EXCURSIONS IN
VICTORIAN BIBLIOGRAPHY
“If it is true that the Victorian
time was ugly and vulgar, the
excitement of those years between
1848 and 1890 was something like
that of a religious revival.”
_The Early Life of Mark Rutherford._
ANTHONY TROLLOPE
BENJAMIN DISRAELI
FREDERICK MARRYAT
WILKIE COLLINS
CHARLES READE
G. J. WHYTE MELVILLE
MRS. GASKELL
AND
HERMAN MELVILLE
EXCURSIONS IN VICTORIAN BIBLIOGRAPHY
BY
MICHAEL SADLEIR
LONDON
CHAUNDY & COX
40 MADDOX STREET
MCMXXII
TO MY
FATHER
ERRATA
P. 24 line 33 for “first” read “second.”
P. 24 line 36 for “Finn” read “Redux.”
P. 29 line 20 for “invented for” read “'presented' in.”
ADDENDUM.
P. 72. The following paragraph should precede “1863/ A
WELCOME, etc.”
1861
THE VICTORIA REGIA: A VOLUME OF ORIGINAL CONTRIBUTIONS IN POETRY AND
PROSE. Edited by Adelaide A. Procter. London: Printed and Published
by Emily Faithfull and Co., Victoria Press (for the Employment of
Women), Great Coram Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜).
Pp. x + 349 + (1). No half-title. Red-brown embossed cloth, all
edges gilt, blocked in gold and blind. Red chocolate end-papers.
NOTE.—Pp. 187 to 214 are occupied by a story by Anthony
Trollope entitled _The Journey to Panama_. This is the first
appearance in book form of a tale afterwards published in
_Lotta Schmidt and other Stories_.
CONTENTS
PAGE
ADVERTISEMENT 1
A NOTE ON THE TERMS USED IN THE BIBLIOGRAPHIES WHICH FOLLOW, 10
TOGETHER WITH OBSERVATIONS RELATIVE TO VICTORIAN BOOKMAKING AND
RECOMMENDATIONS TO COLLECTORS
ACKNOWLEDGMENTS 16
ANTHONY TROLLOPE: Essay and Bibliography 21
FREDERICK MARRYAT: Essay and Bibliography 77
BENJAMIN DISRAELI: Essay and Bibliography 107
WILKIE COLLINS: Essay and Bibliography 129
CHARLES READE: Note and Bibliography 159
G. J. WHYTE-MELVILLE: Essay and Bibliography 183
ELIZABETH CLEGHORN GASKELL: Bibliography 203
HERMAN MELVILLE: Essay and Bibliography 217
INDEX OF BOOK TITLES 235
EXCURSIONS IN VICTORIAN BIBLIOGRAPHY
ADVERTISEMENT
This book is so essentially an accumulation of notes and so emphatically
wanting in the qualities of completeness and learning proper to genuine
bibliography that I have sought, even on the title-page, to indicate its
limitations. It were indeed presumption to enter the field of
nineteenth-century bibliography, in which already so much fine and
skilful work has been accomplished, with the slight technical equipment
to which I may lay claim. On the other hand, the experience of
collectors conforms oddly to type, and where, in the study of certain
Victorian first editions, I have found perplexity and doubt, others in
the same study will likely find them too. Wherefore my annotations, in
this book set in order and to a certain point rounded off, should help
my fellow-students to a speedier knowledge of points and pitfalls in the
collecting of their favourites than was easily accessible to myself. In
time (maybe in short time) my work will be superseded by investigation
more accomplished, by analysis more detailed. At such time collectors
(and myself among them) will rightly substitute for this volume on their
shelf of bibliographies the later, more comprehensive, handbooks that
shall have taken its place. Meanwhile I dare to hope that the present
work, with all its shortcomings, will find appreciative users, and among
them a few who, realizing the difficulties that even so modest a
compilation has been forced to surmount, will forgive its imperfections
for the sake of its attributes.
* * * * *
With the general propriety of book-collecting I am not here concerned.
Men there are to whom all collecting is folly; others to whom every
passion is vile. To the logical asceticism of their private Utopias they
are welcome, provided the lover be left to enjoy his mistress, the
lepidopterist his butterflies, the bibliophile his books. Even the more
subtle critic, who admits the lure of collecting but maintains that the
craze of the first edition is senseless hysteria, shall not tempt me to
dispute. This is a book about first editions, and will be read only by
the initiate. If we be hystericals, we have at least our weakness in
common. Let us therefore shut the door and compare symptoms, for we are
all fools together.
The superior and the sceptical are now excluded from the privacy of our
imaginary club-house. But a further reservation must be made. Although
it were impractical idealism to demand that the collector transcend in
his collecting every sordid consideration of market and fluctuating
value, it is reasonable to look askance at the mere speculator. From the
scope of this word I exclude, of course, the whole fraternity of
booksellers. They exist frankly for the marketing of books; and who
shall grudge them the profits of their toil? My animadversion is against
the private person to whom rare books are mere scrip, to be bought and
sold by telephone, their very titles meaningless, their contents utterly
unknown. No doubt, if this book is of service at all, it will be of
service incidentally to individuals of the kind described. That it
should be so is unpreventable. But on the general ethics of collecting
the compiler may be allowed the consolation of bearing his trivial
testimony. The private collector who buys what he likes to read merits
such reward as wise buying may earn for him. He, however, who buys by
rote, puts away and resells, is no collector at all, but rather a
trespasser on the preserves of the bookseller, taking advantage of a
noble trade while sharing none of its burdens.
With this dictum I descend from the august to the particular.
Collecting, collecting books, collecting first editions of books—all
these are postulates. At this point is a parting of the ways. The
frontiers of dispute now lie across our path; for within the bounds of
the realm of first editions are to be found divergent tastes,
conflicting fancies, all the clamour and thrust of an enthusiasm that
grows ever more complex.
The collecting of first editions is, in its present form, a diversion of
recent growth. Fifty years ago amateurs of books were few in number and,
necessarily, rich in gold, for only the great books of past literature
were regarded as fit material for collection, and great books, though
cheaper then than now, were never to be had for love. But the passage of
time has transformed, in another way than that of mere numbers, the
community of book-collectors. Not only are there nowadays more
collectors and a greater variety of books collected, but there has come
to its own the great principle of _original condition_. This is not so
pale a platitude as to many it will appear. A few book-buyers there have
always been to whom original binding, original end-papers, uncut edges,
incidental advertisements, errata slips, and half-titles have meant
perfection. But they were rare exceptions. To the large majority a first
edition was a book of a certain date without “Second” or “New Edition”
on its title-page. Buyers of this school were indifferent to the
disfigurement of library labels on side or end-paper; gave no thought to
errata slips; but shaved their favourites, fore-edge and tail, dressed
them in uniform calf gilt, affixed a bookplate, and went their way.
Such collectors as these are still amongst us, but they are now awaking
to the folly of their past. The market—that indisputable witness to
human taste—gives hard but practical proof of their wrongdoing. “Good
and original condition” is nowadays three-quarters of a book's value,
and the fraction, if it alters at all, will with the passage of time
increase rather than decrease.
Is it too much to hope that the importance of original condition has now
been permanently realized? The change, if it has really been effected,
is in the main a healthy one. Although—for it is undeniable—the craze
for the fine copy has produced its own extremism; although there are
to-day book-lovers who refuse even to open the pages of their books
lest, by such violation, they unsuit them for a mart in which,
conventionally enough, virginity is value; although advance prospectuses
and dust jackets of contemporary publications have scrupulously to be
preserved in order that a “set” be genuinely complete—the desire for a
book _as issued_ does at least argue a consciousness of its individual
personality. Standard authors, be they ancient or modern, can be
purchased in calf by telephone and at so much per yard; but the
obtaining of shelf furniture in original cloth is a matter of much
seeking and of progress measured in fractions of an inch.
It has seemed well thus to emphasize the importance of “condition” to
the modern book-collector, because “condition” in the case of such
authors as those here examined is their admirer's greatest problem, and
because the few bibliographies that already exist, while listing dates
of publication and in one case at least supplying adequate collation of
the various volumes, do not provide any real description of the
externals of those volumes when in original state.
This description I have endeavoured to supply. That my work contains
errors of omission I am certain; that it be free from errors of
commission I may hardly dare to hope. But the trouble I have had even to
arrive thus far on the way to completeness encourages belief that some
portion of the donkey work may now be regarded as done for good and all,
and that the trained minds of bibliographers proper may, if they
incline, turn their talent to such refinements of detail as surely
underlie many of the books herein examined.
* * * * *
To the collecting of first editions of Victorian novelists I came by the
honourable way of literary liking. Brought up on Jane Austen, Scott, and
Dickens, I read, during my years of flapperdom, Marryat, Trollope, and
Wilkie Collins. Oxford and the audacities of undergraduate curiosity
estranged me from all save the last quarter of the nineteenth century.
While many of my contemporaries made sour sacrifice at the altars of
disillusion, feeding their pessimism on Gissing and Butler, their taste
for paradox on Bernard Shaw, I sought disreputable refuge among fleshly
symbolists. The children of Baudelaire and Poe jostled the faint
offspring of Gaelic legend on my shelves, and, while the voluptuous
pallor of tuberoses shone against blue wall-paper, imagination floated
on the dim tide of decadence. Came reaction as swift and irrational as
were inevitable. From Paris echoed the clash of neo-barbarism, and
before the strident onslaught of the rediscovered primitive the faint
elegance of a pose too exhausted even for sin dissolved in air. They
were great days, those early days of the new brutality. Blues and mauves
gave place to orange checked with black, to vivid greens, to fierce
outrageous reds. From the scented secrecy of lamplit boudoirs the young
intellectual rushed into the wind and sunshine, and he who once made
tired love to Phryne on a couch of silk now clipped the milkmaid grossly
in a ditch. The way of other tastes went taste in letters and in art.
After d'Annunzio, Synge; after Verlaine, Verhaeren; after Pater, Hardy;
after Rops and Carrière, Gauguin and the rest.
For a while all was well. Cubism, a false interpretation of the
synthetic doctrine of Cézanne, began its brief and rigid reign. Painters
and writers fled naturalism in a search for true reality. Some are still
wandering, drearily absurd, in the desert of their own bleak imaginings.
The rest found reality, truly enough and rapidly enough—in war.
And now war has passed, leaving a world weary of fact and fever, weary
of striving, weary almost of its own ideals. For long enough yet will
persist turbulent discomfort and the clamour of quacks hawking the
millennium; but at last will be peace, and it is surely a longing for
that peace that has turned men's minds partly to high romance, but more
generally to the manners and genius of a century ago. Those of an older
generation than my own have, perhaps, never betrayed their gentle
Victorian heritage. One may envy and applaud their wisdom. But we
prodigals, returned from our rioting and sick with the husks of a démodé
violence, stoop to any self-abasement, to any denial of our own past
judgment, so we be allowed entry to the quiet courts and ordered
opulence of the age we once affected to despise. Literary enthusiasm
expresses itself in various ways. For my part to love an author is to
collect him, for I can read no borrowed books, and only with difficulty
such as are not first editions. Of the absurdity of this I am cheerfully
aware. We have each one of us our foible, and this is mine. Considered
broadly it is harmless enough, less cruel than killing birds, less
degrading than drink. Naturally, however, it cannot be indulged to more
than limited degree. Shakespeare and Sterne and Keats and Browning I may
own, but in reprint. And so with many another. But to the extent
possible in fact and a little beyond that permissible in money, I have
contrived, from one phase to another, to keep myself fairly supplied
with “reading firsts.” A decadent, I collected Verlaine and Mallarmé,
Rimbaud and the Anglo-Irish nineties; a neo-primitive, I bought Synge
and Verhaeren, Conrad and the chief Georgian poets of the new
simplicity. And so matters progressed, while gradually novels ousted
poetry from my shelves, and, again gradually, from the reading of modern
novels I came once more to Trollope and the writers of his age.
* * * * *
It is not until one undertakes seriously the collecting of the
less-known Victorian novelists that one realizes how prime the sport
that their assembling offers, how destitute of guide-posts is the maze
of their work. In the capacity of quarry few authors or groups of
authors can rival those with whom this volume deals. The essence of
collecting is the chase. The buyer of world-famous rarities, of which
the whereabouts is trumpeted abroad, knows nothing of the thrill of that
dusky provincial bookshop, among whose tumbled piles Victorians must
surely lurk. The dapper expert in ingenious moderns with his prefaces,
his cancel-titles, his censored (but disappointing) curiosa, his “works”
and “limiteds,” can set one joy alone against my dozen. He may, if the
gods be kind, on the shelves of bookshops proper find books that were
bought for new, but have not sold and still remain, lacking an entry to
the world of second-hand, still fresh, still offered at the published
price. But in the main his life is one of “inside information”; his ally
in the trade sells books instead of making them; it is the principle of
the turf in terms of Whatman paper and grey Michalet boards. To the
collector of Victorians (exception made, of course, of Dickens's parts,
of _Wuthering Heights_, of _Desperate Remedies_, of other far reputed
treasures) belongs neither the pursuit of “folios” across the world nor
the click of the tape pegging out details of obscure pamphlets. Copies
of three-volume novels by writers of reputation are hard to find at all,
and very hard in anything of condition. Nevertheless, when found, they
are often cheap. And then, when one is bought, there comes the reading
of it.
And yet at times the collector feels forlorn and without guidance, for
maybe the book he buys is a little known one, of which the very name is
strange. Indeed, the lack of pointers obtrudes harshly, and in a sense
no less literary than bibliographical. Not only is information as to
actual titles scarce and unreliable, but among the great number of these
writers' books the student must perforce read his own way to a sense of
relative quality. At the cost of some hours of tedium and of many
mistaken purchases I have arrived at a general knowledge of what these
novelists wrote, when they wrote it, and what it looked like when it
first appeared. This knowledge is herein set out for the possible
assistance of all and sundry.
The relative value as literature or as story-telling of their many books
makes more perilous judgment. I am no expert in comparative literature.
I cannot even claim to have read all or nearly all the books that are,
in the pages following, materially dissected. I have preferred therefore
to make no pretence to serious literary criticism, but have contented
myself with indicating at the beginning of each section the general
character of the work of the writer in question, into what groups (if
any) his novels fall, and have called attention here and there to
certain little known or unknown stories that have pleased me and may,
though hardly for that reason, please some of my contemporaries. Where
an author has little attraction for me, I have said so. Books of all
kinds are listed between these covers, and no single being will enjoy
them all. But this is certain: that among them the inquirer, be his
tastes what they may, will find reading to soothe him and to stimulate;
will come to seek in the solidity, whether downright, fantastic, or
lurid, in the quiet charm, in the dexterous sincerity of good Victorian
fiction, a satisfaction of spirit produced by the novels of no other
period of English literature.
Those who for years have known and pondered these Victorian tales will
smile contemptuously at such pompous revelation of a stale secret. To
them, in scorn of self and lest they lose any of that pleasurable pride
allowable to old initiates who watch a novice at his scourgings, I offer
the apology that is my book. Others, arrogant in knowledge of
Dickensiana, in possession of priceless Borrows, of Jane Austen perfect
in her boards, will turn from this humble chronicle of humble writers
with the bored serenity of a brass hat on his way to conference. To them
I make obeisance, wondering secretly whether great collections were
amassed more joyfully than my little one. Last of all, however, may come
a few, to whom, as to me, Trollope is balm and meat at once, who love
three volumes of a novel for their very spacing and ornate
expansiveness, who find shelves of cloth or labelled triplets more
beautiful than any other shelves, to whom, in short, the collection and
the reading of Victorian first editions is romance and quiet happiness.
To them my book with all its faults will come kindly and joyfully, for
they will welcome in it the voice of one who thinks and loves, as they
do, the plaint of one suffering from the same sweet sickness as
themselves.
A NOTE ON THE TERMS USED IN THE BIBLIOGRAPHIES WHICH FOLLOW
TOGETHER WITH OBSERVATIONS RELATIVE TO VICTORIAN BOOKMAKING,
RECOMMENDATIONS TO COLLECTORS, AND AN APPEAL TO THE EXPERIENCE OF OTHER
STUDENTS FOR ASSISTANCE AND CORRECTION
(i) I am aware that bibliographers proper designate by means of upright
strokes the alignment of wording on the title-pages of books subject to
their analysis. This mannerism I have eschewed, and for two reasons. In
the first place, a bibliography so displayed baffles the inexpert reader
by a suggestion of mathematical obscurity. Tempted by the desire to
attract a few such readers to a book that, for all its overplus of sinew
and lack of flesh, is in intention a tribute to a group of very human
and consoling writers, I have sought an appearance of readability at the
cost of a small technical sacrifice. The sacrifice _is_ small—and here
lies the second justification of my heterodox technique—because no
variety of any one of the books hereafter listed depends either on the
alignment of title-page wording or (save in a single case to which
attention is specially drawn) on the phrasing, absence or presence of a
note of reservation of foreign or dramatic rights. In short, that which
is required for the identification of a first edition I have given; but
beyond that—nothing.
(ii) The first editions of almost any author include, in addition to
books written wholly by him, a number of works for some part of which
only he is responsible. These secondary items cannot be neglected by
collectors, for any _book_ in which for the first time is published an
essay, a story, a poem, or what not by one particular writer ranks as a
first edition of that writer. Naturally, however, complete works take
precedence over partial works, and I have grouped at the end of each
section of this book such partial or minor first editions as I have been
able to identify.
It must be clearly understood that first _magazine_ publication is not
here referred to. The only periodical issue of a book that can rank with
book issue is that in _parts_, according to which the text of a novel
made its appearance in monthly or weekly sections, separately wrappered,
under its own title and unaccompanied by any extraneous matter save
advertisements. Part issues are essential to a collector; on the other
hand, the numbers of magazines in which this story or that made serial
appearance may be ignored. In many cases I have stated where (if
anywhere) novels were serialized, but such information is of general
rather than of collecting interest, save to those whose catholicity of
taste and house-room permit them the luxury of adding sets of magazines
to those of actual books.
(iii) The terms used to-day to describe sizes in uncut books vary from
those of an earlier period. For example, the terms “Post 8vo” and “12mo”
are now rarely met with, whereas prior to 1880 they were in regular and
common currency. Fearing that the modern buyer or seller of books would
be puzzled by too frequent an encounter with technicalities virtually
obsolete, I have expressed book sizes in terms familiar to present-day
ears and as nearly equivalent to those replaced as makes no matter. The
“8vo” book of the fifties is the “Demy 8vo” of the nineteen-twenties;
“Post 8vo” has become “Extra Crown 8vo”; “12mo” has become “Foolscap
8vo.” The phraseology adopted, being familiar, will give an immediate
general idea of a book's dimensions; the measurement in inches, given in
brackets in all but a handful of cases, will supply to an eighth of an
inch any further detail required.
(iv) The half-title is something of a bugbear to the collector of
Victorians. Its absence may be fatal; its presence may give pause. As
the nineteenth century progressed, methods of bookmaking became
standardized; but during the first fifty years publishers printed to
paper and their own convenience, regardless of uniformity even between
volumes of the same work. For this reason no certainty exists as to the
possession by any book of a half-title. Usually examination will show
whether, in a book lacking a half-title, the first sheet should rightly
provide one or no. The publisher who found his preliminary matter
adequate, without half-title, for four or eight pages, let it go at
that; if, however, he had two pages of his four or eight to spare, he
used them for half-title and verso. Wherever in the notes that follow I
have satisfied myself that an absence of half-title is correct, I have
drawn attention to that absence; wherever nothing is said, the silence
should be taken to signify that in perfect copies half-titles must
appear.
(v) In the matter of binding it was the custom from about 1830 to 1850
to issue many books both in cloth and in paper boards. The old fashion
for boards and labels died hard, and doubtless the trade found it paid
to humour at once the enthusiast for the new cloth and the conservative
lover of ancient ways. The collector who has the choice of a book either
in cloth or in boards (with which must be understood boards,
half-cloth[1]) and lacks either inclination or money to buy the two
should, if condition be equally good, buy the copy in boards. Such a
copy _may be_ of earlier but _cannot_ be of later issue than one in
cloth. Should the book be one of which the two styles were issued
simultaneously the copies will rank equally, although even in such cases
a board copy is preferable, seeing that probably fewer were published
than of those in cloth, and certainly fewer have survived.
Footnote 1:
For convenience' sake the word “cloth” is used throughout these
bibliographies to signify woven material used in binding. Technically,
in the transition period between bound books and those fully bound,
half-binding was carried out in “canvas,” cloth proper being of
somewhat later date.
The phrase “boards (half-cloth) paper labels” is used in these
bibliographies to describe books which may be found _both_ in full-board
_and_ half-cloth styles. The colours of board and canvas vary greatly,
as different tones were often used for books belonging to one edition.
(vi) It will be noticed that in the majority of cases I give the _month_
as well as the year of a novel's publication. This, had it been
possible, I would wish to have supplied throughout, for by its help
alone can the vexed question of dated catalogues be properly determined.
Unfortunately, with the disappearance _in toto_ of many publishing
firms, the absorption of others under new names, and the surprising lack
of any complete files of lists and catalogues for the decades in
question, it has been impossible in every case to fix the dates thus
accurately. In determining the various issues of a first edition (for a
publisher does not bind his whole printing at once, but in lots as
required, and often at intervals of years), the date, if any, of the
catalogues of publications generally bound at the end of Victorian
novels is an essential factor. Where I give the month of publication in
the pages that follow, there can be no difficulty in detecting copies
bound up and issued after first publication. Elsewhere buyers can only
be advised to compare the date of title-page with that of catalogue. If
the latter predates or tallies with the former all _may_ be well; if the
catalogue date be later, the book is not a first issue, although still,
so far as the sheets are concerned, a copy of the first edition. In a
few rare cases, where numerous catalogues were printed during the same
year, the earliest date found in any particular first edition of that
year can be established only by experience. It is for this reason that
identity of year between title-page and catalogue _may_ rather than
_must_ indicate a true first issue.
(vii) Advice as to condition is easily given.
Never buy a rebound book or one of which the edges have been shaved.[2]
Footnote 2:
In this, as always, generalization fails. The vast majority of the
books here listed were first issued _uncut_; there are, however, a
few—and those among the books of later date—that were published cut.
The collector can identify these, if in original binding, by comparing
measurement with that here given.
Be wary of books in cloth which bear no publisher's imprint on the
spine; a few are right, but the majority are remainder-bound. Only in
the very early days of cloth binding were spines unimprinted. Of course
_labelled_ books, whether in boards or half-cloth, never show
publishers' imprint at the tail of their spines.
Always examine end-papers. The quality of Victorian end-papers cannot be
obtained to-day, and it is rare that the substitution in one book of an
old end-paper from another is so neatly done as to defy detection.
Library labels and their horrid traces have no place in a fine copy. If,
however, a buyer inclines to accept ex-library copies pending better
fortune, he should prefer those marked _inside_ front covers to those of
which the actual cloth is disfigured. Should the choice be between a
copy in disfigured cloth and one of which the cloth is clean but the
end-papers renewed to obliterate some previous damage, the wise buyer
will take the first and leave the second. Better a dirty original than a
book neat but doctored.
Do not reject an otherwise good copy of a book because the case is loose
or the back-stitching perished. Such deterioration is easily and
painlessly repaired.
In the case of books illustrated with etchings or steel engravings,
compare the date often to be found on the plates with that on the
title-page. These dates should tally, or, if they do not, thought or
examination of prefatory matter should show the reason why.
Several cases exist of books reissued more than once, but without
printed indication of reissue, in a style identical with that of the
first edition. In such cases the plates, more often than not, bear their
silent witness, and the careful buyer, momentarily uncertain of his
dates, is saved the purchase of a book he does not want.
(viii) The volumes listed which I have not myself seen and examined are
asterisked and thus expressly noted as catalogued without personal
investigation. As may be imagined, some of the obscurer works of the
authors dealt with are extremely rare, and all my seeking has failed to
discover some of them. In every other case personal handling has
preceded analysis, even although collation may already have existed in
published form.
(ix) In conclusion I would appeal to any reader of my book who can
emend, develop, or dispute the statements therein contained to send me
forthwith his criticisms and suggestions. To work of this kind can be no
finality. Freak copies, copies containing catalogues of earlier date,
copies in earlier varieties of binding—of such things is the sport of
bibliography composed. No individual can be sure that one particular
issue of any book is the earliest; comparative certainty comes only from
cooperation. Wherever possible I have compared several copies of the
same book, but this was by no means everywhere. Consequently to look
forward to revision and yet more revision is, in the circumstances, a
matter for hope rather than one for shame.
ACKNOWLEDGMENTS
Perhaps the most pleasant element in the compiling of this book has been
the generosity and enthusiasm with which persons able to help have
responded to inquiries.
Among those who have contributed of their private knowledge facts that
but for them I could never have discovered, Mr. Richard Bentley must
have first place. Unique as an authority on Victorian publishing, Mr.
Bentley not only replied promptly and in detail to my importunate
inquiries, but made suggestions and gave information—often at
considerable personal trouble—which have greatly extended the scope and
utility of my book.
Other publishers and editors were no less ready to give me access to
such records of the past as were still in their keeping. To Mr. Arthur
Waugh (of Messrs. Chapman and Hall), to Mr. Kelk and to Mr. Barnard (of
Messrs. Longmans, Green), to Mr. Spalding (of Messrs. Chatto and
Windus), to Mr. Herbert Virtue (of Messrs. Virtue and Co.), to Mr.
Farquharson and to Mr. Leonard Huxley (of Messrs. John Murray), to Mr.
Marston (of the “Publishers' Circular”), I tender my best thanks.
Gratitude must next be expressed to booksellers and owners of books
whose contribution differed in kind but not in degree from that of the
foregoing. Mr. Walter Spencer put his unrivalled stock of Victorian
first editions wholly at my disposal, thus enabling me to examine many
rare items not elsewhere discoverable. He also lent me a series of
autograph letters from which certain details were obtainable. To Messrs.
Bain and Messrs. Maggs I owe opportunities of seeing books necessary to
my list. Mr. Hugh Walpole gave me access to his private collection, and
Mr. Cecil Davis, Mr. J. A. Green, and Mr. Clement Shorter helped to a
clearer understanding of the bibliography of Captain Marryat and of Mrs.
Gaskell.
Further, I should like to set down my appreciation of the facilities
afforded to me by the authorities of the British Museum and of the
Bodleian Library. Their willingness to shorten in my favour the tedious
process of extracting scattered volumes from their stores and vaults
saved much fatigue and hours of valuable time.
To my mother, to my wife, and to one of my publishers I owe thanks for
friendly collaboration at points where two heads and four hands had more
than twice the value of half their number. Lastly, and perhaps mostly, I
am indebted, for secretarial assistance and for help in the labour of
research, to Miss Martha Smith, whose accuracy and devotion have halved
my personal toil.
ANTHONY TROLLOPE
1815-1882
ANTHONY TROLLOPE[3]
Trollope's novels, like those of Jane Austen, are of the very essence of
fiction. Whatever they may lack in verbal subtlety, in passion, in
tragedy or in comedy of idea, they never lack that spiritual skeleton
without which no structure of a story-teller's imagining can survive.
Palaces more delicate, more romantic, more brilliant and more terrible
than those of Trollope have been erected and have stood to win the
admiration of posterity; but their splendour and their beauty are due
more to the solid material that upholds their walls and roofs than to
the skill and fancy of their decoration. Other palaces, because they
lacked such invisible but vital solidity, have drawn for an hour the
fickle favour of the crowd and then toppled into dust. It is easy, in
fiction, to create a nine days' wonder, but hard indeed to win the
esteem of ninety years.
Footnote 3:
For his consent to the reprinting of this Essay I am grateful to the
Editor of the “Nineteenth Century and After.”
Trollope has achieved that victory. Oblivion can now never be his, for
he has lived his bad times and survived. As must any artist worth the
name, he suffered eclipse—temporary, indeed, but so severe as at one
time to threaten permanence. He was scorned as dowdy and parochial by
the brilliant metropolitans of a succeeding generation. Only in the
hearts of quiet folk and among readers uninstructed in the genius of
their own time were his books remembered and cherished.
Until, slowly and slowly, opinion has begun to change. Quality has
outstayed vogue, and the latter comes smirking back to the smiles of a
lover yesterday despised. Indeed, Trollope is in a fair way to become
once again the fashion. For a while he will be honoured by the
enthusiasm of the intellectuals. Then, when they have turned their
volatile benevolence to some other quarter, he will settle firmly in the
respect of the critical. And that will at once be fame and his deserts.
Any summary analysis of Trollope's individual novels is wellnigh
impossible, in view not only of the bulk of his work but also of its
scope and richness of content. His quality is more intangible and at the
same time more concentrated than that of the other writers treated in
this book. “Of all the needs a book has, the chief need is that it be
readable,” wrote Trollope himself. And again: “The primary object of a
novelist is to please.” Readability has, in these latter days, become a
term of condescension. But that is the fault of a superior age, and for
the ten who use the word contemptuously there are ten thousand who, did
they care to do so, would give it an older and a more honourable
meaning. To them, as always to the large public of novel-readers,
fiction, when it is not costume-romance, mystery-story, or topical
propaganda, is a revelation of their own lives. It is this demand for an
expression of emotions in which the normal reader can share that
Trollope so amazingly satisfies. No précis of plot, no indication of
social setting, of character types, nor of period, can in his case
convey the essence of any particular novel.
Nevertheless his stories fall into certain specific categories, some of
which form actual series of tales with characters reappearing from
volume to volume, while others, although severally independent and
self-contained, may be classified as belonging to one type of fiction or
to another.
The best known group of novels is that dealing with the society of the
city of Barchester and of the surrounding neighbourhood. _The Chronicles
of Barsetshire_, as they have been called, are six in number:
THE WARDEN (1855),
BARCHESTER TOWERS (1857),
DOCTOR THORNE (1858),
FRAMLEY PARSONAGE (1861),
THE SMALL HOUSE AT ALLINGTON (1864), and
THE LAST CHRONICLE OF BARSET (1867).
Although these famous stories undoubtedly contain much of Trollope's
best work, they do not contain the whole of it. It is a mistake to
suppose that they rank altogether higher than his other books, and one
of the most disastrous results of the disfavour into which his novels
fell after their author's death is that a wealth of really first-rate
material, just because it is included in books of which the late
eighties chose to forget the titles, lies hidden to-day and withdrawn
from the enjoyment of modern readers.
Cases of such unmerited neglect are encountered immediately and among
the novels of Trollope's second continuous and interconnected series.
The “political” stories, like those of Barsetshire, are six in number:
CAN YOU FORGIVE HER? (1864),
PHINEAS FINN (1869),
THE EUSTACE DIAMONDS (1873),
PHINEAS REDUX (1874),
THE PRIME MINISTER (1876), and
THE DUKE'S CHILDREN (1880).
It is truly remarkable to what an extent these admirable tales have
fallen into oblivion. Not only do they introduce many of Trollope's most
masterly characters, but they present, vividly and with knowledge, the
minds and manners of the political aristocracy, the social hangers-on,
the Tadpoles and Tapers of the day. Speaking generally, the social
setting of the political novels is different from that of _The
Chronicles of Barsetshire_. Indeed, it could hardly be otherwise, seeing
that the whole series takes its tone from the personalities of
Plantagenet Palliser and his wife Lady Glencora, who, as the stories
progress and by natural course of inheritance, become the Duke and
Duchess of Omnium and the greatest of English nobility. Trollope's
method is not slavishly to serialize the life story of any individual
character or pair of characters. All the political novels have their own
clearly defined plot. They are, however, all tinged with the compelling
personalities of Lady Glencora and her husband, into which Trollope
threw all that he had of art and enthusiasm.
_Can You Forgive Her?_ is a long novel, concerned primarily with the
troubles of a motherless girl who breaks an engagement with an
oppressively upright man in order to return to a youthful love affair
with a dissipated and unscrupulous cousin. Mr. Grey, the honourable man,
gets in the end the wife he wants; but Trollope does not hesitate to
show fairly the preference of a high-spirited girl for an adventurous
rascal, and there will be many who, when the book is finished, will
regret—a little ashamedly—that virtue has ultimately triumphed. In the
life story of Lady Glencora _Can You Forgive Her?_ is important, for it
pictures her newly married and literally on the verge of running away
from her shy, proud, inarticulate husband, with a beautiful young
reprobate, whose previous intimacy with her the reader may imagine at
his discretion. The fallibility of Lady Glencora is skilfully contrasted
with that of Alice Vavasor, the heroine of the book; their circumstances
are so similar, and yet the young women react to them so differently!
_Phineas Finn_ is a tale of political ambition. The hero, by whose name
the book is called, is a poor Irishman who comes to seek his fortune in
Parliament. The ups and downs of his career; Lady Laura Kennedy, who
loves him but from family pressure marries millions; Madame Max Goesler,
the fascinating, mysterious widow who rejects flattering if dubious
proposals from the old Duke of Omnium, combine with a mass of other
material to make a really dramatic story that is continued, and equally
well continued, in _Phineas Redux_.
Not the least remarkable feature of the second of these two books is the
hero's trial for murder. Trollope has a genius for trial scenes, and to
my mind it is an open question whether that in _Phineas Redux_ is not
finer than its more celebrated predecessors in _The Three Clerks_ and in
_Orley Farm_.
_The Eustace Diamonds_ turns on the personality of Lizzie Eustace, a
selfish but attractive little woman who keeps possession, in the teeth
of lawyers and of her late husband's relations, of certain priceless
jewels to which she has no right whatever. There are two or three
subplots in the story, all of good quality; but the character of Lizzie
Eustace, who, for all her lying and her insincerity and her cheap
smartness, is seductive and appealing, stands out as the book's
essential achievement.
_The Prime Minister_ and _The Duke's Children_ are the only two novels
of the political series in which Plantagenet Palliser, now Duke of
Omnium, is admittedly the central figure. The former book is so
constructed as to give prominence to the love affair and unhappy
marriage of Emily Wharton with Ferdinand Lopez, a stock gambler and
commercial adventurer. But although the history of the Lopez ménage is
admirably told, and gives scope for the reintroduction of Lizzie
Eustace, as well as other strange and disreputable people, the story of
the first premiership of the Duke of Omnium is the real story of the
book. By the time he came to the writing of _The Prime Minister_,
Trollope had become deeply interested in presenting in the person of the
Duke his ideal conception of an English aristocrat. No praise can be too
high for the skill with which he implies, but does not describe, the
divergent qualities of ambition possessed by the Duke and by his wife.
Throughout the book she is for ever striving to make him in the eye of
the world the greatest gentleman of the greatest kingdom of all time.
He, on the other hand, sees in his position only duty and responsibility
and disappointment. Not the least of his troubles are his wife's
insistence that the life of a public man is never private, and her
expressed conviction that give and take is the essence of political
compromise and therefore of premiership.
In the interval between _The Prime Minister_ and _The Duke's Children_
the Duchess of Omnium dies. The unhappy Duke is left to find, if he may,
in the achievements of his children that completeness and success to
secure which he feels that he has himself so utterly failed. Everything
goes awry. His only daughter gives her love to an unknown and penniless
commoner. His younger son, after ragging through his university career,
resorts disastrously to cards and racing. Finally, his heir—Lord
Silverbridge—stands for Parliament in the opposite interest to that of
his father, and, worse still, turns from the girl the Duke has chosen as
his bride, in order to throw his title and prospects at the feet of the
beautiful daughter of an American savant. The Duke struggles against his
own humanity; slowly and unhappily, as is his way, he adjusts himself to
the changing times; at the last he sacrifices his ideals of nobility to
personal affection. _The Duke's Children_ worthily closes a series of
fine novels. In some ways this last story of the political group is the
best, and it speaks a good deal for the author's power of sustained
imagination that he contrived, over a period of sixteen years, to
maintain the interest and develop the vitality of so complex a
collection of characters.
The rough classifications of novels in themselves independent may, out
of respect for chronology, begin with the stories of Irish life. _The
Macdermotts of Ballycloran_ (1847), _The Kellys and the O'Kellys_
(1848), _Castle Richmond_ (1860) and _The Landleaguers_ (1883), are the
four books which belong, properly speaking, to this category. Of course
there are Irish scenes in many other novels, for Trollope lived for
years in Ireland, knew it well and loved it, and was for ever
introducing Irishmen and Irish incidents into his work. The books above
mentioned are, however, wholly and deliberately novels about Ireland.
The first two have the faults of very early work, in that they are
prolix and lack that control of character and material that marks the
experienced novelist. Both, however, are worth reading, and the plot of
_The Kellys_ needs no excuse on the score of inexperience. _Castle
Richmond_, however, is definitely an unsuccessful book. It is packed
with information about the Irish famine, and the story is
over-melodramatic for Trollope's method. One of his most characteristic
qualities as a novelist is his refusal to keep the reader in suspense.
In direct contrast to Wilkie Collins, he goes out of his way to explain,
as he comes to it, each seemingly inexplicable event. It is as though he
scorns to save himself the trouble of characterization by erecting
between himself and the reader a screen of mystery. For this reason, the
secret power exercised by the unsavoury Molletts over Sir Thomas
Fitzgerald is, because it soon ceases to be secret, a weak foundation
upon which to erect a story. _The Landleaguers_, the book left
unfinished by Trollope when he died, is concerned to present the social
condition of Ireland in the early eighties, as was _Castle Richmond_ to
depict that of the famine-ridden forties. And yet what a difference! In
_The Landleaguers_ the novelist presents his picture of politics in his
actual story. There are no passages of blue-book instructionalism, but
it is doubtful whether a more vivid impression of the state of Ireland
at the time can be obtained from any other source. Even if there were no
others among Trollope's old-age novels to disprove the theory, _The
Landleaguers_ alone should put an end to the contention that toward the
end of his life he had lost his cunning or written himself out.
* * * * *
It is now necessary to examine that large and heterogeneous collection
of novels which, from one point of view or another, satirize
contemporary life or present some definite aspect of the English social
scene. Let me once more insist that the classification of Trollope's
books here attempted should not be understood too literally. All the
Barchester novels, all the political novels, are in one sense wholly
presentments of society; in the same way many of them contain passages
definitely satirical. But they have other claims to special grouping
which the numerous isolated stories now to be considered do not possess;
and, while satire is mainly incidental to the tales of Barchester and to
those of political life, it is in some at least of Trollope's other
books the principal purpose of the story.
First, then, the books which may fairly be termed books of social
satire. The earliest in date is _The Bertrams_, which, although the
situations and characters are of the kind which Trollope was to make
essentially his own, is a failure even more complete than _Castle
Richmond_. The central theme is one to which the author more than once
returns. Caroline Waddington rejects George Bertram for reasons of
income and prospects. She marries his successful lawyer friend, only to
find that she has sold herself to a greedy tyrant. The parallel case of
Julia Brabazon and Harry Clavering immediately suggests itself; but
where in _The Claverings_ Trollope achieves an intense humanity, in _The
Bertrams_ he is dully mechanical. He allows the subsidiary plots to
disturb and obscure his main story. When, as frequently, he attempts the
comic in social enjoyment he comes clumsily to grief. The widow's
seaside picnic in _Can you Forgive Her?_ has only to be contrasted with
the excursion from Jerusalem described in _The Bertrams_ to make clear
the difference between successful and unsuccessful satire. And yet there
are points in _The Bertrams_. The close-fisted old man, the disposal of
whose money provides the motive of most of the incident, is drawn with
consistent restraint. There are touches in the description of society at
Littlebath that prepare the reader for the pleasure of _Miss Mackenzie_.
On the whole the book should be read. It is Trollope “off” (or rather
“not yet on to”) his game, but it was published at an important moment
in his career and helps to make clear his subsequent development.
_Rachel Ray_ (1863) and _Miss Mackenzie_ (1865) may, without any
critical licence, be considered together. Both are bitter satires on
Evangelical Christianity. Trollope inherited from his mother a hatred of
the brimstone school of religious teachers, and in these novels he lets
himself go with considerable effect. The earlier of the two books
contains comparatively few characters, and those of modest social
position. Rachel herself is delightful and gives to the book, despite
its obvious weaknesses of construction, a freshness and charm that is
very pleasing. Mrs. Prime and her horrible clerical admirer are frankly
caricature, but that they should be so is not unnatural, seeing that
they represent the very puritanism that the book is intended to attack.
In _Miss Mackenzie_ we are given the story of a spinster of thirty-five,
to whom unexpectedly a small fortune is bequeathed. She becomes
immediately the quarry of fortune hunters—shabby social, religious, and
commercial. Some of the best scenes in the story are staged in
Littlebath, where Miss Todd and Miss Baker (who help to retrieve _The
Bertrams_ from disaster) make welcome reappearance. As satire the novel
is more dexterous than _Rachel Ray_, but it lacks the attraction of a
real Trollope heroine, and throughout has a faint tinge of the sordid.
It is interesting to note on page 242 of the second volume a mention of
Lady Glencora Palliser, whom Trollope had 'presented' in _Can you
Forgive Her?_
Not until 1875 did Trollope publish another definitely satirical novel.
When he did so, the event marked an important stage in his evolution as
a novelist. Critics had begun to grumble at comedies of manners, which
spoke of the suavity of yesterday rather than of the competitive hustle
of to-day. England was moving step by step along the road to
commercialism. Trollope, with his county and clerical families, his
political aristocrats and comic tuft-hunters, was shrugged aside as out
of date. Such treatment was intolerable, and, with a gesture half
impatient, half appealing, he sent out into the world _The Way We Live
Now_. This long and crowded novel—perhaps, with the exception of _The
Last Chronicle of Barset_, the most abundant of all his books—presents,
in the person of Mr. Melmotte, the financial magnate of alien origin
proper to a truly modern story of English life. Whether the cavillers,
whose complaints spurred Trollope to so violent an effort, admitted,
after reading _The Way We Live Now_, that the old dog could in truth
out-modern the best of them, history does not relate; but undeniably
this book, in which he asserted his vitality and showed that in the
matter of satiric observation he was well abreast of the times, has no
lack of vigour or luxuriant invention.
That _Mr. Scarborough's Family_ (1883) may reasonably be said to
conclude the list of Trollope's satirical novels is perhaps disputable.
And yet, because its power is mainly ironic, I prefer to mention it here
rather than treat of it as a purely social story. A while ago one
example was quoted of a first-rate book from Trollope's last period.
_Mr. Scarborough's Family_ is another.
An aged and wealthy cynic suddenly (and, as it turns out, with
deliberate falsehood) makes public the illegitimacy of his eldest son.
With the complications of inheritance, with the changing relations
between old Mr. Scarborough and his two sons, of whom the elder is now
destitute and the latter coldly triumphant in his unexpected good
fortune, is involved an elaborate second plot, centring round the love
story of an amiable young man, whose fortunes depend on the favour of a
peevish and eccentric uncle. Analysis of a tale so full of happening and
character is impossible in a few lines. Sufficient to say that _Mr.
Scarborough's Family_, were it not for the date on its title-page, might
be thought to belong to a much earlier period, not only of Trollope, but
of fiction as a whole, to a period more lavish than subtle, more genial
and full-blooded than detached and sensitive.
With _The Three Clerks_ (1858) opens the chronology of those novels
which, although partially satirical, are in the main straightforward
stories of English cultivated life. _The Three Clerks_ is one of the few
Trollope novels that has been seriously overrated. In its pages Mr.
Chaffanbrass, the notorious Old Bailey lawyer, makes his first
appearance, but he is infinitely more effective in _Orley Farm_ and in
_Phineas Finn_ than at his first entrance on the Trollope stage. In so
far as _The_ _Three Clerks_ gives a picture of the Civil Service that
the author himself knew, it has documentary value, but as fiction it is
formless and flaccid. Its young women are wholly devoid of that
freshness and frankness that place Trollope, as a creator of femininity,
apart from all other novelists of his generation; its menfolk are either
riotous dummies like those in Smedley's novels, or prigs and villains,
compounded so slavishly by recipe as to have little meaning beyond that
of the conventional types they represent.
Of _Orley Farm_ (1862) it is unnecessary to speak, the novel being one
of the two or three outside the Barchester series which are still read
to-day. _The Belton Estate_ (1866), on the other hand, badly needs
rehabilitation. Henry James, in a review written when quite a young man,
concluded a long paragraph of hostile criticism with the words: “_The
Belton Estate_ is a stupid book.” One may venture that the obtuseness
was not all on one side. Using a cast of four principal and as few
subsidiary characters, Trollope fills three good volumes with the
matrimonial dilemma of Clara Amedroz, who has to choose between the
uncouth, well-to-do farmer to whom passes her thriftless father's
estate, and the polished, self-seeking Captain Aylmer—in parlance,
though not in fact, also her cousin—who offers her marriage because at
the deathbed of his rich aunt and as part condition of becoming her heir
he swore to do so. _The Belton Estate_ has, to a greater degree than any
other of Trollope's books, that art of concealing art which delights one
type of mind, but by another is dismissed as “stupid.” In a sense it is
the most difficult to appreciate of all the important novels, and, were
an examination in Trollope a thing of practical import, the examining
board would be wise to make this book the test question of their paper.
_The Claverings_ (1867) and _He Knew He Was Right_ (1869) are very long
books, each of which turns on a theme highly characteristic of the
author. Mention has already been made of Julia Brabazon, heroine of the
former book, who jilts the nobody she loves for a rich invalid peer. The
price she has to pay is counted in full in the pages of _The
Claverings_, which also introduce a number of excellent characters, from
Sir Hugh Clavering, hard, savage, and selfish, to Sophie Gordeloup and
her scoundrelly brother, who play so desperately for the wealth and
person of Lord Ongar's lonely and embittered widow. _He Knew He Was
Right_ describes the steady growth in a husband's mind of unjust
suspicion of his wife's fidelity. As a crescendo of hysterical mistrust,
the book is a fine piece of sustained writing. As a novel, it would be
gloomy and distressing but for an admirable and humorous by-plot laid in
cathedral Exeter. It would, perhaps, be hypercritical and unappreciative
of his adroit handling of incident to blame the author for the very
liberal use of coincidence with which he aids the progress of his story.
Of the six social novels that remain, one is first-rate, three are very
good second-rate, one is ordinary second-rate and the last frankly bad.
_Is He Popenjoy?_ (1878) may rank with _The Claverings_ as a book
undeservedly excluded from the upper room of every Trollope-lover's
mind. The Dean of Brotherton, son of a jobmaster, father of the heroine
and ultimately grandfather of a marquis, is a Trollope dignitary of the
first water. His daughter is as eminent in the world of heroines as is
her father in that of ecclesiastics. She is gay, loving, whimsical,
courageous, and always natural. Her dour husband with his excessive
sense of duty and inadequate sense of humour; her aristocratic
sisters-in-law, shrouding in ill-nature and good works the emptiness of
their lives and purses; the society siren; the society matchmaker; and
perhaps above all the ill-tempered, dissolute marquis, on the legitimacy
of whose son turns the whole mechanism of the story, are each one of
them fictional characters that only a master could create.
_Ralph The Heir_ (1871)—the plot of which was pirated by Charles Reade
and dramatized under the title _Shilly Shally_—contains some good
characters and perhaps the best parliamentary election of all those
contrived by its author. The troubles and difficulties of the shy,
ineffective Sir Thomas Underwood, and the determination of Mr. Neefit,
the breeches-maker, to buy up a bankrupt young squire as husband for his
daughter would give distinction to any story. _Lady Anna_ (1874) is a
delicate elaboration of Trollope's favourite motif—projected or (as in
this case) actual misalliance. _The American Senator_ (1877) contains
some excellent hunting and much good general observation. _Ayala's
Angel_ (1881), like _The Belton Estate_ but less pronouncedly, is a book
that must be read to be realized, for it is quiet Trollope and a thing
of shades rather than one of definite, contrasted colours.
There remains _Marion Fay_ (1882), once again a tale of misalliance.
This is undeniably the worst book that its author ever wrote. Everywhere
but here he contrives to keep either his hero or his heroine (and more
frequently both) sympathetic, sensible, and convincingly normal; but in
_Marion Fay_ he sinks to mawkishness and to a deathbed scene that is
frankly inexcusable.
* * * * *
Plenty of novels still remain of this astonishing and untiring writer.
They may, however, be somewhat summarily dismissed. The most interesting
group is that of the short, single-theme stories which succeeded the
publication of _The Way We Live Now_. It is not unreasonable to
attribute to the mood of challenge in which that novel was sent out the
noticeable change in the author's method during the years that followed.
It is as though he had determined to try his hand at the psychological
analysis which was just coming into fashion among novelists. And so we
are given in quick succession six little books, each written round a
single event or describing the reactions of one individual to a definite
set of circumstances. The titles are as follow:
AN EYE FOR AN EYE (1879),
COUSIN HENRY (1879),
DOCTOR WORTLE'S SCHOOL (1881),
THE FIXED PERIOD (1882),
KEPT IN THE DARK (1882),
AN OLD MAN'S LOVE (1884).
It so happened that _An Eye for An Eye_ was written before the
publication of _The Way We Live Now_, although not published until some
while after. It is, however, clearly the product (if an unconscious one)
of the same impulse as gave birth to the other books, and its theme—the
struggle in the mind of a young Englishman between pride of family and
desire to fulfil a marriage promise to a girl who has become his
mistress—is a theme of the type peculiar to these six brief stories and
distinctly foreign to Trollope's more bulky and eventful work.
A further group of five stories may roughly be termed Trollope's
“oversea” novels. The first three—_Nina Balatka_ (1867), _Linda Tressel_
(1868), and _The Golden Lion of Granpere_ (1872)—were written more or
less intentionally to form a distinct trio. They are semi-romantic
tales, staged respectively in old Prague, in old Nürnberg, and among the
Vosges mountains; pleasant enough, but quite definitely of minor
importance. The first two were published anonymously but achieved little
success, and were later reissued over the author's name. _Harry
Heathcote of Gangoil_ (1874) and _John Caldigate_ (1879) are novels of
Australia, based on the knowledge of that continent which the author
gained when visiting one of his sons who had established himself there.
I understand that as pictures of Australian life they are vivid and
reliable. Be that as it may, the untutored reader, seeking only for
Trollope, will find him abundantly in _Harry Heathcote_, which is an
eventful, almost an adventurous story, and to a very satisfying degree
in the longer book that appeared five years later.
Of Trollope's various volumes of short stories nothing need here be
said. Of _Sir Harry Hotspur of Humblethwaite_ (1871) there is little
that can be said. Of _The Struggles of Brown, Jones, and Robinson_
(1870) there is much that had better be left unsaid. One important
full-length novel remains, good in itself and at the same time
remarkable as the only one of the author's tales in which he arms
himself formally as a social crusader.
_The Vicar of Bullhampton_ (1870) is a novel written in defence of the
“fallen woman.” It is quaint to read Trollope's solemn and tactful
preface, in which he almost apologizes to his public for venturing on
such indelicate ground. Fortunately the book is so feeble as propaganda
that, but for the preface, one would be unaware that it was written with
any special purpose. It can be enjoyed as a good story of village life,
with a delightful parson as central figure and the necessary complement
of charming Trollope ladies, gruff farmers, lonely landowners, and
aggressive Nonconformity.
This novel, like all Trollope's really good work, impresses the reader
first and foremost with its Englishry. Perhaps it would not be too much
to say that the very greatness of the author himself springs from this
same quality. He is intensely English, with the quiet humour, the shy
sympathy masquerading as indifference, the delicate sense of kindliness
and toleration, the occasional heaviness, the occasional irritability,
that mark a man or a book as English. But if to these qualities he owes
his place in our proud heritage of literature, to them also he owes the
tarrying of due recognition, for they and the natures that possess them
are of all qualities and of all natures the most difficult to impress
upon the sceptical outsider, seeing that their very beauty and
preciousness and power lie in their elusiveness.
_BIOGRAPHY_
ANTHONY TROLLOPE: HIS WORK, ASSOCIATES AND LITERARY ORIGINALS. By T.
H. S. ESCOTT. London: John Lane, 1913.
This book will be of interest to the general reader, although it is
rather overloaded with analyses of novel-plots and the arrangement is
not ideal.
By far the most valuable feature of the volume is the bibliography of
Trollope by Margaret Lavington included at the end. For the help this
careful and documented compilation has given me I wish to make
acknowledgment, although I have throughout worked independently and from
original sources and taken none of the facts hereafter given without
verification. Miss Lavington's descriptions lack certain details
essential to the collector, she makes one or two actual mistakes, but,
within the limits she has laid down for herself, her work is wonderfully
complete and accurate.
I.—EDITIONES PRINCIPES
FICTION, BIOGRAPHY, TRAVEL-BOOKS, ESSAYS, ETC.
1847
THE MACDERMOTTS OF BALLYCLORAN. By Mr. A. TROLLOPE. London: Thomas
Cautley Newby, Publisher, 72 Mortimer Street, Cavendish Square.
1847. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. (ii) + 345 + (1).
Vol. II. pp. (ii) + 382.
Vol. III. pp. (ii) + 437 + (1).
No half-titles. Boards, half-cloth, paper label. White end-papers.
Also in dark brown cloth, gilt, blocked in blind. Pale yellow
end-papers.
NOTE—On the title-page of Vol. III. “Mortimer” should be
spelt “Morimer.” In the same volume, p. 437 is mis-paged
“743.” Copies of the first edition were reissued in 1848
with title-pages so dated and differently worded, but with
no indication of reprint. On this second title-page the
misprint is corrected. The wording is as follows:
THE MACDERMOTTS OF BALLYCLORAN: A Historical Romance. By A. TROLLOPE,
Esq., author of _The Kellys and the O'Kellys_. London: T. C. Newby,
72 Mortimer Street, Cavendish Square. 1848.
1848
THE KELLYS AND THE O'KELLYS: Or LANDLORDS AND TENANTS. A Tale of Irish
Life. By A. TROLLOPE, Esq. London: Henry Colburn, Publisher, Great
Marlborough Street. 1848. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. (ii) + 298.
Vol. II. pp. (ii) + 298.
Vol. III. pp. (ii) + 285 + (1). Publisher's catalogue, 24 pp.,
undated, bound in at end.
No half-titles. Paper boards (half-cloth), paper label. White
end-papers.
NOTE—This book was published in July, 1848.
1850
LA VENDÉE: An Historical Romance. By ANTHONY TROLLOPE, Esq. London:
Henry Colburn, Publisher, Great Marlborough Street. 1850. 3 vols.
Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. (iv) + 320.
Vol. II. pp. (iv) + 330.
Vol. III. pp. (ii) + 313 + (1). No half-title to this volume.
Publisher's advertisement occupies p. (314). Publisher's catalogue,
16 pp., undated, bound in at end.
Paper boards, paper label. White end-papers.
NOTE—This book was published in June, 1850.
1855
THE WARDEN. By ANTHONY TROLLOPE. London: Longman, Brown, Green and
Longmans. 1855. 1 vol. Ex. Cr. 8vo. (4¾ × 7¾). Pp. iv + 336. No
half-title. Publishers' catalogue, 24 pp., dated September, 1854,
bound in at end. Pale brown cloth, gilt, blocked in blind. Brick-red
end-papers printed on inside front and inside back covers with
publishers' advertisements.
NOTES—(i) This book was published in January, 1855. An
edition of 1,000 copies was printed, of which 600 were sold
during the first eighteen months of publication. The balance
of 400 was bound, very nearly uniform with the first issue,
in 1858 and a catalogue dated with that year inserted at
end.
(ii) In 1879 Chapman and Hall published, under the series
title _Chronicles of Barsetshire_, Trollope's novels dealing
with the city and district of Barchester. _The Warden_ was
the first volume of this reissue, and was preceded by a
brief introduction by Trollope not previously published.
1857
BARCHESTER TOWERS. By ANTHONY TROLLOPE, author of _The Warden_.
London: Longman, Brown, Green, Longmans and Roberts. 1857. 3 vols.
Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. viii + 305 + (3). Publishers' advertisements occupy pp.
(307) and (308). Advertisement of _The Warden_ occupies p. (ii).
Half-title to this volume.
Vol. II. pp. iv + 299 + (1). No half-title.
Vol. III. pp. iv + 321 + (3). No half-title. Publishers'
advertisements occupy pp. (323) and (324).
Pale brown cloth, gilt, blocked in blind. Brick-red end-papers
printed with publishers' advertisements.
NOTE—This book was published in May, 1857. The earliest
issue had end-papers of a much redder brown than those used
for later bindings of the first edition sheets. The latter
can also be identified by the date of a publishers'
catalogue bound in at the end of Vol. I.
1858
THE THREE CLERKS: A Novel. By ANTHONY TROLLOPE, author of _Barchester
Towers_ etc. London: Richard Bentley, New Burlington Street. 1858. 3
vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. iv + 340.
Vol. II. pp. iv + 322 + (2).
Vol. III. pp. iv + 334 + (2).
No half-titles. Paper boards, half cloth, paper label. White
end-papers. Also in dark grey-purple watered cloth, gilt, blocked in
blind, with yellow end-papers.
NOTES—(i) Although dated 1858, this book was actually
published in December, 1857.
(ii) I have seen a copy of this book in a binding of the
grey-purple cloth above mentioned, but with paper labels as
employed on the half-cloth edition.
1858
DOCTOR THORNE: A Novel. By ANTHONY TROLLOPE, author of _The Three
Clerks_, _Barchester Towers_ etc. London: Chapman and Hall, 193
Piccadilly. 1858. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. iv + 305 + (3). Publishers' catalogue, 32 pp., dated
April, 1858, bound in at end.
Vol. II. pp. iv + 323 + (1).
Vol. III. pp. iv + 340.
No half-titles. Dark grey-purple cloth, gilt, blocked in blind. Pale
green end-papers.
NOTE—This book was published in June, 1858.
1859
THE BERTRAMS: A Novel. By ANTHONY TROLLOPE, author of _Barchester
Towers_, _Doctor Thorne_ etc. London: Chapman and Hall, 193
Piccadilly. 1859. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. iv + 335 + (1).
Vol. II. pp. iv + 344.
Vol. III. pp. iv + 331 + (1).
No half-titles. Dark grey-purple cloth, gilt, blocked in blind. Pale
yellow end-papers.
NOTE—This novel was published in March, 1859.
1859
THE WEST INDIES AND THE SPANISH MAIN. By ANTHONY TROLLOPE, author of
_Barchester Towers_, _Doctor Thorne_, _The Bertrams_ etc. London:
Chapman and Hall, 193 Piccadilly. 1859. 1 vol. Demy 8vo (5½ × 8¾).
Pp. iv + 395 + (1). Publishers' catalogue, 32 pp., dated November,
1859, bound in at end. No half-title. Coloured map printed
separately facing title. Maroon cloth, gilt, blocked in blind. Pale
yellow end-papers.
NOTES—(i) This book was published in October, 1859.
(ii) It is possible that the earliest copies of all
contained no publishers' catalogue, but I have been unable
to find a copy with a catalogue dated earlier than that
mentioned above.
1860
CASTLE RICHMOND: A Novel. By ANTHONY TROLLOPE, author of _Barchester
Towers_, _Doctor Thorne_, _The West Indies and the Spanish Main_
etc. London: Chapman and Hall, 193 Piccadilly. 1860. 3 vols. Ex. Cr.
8vo (4¾ × 7¾).
Vol. I. pp. vi + 303 + (1).
Vol. II. pp. (vi) [p. vi is erroneously numbered iv] + 300.
Vol. III. pp. vi + 289 + (1). Publishers' catalogue, 32 pp., dated
May, 1860, bound in at end.
Dark grey-purple cloth, gilt, blocked in blind. Yellow end-papers.
NOTE—This book was published in May, 1860.
1861
FRAMLEY PARSONAGE. By ANTHONY TROLLOPE, author of _Barchester Towers_
etc. etc. With 6 illustrations by J. E. Millais, R.A. London: Smith
Elder and Co., 65 Cornhill. MDCCCLXI. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).
Vol. I. pp. (iv) + 333 + (3).
Vol. II. pp. (iv) + 318 + (2).
Vol. III. pp. (iv) + 330 + (2). Publishers' catalogue, 14 pp., dated
April, 1861, bound in at end.
No half-titles. Each volume contains two line-engraved illustrations
printed separately. Grey-purple cloth, blocked in gold and blind.
Yellow end-papers.
NOTE—This book was published in May, 1861. The story
appeared serially in the “Cornhill.”
1861
TALES OF ALL COUNTRIES. By ANTHONY TROLLOPE, author of _Barchester
Towers_, _Doctor Thorne_, _The West Indies and the Spanish Main_.
London: Chapman and Hall, 193 Piccadilly. 1861. 1 vol. Ex. Cr. 8vo
(4¾ × 7¾). Pp. (iv) + 312. Publishers' catalogue, 32 pp., dated
November, 1861, bound in at end. No half-title. Blue embossed cloth,
gilt, blocked in blind. Bright blue end-papers.
_Contents_: La Mère Bauche—The O'Conors of Castle Conor—John
Bull on the Guadalquivir—Miss Sarah Jack, of Spanish Town,
Jamaica—The Courtship of Susan Bell—Relics of General
Chassé—An Unprotected Female at the Pyramids—The Château of
Prince Polignac.
NOTE—This book was published in November, 1861.
1862
ORLEY FARM. By ANTHONY TROLLOPE, author of _Doctor Thorne_,
_Barchester Towers_, _Framley Parsonage_ etc. With illustrations by
J. E. Millais. London: Chapman and Hall, 193 Piccadilly. 1862. 2
vols. Demy 8vo (5½ × 8¾).
Vol. I. pp. viii + 320. Publishers' catalogue, 32 pp., dated
October, 1861, bound in at end.
Vol. II. pp. viii + 320.
Each volume contains twenty illustrations. Brown-purple embossed
cloth, blocked in gold and blind. Pale yellow end-papers.
This story originally appeared in twenty demy 8vo one shilling
parts, dated March (1861) to October (1862), bound in fawn wrappers
printed in blue and red, and containing the illustrations by J. E.
Millais afterwards included in the two-volume edition. Each part
contains two illustrations.
NOTE—The first volume of this novel was published in book
form on December 3, 1861; the second volume on September 25,
1862. Both title-pages are, however, dated 1862.
ORLEY FARM: PART ISSUE.
The following advertisement pages, etc., should be found in
a complete set. The advertisements at the front of each
number are headed: “Orley Farm Advertiser.” All wrappers
except front covers are printed with advertisements.
_Part I: Front_—16 pp., dated March, 1861. _Back_—10 pp.,
unnumbered, of which the first two on pink paper.
_Part II: Front_—8 pp., dated 1861. _Back_—4 pp.,
unnumbered, of which the first two on yellow paper.
_Part III: Front_—8 pp., dated May, 1861. _Back_—2 pp.,
unnumbered, on lilac paper.
_Part IV: Front_—8 pp., dated June, 1861. _Back_—2 pp.,
unnumbered, on pale yellow paper.
_Part V: Front_—8 pp., dated July, 1861. _Back_—4 pp.,
unnumbered, of which the first two on lilac paper.
_Part VI: Front_—Inset slip of yellow paper advertising the
serialization in “Great Expectations” of _A Strange Story_,
by Lytton. 8 pp., dated August, 1861. _Back_—6 pp.,
unnumbered, of which the first two on yellow paper, the
third in coloured lithograph, the fifth and sixth on pink
(or green) paper, the fifth being blank and a sample of
cambric frilling being attached to the sixth.
_Part VII: Front_—8 pp., dated September, 1861. _Back_—4
pp., unnumbered, of which the first printed in colours, and
the last two a foolscap 8vo leaflet on blue paper
advertising “The Queen.”
_Part VIII: Front_—8 pp., dated October, 1861. _Back_—2 pp.,
unnumbered, on pale yellow paper.
_Part IX: Front_—8 pp., dated November, 1861. _Back_—nil.
_Part X: Front_—8 pp., dated December, 1861. _Back_—2 pp.,
unnumbered, on yellow paper. [_Note_—This part contains
half-title, title, contents and list of illustrations (in
all 8 pp.) to Volume I.]
_Part XI: Front_—8 pp., dated January, 1862. _Back_—12 pp.,
unnumbered.
_Part XII: Front_—8 pp., dated February, 1862. _Back_—2 pp.,
unnumbered, on pale yellow paper.
_Part XIII: Front_—Inset slip of yellow paper advertising
the serialization in “All the Year Round” of _No Name_, by
Wilkie Collins. 8 pp., dated March, 1862. _Back_—4 pp.
_Part XIV: Front_—8 pp., dated April, 1862. _Back_—8 pp., of
which the first two (unnumbered) are on blue paper, the next
four are numbered, and the last two unnumbered.
_Part XV: Front_—8 pp., dated May, 1862. _Back_—12 pp., of
which 1-4 unnumbered and the rest a publishers' catalogue
paged (1) to 8 and dated April 25, 1862.
_Part XVI: Front_—8 pp., dated June, 1862. _Back_—10 pp., of
which the first two (unnumbered) are on yellow paper and the
remainder are a publishers' catalogue paged (1)-8 and dated
April 25, 1862.
_Part XVII: Front_—8 pp., dated July, 1862. _Back_—4 pp.
_Part XVIII: Front_—8 pp., dated August, 1862. _Back_—6 pp.,
unnumbered, of which the first two on green paper.
_Part XIX: Front_—8 pp., dated September, 1862. _Back_—4 pp.
_Part XX: Front_—8 pp., dated October, 1862. _Back_—12 pp.,
of which the first two unnumbered and on orange paper, the
next two unnumbered, and the remainder a publishers'
catalogue paged (1)-8 and dated September 24, 1862.
[_Note_—This part contains half-title, title, contents and
list of illustrations (in all 8 pp.) to Volume II.]
1862
NORTH AMERICA. By ANTHONY TROLLOPE, author of _The West Indies and the
Spanish Main_, _Doctor Thorne_, _Orley Farm_ etc. London: Chapman
and Hall, 193 Piccadilly. 1862. 2 vols. Demy 8vo (5½ × 8¾).
Vol. I. pp. viii + 467 + (1). Publishers' catalogue, 32 pp., dated
May, 1862, bound in at end.
Vol. II. pp. viii + 494 +(2).
In Vol. I. a folding map is inserted facing p. 1. Maroon embossed
cloth, gilt, blocked in blind. Chocolate end-papers.
NOTE—This book was published in May, 1862.
1863
TALES OF ALL COUNTRIES: Second Series. By ANTHONY TROLLOPE. London:
Chapman and Hall, 193 Piccadilly. 1863. 1 vol. Ex. Cr. 8vo (4¾ ×
7¾). Pp. (iv) + 371 + (1). No half-title. Blue embossed cloth, gilt,
blocked in blind. Uniform with _Tales of All Countries_: First
Series. Pale yellow end-papers.
_Contents_: Aaron Trow—Mrs. General Talboys—The Parson's
Daughter of Oxney Colne—George Walker at Suez—The Mistletoe
Bough—Returning Home—A Ride Across Palestine—The House of
Heine Brothers in Munich—The Man Who Kept His Money in a
Box.
NOTE—This book was published in February, 1863.
1863
RACHEL RAY: A Novel. By ANTHONY TROLLOPE, author of _Barchester
Towers_, _Castle Richmond_, _Orley Farm_ etc. London: Chapman and
Hall, 193 Piccadilly. 1863. 2 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. iv + 319 + (1).
Vol. II. pp. iv + 310 + (2).
No half-titles. Maroon cloth, gilt, blocked in blind. Cream
end-papers.
NOTE—This book was published in October, 1863.
1864
THE SMALL HOUSE AT ALLINGTON. By ANTHONY TROLLOPE. With 18
illustrations by J. E. Millais, R.A. London: Smith Elder and Co., 65
Cornhill. MDCCCLXIV. 2 vols. Demy 8vo (5½ × 8⅝).
Vol. I. pp. (iv) + 312.
Vol. II. pp. (iv) + 316.
No half-titles. Vol. I. contains ten illustrations, and Vol. II.
eight illustrations. Green embossed cloth, blocked in gold and
blind. Chocolate end-papers, printed with publishers'
advertisements.
NOTE—This book was published in March, 1864, and completed
its serial run in the “Cornhill” the month following.
1864
CAN YOU FORGIVE HER? By ANTHONY TROLLOPE, author of _Orley Farm_,
_Doctor Thorne_, _Framley Parsonage_ etc. With illustrations.
London: Chapman and Hall, 193 Piccadilly. 1864. [1865, Vol. II.] 2
vols. Demy 8vo (5½ × 8¾).
Vol. I. pp. (viii) + 320.
Vol. II. pp. (viii) + 320.
Vol. I. contains twenty etched illustrations by Phiz, and Vol. II.
twenty illustrations [by a Miss Taylor], all printed separately. Red
embossed cloth, blocked in gold and blind. Yellow end-papers.
This story originally appeared in twenty demy 8vo one shilling
parts, dated January, 1864, to August, 1865, bound in fawn paper
wrappers printed in blue and red, and containing the illustrations
afterwards included in the two-volume edition. Each part contains
two illustrations.
NOTE—The first volume of this novel appeared in book form on
October 1, 1864, the second volume in August, 1865. The
title-pages are dated differently.
CAN YOU FORGIVE HER?: PART ISSUE.
The following advertisement pages, etc., should be
found in a complete set. The advertisements at the
front of each number are headed “Can you Forgive Her?
Advertiser.” All wrappers, except front cover, are
printed with advertisements.
_Part I: Front_—8 pp., dated January, 1864. _Back_—14 pp.,
of which the first two unnumbered on buff paper, the next
four printed in blue on white paper, and the remainder a
publishers' catalogue paged 1-8 and dated January 1, 1864.
_Part II: Front_—4 pp., dated February, 1864. _Back_—2 pp.,
unnumbered, on pink paper.
_Part III: Front_—4 pp., dated March, 1864. _Back_—6 pp.
_Part IV: Front_—4 pp., dated April, 1864. Between pp. 2 and
3 an inset slip on green paper advertising the part issue of
Dickens' _Our Mutual Friend_. _Back_—8 pp., of which the
first two on yellow paper and unnumbered, the second two
unnumbered, and the remainder a publishers' catalogue paged
1-4 and dated April 1st, 1864.
_Part V: Front_—4 pp., dated May, 1864. _Back_—14 pp., of
which the first four paged 1-4, the next two a reproduction
on green paper of the wrapper of Part I of _Our Mutual
Friend_, and the remainder a publishers' catalogue paged 1-8
and dated April 30, 1864.
_Part VI: Front_—4 pp., dated June, 1864, and printed on
buff paper as wrapper. _Back_—14 pp., of which the first
four and the publishers' catalogue the same as in Part V. A
wrapper of _Our Mutual Friend_, this time of Part II,
completes the total.
_Part VII: Front_—4 pp., dated July, 1864, printed on buff
paper as wrapper. _Back_—2 pp., unnumbered, on yellow paper.
_Part VIII: Front_—4 pp., dated August, 1864, printed on
buff paper as wrapper. _Back_—4 pp., numbered 1-4.
_Part IX: Front_—4 pp., dated September, 1864, printed on
buff paper as wrapper. _Back_—Inset slip of yellow paper
announcing the serialization in “All the Year Round” of
_Never Forgotten_, by the author of _Belladonna_. 2 pp.,
unnumbered, on yellow paper.
_Part X: Front_—4 pp., dated September [sic], 1864, printed
on buff paper as wrapper. In later issues “September”
corrected to October. _Back_—8 pp., of which the last four a
publishers' catalogue paged 1-4 and dated October 1, 1864.
[_Note_—This part contains half-title, title, contents and
list of illustrations (in all 8 pp.) to Volume I. It is also
the last part illustrated by Hablot K. Browne.]
_Part XI: Front_—4 pp., dated November, 1864, and printed on
buff paper as wrapper. _Back_—6 pp., of which 1-4 on lilac
(or blue) paper. [_Note_—Although the illustrator had
already been changed, the wrapper to this part still bears
the name of H. K. Browne.]
_Part XII: Front_—4 pp., dated December, 1864, printed on
buff paper as wrapper. Inset slip on yellow paper announcing
_Mrs. Lirriper's Legacy_ as Christmas number to “All the
Year Round.” _Back_—8 pp., of which the last four a
publishers' catalogue paged 1-4 and dated November 25.
_Part XIII: Front_—4 pp., undated and printed on buff paper
as wrapper. _Back_—2 pp., of which the first printed in
lilac.
_Part XIV: Front_—4 pp., undated and printed on buff paper
as wrapper. _Back_—Inset slip of green paper and 2 pp.
unnumbered, printed on yellow.
_Part XV: Front_—4 pp., undated and printed on buff paper as
wrapper. _Back_—Inset slip of blue paper and publishers'
catalogue 4 pp., dated February 28, 1865. Inset slip on
white paper advertising the part issue of the _Headless
Horseman_, by Captain Mayne Reid.
_Part XVI: Front_—4 pp., undated, printed on buff paper as
wrapper. _Back_—Inset slip of yellow paper announcing the
serialization in “All the Year Round” of _Half a Million of
Money_, by Amelia B. Edwards. 6 pp., of which the last four
on pink paper.
_Part XVII: Front_—4 pp., undated and printed on buff paper
as wrapper. _Back_—Nil.
_Part XVIII: Front_—4 pp., undated and printed on buff paper
as wrapper. _Back_—Nil.
_Part XIX: Front_—4 pp., undated and printed on buff paper
as wrapper. _Back_—8 pp., unnumbered, of which the first
four on pale blue paper.
_Part XX: Front_—4 pp., undated and printed on buff paper as
wrapper. _Back_—Nil. [_Note_—This part contains half-title,
title, contents and list of illustrations (in all 8 pp.) to
Volume II.]
1865
MISS MACKENZIE. By ANTHONY TROLLOPE. London: Chapman and Hall, 193
Piccadilly. 1865. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. vi + 312.
Vol. II. pp. vi + 313 + (3). Advertisement of works by the same
author occupies p. (315).
Maroon cloth, gilt, blocked in blind. Yellow end-papers.
NOTES—(i) This book was published in March, 1865.
(ii) A binding of dark green cloth is more frequently seen
than that of maroon, but it is fairly certain that the
latter is really the first issue. I have come to this
conclusion after a study of other publications, for binding
which the two types of cloth used for _Miss Mackenzie_ were
employed. Both are patterned cloths, but differently
patterned. That used in maroon for _Miss Mackenzie_ was also
used—differently coloured, of course—for Trollope's _Tales
of All Countries_ (1861); Ainsworth's _Constable of the
Tower_ (1861); Mrs. Gaskell's _Round the Sofa_ (1859) and
_Right at Last_ (1860); Charles Allston Collins' _Cruise
Upon Wheels_ (1862); and Reade's _Love me Little, Love me
Long_ (1859). The pattern of cloth, on the other hand, used
in dark green for _Miss Mackenzie_ reappears on Trollope's
_Belton Estate_ (1866); Ainsworth's _John Law_ (1864); and
Wilkie Collins' _My Miscellanies_ (1863). I think these
facts provide sufficiently conclusive evidence that the
maroon cloth is of an earlier pattern than the dark green.
Publishers were probably inclined, then as now, to use one
type of cloth more than another at certain given dates
(possibly they tended to adopt novelties as produced by
their binders). This is independently suggested by the fact
that in the year 1863 alone an identical pattern of cloth
was used and by various publishers for Ainsworth's _Cardinal
Pole_, for Mrs. Gaskell's _A Dark Night's Work_, for George
Eliot's _Romola_, and for Mrs. Oliphant's _Perpetual
Curate_.
1865
HUNTING SKETCHES. By ANTHONY TROLLOPE. Reprinted from the “Pall Mall
Gazette.” London: Chapman and Hall, 193 Piccadilly. 1865. 1 vol. Cr.
8vo (4⅞ × 7½). Pp. iv + 115 + (1). Publishers' catalogue, 32 pp.,
dated May, 1865, bound in at end. No half-title. Red cloth gilt,
blocked in blind. Green-black end-papers.
_Contents_: The Man who Hunts and Doesn't Like It—The Man
who Hunts and Does Like It—The Lady who Rides to Hounds—The
Hunting Farmer—The Man who Hunts and Never Jumps—The Hunting
Parson—The Master of Hounds—How to Ride to Hounds.
NOTE—This book was published in May, 1865.
1866
THE BELTON ESTATE. By ANTHONY TROLLOPE, author of _Can you Forgive
Her?_, _Orley Farm_, _Framley Parsonage_ etc. etc. London: Chapman
and Hall, 193 Piccadilly. 1866. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾).
Vol. I. pp. iv + 284.
Vol. II. pp. iv + 308.
Vol. III. pp. iv + 276.
Publishers' catalogue, 24 pp., dated December 1, 1865, bound in at
end. No half-titles. Scarlet embossed cloth, gilt, blocked in blind.
Yellow end-papers.
NOTE—This book was published in January, 1866. The story
appeared serially in the “Fortnightly Review.”
1866
TRAVELLING SKETCHES. By ANTHONY TROLLOPE. Reprinted from the “Pall
Mall Gazette.” London: Chapman and Hall, 193 Piccadilly. 1866. I
vol. Cr. 8vo (4⅞ × 7½). Pp. iv + 112. Publishers' catalogue, 24 pp.,
dated February 1, 1866, bound in at end. No half-title. Red cloth,
gilt, blocked in blind. Green-black end-papers. Uniform with
_Hunting Sketches_.
_Contents_: The Family that Goes Abroad Because it's the
Thing to Do—The Man who Travels Alone—The Unprotected Female
Tourist—The United Englishmen who Travel for Fun—The Art
Tourist—The Tourist in Search of Knowledge—The Alpine Club
Man—Tourists who Don't Like their Travels.
NOTE—This book was published in February, 1866.
1866
CLERGYMEN OF THE CHURCH OF ENGLAND. By ANTHONY TROLLOPE. Reprinted
from the “Pall Mall Gazette.” London: Chapman and Hall, 193
Piccadilly. 1866. I vol. Cr. 8vo (4⅞ × 7½). Pp. (iv) + 130 + (2).
Publishers' catalogue, 24 pp., dated March 30, 1866, bound in at
end. No half-title. Red cloth, gilt. Green-black end-papers. Uniform
with _Hunting Sketches_ and _Travelling Sketches_.
_Contents_: The Modern English Archbishop—English Bishops,
Old and New—The Normal Dean of the Present Day—The
Archdeacon—The Parson of the Parish—The Town Incumbent—The
College Fellow who has Taken Orders—The Curate in a Populous
Parish—The Irish Beneficed Clergyman—The Clergyman who
Subscribes for Colenso.
NOTE—This book was published in April, 1866.
1867
NINA BALATKA: THE STORY OF A MAIDEN OF PRAGUE. Wm. Blackwood and Sons,
Edinburgh and London, MDCCCLXVII. 2 vols. Fcap. 8vo (4¼ × 6¾).
Vol. I. pp. (vi) + 228 + (2). Publishers' advertisements occupy pp.
(229) (230).
Vol. II. pp. 215 + (I). Publishers' advertisements, 8 pp., undated,
bound in at end.
The words: “Originally published in 'Blackwood's Magazine'” occupy
verso of half-title in each volume. Red-brown cloth, gilt, blocked
in blind. Chocolate end-papers.
NOTE—This book was published on February 1, 1867.
1867
THE LAST CHRONICLE OF BARSET. By ANTHONY TROLLOPE. With 32
illustrations by George H. Thomas. London: Smith Elder and Co., 65
Cornhill. MDCCCLXVII. 2 vols. Demy 8vo (5½ × 8⅝).
Vol. I. pp. (iv) + 384.
Vol. II. pp. (iv) + 384.
No half-titles. Each volume contains sixteen illustrations printed
separately, and line drawings in the text at the beginnings of
several of the chapters. Violet-blue cloth, blocked in gold and
blind. Yellow end-papers.
This story originally appeared in thirty-two sixpenny demy 8vo parts
dated December 1 (1866) to July 6 (1867), bound in white wrappers
with a design in scarlet and dark blue, and containing the
illustrations afterwards included in the two-volume edition. Each
part contains one illustration.
NOTES—(i) Vol. I. of the novel in book form was published on
March 16, and Vol. II. on July 6, 1867.
(ii) The words “With 32 illustrations by George H. Thomas”
occur only on the title-page of Vol. II.
THE LAST CHRONICLE OF BARSET: PART ISSUE.
The following advertisement pages, etc., should be found
in a complete set. Advertisements at the front of each
part are printed on lilac paper, except where otherwise
stated. All wrappers, except front covers, are printed
with advertisements.
_Part I: Front_—4 pp., unnumbered, on grey paper; 8 pp.,
numbered 1-8. _Back_—10 pp., of which the first is printed
in colours and the last four on yellow paper (or green).
_Part II: Front_—8 pp., numbered 9-16. _Back_—4 pp., of
which the first is printed in colours and the last two on
blue paper (or pink).
_Part III: Front_—8 pp., numbered 17-24. _Back_—Inset slip
(4 pp.) of Chapman and Hall publications.
_Part IV: Front_—4 pp., unnumbered, on grey (or lilac)
paper; 4 pp., numbered 25-28. _Back_—Nil.
_Part V: Front_—4 pp., numbered 29-32. _Back_—2 pp., of
which the second is printed in colours.
_Part VI: Front_—4 pp., numbered 33-36. _Back_—Inset slip (4
pp.) on yellow paper.
_Part VII: Front_—4 pp., numbered 37-40. _Back_—Nil.
_Part VIII: Front_—Inset slip (4 pp.) of Chapman and Hall
publications (as at back of Part III). 4 pp., numbered
41-44. _Back_—Nil.
_Part IX: Front_—4 pp., numbered 45-48. _Back_—Nil.
_Part X: Front_—4 pp., numbered 49-52. _Back_—4 pp.,
unnumbered.
_Part XI: Front_—Inset slip (4 pp.) of Chapman and Hall
publications (as in Parts III. and VIII.); 4 pp., numbered
53-56. _Back_—Nil.
_Part XII: Front_—4 pp., numbered 57-60. _Back_—2 pp.,
unnumbered, of which the second printed in colours.
_Part XIII: Front_—4 pp., numbered 61-64. _Back_—Nil.
_Part XIV: Front_—4 pp., numbered 65-68. _Back_—Nil.
_Part XV: Front_—4 pp., numbered 69-72. _Back_—Nil.
_Part XVI: Front_—4 pp., numbered 73-76; inset slip of lilac
paper announcing the appearance of Vol. I. of _The Last
Chronicle of Barset_ at ten shillings. _Back_—Nil.
[_Note_—This part contains title-page, contents and list of
illustrations (in all 4 pp.) to Vol. I.]
_Part XVII: Front_—4 pp., numbered 77-80. _Back_—Nil.
_Part XVIII: Front_—4 pp., numbered 81-84; inset slip of
lilac paper announcing the appearance of Vol. I. of The Last
Chronicle of Barset at ten shillings. _Back_—2 pp.,
unnumbered, of which the second printed in colours.
_Part XIX: Front_—4 pp., numbered 85-88. _Back_—Nil.
_Part XX: Front_—4 pp., numbered 89-92. _Back_—Nil.
_Part XXI: Front_—4 pp., numbered 93-96. _Back_—Nil.
_Part XXII: Front_—4 pp., numbered 97-100. _Back_—Nil.
_Part XXIII: Front_—4 pp., numbered 101-104. _Back_—Nil.
_Part XXIV: Front_—4 pp., numbered 105-108. _Back_—Nil.
_Part XXV: Front_—4 pp., numbered 109-112. _Back_—Nil.
_Part XXVI: Front_—4 pp., numbered 113-116. _Back_—Inset
slip (4 pp.) advertising the “Charles Dickens Edition” of
Dickens' works.
_Part XXVII: Front_—4 pp., numbered 117-120. _Back_—Nil.
_Part XXVIII: Front_—4 pp., numbered 121-124. _Back_—Nil.
_Part XXIX: Front_—4 pp., numbered 125-128. _Back_—Nil.
_Part XXX: Front_—4 pp., numbered 129-132. _Back_—Nil.
_Part XXXI: Front_—4 pp., numbered 133-136. _Back_—Nil.
_Part XXXII: Front_—4 pp., numbered 137-140; inset slip of
lilac paper announcing the completion of _The Last Chronicle
of Barset_ in 2 volumes at 20s. _Back_—Nil. [_Note_—This
part contains title-page, contents and list of illustrations
(in all 4 pp.) to Vol. II.]
1867
THE CLAVERINGS. By ANTHONY TROLLOPE. With 16 illustrations by M. Ellen
Edwards. London: Smith, Elder and Co., 65 Cornhill. MDCCCLXVII. 2
vols. Demy 8vo (5½ × 8¾).
Vol. I. pp. (iv) + 313 + (3). Publishers' advertisements occupy pp.
(315) and (316).
Vol. II. pp. (iv) + 309 + (3). Publishers' advertisements occupy pp.
(311) and (312).
No half-titles. Each volume contains eight illustrations printed
separately. Bright green cloth, blocked in black and gold. Pale
chocolate end-papers.
NOTES—(i) This book was published on April 20, 1867. The
story appeared serially in the “Cornhill.”
(ii) There are two varieties of binding to this book. It is
an open question whether the simpler design with no black on
the sides is earlier or later than that which is more
elaborate.
1867
LOTTA SCHMIDT: AND OTHER STORIES. By ANTHONY TROLLOPE. Alexander
Strahan, Publisher, 56 Ludgate Hill, London. 1867. 1 vol. Ex. Cr.
8vo (4⅞ × 7¾). Pp. (iv) + 403 + (1). Dark red cloth, gilt.
Green-black end-papers.
There is no list of contents. Titles are as follow:
Lotta Schmidt—The Adventures of Fred Pickering—The Two
Generals—Father Giles of Ballymoy—Malachi's Cove—The
Widow's Mite—The Last Austrian who Left Venice—Miss
Ophelia Gledd—The Journey to Panama.
NOTE—This book was published in August, 1867. The original
sheets were reissued in 1870, without indication of there
having been an earlier edition. The reissue is cr. 8vo in
size, pp. (vi) + 425 + (1), bears the imprint “Strahan and
Co.,” and is bound in pale maroon cloth. Later still copies,
taken over in sheets by Chapman and Hall and also dated
1870, were issued in bright green cloth, with chocolate
end-papers, printed with Chapman and Hall advertisements.
1868
LINDA TRESSEL. By the author of _Nina Balatka_. Wm. Blackwood and
Sons, Edinburgh and London. MDCCCLXVIII. 2 vols. Fcap. 8vo (4¼ ×
6¾).
Vol. I. pp. 216.
Vol. II. pp. 215 + (1).
The words: “Originally published in 'Blackwood's Magazine'” occupy
verso of half-title in each volume. Red-brown cloth, gilt, blocked
in blind. Chocolate end-papers. Uniform with _Nina Balatka_.
NOTE—This book was published in May, 1868.
1869
PHINEAS FINN, THE IRISH MEMBER. By ANTHONY TROLLOPE. With 20
illustrations by J. E. Millais, R.A. London: Virtue and Co., 26 Ivy
Lane, Paternoster Row. 1869. 2 vols. Demy 8vo (5½ × 8¾).
Vol. I. pp. vi + (ii) + 320.
Vol. II. pp. vi + (ii) + 328.
No half-titles. Ten illustrations in each volume printed separately.
Bright green cloth, gilt, blocked in blind. Pale yellow end-papers.
It may be noted that the author's name is not given on the spine of
this book.
NOTE—This book was published in March, 1869. The same novel
still in two volumes and at the same price (25s. net) was
advertised in May, 1869, by Strahan and Co., who were at the
time closely identified with Virtue and Co. Copies with a
Strahan imprint, if such exist, are not of the first issue.
The story appeared serially in “St. Paul's Magazine.”
1869
HE KNEW HE WAS RIGHT. By ANTHONY TROLLOPE. With 64 illustrations by
Marcus Stone. Strahan and Co., Publishers, 56 Ludgate Hill, London.
1869. 2 vols. Demy 8vo (5½ × 8⅝).
Vol. I. pp. ix + (iii) + 384.
Vol. II. pp. ix + (iii) + 384.
Each volume contains sixteen illustrations printed separately and
sixteen line drawings in the text. Green cloth, gilt, blocked in
blind. Pale yellow end-papers.
This story first appeared in thirty-two demy 8vo sixpenny weekly
parts, dated October 17 (1868) to May 22 (1869), bound in green-grey
paper wrappers, printed in red and black. Each part contains a
full-page line-engraved illustration by Marcus Stone, printed
separately, and one small drawing in the text. Each part, as well as
the title-page, etc., included in Part XXXII. bears the imprint of
Virtue and Co., but the novel, when issued in book form, appeared
over the imprint of Strahan and Co.
NOTES—(i) Four weeks after the appearance of Part I. (early
in November, 1869) a parallel series of two-shilling
_monthly_ parts was inaugurated, of which the first,
containing the first four weekly parts, was immediately
issued, and the remainder at regular intervals. The earliest
part issue was therefore the weekly one. Margaret Lavington
in her Trollope bibliography, states that the first four
parts were wrappered in one. This observation was probably
made from an examination of a made-up set of parts composed,
as to the first four, of the second issue and, as to the
remainder, of the first (see above).
(ii) The story appeared in two-volume form in May, 1869.
HE KNEW HE WAS RIGHT: PART ISSUE.
The following advertisement pages, etc., should be found in
a complete set. Advertisements at the front of each part are
printed on greenish blue paper except where otherwise
stated. All wrappers except front covers are printed with
advertisements.
_Part I: Front_—6 pp. _Back_—4 pp.
_Parts II to XXIX: Front_—4 pp. _Back_—Nil.
_Part XXX: Front_—Inset slip of orange paper announcing the
serialization in “S. Paul's” of _The Three Brothers_, by
Mrs. Oliphant. _Back_—Nil.
_Part XXXI: Front_— Nil. _Back_—Nil.
_Part XXXII: Front_—Nil. _Back_— Nil. [_Note_— This part
contains half-title, titles, contents and lists of
illustrations (in all 24 pp.) to _both_ volumes of the
novel.]
1869
*DID HE STEAL IT? A Comedy in three Acts. By ANTHONY TROLLOPE. Printed
for private circulation. 1869.
NOTE—This is a dramatization of an episode in _The Last
Chronicle of Barset_, which Trollope prepared by special
request, only to have the play rejected by the commissioning
manager.
1870
THE VICAR OF BULLHAMPTON. By ANTHONY TROLLOPE. With 30 illustrations
by H. Woods. London: Bradbury, Evans and Co., Bouverie Street. 1870.
1 vol. Demy 8vo (5½ × 8¾). Pp. xvi + 481 + (11). Publishers'
advertisements occupy pp. (483) to (492). Brown cloth, blocked in
gold and black. Grey end-papers.
This story originally appeared in 11/12 demy 8vo monthly parts, dated
July 18, 1869, to May 18, 1870. Parts I. to X. cost one shilling,
and the last double part (XI./XII.) half-a-crown. The parts are
bound in blue-grey paper wrappers, with a design in red and black,
and contain the illustrations afterwards included in the one-volume
edition. Parts I. to X. each contain two full-page illustrations;
Part XI./XII. contains four, of which one is a picture title-page.
NOTE—The novel was published in volume form in April, 1870.
THE VICAR OF BULLHAMPTON: PART ISSUE.
The following advertisement pages, etc., should be found
in a complete set. The advertisements at the front of
Parts I. to III. are headed “The Vicar of Bullhampton
Advertiser.” All wrappers, except front covers, are
printed with advertisements.
_Part I: Front_—12 pp., dated July, 1869. _Back_—4 pp.,
printed in colours and unnumbered.
_Part II: Front_—4 pp., dated August, 1869. _Back_—Nil.
_Part III: Front_—4 pp., dated September, 1869. _Back_—Nil.
_Parts IV to X_ inclusive contain no advertisement pages.
_Part XI_ (double number): _Front_ (or back)—10 pp.,
publishers' advertisements, unnumbered and undated.
[_Note_—This part contains half-title, title, preface,
contents, list of illustrations and frontispiece to the
complete novel. This preliminary matter is paged (i)-xvi,
despite the fact that frontispiece and title-page (4 pp.)
are printed separately.]
1870
AN EDITOR'S TALES. By ANTHONY TROLLOPE. Strahan and Co., Publishers,
56 Ludgate Hill, London. 1870. 1 vol. Sq. Ex. Cr. 8vo (5⅛ × 7¾). Pp.
(viii) + 375 + (1). Publishers' advertisement occupies p. (376).
Brown cloth, gilt, blocked in black. Chocolate end-papers.
_Contents_: The Turkish Bath—Mary Gresley—Josephine de
Montmorenci—The Panjandrum—The Spotted Dog—Mrs. Brumby.
NOTE—This book was published in July, 1870. The stories had
appeared in “St. Paul's Magazine.”
1870
THE STRUGGLES OF BROWN, JONES AND ROBINSON: BY ONE OF THE FIRM. Edited
by ANTHONY TROLLOPE, author of _Framley Parsonage_, _The Last
Chronicle of Barset_ etc. etc. Reprinted from the “Cornhill
Magazine.” With four illustrations. London: Smith, Elder and Co., 15
Waterloo Place. 1870. 1 vol. Cr. 8vo (4⅞ × 7½). Pp. iv + 254 + (2).
Advertisements of works by the same author occupy pp. (255) and
(256). No half-title. Frontispiece and illustrated title-page, in
line engraving and printed separately, precede the printed title.
Brown cloth, blocked in black and gold. Pale yellow end-papers.
NOTE—This book was published in November, 1870. The story
had appeared serially in the “Cornhill” in the years 1861
and 1862. Its unpopularity as a serial accounts for the
delay in its book publication.
1870
THE COMMENTARIES OF CÆSAR. By ANTHONY TROLLOPE. William Blackwood and
Sons, Edinburgh and London. MDCCCLXX. 1 vol. Fcap. 8vo (4¼ × 6¾).
Pp. (x) [paged as vi] + 182. Publishers' advertisements occupy pp.
(i) to (iv), and a list of volumes in the Series “Ancient Classics
for English Readers” occupies p. (vi), facing title-page. Brown
cloth, gilt, blocked in black. Chocolate end-papers.
1871
SIR HARRY HOTSPUR OF HUMBLETHWAITE. By ANTHONY TROLLOPE, author of
_Framley Parsonage_ etc. London: Hurst and Blackett, Publishers, 13
Great Marlborough Street. 1871. 1 vol. Cr. 8vo (5 × 7½). Pp. vii +
(1) + 323 + (1). Publishers' catalogue, 16 pp., undated but paged,
bound in at end. Scarlet cloth, gilt, blocked in black. Black
end-papers.
NOTE—Although dated 1871, this book was actually published
in November, 1870. The story appeared serially in
“Macmillan's Magazine.”
1871
RALPH THE HEIR. By ANTHONY TROLLOPE, author of _Framley Parsonage_,
_Sir Harry Hotspur_ etc., etc. London: Hurst and Blackett,
Publishers, 13 Great Marlborough Street. 1871. 3 vols. Cr. 8vo (4⅞ ×
7⅜).
Vol I. pp. (iv) + 342. Advertisement of _Sir Harry Hotspur_ occupies
p. (ii) facing title.
Vol. II. pp. (iv) + 338.
Vol. III. pp. (iv) + 347 + (1).
Publishers' advertisements, 16 pp., printed on text paper and paged,
bound in at end. Brown cloth, gilt, blocked in black. Blue-black
end-papers.
This story originally appeared in parts, which were issued as
supplements to “St. Paul's Magazine.” The instalments were paged
continuously, but separately from the rest of the magazine.
Parts I. to XI. were enclosed in fawn paper wrappers printed in
black and red and dated January, 1870, to November, 1870. Parts XII.
to XVIII. were not wrappered at all, but merely stitched in at the
end of the numbers of the magazine with their own pagination. The
series contained eleven full-page line-engraved illustrations by F.
A. Fraser, the last of which appeared in Part XI.
Apart from that printed on the back wrappers of Parts I. to XI., no
advertisement material was included with the part issue. Title-page
and contents (4 pp.) for the one-volume edition were supplied with
the eighteenth and last instalment.
Although the real first book edition of the novel (published in
April, 1870) was in three volumes cr. 8vo. as described above, the
type and illustrations of the “St. Paul's” issue were used in a
one-volume demy 8vo (5⅝ × 7⅞) edition (pp. iv + 434—no half-title or
list of illustrations) issued by Strahan and Co. in 1871, after the
story's serial completion. This one-volume edition is bound in green
cloth, gilt, blocked in blind, and has dark yellow or terra-cotta
end-papers.
NOTE—The three-volume edition was published on April 6,
1871. I have failed to establish the exact publishing date
of the one-volume edition, but it was in June or July of the
same year. Oddly enough the later issue is rarer than the
earlier, for the sheets were quickly taken over by Routledge
and issued in a different binding in 1872.
1872
THE GOLDEN LION OF GRANPERE. By ANTHONY TROLLOPE, author of _Ralph the
Heir_, _Can you Forgive Her?_ etc. London: Tinsley Bros., 18
Catherine Street, Strand. 1872. 1 vol. Ex. Cr. 8vo (5⅛ × 7¾). Pp.
(iv) + 353 + (9). Publishers' advertisements, paged 1 to 6 and dated
May, 1872, occupy pp. 355 to 363. Red-brown cloth, gilt, blocked in
black. Pale yellow end-papers.
NOTES—(i) This book was published in May, 1872. The story
appeared serially in “Good Words.” It had been written in
1867 for “Blackwood's,” but had proved unacceptable.
(ii) Copies are sometimes found in dark brown cloth,
lettered and blocked less heavily and with lighter boards.
These are probably later in issue.
1873
THE EUSTACE DIAMONDS. By ANTHONY TROLLOPE. London: Chapman and Hall,
193 Piccadilly. 1873. 3 vols. Cr. 8vo (5 × 7¼).
Vol. I. pp. viii + 354.
Vol. II. pp. viii + 363 + (1).
Vol. III. pp. viii + 354.
Brown salmon cloth, gilt, blocked in black. Yellow end-papers.
NOTE—Although dated 1873, this book was actually published
in December, 1872. The story appeared serially in the
“Fortnightly Review.”
1873
AUSTRALIA AND NEW ZEALAND. By ANTHONY TROLLOPE. London: Chapman and
Hall, 193 Piccadilly. 1873. 2 vols. Demy 8vo (5½ × 8½).
Vol. I. pp. (viii) [paged as vi] + 533 + (1).
Vol. II. pp. (viii) + 516.
Vol. I. contains a coloured map as frontispiece printed on text
paper, and two folding coloured maps mounted on linen at end. Vol.
II. contains folding coloured map mounted on linen facing p. 1; four
folding coloured maps mounted on linen at end. Orange brown cloth,
gilt, blocked in black. Dark green end-papers.
NOTES—(i) This book was published in March, 1873.
(ii) The text was later split up and issued in four small
volumes, each dealing with a definite province or provinces
of Australia and New Zealand. These little books have no
importance as “editions,” for they contain no matter not
include in the original two-volume issue.
1874
PHINEAS REDUX. By ANTHONY TROLLOPE, author of _Phineas Finn_. With
illustrations engraved on wood. London: Chapman and Hall, 193
Piccadilly. 1874. 2 vols. Demy 8vo (5½ × 8⅛).
Vol. I. pp. vi + (ii) + 339 + (1).
Vol. II. pp. vi + (ii) + 329 + (3).
Each volume contains twelve illustrations printed separately. Blue
cloth, gilt, blocked in black and gold. Yellow end-papers.
NOTE—Although dated 1874, this book was actually published
in December, 1873. The story appeared serially in “The
Graphic.”
1874
LADY ANNA. By ANTHONY TROLLOPE. London: Chapman and Hall, 193
Piccadilly. 1874. 2 vols. Cr. 8vo (5 × 7¼).
Vol. I. pp. viii + 317 + (1).
Vol. II. pp. viii + 314.
Red-brown cloth, blocked in black and gold. Yellow end-papers.
NOTE—This book was published in May, 1874. The story
appeared serially in the “Fortnightly Review.”
1874
HARRY HEATHCOTE OF GANGOIL: A Tale of Australian Bush Life. By ANTHONY
TROLLOPE. London: Sampson, Low, Marston, Low and Searle, Crown
Buildings, 188 Fleet Street. 1874. 1 vol. Cr. 8vo (5 × 7½). Pp. (iv)
+ 313 + (3). Publishers' catalogue, 48 pp., dated October, 1873,
bound in at end. No half-title. Bright blue cloth, gilt, blocked in
blind. Cream end-papers.
NOTES—(i) This book was published in October, 1874. The
story appeared serially in “The Graphic.”
(ii) The sheets of this edition were, in the year of
publication, cut down and issued in a volume measuring 4½ ×
6¾, together with six full-page line-engraved illustrations,
printed separately. This later issue is bound in green or in
violet cloth, blocked in gold and black, and contains at the
end a 40 pp. publishers' catalogue dated October, 1874.
1875
THE WAY WE LIVE NOW. By ANTHONY TROLLOPE. With forty illustrations.
London: Chapman and Hall, 193 Piccadilly. 1875. 2 vols. Demy 8vo (5½
× 8½).
Vol. I. pp. (viii) + 320.
Vol. II. pp. (viii) + 319 + (1).
Each volume contains twenty illustrations printed separately. Bright
green cloth, blocked in gold and black. Dark brown end-papers.
This story originally appeared in twenty one-shilling demy 8vo
parts, dated February, 1874, to September, 1875, bound in
greenish-blue wrappers printed in black and containing the
illustrations afterwards included in the two-volume edition. Each
part contains two full-page illustrations.
NOTE—The novel appeared in book form in July, 1875.
THE WAY WE LIVE NOW: PART ISSUE.
The following advertisement pages, etc., should be
found in a complete set. The advertisements at the
front of each number are headed: “The Way We Live Now
Advertiser.” All wrappers, except front covers, are
printed with advertisements.
_Part I: Front_—8 pp. _Back_—16 pp., paged in fours, of
which the last eight publishers' lists.
_Parts II to VIII: Front_—4 pp. _Back_—Nil.
_Part IX: Front_—4 pp. _Back_—4 pp.
_Parts X to XV: Front_—4 pp. _Back_—Nil.
_Part XVI: Front_—4 pp. _Back_—Publishers' catalogue, 20
pp., dated April 10, 1875.
_Parts XVII to XIX: Front_—4 pp. _Back_—Nil.
_Part XX: Front_—4 pp. _Back_—Nil. [_Note_—This part
contains half-titles, titles, contents and lists of
illustrations (in all 16 pp.) to both volumes of the novel.]
1876
THE PRIME MINISTER. By ANTHONY TROLLOPE. London: Chapman and Hall, 193
Piccadilly. 1876. 4 vols. Cr. 8vo (5 × 7½).
Vol. I. pp. (iv) [paged as vi] + 337 + (1).
Vol. II. pp. iv + 342.
Vol. III. pp. (iv) [paged as vi] + 346.
Vol. IV. pp. (iv) [paged as vi] + 347 + (1).
No half-titles. Red-brown cloth, gilt, blocked in black. Cream
end-papers.
This story originally appeared in eight cr. 8vo five-shilling parts,
dated 1876 (no title-pages in Parts I., III., V., and VII.), bound
in grey paper wrappers, printed in black. Part I. appeared in
November, 1875, and subsequent numbers at intervals of one month.
NOTES—(i) The novel was published in volume form in May,
1876.
(ii) Sets of the parts are sometimes met with, bound
separately in red-brown cloth and lettered on spine only
with the title of the book and the number of the part. I
cannot establish the relative dates of the regular
four-volume cloth issue and of the eight clothbound parts.
THE PRIME MINISTER: PART ISSUE.
Apart from that printed on the wrappers, no advertisement
material was included with the parts of this novel, save
that at front of Part VI was inserted a 4 pp. leaflet (4 ×
6⅜) of Chapman and Hall's Popular Two Shilling novels. Note
should, however, be taken of the incidence of preliminary
matter.
_Part I_: (iv) + 1-162. The preliminary matter consists of:
Section half-title, reading: PART I., Vol. I. Verso blank.
Title, reading: _The Prime Minister_. By Anthony Trollope.
London: Chapman and Hall, 193, Piccadilly. 1876. Verso
blank. _No_ list of contents.
_Part II_: (ii) + 163-337 + (1). Preliminary matter: Section
half-title: PART II., Vol. I. Verso blank.
_Part III_: (vi) [paged as iv] + 1-170. Preliminary matter
consists of: Section half-title, reading: PART III., Vol.
II. Verso blank. Title, as in Part I. Verso blank. Contents
of Vol. II. (2 pp.).
_Part IV_: (iv) + 171-342. Preliminary matter: 2 pp. blank.
Section half-title: PART IV., Vol. II. Verso blank.
_Part V_: vi + 1-174. Preliminary matter consists of:
Section half-title, reading: PART V., Vol. III. Verso blank.
Title, as in Parts I. and III. Verso blank. Contents of Vol.
III. (2 pp.).
_Part VI_: (iv) + 175-346. Preliminary matter: 2 pp. blank.
Section half-title: PART VI. Verso blank.
_Part VII_: vi + 1-168. Preliminary matter consists of:
Section half-title reading: PART VII., Vol. IV. Verso blank.
Title, as in Parts I., III., and V. Verso blank. Contents of
Vol. IV. (2 pp.).
_Part VIII_: (ii) + 169-347 + (1). Preliminary matter.
Section half-title: PART VIII. Verso blank.
It is evident, from a comparison between the foregoing
details and the collation of the four-volume edition
previously described, that the publishers were compelled, to
complete the latter, to print a contents list to Vol. 1. and
to add the words “In four volumes, Vol. 1.,” etc., to the
title-pages. It will be seen that they had so mismanaged the
pagination of the preliminary matter during part issue, that
only one of the four final volumes was correctly paged
throughout.
1877
THE AMERICAN SENATOR. By ANTHONY TROLLOPE. London: Chapman and Hall,
193 Piccadilly. 1877. 3 vols. Cr. 8vo (5 × 7⅜).
Vol. I. pp. viii + 293 + (1).
Vol. II. pp. viii + 293 + (1).
Vol. III. pp. viii + 284.
Yellow-ochre cloth, gilt, blocked in black. Yellow end-papers.
NOTES—(i) This book was published in July, 1877. The story
appeared serially in the “Temple Bar Magazine.”
(ii) There is a remainder binding for this book, but the
blocking is lighter and the sheets are cut to a smaller
size.
1878
SOUTH AFRICA. By ANTHONY TROLLOPE. London: Chapman and Hall, 193
Piccadilly. 1878. 2 vols. Sq. Ex. Cr. 8vo (5¼ × 7⅞).
Vol. I. pp. vii + (1) + 352.
Vol. II. pp. vii + (1) + 352.
Folding map in colours faces p. 1 of Vol. I. Red cloth, gilt,
blocked in blind. Black end-papers.
NOTE—This book was published in March, 1878.
1878
IS HE POPENJOY?: A Novel. By ANTHONY TROLLOPE. London: Chapman and
Hall, 193 Piccadilly. 1878. 3 vols. Cr. 8vo (5 × 7½).
Vol. I. pp. vii + (i) + 301 + (3). Publishers' advertisements occupy
pp. (303) and (304).
Vol. II. pp. vii + (i) + 297 + (3). Publishers' advertisements
occupy pp. (299) and (300).
Vol. III. pp. vii + (i) + 319 + (1).
Red-brown cloth, gilt, blocked in black. Yellow end-papers.
NOTE—This book was published in April, 1878. The story
appeared serially in “All the Year Round.”
1878
HOW THE 'MASTIFFS' WENT TO ICELAND. By ANTHONY TROLLOPE. With
illustrations by Mrs. Hugh Blackburn. London: Virtue and Co.
Limited. 1878. 1 vol. Demy 4to (8⅝ × 11⅛). Pp. (vi) + 46. Bright
blue cloth, blocked in gold. Dark grey end-papers. Coloured map as
frontispiece in lithography; fourteen pencil drawings in
lithography, and two silver print photographs, mounted, throughout
the text. All illustrations printed separately.
1879
AN EYE FOR AN EYE. By ANTHONY TROLLOPE. London: Chapman and Hall, 193
Piccadilly. 1879. 2 vols. Small Cr. 8vo (4⅝ × 7⅛).
Vol. I. pp. (viii) [paged as vi] + 215 + (1). Publishers' catalogue,
32 pp., dated December, 1878, printed on text paper, bound in at
end.
Vol. II. pp. (viii) [paged as vi] + 288.
Greenish-ochre cloth, blocked in gold and black. Yellow end-papers.
NOTE—This book was published in January, 1879. It was,
however, written in 1871.
1879
THACKERAY. By ANTHONY TROLLOPE. London: Macmillan and Co. 1879. 1 vol.
Cr. 8vo (5 × 7½). Pp. vi + (ii) + 210 + (2). List of volumes in the
“English Men of Letters” Series occupies pp. (211) and (212). A
volume in the “English Men of Letters” Series edited by John Morley.
Buff cloth, paper label. White end-papers.
NOTES—(i) This book was published in May, 1879.
(ii) The first issue was bound as described above. Later
issues of the first edition sheets were bound in scarlet or
in yellow-ochre cloth, blocked in black with the Series
design, and had black end-papers. These later copies were
slightly cut, the pages measuring 4⅞ × 7⅛.
1879
JOHN CALDIGATE. By ANTHONY TROLLOPE. London: Chapman and Hall. 193
Piccadilly. 1879. 3 vols. Cr. 8vo (5 × 7⅜).
Vol. I. pp. vi + 290.
Vol. II. pp. vi + 296.
Vol. III. pp. vi + 302 + (2).
Grey cloth, gilt, blocked in black. Yellow end-papers.
NOTES—(i) This book was published in June, 1879. The story
appeared serially in “Blackwood's Magazine.”
(ii) There are two varieties in the lettering and blocking
of the volumes of this novel. In one the words “Vol. I.,”
“Vol. II.,” “Vol. III.” on the spines of the volumes are in
thicker roman capitals than in the other. There are also
slight differences of decorative blocking. Which style is
the earlier I do not know.
1879
COUSIN HENRY: A Novel. By ANTHONY TROLLOPE. London: Chapman and Hall,
193 Piccadilly. 1879. 2 vols. Cr. 8vo (4⅝ × 7⅛).
Vol. I. pp. viii + 219 + (5). Publishers' advertisements occupy pp.
(221) to (223).
Vol. II. pp. viii + 222 + (2).
Light blue cloth, blocked uniform with “An Eye for An Eye” in black
and gold. Pale yellow end-papers.
NOTE—This book was published in November, 1879.
1880
THE DUKE'S CHILDREN: A Novel. By ANTHONY TROLLOPE. London: Chapman and
Hall, Limited 193 Piccadilly. 1880. 3 vols. Cr. 8vo (5 × 7½).
Vol. I. pp. viii + 320.
Vol. II. pp. viii + 327 + (1).
Vol. III. pp. viii + 312.
Publishers' catalogue, 24 pp., undated but paged, bound in at end.
Dark blue-green cloth, gilt, blocked in black. Pink-cream
end-papers.
NOTE—This book was published in May, 1880.
1880
THE LIFE OF CICERO. By ANTHONY TROLLOPE. London: Chapman and Hall
Limited 193 Piccadilly. 1880. 2 vols. Sq. Ex. Cr. 8vo (5⅛ × 7⅞).
Vol. I. pp. vii + (i) + 419 + (1).
Vol. II. pp. vii + (i) + 424 + (1).
Dark red cloth, gilt. Black end-papers.
1881
DOCTOR WORTLE'S SCHOOL: A Novel. By ANTHONY TROLLOPE. London: Chapman
and Hall Limited, 193 Piccadilly. 1881. 2 vols. Cr. 8vo (4¾ × 7¼).
Vol. I. pp. (viii) [paged as vi] + 237 + (3).
Vol. II. pp. (viii) + 246 + (2).
Publishers' catalogue, 28 pp., dated November, 1880, printed on text
paper, bound in at end. Grey cloth, blocked in gold and black. Pale
yellow end-papers.
NOTE—This novel was published in February, 1881.
1881
AYALA'S ANGEL. By ANTHONY TROLLOPE, author of _Doctor Thorne_, _The
Prime Minister_, _Orley Farm_ etc. etc. London: Chapman and Hall
(Limited) 11 Henrietta Street Covent Garden. 1881. 3 vols. Cr. 8vo
(4⅞ × 7⅜).
Vol. I. pp. iv + 280.
Vol. II. pp. iv + 272.
Vol. III. pp. iv + 277 + (3).
No half-titles. Orange cloth, gilt, blocked in black. Blue-black
end-papers.
NOTE—This novel was published in June, 1881.
1882
WHY FRAU FROHMANN RAISED HER PRICES: AND OTHER STORIES. By ANTHONY
TROLLOPE, author of _Framley Parsonage_, _The Small House at
Allington_ etc. etc. London: William Isbister Limited 56 Ludgate
Hill. 1882. 1 vol. Large Cr. 8vo (5¼ × 7¾). Pp. vi + (ii) + 416.
Pale olive-green cloth, gilt, blocked in black. Dark chocolate
end-papers.
_Contents_: Why Frau Frohmann Raised Her Prices—The Lady of
Launay—Christmas at Thompson Hall—The Telegraph Girl—Alice
Dugdale.
NOTES—(i) Copies of this book were also issued in two
volumes, but with the same pagination and composed of the
same sheets as the more usual one-volume issue. A new
edition, with a frontispiece, was issued in November, 1882.
(ii) In 1885, under the title _Thompson Hall_, the third
story in this volume was issued separately by Messrs.
Sampson Low. In some quarters the little book is regarded as
a first edition and highly valued accordingly, but in truth
it is not bibliographically an item of any importance, being
a textual reprint of _Christmas at Thompson Hall_, under a
slightly different title and with the addition of a few
second-rate illustrations. For the benefit of those
interested, the description and collation of the book is as
follows:
THOMPSON HALL. By ANTHONY TROLLOPE, author of _The Prime Minister_,
_Orley Farm_ etc. etc. With illustrations. London: Sampson Low,
Marston, Searle and Rivington. Crown Buildings, 188 Fleet Street.
1885. 1 vol. Cr. 8vo (4¾ × 7). Pp. 127 + (1). Publishers'
advertisements occupy pp. (iv) and (128). Eight line-engraved
illustrations printed on text paper. Grey paper boards, printed in
dark blue and brown. White end-papers.
1882
LORD PALMERSTON (English Political Leaders). By ANTHONY TROLLOPE.
London: Wm. Isbister Limited 56 Ludgate Hill, 1882. 1 vol. Cr. 8vo
(4¾ × 7¼). Pp. (iv) + 220. No half-title. Smooth red-brown cloth,
lettered in black. Black end-papers.
NOTE—This book was reissued the following year with
title-page dated 1883 but without any indication of there
having been a previous edition. The later issue is bound in
_grained_ cloth of the same colour as that originally used
and has _white_ end-papers.
1882
KEPT IN THE DARK: A Novel. By ANTHONY TROLLOPE. With a frontispiece by
J. E. Millais R.A. London: Chatto and Windus, Piccadilly. 1882. 2
vols. Short Cr. 8vo (5 × 7).
Vol. I. pp. (viii) + 253 + (3).
Vol. II. pp. (viii) + 239 + (1).
Publishers' catalogue, 32 pp., dated July, 1882, bound in at end.
Grey-green cloth, gilt, blocked in black and red-brown. Blue and
white decorated end-papers. Line-engraved frontispiece to Vol. I.
printed separately.
NOTE—This book was published in October, 1882.
1882
MARION FAY: A Novel. By ANTHONY TROLLOPE, author of _Framley
Parsonage_, _Orley Farm_, _The Way We Live Now_ etc. etc. London:
Chapman and Hall Limited, 11 Henrietta Street. 1882. 3 vols. Cr. 8vo
(4⅞ × 7½).
Vol. I. pp. viii + 303 + (1).
Vol. II. pp. viii + 282 + (2).
Vol. III. pp. viii + 271 + (1).
Yellow-ochre cloth, gilt, blocked in black. Dark brown or yellow
end-papers.
1882
THE FIXED PERIOD: A Novel. By ANTHONY TROLLOPE. Wm. Blackwood and
Sons, Edinburgh and London, MDCCCLXXXII. 2 vols. Small Cr. 8vo (4¾ ×
7).
Vol. I. pp. (vi) + 200.
Vol. II. pp. (vi) + 203 + (1).
The words “Originally published in 'Blackwood's Magazine'” occupy
verso of half-title in each volume. Dark red cloth, gilt. Dark green
end-papers.
1883
MR. SCARBOROUGH'S FAMILY. By ANTHONY TROLLOPE. London: Chatto and
Windus, Piccadilly. 1883. 3 vols. Cr. 8vo (4⅞ × 7¼).
Vol. I. pp. vii + (i) + 308. Publishers' catalogue, 32 pp., dated
March, 1883, bound in at end.
Vol. II. pp. vii + (i) + 326 + (2).
Vol. III. pp. vii + (i) + 325 + (3).
Greenish-blue cloth, gilt, blocked in red-brown. White end-papers.
NOTE—This novel was published in May, 1883. The story
appeared serially in “All the Year Round.”
1883
THE LANDLEAGUERS. By ANTHONY TROLLOPE. London: Chatto and Windus,
Piccadilly. 1883. 3 vols. Cr. 8vo (4⅞ × 7¼).
Vol. I. pp. vii + (iii) + 280. Note by Henry M. Trollope occupies p.
(ix).
Vol. II. pp. vii + (i) + 296.
Vol. III. pp. vii + (i) + 291 + (1).
Publishers' catalogue, 32 pp., dated October, 1883, bound in at end.
Dark green cloth, gilt, blocked in yellow. White end-papers.
NOTE—This book was published in October, 1883.
1883
AN AUTOBIOGRAPHY. By ANTHONY TROLLOPE. Wm. Blackwood and Sons,
Edinburgh and London. MDCCCLXXXIII. 2 vols. Sq. Ex. Cr. 8vo (5⅛ ×
7⅝).
Vol. I. pp. xi + (iii) + 259 + (1).
Vol. II. pp. vi + 227 + (5). Publishers' advertisements paged 1 to 4
occupy pp. (229) to (232).
Publishers' catalogue, 24 pp., undated but paged and printed on text
paper, bound in at end. Portrait in photogravure as frontispiece to
Vol. I. Dark red cloth, gilt, blocked and lettered on side in black.
Dark green end-papers.
NOTE—This book was published in November, 1883.
1884
AN OLD MAN'S LOVE. By ANTHONY TROLLOPE. Wm. Blackwood and Sons,
Edinburgh and London. MDCCCLXXXIV. 2 vols. Sm. Cr. 8vo (4¾ × 7).
Vol. I. pp. (viii) + 226.
Vol. II. pp. (vi) + 219 + (1).
Publishers' advertisements, 4 pp., numbered 1-4, and printed on text
paper, bound in at end. Red cloth, gilt, uniform with _The Fixed
Period_. Dark brown end-papers.
II.—BOOKS PARTIALLY WRITTEN BY ANTHONY TROLLOPE
1861
THE VICTORIA REGIA: A VOLUME OF ORIGINAL CONTRIBUTIONS IN POETRY AND
PROSE. Edited by Adelaide A. Procter. London: Printed and Published
by Emily Faithfull and Co., Victoria Press (for the Employment of
Women), Great Coram Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜).
Pp. x + 349 + (1). No half-title. Red-brown embossed cloth, all
edges gilt, blocked in gold and blind. Red chocolate end-papers.
1863
A WELCOME: ORIGINAL CONTRIBUTIONS IN POETRY AND PROSE. London: Emily
Faithfull, Printer and Publisher in Ordinary to Her Majesty, Princes
Street, Hanover Square, and 183A Farringdon Street. 1863. 1 vol.
Imp. 16mo (5½ × 7¾). Pp. vi + (ii) + 291 + (1). Green cloth, full
gilt, blocked in gold. Pale pink end-papers. A story by Anthony
Trollope entitled _Miss Ophelia Gledd_ occupies pp. 239 to 283. This
is the first appearance of a story later included in _Lotta Schmidt
and other Stories_.
NOTE.--Pp. 187 to 214 are occupied by a story by Anthony
Trollope entitled _The Journey to Panama_. This is the first
appearance in book form of a tale afterwards published in
_Lotta Schmidt and other Stories_.
1868
BRITISH SPORTS AND PASTIMES 1868. Edited by ANTHONY TROLLOPE. London:
Virtue and Co., 26 Ivy Lane. New York: Virtue and Yorston. 1868. 1
vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (vi) + 322. Bright green embossed
cloth, gilt, with title printed both on spine and side. Pale yellow
end-papers.
_Contents_: On Horse-Racing—On Hunting—On Shooting—On
Fishing—On Yachting—On Rowing—On Alpine Climbing—On Cricket.
Trollope was responsible for the preface (pp. 1-7) and the
Essay “On Hunting” (pp. 70-129).
NOTES—(i) This book was published in November, 1868. The
contents had appeared in “St. Paul's Magazine.”
(ii) The sheets of the first edition were later issued
without change of date in a slightly different green
binding, without the title in gold on the side, and bearing
as imprint on spine, Daldy, Isbister and Co. The reissue was
cut down to cr. 8vo, and the end-papers were chocolate
instead of yellow.
(iii) A still later issue of the book in its reduced format
was bound in bright blue cloth, blocked in gold and black.
This binding bears no imprint on spine, and was probably
carried out by W. H. Smith and Son for a balance of edition
purchased by them. George Eliot's novel _Felix Holt_ was
treated in this way by Smiths some twelve years after
publication, and the binding is very similar to that now
under consideration.
_NOTE_
It is stated by Margaret Lavington in her appendix to Escott's book that
Trollope “printed but never published” several of his lectures. I have
been unable to trace any privately printed lectures, but feel sure that
Trollope's first bibliographer would not speak of them as she does
without certain knowledge of their existence. The titles mentioned are:
THE CIVIL SERVICE AS A PROFESSION,
THE WAR IN AMERICA,
ENGLISH PROSE FICTION AS A NATIONAL AMUSEMENT,
THE HIGHER EDUCATION OF WOMEN.
No dates or other details are given.
From the same source I borrow a statement that a study of Thackeray by
Trollope, originally printed in the “Cornhill,” was republished as part
of Theodore Taylor's book _Thackeray: The Humourist and Man of Letters_,
which was issued in 1864. It is noticeable that Margaret Lavington
speaks of the publisher of this book as Appleton of New York. A book of
the same title by the same author was issued in the same year by Hotten
of Piccadilly, and it is a fair presumption that the volumes are
identical, but, although I have been carefully through the volume issued
by Hotten, I cannot identify any section as contributed by Trollope.
FREDERICK MARRYAT
1792-1849
FREDERICK MARRYAT
The reputation of Captain Marryat has suffered at the hands of time
somewhat differently from that of many of his contemporaries.
Superficially he has fared better than they, for, if little read except
by boys, he is at least acknowledged as a classic, and there are few
adult novel readers who could not from their own childhood gather
sufficient memories to characterize in summary some of his best known
books.
Nevertheless, it is arguable that the forgotten author is happier than
he who is accepted but unread. A revival of interest in the books of a
man not already docketed and filed in the appreciation of his age may
develop a new perspective. The body of his work may be exhumed and
permanently lodged in its proper niche of the catacombs of literature.
More hardly shall this befall such a one as Marryat, who is “placed”
already as a writer of sea stories for boys and as an instructor in
adventure for young people.
Who shall deny that he is all of this? His fame as a novelist of naval
escapade, of risk and makeshift among pirates and barbarians, is fame
deserved. The difficulty for one concerned to reappraise his work lies
in the fact that there is more to him than is here implied. He is the
only writer in the tradition of Fielding and Smollett who can claim
consideration on the same plane as these famous authors. That he is
overtopped by _Tom Jones_ no one will dispute, but that he ranks with
and not after Smollett is a contention that permits of argument.
The first result of an attempt to classify the books of Captain Marryat
is a realization that two of his finest works are—the one wholly, the
other mainly—unconcerned with ships or seafarers. _Japhet in Search of a
Father_ (1836) is a picturesque tale of vagabondage and social escapade.
_The Pacha of Many Tales_ (1835) is an adaptation of “The Arabian
Nights,” a series of narratives held together by a framework of Oriental
despotism.
_Japhet_ is partnered by two later novels—_Joseph Rushbrook; or, The
Poacher_ (1841) and _Valerie_ (1849). All three are land as opposed to
sea novels, and the first two show the fertile invention of the author,
his power of describing rogues and fashionable grotesques. But whereas
_Japhet_ is the best book Marryat ever wrote, _The Poacher_ is a little
weary, for it dates from the last period of the writer's life, when
ill-health and money troubles were pressing hardly on a man already
exhausted by a reckless youth; while _Valerie_, the autobiography of a
French girl cast on her own resources in Paris and in London, had better
have been left, as Marryat left it, a fragment cut short by sickness and
by death.
_The Pacha of Many Tales_ stands quite alone and stands proudly.
Marryat's humour is in this book congenial to the modern reader, while
of fantastic happening few works of fiction can show so rich a store. It
is hard to understand why this admirable parody of the “Thousand and One
Nights” is to-day so little read. Perhaps some enterprising publisher
will extract the story of Huckaback and issue it, grotesquely
illustrated. It should find its market.
The sea stories proper need little comment. They are eleven in number:
THE NAVAL OFFICER; or, FRANK MILDMAY (1829),
THE KING'S OWN (1830),
NEWTON FORSTER; or, THE MERCHANT SERVICE (1832),
PETER SIMPLE (1834),
JACOB FAITHFUL (1834),
MR. MIDSHIPMAN EASY (1836),
THE PIRATE. THE THREE CUTTERS (1836),
POOR JACK (1840),
PERCIVAL KEENE (1842),
THE PRIVATEER'S-MAN (1846).
The first of these titles is pure autobiography and, as the author
himself admitted, lacks most of the essentials of fiction. The story is
of the slightest and most perfunctory, the book being little more than
an account of Marryat's own early adventures at sea. David Hannay, in
his excellent little _Life of Marryat_, remarks acutely on the peculiar
meanness of the hero's character—a meanness that makes an even more
repellant appearance in the last but one of the sea stories—_Percival
Keene_. Seeing that Marryat was writing of himself and that the events
in the life of Frank Mildmay must have been easily recognizable by naval
contemporaries, it is remarkable that he should present his central
figure so unsympathetically, _unless he failed to realize the young
man's shortcomings_. Perhaps in part he saw his mistake, for in the five
novels that followed _The Naval Officer_ he offers the reader more
respectable but more colourless heroes. When the time came for writing
_Percival Keene_, either he had forgotten the warnings of twelve years
before or else he was tired of erecting dummy humanity to placate the
idealism of his readers.
The constructional weakness of _The Naval Officer_ Marryat took pains to
correct in his succeeding books. _Peter Simple_, _Jacob Faithful_ and
the rest may depend for their vitality and attraction on the excitements
encountered by their heroes while voyaging the seas or fighting in the
wars. Certainly the by-plots are unimportant and conventional. But the
author was careful in them all to give to the _course_ of the heroes'
adventures a real prominence and coherence, so that we read with an
anxiety to know what happens next and are not, as in _The Naval
Officer_, continually brought up by naval “shop” or invited to feel
indignant sympathy with the members of a noble but scurvily treated
service.
_The Pirate_ and _The Privateer's-Man_ are exciting tales of ocean
brigandage, the latter having in addition an antiquarian interest, for
the first portion of the story is based on the actual life-record of an
old time sea-rover. _Poor Jack_, although told in the first person and
comprising scenes on shipboard and adventurous happenings at sea of a
kind to suggest comparison with _Mr. Midshipman Easy_, has an historical
interest apart from its value as fiction, because it is an account of
Greenwich Hospital, in those days a retreat for wounded seamen.
Two groups remain among the stories of Frederick Marryat. _Snarleyow_
(1837) and _The Phantom Ship_ (1839) stand definitely apart from the
rest of the novels. Both tell of Dutch seafaring in the old days and
both introduce a strong element of the weird and the mysterious. That
Marryat should in these books have come under the influence of the
“terror” motive in fiction is surprising and interesting. After reading
_Japhet_ or _Mr. Midshipman Easy_ one would declare that nothing was
farther from the talent of their author than an excursion into the
“horrid.” And yet both _Snarleyow_ and _The Phantom Ship_ are excellent
books, which rank high among Marryat's novels for liveliness and for
characterization and, in addition, merit notice for their fearsomeness.
Of their value as historical documents I am unqualified to speak, but it
may be presumed that before writing them the author studied the lives
and methods of seventeenth and eighteenth century Dutch mariners, for
both books are circumstantially staged and show no desire to shirk
description of contemporary fact.
Of the stories written definitely for children the best known (and
rightly) is _Masterman Ready_ (1841-1842). It was followed by _The
Travels and Adventures of Monsieur Violet_ (1843); _The Settlers in
Canada_ (1844); _The Mission; or, Scenes in Africa_ (1845); _The
Children of the New Forest_ (1847); and _The Little Savage_ (1848-1849).
_Monsieur Violet_ is an improbable and tedious tale of Red Indians and
Mormons. The rest—with the exception of _The Children of the New
Forest_, which is a story of Cavaliers and Roundheads—tell in one form
or another the eternal tale of young adventurers in wild countries.
Marryat loved children and knew how to tell stories that they could like
and understand. This to-day is undisputed. But that he is equally a
novelist for the critical sorely needs reaffirmation. His juvenile
public has been more faithful to him than that of maturer years, and one
can only hope that time will restore him to the affection of the adult.
_Masterman Ready_ is as fresh to-day as when, eighty years ago, it first
appeared; but the freshness is due as much to Marryat as to his youthful
admirers, and that same freshness is no less present in the best of his
other books than it is in this children's classic. Let the modern novel
reader have no fear. In taking up _Japhet_, or _Peter Simple_, or _A
Pacha of Many Tales_, he will take up a fine book and good literature,
and not merely a poker with which to rake among the ashes of his own
vanished childhood.
_BIOGRAPHY_
Two books have appeared dealing with the life and work of Frederick
Marryat:
LIFE AND LETTERS OF CAPTAIN MARRYAT. By FLORENCE MARRYAT. 2 vols.
London: Bentley, 1872.
Like so many loyal and affectionate biographers, Mrs. Ross Church is
too casual a user of dates and too summary an adherent to chronology
to allow to her book great reference value.
LIFE OF FREDERICK MARRYAT. By DAVID HANNAY. London: Walter Scott.
1889.
This is an admirable little book so far as the main text is
concerned. Its bibliography, however, although valuable for the list
given of biographical and critical articles devoted to Marryat, as
well as for facts regarding subsequent editions of Marryat's works,
is very unreliable as an authority on first editions.
I.—EDITIONES PRINCIPES
FICTION, ESSAYS, NAVAL TECHNICAL BOOKS
1817
A CODE OF SIGNALS FOR THE USE OF VESSELS EMPLOYED IN THE MERCHANT
SERVICE. By CAPTAIN MARRYAT, R.N. Dedicated to the Committee of the
Association of Shipowners of the Port of London. London: J. M.
Richardson, 23 Cornhill. 1817. 1 vol. Royal 8vo (6⅛ × 9¾). No
pagination, the book consisting wholly of tabulated code.
Frontispiece, folding plate, and one full-page plate in colours.
Paper boards, paper label on side only, printed in black. White
end-papers.
NOTE—I have only been able to consult the sixth edition of
this book as issued revised in 1837 and a seventh edition,
further revised, as issued in 1840; but that it appeared
originally in the same form and over the same imprint is
proved by the retention in the later edition of the author's
original prefatory letter, dedicating his work to the
Association of Shipowners.
1822
SUGGESTION FOR THE ABOLITION OF THE PRESENT SYSTEM OF IMPRESSMENT IN
THE NAVAL SERVICE. By CAPTAIN MARRYAT, R.N. (Quotation.) London:
Printed by W. Hughes, Maiden Lane, Covent Garden. Published by J. M.
Richardson, Cornhill and sold by all booksellers. 1822. 1 vol. Demy
8vo (5½ × 8¾). Pp. (iv) + 64. The half-title serves as front wrapper
and bears the words “Price 2/6d.” No back wrapper, p. 64 being the
outside back page of the pamphlet.
1829
THE NAVAL OFFICER: Or SCENES AND ADVENTURES IN THE LIFE OF FRANK
MILDMAY. (Quotation from Don Juan.) London: Henry Colburn, New
Burlington Street. 1829. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. (iv) + 297 + (3). Publisher's advertisements occupy pp.
(299) (300).
Vol. II. pp. (iv) + 310 + (2). Publisher's advertisements occupy pp.
(311) (312).
Vol. III. pp. (iv) + 270 + (2).
Paper boards, paper label. White end-papers.
NOTE—This book was published on March 14, 1829.
1830
THE KING'S OWN. By the author of _The Naval Officer_. (Quotation from
Shakespeare's _Pericles_.) London: Henry Colburn and Richard
Bentley, New Burlington Street. 1830. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. (iv) + 324. Note of erratum occupies verso of
half-title.
Vol. II. pp. (iv) + 325 + (1). Note of errata occupies verso of
half-title.
Vol. III. pp. (iv) + 327 + (5). Note of errata occupies verso of
half-title. Publishers' advertisements, paged (1), 2, 3, (4), occupy
pp. (329) to (332).
Paper boards, paper label. White end-papers.
NOTE—This book was published on April 15, 1830.
1832
NEWTON FORSTER: Or THE MERCHANT SERVICE. By the author of _The King's
Own_. “Honesty is the best policy.” London: James Cochrane and Co.,
11 Waterloo Place, Pall Mall. 1832. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. (iv) + 270 + (2). Publishers' advertisements occupy pp.
(271) (272).
Vol. II. pp. (iv) + 295 + (1).
Vol. III. pp. (iv) + 260. Publishers' advertisements occupy pp.
(253) to (260).
Paper boards, paper label. White end-papers.
NOTE—Although dated 1832, this book was actually published
in December, 1831.
1834
PETER SIMPLE. By the author of _Newton Forster_, _The King's Own_ etc.
London: Saunders and Otley, Conduit Street. 1834. 3 vols. Ex. Cr.
8vo (4¾ × 7⅞).
Vol. I. pp. vii + (i) + 328. No half-title.
Vol. II. pp. viii + 343 + (1). Half-title to this volume.
Vol. III. pp. viii + 380 + (4). Publishers' advertisements dated
November, 1833, occupy pp. (381) to (384). No half-title. Inserted
in Vol. III. should be a list of errata.
Paper boards, paper label. White end-papers.
NOTES—(i) Although dated 1834, this book was actually
published in December, 1833. The story ran serially in the
“Metropolitan Magazine” from June, 1832, to December, 1833.
Marryat edited this magazine from 1832 to 1836.
(ii) An edition of the book, illustrated by R. W. Buss, was
published by Saunders and Otley, in 1837, in three volumes.
Extra cr. 8vo. Dark green embossed cloth, gilt. Yellow
end-papers.
1834
JACOB FAITHFUL. By the author of _Peter Simple_, _The King's Own_ etc.
London: Saunders and Otley, Conduit Street. 1834. 3 vols. Ex. Cr.
8vo (4¾ × 7¾).
Vol. I. pp. viii + 304. Advertisement of _Peter Simple_ occupies p.
(ii). No half-title.
Vol. II. pp. vii + (i) + 301 + (3). Publishers' advertisements
occupy pp. (303) (304). No half-title.
Vol. III. pp. vii + (i) + 307 + (1). No half-title.
Paper boards (half cloth), paper label. White end-papers.
NOTES—(i) This book was published in November or December,
1834. The story ran serially in the “Metropolitan Magazine”
from September, 1833, to December, 1834.
(ii) An edition of the book, illustrated by R. W. Buss, was
published by Saunders and Otley in 1837 in three volumes.
Ex. cr. 8vo. Maroon embossed cloth, gilt. Yellow end-papers.
(iii) It was the intention of the publishers to bring out an
illustrated edition of all Marryat's novels, one novel to
appear each month, beginning on April 1, 1837; but only
_Jacob Faithful_ and _Peter Simple_ were issued, and the
series was abandoned, doubtless because in that year Marryat
quarrelled with Saunders and Otley and found a different
publisher.
1835
THE PACHA OF MANY TALES. By the author of _Peter Simple_, _Jacob
Faithful_ etc. London: Saunders and Otley, Conduit Street. 1835. 3
vols. Ex. Cr. 8vo (4⅞ × 7¾).
Vol. I. pp. (iv) + 308 + (4). Publishers' advertisements occupy pp.
(309) to (312). Advertisement of books by the same author occupies
p. (ii) facing title.
Vol. II. pp. (iv) + 300.
Vol. III. pp. (iv) + 312.
Paper boards (half cloth), paper label. White end-papers.
NOTE—This book was published in May, 1835. The stories
appeared intermittently in the “Metropolitan Magazine”
between June, 1831, and May, 1835.
1836
THE PIRATE, AND THE THREE CUTTERS. By CAPTAIN MARRYAT, R.N.
Illustrated with twenty splendid engravings from drawings by
Clarkson Stanfield Esq., R.A. London: Published for the Proprietor
by Longman, Rees, Orme, Brown, Green and Longman. 1836. Large Med.
8vo (5⅞ × 9⅛). Pp. (viii) + 315 + (1). The book contains twenty
full-page illustrations in steel engraving, of which two—an engraved
portrait frontispiece and picture title-page—precede printed title.
Cream paper boards, gilt, lettered on spine in gold THE PIRATE BY
CAPT^{N.} MARRYAT. Yellow end-papers.
NOTES—(i) Although dated 1836, this book was actually
published in December, 1835.
(ii) Copies are more frequently met with in maroon cloth,
blocked in gold and lettered on spine MARRYATS PIRATE AND
THE THREE CUTTERS. This cloth binding (of which two styles
at least are extant) is probably not so early in date as the
paper-board binding described above. Definite information is
impossible to obtain, but the evidence of similar
illustrated books of the period (_e.g._, Lytton's _Pilgrims
of the Rhine_) supports the theory here laid down.
(iii) A large paper edition, imperial 8vo (11 × 7½), was
issued simultaneously, with plates printed on India paper
and bound in green paper boards, half dark-green figured
cloth, cream paper label, the last being lettered in gold:
THE PIRATE BY CAPT^{N.} MARRYAT. White end-papers. Copies of
the large paper edition also exist in maroon cloth, blocked
in gold and blind and lettered on the spine: MARRYATS PIRATE
AND THE THREE CUTTERS. As with the ordinary edition, these
full cloth copies are of later issue than those in boards.
(iv) In all Longman's first editions the plates bear the
following legend: 'Published Dec^r. 1, 1835 for the
proprietor by Longman and Co., Paternoster Row.' The book
was, however, never issued with a _printed_ title of that
year. That the actual plates were published prior to the
Longman book edition is proved by the fact that I have
myself a set, both before and after “letters,” bearing the
legend: 'London. Published Oct^r. 1835 for the proprietor by
Charles Tilt, 86 Fleet Street.' In every other respect, even
down to the page references, the wording on these early
dated plates is identical with that used for Longman's book
edition.
(v) A curious feature of this book's publishing history is
its issue in parts, nine years after its appearance in book
form. In 1845 there appeared over the imprint A. Fullarton
and Co., 106 Newgate Street, London; 67 Abbey street,
Dublin; Steads Place, Leith Walk, and 5 Nicholson Street,
Edinburgh, fifteen shilling parts (6 × 9½), bound in buff
paper wrappers printed in red-brown, and illustrated with
steel engravings after Clarkson Stanfield. These engravings
are twenty in number and identical with those in the first
book edition, except that the Longmans imprint has been
substituted on the plates by that of Fullarton, and the
printer's name and the date of issue have been expunged. The
distribution of plates among the fifteen parts is as
follows: Parts I. IV. VI. VIII. X. contain two plates each;
Parts II. III. V. VII. IX. XI. XII. XIII. XIV. and XV.
contain one plate each. Publishers' advertisements occupy
outside back wrappers. No date appears on the parts, but a
title-page (with other preliminary matter) enclosed in Part
XV. is dated MDCCCXLV.
The text of the book was clearly reset for this part issue,
so there can be no question of a refurbishing of Longman
sheets. It may be noted that, according to the wrappers, the
plates were “engraved under the superintendence of Mr.
Charles Heath.” (This person was responsible for the
principal Books of Beauty, Keepsakes, and similar gift
publications issued in large numbers toward Christmas time
between 1840 and 1850 and distinguished by their beautiful
steel engravings.)
There being no indication that the plates were re-engraved
for the Fullarton edition, it may be presumed either that
Heath superintended their original production in 1835 but
had not at that time the “selling name” that by 1845 was
his, or that Fullarton, anxious to give to their reissue
something of novelty, paid Heath for a supervisory activity
of a nominal kind in order to have the use of his name on
their wrappers.
1836
JAPHET IN SEARCH OF A FATHER. By the author of _Peter Simple_, _Jacob
Faithful_, etc. London: Saunders and Otley, Conduit Street. 1836. 3
vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. viii + 304. Advertisement of other works by same author
occupies verso of half-title.
Vol. II. pp. viii + 299 + (1). No half-title.
Vol. III. pp. viii + 319 + (5). Publishers' advertisements occupy
pp. (321) to (324). No half-title.
Paper boards (half cloth), paper label. White end-papers.
NOTE—This book was published early in January, 1836. The
story ran serially in the “Metropolitan Magazine” from
October, 1834, to January, 1836.
1836
STORIES OF THE SEA. By CAPTAIN MARRYAT, R.N. author of _Peter Simple_,
_Japhet in Search of a Father_ etc. New York: Published by Harper
and Brothers, No. 82 Cliff Street. 1836. 1 vol. Sm. Cr. 8vo (4½ ×
7¼). Pp. (236) [paged as 232 + (2)]. No printed half-title, but 2
pp. blank precede title and form part of the book, although omitted
from page reckoning. Advertisement to the American edition, dated
January, 1836, occupies p. (3). Figured maroon cloth, paper label.
White end-papers.
NOTE—This book is the American edition of _The Pirate and
the Three Cutters_. It also contains Marryat's story
_Moonshine_, which originally appeared in _The Keepsake_ and
was not published in book form in England until its
inclusion in _Olla Podrida_ in 1840.
1836
MR. MIDSHIPMAN EASY. By the author of _Japhet in Search of a Father_,
_Peter Simple_, _Jacob Faithful_ etc. Saunders and Otley, Conduit
Street. 1836. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).
Vol. I. pp. vii + (i) + 291 +(1). Advertisement of author's previous
works occupies verso of half-title.
Vol. II. pp. vii + (i) + 306 + (2). Publishers' advertisement
occupies verso of half-title, and 2 pp. publishers' advertisements,
dated July, 1836, occupy pp. (307) (308).
Vol. III. pp. viii + 314 + (2). Publishers' advertisement occupies
verso of half-title and pp. (315) (316).
Paper boards (half cloth), paper label. White end-papers.
NOTE—This book was published in September, 1836. One
instalment was printed in the “Metropolitan Magazine” in
July, 1836, but serialization was never completed.
1836
THE DIARY OF A BLASÉ. By the author of _Jacob Faithful_, _Peter
Simple_ etc. Philadelphia: E. L. Carey and A. Hart. 1836. 1 vol. Ex.
Cr. 8vo (4¾ × 7¾). Pp. 197 + (1). Paper boards, paper label. White
end-papers.
NOTE—I cannot establish the month of publication of this
book, but twenty-eight chapters of a work entitled _The
Diary of a Blasé_ appeared serially in the “Metropolitan
Magazine” to July, 1836, at which point the narrative was
left incomplete. It made no separate appearance in book form
in England, being included under the title _Diary on the
Continent_ in _Olla Podrida_ (see below—1840).
1837
SNARLEYOW or THE DOG FIEND. By the author of _Peter Simple_, _Frank
Mildmay_ etc. London: Henry Colburn, Publisher, 13 Great Marlborough
Street. 1837. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞).
Vol I. pp. viii + 307 + (5). Publisher's advertisements occupy pp.
(309) to (312).
Vol. II. pp. vii + (i) + 299 + (1).
Vol. III. pp. viii + 307 + (1).
Paper boards (half cloth), paper label. White end-papers.
NOTE—This book was published in June, 1837. The story ran
serially in the “Metropolitan Magazine” from February, 1836,
to July, 1837. Marryat changed his publisher with this
novel, because Saunders and Otley refused to pay an advance
on royalties.
1839
THE PHANTOM SHIP. By CAPT. MARRYAT, R.N. Author of _Peter Simple_,
_Jacob Faithful_, _Frank Mildmay_ etc. London: Henry Colburn,
Publisher, Great Marlborough Street. 1839. 3 vols. Ex. Cr. 8vo (4¾ ×
7¾).
Vol. I. pp. (iv) + 300.
Vol. II. pp. (ii) + 289 + (1). No half-title.
Vol. III. pp. (ii) + 266. No half-title.
Paper boards (half cloth), paper label. White end-papers.
NOTE—This book was published in April, 1839. The story
appeared serially in the “New Monthly Magazine” during 1837.
1839
A DIARY IN AMERICA: WITH REMARKS ON ITS INSTITUTIONS. By CAPTAIN
MARRYAT, C.B. Author of _Peter Simple_, _Jacob Faithful_, _Frank
Mildmay_ etc. London: Printed for Longman, Orme, Brown, Green and
Longmans, Paternoster Row. 1839. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾).
Vol. I. pp. (iv) + 321 + (3).
Vol. II. pp. (iv) + 319 + (1).
Vol. III. pp. (iv) + 311 + (1). Note of errata to Vol. I. occupies
p. (312) of Vol. III.
Paper boards (half cloth), paper label. Also full green grained
cloth, paper label. White end-papers.
NOTE—This book was published in October, 1839.
1839
A DIARY IN AMERICA ETC. PART SECOND. By CAPT. MARRYAT, C.B. Printed
for Longman, Orme, Brown, Green and Longmans, Paternoster Row. 1839.
3 vols. Ex. Cr. 8vo (4⅞ × 7¾).
Vol. I. pp. (iv) + 304.
Vol. II. pp. (iv) + 293 + (1).
Vol. III. pp. (iv) + 362.
Vol. II. contains two folding maps, which precede p. 1. Paper boards
(half cloth), paper label. White end-papers.
NOTE—This book was published in December, 1839.
1840
POOR JACK. By CAPTAIN MARRYAT, C.B. With illustrations by Clarkson
Stanfield, R.A. London: Longman, Orme, Brown, Green and Longmans,
Paternoster Row. 1840. 1 vol. Large Med. 8vo (5⅞ × ¼). Pp. x + 384.
Because the volume is composed of bound-up parts, the half-title is
p. 1 of the story itself and does not precede frontispiece. The book
contains forty-seven wood engravings after Clarkson Stanfield, of
which thirty-six printed separately and eleven in the text. Dark
green cloth, blocked in gold. Yellow end-papers.
NOTES—(i) This book was published on December 1, 1840.
(ii) _Poor Jack_ first appeared in twelve monthly shilling
parts (5⅞ × 9), bound in buff paper wrappers, printed in
black. The first was published at the beginning of January,
and the last at the beginning of December, 1840. Each part
(subject to the variations stated below) contained three
full-page wood engravings after Clarkson Stanfield, printed
separately. Eleven small engravings appear throughout the
text.
Included in Part XII. were title-page and preliminary matter
(x pp.).
Parts I. to III. were undated; Part IV. was dated April 1;
and each succeeding part was dated similarly with the month
of its appearance.
Part I. should contain at front or back publishers'
catalogue, 8 pp., dated January 1, 1840, and entitled “Poor
Jack's Advertising Sheet.” Also at back an illustrated
advertisement of _Paul Periwinkle_.