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Discovering Diverse Content Through
Random Scribd Documents
 1838

OUTWARD BOUND: Or A Merchant's Adventures. By the author of

Rattlin the Reefer, The Old Commodore etc. London: Henry
Colburn, Publisher, Great Marlborough Street. 1838. 3 vols. Ex.
Cr. 8vo (4¾ × 7¾).
Vol. I. pp. (iv) + 299 + (1). No half-title.
Vol. II. pp. (iv) + 308 + (2). Half-title to this volume. Publisher's
advertisements occupy pp. (309) (310).
Vol. III. pp. (iv) + 326. Half-title to this volume.
Paper boards (half cloth), paper label. White end-papers.
Note—This book was published in March, 1838. The story appeared in part as a
serial in the “Metropolitan Magazine” under the title Ardent Troughton.

1839

MEMOIRS OF ADMIRAL SIR SIDNEY SMITH, K.C.B. ETC. By the

author of Rattlin the Reefer etc. London: Richard Bentley, New
Burlington Street, Publisher in Ordinary to Her Majesty. 1839. 2
vols. Demy 8vo (5½ × 9).
Vol. I pp. vii + (i) + 400.
Vol. II. pp. vii + (i) + 411 + (5). Publisher's advertisements
occupy pp. (413) to (416). No half-titles.
Steel-engraved portrait frontispiece to each volume, printed
separately. Pale blue ribbed cloth, gilt, blocked in blind. Yellow
end-papers.

1840

JACK ASHORE. By the Author of Rattlin the Reefer, Outward Bound

etc. etc. London: Henry Colburn, Publisher, Great Marlborough
 Street. 1840. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. xvi + 310.
Vol. II. pp. viii + 300.
Vol. III. pp. vii + (i) + 323 + (1).
Steel-engraved portrait frontispiece to Vol. I. printed separately.
Paper boards, paper label. White end-papers.

1842

SIR HENRY MORGAN: The Buccaneer. By the author of Rattlin the

Reefer, Outward Bound, Jack Ashore etc. London: Henry
Colburn, Publisher, Great Marlborough Street. 1842. 3 vols. Ex.
Cr. 8vo (4¾ × 7¾).
Vol. I. pp. vii + (i) + 295 + (1).
Vol. II. pp. vi + 307 + (1).
Vol. III. pp. vii + (i) + 315 + (1).
There is a portrait frontispiece to Vol. I., lithographed and
printed separately. Paper boards, half cloth, paper label. White
end-papers.

1859

TALES FROM BENTLEY. Vol. I. London: Richard Bentley, New

Burlington Street, 1 vol. Pott 8vo (4 × 6¼). Pp. (iv) + 96. Buff
paper wrappers printed in black. Also in boards. The Marine
Coast, a story by the author of Rattlin the Reefer, occupies pp.
55 to 88.
Note—This first series of Tales from Bentley was published in September, 1859.
 A NOTE ON MARRYAT AS ARTIST
It is well known that Captain Marryat was a painter as well as a
writer. Collectors of his written work will perhaps also be interested
to know of a published book containing in reproduction some of his
drawings. In 1825 or 1826 there appeared the following work:
ILLUSTRATIONS OF THE BURMESE WAR. Both Series. With
twenty-four plates after drawings by Captain Marryat, Thornton
and Moore displaying the Operations of the British Forces.
London: Published by Thomas Clay. (N.D.) The volume measures
20½ × 13¼, is bound in thick grey paper wrappers lettered in
black as above, and contains five engravings of pictures painted
by Stothard and D. Cox after drawings by Captain Marryat. The
name Kingsbury and Co., 6 Leadenhall Street, appears at the
foot of the engravings as their publisher, together with the date
1825.
 BENJAMIN DISRAELI
1804-1881

BENJAMIN DISRAELI

It is easier to blame historians and political critics of the life and

statesmanship of Disraeli for neglecting his novels, than it is oneself
to judge these novels as literature, apart from the huge mass of
incident, ambition, and achievement that went to make up the
character of their extraordinary author. To attempt in a few pages an
estimate of Disraeli as a man of letters were manifestly absurd,
seeing that he was rarely that and nothing else. It were doubly
absurd, even if possible, to treat in summary of the interactions of
his political and literary genius when one of the finest biographies of
modern times (and that in six volumes) has already covered every
inch of the ground. The only purpose, therefore, which these
unauthoritative notes may serve is that of indicating in a few words
the development of Disraeli as a novelist and the respective content
of his principal books.
Although his novels fall into distinct and different groups, they are all
primarily satirical in character. From the moment of the anonymous
but sensational appearance of Vivian Grey to that of the publication
of Endymion which bore on each of its three volumes the name of
the most distinguished statesman of the world, Disraeli held up alike
to the follies and the ideals of his age the mirror of a keen and
ruthless mind.
But if he gazed on his contemporaries more often from the angle of
satire than from any other, he enclosed in their various frames the
period portraits that are his books. As a very young man—unknown,
ambitious, at once receptive and intensely sensitive—he used as
material for fiction not only the incidents of his own life, but, even
more, the thoughts and aspirations that filled his teeming brain.
Vivian Grey (1826-7), Contarini Fleming (1833), and Alroy (1833) are
mainly interesting as autobiography, and to the use of personal
experience as material for novel-writing he returned in extreme old
age when, looking back from the splendid eminence of his power, he
described in the pages of Endymion the long road that he had
travelled from obscurity to fame.
Vivian Grey appeared in five volumes, with an interval of a year
between the issue of the first two and that of the last three. But for
the brilliant publicity given to it by Colburn, the book would have
attracted little or no attention. It is a showy, careless pastiche of the
society of the day, a gallery of isolated portraits rather than a single
composition, attractive to the fashionable public of the time for its
thinly veiled presentment of well-known men and women. The
reader is further unpleasantly aware that the author's interest in his
book did not extend much beyond the first of the five volumes.
Young men find it easier to start a book than to finish one, and
Disraeli was clearly no exception to the rule.
Contarini Fleming and Alroy, written after an extended tour in the
East, show, at its most luxuriant and ornate, the author's talent for
heady, rhetorical prose. Like most of his race, Disraeli was more
susceptible to magnificence and to decoration than to severe
simplicity, and throughout his books was prone to an excessive use
of epithet and metaphor. If these two early books show his love of
ornament more shamelessly than those written at a maturer age,
they can claim nevertheless to have received more careful and
conscientious working, so that their embellishments, if too lavish,
are at least scrupulously fashioned.
Between the publication of the last three volumes of Vivian Grey and
that of the story of Contarini Fleming Disraeli published two works of
fiction which, although in the matter of primary characteristic
isolated from the rest of his work and from each other, contain
elements that constantly reappear in the books of his later life.
The Voyage of Captain Popanilla (1828) is a satire on English political
and social institutions cast in the form of an inverted Gulliver's
Travels or Erewhon. Instead of an Englishman reaching an imaginary
and fantastic land, where he finds conditions that correspond partly
to the prejudices, partly to the ideals, of the author, the hero of
Disraeli's satire is a being from a mythical world, who comes over
the sea to an island that is, in all but name, England as Disraeli saw
it. As an example of pertinacious and aggressive parody The Voyage
of Captain Popanilla is witty and readable enough, but it fatigues, as
do all pastiches of the kind, by its somewhat literal pursuit of
contemporary activity. Disraeli should have limited his prospect of
satire, for the individual beauties of any view are appreciated in
proportion to the smallness of their number. Popanilla is
overcrowded, and the reader's mind tires with the effort to solve the
riddle that is contained in nearly every paragraph.
The Young Duke (1831) was written to make money. One may go
farther and confess that the author, seeking frankly to profit by the
contemporary popularity of the novel of fashionable life, wrote a tale
of society into which he crammed all that he knew of character and
incident likely to appeal to the mood of the moment. With such
antecedents it is surprising that The Young Duke is not a worse book
than it is. Inevitably it reads artificially, and the young writer had not
the skill entirely to conceal the wilfulness with which the work was
put together. On the other hand, the heroine deserves the attention
of Disraeli students, for she is the direct forerunner of Sybil, and that
part of The Young Duke which depends on her personality is not
without a touch of the four great political novels upon which
Disraeli's fame as a writer must rest.
It was four years after the publication of Alroy that Disraeli next
appeared as a novelist. He then published, within six months of one
another, two stories that stand markedly apart from the rest of his
work, in that they are wholly without political significance. Even
amid the extravagance of Contarini Fleming and The Young Duke
occur passages that depend for their significance on political
movements or political thought of the time. Vivian Grey, being a
roman à clef of high society, and Popanilla being a direct satire of
institutions, are naturally full of what was, even in those days, the
author's ruling interest. But Henrietta Temple (1837) and Venetia
(1837) are romances pure and simple. They may be said also to
have no autobiographical significance, save in so far as the first part
of the earlier book was written under the stimulus of a real love
affair. It must be admitted that Henrietta Temple, once it gets
beyond the boundary of Disraeli's own passionate experience, is a
tame and careless book. The interval that passed between the
writing of the earlier and that of the later portion seems to have
extinguished his enthusiasm for the work. Colburn was clamouring
for a novel, and Disraeli, as always hard pressed for money, raked
out his incomplete manuscript, furbished it up, finished it off, and
delivered it to the publisher. Venetia has not this fault of interrupted
fashioning. It is, however, in one reader's opinion at any rate, a very
tedious affair—rhetorical, unreal, and sluggish in movement; but this
view is contrary to that held by many, who consider that the book's
portraiture gives it value as commentary on the life of Byron and
other famous people.
There follows, this time after an interval of seven years, the first of
the four famous political novels that, whether or no they can be said
to have introduced a new genre into English fiction, are undoubtedly
the finest achievements of Disraeli's literary career. Coningsby
(1844), Sybil (1845), and Tancred (1847) are too well known to need
description here. Because, however, their interdependence as parts
of a general scheme in the mind of the author tends to become
obscured by consideration of their respective quality, note may be
taken of the fact that Coningsby is a novel of political views, Sybil
one of social conditions and classes among the people, and Tancred
one of religion as an influence in national life. Of the characters in
Coningsby many reappear in Tancred, while Tadpole and Taper,
whose names have become part of English political slang, pull their
wires and cadge their jobs as assiduously in Sybil as in the story that
preceded it. It would be interesting to work out a comparison
between Disraeli and Trollope as political novelists. Probably one
would come to the decision that those of Disraeli are the better
political novels and those of Trollope the better novels of politics. In
other words, Disraeli is the cleverer publicist, but Trollope the finer
artist. Coningsby and its fellows depend very much on contemporary
fact and personality for their full understanding and significance.
Surely it is not hyperæsthetic to demand that literature be its own
interpreter? In so far as a work of art requires outside knowledge for
its proper appreciation, to that extent it falls short from what in art is
highest and most perfect.
The appearance of Lothair in 1870 caused something of a scandal in
serious political circles. The Briton is accustomed to take his
statesmen seriously, but his novelists with frivolity and in the leisure
hour. Wherefore he regarded it as unseemly that the name of an ex-
Prime Minister and of a man whose political career was by no means
run should figure on the title-pages of a three-volume novel.
Curiosity conquered disapproval and, as on an hundred other
occasions, a book condemned for its very existence was purchased
and read in tens of thousands. Lothair is the work of a man who
knew everybody and almost everything. The personal satire, the
constructive and destructive fervour of Coningsby, Sybil, and
Tancred have given place to a greater gravity and restraint, to an
ironic vision more general and less individual. Taking as his subject
the power of the Catholic Church, the rival power of revolutionary
free thought and the indeterminate central position of the Church of
England, Disraeli built up his fourth and most extensive picture of
the England of his time. If we miss the idealist conviction that gives
to some of the passages in Tancred the force of a splendid sermon,
we gain a certainty and a dignity of thought which were inevitably
lacking in the books of the earlier period. We also continue to enjoy
the epigram, the vivid minor portraiture, the lightning grasp of fact
and of every implication of fact, that give to the political novels of
Disraeli their unique flavour and importance.
 BIOGRAPHY
THE LIFE OF BENJAMIN DISRAELI, EARL OF BEACONSFIELD. By
William Flavelle Monypenny and George Earle Buckle. 6 vols.
London: John Murray. 1912-1920.
 I.—EDITIONES PRINCIPES
FICTION, POETRY, ESSAYS, LETTERS, ETC.

1825

AN ENQUIRY INTO THE PLANS, PROGRESS AND POLICY OF

AMERICAN MINING COMPANIES. London: John Murray. MDCCCXXV.
1 vol. Demy 8vo (5¼ × 8½). Pp. 135 + (1) of which p. (6) is
paged vi. Paper boards, paper label. White end-papers.
Note—These observations were made from a third enlarged edition published in
the first year of issue, and it is likely that the first edition, although similar in
format, etc., contains fewer pages.

1825

LAWYERS AND LEGISLATORS: Or Notes on the American Mining

Companies. (Quotation from Hooker.) London: John Murray.
MDCCCXXV. 1 vol. Demy 8vo (5¼ × 8½). Pp. (viii) + 99 + (1). No
half-title. Paper boards, paper label. White end-papers.

1825

THE PRESENT STATE OF MEXICO: As detailed in a Report

presented to the General Congress by the Secretary of State for
the Home Department and Foreign Affairs at the Opening of the
Session in 1825. With Notes and a Memoir of Don Lucas Alaman.
London: John Murray, Albemarle Street. MDCCCXXV. 1 vol. Demy
8vo (5¼ × 8½). Pp. 130. Advertisement of Disraeli's two earlier
pamphlets occupies verso of half-title, facing title-page. Pp. (6)
to 55 are occupied by a Memoir of Don Lucas Alaman, written by
 Disraeli. Alaman's report begins on p. 57. Paper boards, paper
label. White end-papers.

1826/7

VIVIAN GREY. “Why then the world's mine oyster which I with
sword will open.” London: Henry Colburn, New Burlington Street.
1826 (Vols. I. and II.), 1827 (Vols. III. IV. and V.). 5 vols. Ex. Cr.
8vo (4¾ × 7⅝).
Vol. I. pp. (vi) + 266 + (2).
Vol. II. pp. (iv) + 236 + (4). Publisher's advertisements occupy
pp. (237) to (240).
Vol. III. pp. (iv) + 333 + (3). Publisher's advertisements occupy
pp. (335) and (336).
Vol. IV. pp. (iv) + 362.
Vol. V. pp. (iv) + 324.
Paper boards, paper label. White end-papers.
Note—Vols. I. and II. of this story were published on April 22, 1826; Vols. III. IV.
and V. on February 23, 1827.

1828

THE VOYAGE OF CAPTAIN POPANILLA. By the author of Vivian

Grey. “Travellers ne'er did lie though fools at home condemned
'em.” London: Henry Colburn, New Burlington Street. 1828. 1
vol. Ex. Cr. 8vo (4⅞ × 7¾). Pp. viii + 243 + (1). Paper boards,
paper label. White end-papers.
Note—This book was published on June 3, 1828.

1831
 THE YOUNG DUKE: “A moral Tale, though gay.” By the author of
Vivian Grey. London: Henry Colburn and Richard Bentley, New
Burlington Street. 1831. 3 vols. Ex. Cr. 8vo (7⅞ × 4¾).
Vol. I. pp. iv + 300. No half-title.
Vol. II. pp. (vi) + 269 + (3). Text ends p. 269; note occupies p.
(271).
Vol. III. pp. (vi) + 265 + (3). Publishers' advertisements occupy
pp. (267) (268).
Paper boards (half cloth), paper label. White end-papers.
Note—The only copy of this book I have been able to consult in its original state
contained at the end of Vol. I. a publishers' catalogue, 8 pp., dated April, 1832.
Clearly it did not belong to the first issue, but what date should be found on a
catalogue of the earliest issue, where in the three volumes such a catalogue
should appear, or whether there should be a catalogue at all, I do not know.

1832

ENGLAND AND FRANCE: Or A Cure for the Ministerial Gallomania.

(Quotation from speech by Duke of Wellington.) London: John
Murray, Albemarle Street. 1832. 1 vol. Ex. Cr. 8vo (4¾ × 7¾).
Pp. viii + (xii) + 268. Paper boards, paper label. White end-
papers.
Notes—(i) This book was published in April, 1832.
(ii) The above observations were made from a rebound cut copy, and details of
measurement are therefore conjectural.

1832

CONTARINI FLEMING: A Psychological Autobiography. London:

John Murray, Albemarle Street. MDCCCXXXII. 4 vols. Fcap. 8vo (4¼
× 6¾).
Vol. I. pp. (iv) + 288.
 Vol. II. pp. (iv) + 247 + (1).
Vol. III. pp. (iv) + 194 + (2). Publisher's advertisements occupy
pp. (195) (196).
Vol. IV. pp. (iv) + 230 + (2).
Paper boards (half cloth), paper label. White end-papers.
Notes—(i) This book was published in May, 1832.
(ii) The sheets of the Murray edition were issued in 1834 by Edward Moxon, Dover
Street, over the name: “D'Israeli The Younger, author of Vivian Grey, Alroy and
Ixion in Heaven,” with a new preliminary signature (8 pp.) to Vol. I. containing a
preface in explanation of the author's action in putting his name to the book.
Consequently from the purist point of view the Moxon edition of 1834 should be
collected as containing fresh matter. It was bound in pale maroon cloth, with
paper label. Yellow end-papers.

1833

THE WONDROUS TALE OF ALROY: The Rise of Iskander. By the

author of Vivian Grey, Contarini Fleming etc. London: Saunders
and Otley, Conduit Street. 1833. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. xxv + (iii) + 303 + (1).
Vol. II. pp. (iv) + 305 + (3). Publishers' advertisements, dated
February, 1833, occupy pp. (307) and (308).
Vol. III. pp. (iv) + 324 + (4). Advertisements of works by the
same author occupy pp. (325) and (326).
Paper boards, paper label. White end-papers.
Note—This book was published on March 5, 1833.

1833

WHAT IS HE? By the author of Vivian Grey. (Extract from a Letter.)

London: James Ridgway, Piccadilly and E. Lloyd, Harley Street,
 MDCCCXXXIII.
1 vol. Demy 8vo (5⅜ × 8½). Pp. 16. Half-title serves
as wrapper and bears the words “Price Sixpence.” P. 16 serves as
back wrapper. Advertisements occupy p. (2).
Note—The above notation was made from a copy of the “New Edition, Revised” of
the pamphlet. Since, however, this first appeared in the same year and over the
same imprint, I have ventured to assume comparative uniformity of size and
appearance.

1834

THE REVOLUTIONARY EPICK: The Work of Disraeli the Younger.

Author of The Psychological Romance. London: Edward Moxon,
Dover Street, MDCCCXXXIV. [The title-page to Vol. II. reads in
addition: “Books II. and III. containing The Plea of Lyridon, the
Genius of Feudalism; and the First Part of the Conquest of
Italy.”] 2 vols. Large Post 4to (8¼ × 10½).
Vol. I. pp. viii + 89 + (3).
Vol. II. pp. xi + (i) + (91) to 206.
Advertisement of Contarini Fleming (differently worded in each
case) faces title in both volumes. Paper boards. Paper label on
sides. White end-papers.
Note—Only fifty copies of this edition were printed. See preface to the second and
revised edition published in 1864, details of which are given below.

1834

THE CRISIS EXAMINED. By Disraeli the Younger. London: Saunders

and Otley, Conduit Street. 1834. 1 vol. Demy 8vo (5½ × 8½).
Pp. (iv) + 31 + (1).
Notes—(i) This pamphlet was issued in December, 1834.
(ii) The above observations were made from a rebound copy, wherefore the style
of binding is an assumption, and I suspect that two or more flyleaves—maybe
printed with advertisements—should be added to the reckoning here set down.
 1835

VINDICATION OF THE ENGLISH CONSTITUTION IN A LETTER TO

A NOBLE AND LEARNED LORD. By Disraeli the Younger. London:
Saunders and Otley, Conduit Street. 1835. 1 vol. Tall Demy 8vo
(5½ × 9). Pp. ix + (i) + 210 + (2). Publishers' advertisements
occupy pp. (211) and (212). A four-page leaflet of publishers'
advertisements should be found inserted between the front end-
papers, and an erratum slip at p. (v). Paper boards, paper label.
White end-papers.
Note—This book was published in January, 1835.

1836

THE LETTERS OF RUNNYMEDE. “Neither for shame nor fear this

mask he wore That, like a vizor in the battle-field But shrouds a
manly and a daring brow.” London: John Macrone, St. James's
Square. MDCCCXXXVI. 1 vol. Slim Ex. Cr. 8vo (4¾ × 8¼). Pp. (xxiv)
[paged as ii + (v) + vi-xx + (ii)] + 234 + (6). Publishers'
advertisements, 2 pp., dated August 1, 1836, occupy pp. i and ii.
The half-title is inset on different paper between p. ii. and title-
page. Paper boards, paper label. White end-papers. Also in dark
blue embossed cloth, gilt, yellow end-papers.
Note—This book was published in July or August, 1836.

1837

HENRIETTA TEMPLE: A Love Story. By the author of Vivian Grey.

“Quoth Sancho, Read it out by all means; for I mightily delight in
hearing of love stories.” London: Henry Colburn, 13 Great
Marlborough Street, MDCCCXXXVII. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).
Vol. I. pp. (iv) + 299 + (1).
 Vol. II. pp. (iv) + 309 + (3). Publisher's advertisements occupy
pp. (311) and (312).
Vol. III. pp. (iv) + 331 + (1).
Paper boards, half cloth, paper label. White end-papers.
Note—Although dated 1837, this book was actually published in December, 1836.

1837

VENETIA. By the author of Vivian Grey and Henrietta Temple. “Is

thy face like thy mother's my fair child?” “The child of love,
though born in bitterness and nurtured in convulsion.” London:
Henry Colburn, Publisher, 13 Great Marlborough Street.
MDCCCXXXVII. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).

Vol. I. pp. (iv) + 346.

Vol. II. pp. (ii) + 377 + (1).
Vol. III. pp. (iv) + 324. Publisher's advertisements occupy pp. (i)
and (ii).
No half-titles. Paper boards, half cloth, paper label. White end-
papers.
Note—This book was published in May, 1837.

1839

THE TRAGEDY OF COUNT ALARCOS. By the author of Vivian Grey.

London: Henry Colburn, Great Marlborough Street. 1839. 1 vol.
Demy 8vo (5½ × 8½). Pp. vi + (ii) + 108. Errata slip facing p.
1. Paper boards, paper label. White end-papers.
Note—This book was published in May, 1839.

1844
 CONINGSBY: Or The New Generation. By B. Disraeli Esq., M.P.,
author of Contarini Fleming. London: Henry Colburn, Publisher,
Great Marlborough Street. 1844. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).
Vol. I. pp. iv + 319 + (1).
Vol. II. pp. (ii) + 314.
Vol. III. pp. (ii) + 354. Advertisements occupy pp. (351) to
(354).
No half-titles. Paper boards, half cloth, paper label. White end-
papers.
Note—This book was published in May, 1844.

1845

SYBIL: Or, The Two Nations. By B. Disraeli, M.P., author of

Coningsby. (Quotation from Latimer.) London: Henry Colburn.
Publisher. Great Marlborough Street. 1845. 3 vols. Ex. Cr. 8vo
(4¾ × 7¾).
Vol. I. p. viii + 315 + (1).
Vol. II. pp. (iv) + 324.
Vol. III. pp. (iv) + 326 + (2). Publisher's advertisements occupy
pp. (327) and (328).
Paper boards, half cloth, paper label. White end-papers.
Note—This book was published in May, 1845.

1847

TANCRED: Or The New Crusade. By B. Disraeli, M.P., author of

Coningsby, Sybil etc. London: Henry Colburn, Publisher, Great
Marlborough Street, 1847. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞).
Vol. I. pp. (ii) + 338.
 Vol. II. pp. (ii) + 340.
Vol. III. pp. (ii) + 298 + (12). Publisher's advertisements occupy
pp. (299) to (310).
No half-titles. Paper boards, half cloth, paper label. White end-
papers.
Note—This book was published in March, 1847.

1852

LORD GEORGE BENTINCK: A Political Biography. By B. Disraeli,

Member of Parliament for the County of Buckingham. “He left us
the legacy of heroes; the memory of his great name and the
inspiration of his great example.” London: Colburn and Co.,
Publishers, Great Marlborough Street. 1852. 1 vol. Demy 8vo
(5¾ × 8¾). Pp. viii + 588. Publishers' catalogue, 8 pp., and
measuring 5 × 8, bound in after p. 588. This catalogue is
followed by a further single sheet (2 pp.) advertisement,
measuring 5 × 8½. Dark olive-brown cloth, gilt, blocked in blind.
Yellow end-papers.
Note—Although dated 1852, this book was actually published in December, 1851.

1853

*IXION IN HEAVEN. THE INFERNAL MARRIAGE. THE VOYAGE OF

CAPTAIN POPANILLA. THE TRAGEDY OF COUNT ALARCOS. By
Benjamin Disraeli. London: David Bryce, 48 Paternoster Row.
1853. 1 vol. Cloth.
This little book—a volume in a cheap reissue of the novels and
romances of Disraeli—is the first book edition of Ixion in Heaven
and The Infernal Marriage, which first appeared in the “New
Monthly” in 1829 and 1830, and had not been reprinted in the
interval.
 1864

THE REVOLUTIONARY EPICK. By the Right Honorable Benjamin

Disraeli. London: Longman, Green, Longman, Roberts and
Green. 1864. 1 vol. Small Cr. 8vo (4½ × 7⅛). Pp. (xiv) [paged
as (ii) + x + (ii)] + 176 + (2). Preface (in dedication), dated
Easter, 1864, occupies pp. (vii) and (viii). Preface reprinted from
the original edition occupies pp. (ix) to (xii). Brown cloth, gilt.
Chocolate end-papers.
Note—The text of this edition differs extensively both in wording and length from
that of 1834. In his preface the author states that the work was completed in
1837, but, through press of political duties, he made no arrangement for its issue
before the present date. He also avers that only fifty copies of the edition of 1834
were printed.

1870

LOTHAIR. By the Right Honorable B. Disraeli. (Quotation from

Terentius.) London: Longmans, Green and Co., 1870. 3 vols. Ex.
Cr. 8vo (4¾ × 7¾).
Vol. I. pp. (viii) + 328. Publishers' advertisements, 32 pp., dated
January, 1870, bound in at end.
Vol. II. pp. (iv) + 321 + (3).
Vol. III. pp. (iv) + 333 + (7). Publishers' advertisements occupy
pp. (337) to (340).
Green cloth, gilt, blocked in blind. Chocolate end-papers.
Note—This book was published in May, 1870.

1880

ENDYMION. By the author of Lothair. “Quicquid agunt Homines.”

London: Longmans, Green and Co. 1880. 3 vols. Ex. Cr. 8vo (4¾
 × 7⅝).
Vol. I. pp. (iv) + 331 + (1).
Vol. II. pp. (iv) + 337 + (3).
Vol. III. pp. (iv) + 346 + (2). Publishers' advertisements occupy
pp. (347) and (348).
Scarlet cloth lettered in silver. Grey and white decorated end-
papers.
Note—There are two styles of blocking for the binding of this book; that most
worked and bearing publishers' imprint at foot of spine is the earlier.
 II.—BOOKS PARTIALLY WRITTEN OR EDITED
BY BENJAMIN DISRAELI

1825

THE LIFE OF PAUL JONES. From original documents in the

possession of John Henry Sherburne Esq., Register of the Navy
of the United States. London: John Murray, Albemarle Street.
MDCCCXXV. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. xii + 320. Paper
boards, paper label. White end-papers.
Notes—(i) With reference to this book Monypenny says: “The exact relationship of
the English book to the American original is not clear; but the former seems also
to have been written by an American, and the original MS., which has been
preserved, shows that Disraeli's share in it was limited to the introduction here and
there of a word or phrase where the excision of a passage rendered such
amendment necessary.” In addition to the corrections thus described Disraeli
contributed an anonymous preface to the book.
(ii) It is interesting to record here that in 1844 Captain Marryat was asked to write
a life of Paul Jones. He was interested in the project, but it never materialized.

1826

THE STAR CHAMBER. A Weekly Magazine published by William

Marsh, 145 Oxford Street. 9/8 numbers Demy 8vo (5½ × 8¾)
were published: No. 1, April 19, pp. 1 to 20; Nos. 2 and 3
(double number), April 26, pp. 21 to 58; No. 4, May 3, pp. 59 to
74; No. 5, May 10, pp. 75 to 90; No. 6, May 17, pp. 91 to 110;
No. 7, May 24, pp. 111 to 126; No. 8, May 31, pp. 127 to 142;
No. 9, June 7, pp. 143 to 154.
After the completion of the 9/8 numbers, a four-page sheet of
preliminary matter was issued, of which p. (i) reads:
 THE STAR CHAMBER. Vol. I. Part 1. April 19 to June 7, 1826.
(Quotation from Cavendish, “Wolsey.”) London: William Marsh,
145 Oxford Street. Pp. (iii) and (iv) are occupied by contents list.
Notes—(i) At one time the responsibility for the whole contents as well as for the
editorship of the “Star Chamber” was fathered upon Disraeli. Monypenny, however,
combats this theory. He says: “The 'Star Chamber' was founded by a certain Peter
Hall, a friend of Meredith's at Brasenose, who, through Meredith, had become
acquainted with Disraeli. Disraeli contributed some fables with a political
application under the title of The Modern Aesop, and perhaps other matter. But in
later life he expressly denied ('The Times,' November 3, 1871; the 'Leisure Hour,'
November 4, 1871) having been editor, if indeed there ever was an editor.” This
represents, of course, the most recent and authoritative opinion on the matter;
but it is interesting, on p. 150 of the catalogue of the Hope collection of
newspapers, etc., in the Bodleian Library at Oxford (1865), to find reasons given
for the suppression by Disraeli of all copies of the “Star Chamber” upon which he
could lay his hands. The Peter Hall referred to above was the Reverend Peter Hall,
B.A., editor of “The Crypt.”
(ii) It is because the “Star Chamber” has come to be looked upon as a Disraeli
item that I have included it here, despite the fact that in so doing I exceed the
limit of these bibliographies, which take no account of magazine contributions of
the authors concerned.

1849-1859

THE WORKS OF ISAAC DISRAELI. Edited with Introductions by

Benjamin Disraeli.
Disraeli started work on a new edition of his father's books in 1847,
but the actual publication was, for various reasons, spread over a
period of ten years. The following are the dates and details in outline
of the first issues of the various titles:
1849. CURIOSITIES OF LITERATURE. London: Edward Moxon. 3
vols. Demy 8vo (5½ × 8¾). Dark green cloth, gilt. Yellow end-
papers. Vol. I. contains “A View of the Life and Writings” of Isaac
Disraeli written by his son and extending to over thirty pages.
1851. COMMENTARIES ON THE LIFE AND REIGN OF CHARLES
THE FIRST, KING OF ENGLAND. London: Henry Colburn. 2 vols.
 Demy 8vo (5½ × 8¾). Dark green cloth, gilt. Yellow end-papers.
Vol. I. contains a brief preface by Benjamin Disraeli.
1859. THE LITERARY CHARACTER Or The History of Men of Genius;
and LITERARY MISCELLANIES and AN ENQUIRY INTO THE
CHARACTER OF JAMES THE FIRST. 1 vol. Cr. 8vo.
1859. THE CALAMITIES AND QUARRELS OF AUTHORS. 1 Vol. Cr.
8vo.
1859. AMENITIES OF LITERATURE. 2 vols. Cr. 8vo.
These last three items were all published in London by Routledge,
Warnes and Routledge, and bound in dark green cloth, with yellow
end-papers. They contain no prefaces by Benjamin Disraeli, who
contented himself with care for the text of his father's work.
 NOTE
To a collected edition of his novels issued in 1870 Disraeli wrote an
important preface, characterising the work of his youth from the
viewpoint of a man in his sixties and indicating the considerable
revisions carried out in nearly all the books.
No attempt has been made to include in the foregoing bibliography
the reports of and selections from the speeches of Disraeli, which—
not surprisingly—were issued in large numbers during his later life.
Also are omitted two volumes of his early letters, published after his
death.
 WILKIE COLLINS
1824-1889

WILKIE COLLINS

Few novelists have enjoyed greater glory than did Wilkie Collins at
the height of his fame; to few did loss of popularity in later years
come more bitterly. For fame at one time undeniably was his. Not
only had he a large and enthusiastic public; not only were his works
translated into half a dozen languages within a month of their
original publication; not only was he pestered by the editors of two
hemispheres for stories and serials; but also he figured prominently
in the professional literary life of the time, was the intimate friend of
Dickens, and a member of the innermost ring of artistic and
intellectual society. Probably to his intimacy with the chief literary
personalities of his time is due the considerable survival of his
reputation. Despite the fact that during the last period of his life he
suffered severe eclipse, and although, beyond The Moonstone and
The Woman in White, none of his books are regularly read to-day,
he is a name more familiar to the world than Trollope, a name more
notably literary than Marryat. In the sixties, no less than in the
nineteen-twenties, to belong to the writing set was two-thirds of
reputation. There is no log-rolling so expert, no admiration so
mutual as that existing among members of the various groups that
practise the arts. Whence it has come about that the name of Wilkie
Collins—who as an artist may not be mentioned in the same chapter
as Trollope or Marryat, or even Mrs. Gaskell—is a household word,
while those of his greater fellows sound strangely, as the notes of
some old-fashioned melody.
I do not seek to imply that Collins' survival is in no way due to the
quality of his work. He won the admiration of his own age and may
claim that of posterity as a superb teller of stories and, in his latter
days, as a pathetic and courageous figure. But apart from his
dexterity in the contriving of plot, apart from a great (if intermittent)
talent for the portrayal of abnormal character, he is inferior as a
painter of life to many writers of his time whose very existence is
nowadays forgotten.
And yet he would, perhaps, himself be content to have it so. That it
was the novelist's primary duty to tell a story was his own creed,
and faithfully he abode by it. He does not reveal to us human nature
as does Trollope; nor, like Disraeli, pique our interest with satiric
brilliance on topics of follies of the day; he has none of Marryat's gay
familiarity with the winds that blow and the sun that shines on the
crossroads of life's pilgrimage; he has no fund of rough but genial
humanity like Reade; he is not tender like Mrs. Gaskell, nor mystic
visionary like Herman Melville; even Whyte Melville, with his stilted
rhetoric and clumsy naïveté, has at times an attractive freshness that
Collins lacks. But if we rid our minds of all thought of him as seeking
to throw on the dark places of existence the light of interpretation,
looking to him rather for entertainment and for excitement, for deft
mystery and for extraordinary coincidence, he will not disappoint us.
Of his novels the largest category, and that including all the books
(save perhaps two) that bear re-reading nowadays, is that of the
dramatic and mystery stories.
The first to appear was After Dark, published in 1856. To the modern
reader, the unmistakable first appearance of the real Collins in these
excellent tales comes with a pleasurable shock after the mild
bohemianism of the preceding novel, Hide and Seek. After Dark
consists of six narratives of varying length and subject, ingeniously
woven together into the pattern of a single story. At their best they
are as good as anything the author ever wrote; even at their worst
they are free from the perfunctory carelessness that mars so much
of his later work.
The Dead Secret (1857) and The Queen of Hearts (1859) show the
novelist carrying farther his talent for dramatic construction and his
experiments in technique. Both books contain descriptive passages
of sombre power.
There follow successively the four best books of Collins' career. The
Woman in White (1860), No Name (1862), Armadale (1866), and
The Moonstone (1868) are story-telling as fine as the nineteenth
century can show. But they make evident that, even at his zenith,
Collins was no reader of other men's hearts. He could fashion
ingenious puppets to his will, entangling them in the meshes of his
intricate and faultlessly constructed plots; but neither Count Fosco
nor Captain Wragge, neither Miss Gwilt nor Sergeant Cuff, remains
with the reader as a new friend or as a new enemy. Each is
remembered, rather, as a striking and skilfully designed marionette,
jerking through a Collins drama at the bidding of a delicate
mechanism of strings.
After The Moonstone the decadence began, and, to a point,
accountably enough. In the first place, the author threw himself into
the production of propaganda fiction, with results (as may be seen)
praiseworthy but a little ridiculous. Secondly, he paid the usual price
of success and began to over-write. Whereas between 1850 and
1868 he published eleven novels and books of tales, between 1870
and his death in 1889 he published eighteen, in addition to a mass
of short stories for magazines, plays, and other incidental work.
Thirdly—although not until late in the seventies—his health began to
fail. With reasons as good as these for a falling off in Collins' work, it
were ungracious to inquire whether, had he eschewed reform,
controlled his pen, and retained his strength and eyesight, his fiction
would have advanced from strength to strength. Perhaps; perhaps
not. Let us return from hypothetical dilemma to melancholy fact.
After The Moonstone the decadence unmistakably began.
When next he came before the public with a novel of plot, and left
for a moment the righting of public wrongs, his offering was
mechanical enough. The Two Destinies (1876) is built on a series of
coincidences so incredible, that even Collins' candid claim to search
the very border-line of impossibility for material of which to make a
story cannot reconcile us to their unlikelihood.
The Haunted Hotel (1879), Jezebel's Daughter (1880), and I Say No
(1884) mark a slight improvement, and can be read with pleasure
for the unfailing ingenuity of their design. The Evil Genius (1886) is
in the nature of a bad relapse, from which the dramatic tales never
wholly recover, although, of the three remaining, Little Novels (1887)
and The Legacy of Cain (1889) are not without flashes of the old
skill and invention. Blind Love, finished by Sir Walter Besant and
published posthumously, may perhaps claim immunity from criticism.
As a novelist of indignation Collins is pathetic rather than
blameworthy. He had the usual fanaticisms of the invalid intellectual
—hatred of athleticism, of sport, of legal injustice, of religious
intrigue, of social insincerity; and his propaganda novels give
expression to his passionate dislikes with a petulant but rather
impressive sincerity. Fortunately for the modern reader of books
which by their very nature are now out of date, Collins did not fail,
even in his tilting at windmills, to regulate his movements with
practised skill. Wherefore all but one of the propaganda novels have
well-contrived plots and continuity of interest, which those will enjoy
who can disentangle the fictional from the instructional in the stories'
purpose. These “indignation novels” are six in number:
 Man and Wife (1870),
The New Magdalen (1873),
The Law and the Lady (1875),
The Fallen Leaves (1879),
The Black Robe (1871), and
Heart and Science (1883).

That in other books are present elements of reforming zeal I am

aware—for example, the abuse of private asylums figures in The
Woman in White and, as mentioned below, there is a propaganda
aspect to Basil; but the six above named have their origin wholly in
the author's loathing of some injustice or some social evil.
Man and Wife illustrates the cruel working of the marriage laws of
the United Kingdom and, incidentally, voices the author's conviction
that athleticism was at the time rapidly brutalizing the youth of
England. The Law and the Lady ventilates another grievance against
legal injustice in matters sexual. The New Magdalen and The Fallen
Leaves are protests against the outlawry of the prostitute and of the
girl who gives herself, unhallowed by the religious rite, to love. It is
strange that, of two books on the same subject, one (The New
Magdalen) should be the best novel of its class and not far below the
highest level ever attained by the author, while the other (The Fallen
Leaves) should hold the last place among everything that Collins
wrote. The New Magdalen is a moving and dignified treatment of a
very difficult theme; The Fallen Leaves, from its aggressive preface
to its sugary, unreal end, is tragic proof that high motive and
technical efficiency may yet come together and produce only
imbecile hysteria.
The Black Robe is anti-Jesuit; Heart and Science anti-vivisection.
Both are readable, and the latter something more. It may be noted
that Collins himself called Heart and Science his best novel since
Man and Wife. Probably opinion to-day would set it above that
humourless and over-appendixed story, but it must rank below The
New Magdalen and, possibly, also below The Haunted Hotel.
The novels that remain may hardly be classified. Antonina, the story
of Ancient Rome, with which in 1850, and following a fashion of the
day, he began his novelist's career, is essentially a first book—
painstaking, over-elaborate, and dull.
It was succeeded by Mr. Wray's Cash Box (1852), a brief and
sentimental tale, mainly interesting for the evidence it provides of
Dickens's influence over the young Collins at the very beginning of
their long friendship. Those who enjoy hearty Christmas jollity,
lovable if ludicrous old age, uncouth fidelity, incompetent villainy,
and sweet simple maidenhood will find Mr. Wray's Cash Box pleasant
enough.
Basil (1852) and Hide and Seek (1854) are novels of contemporary
life, a little sombre, emotionally a little exaggerated. There is a hint
of crusading fervour in Basil (against drunken nurses and hospital
routine), but the motif is not strong enough to class the book as a
propaganda novel. The young author (as many both before and
since have done) found stimulus for these books in the pathetic
figure of the debauched girl; but she receives at his hands treatment
little different from that usually given her by serious neophytes,
eager to paint her tragic isolation for the improvement of the novel-
reading public.
There is in Hide and Seek an element of interest apart from that of
the story itself. Much of the action takes place in a painter's studio,
and Collins has full scope for showing his fondness for art, an
enthusiasm suitable enough in the son and biographer of a
distinguished painter, but somewhat uncommon among novelists of
his age. Throughout his work he makes play with knowledge of
contemporary painting, displaying decided and on the whole
admirable taste, often well in advance of his time.
Poor Miss Finch (1872) is more a story of contemporary social life
than either a novel of mystery or one of propaganda. It may
therefore appear here as pendant to the two early books just
described. The central figure is a blind girl. In Hide and Seek the
author took credit to himself for introducing a deaf mute, but as the
affliction plays no part in the story one must refrain from joining in
the applause. The blindness of Miss Finch, on the other hand, is the
pivot of her tale, and a very elaborate, improbable, and overcrowded
tale it is. The fact is regrettable. Neatly contrived, related in a series
of narratives from different sources and from different points of
view, based largely on the antagonism of two brothers, and
pervaded by the wise spirit of an elderly governess-companion, this
novel is so nearly an epitome of the methods and tricks of Wilkie
Collins, that one could wish it more thoroughly a success.
And here, save for scattered volumes of short stories and one or two
brief and unimportant novels, ends the tale of Collins's books. He is
a writer for tired minds, capable—thanks to his perfect control of the
mechanism of incident—of holding the interest without calling on the
emotional reserves of his reader. His influence on the novel of
sensation has been enormous. It is the least of his due that a
generation brought up on the mystery stories of his disciples should
find time to turn over the principal works of the master himself.
 BIOGRAPHY
The only biography of Wilkie Collins which has yet been published is
an insignificant German book issued in 1885.
 EDITIONES PRINCIPES
A.—FICTION, ESSAYS, BIOGRAPHY, ETC., AND
ONE BOOK WRITTEN IN COLLABORATION

1848

MEMOIRS OF THE LIFE OF WILLIAM COLLINS, R.A.: With

Selections from his Journals and Correspondence. By his son, W.
Wilkie Collins. London: Longman, Brown, Green and Longmans.
MDCCCXLVIII. 2 vols. Ex. Cr. 8vo (4¾ × 7⅞).

Vol. I. pp. xii + 348. Publishers' catalogue, 32 pp., dated April

29, 1848, bound in at end.
Vol. II. pp. vi + 354.
No half-titles. Brown-purple (or grey-blue) cloth, gilt, blocked in
blind. Yellow end-papers. Vol. I. contains engraved portrait after
Linnell and engraved title-page after Collins, immediately
preceding printed title. Vol. II. contains engraved title-page after
Collins, immediately preceding printed title.
Note—This book was published in November, 1848.

1850

ANTONINA: Or The Fall of Rome. A Romance of the Fifth Century.

By W. Wilkie Collins, author of The Life of William Collins, R.A.
(Quotation from Scuderi.) London: Richard Bentley, New
Burlington Street. MDCCCL. 3 vols. Tall Ex. Cr. 8vo (4⅞ × 8).
Vol. I. pp. xiv + (ii) + 295 + (1).
Vol. II. pp. (viii) + 338 + (2). Publisher's advertisements occupy
pp. (323) and (324).
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