The Travels and Surprising Adventures of Baron Munchausen

by Rudolf Erich Raspe

  Strangers had already begun to come down to the place in the hope of getting a glimpse of the eccentric nobleman, and foolish stories were told of his thundering out his lies with apoplectic visage, his eyes starting out of his head, and perspiration beading his forehead. The fountain of his reminiscences was in reality quite dried up, and it must be admitted that this excellent old man had only too good reason to consider himself an injured person.

  In this way, then, came to be written the first delightful chapters of Baron Munchausen’s “Narrative of his Travels and Campaigns in Russia.” It was not primarily intended as a satire, nor was it specially designed to take off the extravagant flights of contemporary travellers. It was rather a literary frivolity, thrown off at one effort by a tatterdemalion genius in sore need of a few guineas.

  The remainder of the book is a melancholy example of the fallacy of enlargements and of sequels. Neither Raspe nor the baron can be seriously held responsible for a single word of it. It must have been written by a bookseller’s hack, whom it is now quite impossible to identify, but who was evidently of native origin; and the book is a characteristically English product, full of personal and political satire, with just a twang of edification. The first continuation (chapters one and seven, to twenty, inclusive), which was supplied with the third edition, is merely a modern rechauffé, with “up to date” allusions, of Lucian’s Vera Historia. Prototypes of the majority of the stories may either be found in Lucian or in the twenty volumes of Voyages Imaginaires, published at Paris in 1787. In case, however, any reader should be sceptical as to the accuracy of this statement he will have no very great difficulty in supposing, as Dr. Johnson supposed of Ossian, that anybody could write a great amount of such stuff if he would only consent to abandon his mind to the task.

  With the supplementary chapters commence topical allusions to the recently issued memoirs of Baron de Tott, an enterprising Frenchman who had served the Great Turk against the Russians in the Crimea (an English translation of his book had appeared in 1785). The satire upon this gallant soldier’s veracity appears to be quite undeserved, though one can hardly read portions of his adventures without being forcibly reminded of the Baron’s laconic style. It is needless to add that the amazing account of De Tott’s origin is grossly libellous. The amount of public interest excited by the aeronautical exploits of Montgolfier and Blanchard was also playfully satirised. Their first imitator in England, Vincenzo Lunardi, had made a successful ascent from Moorfields as recently as 1784, while in the following year Blanchard crossed the channel in a balloon and earned the sobriquet Don Quixote de la Manche. His grotesque appropriation of the motto “Sic itur ad astra” made him, at least, a fit object for Munchausen’s gibes. In the Baron’s visit to Gibraltar we have evidence that the anonymous writer, in common with the rest of the reading public, had been studying John Drinkwater’s “History of the Siege of Gibraltar” (completed in 1783), which had with extreme rapidity established its reputation as a military classic. Similarly, in the Polar adventures, the “Voyage towards the North Pole,” 1774, of Constantine John Phipps, afterwards Lord Mulgrave, is gently ridiculed, and so also some incidents from Patrick Brydone’s “Tour through Sicily and Malta” (1773), are, for no obvious reason, contemptuously dragged in. The exploitation of absurd and libellous chapbook lives of Pope Clement XIV., the famous Ganganelli, can only be described as a low bid for vulgar applause. A French translation of Baron Friedrich von Trenck’s celebrated Memoirs appeared at Metz in 1787, and it would certainly seem that in overlooking them the compiler of Munchausen was guilty of a grave omission. He may, however, have regarded Trenck’s adventures less as material for ridicule than as a series of hâbleries which threatened to rival his own.

  The Seventh Edition, published in 1793, with the supplement (this page–this page), was, with the abominable proclivity to edification which marked the publisher of the period (that of “Goody Two-Shoes” and “Sandford and Merton”), styled “Gulliver Reviv’d: or the Vice of Lying Properly Exposed.” The previous year had witnessed the first appearance of the sequel, of which the full title has already been given, “with twenty capital copperplates, including the baron’s portrait.” The merit of Munchausen as a mouthpiece for ridiculing traveller’s tall-talk, or indeed anything that shocked the incredulity of the age, was by this time widely recognised. And hence with some little ingenuity the popular character was pressed into the service of the vulgar clamour against James Bruce, whose “Travels to Discover the Sources of the Nile” had appeared in 1790. In particular Bruce’s description of the Abyssinian custom of feeding upon “live bulls and kava” provoked a chorus of incredulity. The traveller was ridiculed upon the stage as Macfable, and in a cloud of ephemeral productions; nor is the following allusion in Peter Pindar obscure:—

  “Nor have I been where men (what loss alas!)

  Kill half a cow, then send the rest to grass.”

  The way in which Bruce resented the popular scepticism is illustrated by the following anecdote told by Sir Francis Head, his biographer. A gentleman once observed, at a country house where Bruce was staying, that it was not possible that the natives of Abyssinia could eat raw meat! “Bruce said not a word, but leaving the room, shortly returned from the kitchen with a piece of raw beef-steak, peppered and salted in the Abyssinian fashion. ‘You will eat that, sir, or fight me’, he said. When the gentleman had eaten up the raw flesh (most willingly would he have eaten his words instead), Bruce calmly observed, ‘Now, sir, you will never again say it is impossible’.” In reality, Bruce seems to have been treated with much the same injustice as Herodotus. The truth of the bulk of his narrative has been fully established, although a passion for the picturesque may certainly have led him to embellish many of the minor particulars. And it must be remembered, that his book was not dictated until twelve years after the events narrated.

  Apart from Bruce, however, the sequel, like the previous continuation, contains a great variety of political, literary, and other allusions of the most purely topical character Dr. Johnson’s Tour in the Hebrides, Mr. Pitt, Burke’s famous pamphlet upon the French Revolution, Captain Cook, Tippoo Sahib (who had been brought to bay by Lord Cornwallis between 1790 and 1792). The revolutionary pandemonium in Paris, and the royal flight to Varennes in June 1791, and the loss of the “Royal George” in 1782, all form the subjects of quizzical comments, and there are many other allusions the interest of which is quite as ephemeral as those of a Drury Lane pantomime or a Gaiety Burlesque.

  Nevertheless the accretions have proved powerless to spoil “Munchausen.” The nucleus supplied by Raspe was instinct with so much energy that it has succeeded in vitalising the whole mass of extraneous extravagance.

  Although, like “Gulliver’s Travels,” “Munchausen” might at first sight appear to be ill-suited, in more than one respect, for the nursery, yet it has proved the delight of children of all ages; and there are probably few, in the background of whose childish imagination the astonishing Munchausen has not at one time or another, together with Robinson Crusoe, Jack-the-Giant-Killer, and the Pied Piper of Hamelyn, assumed proportions at once gigantic and seductively picturesque.

  The work, as has been shown, assumed its final form before the close of the eighteenth century; with the nineteenth it commenced its triumphant progress over the civilised world. Some of the subsequent transformations and migrations of the book are worthy of brief record.

  A voluminous German continuation was published at Stendhal in three volumes between 1794 and 1800. There was also a continuation comprising exploits at Walcheren, the Dardanelles, Talavera, Cintra, and elsewhere, published in London in 1811. An elaborate French translation, with embellishments in the French manner, appeared at Paris in 1862. Immerman’s celebrated novel entitled “Munchausen” was published in four volumes at Dusseldorf in 1841, and a very free rendering of the Baron’s exploits, styled “Munchausen’s Lugenabenteuer,” at Leipsic in 1846. The work has also been translated into Dutch, Danish, Mag
yar (Bard de Mánx), Russian, Portuguese, Spanish (El Conde de las Maravillas), and many other tongues, and an estimate that over one hundred editions have appeared in England, Germany, and America alone, is probably rather under than above the mark.

  The book has, moreover, at the same time provided illustrations to writers and orators, and the richest and most ample material for illustrations to artists. The original rough woodcuts are anonymous, but the possibilities of the work were discovered as early as 1809, by Thomas Rowlandson, who illustrated the edition published in that year. The edition of 1859 owed embellishments to Crowquill, while Cruikshank supplied some characteristic woodcuts to that of 1869. Coloured designs for the travels were executed by a French artist Richard in 1878, and illustrations were undertaken independently for the German editions by Riepenhausen and Hosemann respectively. The German artist Adolph Schrödter has also painted a celebrated picture representing the Baron surrounded by his listeners. But of all the illustrations yet invented, the general verdict has hitherto declared in favour of those supplied to Théophile Gautier’s French edition of 1862 by Gustave Doré, who fully maintained by them the reputation he had gained for work of a similar genre in his drawings for Balzac’s Contes Drôlatiques. When, however, the public has had an opportunity of appreciating the admirably fantastic drawings made by Mr. William Strang and Mr. J. B. Clark for the present edition, they will probably admit that Baron Munchausen’s indebtedness to his illustrators, already very great, has been more than doubled.

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