Marks in Books 12: Mrs. Sherwood Corrects Proofs of “The Oddingley Murder”

oddingley murder

Over her long career, Mary Martha Sherwood typically wrote for four or five hours each day.  Although she is best known for two novels for children–The History of Little Henry and His Bearer (1814) and The History of the Fairchild Family (1818)–she also produced penny pamphlets, adaptations of eighteenth-century children’s classics like Sarah Fielding’s The Governess, and textbooks for use in the school she and her husband ran after their return from India in 1818.  Even with the income from the school, the Sherwood family was strapped for cash, so she turned out around a hundred tracts over the next twelve years to make extra money.

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Frontispiece, Mrs. Sherwood and Her Books for Children, M. Nancy Cutt (London, Oxford University Press, 1974) (Cotsen PR5449.S4 Z63)

The Cotsen Children’s Library has a fascinating manuscript from this period of her life: the annotated proofs for a tract about a notorious murder that had taken place in the tiny village of Oddingley, Worcestershire on Midsummer’s Day 1806 that went unsolved until 1830.

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The Oddingley Murders. London: Houlston and Son, 1830. (Cotsen 40111)

The lurid story was a quintessential English crime set in a beautiful, remote village seething with class resentment.  The cast of characters included a grasping vicar, a shady man of all work, some disgruntled farmers, and the dapper old soldier who was the local magistrate.  Add two brutal killings and a shallow grave in a ramshackle barn and voila, a perfect candidate for Masterpiece Mystery…

When the murdered murderer’s body was finally found, Mrs. Sherwood, a Worcestershire native herself, picked up her pen to write about this real-life crime.  The why is more complicated than it might first appear.  To a devout Evangelical Christian like Sherwood, the way the perpetrators of the crime was discovered after twenty-four years fulfilled Isaiah XXIX.15: “ Woe unto them that seek deep to hide their counsel from the Lord, and their works are in the dark, and they say, “Who seeth us?  Who knoweth us?”

A personal connection to the sordid affair may also explain her eagerness to drive home the lesson that “No man can conceal what Providence willeth to bring to the light.”  Her brother John Marten Butt was drawn into the case as Oddingley’s pastor: he was the successor of the murdered clergyman George Parker.   During his tenure in Oddingley, Butt came to realize that his parishioners had known all along the identity of the perpetrators and felt no remorse at their never having been brought to justice.  The villagers’ attitudes so profoundly disturbed Butt that he eventually left his living for another.

Mrs. Sherwood must have written the text almost immediately after the January trial.  On February 18, 1830, her publisher, Edward Houlston, mailed the proof of the tract now in the Cotsen collection to her in Worcester from Wellington, Salop (Shropshire), about forty five miles away.

Google Maps. (2015).

Google Maps. (2015).

To save time and money on postage, he wrote her a letter, asking how many copies she wanted and if he might enclose copies in her parcel for delivery to the Worcester booksellers.  In the closing, he asked if she could write six more tracts for the new series at her earliest convenience, adding that two would suffice at present.

Houlsten's letter to Sherwood

Mr. Houlston’s letter to Mrs. Sherwood

After making changes on pages 6, 7, 8, 10, 11, 16, and 18, Mrs. Sherwood wrote her reply to Houlston on the blank side of the sheet.

Page 6, with Mrs. Sherwood's corrections

Page 6, with Mrs. Sherwood’s corrections

Page 10 with Mrs. Sherwood's corrections

Page 10, with Mrs. Sherwood’s corrections

She said, “I had written a letter to you which I shall not send requesting you to be very quick in sending ‘The Oddingley Murder’ as people know I have written it and are enquiring for it.”  She directed him to send her four copies of the French-language translation of Little Henry and His Bearer, six of “The Mourning Queen,” a dozen “The Oddingley Murders,” and an unspecified number of a new tract for the booksellers.  She closed (a bit tartly) with “I will write some tracts when I can find time—but time is a very scarce commodity.”

On back of proof, Mrs. Sherwood's response to Mr. Houlston.

On back of proof, Mrs. Sherwood’s response to Mr. Houlston.

The sheet was folded up for a second time and mailed to Houlston on February the 20th.  Presumably it retraveled those forty-five miles to Wellington within twenty-four hours.  The speed of the British postal service during the nineteenth century is well known, but this corrected proof is testimony to its efficiency.  Of course, the service then was slow compared to what we have come to take for granted via the Internet, but this annotated proof is a vivid reminder that Mrs. Sherwood could never have written as much as she did without a superb communications infrastructure.

Mr. Houlton's address.

Mr. Houlston’s address.

And thanks to our paper conservator, Ted Stanley, for restoring the proof of this tract, which was found in rather parlous condition in the Wall of Books some months ago.

 

 

Made for Friends: A Manuscript Deck of Cards Featuring Potter’s Hunca Munca and Princess Margaret

Some children are lucky enough to know an adult with the skills to make them special toys and games.  Sometimes those objects survive against the odds are offered to lucky curators. This little set of Schwarzer Peter cards (a Continental variation on Old Maid)  is just one such find.    It has twenty-seven instead of the usual fifty-two cards, but it seems to be complete because it fits perfectly in the blue box.  The lid has an illustrated title label in German that reads in English: “This game of Black Peter was painted for her dear friends Ernst and Anneliese Grossenbacher in St. Gall.”  It is signed Gertrud Lendorff, who just might be the Swiss art historian from Basel (1900-1981).

The cards cannot be earlier than the 1930s: one of the pair with the Union Jack in the upper left hand corners shows “Margaret Rose aus England.”  Margaret Rose, a little girl in a blue coat and hat with a green scarf, must be the late Princess Margaret (1930-2002), Queen Elizabeth II’s sister.

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A famous character from children’s books also makes an appearance here: Beatrix Potter’s Hunca Munca from The Tale of Two Bad Mice, identified only as “nach einem Englischen Kinderbuch,” that is, “from an English children’s book.”  It’s amusing that the illustrations of Hunca Munca  were redrawn from ones where this bad little mouse was behaving well relatively well.  My guess is that  little Grossenbachers for whom Lendorff made the cards might have been reading The Tale of Two Bad Mice in German translation.  But perhaps Lendorff was introducing them to a childhood favorite of her own. The cards don’t provide any clues about the circumstances in which they were made or how they were received, but they are testimony to Potter’s appeal outside her homeland.

swiss cards_cover

Most of the cards illustrate toys made of porcelain, clay, celluloid, and wood, such as Hansli and the matryoshka doll Tatyiana and her five daughters below.

swiss_cards_babtanddollsOne thing we find unacceptable today is Lendorff’s inclusion of toys that perpetuate offensive stereotypes.  The title label depicts a black baby doll and Lendorff’s model might have been a Heubach bisque character doll.  She redrew the same doll on the card with the caption “Der Schwarze Peterli! Nicht der Schwarze Peter!” [The little Black Peter! Not the Black Peter!].  It is an opprobrious caricature with unnaturally bright red lips.  But unlike some Heubach black baby dolls, it wears what looks like a knitted onesie instead of some spurious form of “native dress.”

covertitle The “Schwarzer Peter”—that is, “Black Peter”–mentioned on the title label is the name that the Old Maid card goes by in German, Danish, Swedish, Hungarian, and Finnish.  The card with Black Peter is the hot potato that all the players try to get rid of as quickly as possible so it won’t be in their hands at the end of the game.  In this particular set, the Black Peter is depicted offensively as a black rag doll (possibly inspired by Florence Upton’s famous character, the Golliwog) instead of the more usual chimney sweep.

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The Black Peter card in the manuscript Schwarzer Peter deck. Dieses spiel vom schwarzen Peter malte für ihre lieben St. Galler Freunde Ernst u. Anneliese Grossenbacher. [Switzerland?, [not before 1930?] (Cotsen)

In spite of the unpleasant images, this card set is a fascinating addition to Cotsen’s collection of manuscripts made for children over the last three hundred years..

See more Beatrix Potter at the Cotsen virtual exhibitions page