The Surprising Adventures of Baron Munchausen
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The Surprising Adventures of Baron Munchausen
Rudolph Erich Raspe
INTRODUCTION
IT IS A CURIOUS FACT that of that class of literature to which Munchausen belongs, that namely of Voyages Imaginaires, the three great types should have all been created in England. Utopia, Robinson Crusoe, and Gulliver, illustrating respectively the philosophical, the edifying, and the satirical type of fictitious travel, were all written in England, and at the end of the eighteenth century a fourth type, the fantastically mendacious, was evolved in this country. Of this type Munchausen was the modern original, and remains the classical example. The adaptability of such a species of composition to local and topical uses might well be considered prejudicial to its chances of obtaining a permanent place in literature. Yet Munchausen has undoubtedly achieved such a place. The Baron’s notoriety is universal, his character proverbial, and his name as familiar as that of Mr. Lemuel Gulliver, or Robinson Crusoe, mariner, of York. Condemned by the learned, like some other masterpieces, as worthless, Munchausen’s travels have obtained such a world-wide fame, that the story of their origin possesses a general and historic interest apart from whatever of obscurity or of curiosity it may have to recommend it.
The work first appeared in London in the course of the year 1785. No copy of the first edition appears to be accessible; it seems, however, to have been issued some time in the autumn, and in the Critical Review for December 1785 there is the following notice: “Baron Munchausen’s Narrative of his Marvellous Travels and Campaigns in Russia. Small 8vo, IS. (Smith). This is a satirical production calculated to throw ridicule on the bold assertions of some parliamentary declaimers. If rant may be best foiled at its own weapons, the author’s design is not ill-founded; for the marvellous has never been carried to a more whimsical and ludicrous extent.” The reviewer had probably read the work through from one paper cover to the other. It was in fact too short to bore the most blasé of his kind, consisting of but forty-nine small octavo pages. The second edition, which is in the British Museum, bears the following title; “Baron Munchausen’s Narrative of his Marvellous Travels and Campaigns in Russia; humbly dedicated and recommended to country gentlemen, and if they please to be repeated as their own after a hunt, at horse races, in watering places, and other such polite assemblies; round the bottle and fireside. Smith. Printed at Oxford. 1786.” The fact that this little pamphlet again consists of but forty-nine small octavo pages, combined with the similarity of title (as far as that of the first edition is given in the Critical Review), publisher, and price, affords a strong presumption that it was identical with the first edition. This edition contains only chapters ii., iii., iv., v., and vi. (pp. 10–44) of the present reprint. These chapters are the best in the book and their substantial if peculiar merit can hardly be denied, but the pamphlet appears to have met with little success, and early in 1786 Smith seems to have sold the property to another bookseller, Kearsley. Kearsley had it enlarged, but not, we are expressly informed, in the preface to the seventh edition, by the hand of the original author (who happened to be in Cornwall at the time). He also had it illustrated and brought it out in the same year in book form at the enhanced price of two shillings, under the title: “Gulliver Reviv’d: The Singular Travels, Campaigns, Voyages and Sporting Adventures of Baron Munnikhouson commonly pronounced Munchausen; as he relates them over a bottle when surrounded by his friends. A new edition considerably enlarged with views from the Baron’s drawings. London. 1786.” A well-informed Critical Reviewer would have amended the title thus: “Lucian Reviv’d: or Gulliver Beat with His Own Bow.”
Four editions now succeeded each other with rapidity and without modification. A German translation appeared in 1786 with the imprint London: it was, however, in reality printed by Dieterich at Göttingen. It was a free rendering of the fifth edition, the preface being a clumsy combination of that prefixed to the original edition with that which Kearsley had added to the third.
The fifth edition (which is, with the exception of trifling differences on the title-page, identical with the third, fourth, and sixth) is also that which has been followed in the present reprint down to the conclusion of chapter twenty, where it ends with the words “the great quadrangle.” The supplement treating of Munchausen’s extraordinary flight on the back of an eagle over France to Gibraltar, South and North America, the Polar Regions, and back to England is derived from the seventh edition of 1793, which has a new sub-title:—“Gulliver Reviv’d, or the Vice of Lying Properly Exposed.” The preface to this enlarged edition also informs the reader that the last four editions had met with extraordinary success, and that the supplementary chapters, all, that is, with the exception of chapters ii., iii., iv., v., and vi., which are ascribed to Baron Munchausen himself, were the production of another pen, written, however, in the Baron’s manner. To the same ingenious person the public was indebted for the engravings with which the book was embellished. The seventh was the last edition by which the classic text of Munchausen was seriously modified. Even before this important consummation had been arrived at, a sequel, which was within a fraction as long as the original work (it occupies pp. 163–299 of this volume), had appeared under the title, “A Sequel to the Adventures of Baron Munchausen. … Humbly dedicated to Mr. Bruce the Abyssinian traveller, as the Baron conceives that it may be some service to him, previous to his making another journey into Abyssinia. But if this advice does not delight Mr. Bruce, the Baron is willing to fight him on any terms he pleases.” This work was issued separately. London, 1792, 8vo.
Such is the history of the book during the first eight or constructive years of its existence, beyond which it is necessary to trace it, until at least we have touched upon the long-vexed question of its authorship.
Munchausen’s travels have in fact been ascribed to as many different hands as those of Odysseus. But (as in most other respects) it differs from the more ancient fabulous narrative in that its authorship has been the subject of but little controversy. Many people have entertained erroneous notions as to its authorship, which they have circulated with complete assurance; but they have not felt it incumbent upon them to support their own views or to combat those of other people. It has, moreover, been frequently stated with equal confidence and inaccuracy that the authorship has never been settled. An early and persistent version of the genesis of the travels was that they took their origin from the rivalry in fabulous tales of three accomplished students at Göttingen University, Bürger, Kästner, and Lichtenberg; another ran that Gottfried August Bürger, the German poet and author of “Lenore,” had at a later stage of his career met Baron Munchausen in Pyrmont and taken down the stories from his own lips. Percy in his anecdotes attributes the Travels to a certain Mr. M. (Munchausen also began with an M.) who was imprisoned at Paris during the Reign of Terror. Southey in his “Omniana” conjectured, from the coincidences between two of the tales and two in a Portuguese periodical published in 1730, that the English fictions must have been derived from the Portuguese. William West the bookseller and numerous followers have stated that Munchausen owed its first origin to Bruce’s Travels, and was written for the purpose of burlesquing that unfairly treated work. Pierer boldly stated that it was a successful anonymous satire upon the English government of the day, while Meusel with equal temerity affirmed in his “Lexikon” that the book was a translation of the “well-known Munchausen lies” executed from a (non-existent) German original by Rudolph Erich Raspe. A writer in the Gentleman’s Magazine for 1856 calls the book the joint production of Bürger and Raspe.
Of all the conjectures, of which these are but a selection, the most
accurate from a German point of view is that the book was the work of Bürger, who was the first to dress the Travels in a German garb, and was for a long time almost universally credited with the sole proprietorship. Bürger himself appears neither to have claimed nor disclaimed the distinction. There is, however, no doubt whatever that the book first appeared in English in 1785, and that Bürger’s German version did not see the light until 1786. The first German edition (though in reality printed at Göttingen) bore the imprint London, and was stated to be derived from an English source; but this was, reasonably enough, held to be merely a measure of precaution in case the actual Baron Munchausen (who was a well-known personage in Göttingen) should be stupid enough to feel aggrieved at being made the butt of a gross caricature. In this way the discrepancy of dates mentioned above might easily have been obscured, and Bürger might still have been credited with a work which has proved a better protection against oblivion than “Lenore,” had it not been for the officious sensitiveness of his self-appointed biographer, Karl von Reinhard. Reinhard, in an answer to an attack made upon his hero for bringing out Munchausen as a pot-boiler in German and English simultaneously, definitely stated in the Berlin Gesellschafters of November 1824, that the real author of the original work was that disreputable genius, Rudolph Erich Raspe, and that the German work was merely a free translation made by Bürger from the fifth edition of the English work. Bürger, he stated, was well aware of, but was too high-minded to disclose the real authorship.
Taking Reinhard’s solemn asseveration in conjunction with the ascertained facts of Raspe’s career, his undoubted acquaintance with the Baron Munchausen of real life and the first appearance of the work in 1785, when Raspe was certainly in England, there seems to be little difficulty in accepting his authorship as a positive fact. There is no difficulty whatever, in crediting Raspe with a sufficient mastery of English idiom to have written the book without assistance, for as early as January 1780 (since which date Raspe had resided uninterruptedly in this country) Walpole wrote to his friend Mason that “Raspe writes English much above ill and speaks it as readily as French,” and shortly afterwards he remarked that he wrote English “surprisingly well.” In the next year, 1781, Raspe’s absolute command of the two languages encouraged him to publish two moderately good prose-translations, one of Lessing’s “Nathan the Wise,” and the other of Zachariae’s Mock-heroic, “Tabby in Elysium.” The erratic character of the punctuation may be said, with perfect impartiality, to be the only distinguishing feature of the style of the original edition of “Munchausen.”
Curious as is this long history of literary misappropriation, the chequered career of the rightful author, Rudolph Erich Raspe, offers a chapter in biography which has quite as many points of singularity.
Born in Hanover in 1737, Raspe studied at the Universities of Göttingen and Leipsic. He is stated also to have rendered some assistance to a young nobleman in sowing his wild oats, a sequel to his university course which may possibly help to explain his subsequent aberrations. The connection cannot have lasted long, as in 1762, having already obtained reputation as a student of natural history and antiquities, he obtained a post as one of the clerks in the University Library at Hanover.
No later than the following year contributions written in elegant Latin are to be found attached to his name in the Leipsic Nova Acta Eruditorum. In 1764 he alluded gracefully to the connection between Hanover and England in a piece upon the birthday of Queen Charlotte, and having been promoted secretary of the University Library at Göttingen, the young savant commenced a translation of Leibniz’s philosophical works which was issued in Latin and French after the original MSS. in the Royal Library at Hanover, with a preface by Raspe’s old college friend Kästner (Göttingen, 1765). At once a courtier, an antiquary, and a philosopher, Raspe next sought to display his vocation for polite letters, by publishing an ambitious allegorical poem of the age of chivalry, entitled “Hermin and Gunilde,” which was not only exceedingly well reviewed, but received the honour of a parody entitled “Harlequin and Columbine.” He also wrote translations of several of the poems of Ossian, and a disquisition upon their genuineness; and then with better inspiration he wrote a considerable treatise on “Percy’s Reliques of Ancient Poetry,” with metrical translations, being thus the first to call the attention of Germany to these admirable poems, which were afterwards so successfully ransacked by Bürger, Herder, and other early German romanticists.
In 1767 Raspe was again advanced by being appointed Professor at the Collegium Carolinum in Cassel, and keeper of the landgrave of Hesse’s rich and curious collection of antique gems and medals. He was shortly afterwards appointed Librarian in the same city, and in 1771 he married. He continued writing on natural history, mineralogy, and archaeology, and in 1769 a paper in the 59th volume of the Philosophical Transactions, on the bones and teeth of elephants and other animals found in North America and various boreal regions of the world, procured his election as an honorary member of the Royal Society of London. His conclusion in this paper that large elephants or mammoths must have previously existed in boreal regions has, of course, been abundantly justified by later investigations. When it is added that Raspe during this part of his life also wrote papers on lithography and upon musical instruments, and translated Algarotti’s Treatise on “Architecture, Painting, and Opera Music,” enough will have been said to make manifest his very remarkable and somewhat prolix versatility. In 1773 he made a tour in Westphalia in quest of MSS., and on his return, by way of completing his education, he turned journalist, and commenced a periodical called the Cassel Spectator, with Mauvillon as his co-editor. In 1775 he was travelling in Italy on a commission to collect articles of vertu for the landgrave, and it was apparently soon after his return that he began appropriating to his own use valuable coins abstracted from the cabinets entrusted to his care. He had no difficulty in finding a market for the antiques which he wished to dispose of, and which, it has been charitably suggested, he had every intention of replacing whenever opportunity should serve. His consequent procedure was, it is true, scarcely that of a hardened criminal. Having obtained the permission of the landgrave to visit Berlin, he sent the keys of his cabinet back to the authorities at Cassel—and disappeared. His thefts, to the amount of two thousand rixdollars, were promptly discovered, and advertisements were issued for the arrest of the Councillor Raspe, described without suspicion of flattery as a long-faced man, with small eyes, crooked nose, red hair under a stumpy periwig, and a jerky gait. The necessities that prompted him to commit a felony are possibly indicated by the addition that he usually appeared in a scarlet dress embroidered with gold, but sometimes in black, blue, or grey clothes. He was seized when he had got no farther than Klausthal, in the Hartz mountains, but he lost no time in escaping from the clutches of the police, and made his way to England. He never again set foot on the continent.
He was already an excellent English scholar, so that when he reached London it was not unnatural that he should look to authorship for support. Without loss of time, he published in London in 1776 a volume on some German volcanoes and their productions; in 1777 he translated the then highly esteemed mineralogical travels of Ferber in Italy and Hungary. In 1780 we have an interesting account of him from Horace Walpole, who wrote to his friend, the Rev. William Mason: “There is a Dutch sçavant come over who is author of several pieces so learned that I do not even know their titles: but he has made a discovery in my way which you may be sure I believe, for it proves what I expected and hinted in my ‘Anecdotes of Painting,’ that the use of oil colours was known long before Van Eyck.” Raspe, he went on to say, had discovered a MS. of Theophilus, a German monk in the fourth century, who gave receipts for preparing the colours, and had thereby convicted Vasari of error. “Raspe is poor, and I shall try and get subscriptions to enable him to print his work, which is sensible, clear, and unpretending.” Three months later it was, “Poor Raspe is arrested by his tailor. I have sent him a little money
, and he hopes to recover his liberty, but I question whether he will be able to struggle on here.” His “Essay on the Origin of Oil Painting” was actually published through Walpole’s good service in April 1781. He seems to have had plans of going to America and of excavating antiquities in Egypt, where he might have done good service, but the bad name that he had earned dogged him to London. The Royal Society struck him off its rolls, and in revenge he is said to have threatened to publish a travesty of their transactions. He was doubtless often hard put to it for a living, but the variety of his attainments served him in good stead. He possessed or gained some reputation as a mining expert, and making his way down into Cornwall, he seems for some years subsequent to 1782 to have been assay-master and storekeeper of some mines at Dolcoath. While still at Dolcoath, it is very probable that he put together the little pamphlet which appeared in London at the close of 1785, with the title “Baron Munchausen’s Narrative of His Marvellous Travels and Campaigns in Russia,” and having given his jeu d’esprit to the world, and possibly earned a few guineas by it, it is not likely that he gave much further thought to the matter. In the course of 1785 or 1786, he entered upon a task of much greater magnitude and immediate importance, namely, a descriptive catalogue of the Collection of Pastes and Impressions from Ancient and Modern Gems, formed by James Tassie, the eminent connoisseur. Tassie engaged Raspe in 1785 to take charge of his cabinets, and to commence describing their contents: he can hardly have been ignorant of his employé’s delinquencies in the past, but he probably estimated that mere casts of gems would not offer sufficient temptation to a man of Raspe’s eclectic tastes to make the experiment a dangerous one. Early in 1786, Raspe produced a brief but well-executed conspectus of the arrangement and classification of the collection, and this was followed in 1791 by “A Descriptive Catalogue,” in which over fifteen thousand casts of ancient and modern engraved gems, cameos, and intaglios from the most renowned cabinets in Europe were enumerated and described in French and English. The two quarto volumes are a monument of patient and highly skilled industry, and they still fetch high prices. The elaborate introduction prefixed to the work was dated from Edinburgh, April 16, 1790.