Archive for the ‘MS transcription’ Category
Robert Louis Stevenson’s David Balfour, the original text, edited with an introduction and notes by Barry Menikoff (San Marino, CA: Huntington Library, Art Collections, and Botanical Gardens, 2016).
1. Sample pages
2. Editorial principles and practices
The present posting aims to be informative, not a review. The following will be of interest to other EdRLS editors. We may not always follow exactly the same practices, but it is always interesting to see how someone else does it.
1. Stevenson’s changes are assimilated without comment. Deleted earlier wordings are not generally recorded in the Notes, though a facsimile page on p. 236 enables us to see that the fair copy manuscript had a final deleted sentence:
For the life of man upon this world of ours is a funny business. They talk of the angels weeping; but I think they must more often be holding their sides as they look on; and there was one thing I determined to do when I began this long story, and that was to tell out everything as it befell. <If your father was something of a simpleton and your grandfather not better than a rogue, no harm that you should know it.>
2. Corrections are silently made of spelling and apostrophe use, and superscript letters have been dropped. However not all spellings are given standard form, e.g. ‘falsness’ (p. 41) (marked by the OED as found only up to the 16C).
There are also forms such as ‘dis-cretion’ (p. 115), which shows that the handwritten line between ‘s’ and a letter with left-facing bowl (c, d, g, o or q) has been interpreted as a hyphen. [For EdRLS, these marks have been interpreted as a non-significant link line; see this post in the blog and this one for a discussion. Barry defends his view in one of the comments to another post].
3. Unchanged are idiosyncratic capitalization of words not usually capitalized (e.g. ‘a Soft Tommy’), and the reverse case (latin, dutch, christian), in many case varying between the two usages (duke and Duke) as ‘this usage is so pervasive in the autograph, and poses no impediment to reading’ (p. lxvi). We therefore have ‘Tam Dale’ and ‘Tam dale’ in the first paragraph of ‘The Tale of Tod Lapraik’ (p. 107). To be honest, I must admit this did not cause me any problems in reading—and neither did examples like ‘I ken nae French and nae dutch’ (p. 106).
[This, like other editorial choices, is an area where each editor has to decide one way or another according to the aims of the edition. Menikoff gives us what the author wrote, while EdRLS (conservatively) emends MS texts—acting as publisher in a way accepted repeatedly by the author in other cases.]
3. Apart from supplying missing periods and question marks Stevenson’s punctuation has not been changed, e.g. a comma, semicolon or question marks followed by a dash, question marks followed by a lower-case letter. When punctuating ‘[t]he objective [for Stevenson] was to reproduce thought processes and heightened conversation informally, without slowing it down with arbitrary stops and formal new sentences’ (p. lxxv).
[In EdRLS transcribed texts we have sometimes supplied a missing comma that is so common (e.g. before ‘isn’t it?’) as to be considered codified and that would almost certainly be provided by a printer. Presumably this happened here too.]
4. Stevenson’s substantive mistakes are not corrected; I am thinking here of the first paragraph of ‘The Tale of Tod Lapraik’: ‘there were whiles when they but to fish and shoot solans for their diet’—’they but’ doesn’t seem right, a verb seems to be missing. (The sentence is identical in all editions, however. Can anyone solve this problem?)
5. Explanatory Notes: these are brief; they log all the citations of David Balfour in the OED, SLD and EDD (English Dialect Dictionary); most usefully, they indicate omissions in the first printed editions and also quote in full new passages supplied by Stevenson for the book edition at Colvin’s request.
6. References: Beinecke references to letters not by RLS are by date and McKay numbers, e.g. ‘July 13, 1892, Beinecke Library (B 4219), Yale University’.
3. Differences between the MS and the first printed editions
In the editorial part of the volume, the preparation of the first printed edition is discussed only briefly (though there is a reference to Menikoff’s article ‘Towards the Production of a Text: Time, Space, and David Balfour‘ in Studies in the Novel 27.3 (1995)). It is mentioned in the Introduction (‘The Lonely Trials of David Balfour’) on pp. xliii-xliv, and p. xlvi (‘Colvin had his hand on the manuscript and in his fashion excised a number of choice expressions and incidents. These have been restored and appear for the first time in this edition’). The subject returns again in the ‘Note on the Text’, pp. lxiv-lxv, which discusses ‘absurd cutting’, ‘deliberate censorship’ and ‘mangled phrases’. The latter is illustrated by how ‘the warsling of the sea [and the breaching of the sprays]’ in the MS (ch. 22) becomes a mis-reading, ‘the sailing of the sea’, in Atalanta and ‘the whistling of the wind’ (ch. 22) in the Cassell’s book edition. As the latter cannot be a misreading of the MS, it was a change presumably made in proofs, though we don’t know by whom. However, as ‘whistling of the wind’ is so much weaker than ‘warsling of the sea’, it just might have been made by Colvin, going to press, unable to decipher the MS, and unable to get a reply from Stevenson in less than two months, perhaps included in the proofs, but not picked up by Stevenson. Thanks to Menikoff’s work, it could be a good case for emendation in any edition of the text. Similar differences between MS and printed edition (‘innocency’ and ‘indifferency’ in the MS becoming ‘innocence’ and ‘indifference’) are also noted, though we cannot tell if the change was made by Stevenson or not (though probably not).
The notes contain significant differences between the manuscript and the periodical and Cassell publications and also ‘four summary paragraphs that are not in the manuscript or Atlanta but that Stevenson wrote for the book at Colvin’s urging’ (p. lxiv).
Changes to single words in Cassell 1893
To give an idea of the number of changes between MS and first book edition, here are the significant differences given in the notes to the first two chapters (pp. 1-15), set out as for a textual apparatus with the MS reading on the left and printed variants on the right (a swung dash standing for words identical in MS and printed edition):
p. 2 Thence to an armourer’s, where I got a stout, plain sword, to suit with my degree in life (MS and Atl) ] ~ a plain sword ~ (Cassell)
p. 2 cla’es (MS) ] claes (Atl, Cassell)
p. 10 Get a ship for him, quoth he! (MS and Atl) ] ~ quo’ he (Cassell)
Going by this sample, the printed texts are very close to the manuscript and all three changes could well be the author’s second thoughts expressed on the proofs of the book edition:
- the omission of ‘stout’ could be authorial: David wants a ‘walking sword’ to show his status, it’s not intended for fighting so does not need it to be ‘stout’;
- claes could be seen as a acknowledging the word as an independent Scots form, not an English word with ‘th’ missing. As the note says ‘There is no other form in the DSL‘, i.e. the Scottish national dictionary uses only the form without an apostrophe;
- the change to quo’ could be seen as a change to a more Scots form (the DSL headword is quo). Both DSL and OED actually give the form in this quotation from David Balfour as quot’, not found in any other of their citations, although there is also a common Scots form quod. It is possible that Stevenson’s quot’ (if this is the form used in Cassell) is a variant on quod — Stevenson’s attempt to discourage a pronunciation of ‘quod he’ as ‘quo dee‘ and a suggestion that in Scots use the ‘d’ was a voiceless flap of the tongue (like US English pronunciation of the ‘t’ in utter). In any case, it does seem a change to a more Scots form.
Many other changes to single words in Cassell 1893 must come from Stevenson and are clearly motivated, e.g. ‘Rhone wine’ drunk in Rotterdam (thus in the MS, p. 173, and Atalanta) is changed to the more appropriate ‘Rhenish wine’ in the first book edition.
An important point is where Catriona in the MS says to David ‘I am thanking the good God he has let me see you naked’ (p. 209), which is changed to ‘[…] see you as you are’ in Atalanta, a story magazine for girls, and to ‘[…] see you so’ in Cassell 1893. Though the meaning of ‘naked’ here is intended as ‘plain, undisguised’ (but surely with an intended frisson of associated meaning for the reader), I could imagine the author having second thoughts about it in proofs.
There seems to have been no attempt to change Scots to standard English in the proofs, if anything (and this is interesting) the reverse (as we’ve seen with ‘quoth’); MS ‘I knew the answer‘ (p. 156), and ‘Well’ (p. 217) were changed to ‘I ken the answer‘ and ‘Weel’ in both Atalanta and Cassell. ‘Ye cannae tell which way it is’ in the MS (p. 217), is identical in Atalanta but becomes ‘Ye cannae tell the tane frae the tither’ in Cassell—clearly in intervention of the author on the proofs.
Passages omitted from Cassell 1893
It is good to have the long interpolated story about shipwrecking in the chapter ‘The Bass’ (pp. 99-100) that was omitted from the book edition, yet one could understand Stevenson deleting it in proofs as too much like the explanatory back-story inserted by a historical novelist.
The other, short passages omitted in Cassell 1893 can for the most part be seen as possibly authorial. For example, in the first paragraph of ch. 9 David describes his state of mind:
And when I remembered James More, and the red head of Neil the son of Duncan, I thought there was perhaps a fourth in the confederacy, and what remained of Rob Roy’s old desperate sept of caterans would be banded against me with the others.<Yet there was that force in my innocency, that this league was driven to attempt my destruction underhand! I thought I would beat them all, and my blood heated with the thought.> (p. 60)
This could well have been omitted (and surely could only have been omitted by Stevenson) because considered inappropriately fiery for David.
At the beginning of ch. 10 another omission in Cassell 1893 can be seen as motivated by a desire for concision:
It was about half-past three when I came forth on the Lang Dykes <; and being now abroad again upon the world, began considering to what part of it I should first address myself. Not that the consideration held me long;>^.^ Dean was where I wanted to go.
Passages added to Cassell 1893
It’s also good to have transcribed in the notes the four summary paragraphs written by Stevenson at the suggestion of Colvin and included in the first book edition. To tell the truth, the story at this point is on the complicated side, and I think the readers of the book found it useful—as I did—to have these additional guides.
4. Barry Menikoff’s vigorous prose
I have tried to keep my comments as neutral as possible, wanting to avoid writing a full evaluative review of the volume. The reason for this is that this a posting about an edition of Stevenson for a Stevenson edition blog. Any edition involves many subjective decisions, and naturally everyone thinks their own subjective decisions are the best and defends them doggedly (with justifications that we delude ourselves are rational). It’s a bit like furniture arrangement in the home: we all know that it doesn’t really matter if the umbrella stand is placed inside, or outside, the front door, and yet we all want it where we want it. Such things can even lead to divorce. So this is me aiming at a calm tolerance above and beyond all that. Let me simply welcome this edition as a most valuable resource to have, the work of many years wrestling with manuscript transcription (I know how difficult this is in a small way, so can only respect this vast undertaking), and of course a welcome invitation to read David Balfour/Catriona once more.
As someone who has been involved in MS transcription for Essays IV in the new Stevenson edition, I can appreciate the vast amount of work involved and heroically undertaken by one editor. One can imagine that the following comment in ‘The Note on the Text’ incorporates an acquired personal understanding from Menikoff himself:
I have opted to print these words as he wrote them—as he wrote them, one hundred thousand words by hand, not once but twice. The sheer labor of the thing is almost unimaginable in a word-processed culture. […] He never complained about the physical labor, even if he did get writer’s cramp while composing Balfour; he regularly shifted the pen to his left hand, manifest in the painful scrawl on the pages, and reflected in Davie’s comment on his scribal work for Prestongrange—”The copying was a weary business.” (p. lxvi)
I can only envy Menikoff’s vigorous prose style:
he considered Le Vicomte de Bragelonne unequaled in its fusion of story and action, which is another way of saying adventure. (p. xxv)
we live through experience, which is our adventure, but our adventure lives only through art. A life of action, however grand, leads but to the grave; a life drawn in ink, with a steel stylus, becomes indelible. (p. xxx)
David […] is like an actor in a play unfolding before him in real time and desperately in need of the script. (p. xxx)
courage is not the absence of fear but the presence of action (p. xlix)
Sometimes it sounds a bit like Raymond Chandler:
No man signs up to cross a choppy ocean in winter and traverse a continent in an iron horse to a raucous port city shrouded in fog in order to sit in a parlor and sing “Love’s Sweet Song”. (p. xliv)
Sometimes, in the energetic wrestling of words and ideas, there are echoes of Stevenson himself, as in the elegant end to the introduction:
For all life is a story, as in the pages if David Balfour, a tale told, and the only predictable thing about it is the ending. As for its meaning, even in the plainest if cases, it eludes us, as it does the more cunning wisdom of Stevenson, which is why the final sentence, of whatever pen, cannot decide whether the angels above are looking down with peals of laughter, or are turning aside, fraught with tears. (p. lxi)
Menikoff seems to write himself into certain elegiac passages:
But in the end, as is his way, idealism comes down to earth, for in this world as God made it, as Black Andie would say, we all grow old, and innocence loses out in the trampling of time, and the romance that made it lovely when young can never be recaptured but in memory. This is why a great book like David Balfour is told in retrospect, turning back and grasping for love and beauty in their freshest hours, before marriage and children make their clamoring claims, and the story jump-cuts to the end, when age installs itself in its inescapable place in our mortal lives. (p. l)
Just as he enshrined memory in the dedication to Charles Baxter at the front of the book, he embedded it in an interior landscape that he transcribed in prose and compressed into place-names. They can be likened to the “floating world” of the Japanese ukiyo-e, only instead of pictures they are words of evanescent beauty, captured and held for their own sake, but ultimately transitory and perishable like life itself. (lvi)
All the introductory matter is a pleasure to read—and now that Barry Menikoff has successfully completed his trilogy of three Stevenson editions from the manuscripts (Falesá, Kidnapped and David Balfour), I look forward to enjoying his first volume of familiar essays: I’m sure they too will be a great pleasure to read.
Some time back we looked at a page of mysterious story titles (Yale, B 6530), that seem to be organized according to archetypal story-types. Now another scrap of manuscript has been identified with a similar listing. But first, a summary of the of the previous posting.
1. Mysterious titles, late 1888/early 1889 (Yale, B 6530)
Here is the transcription:
…..Excellent old melodrama: the bottle Imp.
…..Aladdin, Pollock [?]
…..on a cue from a French author: the Twins
…..Humorous [?]: les trois Bossus.
…..Metempsychosis: from Magics [?]. The Body Changer.
…..Scientific, from an Axxxx xxxx Hoyten[?]: The Sand Bag [Bug?].
Return of the Husband:
…..Ulysses. (concealed [?] ^disguised^ Prince)
…. Enoch Arden
1. ‘The Sand Bag’ is possibly ‘The Sand Boy’, which looks like it could be:
Ottilie Wildemuth [1817-77], Der Sandbub’: oder, Wer hat’s am besten? (available in part in Google Books in the collection of Wildemuth’s tales Für Freistunden (Stuttgart, 1868), though probably published earlier).
This is a children’s moral tale, translated at least once: The Little Sand Boy; or Who is Best Off? (Edinburgh, 1877), 63 pp., though it may well have been translated previously as William the Sand Boy. Translated from the German (London, ).
2. ‘on a cue from a French author’, as previously remarked, reminds us of Stevenson’s own proposed titles ‘ The Bottle Imp: A Cue from an Old Melodrama’ and ‘The Waif Woman: A Cue from a Saga’ (L7, 436; Dec 1892).
The curious phrase ‘on a cue from’ meaning ‘from an idea in’ or ‘based on’ seems to have been used for the first time in Recreations of a Recluse (1870) and Cues from All Quarters, or Literary Musings of a Clerical Recluse (1871), published anonymously by the Rev. Francis Jacox. Several of the essays in these volumes have a title like ‘About a Little Candle’s Far-Thrown Beams—A Cue from Shakespeare’, and develop thoughts from a literary ‘text’. Google Advanced Book Search reveals no other uses before Stevenson
2. More mysterious titles, 1887-88? (from Notebook 53)
In one of Stevenson’s notebooks we find the following:
Disguised Prince <Disguised> & reverse. Scott’s Pirate. Ulysses & Suitors. Guest [?]
……………………Husband and Wife:-
1. Return of the Husband. Ulysses. Agamemnon.
False accusation…………………………….The House[?] of an [?our] unknown ill
…And we, the wise of ?now…………………Bind us upon the altar
…Not other wise in youth are fared[?];
…[verse continues for rest of page and onto the following page]
In the transcription the words in red correspond to words in the post-November 1888 list, while ‘Vendetta’ here in blue is similar to ‘Revenge’ in the other list.
The new list seems again to be universal story-types, but must be earlier. The Notebook contains war-games correspondence and maps, which date from one of the winters in Davos, i.e. 1880-81 or 1881-82, there is a list of chapter titles for ‘The Merry Men’ (mid-1881), a draft dedication for the New Arabian Nights (early 1882), a draft for ‘The Foreigner at Home’ (late 1881), notes for a Hazlitt biography (projected Dec 1881—late 1882)—so it looks as if the Notebook was mainly used 1881-82.
There is however an outline of chapters for Catriona/David Balfour headed ‘D.B. sequel.’, starting ‘I. Mr Stewart | II. An old friend at Lieth [sic]’ (back f. 6v., so quite near the list of mysterious titles). This must date from after May 1887, when Stevenson agreed to write a sequel to Kidnapped to be delivered ‘as soon as possible’ (Swearingen, 167), up to some time before September 1890, when Stevenson said he had one chapter of David Balfour finished (L7, 423).
So while the list on the loose sheet is almost certainly late 1888/early 1889, this notebook list could considerably earlier (1881–82, with most of the rest of the contents), a little earlier (May 1887 or shortly after, when David Balfour was first planned), or could be from the same period as the other list (before September 1880 when writing from David Balfour actually started). The lack of any mention of ‘Rahero’ or ‘The Bottle Imp’ in the notebook list suggests that it might ‘fit’ best with mid-1887 when the outline of David Balfour on a nearby notebook page was possibly made.
It is possible that both lists are connected with what became the volume Ballads (1890), the first of which, ‘Ticonderoga’, was written in May 1887. After completing this Stevenson perhaps started thinking of a volume of similar poems and drew up this list of universal story types. The rest of the volume ‘belongs mainly to the early South Seas period, 1888-90’ (Lewis, Coll. Poems, 458), which could correspond to a slightly later dating of the notebook list, though before November 1888, when Stevenson learnt the story of Rahero.
If these two lists correspond to brain-storming to find good subjects for what Stevenson called ‘ballads’, then it is possible that ‘The Bottle Imp’ in the longer list was first considered as a subject for a narrative poem before becoming the short prose narrative we know, written between December 1889 and January 1890.
This post is contributed by Gillian Hughes with help from Richard Dury and Roger Swearingen
Hugh Walpole’s collection of manuscripts at King’s School, Canterbury
The rare book and manuscript collection of the novelist Hugh Walpole (1884-1941), now owned by the King’s School, Canterbury, reflects its former owner’s interest, among other things, in Scottish literature of the nineteenth century and includes items by James Hogg, Sir Walter Scott, and Robert Louis Stevenson. The scanned catalogue, accessible through the National Register of Archives website revealed an entry for a manuscript fragment of twenty lines of ‘A Tale of Scottish Life’ by Robert Louis Stevenson that had not been hitherto identified.
Naturally intrigued by this description, I contacted the King’s School Librarian, Peter Henderson, about it. The title given in the catalogue turned out to be descriptive only and the manuscript leaf was itself untitled: paginated 5 and beginning in mid-sentence it obviously once formed part of a longer manuscript, and the scenario of a Covenanting sermon from which a ‘truant sentry’ escapes to find a lad called ‘Crozer’ identifies the story concerned as ‘Heathercat’.
 Acknowledgement is made to Mr Henderson and to the King’s School, Canterbury, for supplying an image of the manuscript leaf and for granting permission to use it in the present note.
Stevenson mentioned his idea for this story about the Scottish Covenanters to S. R. Crockett in a letter of around 15 August 1893, responding to Crockett’s dedication to him of The Stickit Minister (Letters 8, 153). By late March the following year, he reported to J. M. Barrie that he had about fifty pages written; then in May he learnt that Crockett was planning a novel about the same subject (the ‘Killing Time’, the savage suppression of the Cameronian Covenanters in the early 1680s), and wrote to him ‘I’ll race you!’ (Letters 8, 259, 286), but the story remained unfinished at the time of his death in December 1894.
‘Heathercat A Fragment’ was duly published posthumously in December 1897 with an Editorial Note by Sidney Colvin in Volume XXVI of the Edinburgh Edition (pp. 87-121). The surviving Part I (‘The Killing Time’) of what was intended to be a full-length novel is divided into three chapters the last of which, entitled ‘The Hill-end of Drumlowe’, breaks off in the middle of the Covenanting minister’s sermon. The text in the Edinburgh Edition ends with the words ‘He’s going round like a roaring rampaging lion. . . .’.
Stevenson’s draft manuscript for this chapter survives in the Beinecke Rare Book and Manuscript Library, GEN MSS 664, Box 30, Folders 711-726 (B 6303), and consists of four pages numbered consecutively -4. At the end of the final page the text actually breaks off with the words ‘He’s going round like a roaring ramp^ag^ing lion, bragging and basting Christs folk in the’. And there the page ends (the caret marks here showing Stevenson’s insertion.)
The marginal comment seems to be: ‘in dramatic | persons, with | changing interxxxxs [?] | and with a great | increase of the | broad Scots.’ It must be a later idea (notice the different ink) for an insertion—commenting on the minister’s dramatic delivery—after ‘he could hear some of his words’, perhaps with an intended addition like ‘and his manner of speaking’; ‘in dramatic persons’ would mean ‘imitating the different voices’. The sixth word, isAny ideas? (For suggested answers, see Comments)
The King’s School leaf
The leaf in the Walpole Collection is clearly the continuation of the Beiencke fragment: it is paginated 5, and it covincingly continues the unfinished sentence at the bottom of page 4 (‘bragging and basting Christ’s folk in the’) with ‘<wilderness> ^fields^, and riding and wading in the precious blood of the elect’ (the angle brackets indicating a deletion).
Interesting features of this new fragment
The Walpole leaf continues what Stevenson has previously termed the ‘poetry apart’ of the sermon, a ‘homely tissue’ relieved by an ‘occasional pathos of simple humanity, ^and^ frequent patches of big ^biblical^ words’. Perhaps with the much-criticised representation of such Covenanting rhetoric by Sir Walter Scott in Old Mortality (1816) in mind, Stevenson set himself to convey both the occasionally ludicrous familiar imagery of such sermons and their touching vulnerability, particularly in the context in which they were delivered. The preacher, ‘Auld soupit ^hirplin^ Sandie’, for instance, asks God to ‘cast the lap of thy mantle over Sandie and his weans’ or to hide them in his armpit (‘oxter’) from Clavers.
One is struck in both the Beinecke and the Walpole fragments at Stevenson’s ability with Scots dialogue. The many deletions and insertions in this passage of the Beinecke MS show how anxious Stevenson was to get the tone he aimed at exactly right. Although the following paragraph apparently came more easily, the inveterate reviser is still evident, Stevenson weighing the precise words in which he might best convey the contrasting trivial mood of the knot of country lads engaged in a primitive gambling session when they are supposed to be on the lookout for the approach of government soldiers. The reader longs for his account of the personal combat of Heathercat and Crozer that presumably was intended to follow, and which would have caused them to fail to alert the congregation to the approach of the enemy, but alas! the remainder of the leaf remained blank.
Transcription of the Walpole leaf
Here then is a reading transcription of the Walpole leaf (deletions omitted and insertions unmarked), with its final continuation of Heathercat, never previously published:
……Meanwhile the truant sentry, with a certain pang of self-reproach at these images summoned up before him of the magnitude of that service he was neglecting, passed again out of hearing of the preacher, and came at last through a deep clump of junipers in view of his destination. Crozer was not at his post; but below in a hollow where he could neither be seen himself nor spy upon the approach of danger, he sat with three other boys of nine or ten engaged in the game of pitch and toss for one of the most infinitesimal of Scottish coins; the whole capital at stake being very likely overestimated at twopence.
The manuscript ends at the end of a sentence, but not at the end of the sheet: clearly Stevenson here abandoned the draft. For those interested in what comes next, the Beinecke Libary also has a number of earlier drafts, including two of the beginning of Chapter IV. But that is another story and for another time…
RLS plans something—but what?
The Beinecke Library at Yale has a single sheet with what looks like a series of titles or subjects:
…..Excellent old melodrama: the bottle Imp.
…..…..…..Aladdin, Pollock [?]
…..on a cue from a French author: the Twins
…..…..Humorous [?]: les trois Bossus.
…..Metempsychosis: from Magics [?]. The Body Changer.
…..…..Scientific, from an Axxxx [?American; Armenian?] xxxx [pastor?] Hoyten [Hayton?]: The Sand Bag [Bug?].
Return of the Husband:
…..…..…..Ulysses. (concealed [?] ^disguised^ Prince)
[in ink and in another hand, sloping, below: calculations of interest and: Aranxx | imaginaire]
Story-types and examples
Stevenson has organized the list as a series of universal story-types (Revenge, return of the Husband etc.), each followed by one or more titles as examples (Ulysses, Balzac’s Colonel Chabert, and Tennyson’s Enoch Arden are all examples of the Return of the Husband).
Is this a preparation for a study of narratives? ‘on a cue from’ suggests that this is a list of stories to be adapted from other sources, and also reminds us of Stevenson’s own proposed titles ‘ The Bottle Imp: A Cue from an Old Melodrama’ and ‘The Waif Woman: A Cue from a Saga’ (L7, 436; Dec 1892, to Colvin), and of course Stevenson actually wrote ‘The Bottle Imp’ and ‘Rahero’, a long-ish narrative poem published in Ballads (1890). On this evidence, the document would then seem to be a list of possible narratives to write (in verse or prose), subdivided into story types.
the bottle Imp: Stevenson read the story among the play collection of his neighbour Sir Percy Shelley, some time after spring 1885, and wrote his story with this title in 1889-90.
Aladdin, Pollock: ‘talisman’, ‘magical object’, fits the stories of the Bottle Imp and Aladdin and the lamp. Pollock, publisher of the toy theatre sets described in “A Penny Plain and Twopence Coloured”, would seem more appropriate in notes for an essay or study of story types.
the Twins: this could possible be the story of Louis XIV and his twin (the Man in the Iron Mask) told by Dumas in in Le Vicomte de Bragelonne.
les trois Bossus: a humorous medieval French tale ‘Les trois bossus ménestrels’: a wife gets rid of her husband, killed by mistake as a result of his own actions prompted by jealousy.
Magics [?]: possibly the name of the author, something like ‘Murger’.
The Body Changer: untraced reference.
Hoyton/Hayton: The Sand Bug/Bag: untraced reference.
Rahero: Hawaiian folk-tale that Stevenson took as the basis of a ballad in 1889.
Ulysses / Colonel Chabert / Enoch Arden: stories of a husband’s return by Homer, Balzac and Tennyson. These titles seem more like examples of the story-type that ideas for stories to write (Stevenson cannot surely have been thinking of retelling the story of the return of Ulysses in verse or prose).
The best clue to dating is ‘Rahero’, which seems added later in lighter pencil. This story was learnt by Stevenson from Princess Moë and others some time after Nov 1888 in Tautira, Tahiti (Lewis, 465-66). The mention of ‘the bottle Imp’ fits into this dating, since Fanny Stevenson reports that ‘he spoke of it several times when we were living in Honolulu, as being, in its ingenuity and imaginative qualities, singularly like the Hawaiian tales’ (Tus 13, 12), in other words in the period in Hawaii immediately after the stay in Tahiti.
A list of ideas for a book of Ballads? (but including The Bottle Imp?)
A list of ideas for a book of prose tales? (but including Rahero?) The interesting ‘on a cue from a French author: the Twins’ suggests a planned companion piece for ‘The Bottle Imp’ and ‘The Waif Woman’ in a collection of retold and adapted stories.
An attempt to list some universal story types also found in the South Seas? (but with Rahero the only South Seas title?)
Ideas for an essay on story types? (but after the period when he had virtually abandoned essay-writing?)
Any suggestions will be welcome, as will any help with the untraced names and titles.
This post is contributed by John F. Russell, author and editor of The Music of Robert Louis Stevenson.
RLS, professional writer
(Richard Dury writes: in the previous post contributed by John F. Russell, I added an editorial aside: “An interesting puzzle for someone wold be to work out what all the numerical calculations mean”. John Russell has taken up the challenge and offers the following convincing solution, which shows how carefully RLS was planning the volume of poems:)
You issue a challenge to work out what all the numerical calculations mean in Beinecke 6896.
This is the first line:
30. 1. Ditty ….. 14 …… 807 ….. 1 …. 53
- 30 is the position of the item in the entire list of poems destined for Songs of Travel.
- 1 is the position in the section “Songs.”
- 14 is the number of lines in the poem (Lewis (Collected Poems of Robert Louis Stevenson) shows the 12 line version of Ditty on p. 178, but says on p. 496 there was a 14 line version). Madrigal (#5 on the list of “Songs”), for another instance, has 24 lines, the number given after the title on this list.
- 807 is the cumulative number of lines of poetry from the beginning of the list.
- 1 is the number of pages to be occupied by the poem.
- 53 is the page on which the poem starts. For instance, Vagabond (#3) starts on page 57 and occupies 2 pages. The next poem, Over the Sea to Skye (#4), occupies 2 pages and starts on p. 59. RLS must have envisioned a small format book. I don’t recall the reference, but I believe he insisted on only one poem per page.
(Richard Dury writes: Chapeau!)
This post is contributed by John F. Russell, author and editor of The Music of Robert Louis Stevenson.
List of poems for what became ‘Songs of Travel’
Songs of Travel is a posthumous collection of poems first published in 1895 (in vol. XIV of the Edinburgh Edition), but already planned by Stevenson before his death. Among the draft outlines of the collection is Beinecke ms. 6895.
This ms. is divided into four sections and lists 43 poems, many of which later appeared in Songs of Travel. The section “Songs” contains 13 items and appears below.
(Note how RLS, the professional writer, is able to predict this will occupy “21 pp” in the note bottom left.)
The manuscript is transcribed by Roger C. Lewis on pp. 480-481 of his Collected Poems of Robert Louis Stevenson, where he says that title number 10 is illegible. His reluctance to guess the title is understandable, as readers will discover if they interpret the title as something like “Cr… & Sev…”:
However, a quick look at other RLS manscripts shows that he rarely closes the loop of a capital A, and it often looks like “C” instead. Knowing that, it is much easier to see that title number 10 in fact reads “Aubade & Serenade.”
Aubade and Serenade
Of course there is no RLS poem with this title. However the preceding numbers 8 and 9 on the list are the familiar “I will make you brooches” and “In the highlands” found towards the beginning of Songs of Travel. So what was “Aubade and Serenade”?
Beinecke ms. 6896 is similar to 6895 but contains a list of 19 items under the heading “Songs”, including all the titles in ms. 6895:
(An interesting puzzle for someone would be to work out what all the numerical calculations mean.)
In this longer list, “I will make you brooches” is again no. 8, and no. 9 is again “In the highlands.” Number 10 is “Let beauty awake.”
“Let Beauty Awake” is a two stanza poem in which the first is about the morning and the second about the evening. An aubade is a song for the morning while a serenade is for the evening.
So I conclude that item number 10 in both lists is the same and that “Aubade & Serenade” is “Let beauty awake.”
John F. Russell
My second to last day in New Haven, I was checking something in the 1923 Vailima Edition, so I thought at the same time I’d compare our transcription of a manuscript fragment about music at night in Mentone (see (L1, 477-78; 5 Feb 1874), called ‘A Night in France’ by Hellman (Prose Pieces… Hitherto Unpublished, 1921, and from there republished in the the Vailima, Tusitala and Skerryvore Editions).
It’s a rough pencil draft with a number of obscure words, so it’s not surprising there should be differences in transcription. The most important ones are the following, Hellman’s text on the left, our transcription on the right:
|The sea trembles with light; white hotels and villas show lit windows far along the curved beach, and from above envy the silent stars. The strange night sky endues itself in monstrous space over all, the large moon beams forward.[…] For this is no squeak of southern fife, […] Clear sad voices sing in the gray dawn sadly; for a country made desolate, for the bold silver that shall no more clatter forth in pay, and the good King that shall come home no more.||The sea trembles with light, white hotels and villas show lit windows far along the curved beach, and from above among the silent stars the strange night sky arches itself in monstrous space over all, the large moon beams forward.[…] For this is no squeak of southern pipe, […] Clear sad voices sing in the grey dawn sadly; for a country made desolate, for the bold riders that shall no more clatter forth on fray, and the good King that shall come home no more.|
We had examined and debated all these points when our first transcription had been made (by Mafalda Cipollone, and then twice proofed by me), but seeing them there made me realize I had to look at the MS again. I had actually previously proofed our transcription against the MS: what was different now was finding out why Hellman had made his choices—a way of looking at the MS again with fresh eyes (very necessary in MS-proofing—as in other situations in life: it’s amazing how you see what you’re looking for and what you’re not looking for, you just don’t see).
So on my last day on the Beinecke, I called up the item. Was that ‘far along the curved beach’ or ‘along the curved beach’? Although grains of graphite are flying away each time this item is consulted, I convinced myself, finally, looking through the strongest magnifier available, that ‘far’ was deleted by a line sloping down a bit to the right; ‘among the silent stars’ was obviously right (there’s not ‘e’ for envy). But then I looked again: ‘stars’ is definitely followed by a full stop and then a capital letter (of a deleted ‘The’). AND, and… was it ‘stars’?: no crossbar for a ‘t’ was visible and the second letter had not trace of a bowl for ‘b’ or ‘d’, so it must be ‘l’… ‘slars’? No: there is definitely a dot which RLS almost never omits for his ‘i’: ‘slirs’…. What about that first letter? could it be ‘a’ or ‘o’: ‘alirs’, ‘olirs’. YES, yes, of course! ‘among the silent olives’. Followed by a full stop.
The ‘pipe’ was clearly right: Stevenson’s ‘p’ and ‘f’ are usually clearly distinct, and these are p’s with hooked beginnings.
So what about that third passage?
‘for the bold silver’ looks wrong, and the first letter is clearly Stevenson’s inverted-v ‘r’; there is a dot faintly visible above the second letter (but for how much longer? I had a sense that it was vital for me to correctly decypher the word this afternoon, before the evidence ‘dislimns’ and fades away). Screwing my eyes up, seeking the best light under the magnifying glass, I could see no left-bowl for a ‘d’. Not only that, the last letter was that inverted-v ‘r’ again with concave second stroke: clearly not the convex stroke of his ‘s’. But what else but a rider could ‘clatter forth’?
Then I remembered that RLA was sitting behind me in the Beinecke reading room and how useful it is for another person to look at these points: so I took the leaf and the magnifying glass to his table. He read through the sentence slowly, and then said: that third letter could be just a tall ‘e’… yes, it’s ‘riever’, usually spellt ‘ei’: a border raider. Hooray! We kept ‘on fray’: a bit strange, but perhaps acceptable RLS-strange, and it certainly isn’t ‘on pay’.
Also, on inspection, I changed the moon ‘beams forward’ to ‘leans forward’. I also confirmed our reading ‘hard knit faces’ rather than Hellman’s ‘hard thin faces’: the middle word is not clear but it is preceded by a deleted ‘gathered’, for which ‘knit’ seems to be a semantically-close substitution.
So here, below is the final, cleaned transcipt (with ‘riever’ spelt thus because the OED records it as a 19th-century Scottish spelling; the words in brackets must be alternatives that RLS was considering but hadn’t decided on).
A Night in France
The perfect southern moonlight fills the great night; along the coast the bare peaks faint and dwindle against the intense blue sky; and far up on the glimmering mountain sides the dark woods design their big (full shapes in black) fantastic profile. The sea trembles with light, white hotels and villas show lit windows along the curved beach, and from above among the silent olives. The strange night sky arches itself in monstrous space over all, the large moon leans forward. The still trees stand in relief aloof one from the other with the light all about them, naked (bare) in the moonlight.
Up in the room, the piano sounds and into the southern night, note follows note, chord follows chord, in quaint, sad, northland cadence. Do not the still trees wonder, and the flat bright sea, and the lonely glimmering hilltops far withdrawn into the purple sky? For this is no squeak of southern pipe, no light melody of provençal farandole; to these airs, brown feet never tripped on the warm earth nor boatman cheered his way across deep midland waters. Wild and shrill, ring out the reels. Dunbarton drums beat bonny. The wind sounds over the rainy moorland; Wandering Willie is far from home. Clear sad voices sing in the grey dawn sadly; for a country made desolate, for the bold riever that shall no more clatter forth on fray, and the good King that shall come home no more. The sun sets behind Ben Ledi. Macleod’s Wizard flag sallies from the gray castle. Faint and fair, in the misty summer afternoon, reach out the purple braes, where the soft cloud shadows linger and dwindle. At home, by the ingle, the goodwife darns her goodman’s grey breeks. And my love, up in the north, is like the red red rose.
O sound of the wind among my own bleak hills; the snow, and the cold, and the hard knit faces of steadfast serious people. The boats go out at even, under the moon; sail by sail they spread on the great uneven sea; at morn, in the rain plains, boat by boat comes back with its glittering burthen.
In brown grass fields, wander white sheep, patiently stand the shivering cattle.