In early modern Europe a chapbook was a type of printed street literature. Produced cheaply, chapbooks were small, paper-covered booklets, usually printed on a single sheet folded into books of 8, 12, 16, or 24 pages. They were often illustrated with crude woodcuts, which sometimes bore no relation to the text (much like today's stock photos), and were often read aloud to an audience.[1] When illustrations were included in chapbooks, they were considered popular prints.
The term "chapbook" for this type of literature was coined in the 19th century. The corresponding French term is bibliothèque bleue (blue library) because they were often wrapped in cheap blue paper that was usually reserved as a wrapping for sugar.[2] The German term is Volksbuch (people's book). In Spain, they were known as pliegos de cordel (cordel sheets) or as pliegos sueltos (loose sheets) because they were literally loose sheets of paper folded once or twice in order to create a booklet in quarto format.[2]Lubok is the Russian equivalent of the chapbook.[3]
The term "chapbook" is also in use for present-day publications, commonly short, inexpensive booklets.[4]
Etymology
Chapbook is first attested in English in 1824, and seems to derive from the word for the itinerant salesmen who would sell such books: chapman.[5][6] The first element of chapman comes in turn from Old English cēap ('barter, business, dealing')[7] from which the modern adjective cheap was subsequently derived.
History
Woodcut of a fairy-circle from a 17th-century chapbook
Broadside ballads were popular songs, sold for a penny or halfpenny in the streets of towns and villages around Britain between the 16th and the early 20th centuries. They preceded chapbooks but had similar content, marketing, and distribution systems. There are records from Cambridgeshire as early as in 1553 of a man offering a scurrilous ballad "maistres mass" at an alehouse, and a pedlar selling "lytle books" to people,[This quote needs a citation] including a patcher of old clothes in 1578. These sales are probably characteristic of the market for chapbooks.
The form originated in Britain, but many were made in the U.S. during the same period. Chapbooks gradually disappeared from the mid-19th century in the face of competition from cheap newspapers and, especially in Scotland, from tract societies that regarded them as ungodly.
Because of their flimsy nature such ephemera rarely survive as individual items. They were aimed at buyers without formal libraries and, in an era when paper was expensive, were used for wrapping or baking. Paper has also always had hygienic uses; there are contemporary references to the use of chapbooks as "bum fodder".[8] Many of the surviving chapbooks come from the collections of Samuel Pepys between 1661 and 1688 which are now held at Magdalene College, Cambridge. The antiquary Anthony Wood also collected 65 chapbooks, including 20 from before 1660, which are now in the Bodleian Library. There are also significant Scottish collections, such as those held by the University of Glasgow[9] and the National Library of Scotland.[10]
Modern collectors, such as Peter Opie, have chiefly a scholarly interest in the form.[11][12] Modern small literary presses, such as Louffa Press, Black Lawrence Press and Ugly Duckling Presse, continue to issue several small editions of chapbooks a year, updated in technique and materials, often to high fabrication standards, such as letterpress.
Production and distribution
Chapbooks were cheap, anonymous publications that were the usual reading material for lower-class people who could not afford books. Members of the upper classes occasionally owned chapbooks, and sometimes bound them in leather. Printers typically tailored their texts for the popular market. Chapbooks were usually between four and twenty-four pages long, and produced on rough paper with crude, frequently recycled, woodcut illustrations. They sold in the millions.[13][clarification needed]
After 1696, English chapbook peddlers had to be licensed, and 2,500 of them were then authorized, 500 in London alone. In France, there were 3,500 licensed colporteurs by 1848, and they sold 40 million books annually.[13]
The centre of the chapbook and ballad production was London, and until the Great Fire of London in 1666 the printers were based around London Bridge. However, a feature of chapbooks is the proliferation of provincial printers, especially in Scotland and Newcastle upon Tyne.[14] The first Scottish publication was the tale of Tom Thumb, in 1682.[1]
Chapbooks were an important medium for the dissemination of popular culture to the common people, especially in rural areas. They were a medium of entertainment, information and (generally unreliable) history. Though the content of chapbooks has been criticized as unsophisticated narratives which were heavily loaded with repetition and emphasized adventure through mostly anecdotal structures,[15] they are valued as a record of popular culture, preserving cultural artifacts that may not survive in any other form.
Chapbooks were priced for sales to workers, although their market was not limited to the working classes. Broadside ballads were sold for a halfpenny, or a few pence. Prices of chapbooks were from 2d. to 6d., when agricultural labourers' wages were 12d. per day. The literacy rate in England in the 1640s was around 30 percent for males and rose to 60 percent in the mid-18th century (see Education in the Age of Enlightenment). Many working people were readers, if not writers, and pre-industrial working patterns provided periods during which they could read.
Chapbooks were used for reading to family groups or groups in alehouses. They contributed to the development of literacy, and there is evidence of their use by autodidacts.
In the 1660s as many as 400,000 almanacs were printed annually, enough for one family in three in England. One 17th-century publisher of chapbooks in London stocked one book for every 15 families in the country.[clarification needed] In the 1520s the Oxford bookseller John Dorne noted in his day-book selling up to 190 ballads a day at a halfpenny each. The probate inventory of the stock of Charles Tias, of The sign of the Three Bibles on London Bridge, in 1664 included books and printed sheets to make approximately 90,000 chapbooks (including 400 reams of paper) and 37,500 ballad sheets. Tias was not regarded as an outstanding figure in the trade. The inventory of Josiah Blare, of The Sign of the Looking Glass on London Bridge, in 1707 listed 31,000 books, plus 257 reams of printed sheets. A conservative estimate of sales in Scotland alone in the second half of the 18th century was over 200,000 per year.
Printers provided chapbooks on credit to chapmen, who carried them around the country, selling from door to door, at markets and fairs, and returning to pay for the stock they sold. This facilitated wide distribution and large sales with minimum outlay, and also provided the printers with feedback about what titles were most popular. Popular works were reprinted, pirated, edited, and produced in different editions.
Publishers also issued catalogues, and chapbooks are found in the libraries of provincial yeomen and gentlemen. John Whiting, a Quaker yeoman imprisoned at Ilchester, Somerset, in the 1680s had books sent by carrier from London, and left for him at an inn.
Samuel Pepys had a collection of ballads bound into volumes, under the following classifications, into which could fit the subject matter of most chapbooks:
Devotion and Morality
History – true and fabulous
Tragedy: viz. Murders, executions, and judgments of God
State and Times
Love – pleasant
Ditto – unpleasant
Marriage, Cuckoldry, &c.
Sea – love, gallantry & actions
Drinking and good fellowship
Humour, frollicks and mixt.
The stories in many of the popular chapbooks can be traced back to much earlier origins. Bevis of Hampton was an Anglo-Norman romance of the 13th century, which probably drew on earlier themes. The structure of The Seven Sages of Rome was of Eastern origin, and was used by Chaucer. Many jests about ignorant and greedy clergy in chapbooks were taken from The Friar and the Boy printed about 1500 by Wynkyn de Worde, and The Sackfull of News (1557).
Historical stories set in a mythical and fantastical past were popular, while many significant historical figures and events appear rarely or not at all: in the Pepys collection, Charles I, and Oliver Cromwell do not appear as historical figures, The Wars of the Roses and the English Civil War do not appear at all, Elizabeth I appears only once, and Henry VIII and Henry II appear in disguise, standing up for the right[clarification needed] with cobblers and millers and then inviting them to court and rewarding them. There was a pattern of high born heroes overcoming reduced circumstances by valour, such as St George, Guy of Warwick, Robin Hood, and heroes of low birth who achieve status through force of arms, such as Clim of Clough, and William of Cloudesley. Clergy often appear as figures of fun, and stupid countrymen[tone] were also popular (e.g., The Wise Men of Gotham). Other works were aimed at regional and rural audience (e.g., The Country Mouse and the Town Mouse).
From 1597 works were published that were aimed at specific trades, such as clothiers, weavers and shoemakers. The latter were commonly literate.[clarification needed] Thomas Deloney, a weaver, wrote Thomas of Reading, about six clothiers from Reading, Gloucester, Worcester, Exeter, Salisbury and Southampton, traveling together and meeting at Basingstoke their fellows from Kendal, Manchester and Halifax. In his Jack of Newbury, set during Henry VIII's reign, an apprentice to a broadcloth weaver takes over his business and marries his widow on his death. On achieving success, he is liberal to the poor and refuses a knighthood for his substantial services to the king.
Other examples from the Pepys collection include The Countryman's Counsellor, or Everyman his own Lawyer, and Sports and Pastimes, written for schoolboys, including magic tricks, like how to "fetch a shilling out of a handkerchief",[This quote needs a citation] write invisibly, make roses out of paper, snare wild duck, and make a maid-servant fart uncontrollably.
The provinces and Scotland had their own local heroes. Robert Burns commented that one of the first two books he read in private was "the history of Sir William Wallace ... poured a Scottish prejudice in my veins which will boil along there till the flood-gates of life shut in eternal rest".[This quote needs a citation]
Influence
Chapbooks had a wide and continuing influence. Eighty percent of English folk songs collected by early-20th-century collectors have been linked to printed broadsides, including over 90 of which could only be derived from those printed before 1700. It has been suggested the majority of surviving ballads can be traced to 1550–1600 by internal evidence.
One of the most popular and influential chapbooks was Richard Johnson's Seven Champions of Christendom (1596), believed to be the source for the introduction of the character St George into English folk plays.
Chapbook is also a term currently used to denote publications of up to about 40 pages, usually poetry bound with some form of saddle stitch, though many are perfect bound, folded, or wrapped. These publications range from low-cost productions to finely produced, hand-made editions that may sell to collectors for hundreds of dollars. More recently,[when?] the popularity of fiction and nonfiction chapbooks has also increased. In the UK they are more often referred to as pamphlets.
The genre has been revitalized in the past 40 years by the widespread availability of first mimeograph technology, then low-cost copy centers and digital printing, and by the cultural revolutions spurred by both zines and poetry slams, the latter generating hundreds upon hundreds of self-published chapbooks that are used to fund tours. The Center for the Humanities at the City University of New York Graduate Center has held the NYC/CUNY Chapbook Festival, focused on "the chapbook as a work of art, and as a medium for alternative and emerging writers and publishers".[16]
With the recent[when?] popularity of blogs, online literary journals, and other online publishers, short collections of poetry published online are frequently referred to as "online chapbooks", "electronic chapbooks", "e-chapbooks", or "e-chaps".[citation needed]
Stephen King wrote a few parts of an early draft of The Plant and sent them out as chapbooks to his friends instead of Christmas cards in 1982, 1983, and 1985. "Philtrum Press produced just three installments before the story was shelved, and the original editions have been hotly sought-after collector's items."[17][failed verification]
In 2019, three different publishers (New York Review Books, Farrar, Straus and Giroux, and Celadon Books) used chapbooks as a marketing tool. They took excerpts of longer works, turned them into chapbooks, and sent them to booksellers and other literary tastemakers to generate interest in the upcoming publications.[18]
Chapbook collections
The National Library of Scotland[19] holds a large collection of Scottish chapbooks; approximately 4,000 of an estimated total of 15,000 published – including several in Lowland Scots and Gaelic.[1] Records for most Scottish chapbooks have been catalogued online. Approximately 3,000 of these have been digitised and can be accessed from the Library's Digital Gallery. A project is underway to add every chapbook in the collection to Wikisource at https://en.wikisource.org/wiki/Wikisource:WikiProject_NLS.
The Glasgow University Library[20] has over 1,000 examples throughout the collections, searchable online via the Scottish Chapbooks Catalogue of c. 4,000 works, which covers the Lauriston Castle collection, Edinburgh City libraries and Stirling University. The University of South Carolina's G. Ross Roy Collection is collaborating in research for the Scottish Chapbook Project.
The Bodleian Library of the University of Oxford[21] has over 30,000 ballads in several major collections. The original printed materials range from the 16th to the 20th century. The Broadside Ballads project makes the digitised copies of the sheets and ballads available.
Sir Frederick Madden's Collection of Broadside Ballads, at Cambridge University Library,[22] is possibly the largest collection from London and provincial presses between 1775 and 1850, with earlier 18th-century garlands and Irish volumes.
The Lilly Library, Indiana University, Chapbook Collection[23] has 1,900 chapbooks from England, Scotland, Ireland, France, and the United States, which were part of the Elisabeth W. Ball collection. Online search facility
The Elizabeth Nesbitt Room, University of Pittsburgh[24] houses over 270 chapbooks printed in both England and America between the years 1650 to 1850 (a few Scottish chapbooks are included as well). Title list, bibliographic information and digital images of chapbook covers
Rutgers University, Special Collections and University Archives[25] houses the Harry Bischoff Weiss collection of 18th- and 19th-century chapbooks, illustrated with catchpenny prints.
Literatura de Cordel Brazilian Chapbook Collection Library of Congress, American Folklife Center[27] has a collection of over 7200 chapbooks (literatura de cordel). Descended from the medieval troubadour and chapbook tradition of European literatura de cordel has been published in Brazil for over a century.
The University of Guelph Library, Archival and Special Collections,[28] has a collection of more than 550 chapbooks in its extensive Scottish holdings.
The National Art Library, Victoria & Albert Museum, London[29] has a collection of c. 800 chapbooks, all catalogued.
The McGill University Library[30] has over 900 British and American chapbooks published in the 18th and 19th centuries. The chapbooks have been digitized and can be read online.
The Grupo de investigación sobre relaciones de sucesos (siglos XVI–XVIII) en la Península Ibérica, Universidade da Coruña[31] Catalog and Digital Library of "Relaciones de sucesos" (16th–18th centuries). Bibliographical database of more than 5,000 chap-books, pamphlets, Early modern press news, etc. Facsimilar reproduction of many of the copies: Catálogo y Biblioteca Digital de Relaciones de Sucesos (siglos XVI–XVIII)
The Ball State University Digital Media Repository Chapbooks collection[32] provides online access to 173 chapbooks from the 19th and 20th centuries.
The project Untangling the cordel offers a collection of almost 1000 pliegos de cordel, the Spanish equivalent of English chapbooks, kept at the University Library of the University of Geneva.[36]
Mapping Pliegos is a portal dedicated to 19th-century Spanish chapbook literature. It brings together the digitised collections of over a dozen partner libraries.
A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and song of Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America.
"Barbara Allen" is a traditional folk song that is popular throughout the English-speaking world and beyond. It tells of how the eponymous character denies a dying man's love, then dies of grief soon after his untimely death.
Early British popular music, in the sense of commercial music enjoyed by the people, can be seen to originate in the 16th and 17th centuries with the arrival of the broadside ballad as a result of the print revolution, which were sold cheaply and in great numbers until the 19th century. Further technological, economic and social changes led to new forms of music in the 19th century, including the brass band, which produced a popular and communal form of classical music. Similarly, the music hall sprang up to cater for the entertainment of new urban societies, adapting existing forms of music to produce popular songs and acts. In the 1930s, the influence of American Jazz led to the creation of British dance bands, who provided a social and popular music that began to dominate social occasions and the radio airwaves.
"The Ballad of Chevy Chase" is an English ballad, catalogued as Child Ballad 162. There are two extant ballads under this title, both of which narrate the same story. As ballads existed within oral tradition before being written down, other versions of this once-popular song also may have existed.
"The Daemon Lover" – also known as "James Harris", "A Warning for Married Women", "The Distressed Ship Carpenter", "James Herries", "The Carpenter’s Wife", "The Banks of Italy", or "The House-Carpenter" – is a popular ballad dating from the mid-seventeenth century, when the earliest known broadside version of the ballad was entered in the Stationers' Register on 21 February 1657.
Papel volante is a Portuguese name that designates a form of popular literature that may include popular prints. They date from the seventeenth to twentieth centuries, and are usually in an eight-page quarto format. They were at their height in the eighteenth century. They are similar to the French literature of colportage, English chapbooks or to the Spanish pliegos, papeles volantes or hojas volanderas. They are also known as literatura de cordel, particularly in the northeast of Brazil.
Cordel literature (from the Portuguese term, literatura de cordel, literally “string literature”, Portuguese pronunciation:[koʁˈdɛw]) are popular and inexpensively printed booklets or pamphlets containing folk novels, poems and songs. They are produced and sold in street markets and by street vendors in Brazil, mainly in the Northeast. They are so named because they are hung from strings to display them to potential customers, and the word for rope in Portuguese is corda, from which the term cordel is derived.
A broadside is a single sheet of inexpensive paper printed on one side, often with a ballad, rhyme, news and sometimes with woodcut illustrations. They were one of the most common forms of printed material between the sixteenth and nineteenth centuries, particularly in Britain, Ireland and North America because they are easy to produce and are often associated with one of the most important forms of traditional music from these countries, the ballad.
A broadside is a large sheet of paper printed on one side only. Historically in Europe, broadsides were used as posters, announcing events or proclamations, giving political views, commentary in the form of ballads, or simply advertisements. In Japan, chromoxylographic broadsheets featuring artistic prints were common.
Street literature is any of several different types of publication sold on the streets, at fairs and other public gatherings, by travelling hawkers, pedlars or chapmen, from the fifteenth to the nineteenth centuries. Robert Collison's account of the subject describes street literature as the "forerunner of the popular press".
Robin Hood's Chase is Child ballad 146 and a sequel to Child ballad 145, "Robin Hood and Queen Katherine". This song has survived as, among other forms, a late seventeenth-century English broadside ballad. It is one of several ballads about the medieval folk hero that form part of the Child Ballads, a comprehensive collection of traditional English and Scottish ballads.
Robin Hood's Golden Prize is Child ballad 147. It is a story in the Robin Hood canon which has survived as, among other forms, a late seventeenth-century English broadside ballad, and is one of several ballads about the medieval folk hero that form part of the Child ballad collection, which is one of the most comprehensive collections of traditional English ballads.
Robin Hood and the Shepherd is a story in the Robin Hood canon which has survived as, among other forms, a late seventeenth-century English broadside ballad, and is one (#135) out of several ballads about the medieval folk hero that form part of the Child ballad collection, which is one of the most comprehensive collections of traditional English ballads.
Popular prints is a term for printed images of generally low artistic quality which were sold cheaply in Europe and later the New World from the 15th to 18th centuries, often with text as well as images. They were some of the earliest examples of mass media. After about 1800, the types and quantity of images greatly increased, but other terms are usually used to categorise them.
The Cheap Repository Tracts consisted of more than two hundred moral, religious and occasionally political tracts issued in a number of series between March 1795 and 1817, and subsequently re-issued in various collected editions until the 1830s. They were devised by Hannah More and intended for sale or distribution to literate poor people, as an alternative to what she regarded as the immoral traditional broadside ballad and chapbook publications. The tracts proved to be enormously successful with more than two million copies sold or distributed during the first year of the scheme.
Victor Edward Neuburg was a scholar.
James Catnach was an Alnwick-born printer and publisher of the early 19th century. He became a major publisher of chapbooks in the Seven Dials district of London.
The English Broadside Ballad Archive (EBBA) is a digital library of 17th-century English Broadside Ballads, a project of the English Department of the University of California, Santa Barbara. The project archives ballads in multiple accessible digital formats.
William Dicey was an English newspaper proprietor, publisher of street literature, printseller and patent medicine seller, in Northampton and later in London. He was also the co-founder and proprietor of the Northampton Mercury newspaper from its establishment in 1720 until his death in November 1756. He also built up a huge distribution network in England for patent medicines.
Cluer Dicey was an English newspaper proprietor, publisher of street literature, printseller and patent medicine seller, in London and later in Northampton. He was also proprietor of the Northampton Mercury newspaper from 1756 until his death in October 1775. Likewise he inherited and developed a huge distribution network in England for patent medicines.
↑ Leitch, R. (1990). "'Here Chapman Billies Take Their Stand': A Pilot Study of Scottish Chapmen, Packmen and Pedlars". Proceedings of the Scottish Society of Antiquarians 120: 173–188.
↑ Oxford English Dictionary, s.vv. chap-book, n. and chapman, n..
↑ Spufford, Margaret (1985). Small books and pleasant histories: popular fiction and its readership in seventeenth-century England. Cambridge: Cambridge University Press. pp.48–49. ISBN978-0-521-31218-9. OCLC13762165.
1 2 Lyons, Martyn. (2011). Books: A Living History. Los Angeles, CA. Getty Publications. (pp.121-122).
↑ See the "Introduction" in Simons, John (1998) Guy of Warwick and other Chapbook Romances University of Exeter Press, Exeter, England, ISBN0-85989-445-2, for issues of definition.
Neuburg, Victor E. (1972). Chapbooks: A guide to reference material on English, Scottish and American chapbook literature of the eighteenth and nineteenth centuries (2nded.). London: Woburn Press.
Neuburg, Victor E. (1968). The penny histories: a study of chapbooks for young readers over two centuries (illustrated with facsimiles of seven chapbooks). London: Oxford University Press (The Juvenile Library.
Neuburg, Victor E. (1964). Chapbooks: a bibliography of references to English and American chapbook literature of the eighteenth and nineteenth centuries. London: Vine Press.
Neuburg, Victor E. (1952). A select handlist of references to chapbook literature of the eighteenth and nineteenth centuries. Edinburgh: privately printed by J. A. Birkbeck.
Spufford, Margaret (1981). Small Books and Pleasant Histories: Popular Fiction and its Readership in seventeenth Century England. Methuen.
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