Nina Welle: Henrik Ibsen. The "unknown" London first editions.

Introduction.

For several years Norwegian booksellers and collectors have been aware of the fact that there are some first editions of three of Henrik Ibsen's playsrr Qther than those ordinary first editions published in Copenhagen. According to Schiøtz &. Ringstr@ms book "Norske Fprsteutgaver" U990], these copies have never been recorded sold or owned in Norway' . The University Llbrary in Oslo owns all three of them and lists them in their catalogue: "Henrik Ibsen - Katalog over Ibsenutstillingen i Universitetsbiblioteket, 1928".' Ibsen's books and the different editions have been thoroughly investigated, but this little mystery seemed never to have caught any serious attention.

"Printing and the Mind of Man" says that the publishing of the books in London was "a well-intentioned illusion that this was necessary to secure copyright." ' Another httle puzzle was that while the University Library in Oslo and Schiøtz & RingstrØm list these three: Hedda Gabler, Lille Eyolf and Johan Gabriel Borchman, "Printing and the Mind of Man" lists a slightly different but not insignificant selection: Hedda Gabler, Bygmester Solness and John Gabriel Borchmann.

Because of his many years in poverty, (see below), Ibsen was very determined that he should secure his rights and make all the money he could from his work. When he died, he was therefore a very wealthy man. Gosse says that this was solely because he took great carc to secure his copyrights. Very many of Ibsen's letters, printed in the Centenary Edition of his Collected Works are about finances and money.

A letter to Jacob Hegel 18-1-1895 (his publisher) regarding purchase of bonds: "They will have to be absolutely safe, as I cannot afford neither to lose money nor to risk anythirg."

I6sen was also very åreful that nobody should get hold of his writings and publish pirate copies: "A1l through the autumn [of 1871] he was kept in a chronic state of iffitability by the intrigues and the menaces of a Norwegian pirate, who threatened to reprint, for his own profit, Ibsen's early and insufficiently * protected writings." - and: "He was growing rich too fafter 1890]... His wealth, it may be said, was founded entirely upon the success of his works... When Ibsen died, he was one of the wealthiest private citizens of Christiania [Oslo], and this was wholly in consequence of the care that he

'saR,p.9t 44, 45, 46 p.226

'pp.

3

aGosse

p. 136

had taken."' Ibsen wrote to his wife in April 1895: "We now have 166.000 kroners invested, even I dare to say that that is well done."u A letter to Jacob Hegel of 20 Oct 1896 in the year of the founding of the Berne Convention shows his concerns,: "Please see to it that no literary pickpocket gets hold of the proof-sheets. Start the printing 7 immediately for the sake of the theatres and the translators."

The subject led to an investigation, and this coursework is the result of my research.

s

Gosse p. 211

6He1bergp.275 7Cent. vol. 18, p. 386

Edmund Gosse and Nortray.

The life of Edmund Gosse is both interesting and fascinating. It has - however been thoroughly described elsewhere. In this short biography I will mainly consider the parts of his life and work that were related to Norway and to Henrik Ibsen.

The first time Edmund Gosse visited Norway was when he was 21 years old. He was employed at the British Museum in the cataloguing department. In spite of his youth, he made friends with many famous people of those days, and he began exchanging letters with even more.

He had published a few poems and sent in a few articles to different periodicals, but none had appeared in print. Gosse was young and aspiring, his aim was to be a poet and a critic of English Literature.

His summer visit to Norway in June 1871 made him fall in love with the country, but he made no friends at this visit, and did not learn any of the language. At this time he was totally unaware that there existed a Norwegian literature, a view he shared with most other Englishmen. On the last part of his stay in Norway, however, he went into a bookshop in Trondheim and bought Ibsens, Digte (Poems) at the bookseller's advice, though he could not read it. Having come home, he wrote a small article about his travels, "The Lofoden Islands" which was accepted and printed in Fraser's Magazine.

During the next winter Gosse taught himself Danish by comparing an English and a Danish version of Scharling's Nøddebo Prestegaard.

Charteris mentionss that "during his last year at school [he] had been working on his own account at Swedish," and the Scandinavian languages cannot have been totally unknown to him in 1871. After having obtained at least fairly good reading abilities in the Dano-Norwegian language, he

turned again

to

Ibsen's Digte, read them; was delighted

and

wrote a review of the book in the Spectator. The Spectator printed it in March 1872, and Gosse immediately sent a copy to Henrik Ibsen in Germany. Ibsen wrote a very nice letter back. He was pleased to be promoted in England and to gain recognition in the difficult but important British market.

This was the beginning of Gosse and Ibsen's long acquaintance and exchange of letters. Gosse reviewed all of Ibseris plays from this time. For years he seemed to lead a never-ending fight for the Norwegian literature in England.

tp. 1l

Gosse visited Norway on several other occasions, but managed only once to meet Ibsen who mainly lived abroad. Their meeting was on the 1st of September 1899 in Christiafita.

In 1879 Gosse published his first book on Scandinavian Literature: "studies in the Literature of the Northern Europe". It is a paradox that at the time when Gosse was regarded as an expert on Scandinavian literature, his own interest had almost disappeared. Having established himself as a literature critic in this special field, he now turned to his real interest in life, thc English literature and left the Scandinavian to others.

He did, however, continue his correspondence with a few Scandinavian writers, among them Ibsen.

A special incident regarding the publishing and translation of Hedda Gabler is worth mentioning here: Gosse had received the proofs of the play and had reviewed it on Jan lst 1891 in the Fortnight Review. This was shortly before his own English translation was published by Heinemann. On Jan 2nd Gosse must have p( sent Ibsen a letter asking for his signature on a final contract about the English version of the play. On this contract Heinemann acquired the sole rights of the printing of the play in England.

"Heinemann had offered Ibsen a fee of f, 150 if he could arrange for the proof-sheets to be sent directly to Gosse from Gyldendal as they were being finished. Ibsen accepted this offer."n However, when Ibsen received the contract, it covered Heinemann's sole right of the play in England. Ibsen felt that he was dishonorably treated. William Archer and Walter Scott were akeady working on a collection of Ibsen's Prose Dramas, and they were now unable to incorporate Hedda Gabler. Ibsen had explicitly demanded that Gosse's translation should not hinder Mr. Archer in completing his edition. Subsequently Ibsen returned the fee from Archer and sent a cross letter to Gosse .'o Gosse's translation was not of a good standard, his Norwegian

never

was. Archer made a violent attack on him in The Pall Mall

Gazette. He called Gosse a translator traitor, pointing out a number of very grave mistranslations: "Mr. Gosse's translation of 'Hedda Gabler' [Heinemann] is so inconceivable and fantastically inaccurate as to constitute a cruel injustice to Henrik Ibsen. I cannot pretend to be an impartial critic. I have long ago known that Mr. Gosse's Norwegian is sadly imperfect..."" The incident was settled after a while. Gosse admitted that Archer's translation was the better. After this incident there was no evidence of correspondence between Gosse and Ibsen for 7 years.

In Norway Gosse was honored as being the man who introduced

Norwegian literature eBredsdorff p.44 loFranc p.

63 11

Bredsdorffp. 178

to the English. He was not only the first

Englishman to discover Ibsen, but for almost 10 years he fought alone to make him known in England. He had a very good reading knowledge of Norwegian.

In 1901 Gosse received the Royal Order of St. Olav, First C1ass, from King Oscar: "In recognition of his services to the Norwegian

Literatute"."

Shortly after the turn of the century, Gosse was made President of the Norwegian Club in London. From 1917 till his death in 1928, he was Chairman of the Board of Scandinavian Studies at University College London.

12

Charteris p. 272

Short biosraphy of Henrik Ibsen.

Henrik Ibsen was born in Skien, Norway on the 20th March 1828, son of Knud Ibsen a rather wealthy retail merchant and Marichen nde Altenburg, daughter of a German merchant. When Ibsen was 7, his father lost all his property, without going bankrupt (as many sources claim)."

Bankruptcy was a social disgrace in those days, and even though the family avoided it, they lived very quietly after this, abandoned by all their former friends and acquaintances. Poverty as such was also a disgrace. They moved to a small farm called Venst@p which still can be seen outside Skien. Ibsen's childhood years were extremely lonely.

In 1843, at the age of 15, he was confirmated. He was from this date taken out of school and was supposed to earn his own livings. After a while he was accepted as an apprentice to a small apothecary in the tiny south-coast town of Grimstad. Here he lived in the utmost poverty for five years. He also fathered an illpgitimate child during this period. After two years , in 1847 , the apothecary,"'vvzs sold to another owner, and Ibsen's livelihood was a little improved. His last three years in Grimstad were fairly huppy. He was still very poor, but he made a few friends and actually found time to write. One of his friends, Ole Schulerud, took his first play, Catilina [written under the pseudonym of Brynjolf Bjarme] with him when traveling to Christiania to present it to the Christiania Theater. Unfortunately, the theatre claimed that it could not be staged.

But Schulerud had such good faith in Ibsen that he actually had the play printed and published at his own expenfe. However, it did not attract any attention.

In

left Grimstad. He went to Christiania in hope of becoming a student. Here he entered a course Ă… a school called 1850 Ibsen

"Heltberg's Student Factory". His money was so short that he could only enter the shortest one; the three months' course. His results were bad, but he passed the matriculation test with the lowest possible margin. His result in Norwegian was particularly bad. However, he failed in Greek and mathematics, and was subsequently not able to enter into the university as he had wanted.

As a result of several curious incidents, he was offered a position in a newly opened theatre in Bergen. The work was hard and the wages low.

He lived there for 6 years. It is in this period that he learnt his theatrical skills. He became engaged to Susanna Daae Thoresen, but they were unable to marry because of his bad finances. In 1857 he received an offer to work on a new stage in Christiania for a salary double of what he had 13

Heiberg p. 28

got in Bergen. Ibsen was delighted, moved and married. After two years, the theatre had to close down, and Ibsen was again in a difficult position.

He worked shortly on the country's main stage: Christiania Theater.

During the years in Bergen and Christiania, he wrote several plays which were performed, but not successfully. The public seemed to loathe both Ibsen and his plays.

After having applied several times, he was finally awarded a grant from the Norwegian Government in 1864. After the fashion of the Government, however, it was smaller than what he had applied for. Ibsen had by now experienced Norway and the Norwegians as unfriendly and even hostile, and he felt that everything bad lingered in Norway. A couple of years later he actually wrote in a letter that "Norwegian friends were a costly luxury which he was obliged to deny himself'.'o Ibsen brought his wife and little son to live in Rome, and for 10 years he did not even visit Norway. Not until after 27 years did he go back to live in Norway. The Italian way of life was a relief for him after his cold and poor years. In 1866 he published his first real success: Brand, and shortly after: Peer Gynt. These two plays were tremendous successes and placed Ibsen rather suddenly in the first rank of European authors and playwrights, a position he held for the rest of his life.

In 1868 he left Italy and went to live in Dresden with his family.

This is where he lived when he was first contacted by Edmund Gosse.

In the surlmer of 1869, Ibsen was already so famous that the King of Norway and Sweden appointed Ibsen to be one of the two delegates from the two united Kingdoms to be present at the official opening of the Suez Canal. This was a long way in a short time, from real poverty in Christiania in 1864 to world famous delegate in 1869.

In the years 1878 to 1891 Ibsen lived in Rome or in Munich.

Every second or third year for the rest of his life, he presented a new play.

Even if his plays were strongly debated, or even fought against, as they were in England and Germany, his genius was never debated. He was looked upon as the greatest playwright in his time. In Norway he is, of course, still regarded in this way. He moved back to Christiania in 1895 and lived there until his death in 1906.

I have not found it necessary to list Ibsen's works here, as they are recorded in very many other places.

la

Gosse

p.

136

Ibsen and copyright.

Before copyright was established, the publishing business could

yell be called a "pirates' business". Regarding Ibsen, Heiberg writes: ,tbr"n had himsef taken steps to have ttre play translated into German and sent to as many theatres as possible - the laws at this time were such that if aptrate translator should appear first and offer his translation to the theatres, the theatre dealt with the translator only, not the author." " And: "Until the middle of the 1890's Ibsen had to take all precautions to protect himself against literary pirates in every country... The Berne Conventions first came into being during these years and protected the copyright of cultural works, anyhow in most countries of importance to Ibsen. But Denmark, where his own publishers was, did not sign the Berne Convention until 1903, so he still had to see to the protection of his copyright personally. But he could take his precautions, and the money ir l6 poureo ln..'

On the background of this, we ought to find a London edition of Ibsen's last play too: "Naar vi døde vaagner" (When we dead'awaken) [1899],but I have not found one, and I do not believe that such one exists.

However, the Norwegian Encyclopedia" reads that the main principle is that an author who is a citizen of one of the counffies of the Berne Union [the result of the Berne convention] has the same rights of protection for his works in another country of the union as the first country to its own citizens. Norway became a member of the Berne Union in the founding year of 1896. It seems that Heiberg here is wrong, believing that country of publishing is the vital one. I believe that Ibsen ended his London publishings in 1896 with John Gabriel Borchmann because the Berne Convention protected him and he did not any longer have the need for this kind of protection.

tt t6

H"iu".g ies Heibergp.275

"

Store norske p...

British Library.

The Catalogue of the British Library when searched revealed that there are four books by Ibsen with the entry: "London 18--, same edition but with another title page." See below. From this moment I knew that I was looking for four books, not three as I had believed.

Book Auction Records. is annually

by Antiquarian Booksellers' Association (ABA).

I have searched through the volumes of BAR in The Senate House Library from 1902 to 1993. Only once have I found any of the Ibsen books for which I have been looking. This was in vol.26 for 1928129, and in this year, the minimum price for listing in the BAR list, was probably f5. The amount was not stated in any of the BAR records I have looked through, but looking at the prices, this seems right. Books that were sold below this price will not have been listed, and it only lists books sold in the major auction rooms.

Book Auction Records (BAR)

published

The following is a very brief description of each book, but without any consideration of condition.

Ibsen, (H): -Bygmester Solness, one of an edn. of 12 copies to secure copyright, hf. mor. g.t., 1892 (S. Dec. 4; 401) Maggs f5 15 s.

-Hedda Gabler, one of 12 copies to secure copyright, hf. mor. gt. 1890.

(S. Dec. a;400) King f 10 -John Gabriel Borkman, one of 10 copies to secure copyright, hf. mor., 1896 (S. Dec. 4;402) King f6 10 s.

The abbreviations are: hf.= half, mor.= morocco, gt.= gilt, g.t.= gilt top edge.

The last book that I was looking for; Lille Eyolf, was not sold at this time. Nor can I find it at aLI in the BAR records in this special first edition.

Edmund Gosse died in 1928. His library was sold by Sotheby on the 3-6th Dec. 1928. It is quite possible that the books sold in 1929 were from his library, particularly when looking at the below items in Harvard

University Library which have his bookplates (Bygmester Solness and Hedda Gabler).

I have also looked at Ibsen in the National Union Catalogue to see if any of these Ibsen editions are in any American Libraries, and I found two. The entries are as follows: Bygmester Solness.

London 1892. Publishers devise on t.p. First edition; one of 12 copies issued in London to secure copyright. The sheets are the same as those of the Copenhagen Edition, which did not appear until 12 Dec. 1892.

Edmund Gosse's copy with his bookplate.

Belongs to Harvard University, Cambridge.

Hedda Gabler.

London 1890. First edition; one of 12 copies issued in London on 11 Dec. 1890 in order to secure copyright. The sheets are the same as those of the Copenhagen edition, which did not appear until 16 Dec. 1890.

Original printed grey front wrapper preserved at end, bound in half grey morocco.

Edmund Gosse's copy with his bookplate.

Belongs to Harvard University, Cambridge.

The search indicates that there has not been many sales of these rare first editions. However, the BAR does not give us a full picture: The books could have been privately sold, sold out of a bookshop or at a price below BAR's minimum prices, and therefore we would not know...

The books as such - a comparison.

Hedda Gabler.

First edition in Norwegian. Published 1lth Dec. 1890 by Heinemann, London, 12 copies to secure copyright.

Sources where these special editions are mentioned: Printing and the Mind of Man: p.226.

Sctttøtz & Ringstrgm: p. 90 UB's Catalogue: p. 45 Bredsdorff: p. 44 M.F. Franc: Not mentioned.

Recorded sold on auction rn 1929.

between these two editions was performed in the British Llbrary on the 15 Feb. L995. The comparison of the text was made on the pages marked with the bookbinder's signature numbers, and I found them seemingly identical.'*

A comparison

The Copenhagen edition [C.ed.]: It has not been repaired as some of the others in this group in the British Library; but it has been rebound in BL's library binding. It has II + 236 pp. I: Half title page. II: Title page with Gyldendalske Boghandels forlag's device. On the reverse of title page, information about other published editions in several languages.

The Inndon edition: II + 236 pp. I: Half title, identical with the C.ed. II: Title page with William Heinemann, London as publisher. On the reverse of title page: Printed by Ballantyne, Hanson & Co., London and Edinburgh.

See photocopy of the title pages.

Bygmester Solness.

First edition in Norwegian published 6th Dec. 1892 by Heinemann, London, in a number of 12 to secure copyright.

"As a further safeguard of the English copyright a special matinee was arranged at the Theatre Royal in Haymarket on Dec. 7, 1892 at 10 o'clock, when Bygmester Solness was read in Norwegian." " 7 persons, including Gosse participated, and there was an audience of 4. The publisher, Heinemann had rented the theatre.

18

Cent. vol. 18,. p. 361, see also Harvard's entry below.

re

Charteris p.226

Sources where these special editions are mentioned: Printing and the mind of man: p. 226 Schiøtz & Ringstrøm: Not mentioned UB's Catalogue; Not mentioned

Bredsdorff: p.48 BAR: 26192.

M.A. Franc: p. 164 Recorded sold at auction in 1929. comparison between the two editions was performed in the British Library 15 Feb. 1995.I have compared the pages in the same way as with Hedda Gabler, and found them seemingly identical.

A

The Copenhagen edition: All sheets repaired, and the book bound

in B.L.'s library binding. IV +

220

about other editions

pp. I: Fly leaf with information

in

several Gyldendalske

languages on reverse. II: Half title. III: Title page with Boghandels forlag's devise. IV: List of participants.

The London Edition: This has not been repaired, but rebound in BL's library binding. The English original front wrapper bound in, pale grayish blue paper with William Heinemann, London as publisher and his devise. IV + 220 pp.

I: Fly leaf. II: Half title, not identical with the C.ed. III: Title page with Heinemann as publisher. IV: List of participants, identical with the C.ed.

See photocopy of the title pages.

Lille Eyolf.

First edition in Norwegian published 11 Dec. 1894, by Heinemann, London, in 12 copies to secure copyright, but dated 1895 in the book. The Norwegian first edition published in Copenhagen is dated 1894.

Ibsen wrote a letter to Aug. Larsen at the Gyldendal house: "Send W. Heinemann as soon as possible 12ungathered copies of ll-ille Eyolfl."'o A copyright performance of this play was staged on Dec. 7, t894 in the Theatre Royal. Cast: 6 persons, of which both Mr. Gosse and Mr. Heinemann."

The book has not been recorded sold at auction between L902 and L993.

Sources where these special editions are mentioned: Printing and the mind of man: Not mentioned.

Schiøtz & Ringstrgm: p. 90.

UB's Catalogue: p.46 20Cent.

"

Vol.

18, p.361

M.A. Franc p. 174.

Bredsdorff: Not mentioned.

M.A. Franc: Not mentioned. between the two editions was performed in the British Library 15 Feb. L995. I have compared the pages in the same way as with Hedda Gabler and found them seemingly identical.

A comparison

The Copenhagen edition: This copy is in its original beautiful gilt cloth binding in a case. It has V + 184 pp. I: Fly leaf. II: Fly leaf with information about other editions in several languages on reverse. III: Half title. IV = Title page with Gyldendalske Boghandels Forlag's devise, publishing year L894. V: List of participants. I was not allowed to photocopy this book in the BL. But an identical copy was found on the shelves of the UCL library. There was no problempin photocopying this.

The London edition: In BL's library binding. It has not been repaired. IV + 184 pp. I: Fly leaf identical with the C.ed. (II) with information about other editions in several languages on reverse. II: Half title, identical with the C.ed. III: Title page with Gyldendal's devise and William Heinemann, London as

publisher. Publishing year 1895. IV: List of participants, identical with the C.ed.

See photocopies of the title pages.

John Gabriel Borchman.

First edition in Norwegian published London, 12 copies to secure copyright.

l}th Dec. 1896 by Heinemann,

Sources where these special editions are mentioned: Printing and the Mind of Man: p.226.

Schiøtz & Ringstrgm: p.91.

UB's Catalogue; P. 46 Bredsdorff: Not mentioned.

A.M. Franc: Not mentioned.

Recorded sold at auction

in 1929.

A comparison between the London and the Copenhagen editions was performed at the British Library 15 Feb. 1995.I have compared the pages in the same way as with Hedda Gabler, and found them seemingly identical.

The Copenhagen edition: It has the original wrapper with advertisements bound

in.

There are IV + 245 pp. I: Fly leaf with information about other published editions in several languages on reverse. II: Half title. III: Title page with Gyldendalske Boghandels Forlag as publisher and their device. IV: List of participants.

The London edition: The copy in the British Library is rebound and repaired. It has IY + 245 pp. I : Identical with C.ed. II = Half title, identical with the C.ed. III: New title page, publisher entered as both Gyldendalske Boghandels Forlag and William Heinemann, London IV: List of participants, identical with the C.ed.

See photocopy of the title pages.

Conclusion.

Only three of these rare Ibsen editions have been known in Norway until now, but there is no doubt that there are four all together. They were published in the years 1890-1896, and quite rightly - as supposed - to secure copyrights. These are: Hedda Gabler 1890 Bymester Solness (The Master Builder) L892 Lille Eyolf (Little Eyolf) 1894 John Gabriel Borchmann 1896.

I have not found any evidence of earlier London editions, nor of one later, and my conclusions are that there are four only.

These editions are the true f:.r:st editions of these

plays. I have only found

very few copies of them altogether, but there may be copies that not been able to trace.I have found: Hedda Gabler, 3 Bygmester Solness, 2

Lille Eyolf ,2 John Gabriel Borchmann, 2

I

have

UB Oslo, " British Library 1, Harvard British Library 1, Harvard 1.

UB Oslo 1, British Library 1.

UB Oslo 1, British Library 1.

1.

view of an Antiquarian Bookseller, this is indeed very interesting. But it bears no impact whatsoever on the prices of what is Seen from the

usually regarded as the first editions. Ibsen was very famous when these books were published. Gyldendalske Boghandel expected a great sale, and the number of printed copies was large. Therefore these four books are some of the most easily obtainable of Ibsen's first editions. Should however, one of the London copies appear, this would be great and sensational news, and it would certainly obtain a very high price, far above Ibsen's average prices. Twelve copies were published of each, I have traced seven, the possibility of seeing one on the marked is perhaps not quite impossible?

22

Universitetsbiblioteket I Oslo

(University Library).

Bibliography.

Shortened:

Bredsdorff, Elias: Sir Edmund Gosse's Conespondence with Scandinavian.

Gyldendal, Copenhagen 1960.

Bredsdorff

Centenary Edition.

Hundreårsutgaven 1928, Gyldendal Oslo 19--.

Cent.

Charteris, The Hon. Evan K.C.: The Life and Letters of Sir Edmund Gosse.

Heinemann, London t193 11.

Charteris

Franc, Miriam Alice Ibsen in England. Four Seas Company, Boston 1919.

Franc

Gosse,

Edmund:

Gosse

Ibsen. Hodder and Stoughton, London 1907.

Heiberg,

Hans:

Heiberg

A Portrait of the Artist. George Allen and Unwin Ltd. London 1969.

Henrik Ibsen 1828 - 20. mars - 1928.

Katalog over Ibsenutstillingen i Universitetsbiblioteket.

Oslo [1928].

UB's Catalogue

Printing and the Mind of Man. Pressler, Miinchen, 1983.

Printing &

Schiøtz, Cato and Bjørn Ringstr@m: Norske F@rsteutgaver. B. Ringstr@ms Forlag, Oslo 1990.

S

Store Norske Leksikon.

Store norske

Kunnskapsforlaget, Oslo 1992.

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