William Harrison Ainsworth

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William Harrison Ainsworth (February 1805 – January 1882) was an English historical novelist born on King Street in Manchester.

He started as a lawyer, but there was no interest in him in the legal profession.

He encountered publisher John Ebers, then-manager of the King's Theatre in Haymarket, while completing his legal work in London.

Ebers introduced Ainsworth to literary and dramatic circles, as well as his daughter, who became Ainsworth's wife. Ainsworth briefly tried publishing, but soon gave it up and concentrated on journalism and literature.

Dick Turpin plays the leading character in Rookwood's 1834 debut as a writer.

A series of 39 books followed, the last of which appeared in 1881.

Ainsworth died in Reigate on January 3rd, 1882, and was buried in Kensal Green Cemetery.

Early life

Ainsworth was born in the family house at 21 King Street, Manchester, on February 4th, 1805, to Thomas Ainsworth, a respected Manchester advocate, and Ann (Harrison) Ainsworth, the Rev.'s daughter. At Manchester Cross Street Chapel, Ralph Harrison, the Unitarian minister. Thomas Gilbert Ainsworth, Ainsworth's brother, was born on October 4th, 1886. Although the family's home was eventually demolished, it was still a three-story Georgian home in a well-to-do neighborhood. The area influenced Ainsworth's historical and romantic atmosphere, which existed before the community was later replaced by commercial buildings. Ainsworth, in addition to the neighborhood, loved romance as a child and loved stories about adventure or supernatural themes. Dick Turpin was one of Ainsworth's most popular characters. Despite being strictly Whig and Nonconformist, he adopted Jacobite thoughts and held Tory views in lieu of his Jacobite sympathies. Ainsworth began writing prolifically during this period.

In 1811, the Ainsworth family moved to Smedly Lane, north of Manchester, north of Manchester. They maintained the old house in comparison to the new, but the majority of the time they remained in the new house. Woods surrounded the countryside, which allowed Ainsworth and his brother to perform a variety of tales. Ainsworth's uncle, William Harrison, taught him when he wasn't playing. He was enrolled at Manchester Grammar School, which was described in his book Mervyn Clitheroe. His classical education was of high quality, but strict discipline and corporal punishment were added to reinforce his discipline. Ainsworth was a good student and was well-known among his classmates. His school days were mixed; his time in school and with his family was calm, despite the fact that there were tensions within the Manchester community, the Peterloo massacre took place in 1819. Ainsworth was linked to the cause because his uncles were involved in the protest, but Ainsworth was able to escape the majority of the political aftermath. He was able to pursue his own literary passions and even built his own little theatre within the family's home at King Street during the time. He created and appeared in many plays throughout 1820, with his brother and sister.

Ainsworth began to publish some of his drawings under the name "Thomas Hall" in 1820. In Arliss' Pocket Magazine, the first work, a play called The Rivals, was published on March 5, 1821. The magazine published seventeen other works of Ainsworth's in 1821, including "Thomas Hall," "H A" or "W A." The work of art by the genre and styles of the period, with one of them being a playwright of a 17th-century playwright "William Aynesworthe" that ended up being his own creation. This trick was later discovered. To The Edinburgh Magazine, Ainsworth's play Venice, or the Fall of the Foscaris, was published in December 1821. They printed extensive excerpts from the play before praising Ainsworth as a playwright for the first time as someone that rivalled even George Gordon Byron. Ainsworth was also contributing to The European Magazine in comparison to other journals, and they reprinted several of his early articles. He left Manchester Grammar School in 1822 in 1822 after regularly contributing to magazines.

Ainsworth began to study for the law and worked with Alexander Kay after leaving school. The two boys did not get along, and Ainsworth was accused of being lazy. Although Ainsworth did not want to pursue a law career, his father encouraged him to work in this field. Ainsworth spent his time reading literature at his house and several libraries, including the Chetham Library, rather than working. He continued to work as an attorney in Manchester and spent his time at the John Shaw's Club rather than being involved or reading. Ainsworth was writing for The London Magazine by the end of 1822, when he came near to Charles Lamb, to whom he sent poetry for Lamb's reply. Ainsworth had them published by John Arliss as Poems by Cheviot Ticheburn after receiving a warm reception for one set of works. During 1822, he traveled to Edinburgh and visited his childhood friend James Crossley. Crossley introduced Ainsworth to William Blackwood, the editor of Blackwood's Magazine, and the writer of Blackwood's Magazine, who was introduced to many Scottish writers through Blackwood.

John Aston, a clerk who worked in his father's law firm, was another close friend to Ainsworth. Ainsworth and Crossley began to write many pieces together in 1823, including the first novel Sir John Chiverton, which was based in Manchester's Hulme Hall. Ainsworth wrote to Thomas Campbell, editor of The New Monthly Magazine, about his publication of the article, but Campbell lost the letter. Crossley travelled to London to speak with Campbell and discuss the subject before returning to London in November. Although the novel was not yet published in December 1823, Ainsworth was able to convince G. and W. Whittaker to publish a collection of his tales as December Tales. Ainsworth began constructing his own magazine, The Boeotian, in 1824, but it was discontinued on April 24.

Ainsworth's father died on June 20th, 1824, and Ainsworth became a partner in the law firm and began to concentrate on his legal studies. He came to this end when he left London at the end of 1824 to study under Jacob Phillips, a barrister at King's Bench Walk. Ainsworth lived in Devereux Court, which was favored by Augustan writers. During his stay in Lamb, he was taken aback by the real Lamb, but not so much so. Ainsworth attended Lamb's circle and met many people, including Henry Crabb Robinson and Mary Shelley. Ainsworth returned to Manchester in the summer of 1825 in order to see Crossley before heading to the Isle of Man. He continued to write, and a collection of his poems called The Works of Cheviot Tichburn was published, as did John Leigh. In addition, he had two works published in The Literary Souvenir, a magazine published by John Ebers.

Ainsworth came of age on February 4th, 1826, and was appointed a solicitor of King's Bench on February 8th. He befriended Ebers, who also owned the Opera House in Haymarket, during this period. Ainsworth would attend shows at the house on a daily basis, and he fell in love with Ebers' daughter Fanny while visiting them. The Ebers family's relationship lasted, and John Ainsworth released Considerations on the most effective ways of providing Immediate Relief to the Operative Classes in the Manufacturing Districts. The work, which was addressed to Robert Peel, addressed the economic crisis in Manchester and the rest of the United Kingdom. With the publication of Letters from Cokney Lands, Ainsworth had left politics and concentrated on poetry by June. Although these were published, he continued to work on his book Sir John Chiverton and tried to get it published.

In July 1826, Ebers published the novel. Early on, Ebers became interested in Ainsworth's book and began to discuss it in The Literary Souvenir in order to market the work. Despite the fact that the book was co-written and occasionally attributed to Aston as solely his, many of the reviews referred to it as Ainsworth's alone. Walter Scott, a historian who later wrote about Ainsworth's work in various publications, was also intrigued by the novel; the two writers later met in 1828. J. G. Lockhartt's private journals in the year 2000 ignited the belief that the book was a recreation of Scott. Sir John Chiverton's book is neither a true historical book nor is it a gothic novel. It was also seen by Ainsworth as an incomplete piece, but he later dismissed it when establishing his bibliography. The book does serve as a precursor to Ainsworth's first major book, Rockwood.

Ainsworth's acquaintance with the Ebers family widened, and he married Fanny on October 11, 1826, but no one warned him. Ebers promised to pay a dowry of 300 pounds, but the funds were never released, putting Ainsworth and his father-in-law together, putting the marriage put into question. Ainsworth stayed in Ebers' circle and attended several social gatherings. Ebers encouraged him to sell his Ainsworth law practice alongside the establishment of a publishing company. Ainsworth followed this instruction and the company had a quick success. In 1827, Fanny gave birth to a girl who took her name. Soon after, Ebers went bankrupt, and Ainsworth's earnings plummeted as a result. Ainsworth produced several popular books, including The French Cook, An annual magazine published in Mayfair, and others. By 1829, Ebers owned Ainsworth's publishing business, and Fanny gave birth to her second child, Emily, soon after. Ainsworth resigned from publishing and returned to law. Ainsworth's family's family started to feel financially strained when Anne, their third daughter, was born in 1830. Ainsworth returned to writing and he contributed to Fraser's Magazine, but it's unclear how many of his articles were actually his own. However, he was working on his book Rockwood.

Ainsworth, neither a lawyer nor a publisher, by 1829, he had no work at all; indeed, he did not have any work at all. He longed for his youth in Manchester and wondered about writing another book. He had begun to travel by the summer. He began to develop the belief of Rockwood and began looking for details at the time. Ainsworth was living at Kensal Lodge when researching for the book in 1830. He worked on some stage pieces and spent the remainder of his time in law. During that summer, he and William Sergison became close, and the two of them travelled to Italy and Switzerland. The tourists explored Percy Bysshe Shelley and John Keats' tomb as well as other important scenes in the lives of the British Romantic poets. Sergison was also the owner of a house in Sussex, which Ainsworth drew in his book. Ainsworth, a London writer, began publishing Fraser's Magazine, which was first published in 1830. Samuel Taylor Coleridge, Robert Southey, Thomas Carlyle, James Hogg, and William Makepeace Thackeray were among the group's many well-known literary figures of the day. He wasn't entirely inspired to write the book until he returned to Chesterfield near the end of 1831, when he admitted to writing "in the bygone style of Mrs Radcliffe."

Even as he began writing the book, Ainsworth suffered as a result of more of his father-in-law's financial difficulties and was unable to resume work on it until 1833. Despite living in Sussex, near Sergison's house, he managed to complete major portions of the novel during the fall of that year. Richard Bentley's book was released in April 1834 by Richard Bentley and featured drawings by George Cruikshank. Ainsworth, a five-year stint in the law industry, has left the industry behind and started writing. Rockwood's Magazine was widely praised for its continued contributions, as well as its employees. He began dressing as a dandy and was welcomed to the Salon of Margaret Power, Countess of Blessington. Her Salon was a group of male and literary women, and it would include several others, but many in London believed that Blessington had a damaged reputation. However, this did not stop Ainsworth from meeting many well-known British writers from the Salon. He wrote for her collection of stories, The Book of Beauty, which was first published in 1835, though he was not a member of her circle. Ainsworth continued to write in various literary circles, but his wife and children did not; he stayed in Kensal Lodge when they were with Ebers; Ainsworth met Charles Dickens and introduced the young writer to the publisher John Macrone and illustrator Cruikshank during this period. Dickens was also introduced by Ainsworth at Kensal Lodge to John Forster, sparking a close friendship between the two people.

Ainsworth and Dickens were close friends and often traveled together from 1835 to 1838. Rockwood was released in several editions, with a fourth edition in 1836 featuring drawings by Cruikshank, which started the working relationship between the two artists. Ainsworth began writing Crichton, a young woman from 1835. He devoted a large portion of his spare time to it to the point of not having time for many of his literary colleagues. The publication was temporarily delayed while Ainsworth was looking for an illustrator, with Thackeray being a potential choice. However, Ainsworth found the illustrations were unsatisfactory, so he switched to Daniel Maclise, who was later dismissed. Ainsworth was asked to write for the journal The Lions of London, but he was unable to fit in to work on both projects and so decided to finish the story. Since Macrone, the original intended publisher, died, the situation changed. Ainsworth left Bentley for Bentley as a publisher. Ainsworth's third book was published in 1837. In 1837, a fifth edition of Rockwood appeared, and its success prompted Ainsworth to start a new book about a common outlaw, Jack Sheppard's tale.

Jack Sheppard, Ainsworth's next book, was serially published in Bentley's Miscellany (January 1839 – February 1840). Oliver Twist of Dickens appeared in the journal from January 1837 to April 1839. Both men were involved in Dickens' departure from the magazine editorship, sparking a debate over these Newgate books. At the end of 1839, his departure allowed Ainsworth to replace him. In fall 1839, Jack Sheppard was published in a three volume edition by Bentley, and eight separate theatrical interpretations of the story were performed. Ainsworth followed Jack Sheppard in two books: Guy Fawkes and The Tower of London. Both worked through 1840, and Ainsworth celebrated the work's conclusion with a large dinner party.

Ainsworth began to write Old St. Paul's A Tale of the Plague and the Fire, which was published in 1840. The work appeared in The Sunday Times from 3 January 1841 to 26 December 1841, which was an achievement as he became one of the first writers to have a work appear in a national newspaper in such a way. In 1842, Windsor Castle and The Miser's Daughter became his next creations. In a letter to Crossley, 17 November 1841, Ainsworth admits to writing a book about Windsor Castle and the events surrounding Henry VIII's first and second marriages. The Miser's Daughter was first published in the Miscellany family's magazine, which was the first publication of Ainsworth's Magazine, an independent venture that Ainsworth initiated after leaving Bentley's Miscellany. Ainsworth collaborated with Cruikshank, the illustrator, to produce the book. Cruikshank moved his publications from The Omnibus to the new magazine, and an advertisement for the first issue was released on January 29, 1842. Contemporary members of the press applauded the magazine's launch, but it only increased as the publication continued to be well-reced. The magazine of Ainsworth chronicled his time in the industry.

Ainsworth had hoped to start publishing Windsor Castle in his magazine by April but his mother died on March 15th, 1842. John Forster wrote to Ainsworth to ask for help in writing the book, but there are no signs that Ainsworth accepted him. The experiment was soon finished and appeared in the magazine by July 1842, where it ran until June 1843. After the first one came to an end, George Cruikshank, illustrator for The Miser's Daughter, took over as illustrator for Windsor Castle. In October 1842, Edward Stirling's play version of The Miser's Daughter appeared, with T. P. Taylor's version in November. Ainsworth's magazine featured many well-known contributors, including Robert Southey's wife, Robert Bell, William Maginn, and others during this period. Ainsworth had sold his interest in Ainsworth's Magazine to John Mortimer before leaving as editor by 1843. Saint James' or the Court of Queen Anne, An Historical Romance, which ran from January 1844 to December 1844, was Ainsworth's next work in his magazine. Cruikshank was the first time Ainsworth and Cruikshank collaborated on a book.

Ainsworth was instrumental in the construction of the monument in Edinburgh, which was dedicated to Walter Scott in 1844. He spent his year visiting many people, including members of the British nobility. Except for a collection by Leigh Hunt, A Jar of Honey from Mount Hybla, the success of his magazine decreased over the past year due to a lack of quality work. Even Ainsworth's own work, St James', was destroyed because it was written in haste. Ainsworth began Auriol, one of his best books, during this period, but it was never complete. Revelations of London was published in part between 1844 and 1845. Hablot Browne, the artist known as "Phiz," portrayed the work and became the magazine's chief illustrator. The book wasn't published until Ainsworth and Mortimer revolted in early 1845, and Ainsworth resigned as editor. Ainsworth purchased The New Monthly Magazine and began requesting contributors to Ainsworth's Magazine to join him at the new periodical shortly thereafter. He sold an advertisement in which he said there would be contributors of "high rank," which caused Thackeray to sue him in Punch for favoring the nobility. Thackeray and others, including Hunt, E V Keanley, G P R James, Horace Smith, and Edward Bulwer-Lytton, all contributed to the publication later. Ainsworth reprinted many of his own pieces as well as his own portrait, with the latter triggering a parody of Ainsworth's head in Punch as the only thing that Ainsworth had not yet revealed for the public.

Laman Blanchard and Richard Barham, two of Ainsworth's acquaintances and contributors, died in 1845. Ainsworth was able to regain control over Ainsworth's Magazine and reprint many of his earlier publications later this year. He spent a lot of his time recruiting contributors to the two magazines and then produced a new piece in 1847, James the Second, but said he was only to be the "editor" of the work. He was able to purchase the copyright of several of his earlier works by 1847 in order to reissue them. At this moment, he was working on what would be his best book, The Lancashire Witches, which was to be published. The book's execution was complete by 1847, and The Sunday Times announced that it would be published.

Andrew Halliday produced Hilda, a spin on The Miser's Daughter, in April 1872. Cruikshank wrote to The Times on April 6, 1872, claiming that he was furious because his name was left out of the play's credits. In addition, he said that the book came from him and not from Ainsworth. This caused a controversies between the two groups.

Later life

Andrew Halliday produced a version of The Miser's Daughter, Hilda, in April 1872. Cruikshank wrote to The Times on April 6, 1872, claiming that he was furious about his name being left out of the credits for the play. In addition, he said that the novel originated from him and not from Ainsworth. This sparked controversies between the two countries.

Source

Early career

John Aston, a clerk who worked in his father's law firm, was another close friend of Ainsworth, as well as Crossley. Ainsworth and Crossley began to write many pieces together in 1823, including the first book Sir John Chiverton, which was based in Manchester's Hulme Hall. Ainsworth wrote to Thomas Campbell, editor of The New Monthly Magazine, about publishing the article, but Campbell lost the letter. Crossley went to London to speak with Campbell and discuss the issue before returning to London in November. Although the novel was not yet published, Ainsworth was able to get G. and W. Whittaker to publish a collection of his tales as December Tales. Ainsworth started publishing his own newspaper, The Boeotian, in 1824, but it was eventually cancelled on April 24.

Ainsworth's father died on June 20th, 1824, and Ainsworth became a partner in the law firm and concentrated on his legal research. At the end of 1824, he came to London to study under Jacob Phillips, a barrister at King's Bench Walk. Ainsworth lived in Devereux Court, a place that was favored by Augustan writers. During his stay in Lamb, he tried Lamb but was let down by the authentic Lamb. Ainsworth attended Lamb's circle and met with many people, including Henry Crabb Robinson and Mary Shelley. Ainsworth returned from Manchester in the summer of 1825 to visit Crossley before heading to the Isle of Man. He continued to write, and a collection of his poems titled The Works of Cheviot Tichburn, based on John Leigh's names, was published. He had two works published in The Literary Souvenir, a magazine published by John Ebers.

Ainsworth was born on February 4th, 1826, and he was named a solicitor of the Court of King's Bench on February 8th. He befriended Ebers, who also owned the Opera House in Haymarket, during this period. Ainsworth would attend shows at the house on a daily basis, and he fell in love with Ebers' daughter Fanny during his visits. The Ebers family's friendship continued, and John Ainsworth's Considerations on the best way to provide Immediate Relief to the Operative Classes in the Manufacturing Districts continued. The work, as well as the rest of the United Kingdom, addressed the economic crisis in Manchester. With the publication of Letters from Cokney Lands, Ainsworth had moved away from politics and toward poetry by June. Although these were published, he continued to work on his book Sir John Chiverton and hoped to have it published.

In July 1826, Ebers published the novel. Early on, Ebers became interested in Ainsworth's book and began to participate in The Literary Souvenir to raise the issue. Despite the fact that the book was cowritten and occasionally claimed by Aston as solely his own, several of the reviews characterized it as Ainsworth's alone. Ainsworth was also brought to the attention of historical novelist Walter Scott, who later wrote about the work in various publications; the two writers later met in 1828. J. G. Lockhartt's private journals in that year triggered the belief that the book was an adaptation of Scott. Sir John Chiverton is neither a true historical novel nor is it a gothic book. It was also seen by Ainsworth as incomplete work, and he later dismissed it when writing his bibliography. The novel can be read as a precursor to Ainsworth's first major book, Rockwood.

Ainsworth's relationship with the Ebers family grew, and he married Fanny on October 11, 1826, with no hints given to his family or friends. Ebers promised to pay a dowry of 300 pounds, but the funds were never released, putting the effort in Ainsworth's father-in-law's marriage into a strain. Ainsworth stayed in Ebers' circle and attended numerous social gatherings. Ebers encouraged him to split his Ainsworth law practice alongside the establishment of a publishing company. Ainsworth took this advice and the company had a fruitful start. Fanny gave birth to a child who didn't recognize her name in 1827. Ebers went bankrupt quickly after, and Ainsworth's Ainsworth loss a significant amount as a result. Ainsworth has a few well-known publications, including The French Cook, an annual magazine published in Mayfair, and others. Ebers took over Ainsworth's publishing company by 1829, and Fanny gave birth to Emily, the next daughter. Ainsworth decided against publishing and returned to law. Ainsworth's family was beginning to feel financially strained when Anne, Ainsworth's third daughter, was born in 1830. Ainsworth returned to writing and contributed to Fraser's Magazine, but it's unclear how many of his articles were really his. However, he was still working on his book Rockwood.

Ainsworth was neither a lawyer nor a publisher by 1829; in fact, he had no one to work at all. He longed for his youth in Manchester and wondered about writing another book. He had started traveling by the summer. He began to develop the notion of Rockwood and began looking for details. Ainsworth was living at Kensal Lodge when researching for the novel in 1830. He worked on some stage projects and spent the majority of his time in the legal field. During that summer, he and William Sergison became close, and the two traveled to Italy and Switzerland. They visited Percy Bysshe Shelley and John Keats' tomb while also visiting other important scenes in the lives of the British Romantic poets during their travels. Sergison was also the owner of a Sussex home, on which Ainsworth drew in his story. Ainsworth began working for Fraser's Magazine, which was first published in 1830, after the two returned to London. Samuel Taylor Coleridge, Robert Southey, Thomas Carlyle, James Hogg, and William Makepeace Thackeray were among the group's most popular literary figures of the day. He wasn't convinced to start writing the book until he traveled to Chesterfield near the end of 1831, although he did self-confidently "in the bygone style of Mrs Radcliffe."

Despite writing the book, Ainsworth suffered as a result of more of his father-in-law's financial difficulties and was unable to resume service before 1833. During the fall of that year, he managed to finish major portions of the book while staying in Sussex, near Sergison's house. Richard Bentley's book was published in April 1834 by Richard Bentley, and it contained illustrations by George Cruikshank. Ainsworth gave up and dedicated himself to writing after five years in the legal industry. Rockwood's Magazine's associates were lauded for their continuing contributions, as well as their general and financial success. He started dressing as a dandy, and he was welcomed to the Salon of Margaret Power, Countess of Blessington. Her Salon was a group of men and literary women, and it would include many others, but many in London believed that Blessington had a damaged image. However, this did not prevent Ainsworth from visiting several well-known British authors from the Salon. Although he was a member of her circle, he wrote for her book The Book of Beauty, which was published in 1835. Ainsworth went on to write in various literary circles, but his wife and daughters did not; he stayed in Kensal Lodge when they were living with Ebers. Ainsworth met Charles Dickens and introduced the young writer to publisher John Macrone and illustrator Cruikshank during this period. Dickens was also introduced at Kensal Lodge to John Forster, igniting a close friendship between the two families.

Ainsworth and Dickens were close friends and often traveled together from 1835 to 1838. Rockwood was published in many editions, with a fourth edition of 1836 featuring artwork by Cruikshank, which established the two's working relationship. Ainsworth began writing Crichton, a new book published in 1835. He devoted a large portion of his time to it to the point of not having time for several of his literary acquaintances. Since Ainsworth was looking for an illustrator, with Thackeray being a possible option, its publication was temporarily postponed. However, Ainsworth thought the illustrations were unsatisfactory, so he switched to Daniel Maclise, who was later banned. Ainsworth was asked to write for the magazine The Lions of London, but he couldn't have the time to work on both projects and so wrote the book, coinciding with the search for an illustrator and rushing to finish the book. After Macrone, the original intended publisher, died, the situation changed. Ainsworth became a publisher for Bentley. In 1837, Ainsworth published his third book. A fifth edition of Rockwood appeared in 1837, and its success prompted Ainsworth to begin working on another book about a common outlaw, Jack Sheppard's tale.

Jack Sheppard, Ainsworth's newest book, was serially published in Bentley's Miscellany (January 1839 – February 1840). Oliver Twist of Dickens was also featured in the newspaper (February 1837 – April 1839). Both men grew up a controversies surrounding these Newgate books, culminating in Dickens' departure from the magazine editorship. He was fired at the end of 1839, leaving Ainsworth to replace him. In autumn 1839, Jack Sheppard was published in a three volume edition by Bentley, and eight other theatrical interpretations of the tale were staged. Ainsworth wrote two books about Jack Sheppard: Guy Fawkes and The Tower of London. Both worked in 1840, and Ainsworth held a large dinner party to commemorate the work.

Ainsworth began writing A Tale of the Plague and the Fire, a tale of the Plague and the Fire in 1840. The work appeared in The Sunday Times from 3 January 1841 to 26 December 1841, which was an achievement, as he became one of the first writers to have a work appear in a national newspaper in such a form. In 1842, Windsor Castle and The Miser's Daughter were two of his uncle's designs. Windsor Castle's first mention appears in a letter to Crossley, 17 November 1841, in which Ainsworth admits to writing a book about Windsor Castle and the events surrounding Henry VIII's first and second marriages. The Miser's Daughter appeared first, beginning with the creation of Ainsworth's Magazine, an independent venture that Ainsworth started after leaving Bentley's Miscellany. Ainsworth collaborated with Cruikshank, the illustrator, to produce the book. Cruikshank's move from his own magazine to the new magazine, and an advertisement for it appeared in December 1841, announcing that the first issue would be published on January 29, 1842. Contemporary members of the press applauded the magazine's launch, but the magazine's success soon followed. The Magazine of Ainsworth chronicles his career's golden age.

Ainsworth had hoped to start publishing Windsor Castle in his magazine by April, but his mother died on March 15th, 1842, so he was delayed. John Forster wrote to Ainsworth to offer assistance with writing the book, but there are no evidence that Ainsworth accepted it. The work was soon finished and began appearing in the magazine in July 1842, where it appeared in the journal until June 1843. After the first one's run, George Cruikshank, illustrator for The Miser's Daughter, took over as illustrator for Windsor Castle. Edward Stirling's play version of The Miser's Daughter appeared in October 1842, with another version by T. P. Taylor in November. Ainsworth's magazine featured many well-known contributors, including Robert Southey's wife, Robert Bell, William Maginn in a posthumous collection, and others. Ainsworth had sold his interest in Ainsworth's Magazine to John Mortimer by the end of 1843 while still editor. Saint James' or the Court of Queen Anne, An Historical Romance, was the next work in Ainsworth's magazine, which ran from January 1844 to December 1844. Cruikshank was the last time Ainsworth and Cruikshank collaborated on a book.

Ainsworth helped with the construction of the monument in Edinburgh, which was dedicated to Walter Scott in 1844. He spent his year in visiting many people, including members of the British nobility. Except for a series by Leigh Hunt, A Jar of Honey from Mount Hybla, the success of his magazine has diminished over the past year due to a lack of quality work. And then, Ainsworth's own book, St James', was destroyed because it was written in haste. Ainsworth started Auriol, one of his best books, during this period, but it wasn't finished. It appeared in London from 1844 to 1845 as Revelations of London. Hablot Browne created the illustrations and became the magazine's chief illustrator, using the term "Phiz." The book wasn't published until Ainsworth and Mortimer battle in early 1845, and Ainsworth resigned as editor. Ainsworth purchased The New Monthly Magazine shortly after and began requesting contributors to Ainsworth's Magazine to join him at the new periodical. He released an ad announcing that "high rank" would be available, prompting Thackeray to sue him in Punch for promoting the nobility. Thackeray did not return to the journal in the first place, as did Hunt, E V Keanley, G P R James, Horace Smith, and Edward Bulwer-Lytton. Ainsworth reprinted several of his own drawings as well as his own portrait, the latter resulting in the publication of a mock portrait of Ainsworth's head in Punch, which was the only one that Ainsworth had not yet published for the public.

Laman Blanchard and Richard Barham, two of Ainsworth's acquaintances and contributors, died in 1845. Ainsworth was able to regain control of Ainsworth's Magazine later this year and republish many of his earlier publications. He spent a large amount of his time recruiting contributors to the two magazines and then published a new one in 1847, James the Second, but only claimed to be the "editor" of the work. He was able to purchase the copyright of several of his earlier works in 1847 in order to reissue them. He was at work on what would be his best book, The Lancashire Witches, during this period. The novel's project was complete by 1847, and it would be published in The Sunday Times.

Andrew Halliday produced Hilda, a version of The Miser's Daughter, in April 1872. Cruikshank wrote to The Times on April 6, 1872, claiming that he was furious about his name being left out of the credits for the play. In addition, he said that the idea for the novel came from himself, not from Ainsworth. This caused a controversies between the two groups.

Career as a novelist

Ainsworth was neither a lawyer nor a publisher by 1829; in fact, he had no one to work at all. He longed for his youth in Manchester and considered writing another book. He had started traveling by the summer. He began to develop the notion of Rockwood and began looking for details on the subject. Ainsworth was living at Kensal Lodge when researching for the novel in 1830. He worked on some stage shows as well as the remainder of his time in the legal field. During that summer, he became friends with William Sergison, and the two of them travelled to Italy and Switzerland. They visited Percy Bysshe Shelley and John Keats' tomb during their travels, as well as other important scenes in the lives of the British Romantic poets. Sergison was also the owner of a house in Sussex, which Ainsworth drew in his book. Ainsworth began working for Fraser's Magazine, which was launched in 1830, after the two returned to London. Samuel Taylor Coleridge, Robert Southey, Thomas Carlyle, James Hogg, and William Makepeace Thackeray were among the group's most influential literary figures of the day. He was not convinced to start writing the book until he returned to Chesterfield at the end of 1831, which he did self-confidently "in the bygone style of Mrs Radcliffe."

Ainsworth, even as he began writing the book, suffered as a result of more of his father-in-law's financial difficulties, and he was unable to resume work on it until 1833. He managed to complete major portions of the novel while staying in Sussex, near Sergison's house, during the fall of that year. Richard Bentley's book was released in April 1834 by Richard Bentley and featured George Cruikshank's illustrations. Ainsworth resigned from law practice after five years as a lawyer and moved to fiction. Rockwood's Magazine applauded his associates' as a result of his wide-ranging and financial success, as well as his appreciation to Fraser's Magazine. He began dressing as a dandy, and he was invited to the Salon of Margaret Power, Countess of Blessington. Her Salon was a group of men and literary women, and it would include some others, but many in London believed that Blessington had a bad reputation. However, this did not deter Ainsworth from meeting several well-known British writers from the Salon. Although he was not a member of her circle, he wrote For her collection of stories titled The Book of Beauty, which was released in 1835. Ainsworth went on to write in a variety of literary circles, but his wife and children did not; he remained in Kensal Lodge when they were living with Ebers. Ainsworth met Charles Dickens and introduced the young writer to publisher John Macrone and illustrator Cruikshank during this period. At Kensal Lodge, Ainsworth introduced Dickens to John Forster, sparking a close friendship between the two people.

Ainsworth and Dickens were close friends and often traveled together from 1835 to 1838. Rockwood was published in various editions, with a fourth edition in 1836 that included illustrations by Cruikshank, which began the working relationship between the two artists. Ainsworth began writing Crichton in 1835. He devoted a large portion of his time to it to the point of not having time for some of his literary acquaintances. Although Ainsworth was looking for an illustrator, Thackeray being a potential option, its publication was temporarily postponed. However, Ainsworth thought the illustrations were unsatisfactory, so he switched to Daniel Maclise, who was also later removed. Ainsworth was asked to contribute to the publication The Lions of London, but he couldn't find the time to write on both projects and so delayed to finish the book, coinciding with the hunt for an illustrator and rushing to finish the book. Since Macrone, the original intended publisher, died, the situation changed. Ainsworth became a publisher at Bentley. In 1837, Ainsworth's third book was published. In 1837, a fifth version of Rockwood was released, and its popularity prompted Ainsworth to start a new book about a well-known outlaw, Jack Sheppard's tale.

Jack Sheppard, Ainsworth's next book, was serially published in Bentley's Miscellany (January 1839 – February 1840). Oliver Twist of Dickens appeared in the magazine from February 1837 to April 1839. Both men grew up around these Newgate novels, culminating in Dickens' departure from the magazine editorship. He was fired in 1839, leaving Ainsworth to replace him. In autumn 1839, Jack Sheppard was published in a three-volume edition by Bentley, and eight different theatrical interpretations of the tale were performed. With two books, Ainsworth followed Jack Sheppard: Guy Fawkes and The Tower of London. Both ran through 1840, and Ainsworth celebrated the work's conclusion with a large dinner party.

Ainsworth began to write A Tale of the Plague and the Fire, which was published in 1840. The work appeared in The Sunday Times from 3 January 1841 to 26 December 1841, which was an achievement, as he became one of the first writers to have a work appear in a national newspaper in such a style. Windsor Castle and The Miser's Daughter were his second drawings, which were published in 1842. Windsor Castle's first mention of the event surrounding Henry VIII's first and second marriages appears in a letter to Crossley, in which Ainsworth admits to writing a book about Windsor Castle and the events surrounding Henry VIII's first and second marriages. The Miser's Daughter appeared first, beginning with the publication of Ainsworth's Magazine, an independent venture launched by Ainsworth after leaving Bentley's Miscellany. Ainsworth collaborated with Cruikshank, the illustrator, to produce the magazine. Cruikshank's efforts expanded from his own magazine, The Omnibus, to the new magazine, with an advertisement for it announcing in December 1841 that the first issue would be published on January 29th, 1842. Contemporary members of the press welcomed the magazine's launch, but it only increased as the issue continued to be well-received. The magazine of Ainsworth chronicled his career.

Ainsworth had hoped to start publishing Windsor Castle in his magazine by April, but his mother died on March 15th, 1842. John Forster wrote to Ainsworth to ask for help with writing the book, but there is no evidence that Ainsworth accepted. The project was soon finished and began to appear in the magazine by July 1842, where it appeared in the magazine until June 1843. After the first one ended, George Cruikshank, illustrator for The Miser's Daughter, took over as illustrator for Windsor Castle. Edward Stirling's play version of The Miser's Daughter appeared in October 1842, with another version by T. P. Taylor in November. Ainsworth's magazine featured many well-known contributors, including Robert Southey, Robert Bell, William Maginn in a posthumous publication, and others. Ainsworth had sold his interest in Ainsworth's Magazine to John Mortimer while remaining editor until 1843. Saint James' or the Court of Queen Anne, An Historical Romance, which ran from January 1844 to December 1844, was Ainsworth's next work in his magazine. Cruikshank was illustrating the work, the last time Ainsworth and Cruikshank collaborated on a novel.

Ainsworth contributed to the construction of the monument in Edinburgh, which was donated to Walter Scott in 1844. He spent his year in London visiting many people, including members of the British nobility. Except for a series by Leigh Hunt, A Jar of Honey from Mount Hybla, the success of his magazine decreased over the year due to a lack of quality works. And Ainsworth's own work, St James', was lost because it was written in haste. Ainsworth wrote Auriol, one of his best books, during this period, but it was never finished. Revelations of London was published in part between 1844 and 1845. Hablot Browne, a.k.a. "Phiz," drew the illustration and became the magazine's chief illustrator. The novel wasn't published until Ainsworth and Mortimer battled in early 1845, and Ainsworth resigned as editor. Ainsworth bought The New Monthly Magazine and began requesting contributors to Ainsworth's Magazine to join him at the new periodical shortly after. He published an advert in which he said there would be contributors of "high rank," causing Thackeray to criticize the nobility. However, Thackeray and others, including Hunt, E V Keanley, G P R James, Horace Smith, and Edward Bulwer-Lytton, all contributed to the magazine later this year. Ainsworth reprinted several of his own drawings as well as his own portrait, the latter triggering a mock portrait of Ainsworth's head in Punch as the only thing Ainsworth had not yet published for the public.

Laman Blanchard and Richard Barham, two of Ainsworth's acquaintances and contributors, died in 1845. Ainsworth was able to regain control over Ainsworth's Magazine in the year and republish many of his earlier works later this year. He spent a large portion of his time recruiting contributors to the two journals and releasing a new work in 1847, James the Second, but only claimed to be the "editor" of the article. He was able to purchase the copyright of several of his earlier works in order to reissue them by 1847. He was working on what would be his best book, The Lancashire Witches, during this period. The novel's project had been completed by 1847, and it was set to be published in The Sunday Times.

Andrew Halliday produced a version of The Miser's Daughter, Hilda, in April 1872. Cruikshank wrote to The Times on 6 April 1872, claiming he was furious that his name was left out of the credits for the performance. In addition, he said that the book came from himself, not from Ainsworth. Both the two groups became embroiled in controversies.

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