An intriguing copy of an important account of the British Embassy to Persia in 1811-12. It appears to have belonged to Price at some point and was perhaps employed as his proof during the final stages of preparing the second edition. Though lacking some of the called-for plates it features four apparently unrecorded proof lithographs, an additional engraving and an original sepia drawing.
Born into a family of shoemakers, William Price (1780-1830) became a professional orientalist somewhat by accident. Self-taught in an array of European languages he found his way to Persian and Arabic in a fairly haphazard manner, his interest in the latter sparked by “noting the colloquial phrases used by some Moroccans in London” (ODNB). He quickly mastered both tongues, gaining admission to the British Museum Library and even attracting the approaches of the East India Company. Though the EIC offer came too soon, with Price still tied into the family business, he was later able to accept the role of assistant secretary and interpreter to the embassy of Sir Gore Ouseley to Persia. As there were several talented linguists on the staff of the embassy (not to mention Ouseley himself) Price’s Persian must have been truly exceptional — it is said his “ear was so acute that he was able to write down with complete accuracy the words of a Persian song he had heard.” (ODNB).
His Journal was first published in April 1825, over a decade after his return to England. A second edition was printed in October that year, adding two plates and supplementary text to the Dissertation upon the Antiquities of Persepolis. A third (though still termed the “second”) edition was then published posthumously in 1832, which included the long-awaited second volume describing his return journey.
Despite its somewhat disjointed publication history the book is significant in several respects. Firstly, as a first-hand account of the embassy, secondly as a storehouse of memorable lithographic views, and thirdly as a typographic curiosity (employing Roman, Arabic, Armenian and types). The narrative is also very singular, shaped by Price’s focus on artistic and literary detail over the soldier-diplomat-surveyor’s more pragmatic concerns. In Tehran he turns away from the negotiation of the Definitive Treaty to write a rare portrait of Aka Ali Nakosh, one of the Shah’s principal artists, describing his process and materials in detail. And at several points of the route he indulges his linguistic passions, often contextualising sites with quotations from Persian literature and noting new words or tongues. Memorable sections include his translation of Jami’s introduction to Jusuf and Zulaikha, found on the wall of the caravansary of Dingah, and his first attempt at Armenian in Tabriz, eavesdropping on classes given by his schoolmaster host.
The present copy is a highly idiosyncratic example of the true second edition, with several notable inclusions. The Journal section lacks eight plates but features four not listed in the index: a large lithograph of ‘Asterak’, a hand-coloured lithograph of ‘Busheher’, a large untitled lithographic view and a lithograph ‘View of Shemeraun, near Teheran’. It also contains a beautiful sepia drawing in place of the missing plate ‘Turcoman Women’, executed in the same style as the lithographs and almost certainly one of Price’s original sketches. Finally, the Dissertation is extra-illustrated with an additional engraving, ‘Inscription on the Tolghar Tower at Rei’, which was included in the third edition.
Other clues suggest this is a proof bound for Price. Not only are some of the plates hinged (rather than bound) in, but one has a manuscript enquiry from the lithographer, politely asking “please do send word what writing you wish under it”. There are also twelve blank leaves at the end, presumably for final notes and revisions.
Not in Abbey or Borba (due to the plates of Brazil). Diba, p.115; Cf. Ghani, p.307; Wilson, p.179.
