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"A Melancholy Clown" -- the Relationship of Robert Seymour and Charles Dickens

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"A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Cohen, Jane R. 1971. "A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens. Harvard Library Bulletin XIX (3), July 1971: 250-279. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37364245 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA "A Melancholy Clown"- The Relationship of ltobert Seymour and Charles Dickens* Jane R. Coben ICKEN s' first illustrator ir nme asurab1 y aidc d his literary as- cent; his second inadvertently skyrocketed him to fan1e.. If the young ,vriter found ,vorking \Yith established vet- erans a mixed hlessing~the consequences for the arrisrs \vcre tragic~ Cruiksha.nk~s extended re]2tJonsl1ip,virh Dickens contributed to his 1nental dernnge111ent;Robert Scyn1our's hrie.f jnvolve,nent ,vith the author fatally· unbah1nced a long-disturbed 1nind. Seyn1011r,,vho ,vas kno,vn in the early 183o's for his hu1norous sporting .sl~etches., is ren1em here d no, v 1112i 111} 7 ns th c first of Pickwick"s t hrcc illustrators; his heirs., like Cruikshank, clai1ncd the artist originated u "~ork of Dickens. Un]i ke Crniksh~nk, Scyn1our recci vc d n1orc attention f ro1n Dickens after his deatl1 than during· l1is nbbrevjatcd Jifetin1e, but less frorn posterity· -asan original genius in his o,vn right. A first no\1'elhas its vulnerabilities as ,vell ns its imn1nnities, Forster might have added. Ccrtainl)T one of the distinctions benveen Tbe Pick'(,vickPnpers 2nd the rest of Dickens' ,vrjtings "appears in ,vhat • All ciuni on s to the '-''or k of Char I es DI c kens, Robert Seymour i <'l.ndGeorge Cruikshank., given p~rcnthcticnHy in the text of this study, refer to their ]ocations j n T/J e Non f s-uc-li Dickens, c d+Arthur V? aug h, Hugh \\ 1alp oiei lV '1.ltcr Dexter! and Th 0111'cls Hatton ( ll loon1s b\uy ! r 9 3 8) . ,:~/hen rele\Tan t, the or igjnal date and place of publication of a Dickens ,vork ~re !;npplied in a ~eparutc footnotci as are all the sources of Djckens 1 correspondence. and of the reproduced illustrated nlatter. The follo\ving a.hhrevi:nions: h:nTcbeen u~cd: NL,l,ll,lll The Letters of Cbarles Dickensi etl~ Vlalter Dexter (Bloomsburyt 1 938) '-"hich \V ill be .superseded by pj]grimJ 'P/Je Letter~ of C!JarlesDir.kJns., ed. i\-iadeUne House nnd Gndi:.=i.tn Storey ( Oxford, 1965-). \T oh.1rnes I and 11, coYerjng the yea.rs r820--184r t h::nTcappe~red at this date of \\Ti ting~ Unpub, Pjlgrjm - ''.i\iS Files of the PHgrim Ed1tion of Charles Dickens"' Lettcrsj'i ed. 1\.:Iade] ine House and Graham Storey. :2.50 Harvard University - Houghton Library / Harvard University. Harvard Library bulletin. Cambridge, Mass., Harvard University Library. Volume XIX, Number 3 (July 1971) hgs been said of jts origin.. n 1 llobert Scyn1our indisputably· ini- tiated ,vhat became the in1111ortal ta1e of i\1r .. Pick,vick and his friends; to ,vhut extent the a.rtist orjgi11nted the book rc1nains the central proble1n in dealing ,vith Dickens and his second illustrator. The issue is further co1np]icated by the lack of reliable inforn1ation about tl1c artist. ''Considering the great a1nount of ,vork produced by Scyn1our, and the \videspread popularity· enjoyed by hin1 in his da.)T/'-observed the Atbenneu1J1in r 887, "it js ~stonishing that .so little should be kno,vn of hirn in our time.'~>2 Eight) 7 years later~ 1itt]e n1ore is k no, vn. I(n O\V ledge of the artise s ,var k ,vith Dick ens still d crivcs from the biased accounts of the increasingly exacerbated author 3 and rhc surviving Pickwick pub]isher,4 ,vhich contr~dict those of the ar- tises aggrieved ,vido,v 6 and son G 3s ,vcll as the report of Scy1nour's tempo nu y l)ickwi ck success or, Rob crt Buss. 7 These circu n1stantial records~ all ,vrittcn long after the events they .set forth 1 are hardly dis- 1 John Forster, Tbe Life of C/Jffrles Dickens, ed. J. ,~v~T. Ley (London> ,928)t p. 88 . .::[Ch\lrlc.s Johnson], ~,.:.pjck,vick~ and lts IHustn1tors,.'1 Tbe Atbe~ure1nn, No. 3110 (4 June 1887), 737. a Charles Dickens 1 Preface to the 1847 First Cheap Edition of The Pickwick I'apers1 reprinted in J\lonesuch Pickwick Papers~pp. x,Tii-xix; "''History· of 'Pick- ,vick,'" 1,!'JeAtbcnactnn, No~ 2005 (3 1 1\1:arch 1866 ), 430, reprinted in Nonesuch Collected PnJ~ers, f 1 ) n8'-:no; ~nd Prcfoce to x868 The CliarJeg Dickens edtdon of Tbe Pickwick Papers, reprinted in Nonesuch I'ick•r.vick Papers,.pp. xxi-xxiii, 4 Ed\vard Ch~ptnan, Letter to Charles Djc"kcns~9 J alr 1849, i.vhich Dickens uti- Jizcd in his 1866 Atbe1uteuHt anide and g~ve for safekeeping in 1867 during hjs second trjp to America to Forster, \vho reprinted ir, perlrnps only jn part, pp. 74-76. i1rs. Jane Holmes Scyn1our, An Arr-ouut of tbe Origin of the upJck'4.1,,ickPa- pers'' (London:· private1y printed, 18 54), reprinted in '''~ l\1illcr und E. H .. Strange, A CentnMry Bibliograpby of tbe I'ick'l.vjck Papei·s (London, 1936), pp. J S~i I4. - The =iuthor's O1vn copy is contained in the '\"\'jden~r Collcctjon. Page numbers refer b cth to th c ori gina] copy fl nd to the xe printed one in rvJil I er and Strnn ge [in brackets J . i Robert Seymour, ''Seymour 1s-Sketches,'' Tbc Atbenaeuni, Nor 2004 ( 24 .i\-1arch r866)., 398-399, reprinted jn Mi11er and Str~ngc, pp. ;n6-z r7, rrnd see fRobett Scy-- mo,1rrJ uTh e Life of Roh crt Seymour, ,:i, S eJ11r1our! s S ket e !:ns (London, 1 86 7), pp. 3-8 1 -and footnote 83 lJe]ov,/~ 7 1 Robert \V. Iluss 1 "' J\'fy Conncxjon ,vith Tbe I'lckwick Paper.rt :z 1\1a.rch 187z, first pu bUsh cd in "ll/ alter Dexter c1n d J. \\'. T. Ley, T be Orig in of Pickr..vic k (Lon- don, 1936)t pp. r 09-139. Iluss•s [account is useful as hcing sy1npathetic to the Sey- mou rs, though h-a.rdly id en ti ca1 to theirs~ His a cc oun t~ probably bc1sed on i n.forma~ ti on prov j dcd by the Seymours or their symp arhjzersi ga 1ns crcdi bi lity :a.sit ,vas not '-"Vritten for p u bli ca rj on, but for hjs chi Id ren. His defense of S cymour :seen1s some- i.·vhat gratuitous, ho,veve.r, as his o\vn compfoint, in contrfl.st to t'hat of Sey-moues f~n1ily1 is agai[1st the pub]ishers Iather than Dickens~ Harvard University - Houghton Library / Harvard University. Harvard Library bulletin. Cambridge, Mass., Harvard University Library. Volume XIX, Number 3 (July 1971) 252 Harvard Library B11lleti11 interested. The sole uudisputcd fact of tl 1e ilI ustrator ts asso ci ati on \vith Boz remains) as Forstcr blandly put it, that 1bet\veen the first and ~ec.ondnun1ber of Pick·wick, the artist, l\1r. Scy111our1 d1ed by hfa o,Yn h-and_,.,s Dicken_scould 11ot kno,v that the origin of Tbe Pickwick Papers ,vas as rooted in Sey-i11our~stroubled beginnings as the ,vork's dc,Tcl- optnent ,vas in his o,vn. The book proved no exception to the artist' .s long experience that each apparent success \Vas but a failure in dis- guise. The 1 'posthun1ous~~ child of Son1crset '~gentleman~'' ~s the \lictorians cuphc1nistically termed ]1is jllcgitin12te hirth, Scy1nour had received such a scanty education jn the care of his mother that, accord- ing to Buss, he Jong continued "''to 1nurder the Queen's Engl1sh.. n ° If the Roy-alA.cademy's acceptance of h1sc~nvas of a subject fron1 T,asso in· 1 8 2 2 seemed to justify Seymour"'shaving quit an -apprenticeshipto a pattcrn-draftsn1an, its rejection of his subsequent ,vorks left hinl Oill)7 ,vith a frustrated desire to pursue ' 1I-Iigh J\.rt."'' This failure and the need of pouring Hthe blessings of lifen around J'd.ne I-Iolmes, his :fir.stcousin a.ndt fron1 i 827 1 his ,vife, ,vho unahashedl)r ,vrote that her ''sn1iles and fro,vns,~ had al,vays been ' 1the clouds -and sunshincu of his Jife,1uforced Se37n1our to revert to illustrating for a livelihood~ His clear, minute style of drtnving, gained during the despised apprentice- .ship, enabled him to 1naster qnickl) 7 the techniques of ,,~cod-engraving and lithography. Learning to etch on stcel-plntcst ho,vever~ the artist not only drc,v his inspiration fron1 the style and manner of Cruik~hank, but even affixed the 1101n de phn11e of Shortshanks to .so1neof his ear- lier caricatures until his Islington neighbor protestcd.:11 B)r 1834 Sey-- n1our ,vas fully established as a popular cnrican1r1stin his o,vn right, but never in his o"\'vnmind, to judge by· his nun1erous brc-a.kdo,vns.12 r. Forster! p, 77. ri Russi p. 111 .. 10 .J\1r~.Se.y1nour, p. 3 5 [:i 14], 11 [RoLcrt Seymour?] i p.
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  • Genesis and Revision of Sketches by Boz

    Genesis and Revision of Sketches by Boz

    GENESIS AND REVISION OF SKETCHES BY BOZ NOBUYUKI MURATA There is little original in this paper. It is merely an effort to present in coordinated form for easy reference a collage of the essays of some distinguished sch- (I) olars who have dealt with the surroundings of Sketches by Boz. It is in reality im. possible for students outside Dickens's mother-country England to examine and quote the original texts in several periodicals of his pieces or to give their own essays credit for originality and authenticity. They are obliged to make accurate use of the criticism of others, with more or less regret. This paper deals with the genesis and publication of the Sketches in various periodicals, their revision and collection for the two-volume edition of 1836 (Feb. and Dec.), their further revision for the monthly­ part issues in 1837-39, eventually collected in the one·volume edition of 1839, and the final revision in 1850 for the Cheap Edition. They are followed by typical exam­ ples of revision in some aspects, and by a study of Dickens's intention and meaning in all his revision. It is clear at a glance that he is endowed with a talent for journalism. As his many biographies show us, he would have succeeded as journalist (an editor or a newspaper reporter) to the extent of general recognition. He was, of course, unable to satisfy himself with such trifling jobs as these. His ambition was on a larger scale and was boundless. As a matter of fact, however, Dickens got deeply involved in the journalistic world of magazines from his very start as an author.