In taking an assignment of copyright from the surviving member of the
firm of J.M. Stoddart & Co. it has been thought desirable to ascertain
how _Rose Leaf and Apple Leaf_ came into existence in the peculiar
_format_ which has long since set it apart as one of the choicest
specimens of applied æsthetics in book-making that America has to offer
the collector. Under date of August 17, 1905, Mr. Stoddart wrote as
follows:
"I gladly furnish you with such information regarding this book as my
memory of a quarter of a century permits.
The paper used in the _édition de luxe_ was a remainder which we found
in the possession of a Philadelphia paper dealer, (Charles Megargee, if
I remember correctly), and was made at the famous Rittenhouse Mill on
the Wissahickon, (near Philadelphia and said to be the first paper mill
in America), for the (new) Government of the United States at the time
of the first issue of bonds or paper money. It therefore has a
historical interest as well as a unique character.
I think this edition was not over 250 copies and price $1.75, but
Brentano sold many of these for $3.00 and more, after having secured
Wilde's autograph on the cover. This edition is now certainly out of
print and so far as I know impossible to procure anywhere. I have heard
of copies changing hands at $5.00.
The cheaper edition was issued at $1.00 but comparatively few sold as I
was interested in greater matters and transferred the stock to J.B.
Lippincott & Co., where the lot was consumed in their fire.
I think the whole credit for the green leaves, and the general oddity of
the make-up of the book belongs to our office altho' Wilde may have been
consulted. Of course you recognize the reproduction of his seal."
All the circumstances connected with the publication of _Rose Leaf and
Apple Leaf_ are confessedly not entirely clear to us. It is undoubtedly
true, as stated in the _N.Y Tribune_, (November 25, 1882,) that "Mr.
Rennell Rodd, the young English poet whose verses were brought out here
in apple-green and rose-red under the enthusiastic auspices of Mr. Oscar
Wilde, has altered in his faith. He now disclaims any connection with
the æsthetic school, and lets it be known that he had nothing to do with
the amazing dress in which his verses appeared. He intends to publish a
new volume." This "newsy" note was based on a briefer one made just two
weeks earlier in _The Academy_, (London, November 11, 1882,) viz.: "We
understand that Mr. Rennell Rodd has a new volume of poems in the
press. He is anxious to disclaim any connection with the "Æsthetic"
school, with which he has been identified."
It may here be said that Mr. Rodd's first impressions were somewhat
different from what the above implies. In a letter dated October 6,
1882, he wrote the American publisher:
"I had not till lately seen the little edition,--which is charming. I
have seen no _édition de luxe_ in England to compare with it.... I have
to thank you for the great care and delicacy with which this little book
has been published."
What undoubtedly precipitated the trouble was not the _format_,
"amazing" though it may have seemed to the nameless scribe of the
_Tribune_, but the proposal by the Stoddart firm to bring out an English
edition. This could not be done, as Mr. Rodd pointed out, because the
poems had already been published in London, and as he held the
copyright, they could not be reissued save with his consent.
Furthermore: "Since I have read the introduction I am not over pleased
at the way in which I find myself identified with much that I have no
sympathy with." Last of all, probably first of all, "there is one thing
in it that has annoyed me excessively, and had I had a proof I should
not have allowed it to stand. The dedication is too effusive. I have
written to Mr. Wilde on this score, but if he does not write to you, I
must ask you as a personal favour to see to it. I want to have it
removed from all copies that go out for the future."
Unfortunately Mr. Rodd's request could not well be complied with: the
book had been published, and as it turned out no other edition was ever
called for by a more or less undiscerning public.
A few other facts are in evidence. The original title of the work as
published by Rodd through David Bogue, London, 1881, was _Songs in the
South_ and the dedication read "To My Father." It is conjectured that
the dedication in the American edition was either based on, or copied
from an inscription written by the author in the copy Wilde brought over
with him. It read as follows: _To Oscar Wilde--/ "Hearts Brother"--/
These few songs and many songs to come_." It may have been "too
effusive." It is seldom, indeed, that we have the time and the place and
the loved one all together! It is not denied that this inscription _was_
written by Mr. Rodd, however effusive, and somehow, after the lapse of
years one wishes he had not so completely discountenanced the kindly
offices of one who later on fell into such desperate extremes. It is
quite likely that the evident editing bestowed upon the poems by Wilde
may have added to the displeasure of the poet. If so, we cannot, after
an acquaintance with the original London text of 1881 agree with him.
Two poems, "Lucciole" and "Maidenhair," omitted by Wilde attest to his
critical acumen, and nine additional poems derived, we may suppose from
manuscript sources, do not lessen our respect for his supervising care.
The introduction itself was without question a matter of the greatest
regret to Mr. Rodd. It credited him "with much that annoys me
excessively." It is conceded however, that "it has been kindly
meant"--but if a second edition should be in request--it must be "with
no introduction"--there were available other poems that could be made to
take its place.
Admitting that Wilde went beyond the spirit, if not the letter of his
friend's intent, it is a relief to find Rodd's admission that "where a
thing has been kindly meant, one cannot find fault.--On reflection I see
how foolish it was to make no reservations and restrictions of any
kind--For that very reason I have no excuse to make any complaint." But
still harping on the supposedly bad effects of Wilde's _L'Envoi_: "It
did not occur to me at the time that I should be so completely
identified with a lot of opinions with which I have no sympathy
whatever." With this disclaimer our quotations from the Rodd letters
come to an end.
Well, after all is said what does it matter? The thing we care for most
is just this brief, brilliant essay; as for the verse it is in the main
well and good, despite benefits forgot. Some of it we feel assured will
survive, has indeed, lived to find its way into many anthologies. As for
the exquisite little _causerie_ it remains to us safe and secure,
veritable treasure-trove of unsullied gold against the years that the
locust hath eaten.