This laborious task completed, Raspe lost no time in applying himself with renewed energy to mineralogical work. It was announced in the Scots Magazine for October 1791 that he had discovered in the extreme north of Scotland, where he had been invited to search for minerals, copper, lead, iron, manganese, and other valuable products of a similar character. From Sutherland he brought specimens of the finest clay, and reported a fine vein of heavy spar and “every symptom of coal.” But in Caithness lay the loadstone which had brought Raspe to Scotland. This was no other than Sir John Sinclair of Ulbster, a benevolent gentleman of an ingenious and inquiring disposition, who was anxious to exploit the supposed mineral wealth of his barren Scottish possessions. With him Raspe took up his abode for a considerable time at his spray-beaten castle on the Pentland Firth, and there is a tradition, among members of the family, of Sir John’s unfailing appreciation of the wide intelligence and facetious humour of Raspe’s conversation. Sinclair had some years previously discovered a small vein of yellow mundick on the moor of Skinnet, four miles from Thurso. The Cornish miners he consulted told him that the mundick was itself of no value, but a good sign of the proximity of other valuable minerals. Mundick, said they, was a good horseman, and always rode on a good load. He now employed Raspe to examine the ground, not designing to mine it himself, but to let it out to other capitalists in return for a royalty, should the investigation justify his hopes. The necessary funds were put at Raspe’s disposal, and masses of bright, heavy material were brought to Thurso Castle as a foretaste of what was coming. But when the time came for the fruition of this golden promise, Raspe disappeared, and subsequent inquiries revealed the deplorable fact that these opulent ores had been carefully imported by the mining expert from Cornwall, and planted in the places where they were found. Sir Walter Scott must have had the incident (though not Raspe) in his mind when he created the Dousterswivel of his “Antiquary.” As for Raspe, he betook himself to a remote part of the United Kingdom, and had commenced some mining operations in country Donegal, when he was carried off by scarlet fever at Muckross in 1794. Such in brief outline was the career of Rudolph Erich Raspe, scholar, swindler, and undoubted creator of Baron Munchausen.
The merit of Munchausen, as the adult reader will readily perceive, does not reside in its literary style, for Raspe is no exception to the rule that a man never has a style worthy of the name in a language that he did not prattle in. But it is equally obvious that the real and original Munchausen, as Raspe conceived and doubtless intended at one time to develop him, was a delightful personage whom it would be the height of absurdity to designate a mere liar. Unfortunately the task was taken out of his hand and a good character spoiled, like many another, by mere sequel-mongers. Raspe was an impudent scoundrel, and fortunately so; his impudence relieves us of any difficulty in resolving the question—to whom (if any one) did he owe the original conception of the character whose fame is now so universal.
When Raspe was resident in Göttingen he obtained, in all probability through Gerlach Adolph von Munchausen, the great patron of arts and letters and of Göttingen University, an introduction to Hieronynimus Karl Friedrich von Munchausen, at whose hospitable mansion at Bodenwerder he became an occasional visitor. Hieronynimus, who was born at Bodenwerder on May 11, 1720, was a cadet of what was known as the black line of the house of Rinteln Bodenwerder, and in his youth served as a page in the service of Prince Anton Ulrich of Brunswick. When quite a stripling he obtained a cornetcy in the “Brunswick Regiment” in the Russian service, and on November 27, 1740, he was created a lieutenant by letters patent of the Empress Anna, and served two arduous campaigns against the Turks during the following years. In 1750 he was promoted to be a captain of cuirassiers by the Empress Elizabeth, and about 1760 he retired from the Russian service to live upon his patrimonial estate at Bodenwerder in the congenial society of his wife and his paragon among huntsmen, Rösemeyer, for whose particular benefit he maintained a fine pack of hounds. He kept open house, and loved to divert his guests with stories, not in the braggart vein of Dugald Dalgetty, but so embellished with palpably extravagant lies as to crack with a humour that was all their own. The manner has been appropriated by Artemus Ward and Mark Twain, but it was invented by Munchausen. Now the stories mainly relate to sporting adventures, and it has been asserted by one contemporary of the baron that Munchausen contracted the habit of drawing such a long-bow as a measure of self-defence against his invaluable but loquacious henchman, the worthy Rösemeyer. But it is more probable, as is hinted in the first preface, that Munchausen, being a shrewd man, found the practice a sovereign specific against bores and all other kinds of serious or irrelevant people, while it naturally endeared him to the friends of whom he had no small number.
He told his stories with imperturbable sang froid, in a dry manner, and with perfect naturalness and simplicity. He spoke as a man of the world, without circumlocution; his adventures were numerous and perhaps singular, but only such as might have been expected to happen to a man of so much experience. A smile never traversed his face as he related the least credible of his tales, which the less intimate of his acquaintance began in time to think he meant to be taken seriously. In short, so strangely entertaining were both manner and matter of his narratives, that “Munchausen’s Stories” became a by-word among a host of appreciative acquaintance. Among these was Raspe, who years afterwards, when he was starving in London, bethought himself of the incomparable baron. He half remembered some of his sporting stories, and supplemented these by gleanings from his own commonplace book. The result is a curious medley, which testifies clearly to learning and wit, and also to the turning over of musty old books of facetiæ written in execrable Latin.
The story of the Baron’s horse being cut in two by the descending portcullis of a besieged town, and the horseman’s innocence of the fact until, upon reaching a fountain in the midst of the city, the insatiate thirst of the animal betrayed his deficiency in hind quarters, was probably derived by Raspe from the Facetiæ Bebelianæ of Heinrich Bebel, first published at Strassburgh in 1508.
There it is given as follows:
“De Insigni Mendacio. Faber clavicularius quem superius fabrum mendaciorum dixi, narravit se tempore belli, credens suos se subsecuturos equitando ad cujusdam oppidi portas penetrasse: et cum ad portas venisset cataractam turre demissam, equum suum post ephippium discidisse, dimidiatumque reliquisse, atque se media parte equi ad forum usque oppidi equitasse, et caedem non modicam peregisse. Sed cum retrocedere vellet multitudine hostium obrutus, tum demum equum cecidisse seque captum fuisse.”
The drinking at the fountain was probably an embellishment of Raspe’s own. Many of Bebel’s jests were repeated in J. P. Lange’s Delicioe Academicoe (Heilbronn, 1665), a section of which was expressly devoted to “Mendacia Ridicula”; but the yarn itself is probably much older than either. Similarly, the quaint legend of the thawing of the horn was told by Castiglione in his Cortegiano, first published in 1528. This is how Castiglione tells it: A merchant of Lucca had travelled to Poland in order to buy furs; but as there was at that time a war with Muscovy, from which country the furs were procured, the Lucchese merchant was directed to the confines of the two countries. On reaching the Borysthenes, which divided Poland and Muscovy, he found that the Muscovite traders remained on their own side of the river from distrust, on account of the state of hostilities. The Muscovites, desirous of being heard across the river announced the prices of their furs in a loud voice; but the cold was so intense that their words were frozen in the air before they could reach the opposite side. Hereupon the Poles lighted a fire in the middle of the river, which was frozen into a solid mass; and in the course of an hour the words which had been frozen up were melted, and fell gently upon the further bank, although the Muscovite traders had already gone away. The prices demanded were, however, so high that the Lucchese merchant returned without making any purchase. A similar idea is utilised by Rabelais in Pantagruel, and by Steele in one of his Tatl
ers. The story of the cherry tree growing out of the stag’s head, again, is given in Lange’s book, and the fact that all three tales are of great antiquity is proved by the appearance of counterparts to them in Lady Guest’s edition of the Mabinogion. A great number of nugoe canoroe of a perfectly similar type are narrated in the sixteenth century “Travels of the Finkenritter” attributed to Lorenz von Lauterbach.
To humorous waifs of this description, without fixed origin or birthplace, did Raspe give a classical setting amongst embroidered versions of the baron’s sporting jokes. The unscrupulous manner in which he affixed Munchausen’s own name to the completed jeu d’esprit is, ethically speaking, the least pardonable of his crimes; for when Raspe’s little book was first transformed and enlarged, and then translated into German, the genial old baron found himself the victim of an unmerciful caricature, and without a rag of concealment. It is consequently not surprising to hear that he became soured and reticent before his death at Bodenwerder in 1797.
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 of 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 Mancha. 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 chap-book 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 (pp. 142–161), 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 on
e 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, Magyar (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 illustrations, already very great, has been more than doubled.
The Surprising Adventures of Baron Munchausen Page 2
