The Augustan Reprint Society

ELKANAH SETTLE
THE NOTORIOUS IMPOSTOR
(1692)

DIEGO REDIVIVUS
(1692)

Introduction by
Spiro Peterson

Publication Number 68

Los Angeles
William Andrews Clark Memorial Library
University of California

GENERAL EDITORS

• Richard C. Boys, University of Michigan
• Ralph Cohen, University of California, Los Angeles
• Vinton A. Dearing, University of California, Los Angeles
• Lawrence Clark Powell, Clark Memorial Library

ASSISTANT EDITOR

• W. Earl Britton, University of Michigan

ADVISORY EDITORS

• Emmett L. Avery, State College of Washington
• Benjamin Boyce, Duke University
• Louis Bredvold, University of Michigan
• John Butt, King's College, University of Durham
• James L. Clifford, Columbia University
• Arthur Friedman, University of Chicago
• Louis A. Landa, Princeton University
• Samuel H. Monk, University of Minnesota
• Ernest C. Mossner, University of Texas
• James Sutherland, University College, London
• H. T. Swedenberg, Jr., University of California, Los Angeles

CORRESPONDING SECRETARY

• Edna C. Davis, Clark Memorial Library

INTRODUCTION

The great English novel of the eighteenth century was developed out of the long established traditions in the essay, letter, religious treatise, biography and personal memoir. Although this influence has been generally acknowledged, the critical investigation of its exact nature has often been hampered by the lack of readily available texts. Especially is this true of the criminal biographies written in the late seventeenth century. The reprinting of Elkanah Settle's The Notorious Impostor (Part One) and the anonymous Diego Redivivus is thus justified as providing the means for the further study of the early fiction-writer's techniques. Published In 1692, the two pamphlets belong to a group of five closely-related narratives dealing with a real criminal named William Morrell. In the probable order of their publication, these were Diego Redivivus, The Notorious Impostor (Part One), The Second Part of the Notorious Impostor, "William Morrell's Epitaph" in The Gentleman's Journal, and The Compleat Memoirs of the Life of that Notorious Impostor Will. Morrell. The different accounts forcefully demonstrate how criminal fiction allied itself with both biography and the picaresque. In addition, The Notorious Impostor serves as a representative work by Elkanah Settle whose criminal biographies have never received the attention they deserve.[1]

The combination of fact and fiction in the William Morrell narratives had been tried earlier in Settle's first known criminal biography, The Life and Death of Major Clancie, the Grandest Cheat of this Age (1680). Like Bunyan's Mr. Badman, advertised in the same issue of The Term Catalogues (I, 382), Major Clancie purports to narrate "Real matter of Fact." Thus, in the background, significant historical events, from the Irish Rebellion to the Great Fire, are being enacted. Important English worthies—Lord Ormonde, Bishop Compton, Charles II—become entangled in the villainies of the Major, an actual Irish criminal. None of this historical backdrop is to be found, however, in The Notorious Impostor; and the characters here, although Sir William Walters and Humphrey Wickham were well-known local personages, are not historically eminent. The picaresque in Major Clancie, too, is more readily identifiable than in The Notorious Impostor. For, contrary to its stated aim, the biography of Clancie is more fiction than fact. Anthony Wood, noting the fictional elaborations, remarked: "Several stories in this book which belong to other persons are fathered on the said major; who, as I remember, was in Oxon in the plague year 1665 when the king and the queen kept their respective courts there."[2] Wood then contributes a few of his own pungent stories about the Major, which have no counterparts in Settle's narrative. Where the two writers provide parallel accounts, the "fiction" appears to be based on a substratum of truth surviving in anecdotes. Settle's verisimilitude had an effect upon Theophilus Lucas's Memoirs of the Lives, Intrigues, and Comical Adventures of the Most Famous Gamesters and Celebrated Sharpers (1714), which begins with a condensed version of The Life and Death of Major Clancie.[3] Lucas presents his account as if it were a true memoir.

The Notorious Impostor was to experience a similar acceptance as a memoir. All modern biographical accounts of its villain-hero, William Morrell,[4] are based on the two separate parts of The Notorious Impostor or The Compleat Memoirs. On January 3, 1692, he had died, a criminal at large; and the strange circumstances of his death became the talk of London. While the event was still a sensation, the bookseller Abel Roper rushed his "last will and testament" lives into print. The first to appear was Diego Redivivus, reprinted here from the rare copy at the William Andrews Clark Memorial Library. Evidence for the publication of Diego Redivivus before The Notorious Impostor is fairly conclusive. The Registers of the Worshipful Company of Stationers (III, 397) enters Diego Redivivus, on behalf of Abel Roper, for January 12, 1692, and The Term Catalogues (II, 392) advertises The Notorious Impostor in the quarterly issue published in February, but Anthony Wood (III, 384) states that he bought his copy of the latter "in the beginning of March." A comparison of the two texts, moreover, supports this order of the publication.

Events in Diego Redivivus, as in a news story, have greater immediacy. Morrell's death, the title asserts, took place the third of "this instant January." The specific detail of Diego (p. 2: "about a fortnight before Christmas") is paralleled by the general statement of The Notorious Impostor (p. 30: "Some few days before Christmas"). Although its title-page promises a "Full Relation" of Morrell's cheats, Diego Redivivus presents only the final "will" episode, whereas The Notorious Impostor ranges over the whole criminal career. Both narratives have in common the long will and codicil, except that The Notorious Impostor (p. 34) drastically shortens the Latin passage which, in Diego Redivivus (p. 10), states that the will