Shelley+Humphries

DEMONOLOGY AND WITCHCRAFT
Excerpts from and illustrations based on Sir Walter Scott's //Letters on Demonology and Witchcraft//

Illustrations by George Cruikshank Published in 1830 by J. Robins and Co. Ivy Lane, Paternoster Row, London.

George Cruikshank’s Twelve Sketches Illustrative of Sir Walter Scott’s Demonology and Witchcraft was published in 1830 by J. Robins and Co. in Paternoster Row, London. His novel was created as an illustrated accompaniment to Sir Walter Scott's Letters on Demonology and Witchcraft, which was published in September of the same year.


 * BOOK DESCRIPTION:**



The novel is leather bound with gold embossing on each corner as well as on the spine. Its pages are crafted from wood pulp and contain no chain lines. Typical of many books printed between 1810 and 1960, Demonology and Witchcraft’s pages are already showing a lot of wear as their edges become brittle and tend break off. The entire book is machine press printed with single page prints throughout. A formal serif font is employed in the body text with capitals as well as italics in order to offset the title and underscore particular words. The text blocks are simply formatted with no embellishments or decoration. Each page of text does, however, contain large margins and small bodies of text. The liberal use of paper says that the book was more expensive to print as it also contains numerous illustrations, which accompany the short bodies of text.



The book is laid out with text centered on the recto in a stanza format with an accompanying illustration on the opposing verso. The images printed on the left were clearly done with the text in mind and illustrate what is going on in the main body of the text as envisioned by the illustrator. The images are a product of etchings created through the use of acid on a copper plate, an effect, which produced a dramatic contrast between the lights and darks of the image.

The final page of the book advertises another upcoming work by the illustrator: **"Preparing for Publication, Scraps and Sketches Part III"**


 * THE VICTORIAN ILLUSTRATED NOVEL**

Published in 1830, //Demonology and Witchcraft// takes it rightful place among the numerous illustrated Victorian novels of the time though perhaps a unique showpiece among its relations as its illustrations proved a rare feat. While many books were specially illustrated during the period, very few claimed a logical connection between word and image. Often illustrations were used as embellishments or breaks in bodies of text for interest, they rarely if ever interpreted the text they accompanied. As Paul Goldman argues in his book, Victorian Illustrated Books, “the conception of a book as a unit was virtually non-existent” (Goldman 21). Cruikshank’s creation undoubtedly falls into the category of the newly illustrated children’s book, a practice that was commonly practiced during the Victorian period. Numerous illustrators were taking commissions from both authors and publishers to supply new imagery for previously printed work. This sudden flux of demand from reader’s for more and better-illustrated material came about due to a number of important factors, which Goldman lists as social, educational, economical, and mechanical. First and foremost there had been a great increase in middle-class literacy and this coupled with younger children being strictly taught to read in schools, meant that more people could read than ever before. This meant that the book market was very suddenly booming. The growing economy also meant that more people could afford to read, not just financially but they now had the leisure time to do so as well. Books were no longer expensive, showcase items to be bought by the wealthy alone. They were now leisure activities, a luxury that could be afforded and read by everyone. An increase in available technology made it possible for publishers to supply increased quantities of illustrated material and more people rose to consume what was produced. “The means stimulated the demand” (Goldman 44).

The book text is split into twelve separate sections, each passage is an excerpt from one of Sir Walter Scott's traditional stories within his novel. The number chosen is a curious one as Scott’s original novel contained ten stories not twelve, therefore the illustrator seemingly picks and chooses where and what he will capture of Scott’s accounts. The choices appear random with multiple etchings for some letters and none for others.
 * CONTENT:**

1. The Corps de Ballet [Taken from Letter I] 2. The Spectre Skeleton [Taken from Letter I] 3. The Goddess Freya [Taken from Letter III] 4. Elfin Tricks [Taken from Letter IV] 5. The Persecuted Butler [Taken from Letter IV] 6. Elfin Arrow Factory [Taken from [|Letter IV]] 7. Fairy Revenge [Taken from [|Letter VI]] 8. Puck in Mischief [Taken from [|Letter VI]] 9. Black John Chastising the Witches [Taken from [|Letter IX]] 10. Witches Frolic [Taken from [|Letter IX]] 11. Tak of the Ghaist [Taken from [|Letter X]] 12. The Ghost of Mrs. Leckie [Taken from [|Letter X]]


 * GEORGE CRUIKSHANK:**



Their popular and well-known illustrator, George Cruikshank, was born in London on the 27th of September 1792. Cruikshank's career began with political cartoons published in various periodicals but in 1823, at the age of 31, he began illustrating books as well. Before his death in 1878, Cruikshank had already created nearly 10,000 prints and plates and it is estimated that he illustrated more than 850 books. Cruikshank was one of the first artists to provide humorous and spirited illustrations in books for children when the majority of publishers would only print images that were considered morally correct or educational at the time. His first illustration project occurred after he met the author Charles Dickens, with whom he completed numerous projects such as //Sketches by Boz//, //Oliver Twist//, and //Bentley's Miscellany//. This profitable partnership was cut short, however, when Cruikshank published a letter in The Times, in which he claimed credit for the majority of the plot of Oliver Twist. A fierce controversy arose between the two over who had created the work and their friendship was further soured when Cruikshank began fanatic publications in opposition to Dickens’ views of moderation (Barat ).


 * LETTERS ON DEMONOLOGY AND WITCHCRAFT:**



Sir Walter Scott was born on August 15th 1771 in the town of Edinburgh. After finishing school he was sent to stay for six months with his aunt Jenny in Kelso, attending the local Grammar School where he met James Ballantyne who later became his business partner and printed his books (School and University). At the age of 25 he began dabbling in writing, translating works from German, his first publication being rhymed versions of ballads. After Scott founded his own printing press, his poetry brought him fame, beginning with The Lay of the Last Minstrel in 1805. When the printing business became embroiled in pecuniary difficulties, Scott decided in 1814 to write a cash-cow. The result was Waverley, a novel that did not name its author. As his fame grew, Walter Scott was granted the title of baronet, becoming Sir Walter Scott in 1820. Scott's novel, Letters on Demonology and Witchcraft, was written while Sir Walter was recovering from his first stroke at the request of his son-in-law, J.G. Lockhart. Lockhart intended this request to discourage Scott from attempting far more straining activities, instead focusing on a small volume on witchcraft to be added to the 'Murray's Family Library.' The book takes the form of ten letters addressed to Lockhart, where Scott discusses his own opinions on demonology and witchcraft. As a strict follower of the Enlightenment, Scott takes a highly rational approach, surmising that supernatural visions are attributed to 'excited passion', to credulity, or to physical illness. Scott's novel is heavily furnished with anecdotes and folktales and may be read as an anthology of stories as much as a philosophical treatise (Parsons).

When knowledge of Scott's novel got around numerous people clambered to offer materials and reflections which Scott could use in his novel. //Letters on Demonology and Witchcraft// quickly became a collaboration between Scoot and various enthusiasts of his time. When the first edition was finally released in on September 12 in 1830, it was quickly followed by a second edition mere months later after general readers and acquaintances took up the task of correcting its contents. Scott's novel was an immediate commercial success despite the sharp division between readers that developed from the skeptical attitude that many had of his views on the supernatural. Numerous book reviews, including those of the //Gentlemen's Magazine// and the //Literary Gazette//, commended his work, saying it was a great volume for all ages. But, though many were intrigued and marveled at the topic of witches and fairies, there were plenty of critics when it came to Scott's decided opinion on the subject of the supernatural. Christopher North, a reviewer published in //Blackwood//, claimed that "Scott's book was found to be poor in matter and manner, substance and style-" His was not the only criticism, after the initial publication Scott's novel continued to swing between high praise and general distaste.

One of the original published editions of Walter Scott's //Letters on Demonology and Witchcraft// contained the same illustrations by George Cruikshank but, in contrast to this 1830 edition, it contained the full text of the original works. Scott's novel was originally categorized as a family novel with particular emphasis on the education of children in the supernatural or the irrationality therein. The illustrations were meant to help the reader understand and visualize what is going on in the text. This edition conceals the intentions of the original works rather than clarifying them. The book text is split into 12 separate sections, each text block a small excerpt from one of the traditional folk stories within Scott's novel. Because these excerpts are so isolated from the original context of Scott's novel, the entire feel of the book is altered and it becomes more characteristic of a children's book instead of the argument against the supernatural that the original letters claim.It is possible, therefore, that this later edition was created as a way to further infiltrate the children's book market, this time as a picture book with short stories more marketable to children than its predecessor. Another possibility was that this much shorter compilation was simply meant as a cheaper alternative to the original full text and considered a more portable, abridged addition.The book’s quality as well as the fact that the illustrator commissioned it may also indicate its use as a portfolio of works by the illustrator. A portfolio would make particular sense if this particular edition was, in fact, one of the novels that Cruikshank published for himself.
 * ANALYSIS:**

While illustrated editions and artist portfolios are nothing out of the ordinary, indeed they were quite popular during the 19th century; it is the remarkable print dates of each edition that brings understandable curiosity. Sir Walter Scott’s novel was first published in September of 1830; a mere month later he released a second update with edits. By November George Cruikshank had already released a first edition illustrated volume of the text and less than a month later this illustrated portfolio appeared. Four separate editions of the same novel within the course of four months is practically unheard of and it raises the question as to why this might have been the case. Was there a rush to print as many copies as possible, to get it right in a short period of time due to Scott’s debilitating health? (He died two years after the first edition went to press.) Perhaps it can be explained by Cruikshank’s tendency towards independent publication. His time schedule would no doubt be very different as he could print whatever he pleased as soon as he desired to without having to commission a printer. Inspired by Sir Walter Scott’s grotesque and turbulent account’s, it is easy to imagine that Cruikshank would have desired to create his own imagery for such scenes that were quite novel at the time.

1. Full text of //Letters on Demonology and Witchcraft// by Scott: @http://www.online-literature.com/walter_scott/demonology-and-witchcraft/1/ 2. Earlier illustrated edition of //Letters on Demonology and Witchcraft//: [] 3. []
 * EXTERNAL LINKS: ﻿ **


 * RESOURCES**

Barat, Carl. "George Cruikshank." Spartacus Educational. School Net. Web. 1 Nov. 2010. .

Goldman, Paul. Victorian Illustrated Books 1850-1870. London: British Museum, 1994.

Parsons, Colemen O. "Scott's 'Letters on Demonology and Witchcraft' : Outside Contributors." Notes and Queries 182: 156-58, 174-78. Print.

Parsons, Colemen O. "Walter Scott in Pandemonium." The Modern Language Review 38.3: 244-49. Print.

Truesdale, Dave. "Letters on Demonology and Witchcraft." Fantasy & Science Fiction 115.3 (2008): 162. Academic Search Premier. EBSCO. Web. 19 Nov. 2010.

"Review of New Books." Rev. of Letters on Demonology and Witchcraft, by Sir Walter Scott. Literary Gazette and Journal of Belles Lettres, Arts, Sciences, &c. [London] 1 Jan. 1831: 62. Print.

"School and University." Walter Scott. Edinbourgh University Library, 24 Oct. 2003. Web. 8 Nov. 2010. .