Three personalities interest us in reading the novel of Margaret Catchpole—the author, the heroine, and the author’s mother, in whose service the real Margaret Catchpole was employed. Neither the author nor his mother has been the subject of much biographical effort, although Richard Cobbold was an industrious novelist, poet, and essayist for a long period of years, and wrote this one book that will always, I think, be read. His mother, Elizabeth Cobbold, made some reputation as a writer of verse, and is immortalized for us in Charles Dickens’s Mrs. Leo Hunter. Fortunately we have a sketch of her by one Laetitia Jermyn, dated 1825, and attached to a volume of Poems, published at Ipswich in that year.[1] Laetitia Jermyn tells us that Elizabeth’s maiden name was Knipe, and that she was born in Watling Street, London, about 1764, her father being Robert Knipe of Liverpool. In 1787 she published a little volume of verse entitled Six Narrative Poems, which she dedicated to Sir Joshua Reynolds, evidently by permission. It is clear that in girlhood she had made the acquaintance of the great painter. Her biographer says nothing about her being an actress, but it is a tradition in Ipswich that this was for a time her profession. In 1790 she was married at Liverpool to William Clarke, a Portman of the borough and Comptroller of the Customs of Ipswich, who was apparently about sixty years of age and in very delicate health. The sprightly young wife wrote the following lines to her husband on St. Valentine’s Day, soon after their marriage:—

I quote this valentine at length because it is a fair sample of the quality of our poet’s efforts. At the end of the eighteenth century, and far into the nineteenth, a rhyming faculty of this kind was quite sufficient to make a literary reputation in an English provincial town, and in the case of Mrs. Clarke it was followed up by the writing of a novel, The Sword, published at Liverpool in 1791. It is interesting to find the name of Roscoe the historian among the subscribers for this book. In the same year—within six months of her marriage—the writer lost her husband.

The interest of Elizabeth Knipe’s life, however, begins for us when very shortly after this she became the wife of John Cobbold, of the Cliff Brewery, Ipswich. Cobbold was a widower. He had already had sixteen children, of whom fourteen were then living. When it is remembered that by his second wife he had six more children it will be seen that there was a large family, and it is not surprising therefore that the Cobbold name is still very much in evidence in Norfolk and Suffolk, and particularly in Ipswich. “Placed in the bosom of this numerous family”, writes her biographer, “and indulged in the means of gratifying her benevolent and liberal spirit, ‘The Cliff’ became the home of her dearest affections, the residence of taste, and the scene of hospitality.” One need not complain of the lady that she was not very much of a poet, for she had otherwise a versatile character. In addition to being, as we are assured, a good housekeeper, she was, if her self-portraiture be accepted, a worker in many fields:—

Laetitia Jermyn tells us much about her charity and kindness of heart, her zeal in behalf of many movements to help the poor, and she dwells with enthusiasm upon her friend’s literary achievements.[2] But the scope of this Introduction to her son’s book does not justify devoting more attention to the mother, although her frequent appearance in Margaret Catchpole’s partially true story demands that something be said about her “mistress”. Elizabeth Cobbold died in 1824. Her husband outlived her for eleven years. John Cobbold (1746-1835) traced back his family in the direct line as landowners in Suffolk to a Robert Cobbold, who died in 1603. He was a banker as well as a brewer, and lived first at “The Cliff” and afterwards at “Holywells”, which has ever since been the seat of the head of the family. It was the fourteenth child of his first marriage—Henry Gallant Cobbold—who was saved from drowning by Margaret Catchpole.

It was Richard Cobbold, one of the six sons of the second marriage of John Cobbold, who was the author of this story. When he was born he had ten nephews and nieces awaiting him, the children of his brothers and sisters of the first family, and he was at school with his own nephew, who was just a fortnight younger than himself. The nephew was John Chevallier Cobbold, who for twenty-one years represented Ipswich in Parliament. For this information I am indebted to a grandson[3], who also sends me the following anecdotes:—

Richard Cobbold was educated at Bury St. Edmunds and at Caius College, Cambridge, was destined for the Church, and when he married he was a curate in Ipswich[4], but his father obtained for him the living of Wortham, near Diss, where he was Rector from 1825 until his death in 1877. He was also rural dean of Hartismere. Several years after celebrating his golden wedding—Dr. Spencer Cobbold informs me—he and his wife died within a day or two of each other; the survivor did not know the other was gone; both were buried at the same time. Of the three sons who survived, one became Rector of Hollesley, another was the father of the well-known amateur footballer, W. N. Cobbold, and the third was the Fellow of the Royal Society, to whom I have already referred, and to whose son I am indebted for so many interesting facts.

That Richard Cobbold was not particularly honoured in his own country may be gathered from many quarters. One writer speaks of his “little vanities, his amusing egotisms, and his good natured pomposity”. It was clearly not Suffolk that helped to make his fame, if we may accept one of the few printed references to him that I have been able to find:—

Other books are assigned to our author in the catalogues, but I doubt if one of them survives other than Margaret Catchpole, which not only survives, but is really a classic in its way. One story, indeed, Freston Tower, held the public for a time almost as well as the present book, but I imagine it has ceased to command the attention even of the most remote village library, where indeed it was long ago worn threadbare.[6] Essentially our author is a man of one book, and many adventitious circumstances helped him here. It was no small thing that the heroine should actually have been a native of the very district in which the writer lived. She was not merely a vivid tradition of his boyhood, but had been in the service of his mother and had stolen from his father the horse that gave her so unpleasant a notoriety. Here was a romance ready to hand, which needed but to be set down in passably good writing to attract attention. It might have been worse written than it was by this worthy clergyman and would still have secured readers. How much is truth and how much is fiction in the story will never be known. If Mr. Cobbold had an abundance of documents about this girl Margaret Catchpole and her affairs, inherited from his parents, he must have destroyed them. He claims in the course of the story that, as Margaret three times saved the life of a member of Mr. Cobbold’s family, it is not surprising that the records of her life should be so strictly preserved among them. But these records do not appear to exist any longer. It is doubtful if they ever did exist. The author probably worked from family traditions rather than from documents. He possessed, in addition, a genuine imaginative faculty.

Such documents as do exist do not amount to enough to justify the author’s declaration that here is “a perfectly true narrative". Mr. Frank Woolnough, of Ipswich[7], courteously informs me that a letter by Margaret Catchpole, written only a few days before she sailed to Australia, and the lyre bird that she sent to her mistress about a year after her arrival, are the two curiosities of the Museum most eagerly inquired after by strangers. Here is the letter in question:—

How small a matter a sentence of death for horse-stealing was counted in the closing years of the eighteenth century may be gathered from the fact that the contemporary newspaper report of 1797 runs only to five lines, as follows:—

Undoubtedly one of the characteristics of the book that give it so permanent a place in literature is the circumstance that it preserves for us a glimpse of the cruel criminal law of the eighteenth century. Hanging for small offences went on for years after this, until, indeed, public opinion was revolted by the case of the young married woman who in Ludgate Hill lifted a piece of cloth from the counter. She hesitated and then put it down again. But she had been seen, and was arrested, tried, condemned, and hanged, although it was clearly proved that her husband had been seized by a press-gang and that her babe cried for bread. After this time came a reaction against the death penalty for theft. Margaret, then, was more fortunate than that unhappy woman and than the more celebrated Deacon Brodie, who was hanged in Edinburgh, the city which he had adorned as a Councillor, for a house-breaking theft which brought him four pounds or less. She doubtless owed her escape to the powerful influence of the Cobbolds.[8]

Margaret Catchpole is the classic novel of Suffolk. That county of soothing landscape and bracing sea has produced greater books; it has given us more interesting authors than Richard Cobbold. Within its borders were written the many fine poems of George Crabbe, the many attractive letters of Edward Fitz Gerald. The remarkable paraphrase from the Persian known to all the English speaking world as The RubÁiyÁt of Omar KhayyÁm was composed here. But, although many latter-day novelists have laid their scenes in these pleasant places, made memorable by the art of Constable, not one has secured so fascinating a topic or so world-wide an audience. Margaret Catchpole is one of the few heroines of fiction of whom one loves to remember that she was real flesh and blood.