¹ I examined the James Osborn Collection of Joyce Cary manuscripts during the academic year 1960–61 with the kind permission of Mrs. Winifred Davin, Cary's literary executor. The manuscript collection has been catalogued by Professor Andrew Wright. The catalogue, Hand List of the Joyce Cary Manuscripts of James M. Osborn Deposited in the Bodleian Library, Oxford (1958), lists the contents of each manuscript box. It is an invaluable guide to the collection. The Joyce Cary manuscript collection will hereafter be referred to as the Osborn Collection.

² Osborn Collection, Box Number 1. Autograph version of letter addressed to Mr. Hughes.

³ The succeeding volumes were entitled Over the Top and Green Jerusalem and are to be found primarily in Boxes 18 through 21 of the Osborn Collection.

⁴ Osborn Collection, holograph version of a letter in a paper folder labelled “Notes on Trilogy for U.S.A. Letter to EL.” in large folder labelled “Notes on Books for Harpers.” This passage contains two cancellations.

⁵ Ibid. This passage contains three cancellations.

⁶ Ibid., holograph sheet #3 in large brown folder labelled “Lectures.” Cary refers to himself here in the third person because this is written in the form of a blurb. There are many cancellations in this passage.

⁷ Ibid., Box Number 242, typescript sheet #8 in envelope labelled “Blurb on Trilogy. For: The Horses Mouth.” Contains one cancellation.

⁸ Joyce Cary, First Trilogy (New York, 1958), p. x. It should be noted, however, that originally Cary planned to use a different narrator than Gulley for The Horse's Mouth (see n. 25 below). At what point Cary decided to use Gulley as the narrator is difficult to determine, but undoubtedly it was before Cary began writing The Horse's Mouth since all the manuscript versions of the published novel are from Gulley's point of view. Quite likely, when Cary wrote Herself Surprised, he saw the necessity of Gulley narrating his own story. Therefore, the theory in relation to the point of view was at least partly developed after Cary began writing the triology.

⁹ Tom Wilcher appears in a preliminary note for Herself Surprised as Humphrey Wilsher, a rich man, for whom Sara worked as housekeeper and from whom she stole. This note seems to be based On the original sketch of Sara.

¹⁰ Osborn Collection, Box Number 43, holograph sheet in MS bundle labelled “Horses Mouth MS. & odd pieces.” There are many cancellations in this passage.

¹¹ Joyce Cary, The Horse's Mouth (London, 1951), p. 61. All references henceforth to the trilogy are from the Carfax edition published by Michael Joseph.

¹² Osborn Collection, Box Number 319, holograph sheets clipped together with other sheets and with note: “Is this an early & abandoned scheme for Horse's Mouth?” in manuscript bundle labelled “From Sections of Upstairs Study desk.”

¹³ Ibid., holograph sheets. Contains one cancellation.

¹⁴ It should be noted, however, that Driver is retained in the published novel as part of Gulley's past, in the person of Gulley's sister's husband, Ranken, the inventor. But Ranken is only someone recalled by Gulley as he reminisces; he does not appear as a character. See pp. 129–131 of The Horse's Mouth.

¹⁵ Osbom Collection, holograph note in medium-sized notebook labelled “P.” This note seems to date from about 1940 because of references to the war in the notebook, and, therefore, it is unlikely it can be considered an original sketch of Gulley Jimson. There is one cancellation in this passage. Italics are Cary's unless otherwise indicated.

¹⁶ Ibid., holograph note. Contains some cancellations. (*) represents indecipherable word or phrase.

¹⁷ Ibid., holograph note.

¹⁸ Ibid., Box Number 319, holograph sheet in MS bundle labelled “From Sections of Upstairs Study desk.” Contains several cancellations.

¹⁹ Ibid., holograph version of letter to E. L.

²⁰ Ibid., Box Number 39, holograph sheet in unlabelled paper folder.

²¹ Ibid., Box Number 141, holograph sheet #1 in paper folder in unlabelled large maroon folder. Contains many cancellations.

²² Ibid., Box Number 33, holograph sheet. Contains two cancellations.

²³ Ibid.

²⁴ Ibid., holograph sheet.

²⁵ Ibid., Box Number 319, holograph sheets clipped together with note: “Notes on 1st trilogy found in File marked Painting in Leather Bag. With mixture of papers on Nigeria and poems.” Contains several cancellations. This version is related to the rejected beginning of The Horse's Mouth included in Andrew Wright, Joyce Cary: A Preface to His Novels (New York, 1959), pp. 156–164, for in the continuation of the above passage a scene is developed in which Gulley is not the narrator but talks to the first person narrator: “J. Says to ‘T’ continually. What a life you've had. You and your knighthood its your rightful pay. I dint mean anything wrong in Khood etc. No, old chap, all that grind and leaves you crippled too. Look at my life. I've had a gorgeous time—the women alone. You couldn't do that in your official position. Description of Sara from another angle. T say, didn't you say a cow. J. My boy, a cow is a lovely animal and a damn good creature too. No spite about a cow. No grievance there. Quotes Whitman. Sara was the finest mattress I ever had my boy, you talk of your women, I wish you knew what life was like with a real woman—With a dynamo like Sara.” Contains two cancellations.

²⁶ Ibid., Box Number 33, typescript sheet.

²⁷ Ibid., typescript sheets.

²⁸ Ibid., typescript half-sheet. Cf. with pp. 97–98 of published text: Herself Surprised (London, 1951).

²⁹ Ibid., Box Number 35, holograph sheet in paper folder labelled “W confesses to Sara.” Contains many cancellations.

³⁰ Ibid., Box Number 42, holograph sheets in paper folder marked “ii (5).” Cf. with p. 192 of the published novel. Contains frequent cancellations.

³¹ Cary, First Trilogy, p. xiv.

³² Osborn Collection, Holograph version of letter to E.L