Hieroglyphic Tales — Edition Insights

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Walpole, Horace, 1717-1797 Project Gutenberg 2004 Not confirmed
Fantasy fiction, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,502
Reading time 64 min
Text sections 2

Before opening Hieroglyphic Tales — Edition Insights, the edition data offers a quick orientation: 14,502 words, 1 hr 4 min estimated reading time, and 2 detected text sections.

The text analysis averages about 31.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fantasy fiction, English,” connecting these edition facts with the source record’s subject description.

Horace Walpole's 1785 collection of six playful tales blends absurdist fantasy, mock scholarship, and satirical footnotes, parodying orientalist romances and antiquarian erudition while undercutting its own narrative authority.
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Editorial Edition Score 4.5/5

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There was formerly a king, who had three daughters--that is, he would have had three, if he had had one more, but some how or other the eldest never was born. She was extremely handsome, had a great deal of wit, and spoke French in perfection, as all the authors of that age affirm, and yet none of them pretend that she ever existed. It is very certain that the two other princesses were far from beauties; the second had a strong Yorkshire dialect, and the youngest had bad teeth and but one leg, which occasioned her dancing very ill.

As it was not probable that his majesty would have any more children, being eighty-seven years, two months, and thirteen days old when his queen died, the states of the kingdom were very anxious to have the princesses married. But there was one great obstacle to this settlement, though so important to the peace of the kingdom. The king insisted that his eldest daughter should be married first, and as there was no such person, it was very difficult to fix upon a proper husband for her. The courtiers all approved his majesty's resolution; but as under the best princes there will always be a number of discontented, the nation was torn into different factions, the grumblers or patriots insisting that the second princess was the eldest, and ought to be declared heiress apparent to the crown. Many pamphlets were written pro and con, but the ministerial party pretended that the chancellor's argument was unanswerable, who affirmed, that the second princess could not be the eldest, as no princess-royal ever had a Yorkshire accent. A few persons who were attached to the youngest princess, took advantage of this plea for whispering that _her_ royal highness's pretensions to the crown were the best of all; for as there was no eldest princess, and as the second must be the first, if there was no first, and as she could not be the second if she was the first, and as the chancellor had proved that she could not be the first, it followed plainly by every idea of law that she could be nobody at all; and then the consequence followed of course, that the youngest must be the eldest, if she had no elder sister.

It is inconceivable what animosities and mischiefs arose from these different titles; and each faction endeavoured to strengthen itself by foreign alliances. The court party having no real object for their attachment, were the most attached of all, and made up by warmth for the want of foundation in their principles. The clergy in general were devoted to this, which was styled _the first party_. The physicians embraced the second; and the lawyers declared for the third, or the faction of the youngest princess, because it seemed best calculated to admit of doubts and endless litigation.

While the nation was in this distracted situation, there arrived the prince of Quifferiquimini, who would have been the most accomplished hero of the age, if he had not been dead, and had spoken any language but the Egyptian, and had not had three legs. Notwithstanding these blemishes, the eyes of the whole nation were immediately turned upon him, and each party wished to see him married to the princess whose cause they espoused.

The old king received him with the most distinguished honours; the senate made the most fulsome addresses to him; the princesses were so taken with him, that they grew more bitter enemies than ever; and the court ladies and petit-maitres invented a thousand new fashions upon his account--every thing was to be à la Quifferiquimini. Both men and women of fashion left off rouge to look the more cadaverous; their cloaths were embroidered with hieroglyphics, and all the ugly characters they could gather from Egyptian antiquities, with which they were forced to be contented, it being impossible to learn a language that is lost; and all tables, chairs, stools, cabinets and couches, were made with only three legs; the last, howver, soon went out of fashion, as being very inconvenient.

Horace Walpole's Hieroglyphic Tales (1785) opens with a preface that immediately destabilizes the reader's expectations: the author claims to be publishing a work of "deep learning" in a "trifling age," yet the epigraph—from Crébillon's Le Sopha—declares that Schah Baham "never understood anything but absurd and improbable things." This tension between solemn editorial framing and deliberately ridiculous content sets the tone for the six tales that follow. Walpole adopts the persona of a scholarly editor, complete with footnotes and references to nonexistent authorities, while the stories themselves feature cannibal archbishops, fairy godmothers who read tea leaves, and a kingdom whose history hinges on a devoured prince. The catalog subject "Fantasy fiction, English" only partially captures the work's satirical edge; these are less fantasies than parodies of the conventions of romance and antiquarian scholarship.

Mock Scholarship and the Unreliable Editor

The preface establishes Walpole's editor as a figure of comic self-importance. He frets that the art of printing "will ere long be totally lost" and lists lost ancient arts such as "teaching elephants to dance on the slack rope" and "writing epic poems that any body would read after they had been published a month." This catalogue of absurdities undercuts the very seriousness he claims for his own work. The footnotes throughout the tales continue the game: in Tale IV, a note defends an apparent anachronism—a queen sitting in her mother's lap as an adult—by citing Grotius and Puffendorf on royal infancy. The note's pedantic tone mimics real scholarly apparatus while arguing for a patently ridiculous point. Walpole thus invites the reader to question not only the tales' content but the reliability of any editorial framing.

Absurdist Plots and Parodic Genealogy

The tales themselves revolve around preposterous events treated with deadpan seriousness. In Tale IV, the succession crisis of the kingdom of Kilkenny is resolved when the Archbishop of Tuum, mistaking a preserved foetus for a peach in brandy, eats the infant prince. The narrator reports this with the formulaic gravity of a chronicle: "This fortunate event put an end to the contest." The story then traces the Fitzpatrick lineage to the archbishop's son by his sister, a detail presented without comment. Walpole's parody targets both the genealogical obsessions of antiquarian history and the romance convention of miraculous births. The tale's notes reveal that it was written for Anne Liddel, Countess of Offory, and refer to real miscarriages, grounding the absurdity in specific personal circumstances—a characteristic blend of private joke and public satire.

Orientalist Framing and Its Subversion

Several tales adopt orientalist settings: Tale V is subtitled "A Chinese Fairy Tale" and features Prince Mi Li, his godmother the fairy Hih, and fortune-telling via tea-cup. Yet Walpole undercuts the exoticism by having the fairy's oracle deliberately designed "to perplex, not to inform," a meta-commentary on the obscurity of oracles in romance. The Chinese setting is a thin veneer for a satire of courtly intrigue and prophecy. Similarly, the epigraph from Crébillon's Le Sopha—a French orientalist novel—signals Walpole's engagement with a European literary fashion that he simultaneously exploits and mocks. The tales do not attempt authentic representation; instead, they use the trappings of the East as a stage for logical absurdities and scholarly parody, revealing the artificiality of the genre itself.

Readers approaching Hieroglyphic Tales should attend to the interplay between text and paratext: the preface, footnotes, and mock-scholarly apparatus are as much the work's substance as the tales themselves. Walpole's satire is erudite and allusive, drawing on real genealogies and contemporary literary fashions while gleefully violating every convention of narrative coherence. The tales reward attention to their specific targets—antiquarianism, romance, orientalist cliché—rather than a search for consistent plot or character. This edition preserves the original's archaic spellings, which reinforce the period flavor of Walpole's editorial persona.

Reading Walpole’s footnotes that mock their own authority, I remembered sitting in a library carrel, laughing at how The Sundering Flood — A Closer Reading quietly does the same—pretending to explain while only deepening the mystery. Both books feel like a friend telling a story, then winking. That wink stays with me, long after the tale fades.

Wyatt Hill
2 weeks ago

5
5 out of 5 (6 User reviews )

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