T. Maiden | Project Gothic

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 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.

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 Recluse of the Woods

The Recluse of the Woods; Or, The Generous Warrior

Author: Unknown
Publisher: J. Roe
Publication Year: 1809
Language: English
Book Dimensions: 9.8cm x 15.5cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .R425 1809

In this circa 1809 chapbook set in the county of Sussex and featuring royalty and forbidden love, one intriguing romance revolves around an Earl’s daughter and a mysterious man’s son who lives alone in the woods.

Material History

This particular copy of The Recluse of The Woods is especially rich in both history and mystery. At first glance, several properties of the physical appearance of the book raise questions regarding the book’s history. The binding of the book is made of plain blue paper with nothing printed on it, while also being held together by just enough stitching to keep it stable. The physical book itself is extremely thin, with its height measuring 15.5 cm and it’s width measuring 9.8 cm. Additionally, the cover of the book is completely empty and simple, signaling the inexpensive qualities of the object. Inside the book, the interior pages follow the precedent set by the exterior as the pages are very thin and worn out. The color of the pages are yellowed, representing a light cream color, however are still relatively intact without major stains.

The title page for *The Recluse of the Woods*

A detailed illustration is present in the beginning of the text, showing a well-dressed man and two women greeting each other, while another man watches from the bushes afar. The illustration seems to be either hand coloring or watercoloring while still being in good condition. There’s also a castle in the background, near the upper left corner. Once again, this illustration further points to the ambiguity of The Recluse of The Woods, as there is no caption or description beneath the drawing that provides information on the meaning of the illustration. The one possible inference that can be made is that the man and two women greeting each other are colleagues, while the man watching from afar seems more suspicious and unwelcome.

The title page prints “The Recluse of The Woods” first, followed by “Or, The Generous Warrior.” Underneath the two titles reads, “A Gothic Romance.” The mysterious qualities of the book are further exemplified by the absence of the author’s name, which is nowhere present in the chapbook.

In terms of text within the book, all pages have closely-set text with wide margins due to the edges not being trimmed. The font is relatively small. For each page of text, the number of the page is written in the top left corner of the page, while the top of the even-page numbers read “The Recluse of” and the top of the odd-page numbers read “The Woods.” There are thirty-six pages of text total in the book.

Textual History

While The Recluse of the Woods proves to be an interesting novel offering a unique perspective from gothic literature, the actual history of the text is quite ambiguous. A few key details about the circumstances in which The Recluse of the Woods was made are known, namely regarding the publication of the text. The novel was published in 1809 in London, printed by a man named Thomas Maiden, and the publishers were John Roe and Ann Lemoine. These three also worked together for the production of many other novels during the early nineteenth century, publishing books such as The Castle of Alvidaro and The Round Tower. Additionally, there are several copies of The Recluse of the Woods held in both the United States and England, with schools such as The University of Virginia, Yale University, and The University of Oxford each holding copies of the novel.

While this information provides some insight into The Recluse of the Woods, the biggest mystery surrounding the novel is the identity of the author. While their identity seems to be hidden, Frederick S. Frank provides substantial information on the novel in a chapter called “The Gothic Romance,” explaining how The Recluse of the Woods was “written with Charlotte Smith’s Ethelinde; or, The Recluse of the Lake in view” (139). While the author of The Recluse of the Woods seems to be absent from most databases, Charlotte Smith was well known for her novels and poems during the late eighteenth century.

The frontispiece for *The Recluse of the Woods*

Charlotte Smith was an English novelist and poet, born in 1749 and living until 1806. In her career spanning twenty-two years, she produced ten novels, two translations, three books of poetry, and six educational works for children (Napier). Most of her novels earned high praise throughout the duration of her career, while also drawing some debate and criticism for her writing style and views. Among her critics, some voiced their disagreement with democratic sympathies, as well as her radical attitudes toward conventional morality and her political ideas of class equality. Some of the key qualities associated with Smith’s writing were her tendency to work self-consciously and experimentally within the fiction genre. Moreover, she often focused on the celebration of nature within her books, while also frequently adopting the prototypical figure of the wanderer as a vehicle for social commentary. Smith was also a “wanderer,” of sorts, for much of her career, making sense of her attraction towards this characterization (Zimmerman).

While Charlotte Smith saw herself as a poet first and foremost, many of Smith’s novels developed the frame of the story according to Gothic and sentimental traditions. Some of her novels even contained poetic scenes, such as the novel related to The Recluse of the Woods, namely Ethelinde; or the Recluse of the Lake. Published in 1790 in Dublin, Ireland, The Recluse of the Lake was received with mixed reviews by critics, as many saw the novel being equal in excellence to one Smith’s best-known works Emmeline, while some disregarded this notion. One particular critic directly challenges this notion, explaining, “If we compare Ethelinde with Emmeline, it will be found less full of adventure, of sudden changes of fortune, and less interesting by its humble denouement. The characters are not too prominent, nor their outlines so broad” (“Ethelinde” 57). Because the poetic scenes revolved around natural landscapes in the The Recluse of the Lake, the novel adopts a static, lingering quality exactly suited to the tone of its heroine’s introspective melancholy (Napier). While poetic scenes play an important role in The Recluse of the Lake, the novel ultimately is characterized by containing sentimental narratives with Gothic elements, similar to her three other works that she produced during the same time period, like Emmeline and Celestina (Ravin). The Recluse of the Woods harnesses the same sentimental narratives, but ultimately did not have the same critical impact or the same staying power as Charlotte Smith’s novel.

Narrative Point of View

The Recluse of The Woods is narrated in the third person by an external narrator who does not appear in the text. The narration is quite descriptive and observational, as the narrator tends to paint a picture of the scene and describe characters’ physical characteristics prior to introducing the dialogue. Also, the narrator repeatedly tells the reader about characters internal conflict and feelings throughout the novel.

Sample Passage:

Many other lessons were given to Eliza, by her father and the Lady Gertrude, and she was then left by them to weep for Edgar, and sigh over the hardness of her fate. About the hour of noon the shrill voice of the trumpet announced to her the approach of Lord Harold; she trembled at the sound, and as the untamed fawn flies from the approach of the passenger, she ran to her chamber, anxious to avoid all intercourse with her fellow beings. (24)

With the presence of third-person narration in The Recluse of The Woods, characters’ feelings and thoughts are highlighted clearly, as shown through this sample passage. Key phrases like “she trembled at the sound” and “anxious to avoid” ultimately underline the fear of the character, Eliza, regarding her impending arranged marriage. Additionally, the narrator also highlights the uncomfortable elements present in this scene to heighten the anxiety-filled environment. Consequently, Eliza’s characterization becomes stronger, as her desire for a life with Edgar is contrasted with her fear of marrying Lord Harold, and both emotions are very strong.

Summary

The novel begins in the middle of the thirteenth century at Montville Castle, a noble edifice, which lies in the county of Sussex. The Earl of Blancy, the proprietor of Montville Castle, is away in battle for the Christian Army in Palestine while his eighteen-year-old daughter Eliza lives at the castle with Lady Gertrude, a middle-aged woman who envies Eliza’s youth, beauty, and innocence. Lady Gertrude has lived with Eliza since she was eleven years old, as her mother passed away when she was young. While the castle is rich in land, there are some neighbors living nearby, one being a solitary man named Ambrose Phillips. He lives in a poor, wooded cottage area with his teenage son Edgar; both men have a young ambiance and strong appearance. No one knows anything about either of them, but they frequently encounter Eliza and Lady Gertrude on walks through the woods.

One day, as the two groups pass each other, Eliza and Edgar share a moment of intimacy, while Lady Gertrude notices and appears unhappy with Eliza. Lady Gertrude fears a relationship forming between Eliza and Edgar, since she knows Eliza’s father would not be happy with her marrying a peasant. A few days later, the Earl returns after his long war experience, and is shocked by Eliza’s sprouting growth and beauty. Lady Gertrude tells the Earl about the neighbors the next morning, and he says they must be the poorest of his neighbors, and is suspicious of the relationship between Eliza and Edgar.

The Earl visits Phillips with his servant Robert, who knows Phillips from past meetings. He tells the Earl that Phillips is a man in love with solitude, while also saying that Phillips has seen enough of the world to dislike it now. However, he also tells the Earl that he is a worthy man, with an entertaining personality and a good heart. Once they arrive at the cottage, they see the two men outside cutting trees, and stop immediately to listen in on their conversation. They overhear Edgar telling Phillips that he wants to be a soldier because of all the stories and books that Phillips has shared with him, but Phillips ultimately shuts this conversation down by telling Edgar he can still be a good man without becoming a soldier. Edgar even offers becoming a soldier for the Earl, but Phillips maintains his position. Once the conversation ceases, the Earl makes his presence known and invites the two to the castle for dinner.

Once they arrive, the Earl has a great time with Phillips and Edgar, so they return repeatedly throughout the week. The Earl also particularly enjoys his time with Edgar, despite his suspicions of his interactions with his daughter.

This is the first page of text in *The Recluse of the Woods,* displaying sample text as well as the two titles at the top.

One day while Lady Gertrude and Eliza are walking through the woods, Eliza demands to visit Edgar, but Lady Gertrude denies permission as a precautionary measure so as to not anger the Earl. After arguing for some time, Lady Gertrude walks away, while Eliza notices Edgar above her in a tree after a twig falls on her. After consistent pressure from Edgar, Eliza eventually agrees to kiss him, kissing until they are caught by Lady Gertrude. The two women argue for a short while before a man appears with the appearance of an aged pilgrim, clearly being elderly and fatigued. He asks to see Phillips, and Edgar takes him to see his father after Lady Gertrude and Eliza leave to return to the castle.

Later that day, the Earl questions Lady Gertrude about past meetings between Edgar and Eliza. Lady Gertrude tells the Earl about their kiss, leaving the Earl enraged. In response, he says that he has arranged a marriage between Eliza and his old friend from battle named Lord Harold de Vanes, who is sixty-four years old. Although Lady Gertrude disagrees with this action, the Earl explains how he made this promise to Lord Harold after Lord Harold saved the Earl’s life in combat. The Earl then dispatches Lady Gertrude to go notify Eliza of this impending marriage.

Once Eliza hears this news, she begins to weep, saying how she cannot bear to marry Lord Harold because of her love for Edgar. Although Lady Gertrude tells Eliza that she should be excited because Lord Harold is extremely wealthy, Eliza still cannot stop crying. A few moments later, Edgar and Phillips appear and tell the Earl and Eliza that they are leaving their cottage in the woods, but do not disclose why or to where they are heading. After Edgar begs the Earl to let him die at his feet, Phillips picks up Edgar and they both leave the Castle.

The next morning, Lord Harold arrives at the castle, and immediately voices his concern to the Earl about the marriage with Eliza, lamenting that his war wounds and bald head are not attractive to a girl Eliza’s age. The Earl disagrees, but Lord Harold is still evidently distraught. When Eliza comes down to greet the Lord, she explains how she was told a past prophecy where she would be happy and fall in love with a man, but not with a man his age. Lord Harold asks her what he can do, and Eliza asks him to persuade his father to let her marry Edgar. Lord Harold agrees to this, and tells the Earl of their discussion. He specifically tells him that it is every man’s duty to guide happiness for others, and how he should let Eliza marry Edgar.

After this exchange, the novel goes into a side note about the history of Ambrosio Phillips and his son, explaining how they are actually descendants of Sir Hildebrand De Raymond, a nobleman known for his bravery in the battle for the Christian army in Palestine. Edgar’s real name is Eudgene, and he is now the heir of the De Raymond castle.

Back in the present moment, Edgar arrives at Montville Castle under the name of Sir Eugene de Raymond, asking for a meeting with the Earl. The Earl is shocked when he sees it to actually be Phillips and Edgar, and Eliza is overcome with happiness when the two embrace in joy. Lord Harold is similarly happy for Edgar and Eliza, as the two are finally married with Lady Gerturde performing the ceremony.

Bibliography

“Ethelinde; or the Recluse of the Lake.” The Critical Review, or, Annals of Literature, vol. 3, 1791, pp. 57–61.

Napier, Elizabeth R. “Charlotte (Turner) Smith.” British Novelists, 1660-1800, edited by Martin C. Battestin, Gale, 1985. Dictionary of Literary Biography Vol. 39. Gale Literature Resource Center, https://link.gale.com/apps/doc/H1200003646/LitRC?u=viva_uva&sid=LitRC&xid=cc8ebd20. Accessed 27 Oct. 2020.

Ravin, Kate. “Charlotte (Turner) Smith.” Eighteenth-Century British Poets: Second Series, edited by John E. Sitter, Gale, 1991. Dictionary of Literary Biography Vol. 109. Gale Literature Resource Center, https://link.gale.com/apps/doc/H1200003647/LitRC?u=viva_uva&sid=LitRC&xid=7e5dd560. Accessed 27 Oct. 2020.

The Recluse of the Woods, London, J. Roe and Ann Lemoine, 1809.

Tymn, Marshall B., editor. “The Gothic Romance.” Horror Literature: a Core Collection and Reference Guide, by Frederick S. Frank3, R.R. Bowker Company, 1981, pp. 3–178.

Zimmerman, Sarah M. “Smith [née Turner], Charlotte (1749–1806), poet and novelist.” Oxford Dictionary of National Biography. October 04, 2007. Oxford University Press. Date of access 27 Oct. 2020,<https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-25790>

Researcher: Kent B. Williams

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 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

Roxalana

Roxalana: Or, the Step-Mother. An Historic Tale

Author: Unknown
Publisher: Ann Lemoine and J. Roe
Publication Year: 1806
Language: English
Book Dimensions: 11.5cm
Pages: 36
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .R736 1806

Published in 1806 by an unknown author, Roxalana: Or, the Step-Mother is tragic tale of family disputes and an undying jealousy leading to a family’s demise.

Material History

Roxalana: Or, the Step-Mother. An Historic Tale is a gothic text in English originally published in London by an unknown author. The text comes in the form of a chapbook with no indication of the title on the cover page, however we do know it was published in 1806 and “by and for J. Roe.” As the book was gifted to the Sadlier-Black Collection, there is no concrete history of the potential author or the context in which it was written. The title appears often, most notable on the inside of the cover page and again on the second page. Its first appearance is under a black and white illustration depicting the inside of a living room and a woman who we can assume to be the stepmother. The illustration is carefully drawn with meticulous lines shaping the room and person within. The second page portrays the title in large, spacious lettering in black ink with still no indication of the author. The title appears again at the top of every page as Roxalana.

These pages capture the illustration and title page for the opening of the chapbook

The chapbook itself is only 36 pages long with a length of 11.5 cm, its size is quite a bit smaller than the average hand. The condition of the text is extremely fragile with the first and last page hardly retaining their attachment to the rest of the pages. The paper is very thin and brittle, banded simply together with no distinct border. The faint binding remnants reflect a somewhat thicker cardboard material decorated with once brown and gold details. The only stylistic elements on the cover page is the faint impression of the illustration on the inside cover. We can easily observe the delicate nature of the chapbook, with the yellowing brown pages and pages threatening to fall out. Its worn state indicates its usage and its light weight contributed to its easy, cheap exchange. As the illustration is also in black and white, we can expect this book to have cost a small amount of money.

When analyzing the inside of the book, we can see the font is precise and aligned to allow greater space on the inner margins of the pages as opposed to the outer margins. Despite this, there is not a lot of blank space as the words have assumed a large portion of the compact page. The font initially seems small, however it still allows for easy reading without an overcrowding of words. There are no other illustrations within the chapbook save for the illustration on the inside of the cover page. In exploring potential signs to indicate prior ownership, there are no visible marks in the text nor on the cover pages; there are no stamps, stains, or names besides “I. Roe.” Staying true to making the most of out of the available space, the ending of the book finishes on the second side of the last page. Despite the compact size, the story covers a large amount of geographical space within the Middle East; this contrast seems to give the physicality of the chapbook another dimension.

Textual History

Roxalana: Or, the Step-Mother, An Historic Tale was published in 1806 by John Roe and Ann Lemoine and printed by Thomas Maiden in London. The author of the text is unknown and there are no concrete sources definitely tracing a potential author. John Roe and Ann Lemoine were book publishers in the late eighteenth century; both partook in bookselling and often worked alongside Thomas Maiden to publish numerous texts. However, because of the sheer number of books these three collectively worked on, there is still no positive inclination towards one particular author of Roxalana. Despite this ambiguity, there are a few avenues that can provide for greater contextualization of the story.

One of the inside pages containing text of *Roxalana*

This text is a chapbook published in English. There are no prefaces, introductions, prequels, or sequels to further guide the direction of the narrative. In approaching Roxalana through a historical lens, however, the character is indeed based off of a real historical figure in the 1500s, Aleksandra Lisovska or Hurrem Sultan in Turkish. Roxalana was a Slavic woman who was sold into the slave market at a young age to an acquaintance of Sultan Suleiman. Soon thereafter, she entered the harem and eventually became the legal wife of the sultan, a feat considered quite extraordinary. She bore him five sons and amounted a great deal of power over the course of her relationship. In grappling with Roxalana from this perspective, the reader can see the realistic aspects of the story as it derives from a nonfiction narrative (Parry).

An earlier version of Roxalana appeared in The London Magazine, Or, Gentleman’s Monthly Intelligencer in 1769 as The History of Mustapha and Roxalana. The content of the story mirrors the 1806 version despite the changes in details and writing. In the 1769 story, a major difference in the plot is the father killing one of the sons rather than servants proceeding with the murder.

Another version appears in The British Moralist; or, Young Gentleman and Lady’s Polite Preceptor, a two-volume collection of “novels, tales, fables, visions, dreams, allegories” published in 1771. The collection’s title page lists several authors and then further indicates the inclusion of other “Celebrated Moderns.” Within this collection, Roxalana appears in The Merciless Mother-in-law; or, The History of Mustapha and Roxalana; a story similar to the 1806 version and the authorship listed as“from Dr. Robertson’s Charles the Fifth” (276). Dr. William Robertson was a Scottish minister and Principal of the University of Edinburgh, his work History of Charles the Fifth is part of a larger volume of works. His work A History of the Middle Ages: Describing the Progress of Society in Europe from the Subversion of the Roman Empire to the beginning of the sixteenth century extensively covers historical and geographical details, such as a deeper look into the Ottoman Empire, omitted from other versions.

The multiple versions in addition to the 1806 printing indicate that there was a market for this story. The various places Roxalana can be located also implies that the audience ranged from those who could only afford chapbooks to those who had the money to purchase Dr. Robertson’s historical books. There are no reviews of the story that can readily be found in eighteenth- and nineteenth-century newspapers, however Roxalana reflects a longer tradition of European fascination with the Middle East.

Narrative Point of View

Roxalana, or the Stepmother is narrated from a third-person point of view. The narrator remains anonymous and never self-identifies through any means throughout the story. The narrator uses simple yet regal language; the plot is not overly detailed, however the specific vocabulary used reflects royal aura of the main ruling family. Further, the narrator is very exact in tone as the story unfolds and the audience is invited to read the story as if it were true. This echoes in the latter half of the title—An Historic Tale—as the narrator contextualizes the tale by providing historic details and geographical mobility. While the narrator does not provide excessive details, the narration still offers interiority of the multiple characters in a transparent, thorough way.

Sample Passage:

Roxalana being now raised in a co-partnership in the empire, and absolute mistress of the Sultan’s will, took upon her the administration of affairs; and soon made those that composed the Ottoman court, feel the powerful effects of her hatred or good-will. Her aversion for Mustapha increased with the report of his virtues, and her blind tenderness for Bajazet with the knowledge of his vices. She even thought it her duty to repair his visible defects, by the procession of an empire, and that a dignity of that high nature was alone capable of justifying her ill-grounded preference. As for Selim, a blended mixture of vice and good qualities composed his character; and if he sympathised in any thing with Bajazet, it was only in their desire of reigning. (8)

In this passage, the style of the narrator is evident, displaying evocations of empire and a regal atmosphere. While the focus is on Roxalana’s thoughts, the narrator also codes Mustapha, Bajazet, and Selim by explaining just enough for the audience to understand their respective characters. Another significant feature of the narrative style is how the narrator is able to adopt a classic oral storytelling voice.

Summary

Roxalana: Or, the Step-Mother, An Historic Tale centers on a royal Turkish family in the Ottoman Empire period. The story opens up with a discussion of women and their feminine charm, specifically how women can manipulate their charm to be powerful enough to rule over men and societies.

The first page with the beginning of *Roxalana*

The narrator then introduces the family through this sentiment by bringing in Solyman, the current Sultan, and characterizing him as a just, respected ruler. Solyman had a Georgian wife, who passed away, with whom he had his first son, Mustapha. Solyman continues to have affairs with other women and a particularly powerful relationship with one Turkish servant, Roxalana. The story describes Roxalana as an evil stepmother capable of severe malevolence and intensely wicked in intention and actions. Together, Roxalana and Solyman have four boys and one daughter: Mahomet, Selim, Bajazet, Zeangir, and Cameria.

Solyman’s prized possession is his first son Mustapha and it is through this love that Mustapaha eventually marries and becomes a respected Prince of Amazia, a neighboring region. Roxalana utterly despises Mustapha and desires her son, Bajazet, to be the successor after Solyman’s death. To execute such a role, she realizes the importance of formally wedding Solyman and thus deceives a religious figure into blessing the matrimony of the pair; she then unleashes her limitless cruelty in securing her son’s position as Sultan. Bajazet and Selim take after their mother’s temperament while Zeangir imitates Mustapha’s renowned demeanor, prompting him to join Mustapha. During Zeangir’s stay with Mustapha they fall into battle with the Sophi of Persia and his army, resulting in Mustapha’s win over the Sophi. Mustapha’s grace extends to even the war prisoners, creating an almost peaceful, mediated space between the rivaling forces. Zeangir assumes power over one of Persia’s territories and falls in love with the Sophi’s daughter, Perselia. Zeangir confides in Mustapha about his love for Perselia and eventually, with Mustapha’s permission, leaves to pursue her after she returns to her home in Tauris. There, Zeangir meets with an anxious Perselia to profess his love and further intensify his goal of marrying her. Perselia responds by indicating the inappropriateness of their private conduct (regarding different sexes) and encourages him to offer a truce with the Sophi, who similarly wants an end to the conflict. Zeangir realizes the critical nature of securing this truce in wanting to marry Perselia, thus he quickly leaves and returns to Mustapha.

Mustapha accepts the news willingly and secretly, unbeknownst to Solyman, sends an offer to the Sophi through a servant, Achmet, who later proves to be disloyal. Throughout this unfolding, Roxalana continues to wreak havoc by inducing paranoia in Solyman regarding his sons and taking steps to ensure the destruction of Mustapha. Solyman discovers the offer Mustapha makes and through Roxalana’s authoritative influence becomes enraged over his son’s actions. He then issues for the kidnapping of Perselia and summons his sons in Amazia to return to his palace. Roxalana continues to scheme and employs Rustan, the husband of her daughter, as her loyal ally in carrying out her horrors. When Bajazet falls in love with the captive Perselia, Roxalana and Rustan deceptively create traps for the other men to fall into: they prevent Bajazet from seeing Perselia (whom Roxalana despises), distract Zeangir by letting him meet with Perselia, and convince Solyman of his ultimate demise due to Mustapha wanting to overthrow him. Roxalana creates a lie regarding Mustapha’s desire to replace Solyman and elicits terror in Solyman.

This page shows the closing of the chapbook

Solyman, fearing replacement, orders Rustan and his men to murder Mustapha in order to retain his position as Sultan. Rustan and his men pursue Mustapha, who has realized his stepmother’s evil character, and succeed in murdering him despite Mustapha’s fighting stance. Zeangir, whom Perselia warned about the cruelty in Roxalana and Rustan, discovers he is too late and rushes to the bloody scene of his dead brother. Zeangir and many army men endure great agony in seeing the death of their beloved leader and mobilize to discover the cause. Zeangir then faces his father and accuses him of submitting to Roxalana’s influence and his own weaknesses. Zeangir then stabs himself in the breast and dies while Solyman finally realizes the truth of the situation.

Despite Solyman acknowledging the truth, he still persists in obeying Roxalana’s wishes and mourns her greatly after her natural death two years later. Prior to her death, Roxalana and Rustan force Solyman to consent to the death of Mustapha’s wife and child. Perselia returns to her father and is followed by Bajazet, who is still strongly in love with her in spite of Perselia’s disgust towards him. Solyman, overcome with grief and guilt, orders for the murder of Bajazet in the same fashion Mustapha had been murdered. Solyman eventually passes away with old age and Selim assumes the role of the next Sultan, a role portrayed as respected and fair.

Bibliography

“The History of Mustapha and Roxalana.” The London Magazine or, Gentleman’s Monthly Intelligencer, vol 38, 1769. https://books.google.com/books?id=RxUrAAAAYAAJ&pg=PA345&lpg=PA345&dq=roxalana+or+the+step-mother&source=bl&ots=U_Wbsu68Zk&sig=ACfU3U3MgAbpB7t8EGLD9roeELty0juQqA&hl=en&sa=X&ved=2ahUKEwjyqIHc357lAhVyiOAKHb0gBQsQ6AEwA3oECAgQAQ#v=onepage&q=roxalana%20or%20the%20step-mother&f=false

“The Merciless Mother-in-law; or, The History of Mustapha and Roxalana.” The British Moralist; or, Young Gentleman and Lady’s Polite Preceptor. London. 1771, https://books.google.com/books?id=7KQ_AAAAYAAJ&pg=PA275&lpg=PA275&dq=the+merciless+mother+in+law+mustapha&source=bl&ots=lUz0QVB9SY&sig=ACfU3U3ijflLtapqlNzwqR0ef1zPs9g0uw&hl=en&sa=X&ved=2ahUKEwit_IH84p7lAhXIV98KHUWcAuAQ6AEwA3oECAYQAQ#v=onepage&q&f=false

Parry, V.J. “Süleyman the Magnificent.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 16 May 2019, https://www.britannica.com/biography/Suleyman-the-Magnificent.

Robertson, William. “General History of Europe During the Reign of The Emperor Charles V.” History of the Middle Ages. London. 1850.

Roxalana: Or, the Step-Mother. An Historic Tale. London, I. Roe, 1806.

Researcher: Iqra Khalid Razzaq

The Haunted Castle

Author: Unknown
Publisher: T. Maiden
Publication Year: c. 1799
Language: English
Book Dimensions: 11cm x 18cm
Pages: 48
University of Virginia Library Catalog Entry, Sadleir-Black Collection: PZ2 .L34 H 1799

Follow along with the endeavors of Julian in this chapbook, written circa 1799, to reveal secrets about his past in an unsettling castle.

Material History

The front cover of The Haunted Castle presents nothing other than bounded cardboard binding; the cover includes no text nor images. The side of the book features a small, red, leather bound print stating The Haunted Castle at the top of the novel. Other than this small print on the side, there is nothing else on any of the binding. The title of the book appears at the top of the first page in large cursive script, resembling handwriting. The author’s name does not appear on this page with the title; in fact, the author’s name never appears anywhere in the novel. The rest of the title page is blank, leaving empty, unused space. The publication date also does not appear anywhere. The second page includes a strange piece of text, printed upside down at the bottom of the page in near illegible print, which most likely translates to “sixpence novel.” This suggests that the novel was made cheaply, as also suggested by the cover. The back of this page, includes a detailed, full-page graphic of a castle that’s printed in only black and white. The illustration presents a number of knights guiding a woman outside the large entrance of the castle. A caption in thick, bold capital letters stating “Promnelli Castle,” appears below the illustration.

The following page introduces the start of the novel, with the title appearing once again at the top of the page. The text of the story, running 48 pages long, does not contain separate chapters.

A strange page following the title page, with upside down printing suggesting the novel’s price

The pages are in very fragile condition, nearly falling apart with each turn of a page. Pages 11 and 12 are even missing from this particular copy. The cardboard binding of the book however, which is 11 cm by 18 cm, appears to be in significantly better condition than the pages inside the novel. After the conclusion of the text, several blank, thicker pages were added to this copy of the book to make the binding easier. Printer notes, such as “A2” or “C3,”appear at the bottom of many pages. These were used as a mechanism for the printer, so that they would know how to assemble and fold the pages correctly when putting together the book.

While not tiny, the print of the book is small and slightly faint. The pages also include thin margins along all sides. Most, but not all, words that have an S are printed with the long S, which looks like an f and mimics handwriting, making the novel more difficult to read. With the exception of the illustration at the start of the text, throughout the story there are no other images included until the last page. Beneath the last paragraph of text, a small depiction of another castle sits right under the final paragraph, with “Printed by T. Maiden, Sherbourne Lane” placed beneath it. This last page also includes one of the only signs of any previous owners or readers. Marked in light pencil, just to the left of the image of the castle, is “1702.” There are no other comments found in the book that can help interpret the meaning of this simple note. The bottom left corner of page 22 also features a faded stain of an unidentifiable substance. These two markings are the only signs of any prior use.

Textual History

The author of The Haunted Castle is unknown, but most likely resided in England, since the book was published and printed in London. Thomas Maiden, Sherbourne-Lane, printed the book for Ann Lemoine, a British chapbook seller and publisher (Bearden-White 103). According to Montague Summers’s Gothic Bibliography, two other books, also titled The Haunted Castle, were published around the same time. Summers lists The Haunted Castle. A Norman Romance by George Walker as well as The Haunted Castle written by August Lafontaine (originally written in German); this latter version is contained in the collection In Tales of Humour and Romance (Summers 348). All three of these texts, however, are distinct and not related in any way.

The frontispiece of the c. 1799 edition of *The Haunted Castle* that is housed in the Sadleir-Black Collection. The 1801 edition (digitized by HathiTrust) includes a different frontispiece.

The University of Virginia Special Collections Library holds the anonymously written The Haunted Castle, which Montague Summers suggests was published in 1799. This copy appears to be the first printing and has not since been digitized online. Another edition, which can be found digitized online in HathiTrust, titled The Haunted Castle; or, The Child of Misfortune, was published in 1801, as stated on its title page. These editions are nearly identical but have just a few differing qualities between the two texts. First, both titles have the segment The Haunted Castle, but the first printing includes only this piece; the longer, The Haunted Castle; or, The Child of Misfortune, was added when the book was republished in 1801. The earlier edition consists of 48 pages, while the copy from 1801 has only 44. This 1801 copy also opens with a line that appears a few sentences into the first paragraph of the earlier version. The large, detailed image that appears before the start of the novel also differs in the two versions; the illustration in the HathiTrust (1801) copy looks more applicable to the text itself as it presents a man with an expression of fear facing an apparition of a woman. The illustration in the University of Virginia’s copy shows a woman, surrounded by knights, in front of a castle with the print “PROMINELLI CASTLE” at the foot. A second, and much smaller, image of a distant castle can also be found in both versions, with just a few distinctions concerning layout. In the earlier text, this drawing appears after the final paragraph, while in the 1801 version it sits on the title page. This suggests that some text was cut and re-edited before the novel was republished in 1801. The HathiTrust copy also does not incorporate the start of a short piece at the end titled, “IVAR AND MATILDA.” The earlier edition includes just a page and a half of this story before concluding the entire book. It is completely unrelated, and was likely the start to another chapbook in a larger collection.

Another copy of the chapbook, not digitized online, can be found in a four-volume compilation, also published in 1801, known as English Nights Entertainments. While there is not much knowledge on this edition, information provided by The Women’s History Project states a matching number of pages as the copy in the University of Virginia’s library, as well as the same publisher and publishing city. Bearden-White’s compilation notes about English Nights Entertainments also mention “IVAR AND MATILDA” appearing on pages 47 and 48, as they do in the University of Virginia copy.

No scholarly study of The Haunted Castle can be found, which may be a result of lack of information the text itself provides. There is no evidence of any advertisements when the book was released or that it has been adapted into any other forms. After the 1801 copy, there are not any other publications or reprintings that are publicly known. The book also does not have any prequels are sequels.

Narrative Point of View

The Haunted Castle is narrated by a third-person, anonymous narrator that does not appear anywhere in the text. This narrator solely follows the story of the protagonist, Julian, and his endeavors after suddenly departing from his previous lodging, where he has spent his entire life. The narration is very descriptive, using lots of adjectives and long sentences to convey the plot information to the reader in the most detailed way; it sometimes details Julian’s emotions but never explores his thoughts and rather mainly focuses just on his actions. The story is told in chronological order of events, with no jumps back or forth in time, but is narrated in the past tense.

Sample Passage:

To participate in some of these scenes, the disconsolate Julian, expelled from the asylum which had fostered his infancy, without fortune or friends, and only a few ducats in his pocket, with some necessary linen, and no other guardian than his integrity, nor other companion than his horse, set out from Warsenburg upon a long and doubtful journey. As he passed the drawbridge to go out, an old domestic of the family saluted him, and knowing he was taking his departure for good, crossed himself, and wished him the most prosperous adventures. (1)

While the narrator includes descriptive accounts of Julian’s adventures, the narration does not include any dramatic irony or foreshadowing. Therefore, the narration always requires the reader to follow along with Julian and includes no additional insight to what is going to happen next on his journey. Paired with this, the incorporation of long sentences also creates a further eagerness to know the fate of Julian and his trustworthy friend, Conrad. This technique also helps create an enticing and engaging format. An example of these long sentences appears in the sample passage above, which while multiple lines long, actually consists of only two sentences. All of these aspects make the story feel even more gothic, because anything that happens comes as a total surprise and feel very sudden. The pace of the novel also feels much faster because of the long sentences, since so much plot and description are compacted into one single sentence.

Summary

The opening page of text of *The Haunted Castle*

The story, told by a third-person narrator, mainly focuses on the life and journeys of the protagonist, Julian. It begins in Suabia, Germany, where Julian leaves the asylum in which he lived his entire life and embarks on an uncertain course. No details are given on his sudden departure. After traveling throughout the day, Julian encounters a small cabin, where he eats dinner and chooses to stay the night. However, while he tries to sleep, he is consumed by his own thoughts, which are interrupted by the sound of people talking in the front of the cabin. Julian realizes that one of the voices belongs to Count Warsenburg, from the asylum, who has come in search of Julian so that he will return. While listening to the conversation, Julian decides to escape through the window and runs through the night through a valley until he reaches a forest in the morning. He takes a brief rest before he continues to run and then finds several cottages, where he briefly eats before departing again.

Continuing to travel through the forest, Julian reaches a clearing, where there is a lawn with a large castle at the end. It spontaneously starts storming when Julian first encounters the castle. A peasant passes by him, so Julian asks if there is anywhere he can go to seek shelter. He ends up running to the drawbridge of the castle and discovers that the door is already half open, so he enters. The foyer is infested with bats, dirt, and cobwebs, and has military objects and portraits of German emperors hanging on the walls along with marble checkered floors and large windows. Julian notices that the castle is uninhabited but fully furnished, although everything is in a state of decay. He explores the rest of the castle and then decides to sleep in one of the bedrooms. He notices a family portrait above the chimney.

The closing page of *The Haunted Castle*

At midnight, he wakes up to screams of distress and perceives a man at the foot of the bed; the man wears a loose dress covered in blood, and Julian thinks he looks like the man from the portrait. The phantom leads Julian out of the room to a dark narrow passage where Julian then feels a cold grip around his wrist. The two enter a dungeon where a woman lies on the ground, covered in blood, with three children around her. The woman hugs him, but the narrator then cuts to Julian waking up the next day.

After leaving the castle, he runs into the same peasant, Conrad, as the day before. The two stick together and end up going to a funeral of an unidentified woman. They are informed that the deceased is Jemima, the Lord’s daughter. Julian is distraught, because it is revealed at the end of the novel that Jemima is his former lover.

That night, Julian returns to the castle, intrigued. Again at midnight comes another cry of distress from someone. The phantom appears, and Julian realizes that it is his father, who tells him that his whole family has been murdered and mentions the name Marquis of Vicanze. The next day, Julian learns that the Marquis now resides in Italy, so Julian and Conrad decide to search for him. They encounter a man at an inn, who reveals that the Marquis is there. Julian’s aunt appears, and it is revealed here that Julian’s family haunts the castle, and that he survived only because the Count found Julian floating in a river, rescued him, and raised him as his own. The Marquis, however, murdered the Count, and now Julian wants vengeance.

Julian returns to the castle and arranges a funeral for all of the murder victims. While searching a passage beyond a trap door, Jemima appears. Both Julian and Jemima are thrilled to see each other and discover that they are both alive; Jemima explains that her death was staged, because she was trying to escape the control of her father. The novel ends with a meal shared by Julian and Jemima, in which she reconnects with father and brother to create a happy ending.

Bibliography

Bearden-White, Roy. How The Wind Sits: History of Henry and Ann Lemoine, Chapbook Writers and Publishers of the Eighteenth Century. Laughing Dog Press, 2017.

English Nights Entertainments. London, Ann Lemoine, 1801.

“English Nights Entertainments. The Haunted Castle; or, The Child of Misfortune.” The Women’s Print History Project. https://dhil.lib.sfu.ca/wphp/title/13553

The Haunted Castle. London, T. Maiden, [c. 1799].

The Haunted Castle; or, The Child of Misfortune. A Gothic Tale. London, T. Maiden for A. Lemoine, 1801. HathiTrust, https://hdl.handle.net/2027/uiuo.ark:/13960/t1qg3f098.

Lafontaine, August. The Haunted Castle. In Tales of Humour and Romance. American ed. New York, R. Holcroft, 1829.

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

Walker, George. The Haunted Castle. A Norman Romance. Minerva-Press, William Lane.

Researcher: Reny Horner