Vathek and Other Stories

by William Beckford

  Meanwhile, in North America, Robert Gemmett produced scholarly editions of both Biographical Memoirs and Dreams. Kenneth Graham, whose text of Vathek has been used in this collection, focused attention on aspects of Beckford’s literary awareness. Recent French effort has been concentrated on publishing texts of which the series edited by Didier Girard is the most notable. These early stories, mostly written in French may lead to a reassessment of the literary value of Beckford’s juvenilia.2 Articles, reviews and commentaries on Beckford have continued to appear in books, learned journals, catalogues and newssheets.3 Several international seminars, one at Lisbon in 1987 and another at Bristol in 1991 were devoted to Beckfordian themes.

  Clearly the time for reassessment of Beckford’s literary worth has arrived. The selections from this volume, which necessarily have had to exclude important works such as his Episodes of Vathek, his lively and voluminous correspondence or some of his brilliant early tales, show the range and quality of his literary production. They show too how Beckford was always experimenting, changing from one genre to another, mixing story-telling with satire, burlesque with horror, travel description with fantasy, dream sequences with detailed observations of men and manners and all this with that ‘curious felicity’ which Dr Johnson observed is to be found in the best of writers and poets.4

  A NOTE ON EDITORIAL POLICY

  With the exception of the text of Vathek, which is produced in full, it has not been the intention in this reader to produce definitive texts for the extracts from the other eight works of Beckford represented in the collection. However, some attempt has been made to achieve consistency and to present versions that Beckford himself approved. To facilitate the modern reader, the long ‘S’, the connected ‘c’ and ‘t’ have been edited out; some punctuation has been added where the sense has required it and capitalization has been standardized. Original spelling has been retained.

  Two of the works represented in this anthology were not published until the twentieth century. In the case of the first of these, The Long Story, Professor Guy Chapman’s edition of 1930 (which he took from the manuscript and entitled The Vision) has been used with slight adjustment to meet the requirements mentioned in the first paragraph of this note. In the second case, that of the Journal of 1787, the original manuscript1 has been used since Boyd Alexander, in preparing his edition of 1955, made various alterations and modernizations to the text.

  Two further selections from Chapman have been used. The first is for the Sketches, where he chose the second edition of 1834, overseen by Beckford. The second is for the Recollections where he used the only edition during Beckford’, s lifetime, that of 1835. In the case of the four other works, only editions published in Beckford’s lifetime have been used. In all six cases, a text which Beckford approved and which least offends modern bibliographical practice has been chosen2. That leaves Vathek, which has always been Beckford’s best known work, unaccounted for.

  The history of the text of Vathek, as Roger Lonsdale succinctly shows in his introduction, is exceedingly complex.3 Beckford first wrote the work in French. While an English edition was being prepared under his supervision, it was published without his authority (in fact specifically against his instructions) in 1786 by Samuel Henley while Beckford was on the Continent. In response, Beckford rushed out a French version at Lausanne in the following year, 1787, and late in the same year, a new edition, revised by Beckford, appeared in Paris. A further French edition appeared in 1815. Meanwhile, as Kenneth Graham has pointed out, the English version of the text followed a course of its own.1 In 1809 Henley’s edition was reissued. In 1816 the so-called third edition was published. Five more editions appeared in Beckford’s lifetime: in 1823, 1832, 1834 (two versions) and in 1836; meanwhile in America three versions were published, one in 1816 and two in 1834.

  The text used here was established by Kenneth Graham in 1971 as part of his doctoral thesis in the University of London.2 In producing that definitive edition, Kenneth Graham began with the 1816 (revised) edition; then he examined the variants in all the editions in Beckford’s lifetime which we have cited. Where ambiguity persisted, he consulted French editions. By a systematic and thorough implementation of modern bibliographical practice, he arrived at his definitive text. The full critical and explanatory apparatus attached to that edition has not been reproduced here but it may be consulted by scholars in the thesis itself. I should like to record my warm appreciation to Professor Graham for allowing his text to be used in this reader.

  Notes to the texts have been kept to a minimum. Where Beckford himself made notes these are included and his authorship is identified. In the case of Vathek they are put at the end because of their bulkiness and because they have always been regarded as part of the text.

  1992

  M.J.

  The new Penguin Classics edition of this book has provided the opportunity to make some minor corrections and adjustments to the original.

  1994

  M.J.

  ABBREVIATIONS OF BECKFORD’S WORKS

  Azemia

  Azemia, A Descriptive or Sentimental Novel.

  Biographical Memoirs

  Biographical Memoirs of Extraordinary Painters.

  Dreams

  Dreams, Waking Thoughts and Incidents.

  Journal

  The Journal of William Beckford in Portugal and Spain, 1787–88.

  Modern Novel Writing

  Modern Novel Writing or the Elegant Enthusiast.

  Recollections

  Recollections of an Excursion to the Monasteries of Alcobaςa and Batalha.

  Sketches

  Italy, with Sketches of Spain and Portugal.

  The Vision

  The Long Story.

  Vathek

  Vathek, An Arabian Tale.

  ABBREVIATIONS OF SECONDARY WORKS CITED IN NOTES AND REFERENCES

  Alexander, E.W.S.

  England’s Wealthiest Son, by Boyd Alexander (London 1962).

  Alexander, Intro

  Introduction to Recollections of An Excursion to the Monasteries of Alcobaça and Batalha, ed. by Boyd Alexander (Sussex, 1972).

  Fothergill

  Beckford of Fonthill, by Brian Fothergill (London, 1979).

  Gemmett, Dreams

  Introduction to Dreams, Waking Thoughts & Incidents, ed. by Robert Gemmett (Cranbury, New Jersey) 1969.

  Gemmett, Memoirs

  Introduction to Biographical Memoirs of Extraordinary Painters, ed. by Robert Gemmett (Cranbury, New Jersey, 1971).

  Lonsdale

  Introduction to Vathek, ed. by Roger Lonsdale (Oxford, 1983).

  Oliver

  The Life of William Beckford by J. W. Oliver (London, 1932).

  Redding

  Memoirs of William Beckford of Fonthill by Cyrus

  Redding, 2 Vols (London, 1859).

  CHRONOLOGY OF WILLIAM BECKFORD

  1760

  (29th September) Born at Fonthill, Wiltshire or in Soho Square,

  London

  1768

  Robert Drysdale appointed his tutor

  1770

  (June) Death of his father

  1772

  John Lettice became his tutor

  1773

  Alexander Cozens appointed his drawing master

  1775

  Began writin exotic tales

  1777

  (Summer) Sent to Geneva (with Lettice), wrote The Long Story (The Vision) and Hylas

  1778

  Visited the Grande Chartreuse

  Brought back to England by his mother

  1779

  Travelled around England, visiting cathedrals and houses including

  Powderham Castle where he met William Courtenay, aged 11

  1780

  Biographical Memoirs published (June) After witnessing Gordon

  Riots in London, left on Grand Tour of Low Countries, France & Italy with Lettice

  Stayed with Hamiltons in Naples

  1781
<
br />   (April) Returned to England and began writing travel account

  (September) Coming-of-age party at Fonthill

  (December) Christmas Party with de Loutherbourg’s effects, inspiring him to begin an Arabian tale

  1782

  (January to March) wrote Vathek in London while his affair with Louisa Beckford developed

  Set out for Germany and Italy, returning to England in November

  after the death of Lady Hamilton in Naples

  1783

  Suppressed Dreams under family pressure; began writing Episodes

  (May) Married Lady Margaret Gordon

  Left England for honeymoon in Paris & Switzerland

  1784

  (March) Returned to England, became M.P. for Wells

  (September) Powderham scandal

  Campaign against him in the London press

  1785

  Correspondence with Henley about Vathek

  (April) Birth of daughter, Maria Margaret Elizabeth

  (July) Left for Switzerland with family on advice of his mother, aunts and guardians

  1786

  (May) Birth of second daughter, Susan Euphemia (later Duchess of Hamilton)

  Death of Lady Margaret eight days after that birth

  (June) Vathek published in English by Henley without permission

  1787

  (January) Returned to England from France

  (March) Sailed to Lisbon, met the Marialvas

  (June) Paris edition of Vathek published

  (December) Left Lisbon for Madrid

  1788

  (June) Left Madrid for Paris

  1789

  In Paris for storming of Bastille (October) Returned to England

  1790

  (October) Returned to Paris, collecting obiets d’art

  1791

  Published Popular Tales of the Germans (translation) Stayed in Paris

  1792

  Travelled in Savoy and Paris

  1793

  France declared war on England

  Traitorous Correspondence Act

  Hidden in Chardin’s bookshop (May) Returned to Fonthill with a plan for a new house

  (November) Departed for Lisbon

  1794

  During his residence in Lisbon, made an excursion to the monasteries of Alcobaça and Batalha

  Resident in Monserrate Sintra

  1796

  (June) Returned to England Publication of Modern Novel Writing

  1797

  Publication of Azemia

  Offer to act as mediator between British Government and France rejected by Pitt

  1798

  (July) Death of his mother

  (October) Departed for Lisbon

  Resident in Monserrate Sintra

  1799

  (July) Returned to England

  Story of Al Raoui published

  Beginning of construction of Fonthill Abbey (by James Wyatt)

  1800

  Visit of Sir William, Lady (Emma) Hamilton and Lord Nelson to Fonthill

  1801

  Resident in Paris France & Savoy, collecting furniture and antiues

  1807

  Moved into Fonthill Abbey, supervising and adding to construction

  1810

  Marriage of Susan Euphemia to Marquess of Douglas, later Duke of Hamilton

  1811

  Elopement of Maria Margaret Elizabeth with Colonel James Orde

  1814

  Visited Paris

  1819

  Visited Paris

  1822

  Sale of Fonthill and part of his collection through Phillips to John Farquhar for £300,000

  Moved to Lansdown Crescent Bath

  1825

  Main tower of Fonthill Abbey collapsed

  1827

  Beckford’s tower built at Bath

  1829

  Began Liber Veritatis

  1834

  Publication of Sketches

  1835

  Publication of Recollections

  1844

  (2nd May) Died at Bath

  THE VISION

  From The Long Story, 1777 published as ‘The Vision’ by Guy Chapman, London, 1930

  THE VISION

  MANUSCRIPT OF A ROMANCE

  I happened accidentally to open my casement: the moon shone bright in the clear sky illuminating the mountains. I stole away silently from the gay circle of company and passing swiftly the garden of flowers, the orange trees and the grove betwixt the house and the rocks set my feet to some steps cut in their solid sides. Luckily I had mounted the hundred steps which lead to the first flat crag of the mountain before a dark grey cloud fleeting from the north veiled the moon and obscured the light which conducted me. What could I do! the steps were too steep, too precarious, too irregular, to descend in darkness; besides, tho’ darkness may prevail for a moment light will soon return; I must not despair; so folding my arms I sat patiently on a stone which time had smoothed with moss.

  Wayward fortune! how many at this instant curse thy power, how many deprecate thy rage by patience and resignation! Of that number heaven grant I may be such was my short prayer. A long series of thoughts crowded on my mind. I recollected past events. I prophesied future. I rejected my prophesies. I thought all a dream; the next moment every thing seemed real. I cast my eyes on a glow worm which glimmered by. ‘Ah,’ cried I, ‘we are all reptiles and the most distinguished of us but glow worms.’

  I had almost forgot myself and my situation when the moon emerged from her concealment shewing the leafy woods and the rocks beneath, my mind was travelling in another world of fancy and I forgot that I came to view the lake by the azure moonlight. Rousing from my trance, and calling my strength to my assistance, I clambered the steeps, now grasping the stump of an antiquated oak, now helping myself along by the uncertain fragments of the mountains. ‘Surely my time is not yet come, surely I am reserved to fall from the precipices of the Andes or the more probable precipices of ambition,’ exclaimed my vanity, when I attained a summit from whence I looked down on the dreadful rock I had surmounted, a rock that in truth I believe was never before trod, ‘or else I should have fallen from on high an instant ago and been dashed against the points or mangled by the hawthorns,’ those hawthorns I had so often admired, plants to which I had addressed a volume of nonsensical apostrophes to whom I have often sung in the plaintive simple Scotch measures,

  In April when primroses paint the green ground

  And summer approaching rejoices the year

  The yellow haired laddie would often times go

  To wilds and deep Glens where the Hawthorn trees grow.

  I was much embarrassed how to1 get down again but I considered that I was now to think how I should get up to my point; for the lake rose not yet upon my sight. Again I paced along a rugged goat path, hanging over a shaggy pointed promontory jutting forwards over the forests, dark shades enveloping their beauties, and the moon but rarely discovering its glimmer amongst the leaves. Now I found my path finish its course and where think you did it lead to? Not to a summit from whence an extensive landscape was to be surveyed nor to a forest of Pines, the natural production of a mountain, but to a gloomy dell skirted with huge masses of rock troubled by winds that howled desolation, and torrents that flowed in narrow encumbered channels sending forth a discordant hollow murmur. When I cast my heavy eyes upwards, no chearful object appeared to relieve them, no tree was rooted in the crevices, no shrub diversified the shaggy promontories around, nothing was seen but rocks and water; all served to abstract it from the more chearful scenes of nature and to stamp it with a cast of sublime singularity. ’Tis true the moon gleamed the faint light which discovered this scene of melancholy grandeur; but then her orb was retired from the small portion of the concave azure discernible above my head and the scanty opening that the rocks admitted off was canopied with clouds. The glances of that glorious planet gave the rough pinnacles of stone strange fantastic appearances; s
ometimes they assumed the air of gigantic idols, sometimes obelisks and pyramids2 of mysterious shape and uncouth sculpture seemed to stand confessed3 around.

  The awful majesty of the place bowed me down and I crept along the cold flat surface of the stone, fearfully approaching the torrent brink, casting one glance and then retired shivering to the nooks of the precipices. As I crawled in one of these panics along, not venturing a look beyond my stony track, my eye caught a spot where the moonlight shone most strongly, on which I thought was impressed the stain of blood. ‘Ah, ’tis too true, it must be this horrible valley is the temple of some accursed superstition. Here the evil spirit brooding over man instigates some foul compact. These grim idols, these mystic pyramids, this blood, the soul of some wanderer spilt as a sacrifice to fiends too plainly indicate what ceremonies are here acted. Here resort, before an hour past, haggard wretches abandoned by the mercy of heaven, a miserable few shrinking from mankind and burying themselves in this gloom to work mischief and pour destruction on those who ages past may have offended them. Revenge, the baneful passion, is their soul and for which they blot their names from the Book of Life4 and sacrifice an eternity of happiness. Hark! was not that their yell amongst the mountain peaks on high? No; it was but the wind thro’ that time worn crevice; but it was enough to chill my heart. And art thou so sunk, William!5 art thou reduced to the level of such as these? Is thy conscience troubled, is thy reason fled, fearest thou the harmless gust of air that makes mock melody amongst the cliffs? Arise then from thy abject posture cast away thy feverish fancies and resume the attitude of man.’ I arose! the warm blood flowed again round my heart and my limbs required their accustomed motion. I sternly viewed the pinnacles of rock and saw they were but pinnacles. I looked down on the red stain and it was but the tint of nature. The resemblence of idols, the imaginary purpose of the place, the fears of the torrent had rolled far away and left a sublime landscape rendered placid by the moon. Now I ventured to the farther end of the valley divested of all its terrors and ascending from chink to chink and from one projecting fragment to another set a foot on the healthy brow of the mountain top whilst the other was suspended over the space below. The dangers I had surmounted emboldened me and I gazed at the lake, smooth as a mirror, the range of hills, mountains and peaks projecting seemingly into the waters and casting long tracks of shadow which obscured the cultivated plains, the cities and the villages. How shall I paint the clear azure deep of air, the brilliant silver clouds tempered by modest grey hovering round that orb, that world, that habitation of unknown beings, steering its majestic course along these azure plains of sky, moving by the wonderful impulse of him who fixed it in its sphere, marked out its track and bid it equally diffuse its light to the Hemisphere.1 Observe! how that peak brightens at its approach, see how its snows imitate the celestial lustre. The long range of Alpine mountains catch the beams, they glisten, they array their summits with the same vesture.