but find nothing.

Rabano takes the throne. He is shocked, however, when Zalarra finds Baretti’s grave unearthed and the body missing. Rabano is shaken by this discovery, but he rules as if nothing is wrong. He sends Romano on a mission to a neighboring chief, and he plans to throw a party to celebrate his ascension to power. Despite their strained relationship, Ardini is invited.

At the party, Ardini is accompanied by his beautiful daughter Miranda. When Rabano sees her, he is immediately enamored and resolves to make her his own. He asks her to dance, but she refuses. Suddenly, Romano bursts into the party. Romano explains that the hostile neighboring chief detained him, but he managed to escape and make his way home. Rabano promises to look into the matter later.

Romano catches glimpse of Miranda. He asks her to dance, and she gladly accepts. Rabano is incensed at seeing this, and he plans how he will win Miranda’s hand. Rabano pulls Miranda and Ardini into a private apartment. Ardini steps into a neighboring room to give them some privacy, but the door is shut on him and he finds himself trapped. Now alone with Miranda, Rabano urges her to marry him, but she confesses that she already loves Romano.

Unprompted, Miranda remarks that Rabano and Zalarra look suspiciously similar to two hooded figures she saw on the night of Baretti’s murder. That same night, she had planned a secret meeting with Romano—in the same isolated dell where Baretti was murdered. She arrived at the dell before the murderers, but when she heard them approaching, she hid behind a tree. She has not mentioned anything out of fear for herself and Romano.

Rabano cautions her to keep quiet. If her story got out, Romano could be in serious danger; he too was missing on the night of the murder. Miranda agrees and swears to stay silent. Rabano renews his attempts at courting her. When she refuses again, he forces her towards a hidden chamber.

Meanwhile, Ardini suspects foul play when he is not let out of the locked room. He escapes through a window, finds Romano, and explains that he fears for Miranda; the group heads for the castle’s private apartments. When a guard stops them, they slay him and rush upstairs just in time to catch Rabano forcing Miranda into the hidden chamber.

Miranda steals Rabano’s weapon and tries to stab him, but the blade breaks in two and fails to injure him. Soldiers alerted by Zalarra descend on the group and arrest Romano and Ardini for high treason. Until their trial, Miranda is to be detained in the hidden apartment, where Rabano persists in his attempts for her hand almost daily.

Sample page from the body of *Parental Murder*, with an underline marked beneath the word “Regicide!”

One night, Rabano sneaks into Miranda’s chamber while she is asleep and plants a kiss on her lips. He prepares to rape her, but a suit of armor steps off its pedestal and stands between them. It shouts: “Thy reign is short! At the trial, parricide, thou shalt behold me again” (30). The apparition scares Rabano off from his attempts to violate Miranda.

The night before the trial, Rabano and Zalarra get drunk together. Zalarra continues to give Rabano alcohol until he passes out on the floor. Zalarra also has an eye for Miranda; he steals the keys to her secret chamber, sneaks in, and kisses her while she sleeps. Before he can continue, however, a figure in black robes shouts “Regicide!” (31). The figure warns Zalarra to repent. Zalarra flees, wakes Rabano, but decides not to tell him about what he saw. Instead, Zalarra suggests they search the castle for any other apparitions. While searching, they discover that Miranda has escaped from her chamber. Their efforts to locate her are fruitless.

Secretly, Miranda was conveyed by a mysterious monk to a cottage outside of the castle through a hidden tunnel. In the cottage, she meets a former servant of Baretti, who promises to lead her to the chamber where the trial will be held, so she can expose Rabano and Zalarra. On the day of the trial, Ardini is tried first; he confesses to killing guards in pursuit of Rabano, but he expects that the detention of his daughter will justify his conduct. Romano is tried next. A priest steps up and testifies the dying confession of a deserting soldier named Afran, who had allegedly stumbled upon Romano burying Baretti’s body. He had pursued Romano, but Romano escaped, and Afran was mortally wounded in the struggle. He did, however, manage to grab a gorget bearing Romano’s name during the fight.

Romano explains that he was present at the dell on the night of the murder—but only to see Miranda. As he arrived, he saw a figure stab the victim. He was unable to reach the assassins in time, so he unearthed the body and resolved to carry it to a nearby house. The body was too heavy, however, so he instead brought it to a nearby cave. Afran, seeing Romano carry the body, mistook him for the assassin and attacked.

The judge is prepared to issue a death sentence for Romano when Miranda bursts in. She presents the cloak and banner Baretti wore on the night of his murder, which were found in Rabano’s strongbox. The courtroom descends into chaos until the aforementioned priest announces that he has one more piece of evidence—a piece of paper naming the murderer, given by Afran in his final moments. Zalarra snatches the paper from him and rips it to pieces. Chaos returns, and the priest suddenly blows a whistle. The room is instantly flooded with soldiers, and a figure appears at the head of the courtroom.

To everyone’s surprise, the figure is Baretti himself. He explains that he survived the assassination attempt. After being carried to the cave, he told Afran that Rabano was guilty. Since then, Baretti has been living in the cottage, disguised as one of his own servants.

The courtroom instantly condemns Zalarra and Rabano. The judge assigns both fiends formidable sentences. Rabano is confined to a cell at the top of a large tower, which eventually collapses and crushes him to death. Romano is declared the worthy successor to Baretti, and he reigns “with unabated splendor” (40).

Bibliography

“George Cruikshank.” Encyclopedia Britannica, 23 Sept. 2020, www.britannica.com/biography/George-Cruikshank.

Ordnance Survey. Director General of the Ordnance Survey, Chessington, Surrey, 1953. Map. https://maps.nls.uk/view/102904585.

Parental Murder. London, T. and R. Hughes, 1807.

Summers, Montague. A Gothic Bibliography. London, Fortune Press, 1964.

Thomson, Douglass H., et al. Gothic Writers: A Critical and Bibliographical Guide. Greenwood Press, 2002.

Thornbury, Walter. Old and New London: Volume 1. London, Cassell, Petter & Galpin, 1878. British History Online. 27 October 2020. http://www.british-history.ac.uk/old-new-london/vol1.

“T Hughes.” British Museum, www.britishmuseum.org/collection/term/BIOG163433.

Researcher: Joe Kerrigan