Rookwood (Historical Novel). William Harrison Ainsworth

      MEMOIR

       Table of Contents

      William Harrison Ainsworth was born in King Street, Manchester, February 4, 1805, in a house that has long since been demolished. His father was a solicitor in good practice, and the son had all the advantages that educational facilities could afford. He was sent to the Manchester grammar-school, and in one of his early novels has left an interesting and accurate picture of its then condition, which may be contrasted with that of an earlier period left by the “English opium-eater.” At sixteen, a brilliant, handsome youth, with more taste for romance and the drama than for the dry details of the law, he was articled to a leading solicitor of Manchester. The closest friend of his youth was a Mr. James Crossley, who was some years older, but shared his intellectual taste and literary enthusiasm. A drama written for private theatricals, in his father’s house was printed in Arliss’s Magazine, and he also contributed to the Manchester Iris, the Edinburgh Magazine, and the London Magazine. He even started a periodical, which received the name of The Bœotian, and died at the sixth number. Many of the fugitive pieces of these early days were collected in volumes now exceedingly rare: “December Tales” (London, 1823), which is not wholly from his pen; the “Works of Cheviot Tichburn” (London, 1822; Manchester, 1825), dedicated to Charles Lamb; and “A Summer Evening Tale” (London, 1825).

      “Sir John Chiverton” appeared in 1826, and for forty years was regarded as one of his early works; but Mr. John Partington Aston has also claimed to be its author. In all probability, both of these young men joined in the production of the novel which attracted the attention of Sir Walter Scott. On the death of his father, in 1824, Ainsworth went to London to finish his legal education, but whatever intentions he may have formed of humdrum study and determined attention to the details of a profession in which he had no interest, were dissipated by contact with the literary world of the metropolis. He made the acquaintance of Mr. John Ebers, who at that time combined the duties of manager of the Opera House with the business of a publisher. He it was who issued “Sir John Chiverton,” and the verses forming its dedication are understood to have been addressed to Anne Frances (“Fanny”) Ebers, whom Ainsworth married October 11, 1826. Ainsworth had then to decide upon a career, and, acting upon the suggestion of Ebers, his father-in-law, he began business as a publisher; but after an experience of about eighteen months he abandoned it. In this brief interval he introduced the Hon. Mrs. Norton, and Ude, the cook, to the discerning though unequal admiration of the British public. He was introduced to Sir Walter Scott, who wrote the “Bonnets of Bonnie Dundee” for an annual issued by him. Ainsworth gave him twenty guineas for it, which Sir Walter accepted, but laughingly handed over to the little daughter of Lockhart, in whose London house they had met. Ainsworth’s literary aspirations still burned with undiminished ardor, and several plans were formed only to be abandoned, and when, in the summer of 1830, he visited Switzerland and Italy, he was as far as ever from the fulfilment of his desires. In 1831 he visited Chesterfield and began the novel of “Rookwood,” in which he successfully applied the method of Mrs. Radcliffe to English scenes and characters. The finest passage is that relating Turpin’s ride to York, which is a marvel of descriptive writing. It was written, apparently in a glow of inspiration, in less than a day and a half. “The feat,” he says, “for feat it was, being the composition of a hundred novel pages in less than twenty-four hours, was achieved at ‘The Elms,’ a house I then occupied at Kilburn.” The success of “Rookwood” was marked and immediate. Ainsworth at a bound reached popularity. This was in 1834, and in 1837 he published “Crichton,” which is a fine piece of historical romance. The critics who had objected to the romantic glamor cast over the career of Dick Turpin were still further horrified at the manner in which that vulgar rascal, Jack Sheppard, was elevated into a hero of romance. The outcry was not entirely without justification, nor was it without effect on the novelist, who thenceforward avoided this perilous ground. “Jack Sheppard” appeared in Bentley’s Miscellany, of which Ainsworth became editor in March, 1840, at a monthly salary of £51. The story is powerfully written. In 1841 he received £1000 from the Sunday Times for “Old St. Paul’s,” and he, in 1848, had from the same source another £1000 for the “Lancashire Witches.” In 1841 he began the publication of Ainsworth’s Magazine, which came to an end in 1853, when he acquired the New Monthly Magazine, which he edited for many years. This was the heyday of Ainsworth’s reputation alike in literature and in society. His home at Kensal Manor House became famous for its hospitality, and Dickens, Thackeray, Landseer, Clarkson Stanfield, Talfourd, Jerrold, and Cruikshank were among his guests. The list of his principal historical novels, with their dates of issue, may now be given: “Rookwood,” 1834; “Crichton,” 1837; “Jack Sheppard,” 1839; “Tower of London,” 1840; “Guy Fawkes,” 1841; “Old St. Paul’s, a Tale of the Plague and the Fire of London,” 1841; “Windsor Castle,” 1843; “St. James, or the Court of Queene Anne,” 1844; “Star Chamber,” 1854; “Constable of the Tower,” 1861; “The Lord Mayor of London,” 1862; “Cardinal Pole,” 1863; “John Law, the Projector,” 1864; “The Constable de Bourbon,” 1866; “Talbot Harland,” 1870; “Boscobel,” 1872; “The Manchester Rebels, or the Fatal ‘45,” 1873; and “The Goldsmith’s Wife,” 1874. These novels all met with a certain amount of success, but those of later years did not attain the striking popularity of his earlier efforts. Many have been translated into various modern languages, and the editions of his various works are so numerous that some twenty-three pages of the British Museum catalogue are devoted to his works. The scenery and history of his native country had a perennial interest for him, and a certain group of his novels — that is, the “Lancashire Witches,” “Guy Fawkes,” “The Manchester Rebels,” etc. — may almost be said to form a novelist’s history of Lancashire from the pilgrimage of grace until the early part of the present century.

      Probably no more vivid account has been written of the great fire and plague of London than that given in “Old St. Paul’s.” The charm of Ainsworth’s novels is not at all dependent upon the analysis of motives or subtle description of character. Of this he has little or nothing, but he realizes vividly a scene or an incident, and conveys the impression with great force and directness to the reader’s mind. Ainsworth came upon the reading world at a happy moment. People were weary of the inanities of the fashionable novel, and were ready to listen to one who had a power of vivacious narrative. In 1881, when he was in his seventy-seventh year, a pleasant tribute of respect and admiration was paid to him in his native town. The Mayor of Manchester entertained him at a banquet in the town hall September 15, 1881, “as an expression of the high esteem in which he is held by his fellow-townsmen and of his services to literature.” In proposing Mr. Ainsworth’s health, the mayor gave a curious instance of the popularity of his writings. “In our Manchester public free libraries there are two hundred and fifty volumes of Mr. Ainsworth’s different works. During the last twelve months these volumes have been read seven thousand six hundred and sixty times, mostly by the artisan class of readers. And this means that twenty volumes of his works are being perused in Manchester by readers of the free libraries every day all the year through.” It was well that this pleasant recognition was not longer delayed. The contrast was pathetically great between the tall, handsome, dandified figure presented in the portraits of him by Pickersgill and Maclise, and the bent and feeble old man who stood by and acknowledged the plaudits of those who had assembled to honor him. His last published work was “Stanley Brereton,”