diff options
Diffstat (limited to '42877-8.txt')
| -rw-r--r-- | 42877-8.txt | 5622 |
1 files changed, 0 insertions, 5622 deletions
diff --git a/42877-8.txt b/42877-8.txt deleted file mode 100644 index d98a388..0000000 --- a/42877-8.txt +++ /dev/null @@ -1,5622 +0,0 @@ -The Project Gutenberg EBook of One Hundred Books Famous in English -Literature, by Grolier Club - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: One Hundred Books Famous in English Literature - With Facsimiles of the Title-Pages - -Author: Grolier Club - -Release Date: June 5, 2013 [EBook #42877] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ONE HUNDRED BOOKS *** - - - - -Produced by David Starner, Suzanne Lybarger, Ernest Schaal -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by the Posner Memorial Collection -(http://posner.library.cmu.edu/Posner/)) - - - - - - - - - - The Committee on Publications of the Grolier Club - certifies that this copy of "One Hundred Books - Famous in English Literature" is one of three - hundred and five copies printed on hand-made - paper, and that all were printed during the year - nineteen hundred and two. - - - - - ONE HUNDRED BOOKS - FAMOUS IN - ENGLISH LITERATURE - - - - - ONE HUNDRED BOOKS - FAMOUS IN - ENGLISH LITERATURE - - WITH FACSIMILES OF - THE TITLE-PAGES - - AND AN INTRODUCTION BY - GEORGE E. WOODBERRY - - - - - THE GROLIER CLUB - OF THE CITY OF NEW YORK - M CM II - - - - - Copyright, 1902, by - THE GROLIER CLUB OF THE - CITY OF NEW YORK - - - - - FACSIMILE TITLES - - TITLE AUTHOR DATE PAGE - - First Page of the Canterbury Tales Chaucer 1478 3 - - First Page of the Confessio Amantis Gower 1483 5 - - First Page of the Morte Arthure Malory 1485 7 - - The Booke of Common Praier 1549 9 - - The Vision of Pierce Plowman Langland 1550 11 - - Chronicles of England, Scotlande, and - Ireland Holinshed 1577 13 - - A Myrrour for Magistrates 1563 15 - - Songes and Sonettes Surrey 1567 17 - - The Tragidie of Ferrex and Porrex Sackville 1570 19 - - Euphues. The Anatomy of Wit Lylie 1579 21 - - The Countesse of Pembrokes Arcadia Sidney 1590 23 - - The Faerie Queene Spenser 1590 25 - - Essaies Bacon 1598 27 - - The Principal Navigations, Voiages, - Traffiques and Discoveries of the - English Nation Hakluyt 1598 29 - - The Whole Works of Homer Chapman 1611 31 - - The Holy Bible King James's 1611 33 - Version - - The Workes of Benjamin Jonson Jonson 1616 35 - - The Anatomy of Melancholy Burton 1621 37 - - Mr. William Shakespeares Comedies, - Histories, & Tragedies Shakespeare 1623 39 - - The Tragedy of the Dutchesse of Malfy Webster 1623 41 - - A New Way to Pay Old Debts Massinger 1633 43 - - The Broken Heart Ford 1633 45 - - The Famous Tragedy of the Rich Jew of - Malta Marlowe 1633 47 - - The Temple Herbert 1633 49 - - Poems Donne 1633 51 - - Religio Medici Browne 1642 53 - - The Workes of Edmond Waller Esquire 1645 55 - - Comedies and Tragedies Beaumont 1647 57 - and Fletcher - - Hesperides Herrick 1648 59 - - The Rule and Exercises of Holy Living Taylor 1650 61 - - The Compleat Angler Walton 1653 63 - - Hudibras Butler 1663 65 - - Paradise Lost Milton 1667 67 - - The Pilgrims Progress Bunyan 1678 69 - - Absalom and Achitophel Dryden 1681 71 - - An Essay Concerning Humane Understanding Locke 1690 73 - - The Way of the World Congreve 1700 75 - - The History of the Rebellion and Civil - Wars in England Clarendon 1702 77 - - The Lucubrations of Isaac Bickerstaff Steele 1710 79 - Esq. - - The Spectator Addison 1711 81 - - The Life and Strange Surprizing - Adventures of Robinson Crusoe Defoe 1719 83 - - Travels into Several Remote Nations of - the World Swift 1726 85 - - An Essay on Man Pope 1733 87 - - The Analogy of Religion Butler 1736 89 - - Reliques of Ancient English Poetry Percy 1765 91 - - Odes on Several Descriptive and Allegoric - Subjects Collins 1747 93 - - Clarissa Richardson 1748 95 - - The History of Tom Jones Fielding 1749 97 - - An Elegy Wrote in a Country Church Yard Gray 1751 99 - - A Dictionary of the English Language Johnson 1755 101 - - Poor Richard's Almanack Franklin 1758 103 - - Commentaries on the Laws of England Blackstone 1765 105 - - The Vicar of Wakefield Goldsmith 1766 107 - - A Sentimental Journey Sterne 1768 109 - - The Federalist 1788 111 - - The Expedition of Humphry Clinker Smollett 16[7]71 113 - - An Inquiry into the Nature and Causes of - the Wealth of Nations Smith 1776 115 - - The History of the Decline and Fall of - the Roman Empire Gibbon 1776 117 - - The School for Scandal Sheridan 1777 119 - - The Task Cowper 1785 121 - - Poems, Chiefly in the Scottish Dialect Burns 1786 123 - - The Natural History and Antiquities of - Selborne White 1789 125 - - Reflections on the Revolution in France Burke 1790 127 - - Rights of Man Paine 1791 129 - - The Life of Samuel Johnson Boswell 1791 131 - - Lyrical Ballads Wordsworth 1798 133 - - A History of New York, from the Beginning - of the World to the End of the - Dutch Dynasty Irving 1809 135 - - Childe Harold's Pilgrimage Byron 1812 137 - - Pride and Prejudice Austen 1813 139 - - Christabel Coleridge 1816 141 - - Ivanhoe Scott 1820 143 - - Lamia, Isabella, The Eve of St. Agnes, - and Other Poems Keats 1820 145 - - Adonais Shelley 1821 147 - - Elia Lamb 1823 149 - - Memoirs of Samuel Pepys, Esq. F.R.S. Pepys 1825 151 - - The Last of the Mohicans Cooper 1826 153 - - Pericles and Aspasia Landor 1836 155 - - The Pickwick Papers Dickens 1837 157 - - Sartor Resartus Carlyle 1834 159 - - Nature Emerson 1836 161 - - History of the Conquest of Peru Prescott 1847 163 - - The Raven and Other Poems Poe 1845 165 - - Jane Eyre Brontë 1847 167 - - Evangeline Longfellow 1847 169 - - Sonnets Mrs. Browning 1847 171 - - The Biglow Papers Lowell 1848 173 - - Vanity Fair Thackeray 1848 175 - - The History of England Macaulay 1849 177 - - In Memoriam Tennyson 1850 179 - - The Scarlet Letter Hawthorne 1850 181 - - Uncle Tom's Cabin Mrs. Stowe 1852 183 - - The Stones of Venice Ruskin 1851 185 - - Men and Women Browning 1855 187 - - The Rise of the Dutch Republic Motley 1856 189 - - Adam Bede George Eliot 1859 191 - - On the Origin of Species by Means of - Natural Selection Darwin 1859 193 - - Rubáiyát of Omar Khayyám Fitzgerald 1859 195 - - Apologia pro Vita Sua Newman 1864 197 - - Essays in Criticism Arnold 1865 199 - - Snow-Bound Whittier 1866 201 - - * * * * * - - Except where noted, all facsimiles of title-pages - are of the size of those in the original editions. - - - - - [Illustration] - - INTRODUCTION - - -A BOOK is judged by its peers. In the presence of the greater works of -authors there is no room for personal criticism; they constitute in -themselves the perpetual mind of the race, and dispense with any private -view. The eye rests on these hundred titles of books famous in English -literature, as it reads a physical map by peak, river and coast, and -sees in miniature the intellectual conformation of a nation. A different -selection would only mean another point of view; some minor features -might be replaced by others of similar subordination; but the mass of -imagination and learning, the mind-achievement of the English race, is -as unchangeable as a mountain landscape. Perspective thrusts its -unconscious judgment upon the organs of sight, also; if Gower is thin -with distance and the clump of the Elizabethans shows crowded with low -spurs, the eye is not therefore deceived by the large pettiness of the -foreground with its more numerous and distinct details. The mass -governs. Darwin appeals to Milton; Shelley is judged by Pope, and -Hawthorne by Congreve. - -These books must of necessity be national books; for fame, which is -essentially the highest gift of which man has the giving, cannot be -conferred except by a public voice. Fame dwells upon the lips of men. It -is not that memorable books must all be people's books, though the -greatest are such--the Book of Common Prayer, the Bible, Shakespeare; -but those which embody some rare intellectual power, or illuminate some -seldom visited tract of the spirit, or merely display some peculiar -taste in learning or pastime, must yet have something racial in them, -something public, to secure their hold against the detaching power of -time; they must be English books, not in tongue only, but body and soul. -They are not less the books of a nation because they are remote, -superfine, uncommon. Such are the books of the poets--the Faërie Queene; -books of the nobles--Arcadia; books of the scholar--the Anatomy of -Melancholy. These books open the national genius as truly, kind by kind, -as books of knowledge exhibit the nation's advancement in learning, -stage by stage, when new sciences are brought to the birth. The Wealth -of Nations, Locke's Essay, Blackstone's Commentaries, are not merely the -product of private minds. They are landmarks of English intellect; and -more, since they pass insensibly into the power of civilization in the -land, feeding the general mind. The limited appeal that many classics -made in their age, and still make, indicates lack of development in -particular persons; but however numerous such individuals may be, in -whatever majorities they may mass, the mind of the race, once having -flowered, has flowered with the vigor of the stock. The Compleat Angler -finds a rustic breast under much staid cloth; Pepys was never at a loss -for a gossip since his seals were broken, and Donne evokes his -fellow-eccentric whose hermitage is the scholar's bosom; but whether the -charm work on few or on many is indifferent, for whom they affect, they -affect through consanguinity. The books of a nation are those which are -appropriate to its genius and embody its variations amid the changes of -time; even its sports, like Euphues, are itself; and the works which -denote the evolution of its civilized life in fructifying progress, -whose increasing diversities are yet held in the higher harmony of one -race, one temperament, one destiny, are without metaphor its Sibylline -books, and true oracles of empire. - -It is a sign of race in literature that a book can spare what is private -to its author, and comes at last to forgo his earth-life altogether. -This is obvious of works of knowledge, since positive truth gains -nothing from personality, but feels it as an alloy; and a wise analysis -will affirm the same of all long-lived books. Works of science are -charters of nature, and submit to no human caprice; and, in a similar -way, works of imagination, which are to the inward world of the spirit -what works of science are to the natural universe, are charters of the -soul, and borrow nothing from the hand that wrote them. How deciduous -such books are of the private life needs only to be stated to be -allowed. They cast biography from them like the cloak of the ascending -prophet. An author is not rightly to be reckoned among immortals until -he has been forgotten as a man, and become a shade in human memory, the -myth of his own work. The anecdote lingering in the Mermaid Tavern is -cocoon-stuff, and left for waste; time spiritualizes the soul it -released in Shakespeare, and the speedier the change, so much the purer -is the warrant of a life above death in the minds of men. The loneliness -of antique names is the austerity of fame, and only therewith do Milton, -Spenser, Chaucer, seem nobly clad and among equals; the nude figure of -Shelley at Oxford is symbolical and prophetic of this disencumberment of -mortality, the freed soul of the poet,--like Bion, a divine form. Not to -speak of those greatest works, the Prayer Book, the Bible, which seem so -impersonal in origin as to be the creation of the English tongue itself -and the genius of language adoring God; nor of Hakluyt or Clarendon, -whose books are all men's actions; how little do the most isolated and -seclusive authors, Surrey, Collins, Keats, perpetuate except the pure -poet! In these hundred famous books there are few valued for aught more -than they contain in themselves, or which require any other light to -read them by than what they bring with them; they are rather hampered -than helped by the recollection of their authors' careers. Sidney adds -lustre to the Arcadia; an exception among men, in this as in all other -ways, by virtue of that something supereminent in him which dazzled his -own age. But who else of famous authors is greater in his life than in -his book? It is the book that gives significance to the man, not the man -to the book. These authors would gain by oblivion of themselves, and -that in proportion to their greatness, thereby being at once removed -into the impersonal region of man's permanent spirit and of art. The -exceptions are only seemingly such; it is Johnson's thought and the -style of a great mind that preserve Boswell, not his human grossness; -and in Pepys it is the mundane and every-day immortality of human -nature, this permanently curious and impertinent world, not his own -scandal and peepings, that yield him allowance in libraries. In all -books to which a nation stands heir, it is man that survives,--the -aspect of an epoch, the phase of a religion, the mood of a generation, -the taste, sentiment, thought, pursuit, entertainment, of a historic and -diversified people. There is nothing accidental in the fact that of -these hundred books forty-six bear no author's name upon the title-page; -nor is this due merely to the eldest style of printing, as with Chaucer, -Gower, Malory, Langland; nor to the inclusion of works by several -hands--the Book of Common Prayer, the Mirror for Magistrates, the -Tatler, the Spectator, the Reliques, the Federalist; nor to the use of -initials, as in the case of Donne and Mrs. Browning. The characteristic -is constant. It is interesting to note the names thus self-suppressed: -Sackville, Spenser, Bacon, Burton, Browne, Walton, Butler, Dryden, -Locke, Defoe, Swift, Pope, Richardson, Gray, Franklin, Goldsmith, -Sterne, Smollett, Sheridan, White, Wordsworth, Irving, Austen, Scott, -Lamb, Cooper, Carlyle, Emerson, Brontë, Lowell, Tennyson, George Eliot, -Fitzgerald. - -The broad and various nationality of English literature is a condition -precedent to greatness, and underlies its mighty fortune. Its chief -glory is its continuity, by which it exceeds the moderns, and must, with -ages, surpass antiquity. Literary genius has been so unfailing in the -English race that men of this blood live in the error that literature, -like light and air, is a common element in the life of populations. -Literature is really the work of selected nations, and with them is not -a constant product. Many nations have no literature, and in fertile -nations there are barren centuries. The splendid perpetuity of Greek -literature, which covered two thousand years, was yet broken by lean -ages, by periods of desert dearth. In the English, beginning from -Chaucer (as is just, since he is our Homer, whatever ages went before -Troy or Canterbury), there have been reigns without a poet; and Greek -example might prepare the mind for Alexandrian and Byzantine periods in -the future, were it not for the grand combinations of world-colonies and -world-contacts which open new perspectives of time for which the mind, -as part of its faith in life, requires destinies as large. The gaps, -however, were greatest at the beginning, and grow less. One soil, one -government, one evenly unfolded civilization--long life in the settled -and peaceful land--contribute to this continuity of literature in the -English; but its explanation lies in the integrity of English nurture, -and this is essentially the same in all persons of English blood. Homer -was not more truly the school of Greece than the Bible has been the -school of the English. It has overcome all external change in form, rule -and institution, fused conventicle and cathedral, and in dissolving -separate and narrow bonds of union has proved the greatest bond of all, -and become like a tie of blood. English piety is of one stock, and -through every book of holy living where its treasures are laid up, there -blows the breath of one Spirit. Herbert and Bunyan are peers of a faith -undivided in the hearts of their countrymen. It does not change, but is -the same yesterday, to-day and forever. On the secular side, also, -English nurture has been of the like simple strain. The instinct of -adventure, English derring-do, has never failed. Holinshed and Hakluyt -were its chroniclers of old; and from the Morte d'Arthur to Sidney, from -the Red-Cross Knight to Ivanhoe, from Shakespeare's Henry to Tennyson's -Grenville, genius has not ceased to stream upon it, a broad river of -light. The Word of God fed English piety; English daring was fed upon -the deeds of men. Hear Shakespeare's Henry: "Plutarch always delights me -with a fresh novelty. To love him is to love me; for he has been long -time the instructor of my youth. My good mother, to whom I owe all, and -who would not wish, she said, to see her son an illustrious dunce, put -this book into my hands almost when I was a child at the breast. It has -been like my conscience, and has whispered in my ear many good -suggestions and maxims for my conduct and the government of my affairs." -The English Plutarch is written on the earth's face. Its battles have -named the lands and seas of all the world; but, as was said of English -piety, from Harold to Cromwell, from the first Conqueror to Wellington, -from the Black Prince to Gordon, English daring--the strength of the -yeoman, the breath of the noble--is of one stock. Race lasts; those who -are born in the eyrie find eagles' food. This has planted iron -resolution and all-hazarding courage in epic-drama and battle-ode, and, -as in the old riddle, feeds on what it fed. English literature is brave, -martial, and brings forth men-children. It has the clarion strength of -empire; like Taillefer at Hastings, Drayton and Tennyson still lead the -charge at Agincourt and Balaclava. As Shakespeare's Henry was nourished, -so was the English spirit in all ages bred. This integrity of English -nurture, seen in these two great modes of life turned toward God in the -soul and toward the world in action, is as plainly to be discerned in -details as in these generalities; and to state only one other broad -aspect of the facts governing the continuity of literary genius in the -English, but one that goes to the foundations, the condition that both -vivifies and controls that genius in law, metaphysics, science, in all -political writing, whether history, theory, or discussion, as well as in -the creative and artistic modes of its development, is freedom. The -freedom of England, which is the parent of its greatness in all ways, is -as old in the race as fear of God and love of peril; and, through its -manifold and primary operation in English nurture, is the true continuer -of its literature. - -A second grand trait of English literature that is writ large on these -title-pages, is its enormous assimilative power. So great is this that -he who would know English must be a scholar in all literatures, and that -with no shallow learning. The old figure of the torch handed down from -nation to nation, as the type of man's higher life, gives up its full -meaning only to the student, and to him it may come to seem that the -torch is all and the hand that bears it dust and ashes; often he finds -in its light only the color of his own studies, and names it Greek, -Semitic, Hindu, and looks on English, French and Latin as mere carriers -of the flame. In so old a symbol there must be profound truth, and it -conveys the sense of antiquity in life, of the deathlessness of -civilization, and something also of its superhuman origin--the divine -gift of fire transmitted from above; but civilization is more than an -inheritance, it is a power; and truth is always more than it was; and -wherever the torch is lit, its light is the burning of a living race of -men. The dependence of the present on the past, of a younger on an older -people, of one nation on another, is often misinterpreted and misleads; -life cannot be given, but only knowledge, example, direction--influence, -but not essence; and the impact of one literature upon another, or of an -old historic culture upon a new and ungrown people, is more external -than is commonly represented. The genius of a nation born to greatness -is irresistible, it remains itself, it does not become another. The -Greeks conquered Rome, men say, through the mind; and Rome conquered the -barbarians through the mind; but in Gibbon who finds Greece? and the -mind of Europe does not bear the ruling stamp of either Byzantine or -Italian Rome. In the narrowly temporal and personal view, even under the -overwhelming might of Greece, Virgil remained, what Tennyson calls him, -"Roman Virgil"; and in the other capital instance of apparently -all-conquering literary power, under the truth that went forth from -Judea into all lands, Dante remained Italian and Milton English. Yet in -these three poets, whose names are synonyms of their countries, the -assimilated element is so great that their minds might be said to have -been educated abroad. - -What is true of Milton is true of the young English mind, from Chaucer -and earlier. In the beginning English literature was a part of European -literature, and held a position in it analogous to that which the -literature of America occupies in all English speech; it was not so much -colonial as a part of the same world. The first works were European -books written on English soil; Chaucer, Gower and Malory used the matter -of Europe, but they retained the tang of English, as Emerson keeps the -tang of America. The name applied to Gower, "the moral Gower," speaks -him English; and Arthur, "the flower of kings," remains forever Arthur -of Britain; and the Canterbury pilgrimage, whatever the source of the -world-wandering tales, gives the first crowded scene of English life. In -Langland, whose form was mediæval, lay as in the seed the religious and -social history of a protestant, democratic, and labor-honoring nation. -In the next age, with the intellectual sovereignty of humanism, Surrey, -Sackville, Lyly, Sidney and Spenser put all the new realms of letters -under tribute, and made capture with a royal hand of whatever they would -have for their own of the world's finer wealth; the dramatists gathered -again the tales of all nations; and, period following period, Italy, -Spain and France in turn, and the Hebrew, Greek and Latin unceasingly, -brought their treasures, light or precious, to each generation of -authors, until the last great burst of the age now closing, itself -indebted most universally to all the past and all the world. Yet each -new wave that washed empire to the land retreated, leaving the genius of -English unimpaired and richer only in its own strength. Notwithstanding -the _concettisti_, the heroic drama, the Celtic mist, which passed like -shadows from the kingdom, the instinct of the authors held to the -massive sense of Latin and the pure form of Greek and Italian, and -constituted these the enduring humane culture of English letters and -their academic tradition. The permanence of this tradition in literary -education has been of vast importance, and is to the literary class, in -so far as they are separate by training, what the integrity of English -nurture at large has been to the nation. The poets, especially, have -been learned in this culture; and, so far from being self-sprung from -the soil, were moulded into power by every finer touch of time. Chaucer, -Spenser, Milton, Gray, Shelley, Tennyson are the capital names that -illustrate the toil of the scholar, and approve the mastery of that -classical culture which has ever been the most fruitful in the choicest -minds. As on the broad scale English literature is distinguished by its -general assimilative power, being hospitable to all knowledge, it is -most deeply and intimately, because continuously, indebted to humane -studies, in the strictest sense, and has derived from them not, as in -many other cases, transitory matter and the fashion of an hour, but the -form and discipline of art itself. In assimilating this to English -nature, literary genius incurred its greatest obligation, and in thereby -discovering artistic freedom found its greatest good. This academic -tradition has created English culture, which is perhaps best described -as an instinctive standard of judgment, and is the necessary complement -to that openness of mind that has characterized English literature from -the first. Nor is this last word a paradox, but the simple truth, as is -plain from the assimilative power here dwelt upon. The English genius is -always itself; no element of greatness could inhere in it otherwise; -but, in literature, it has had the most open mind of any nation. - -A third trait of high distinction in English literature, of which this -list is a reminder, and one not unconnected with its continuity and -receptivity, is its copiousness. This is not a matter of mere number, -of voluminousness; there is an abundance of kinds. In the literature -of knowledge, what branch is unfruitful, and in the literature of -power, what fountainhead is unstruck by the rod? Only the Italian -genius in its prime shows such supreme equality in diversity. How many -human interests are exemplified, and how many amply illustrated, -exhibiting in a true sense and not by hyperbole myriad-minded man! In -the English genius there seems something correspondent to this -marvellous efficacy of faculty and expression; it has largeness of -power. The trait most commonly thought of in connection with Aristotle -as an individual--"master of those who know"--and in connection with -mediæval schoolmen as a class, is not less characteristic of the -English, though it appears less. The voracity of Chaucer for all -literary knowledge, which makes him encyclopædic of a period, is matched -at the end of these centuries by Newman, whose capaciousness of -intellect was inclusive of all he cared to know. Bacon, in saying, "I -take all knowledge to be my province," did not so much make a personal -boast as utter a national motto. The great example is, of course, -Shakespeare, on whose universality later genius has exhausted metaphor; -but for everything that he knew in little, English can show a large -literature, and exceeds his comprehensiveness. The fact is best -illustrated by adverting to what this list spares. English is rich in -translations, and in this sort of exchange the balance of trade is -always in favor of the importer. Homer alone is included here,--to -except the Bible, which has been so inbred in England as to have become -an English book to an eye that clings to the truth through all -appearances; but how rich in great national books is a literature that -can omit so noble a work, though translated, and one so historic in -English, as North's Plutarch! In the literature of knowledge, Greek -could hardly have passed over Euclid; but Newton's Principia is here not -required. Sir Thomas More is one of the noblest English names, and his -Utopia is a memorable book; but it drops from the list. Nor is it names -and books only that disappear; but, as these last instances suggest, -kinds of literature go out with them. Platonism falls into silence with -the pure tones of Vaughan, in whom light seems almost audible; and the -mystic Italian fervor of the passional spirit fades with Crashaw. The -books of politeness, though descended from Castiglione, depart with -Chesterfield, perhaps from some pettiness that had turned courtesy into -etiquette; and parody retires with Buckingham. Latin literature was -almost rewritten in English during the eighteenth century; but the -traces of it here are few. Of inadequate representation, how slight is -burlesque in Butler, and the presence of Chevy Chase hardly compensates -for the absence of the war-ballad in Drayton and Campbell. So it is with -a hundred instances. In another way of illustration, it is to be borne -in mind that each author appears by only one title; and while it may be -true that commonly each finer spirit stores up his immortality in some -one book that is a more perfect vessel of time, yet fecundity is rightly -reckoned as a sign of greatness and measure of it in the most, and the -production of many books makes a name bulk larger. Mass counts, when in -addition to quality; and the greatest have been plentiful writers. No -praise can make Gray seem more than a remnant of genius, and no -qualification of the verdict can deprive Dryden and Jonson of largeness. -It belongs to genius to tire not in creation, thereby imitating the -excess of nature flowing from unhusbanded sources. Yet among these -hundred books, as in scientific classification, one example must stand -for all, except when some folio, like an ark, comes to the rescue of a -Beaumont and Fletcher. This is cutting the diamond with itself. But -within these limits, narrowing circle within circle, what a universe of -man remains! Culture after culture, epoch by epoch, are laid bare as in -geologic strata,--mediæval tale and history, humanistic form, the -Shakespearian age, Puritan, Cavalier, man scientific, reforming, reborn -into a new natural, political, artistic world, man modern; and in every -layer of imagination and learning lies, whole and entire, a buried -English age. It is by virtue of its copiousness that English literature -is so representative, both of man's individual spirit in its restless -forms of apprehension and embodiment, and of its historic formulation in -English progress as national power. - -The realization of this long-lived, far-gathering, abounding English -literature, in these external phases, leaves untouched its original -force. Whence is its germinating power,--what is this genius of the -English? It is the same in literature as in all its other manifold -manifestations, for man is forever unitary and of one piece. Curiosity, -which is the distinction of progressive peoples, is perhaps its initial -and moving source. The trait which has sent the English broadcast over -the world and mingled their history with the annals of all nations is -the same that has so blended their literature with the history of all -tongues. The acquisitive power which has created the empire of the -English, with dominion on dominion, is parallel with the faculty that -assimilates past literatures with the body of their literary speech. But -curiosity is only half the word. It is singular that the first quality -which occurs to the mind in connection with the English is, almost -universally and often exclusively, their practicality. They are really -the most romantic of all nations; romanticism is the other half of their -genius, and supplements that positive element of knowledge-hunting or -truth-seeking which is indicated by their endless curiosity. Possibly -the Elizabethan age is generally thought of as a romantic period, as if -it were exceptional; and the romantic vigor of the late Georgian period, -though everywhere acknowledged, is primarily regarded as more strictly a -literary and not a national characteristic in its time; but, like all -interesting history, English history was continuously romantic. The days -of the crusaders, the Wars of the Roses and the French wars were of the -same strain in action and character, in adventurous travel, in personal -fate, in contacts, as were the times of Shakespeare's world or of the -world of Waterloo. What a reinforcement of character in the English has -India been, how restorative of greatness in the blood! It must be that -romanticism should characterize a great race, and, when appealing to a -positive genius, the greatest race; for in it are all the invitations of -destiny. Futurity broods and brings forth in its nest. Romanticism is -the lift of life in a people that does not merely continue, but grows, -spreads and overcomes. The sphere of the word is not to be too narrowly -confined, as only a bookish phrase of polite letters. - -In the world of knowledge the pursuit of truth is romantic. The -scientific inquirer lives in a realm of strangeness and in the presence -of the unknown, in a place so haunted with profound feeling, so electric -with the emotions that feed great minds, that whether awe of the -unsolved or of the solved be the stronger sentiment he cannot tell; and -the appeal made to him--to the explorer in every bodily peril, to the -experimenter in the den of untamed forces, to the thinker in his -solitude--is often a romantic appeal. The moments of great discoveries -are romantic moments, as is seen in Keats's sonnet, lifting Cortez and -the star-gazer on equal heights with the reader of the Iliad. The epic -of science is a Columbiad without end. Nor is this less true of those -branches of knowledge esteemed most dry and prosaic. Locke, Adam Smith, -Darwin were all similarly placed with Pythagoras, Aristotle and -Copernicus; the mind, society and nature, severally, were their -Americas. Even in this age of the mechanical application of forces, -which by virtue of the large part of these inventions in daily and -world-wide life seems superficially, and is called, a materialistic age, -romanticism is paramount and will finally be seen so. Are not these -things in our time what Drake and Spanish gold and Virginia, what Clive -and the Indies, were to other centuries? It is true that the element of -commercial gain blends with other phases of our inventions, and seems a -debasement, an avarice; but so it was in all ages. Nor are the -applications of scientific discovery for the material ends of wealth -other or relatively greater now than the applications of geographical -discovery, for example, to the same ends were in Elizabeth's reign and -later. In the first ages commercial gain was in league with the waves -from which rose the Odyssey,--a part of that early trading, coasting -world, as it was always a part of the artistic world of Athens. Gain in -any of its material forms, whether wealth, power or rank, does not -debase the knowledge, the courage of heart, the skill of hand and brain, -from which it flows, for it is their natural and proper fruit; nor does -it by itself materialize either the man or the nation, else civilization -were doomed from the start, and the pursuit of truth would end in -humiliation and ignominy. It is rather the attitude of mind toward this -new world of knowledge and this spectacle of man now imperializing -through nature's forces, as formerly through discovery of the earth's -lands and seas, that makes the character of our age. Romanticism, being -the enveloping mood in whose atmosphere the spirit of man beholds life, -and, as it were, the light on things, changes its aspect in the process -of the ages with the emergence of each new world of man's era; and as it -once inhered in English loyalty and the piety of Christ's sepulchre, and -in English voyaging over-seas and colonizing of the lands, it now -inheres in the conquest of natural force for the arts of peace. The -present age exceeds its predecessors in marvel in proportion as the -victories of the intellect are in a world of finer secrecy than any -horizon veils, and build an empire of greater breadth and endurance than -any monarch or sovereign people or domineering race selfishly achieves; -its victories are in the unseen of force and thought, and it brings -among men the undecaying empire of knowledge, as inexpugnable as the -mind in man and as inappropriable as light and air. Here, as elsewhere, -it is the sensual eye that sees the sensual thing, but the spiritual eye -spiritually discerns. It is romance that adds this "precious seeing" to -the eye. Openness to the call, capability of the passion, and character, -so sensitized and moulded in individuals and made hereditary in a -civilization and a race and idealized in conscience, constitute the -motor-genius of a nation, which is its finding faculty; and the -appreciation of results and putting them to the use of men make its -conserving and positive power. These two, indistinguishably married and -blended, are the English genius. A positive genius following a romantic -lead, a romantic genius yielding a positive good, equally describe it -from opposed points of view; yet in the finer spirits and in the long -age the romantic temperament is felt to be the fertilizing element, to -be character as opposed to performance. Greatness lies always in the -unaccomplished deed, as in the lonely anecdote of Newton: "I do not know -what I may appear to the world, but to myself I seem to have been only -like a boy playing on the seashore, and diverting myself in now and then -finding a smoother pebble, or a prettier shell than ordinary, whilst the -great ocean of truth lay all undiscovered before me." So Tennyson with -his "wages of going on," and Sir John Franklin and Gordon in their -lives. This spiritual breath of the nation in all its activities through -centuries is the breath of its literature, there embodied in its finer -being and applied to the highest uses for the civilization and culture -of the nation by truth and art. In English literary history, and in its -men of genius taken individually, the positive or the romantic may -predominate, each in its own moment; but the conspectus of the whole -assigns to each its true levels. Romanticism condensed in character, -which is the creation of the highest poetic genius, the rarest work of -man, has its illustrative example in Shakespeare, the first of all -writers; he followed it through all its modes, and perhaps its simplest -types are Henry IV for action, Romeo for passion, and Hamlet, which is -the romance of thought. Before Shakespeare, Spenser closed the earliest -age, which had been shaped by a diffused romantic tradition, inherited -from mediævalism, though in its later career masked under Renaissance -forms; and since Shakespeare, a similar diffused romantic prescience, in -the region of the common life and of revolutionary causes most -significantly, brought in our age that has now passed its first flower, -but has yet long to run. These are the three great ages of English -poetry. In the interval between the second and the third, the -magnificently accomplished school of the eighteenth century gave to -English an age of cultivated repose, in which Pope, its best example, -lived on the incomes of the past, and, together with the younger and the -elder men he knew, exhibited in literature that conserving and positive -power which is the economy of national genius; but even in that great -century, wherever the future woke, there was a budding romanticism, in -Collins, Gray, Walpole, Thomson, Cowper, Blake. Such was the history of -English poetry, and the same general statement will be found applicable -to English prose, though in a lower tone, due to the nature of prose. -Taken in the large, important as the positive element in it is, the -English literary genius is, like the race, temperamentally romantic, to -the nerve and bone. - -This view becomes increasingly apparent on examination of the service of -this literature to civilization and the individual soul of man, which is -the great function of literature, and of its place in the world of art. - -"How shall the world be served?" was Chaucer's question; and it has -never been absent from any great mind of the English stock. The -literature of a nation, however, including, as here, books of knowledge, -is so nearly synonymous with the mind in all its operations in the -national life, as to be coextensive with civilization, and hardly -separable from it. Civilization is cast in the mould of thought, and -retains the brute necessity of nature only as mass, but not as surface; -it is the flowering of human forces in the formal aspect of life, and of -these literature is one mode, reflecting in its many phases all the rest -in their manifestations, and inwardly feeding them in their vital -principle. The universality of its touch on life is indicated by the -fact that it has made the English a lettered people, the alphabet as -common as numbers, and the ability to read almost as wide-spread in the -race as the ability to count. Its service, therefore, cannot be -summarized any more than the dictionary of its words. It is possible to -bring within the compass of a paragraph only hints and guide-marks of -its work; and naturally these would be gathered from its most -comprehensive influences in the higher spheres of intellect and morals, -in the world of ideas, and in the person of those writers who were -either the founders or restorers of knowledge. Such a cardinal service -was the Baconian method, to take a single great instance, which may -almost be said to have reversed the logical habit of the mind of Europe, -and to have summoned nature to a new bar. It is enough to name this. Of -books powerful in intellectual results, Locke's Essay is, perhaps, -thought of as metaphysical and remote, yet it was of immeasurable -influence at home and abroad, so subtly penetrating as to resemble in -scale and intimacy the silent forces of nature. It was great as a -representative of the spirit of rationalism, which it supported and -spread with incalculable results on the temper of educated Europe; and -great also as a product and embodiment of that cold, intellectual habit, -distinctive of a certain kind of English mind, and usually regarded as -radical in the race. It was great by the variety as well as the range of -its influence, and was felt in all regions of abstract thought and those -practical arts, education, government and the like, then most affected -by such thought; it permanently modified the cast of men's minds. In -opposition to it new philosophical movements found their mainspring. A -similar honor belongs to Adam Smith's Wealth of Nations in another -century. It is customary to eulogize the pioneer, and to credit the -first openers of Californias with the wealth of all the mines worked by -later comers; and, in this sense, the words of Buckle, that have been -placed opposite the title-page, are, perhaps, to be taken: "Adam Smith -contributed more, by the publication of this single work, towards the -happiness of men than has been effected by the united abilities of all -the statesmen and legislators of whom history has preserved an authentic -account." But the excess of the statement is a proof of the largeness of -the truth it contains, and like-minded praise is not from Buckle alone, -but may be found in half a score of thoughtful and temperate authors. In -the last age, Darwin, by his Origin of Species, most arrested the -attention of the scientific mind, and stimulated the highly educated -world with surprise. He was classed with Copernicus, as having brought -man's pretension to be the first of created things, and their lord from -the beginning, under the destroying criticism of scientific time and its -order, in the same way that Copernicus brought the pretension of the -earth to be the centre of the universe under a like criticism of -scientific space and its order; and in these proud statements there is -some measure of truth. The ideas of Darwin compel a readjustment of -man's thoughts with regard to his temporal and natural relation to the -universe in which he finds himself; and the vast generalities of all -evolutionary thought received from Darwin immense stimulus, its method -greater scope, and its results a firmer hold on the general mind, with -an influence still unfathomable upon man's highest beliefs with regard -to his origin and destiny. There are epochs in the intellectual history -of the race as marked as those of the globe; and such works as these, in -the literature of knowledge, show the times of the opening of the seals. - -In addition to the service so done in the advancement of civilization by -the discovery of new truth, as great benefaction is accomplished by the -continual agitation and exercise of men's minds in the ideas that are -not new but the ever-living inheritance from the past, whose permanence -through all epochs shows their deep grounding in the race they nourish. -In English such ideas are, especially, in the view of the whole world, -ideas of civil and religious liberty in the widest sense and -particularly as worked out in legal and political history. The common -law of England in Blackstone is a mighty legacy. On the large public -scale, and as involved in the constitutional making of a great nation, -the Federalist is a document invaluable as setting forth essentials of -free government under a particular application; and for comment on -social liberty, Burke, on the conservative, and Paine, on the radical -side, exhibit the scope, the weight and fire of English thought. Of -still greater significance, for the mass and variety of teaching, is -that commentary on man's freedom which is contained in the operation of -liberty and its increase as presented in the long story of England's -greatness recorded in the works of her historians from Holinshed to -Macaulay, with what the last prolific generation has added. They are -exceeded in the dignity of their labors by Gibbon, whose work on Rome, -which Mommsen called the greatest of all histories and is often likened -to a mighty bridge spanning the gulf between the ancient and the modern -world, was a contribution to European learning; but the historians of -English liberty have more profitably served mankind. At yet another -remove, the ideas of liberty--and the mind acquainted with English books -is dazzled by the vast comprehensiveness of such a phrase--are again -poured through the nation's life-blood by all her poets, and well-nigh -all her writers in prose, in one or another mode of the Promethean fire. -These ideas are never silent, never quiescent; they work in the -substance, they shape the form and feature, of English thought; they are -the necessary element of its being; they constitute the race of freemen, -and are known in every language as English ideas. They give sublimity to -the figure of Milton; they are the feeding flame of Shelley's mind; they -alone lift Tennyson to an eagle-flight of song. In the unceasing -celebration of ideal liberty, and its practical life in English -character and events, the literature of England has, perhaps, done a -greater service than in the positive advancement of knowledge, for it is -more fundamental in the national life. Touching the subject almost at -random, such are a few of the points of contact between English books -and the civilization of men. - -It is still more difficult to state briefly the action of literature on -the individual for what is more distinctly his private gain, in the -enlargement of his life, the direction of his thoughts, and bringing him -into harmony with the world. As, in regard to civilization, the emphasis -lay rather on the literature of knowledge, here it lies on the -literature of power,--on imaginative and reflective works. Its initial -office is educative; it feeds the imagination and the powers of -sympathy, and trains not only the affections but all feeling; and in -these fields it is the only instrument of education outside of real -experience. It is this that gives it such primacy as to make -acquaintance with humane letters almost synonymous with culture. No -actual world is large enough for a man to live in; at the lowest, there -is some tradition of the past, some expectation of the future; and, -though training in the senses is an important part of early life, yet -the greater part of education consists in putting the young in -possession of an unseen world. The biograph is a marvellous toy of the -time, but literature in its lower forms of information, of history, -travel and description, has been a biograph for the mind's eye from the -beginning; and in its higher forms of art it performs a greater service -by bringing into mental vision what it is above the power of nature to -produce. To expand the mind to the compass of space and time, and to -people these with the thoughts of mankind, to revive the past and -penetrate the reality of the present, is the joint work of all -literature; and as a preparation for individual life, in unfolding the -faculties and the feelings, humane letters achieve their most essential -task. Literature furnishes the gymnasia for all youth, in that part of -their nature in which the highest power of humanity lies. But this is -only, as was said, its initial office. Throughout life it acts in the -same way on old and young alike. The dependence of all men on thought, -and of thought on speech, is a profound matter, though as little -considered as gravitation that keeps the world entire; and the speech on -which such a strain of life lies is the speech of books. How has -Longfellow consoled middle life in its human trials, how has Carlyle -roused manhood, and Emerson illumined life for his readers at every -stage! Scott is a benefactor of millions by virtue of the entertainment -he has given to English homes and the lonely hours of his fellow-men, -now for three generations, to an extent hardly measurable in thought; -and so in hardly a less degree is Dickens, and, though diminishing in -inclusive power, are Thackeray, Austen, Brontë, Cooper, Hawthorne, -George Eliot, to name only novelists. Each century has had its own -story-telling from Chaucer down, though masked in the Elizabethan period -as drama, and in each much hearty and refined pleasure has been afforded -by the spectacle of life in books; but in the last age the benefit so -conferred is to be reckoned among the greater blessings of civilization. -It is singular that humor, so prime and constant a factor in English, -should have so few books altogether its own, and these not of the -greater class; but the spirit which yields burlesque in Butler and -Irving, and comedy in Massinger, Congreve and Sheridan, pervades the -body of English literature and characterizes it among national -literatures. The highest mind is incomplete without humor, for a perfect -idealism includes laughter at the real; and it is natural, for, the -principle of humor being incongruity to the intellect, it is properly -most keen in those in whom the idea of order, which is the mother-idea -of the intellect, is most omnipresent and controlling; but as humor is -thus auxiliary in character, it is found to be subordinate also in -English literature as a whole. The constancy of its presence, however, -is a sign of the general health of the English genius, which has turned -to morbidity far less than that of other nations ancient or modern. It -is a cognate fact, here, that great books are never frivolous; they -leave the reader wiser and better, as well through laughter as through -tears, or they sustain imaginative and sympathetic power already -acquired. They open the world of humanity to the heart, and they open -the heart to itself. In another region, not primarily of entertainment, -the value of literature lies in its function to inspire. In individual -life, each finer spirit of the past touches with an electric force those -of his own kindred as they are born into the world of letters, and often -for life. The later poets have most personal power in this way. Burns, -Wordsworth, Byron, Shelley have been the inspiration of lives, like -Carlyle and Emerson in prose. The most intense example of national -inspiration in a book is Uncle Tom's Cabin; but in quieter ways Scotland -feels the pulse of Burns, and England the many-mingled throbbing of the -poets in her blood. - -On the large scale, in the impact of literature on the individual soul -and through that on the national belief, aspiration and resolve, the -great sphere of influence lies necessarily in the religious life, -because that is universal and constant from birth to death and spreads -among the secret springs and sources of man's essential nature. It is a -commonplace, it has sometimes been made a reproach, that English -literature is predominantly moral and religious, and the fact is plainly -so. The strain that began with Piers Plowman flourished more mightily in -the Pilgrim's Progress. The psalm-note that was a tone of character in -Surrey, Wyatt and Sidney gave perfect song in Milton, both poet and man. -From Butler to Newman the intellect, applied to religion, did not fail -in strenuous power. Taylor's Holy Living is a saint's book. If religious -poets, of one pure strain of Sabbath melody, have been rare, yet -Herbert, Vaughan, Cowper, Keble, Whittier are to the memory Christian -names, with the humility and breathing peace of sacred song. The portion -of English literature expressly religious is enlarged by the works of -authors, both in prose and verse, in which religion was an occasional -theme and often greatly dealt with; and the religious and moral -influence of the body of literature as a whole on the English race is -immensely increased by those writers into whom the Christian spirit -entered as a master-light of reason and imagination, such as Spenser in -the Faërie Queene and Wordsworth in his works generally, or Gray in the -solemn thought of the Elegy. To particularize is an endless task; for -the sense of duty toward man and God is of the bone and flesh of English -books in every age, being planted in the English nature. This vast mass -of experience and counsel, of praise and prayer, of insight and leading, -variously responding to every phase of the religious consciousness of -the historic people, has been, like the general harvest, the daily food -of the nation in its spiritual life. If Shakespeare is the greatest of -our writers, the English Bible is the greatest of our books; and the -whole matter is summarized in saying that the Bible, together with the -Book of Common Prayer, is the most widely distributed, the most -universally influential, the most generally valued and best-read book of -the English people, and this has been true since the diffusion of -printing. It may seem only the felicity of time that the English -language best adorns its best book; but it is by a higher blessing that -English character centres in this Book, that English thinkers see by it, -that English poets feel by it, that the English people live by it; for -it has passed into the blood of all English veins. - -It is natural to inquire, after dwelling so much on the practical power -of English literature in society and life, what is its value in the -world of art, in that sphere where questions of perfection in the form, -of permanence in the matter, and the like, arise. If the standards of an -academic classicism be applied, English literature will fall below both -Latin and Greek, and the Italian and French, and take a lower place with -German and Spanish, to which it is most akin. But such standards are -pseudo-classical at best, and under modern criticism find less ground in -the ancients. The genius of the English is romantic, and originated -romantic forms proper to itself, and by these it should be judged. The -time is, perhaps, not wholly gone by when the formlessness of -Shakespeare may be found spoken of as a matter of course, as the -formlessness of Shelley is still generally alleged; but if neither of -these has form in the pseudo-classic, the Italian and French, sense of -convention, decorum and limit, they were creators of that romantic form -in which English, together with Spanish, marks the furthest original -modern advance. The subject is too large, and too much a matter of -detail, for this place; but it is the less necessary to expand it, for -it is as superfluous to establish the right of Shakespeare in the realm -of the most perfect art as to examine the title-deeds of Alexander's -conquests. He condensed romanticism in character, as was said above; -and in the power with which he did this, in the wisdom, beauty and -splendor of his achievement, excelled all others, both for substance and -art. The instinct of fame may be safely followed in assigning a like -primacy to Milton. The moment which Milton occupied, in the climax of a -literary movement, is, perhaps, not commonly observed with accuracy. The -drama developed out of allegorical and abstract, and through historical, -into entirely human and ideal forms; and in Shakespeare this process is -completed. The same movement, on the religious as opposed to the secular -line, took place more slowly. Spenser, like Sackville, works by -impersonation of moral qualities, viewed abstractly; the Fletchers, who -carried on his tradition, employ the same method, which gives a remote -and often fantastic character to their work; nor was moral and religious -poetic narrative truly humanized, and given ideal power in character and -event, until Milton carried it to its proper artistic culmination in -Paradise Lost. Milton stands to the evolution of this branch of poetic -literature, springing from the miracle-plays, precisely as Shakespeare -does to the branch of ideal drama; and thus, although he fell outside of -the great age, and was sixty years later than Shakespeare in completing -the work, the singularity of his literary greatness, his loneliness as a -lofty genius in his time, becomes somewhat less inexplicable. The -Paradise Lost occupies this moment of climax, to repeat the phrase, in -literary history, and, like nearly all works in such circumstances, it -has a greatness all its own. But, beyond that, it lies in a region of -art where no other English work companions it, as an epic of the -romantic spirit such as Italy most boasts of, but superior in breadth, -in ethical power, in human interest, to Ariosto or Tasso, and comparing -with them as Pindar with the Alexandrians; it realized Hell and Eden, -and the world of heavenly war and the temptation, to the vision of men, -with tremendous imaginative power, stamping them into the race-mind as -permanent imagery; and the literary kinship which the workmanship bears -to what is most excellent and shining in the great works of Greece, Rome -and Italy, as well as to Hebraic grandeur, helps to place the poem in -that remoter air which is an association of the mind with all art. No -other English poem has a similar brilliancy, aloofness and perfection, -as of something existing in another element, except the Adonais. In it -personal lyricism achieved the most impersonal of elegies, and mingled -the fairest dreams of changeful imaginative grief with the soul's -intellectual passion for immortality full-voiced. It is detached from -time and place; the hunger of the soul for eternity, which is its -substance, human nature can never lay off; its literary kinship is with -what is most lovely in the idyllic melody of the antique; and, owing to -its small scale and the simple unity of its mood, it gives forth the -perpetual charm of literary form in great purity. These two poems stand -alone with Shakespeare's plays, and are for epic and lyric what his work -is for drama, the height of English performance in the cultivation of -romance. Other poets must be judged to have attained excellence in -romantic art in proportion as they reveal the qualities of Shakespeare, -Milton and Shelley; for these three are the masters of romantic form, -which, being the spirit of life proceeding from within outward, is the -vital structure of English poetic genius. This internal power is also a -principle of classic art in its antique examples; but academic criticism -developed from them a hardened formalism to which romantic art is -related as the spirit of life to the death-mask of the past. Such pallor -has from time to time crossed the features of English letters in a man -or an age, and has brought a marble dignity, as to Landor, or the shadow -of an Augustan elegance, as in the era of Pope; but it has faded and -passed away under the flush of new life. Even in prose, in which -so-called classic qualities are still sought by academic taste, the -genius of English has shown a native obstinacy. The novel is so Protean -in form as to seem amorphous, but essentially repeats the drama, and -submits in its masters to Shakespearian parallelism; in substance and -manner it has been overwhelmingly of a romantic cast; and in the other -forms of prose, style, though of all varieties, has, perhaps, proved -most preservative when highly colored, individualized, and touched with -imaginative greatness, as in Browne, Taylor, Milton, Bunyan, Burke, -Carlyle, Macaulay; but the inferiority of their matter, it should be -observed, affects the endurance of the eighteenth-century prose -masters--Steele, Addison, Swift and Johnson, to name the foremost. -Commonly, it must be allowed, English, both prose and poetry, -notwithstanding its triumphs, is valued for substance and not for form, -whether this be due to a natural incapacity, or to a retardation in -development which may hereafter be overcome, or to the fact that the -richness of the substance renders the fineness of the form less eminent. - -In conclusion, the thought rises of itself, will this continuity, -assimilative power, and copiousness, this original genius, this -serviceableness to civilization and the private life, this supreme -romantic art, be maintained, now that the English and their speech are -spread through the world, or is the history of the intellectual -expansion of Athens and Rome, the moral expansion of Jerusalem, to be -repeated? The saying of Shelley, "The mind in creation is a fading -coal," seems to be true of nations. Great literatures, or periods in -them, have usually marked the culmination of national power; and if they -"look before and after," as Virgil in the Æneid, they gather their -wisdom, as he too did, by a gaze reverted to the past. The paradox of -progress, in that the _laudator temporis acti_ is always found among the -best and noblest of the elders, while yet the whole world of man ever -moves on to greater knowledge, power and good, continues like the riddle -of the Sphinx; but time seems unalterably in favor of mankind through -all dark prophecies. The mystery of genius is unsolved; and the -Messianic hope that a child may be born unto the people always remains; -but the greatness of a nation dies only with that genius which is not a -form of human greatness in individuals, but is shared by all of the -blood, and constitutes them fellow-countrymen. The genius of the English -shows no sign of decay; age has followed age, each more gloriously, and -whether the period that is now closing be really an end or only the -initial movement of a vaster arc of time, corresponding to the greater -English destiny, world-wide, world-peopling, world-freeing, the arc of -the movement of democracy through the next ages,--is immaterial; so long -as the genius of the people, its piety and daring, its finding faculty -for truth, its creative shaping in art, be still integral and vital, so -long as its spiritual passion be fed from those human and divine ideas -whose abundance is not lessened, and on those heroic tasks which a world -still half discovered and partially subdued opens through the whole -range of action and of the intellectual and moral life,--so long as -these things endure, English speech must still be fruitful in great ages -of literature, as in the past these have been its fountainheads. But if -no more were to be written on the page of English, yet what is written -there, contained and handed down in famous books and made the spiritual -food of the vast multitude whose children's children shall use and read -the English tongue through coming centuries under every sky, will -constitute a moral dominion to which Virgil's line may proudly apply-- - - His ego nec metas rerum nec tempora pono: - Imperium sine fine dedi. - - - - - One Hundred Books - Famous in English Literature - - - - - Dan Chaucer, the first warbler, whose sweet breath - Preluded those melodious bursts that fill - The spacious times of great Elizabeth - With sounds that echo still. - TENNYSON - - - - - Whan that Apprill with his shouris sote - And the droughte of marche hath pa'd [.y] rote - And badid euery veyne in suche licour - Of whiche vertu engendrid is the flour - Whanne zepherus eke with his sote breth - Enspirid hath in euery holte and heth - The tendir croppis and the yong sonne - Hath in the ram half his cours y conne - And smale foulis make melodie - That slepyn al nyght with opyn ye - So prikith hem nature in her corage - Than longyng folk to gon on pilgremage - And palmers to seche straunge londis - To serue halowis couthe in sondry londis - And specially fro euery shiris ende - Of yngelond to Cauntirbury thy wende - The holy blisful martir for to seke - That them hath holpyn when they were seke - - And fil in that seson on a day - In Suthwerk atte tabard as I lay - Redy to wende on my pilgremage - To Cauntirbury with deuout corage - That nyght was come in to that hosterye - Wel nyne & twenty in a companye - Of sondry folk be auenture y falle - In feleship as pilgrymys were they alle - That toward Cauntirbury wolden ryde - The chambris and the stablis were wyde - And wel were they esid atte beste - - - Reduced Leaf in original, 7 × 10 inches - - - - - O moral Gower - CHAUCER - - - - - This book is intituled confessio amantis / that is to saye in - englysshe the confessyon of the louer maad and compyled by Johan - Gower squyer borne in walys in the tyme of kyng richard the - second which book treteth how he was confessyd to Genyus preest - of venus vpon the causes of loue in his fyue wyttes and seuen - dedely synnes / as in thys sayd book al alonge appyereth / and - by cause there been comprysed therin dyuers hystoryes and fables - towchyng euery matere / I haue ordeyned a table here folowyng of - al suche hystoryes and fables where and in what book and leef - they stande in as here after foloweth - - - ¶ Fyrst the prologue how johan gower in the xvi yere of kyng - rychard the second began to make thys book and dyrected to harry - of lancastre thenne erle of derby folio ¶ ii - - Of thestate of the royames temporally the sayd yere folio ¶ iii - - Of thestate of the clergye the tyme of robert gylbonensis namyng - hym self clemente thenne antipope folio ¶ iv - - Of the estate of the comyn people folio ¶ v - - How he treteth of the ymage that nabugodonosor sawe in his sleep - hauyng an heed of golde / a breste of syluer / a bely of brasse - / legges of yron / and feet haffe yron & halfe erthe folio vi - - Of thenterpretacion of the dreme / and how the world was fyrst - of golde / & after alwey werse & werse folio vii - - ¶ Thus endeth the prologue - - ¶ Here begynneth the book - - And fyrst the auctor nameth thys book confessio amantis / that - is to say the shryfte of the louer / wheron alle thys book shal - shewe not onely the loue humayn / but also of alle lyuyng - beestys naturally folio ¶ ix - - How cupydo smote Johan Gower with a fyry arowe and wounded hym - so that venus commysed to hym genyus hyr preest for to here hys - confessyon folio ¶ x - - How Genyus beyng sette / the louer knelyng tofore hym prayeth - the sayd confessor to appose hym in his confessyon folio ¶ xi - - The confessyon of the amant of two of the pryncipallist of his - fyue wyttes folio ¶ xi - - How atheon for lokyng vpon Deane was turned in to an herte - folio ¶ xi - - Of phorceus and hys thre doughters whiche had but one eye / & - how phorceus slewe them folio ¶ xii - - How the serpente that bereth the charbuncle stoppeth his one ere - wyth hys tayle and that other wyth the erthe whan he is - enchaunted folio ¶ xii - - How vlyxes escaped fro the marmaydys by stoppyng of hys eerys - folio ¶ xii - - Here foloweth that there ben vii dedely synnes / of whome the - fyrste is - - - Reduced Leaf in original, 8.68 × 12.75 inches. - - - - - Flos regum Arthurus - JOHN OF EXETER - - - - - After that I had accomplysshed and fynysshed dyuers hystoryes as - wel of contemplacyon as of other hystoryal and worldly actes of - grete conquerours & prynces / And also certeyn bookes of - ensaumples and doctryne / Many noble and dyuers gentylmen of - thys royame of Englond camen and demaunded me many and oftymes / - wherfore that j haue not do made & enprynte the noble hystorye - of the saynt greal / and of the moost renomed crysten kyng / - Fyrst and chyef of the thre best crysten and worthy / kyng - Arthur / whyche ought moost to be remembred emonge vs englysshe - men tofore al other crysten kynges / For it is notoyrly knowen - thorugh the vnyuersal world / that there been ix worthy & the - best that euer were / That is to wete thre paynyms / thre jewes - and thre crysten men / As for the paynyms they were tofore the - jncarnacyon of Cryst / whiche were named / the fyrst Hector of - Troye / of whome thystorye is comen bothe in balade and in prose - / The second Alysaunder the grete / & the thyrd Julyus Cezar - Emperour of Rome of whome thystoryes ben wel kno and had / And - as for the thre jewes whyche also were tofore thyncarnacyon of - our lord of whome the fyrst was Duc Josue whyche brought the - chyldren of Israhel in to the londe of byheste / The second - Dauyd kyng of Jherusalem / & the thyrd Judas Machabeus of these - thre the byble reherceth al theyr noble hystoryes & actes / And - sythe the sayd jncarnacyon haue ben thre noble crysten men - stalled and admytted thorugh the vnyuersal world in to the - nombre of the ix beste & worthy / of whome was fyrst the noble - Arthur / whos noble actes j purpose to wryte in thys present - book here folowyng / The second was Charlemayn or Charles the - grete / of whome thystorye is had in many places bothe in - frensshe and englysshe / and the thyrd and last was Godefray of - boloyn / of whos actes & lyf j made a book vnto thexcellent - prynce and kyng of noble memorye kyng Edward the fourth / the - sayd noble jentylmen jnstantly requyred me temprynte thystorye - of the sayd noble kyng and conquerour kyng Arthur / and of his - knyghtes wyth thystorye of the saynt greal / and of the deth and - endyng of the sayd Arthur / Affermyng that j ouzt rather - tenprynte his actes and noble feates / than of godefroye of - boloyne / or - - - Reduced Leaf in original, 7.87 × 11.25 inches. - - - - - So judiciously contrived that the wisest may exercise at once - their knowledge and devotion; its ceremonies few and innocent; - its language significant and perspicuous; most of the words and - phrases being taken out of the Holy Scriptures and the rest are - the expressions of the first and purest ages. - COMBER - - - - - THE - booke of the common praier - and administracion of the - Sacramentes, and - other rites and - ceremonies - of the - Churche: after the - vse of the Churche of - Englande. - - LONDINI, _in officina Richardi Graftoni, - Regij impressoris_. - - _Cum priuilegio ad imprimendum solum._ - - _Anno Domini._ M.D.XLIX. - _Mense Martij._ - - - Reduced Leaf in original 7 × 10.5 inches. - - - - - The author of Piers Ploughman, no doubt, embodied in a poetic - dress just what millions felt. His poem as truly expressed the - popular sentiment on the subjects it discussed as did the - American Declaration of Independence the national thought and - feeling on the relations between the Colonies and Great Britain. - Its dialect, its tone and its poetic dress alike conspired to - secure to the Vision a wide circulation among the commonalty of - the realm, and by formulating--to use a favorite word of the - day--sentiments almost universally felt, though but dimly - apprehended, it brought them into distinct consciousness, and - thus prepared the English people for the reception of the seed - which the labors of Wycliffe and his converts were already - sowing among them. - MARSH - - - - - THE VISION - of Pierce Plowman, now - fyrste imprynted by Roberte - Crowley, dwellyng in Ely - tentes in Holburne. - Anno Domini. - - 1550. - Cum priuilegio ad imprimend[=u] - solum. - - - - - By far the most important of our historical records, in print, - during the time of Queen Elizabeth. - DIBDIN - - - - - 1577. - - THE - Firste volume of the - _Chronicles of England, Scotlande_, - and Irelande. - CONTEYNING, - - The description and Chronicles of England, from the first - inhabiting vnto the conquest - - The description and Chronicles of Scotland, from the first - originall of the Scottes nation, till the yeare of our Lorde. - 1571. - - The description and Chronicles of Yrelande, likewise from the - firste originall of that Nation, vntill the yeare. 1547. - - _Faithfully gathered and set forth, by_ - Raphaell Holinshed. - - AT LONDON, - Imprinted for George Bishop. - - - God saue the Queene. - - - Reduced Leaf in original, 7.75 11.12 inches - - - - - Our historic plays are allowed to have been founded on the - heroic narratives in the Mirror for Magistrates; to that plan, - and to the boldness of Lord Buckhurst's new scenes, perhaps we - owe Shakespeare. - WALPOLE - - - - - ¶_A MYRROVR FOR_ - Magistrates. - - Wherein maye be seen by - example of other, with howe greuous - plages vices are punished: and - howe frayle and vnstable werldly - prosperity is founde, even of - those whom Fortune seemeth - most highly - to fauour. - - - _Fælix quem faciunt aliena pericula cautum._ - - _Anno._ 1563. - - ¶_Imprinted at London in Fletestrete - nere to Saynct Dunstans Churche - by Thomas Marshe._ - - - - - Two chieftaines who having travailed into Italie, and there - tasted the sweete and stately measures and stile of Italian - Poesie, as novices newly crept out of the schooles of Dante, - Arioste, and Petrarch, they greatly pollished our rude and - homely maner of vulgar Poesie, from that it had bene before, and - for that cause may justly be sayd the first reformers of our - English meetre and stile. - PUTTENHAM - - - - - ¶_SONGES AND SONETTES - Written by the right honorable - Lord Henry Haward late - Earle of Surrey, and - others._ - - - _Apud Richardum Tottell._ - 1567. - - - _Cumpriuilegio._ - - - - - It is full of stately speeches, and well-sounding phrases, - clyming to the height of Seneca his stile, and as full of - notable moralitie, which it doth most delightfully teach, and so - obtayne the very end of Poesie. - SIDNEY - - - - - ¶The Tragidie of Ferrex - and Porrex, - set forth without addition or alteration - but altogether as the same was shewed - on stage before the Queenes Maiestie, - about nine yeares past, _vz._ the - xviij. day of Ianuarie. 1561. - by the gentlemen of the - Inner Temple. - - - =Seen and allowed, &c.= - - - Imprinted at London by - Iohn Daye, dwelling ouer - Aldersgate. - - - - - These papers of his lay like dead lawrels in a churchyard; but I - have gathered the scattered branches up, and by a charme, gotten - from Apollo, made them greene againe and set them up as - epitaphes to his memory. A sinne it were to suffer these rare - monuments of wit to lye covered in dust and a shame such - conceipted comedies should be acted by none but wormes. Oblivion - shall not so trample on a sonne of the Muses; and such a sonne - as they called their darling. Our nation are in his debt for a - new English which he taught them. "Euphues and his England" - began first that language: all our ladyes were then his - scollers; and that beautie in court, which could not parley - Eupheueisme was as little regarded as shee which now there - speakes not French. - BLOUNT - - - - - EVPHVES. - THE ANATOMY - _of Wit_. - - Verie pleasant for all - _Gentlemen to reade_, - and most necessary to - remember. - - _Wherein are contayned the_ - delightes that wit followeth in - _his youth, by the pleasantnesse of loue_, - and the happinesse he reapeth - in age, by the perfectnes - of wisedome. - - - _By_ Iohn Lylie, _Maister of Art_. - - Corrected and augmented. - - _AT LONDON_ - Printed for Gabriell Cawood, - dwelling in Paules Church-yard. - - - - - The noble and vertuous gentleman most worthy of all titles both - of learning and chevalrie M. Philip Sidney. - SPENSER - - - - - THE - COVNTESSE - OF PEMBROKES - ARCADIA, - - WRITTEN BY SIR PHILIPPE - SIDNEI. - - LONDON - Printed for William Ponsonbie. - _Anno Domini_, 1590. - - - - - Our sage and serious poet Spenser (whom I dare be known to think - a better teacher than Scotus or Aquinas). - MILTON - - - - - THE FAERIE - QVEENE. - - Disposed into twelue books, - _Fashioning_ - XII. Morall vertues. - - - VBIQUE FLORET (in printer's mark) - - - LONDON - Printed for William Ponsonbie. - 1590. - - - - - Who is there that upon hearing the name of Lord Bacon does not - instantly recognize everything of literature the most extensive, - everything of discovery the most penetrating, everything of - observation of human life the most distinguished and refined? - BURKE - - - - - Essaies. - - Religious Meditations. - - Places of perswasion - and disswasion. - - Seene and allowed. - - LONDON - Printed for Humfrey Hooper - and are to bee solde at the - blacke Beare in Chauncery - lane. 1598. - - - - - They contain the heroic tales of the exploits of the great men - in whom the new era was inaugurated; not mythic like the Iliads - and the Eddas, but plain, broad narratives of substantial facts, - which rival legend in interest and grandeur. What the old epics - were to the royally or nobly born, this modern epic is to the - common people. We have no longer kings or princes for chief - actors to whom the heroism, like the dominion of the world, had - in time past been confined. But, as it was in the days of the - Apostles, when a few poor fishermen from an obscure lake in - Palestine assumed, under the Divine Mission, the spiritual - authority over mankind, so, in the days of our own Elizabeth, - the seamen from the banks of the Thames and the Avon, the Plym - and the Dart, self-taught and self-directed, with no impulse but - what was beating in their own royal hearts, went out across the - unknown seas, fighting, discovering, colonizing, and graved out - the channels, paving them at last with their bones, through - which the commerce and enterprise of England has flowed out over - all the world. - FROUDE - - - - - THE - PRINCIPAL NAVIGATIONS, VOIAGES, TRAFFIQVES AND DISCOUERIES - of the English Nation, made by Sea or ouer-land, to the - remote and farthest distant quarters of the Earth, - at any time within the compasse of these 1500. - yeeres: Deuided into three seuerall Volumes, - according to the positions of the - Regions, whereonto they were - directed. - - This first Volume containing the woorthy Discoueries, - &c. of the English toward the North and Northeast by - Sea, as of _Lapland_, _Scriksinia_, _Corelia_, the - Baie of S. _Nicholas_, the Isles of _Colgoieue_, - _Vaigatz_, and _Noua Zembla_, toward the great - riuer _Ob_, with the mighty Empire of _Russia_, - the _Caspian_ sea, _Georgia_, _Armenia_, - _Media_, _Persia_, _Boghar_ in _Bactria_, - and diuers kingdoms of _Tartaria_: - - Together with many notable monuments and testimonies - of the ancient forren trades, and of the warrelike - and other shipping of this realme of _England_ - in former ages. - - _Whereunto is annexed also a briefe Commentarie of - the true_ state of _Island_, and of the Northren - Seas and lands situate that way. - - _And lastly, the memorable defeate of the - Spanish huge Armada, Anno_ 1588. and - the famous victorie atchieued - at the citie of _Cadiz_, - 1596. are described. - - - _By_ RICHARD HACKLVYT _Master of_ - Artes, and sometime Student of - Christ-Church in Oxford. - - [Illustration] - - Imprinted at London by GEORGE - BISHOP, RALPH NEWBERIE - and ROBERT BARKER. - 1598. - - - Reduced Leaf in original, 7 × 10.87 inches. - - - - - Much have I travell'd in the realms of gold - And many goodly states and kingdoms seen; - Round many western islands have I been - Which bards in fealty to Apollo hold. - Oft of one wide expanse had I been told - That deep-brow'd Homer ruled as his demesne; - Yet did I never breathe its pure serene - Till I heard Chapman speak out loud and bold: - Then felt I like some watcher of the skies - When a new planet swims into his ken; - Or like stout Cortez, when with eagle eyes - He stared at the Pacific--and all his men - Look'd at each other with a wild surmise-- - Silent, upon a peak in Darien. - KEATS - - - - - _Mulciber in Troiam, pro Troia stabat Apollo._ - - HOMER - - THE - WHOLE WORKS - OF - HOMER; - PRINCE OF POETTS - In his Iliads, and - Odysses. - - _Translated according to the Greeke, - By - Geo: Chapman._ - - De Ili: et Odiss: - - _Omnia ab his: et in his sunt omnia: siue beati_ - _Te decor eloquij, seu rer[=u] pondera tangunt. Angel Pol:_ - - * * * * * - - _At London printed for Nathaniell Butter. - William Hole Sculp:_ - - - Qui Nil molitur - Ineptè - - ACHILLES HECTOR - - - Reduced Leaf in original, 7.06 x 10.93 inches. - - - - - Within that awful volume lies - The mystery of mysteries! - Happiest they of human race, - To whom God has granted grace - To read, to fear, to hope, to pray, - To lift the latch, and force the way; - And better had they ne'er been born - Who read to doubt, or read to scorn. - SCOTT - - - - - THE - HOLY - BIBLE, - - Conteyning the Old Testament, - and the New: - - - ¶_Newly translated out of_ - the Originall Tongues: and with - the former Translations diligently - compared and reuised by his - Maiesties speciall Commandement, - - ¶_Appointed to be read in Churches._ - - * * * * * - - ¶IMPRINTED - at London by _Robert - Barker_, Printer to the - Kings most excellent - Maiestie. - - * * * * * - - ANNO DOM. 1611. - - - Reduced Leaf in original 9.37 x 13.25 inches - - - - - O rare Ben Jonson - EPITAPH - - - - - THEATRVM - - GVL LOCVM TENEANT S CEN - - - THE - WORKES - of - _Beniamin Jonson_ - - - --_neque, me vt miretur turba - laboro: - Contentus paucis lectoribus._ - - - _Imprinted at - London, by - Will Stansby_ - PLAVSTRVM VISORIVM - _An. D._ 1616. Guhel _Hole fecit_ - - - Reduced Leaf in original, 5 × 7.62 inches. - - - - - Scarce any book of philology in our - land hath in so short a time passed - so many impressions. - FULLER - - - - - _THE_ - ANATOMY OF - MELANCHOLY, - - _WHAT IT IS_. - - WITH ALL THE KINDES, - CAVSES, SYMPTOMES, PROG_NOSTICKES, - AND SEVERALL - CVRES OF IT_. - - IN THREE MAINE PARTITIONS - with their seuerall SECTIONS, MEMBERS, - and SVBSECTIONS. - - _PHILOSOPHICALLY, MEDICINALLY, - HISTORICALLY, OPENED - AND CVT VP._ - - BY - - DEMOCRITVS _Iunior_. - - With a Satyricall PREFACE, conducing to - _the following Discourse_. - - MACROB. - Omne meum, Nihil meum. - - _AT OXFORD_, - - Printed by IOHN LICHFIELD and IAMES - SHORT, for HENRY CRIPPS. - - _Anno Dom._ 1621. - - - - - He was not of an age, but for all time! - JONSON - - - - - M^R. WILLIAM - SHAKESPEARES - COMEDIES, - HISTORIES, & - TRAGEDIES. - - Published according to the True Originall Copies. - - [Illustration] - - _Martin Droahout sculpsit London_ - - LONDON - Printed by Isaac Jaggard, and Ed. Blount. 1623. - - - Reduced Leaf in original 8.56 x 13.25 inches - - - - - This most tragic of all tragedies - save King Lear. - SWINBURNE - - - - - THE - TRAGEDY - OF THE DUTCHESSE - OF Malfy. - - _As it was Presented priuatly, at the Black-Friers; - and publiquely at the Globe, By the_ - Kings Maiesties Seruants. - - The perfect and exact Coppy, with diuerse - _things Printed, that the length of the Play would_ - not beare in the Presentment. - - Written by _John Webster._ - - Hora.----_Si quid---- - ----Candidus Imperti si non bis vtere mecum._ - - * * * * * - - _LONDON:_ - - Printed by NICHOLAS OKES, for IOHN - WATERSON, and are to be sold at the - signe of the Crowne, in _Paules_ - Church-yard, 1623. - - - - - To me Massinger is one of the most - interesting as well as one of the most - delightful of the old dramatists, not so - much for his passion or power, though at - times he reaches both, as for the love - he shows for those things that are - lovely and of good report in human - nature, for his sympathy with what is - generous and high-minded and honorable - and for his equable flow of a good - every-day kind of poetry, with few - rapids or cataracts, but singularly - soothing and companionable. - LOWELL - - - - - A NEW WAY TO PAY - OLD DEBTS - A COMOEDIE - - - _As it hath beene often acted at the Phoenix - in Drury-Lane, by the Queenes - Maiesties seruants._ - - The Author. - - PHILIP MASSINGER. - - NOLI ALTVM SAPERE (in printer's mark) - - LONDON, - Printed by _E. P._ for _Henry Seyle_, dwelling in _S. - Pauls_ Church-yard, at the signe of the - Tygers head. Anno. M. DC. - XXXIII. - - - - - Ford was of the first order of poets. He - sought for sublimity, not by parcels in - metaphors or visible images, but - directly where she has her full - residence in the heart of man; in the - actions and sufferings of the greatest - minds. There is a grandeur of the soul - above mountains, seas, and the elements. - Even in the poor perverted reason of - Giovanni and Annabella we discover - traces of that fiery particle, which in - the irregular starting from out of the - road of beaten action, discovers - something of a right line even in - obliquity, and shows hints of an - improvable greatness in the lowest - descents and degradation of our nature. - LAMB - - - - - THE - BROKEN - HEART. - - A Tragedy. - - _ACTED_ - By the KINGS Majesties Seruants - at the priuate House in the - BLACK-FRIERS. - - - _Fide Honor._ - - - [Illustration] - - _LONDON:_ - Printed by _I. B._ for HVGH BEESTON, and are to - be sold at his Shop, neere the _Castle_ in - _Corne-hill_. 1 6 3 3. - - - - - Next Marlow, bathed in the Thespian springs, - Had in him those brave sublunary things - That the first poets had; his raptures were - All air and fire which made his verses clear; - For that fine madness still he did retain, - Which rightly should possess a poet's brain. - DRAYTON - - - - - _The Famous_ - TRAGEDY - OF - THE RICH JEW - OF _MALTA_. - - AS IT WAS PLAYD - BEFORE THE KING AND - QVEENE, IN HIS MAJESTIES - Theatre at _White-Hall_, by her Majesties - Servants at the _Cock-pit_. - - - _Written by_ CHRISTOPHER MARLO. - - - [Illustration] - - _LONDON_, - Printed by _I. B._ for _Nicholas Vavasour_, and are to be sold - at his Shop in the Inner-Temple, neere the - Church. 1 6 3 3. - - - - - Sir, I pray deliver this little book to - my dear brother Farrar, and tell him he - shall find in it a picture of the many - spiritual conflicts that have passed - betwixt God and my soul, before I would - subject mine to the will of Jesus, my - Master, in Whose service I have now - found perfect freedom. Desire him to - read it; and then, if he can think it - may turn to the advantage of any - dejected poor soul, let it be made - public; if not, let him burn it; for I - and it are less than the least of God's - mercies. - HERBERT - - - - - THE - TEMPLE. - SACRED POEMS - AND - PRIVATE EJACULATIONS. - - - By M^r. GEORGE HERBERT. - - - PSAL. 29. - _In his Temple doth every - man speak of his honour._ - - [Illustration] - - - CAMBRIDGE - - Printed by _Thom._ _Buck_, - and _Roger Daniel_, printers - to the Universitie. - 1 6 3 3. - - - - - Did his youth scatter poetry wherein - Lay Love's philosophy? Was every sin - Pictured in his sharp satires, made so foul, - That some have fear'd sin's shapes, and kept their soul - Safer by reading verse: did he give days, - Past marble monuments, to those whose praise - He would perpetuate? Did he--I fear - Envy will doubt--these at his twentieth year? - But, more matured, did his rich soul conceive - And in harmonious holy numbers weave - A crown of sacred sonnets, fit to adorn - A dying martyr's brow, or to be worn - On that blest head of Mary Magdalen, - After she wiped Christ's feet, but not till then; - Did he--fit for such penitents as she - And he to use--leave us a Litany - Which all devout men love, and doubtless shall, - As times grow better, grow more classical? - Did he write hymns, for piety and wit, - Equal to those great grave Prudentius writ? - WALTON - - - - - POEMS, - - _by_ J. D. - - WITH - ELEGIES - ON THE AUTHORS - DEATH. - - LONDON. - Printed by _M. F._ for IOHN MARRIOT, - and are to be sold at his shop in S^t _Dunstans_ - Church-yard in _Fleet-street_. 1633. - - - - - It is not on the praises of others, but - on his own writings that he is to depend - for the esteem of posterity; of which he - will not easily be deprived while - learning shall have any reverence among - men; for there is no science in which he - does not discover some skill; and scarce - any kind of knowledge, profane or - sacred, abstruse or elegant, which he - does not appear to have cultivated with - success. - JOHNSON - - - - - à coelo salus - - Religio, - Medici. - - _Printed for Andrew Crooke. 1642. Will Marshatt. scu._ - - - - - Waller was smooth. - POPE - - - - - THE - WORKES - OF - EDMOND WALLER - Esquire, - Lately a Member of the Honourable - HOUSE of - COMMONS, - In this present Parliament. - - _Imprimatur_ - NA. BRENT. _Decem. 30. 1644._ - - LONDON, - Printed for _Thomas Walkley_. - 1645. - - - - - O volume, worthy, leaf by leaf and cover, - To be with juice of cedar washed all over! - Here's words with lines, and lines with scenes consent - To raise an act to full astonishment; - Here melting numbers, words of power to move - Young men to swoon, and maids to die for love: - _Love lies a-bleeding_ here; Evadne there - Swells with brave rage, yet comely everywhere; - Here's _A Mad Lover_; there that high design - Of _King and No King_, and the rare plot thine. - So that where'er we circumvolve our eyes, - Such rich, such fresh, such sweet varieties - Ravish our spirits, that entranc'd we see, - None writes love's passion in the world like thee. - HERRICK - - - - - COMEDIES - AND - TRAGEDIES - - {FRANCIS BEAVMONT} - Written by { AND } Gentlemen. - {IOHN FLETCHER } - - Never printed before, - - And now published by the Authours - Originall Copies. - - * * * * * - - _Si quid habent veri Vatum præsagia, vivam._ - - * * * * * - - _LONDON_, - - Printed for _Humphrey Robinson_, at the three _Pidgeons_, and for - _Humphrey Moseley_ at the _Princes Armes_ in _S^t Pauls - Church-yard_. 1647. - - - Reduced Leaf in original, 8.37 x 13.12 inches - - - - - What mighty epics have been wrecked by time - Since Herrick launched his cockle-shell of rhyme! - ALDRICH - - - - - _HESPERIDES_: - OR, - THE WORKS - BOTH - HUMANE & DIVINE - OF - ROBERT HERRICK _Esq._ - - * * * * * - - OVID. - _Effugient avidos Carmina nostra Rogos._ - - * * * * * - - [Illustration] - - * * * * * - - _LONDON_ - Printed for _John Williams_, and _Francis Eglesfield_, - and are to be sold at the Crown and Marygold - in Saint _Pauls_ Church-yard. 1648. - - - - - Taylor, the Shakespeare of divines. - EMERSON - - - - - _THE - RULE AND - EXERCISES - OF HOLY - LIVING_ - - _By Jer. Taylor D:D._ - - _Non magna loquimur - sed vivimus_ - - _LONDON printed for R. Royston - in Ivye Lane. 1650._ - _Ro: Vaughan sculp._ - - - - - That is a book you should read: such - sweet religion in it, next to Woolman's, - though the subject be bait, and hooks, - and worms, and fishes. - LAMB - - - - - _The - Compleat Angler - or the - Contemplative man's - Recreation_ - - - Being a Discourse of - FISH and FISHING, - Not unworthy the perusal of most _Anglers_. - - * * * * * - - Simon Peter said, _I go a_ fishing: _and they said, We - also wil go with thee_. John 21. 3. - - * * * * * - - _London_, Printed by _T. Maxey_ for RICH. MARRIOT, in - S. _Dunstans_ Church-yard Fleetstreet, 1653. - - - - - Yet he, consummate master, knew - When to recede and when pursue. - His noble negligences teach - What others' toils despair to reach. - He, perfect dancer, climbs the rope, - And balances your fear and hope; - If, after some distinguished leap, - He drops his pole, and seems to slip, - Straight gathering all his active strength, - He rises higher half his length. - With wonder you approve his slight, - And owe your pleasure to your fright. - PRIOR - - - - - HUDIBRAS - - * * * * * - - THE FIRST PART. - - * * * * * - - _Written in the time of the late Wars._ - - * * * * * - - _LONDON._ - Printed by _J. G._ for _Richard Marriot_, under Saint - _Dunstan_'s Church in _Fleetstreet_. 1663. - - - - - The third among the sons of light. - SHELLEY - - - - - Paradise lost. - - A - POEM - Written in - TEN BOOKS - - By _JOHN MILTON._ - - * * * * * - - Licensed and Entred according - to Order. - - * * * * * - - _L O N D O N_ - - Printed, and are to be sold by _Peter Parker_ - under _Creed_ Church neer _Aldgate_; And by - _Robert Boulter_ at the _Turks Head_ in _Bishopsgate-street_; - And _Matthias Walker_, under St. _Dunstons_ Church - in _Fleet-street_, 1667. - - - - - Ingenious dreamer! in whose well-told tale - Sweet fiction and sweet truth alike prevail; - Whose humorous vein, strong sense, and simple style, - May teach the gayest, make the gravest smile; - Witty and well-employed, and, like thy Lord, - Speaking in parables his slighted word:-- - I name thee not, lest so despised a name - Should move a sneer at thy deserved fame. - COWPER - - - - - THE - Pilgrim's Progress - FROM - THIS WORLD, - TO - That which is to come: - - Delivered under the Similitude of a - DREAM - Wherein is Discovered, - The manner of his setting out, - His Dangerous Journey; And safe - Arrival at the Desired Countrey. - - * * * * * - - _I have used Similitudes_, _Hos._ 12. 10. - - * * * * * - - By _John Bunyan._ - - * * * * * - - Licensed and Entred according to Order. - - * * * * * - - L O N D O N, - Printed for _Nath. Ponder_ at the _Peacock_ - in the _Poultrey_ near _Cornhil_, 1678. - - - - - Behold where Dryden's less presumptuous car - Wide o'er the fields of glory bear - Two coursers of ethereal race, - With necks in thunder clothed, and long-resounding pace. - GRAY - - - - - ABSALOM - AND - ACHITOPHEL. - - * * * * * - - A - POEM. - - * * * * * - - ----_Si Propiùs stes - Te Capiet Magis_---- - - * * * * * - - L O N D O N, - Printed for _J. T._ and are to be Sold by _W. Davis_ in - _Amen-Corner_, 1681. - - - Reduced Leaf in original, 7.75 × 12.56 inches. - - - - - Few books in the literature of - philosophy have so widely represented - the spirit of the age and country in - which they appeared, or have so - influenced opinion afterwards as Locke's - _Essay concerning Human Understanding_. - The art of education, political thought, - theology and philosophy, especially in - Britain, France and America, long bore - the stamp of the _Essay_, or of reaction - against it. - FRASER - - - - - AN - E S S A Y - CONCERNING - =Humane Understanding=. - - * * * * * - - In Four BOOKS. - - * * * * * - - _Quam bellum est velle confiteri potius nescire quod nescias, - quam ista effutientem nauseare, atque ipsum sibi - displicere!_ =Cic. de Natur. Deor.= _l._ 1. - - * * * * * - - _L O N D O N:_ - Printed by _Eliz. Holt_, for =Thomas Basset=, at the - _George_ in _Fleetstreet_, near St. _Dunstan_'s - Church. MDCXC. - - - Reduced Leaf in original, 7.18 × 12.62 inches - - - - - Oh! that your brows my laurel had sustained, - Well had I been deposed if you had reigned! - The father had descended for the son; - For only you are lineal to the throne. - - * * * * * - - Yet I this prophesy: thou shalt be seen, - (Though with some short parenthesis between,) - High on the throne of wit; and, seated there, - Not mine (that's little) but thy laurel wear. - Thy first attempt an early promise made, - That early promise this has more than paid; - So bold, yet so judiciously you dare, - That your least praise is to be regular. - - * * * * * - - Already I am worn with cares and age, - And just abandoning the ungrateful stage; - Unprofitably kept at heaven's expense, - I live a rent-charge on his providence. - But you, whom every Muse and Grace adorn, - Whom I foresee to better fortune born, - Be kind to my remains; and, oh defend, - Against your judgment, your departed friend! - Let not the insulting foe my fame pursue, - But shield those laurels which descend to you: - And take for tribute what these lines express: - You merit more, but could my love do less. - DRYDEN - - - - - THE - Way of the World, - - A - COMEDY. - - As it is ACTED - AT THE - Theatre in _Lincoln's-Inn-Fields_, - BY - His Majesty's Servants. - - * * * * * - - Written by Mr. _CONGREVE_. - - * * * * * - - _Audire est Operæ pretium, procedere recte - Qui mæchis non vultis----_ Hor. Sat. 2. l. 1. - _----Metuat doti deprensa.----_ Ibid. - - * * * * * - - L O N D O N: - Printed for _Jacob Tonson_, within _Gray's-Inn-Gate_ next - _Gray's-Inn-Lane_. 1700. - - - Reduced Leaf in original, 6.5 × 8.5 inches. - - - - - For an Englishman there is no single - historical work with which it can be so - necessary for him to be well and - thoroughly acquainted as with Clarendon. - SOUTHEY - - - - - THE - HISTORY - OF THE - REBELLION and CIVIL WARS - IN - ENGLAND, - Begun in the Year 1641. - - With the precedent Passages, and Actions, that contributed - thereunto, and the happy End, and Conclusion thereof by - the KING's blessed RESTORATION, and RETURN upon the - 29^{th} of _May_, in the Year 1660. - - Written by the Right Honourable - EDWARD Earl of CLARENDON, - Late Lord High Chancellour of _England_, Privy Counsellour - in the Reigns of King CHARLES the First and the Second. - - * * * * * - - [Greek: Ktêma es aei.] Thucyd. - - _Ne quid Falsi dicere audeat, ne quid Veri non audeat._ Cicero. - - * * * * * - - VOLUME THE FIRST. - - * * * * * - - [Illustration] - - _O X F O R D_, - Printed at the THEATER, _An. Dom._ MDCCII. - - - Reduced Leaf in original, 11 × 17.5 inches. - - - - - It is incredible to conceive the effect his writings have had - upon the Town; how many thousand follies they have either quite - banished or given a very great check to! how much countenance - they have added to Virtue and Religion! how many people they - have rendered happy, by showing them it was their own fault if - they were not so! and lastly how entirely they have convinced - our young fops and young fellows of the value and advantages of - Learning! He has indeed rescued it out of the hands of pedants, - and fools, and discovered the true method of making it amiable - and lovely to all mankind. In the dress he gives it, it is a - most welcome guest at tea-tables and assemblies, and is relished - and caressed by the merchants on the Change. Accordingly, there - is not a Lady at Court, nor a Broker in Lombard Street, who is - not easily persuaded that Captain _Steele_ is the greatest - Scholar and Casuist of any man in England. - GAY - - - - - THE - LUCUBRATIONS - OF - Isaac Bickerstaff Esq; - - * * * * * - - VOL. I. - - * * * * * - - [Greek: ou chrê pannychion heudein boulêphoron andra.] Homer. - - * * * * * - - [Illustration] - - * * * * * - - _L O N D O N_, - Printed: And sold by _John Morphew_, near _Stationers-Hall_. MDCCX. - - _Note_, The Bookbinder is desired to place the INDEX after - [_Tosler, N^o. 114_] which ends the _First Volume_ in Folio. - - - Reduced Leaf in original, 9.50 × 14.37 inches - - - - - Whoever wishes to attain an English - style, familiar but not coarse, and - elegant but not ostentatious, must give - his days and nights to the volumes of - Addison. - JOHNSON - - - - - NUMB. 1 - - The SPECTATOR. - - * * * * * - - _Non fumum ex fulgore, sed ex fumo dare lucem - Cogitat; ut speciosa dehinc miracula promat._ Hor. - - * * * * * - - To be Continued every Day. - - * * * * * - - _Thursday, March 1. 1711._ - - I Have observed, that a Reader seldom peruses a Book with - Pleasure 'till he knows whether the Writer of it be a black or a - fair Man, of a mild or cholerick Disposition, Married or a - Batchelor, with other Particulars of the like nature, that - conduce very much to the right Understanding of an Author. To - gratify this Curiosity, which is so natural to a Reader, I - design this Paper, and my next, as Prefatory Discourses to my - following Writings, and shall give some Account in them of the - several Persons that are engaged in this Work. As the chief - Trouble of Compiling, Digesting and Correcting will fall to my - Share, I must do my self the Justice to open the Work with my - own History. - - I was born to a small Hereditary Estate, which I find, by the - Writings of the Family, was bounded by the same Hedges and - Ditches in _William_ the Conqueror's Time that it is at present, - and has been delivered down from Father to Son whole and entire, - without the Loss or Acquisition of a single Field or Meadow, - during the Space of six hundred Years. There goes a Story in the - Family, that when my Mother was gone with Child of me about - three Months, she dreamt that she was brought to Bed of a Judge: - Whether this might proceed from a Law-Suit which was then - depending in the Family, or my Father's being a Justice of the - Peace, I cannot determine; for I am not so vain as to think it - presaged any Dignity that I should arrive at in my future Life, - though that was the Interpretation which the Neighbourhood put - upon it. The Gravity of my Behaviour at my very first Appearance - in the World, and all the Time that I sucked, seemed to favour - my Mother's Dream: For, as she has often told me, I threw away - my Rattle before I was two Months old, and would not make use of - my Coral 'till they had taken away the Bells from it. - - As for the rest of my Infancy, there being nothing in it - remarkable, I shall pass it over in Silence. I find that, during - my Nonage, I had the Reputation of a very sullen Youth, but was - always a Favourite of my School-Master, who used to say, _that - my Parts were solid and would wear well_. I had not been long at - the University, before I distinguished my self by a most - profound Silence: For, during the Space of eight Years, - excepting in the publick Exercises of the College, I scarce - uttered the Quantity of an hundred Words; and indeed do not - remember that I ever spoke three Sentences together in my whole - Life. Whilst I was in this Learned Body I applied my self with - so much Diligence to my Studies, that there are very few - celebrated Books, either in the Learned or the Modern Tongues, - which I am not acquainted with. - - Upon the Death of my Father I was resolved to travel into - Foreign Countries, and therefore left the University, with the - Character of an odd unaccountable Fellow, that had a great deal - of Learning, if I would but show it. An insatiable Thirst after - Knowledge carried me into all the Countries of _Europe_, where - there was any thing new or strange to be seen; nay, to such a - Degree was my Curiosity raised, that having read the - Controversies of some great Men concerning the Antiquities of - _Egypt_, I made a Voyage to _Grand Cairo_, on purpose to take - the Measure of a Pyramid; and as soon as I had set my self right - in that Particular, returned to my Native Country with great - Satisfaction. - - I have passed my latter Years in this City, where I am - frequently seen in most publick Places, tho' there are not above - half a dozen of my select Friends that know me; of whom my next - Paper shall give a more particular Account. There is no Place of - publick Resort, wherein I do not often make my Appearance; - sometimes I am seen thrusting my Head into a Round of - Politicians at _Will_'s, and listning with great Attention to - the Narratives that are made in those little Circular Audiences. - Sometimes I smoak a Pipe at _Child_'s; and whilst I seem - attentive to nothing but the _Post-Man_, over-hear the - Conversation of every Table in the Room. I appear on _Sunday - Nights_ at _St. James's Coffee_-House, and sometimes join the - little Committee of Politicks in the Inner-Room, as one who - comes there to hear and improve. My Face is likewise very well - known at the _Grecian_, the _Cocoa-Tree_, and in the Theaters - both of _Drury-Lane_, and the _Hay-Market_. I have been taken - for a Merchant - - - Reduced Leaf in original, 8.12 × 13.12 inches. - - - - - It breathes throughout a spirit of piety - and benevolence; it sets in a very - striking light the importance of the - mechanic arts, which they who know not - what it is to be without them are apt to - undervalue. It fixes in the mind a - lively idea of the horrors of solitude, - and, consequently, of the sweets of - social life, and of the blessings we - derive from conversation and mutual aid; - and it shows how by labouring with one's - own hands, one may secure independence, - and open for one's self many sources of - health and amusement. I agree, - therefore, with Rousseau, that this is - one of the best books that can be put - into the hands of children. - BEATTIE - - - - - THE - LIFE - AND - STRANGE SURPRIZING - ADVENTURES - OF - _ROBINSON CRUSOE_, - Of _YORK_, MARINER: - - Who lived Eight and Twenty Years, all - alone in an un-inhabited Island on the - Coast of AMERICA, near the Mouth of the - Great River of OROONOQUE; - - Having been cast on Shore by Shipwreck, - wherein all the Men perished but himself. - - WITH - - An Account how he was at last as - strangely deliver'd by PYRATES. - - * * * * * - - _Written by Himself._ - - * * * * * - - _L O N D O N:_ - Printed for W. TAYLOR at the _Ship_ in _Pater-Noster-Row_. - MDCCXIX. - - - - - Anima Rabelasii habitans in sicco - COLERIDGE - - - - - TRAVELS - INTO SEVERAL - Remote NATIONS - OF THE - WORLD. - - * * * * * - - In FOUR PARTS. - - * * * * * - - By _LEMUEL GULLIVER_, - First a SURGEON, and then a CAPTAIN - of several SHIPS. - - * * * * * - - VOL. I. - - * * * * * - - _L O N D O N:_ - - _Printed for_ BENJ. MOTTE, _at the - Middle_ Temple-Gate _in_ Fleet-street. - MDCCXXVI. - - - - - I think no English poet ever brought so - much sense into the same number of lines - with equal smoothness, ease, and - poetical beauty. Let him who doubts of - this peruse the _Essay on Man_ with - attention. - SHENSTONE - - - - - AN - ESSAY - ON - MAN - Address'd to a FRIEND. - - * * * * * - - PART I. - - * * * * * - - [Illustration] - - * * * * * - - _L O N D O N:_ - - Printed for _J. Wilford_, at the _Three Flower-de-luces_, behind - the _Chapter-house_, St. _Pauls_. - [Price One Shilling.] - _1733_ - - - Reduced Leaf in original, 8.5 × 12.62 inches. - - - - - It was about this date, I suppose, that - I read Bishop Butler's _Analogy_; the - study of which has been to so many, as - it was to me, an era in their religious - opinions. Its inculcation of a visible - church, the oracle of truth and a - pattern of sanctity, of the duties of - external religion, and of the historical - character of Revelation, are - characteristics of this great work which - strike the reader at once; for myself, - if I may attempt to determine what I - most gained from it, it lay in two - points which I shall have an opportunity - of dwelling on in the sequel: they are - the underlying principles of a great - portion of my teaching. - NEWMAN - - - - - THE - ANALOGY - OF - RELIGION, - Natural and Revealed, - TO THE - Constitution and Course of NATURE. - - To which are added - Two brief DISSERTATIONS: - I. Of PERSONAL IDENTITY. - II. Of the NATURE of VIRTUE. - - BY - JOSEPH BUTLER, L L. D. Rector of - Stanhope, in the Bishoprick of Durham. - - _Ejus_ (Analogiæ) _hæc vis est, ut id quod dubium est, ad - aliquid simile de quo non quæritur, referat; ut incerta certis - probet._ - Quint. Inst. Orat. L. I. c. vi. - - L O N D O N: - Printed for JAMES, JOHN and PAUL KNAPTON, at the - Crown in Ludgate Street. MDCCXXXVI. - - - Reduced Leaf in original, 7.87 × 10.18 inches. - - - - - I never heard the olde song of Percy and - Duglas that I found not my heart mooved - more than with a Trumpet. - SIDNEY - - - - - RELIQUES - OF - ANCIENT ENGLISH POETRY: - - CONSISTING OF - Old Heroic BALLADS, SONGS, and other - PIECES of our earlier POETS, - (Chiefly of the LYRIC kind.) - Together with some few of later Date. - - VOLUME THE FIRST. - - [Illustration: DURAT OPUS VATUM] - - L O N D O N: - Printed for J. DODSLEY in Pall-Mall. - M DCC LXV. - - - - - From dewy pastures, uplands sweet with thyme, - A virgin breeze freshened the jaded day. - It wafted Collins' lonely vesper chime, - It breathed abroad the frugal note of Gray. - WATSON - - - - - ODES - ON SEVERAL - _Descriptive_ and _Allegoric_ - SUBJECTS. - - * * * * * - - By WILLIAM COLLINS. - - * * * * * - - - - ----[Greek: Eiên - Heurêsiepês, anageisthai - Prosphoros en Moisan Diphrô; - Tolma de kai amphilaphês Dynamis - Espoito,---- Pindar. Olymp. Th.] - - [Illustration] - - - _L O N D O N:_ - Printed for A. MILLAR, in the _Strand_. - M.DCC.XLVII. - (Price One Shilling.) - - - - - The first book in the world for the - knowledge it displays of the human heart. - JOHNSON - - - - - CLARISSA. - - OR, THE - HISTORY - OF A - YOUNG LADY: - - Comprehending - _The most_ Important Concerns _of_ Private LIFE. - And particularly shewing, - The DISTRESSES that may attend the Misconduct - Both of PARENTS and CHILDREN, - In Relation to MARRIAGE. - - * * * * * - - _Published by the_ EDITOR _of_ PAMELA. - - * * * * * - - VOL. I. - - * * * * * - - [Illustration] - - * * * * * - - _L O N D O N:_ - Printed for S. Richardson: - And Sold by A. MILLAR, over-against _Catharine-street_ in the _Strand_: - J. and JA. RIVINGTON, in _St. Paul's Church-yard_: - JOHN OSBORN, in _Pater-noster Row_; - And by J. LEAKE, at _Bath_. - M.DCC.XLVIII. - - - - - Upon my word I think the _oedipus - Tyrannus_, the _Alchymist_, and _Tom - Jones_ the three most perfect plots ever - planned. - COLERIDGE - - - - - THE - HISTORY - OF - _TOM JONES_, - A - FOUNDLING. - - * * * * * - - In SIX VOLUMES. - - * * * * * - - By HENRY FIELDING, Esq. - - * * * * * - - ----_Mores hominum multorum vidit_---- - - * * * * * - - _L O N D O N:_ - Printed for A. MILLAR, over-against - _Catharine-street_ in the _Strand_. - MDCCXLIX. - - - - - Now, gentlemen, I would rather be the - author of that poem than take Quebec. - WOLFE - - - - - AN - ELEGY - WROTE IN A - Country Church Yard. - - * * * * * - - _LONDON:_ - Printed for R. DODSLEY in _Pall-mall_; - And sold by M. COOPER in _Pater-noster-Row_. 1751. - [Price Six-pence.] - - - Reduced Leaf in original, 7.37 × 9.81 inches - - - - - I have devoted this book, the labour of - years, to the honour of my country, that - we may no longer yield the palm of - philology without a contest to the - nations of the Continent. - JOHNSON - - - - - A - DICTIONARY - OF THE - ENGLISH LANGUAGE: - IN WHICH - The WORDS are deduced from their ORIGINALS, - AND - ILLUSTRATED in their DIFFERENT SIGNIFICATIONS - BY - EXAMPLES from the best WRITERS. - TO WHICH ARE PREFIXED, - A HISTORY of the LANGUAGE, - AND - AN ENGLISH GRAMMAR. - BY SAMUEL JOHNSON, A. M. - IN TWO VOLUMES - - VOL. I. - - Cum tabulis animum censoris sumet honesti: - Audebit quæcunque parum splendoris habebunt, - Et sine pondere erunt, et honore indigna serentur. - Verba movere loco; quamvis invita recedant, - Et versentur adhuc intra penetralia Vestæ: - Obscurata diu populo bonus eruet, atque - Proferet in lucem speciosa vocabula rerum, - Quæ priscis memorata Catonibus atque Cethegis, - Nunc situs informis premit et deserta vetustas. HOR. - - L O N D O N, - Printed by W. STRAHAN, - For J. and P. KNAPTON; T. and T. LONGMAN; C. HITCH and L. HAWES; - A. MILLAR; and R. and J. DODSLEY. - MDCCLV. - - - Reduced Leaf in original, 10 × 16.18 inches. - - - - - Eripuit coelo fulmen sceptrumque tyrannis - TURGOT - - - - - Poor RICHARD improved: - - * * * * * - - BEING AN - ALMANACK - AND - _EPHEMERIS_ - OF THE - MOTIONS of the SUN and MOON; - THE TRUE - PLACES and ASPECTS of the PLANETS; - THE - _RISING_ and _SETTING_ of the _SUN_; - AND THE - Rising, Setting _and_ Southing _of the_ Moon, - FOR THE - YEAR of our LORD 1758: - Being the Second after LEAP-YEAR. - - Containing also, - - The Lunations, Conjunctions, Eclipses, - Judgment of the Weather, Rising and - Setting of the Planets, Length of Days - and Nights, Fairs, Courts, Roads, &c. - Together with useful Tables, - chronological Observations, and - entertaining Remarks. - - * * * * * - - Fitted to the Latitude of Forty Degrees, - and a Meridian of near five Hours West - from _London_; but may, without feasible - Error, serve all the NORTHERN COLONIES. - - * * * * * - - By _RICHARD SAUNDERS_, Philom. - - * * * * * - - _PHILADELPEIA:_ - Printed and Sold by B. FRANKLIN, and D. HALL. - - - - - There your son will find analytical - reasoning diffused in a pleasing and - perspicuous style. There he may imbibe, - imperceptibly, the first principles on - which our excellent laws are founded; - and there he may become acquainted with - an uncouth crabbed author, Coke upon - Lytleton, who has disappointed and - disheartened many a tyro, but who cannot - fail to please in a modern dress. - MANSFIELD - - - - - COMMENTARIES - ON THE - LAWS - OF - ENGLAND. - - BOOK THE FIRST. - - BY - WILLIAM BLACKSTONE, ESQ. - VINERIAN PROFESSOR OF LAW, - AND - SOLICITOR GENERAL TO HER MAJESTY. - - O X F O R D, - PRINTED AT THE CLARENDON PRESS. - M. DCC. LXV. - - - Reduced Leaf in original, 8.37 × 13.37 inches. - - - - - I received one morning a message from - poor Goldsmith that he was in great - distress, and, as it was not in his - power to come to me, begging that I - would come to him as soon as possible. I - sent him a guinea, and promised to come - to him directly. I accordingly went as - soon as I was dressed, and found that - his landlady had arrested him for his - rent, at which he was in a violent - passion. I perceived that he had already - changed my guinea, and had got a bottle - of madeira and a glass before him. I put - the cork into the bottle, desired he - would be calm, and began to talk to him - of the means by which he might be - extricated. He then told me he had a - novel (_The Vicar of Wakefield_) ready - for the press, which he produced to me. - I looked into it, and saw its merit; - told the landlady I should soon return; - and, having gone to a bookseller, sold - it for sixty pounds. I brought Goldsmith - the money, and he discharged his rent, - not without rating his landlady in a - high tone for having used him so ill. - JOHNSON - - - - - THE - V I C A R - OF - WAKEFIELD: - A T A L E. - Supposed to be written by HIMSELF. - - * * * * * - - _Sperate miseri, cavete fælices._ - - * * * * * - - VOL. I. - - * * * * * - - SALISBURY: - Printed by B. COLLINS, - For F. NEWBERY, in Pater-Noster-Row, London. - MDCCLXVI. - - - - - His exquisite sensibility is ever - counteracted by his perception of the - ludicrous and his ambition after the - strange. - TALFOURD - - - - - A - SENTIMENTAL JOURNEY - THROUGH - FRANCE AND ITALY. - - BY - MR. YORICK. - - * * * * * - - VOL. I. - - * * * * * - - L O N D O N: - Printed for T. BECKET and P. A. DE HONDT, - in the Strand. MDCCLXVIII. - - - - - I know not indeed of any work on the - principles of free government that is to - be compared, in instruction, and - intrinsic value, to this small and - unpretending volume of _The Federalist_, - not even if we resort to Aristotle, - Cicero, Machiavel, Montesquieu, Milton, - Locke, or Burke. It is equally admirable - in the depth of its wisdom, the - comprehensiveness of its views, the - sagacity of its reflections, and the - fearlessness, patriotism, candor, - simplicity, and elegance with which its - truths are uttered and recommended. - CHANCELLOR KENT - - - - - T H E - FEDERALIST: - A COLLECTION - OF - E S S A Y S, - - WRITTEN IN FAVOUR OF THE - NEW CONSTITUTION, - - AS AGREED UPON BY THE FEDERAL CONVENTION, - SEPTEMBER 17, 1787. - - IN TWO VOLUMES - - VOL. I. - - NEW-YORK: - PRINTED AND SOLD BY J. AND A. M'LEAN, - No. 41, HANOVER-SQUARE, - M,DCC,LXXXVIII. - - - - - The novel of _Humphrey Clinker_ is, I do - think, the most laughable story that has - ever been written since the goodly art - of novel-writing began. Winifred Jenkins - and Tabitha Bramble must keep Englishmen - on the grin for ages to come; and in - their letters and the story of their - loves there is a perpetual fount of - sparkling laughter, as inexhaustible as - Bladud's well. - THACKERAY - - - - - THE - EXPEDITION - OF - HUMPHRY CLINKER. - - By the AUTHOR of - RODERICK RANDOM. - - * * * * * - - IN THREE VOLUMES. - V O L. I. - - * * * * * - - ----Quorsum hæc tam putida tendunt, - Furcifer? ad te, inquam---- HOR. - - * * * * * - - L O N D O N, - Printed for W. JOHNSTON, in Ludgate-Street; - and B. COLLINS, in Salisbury. - MDCLXXI. - - - - - Adam Smith contributed more by the - publication of this single work towards - the happiness of men than has been - effected by the united abilities of all - the statesmen and legislators of whom - history has preserved an authentic - account. - BUCKLE - - - - - AN - I N Q U I R Y - INTO THE - Nature and Causes - OF THE - WEALTH of NATIONS. - - By ADAM SMITH, LL. D. and F. R. S. - Formerly Professor of Moral Philosophy in the University of Glasgow. - - IN TWO VOLUMES - VOL. I. - - * * * * * - - LONDON: - PRINTED FOR W. STRAHAN; AND T. CADELL, IN THE STRAND. - MDCCLXXVI. - - - Reduced Leaf in original, 8.62 × 10.87 inches. - - - - - Sapping a solemn creed with solemn sneer; - The lord of irony-- - BYRON - - - - - THE - HISTORY - OF THE - DECLINE AND FALL - OF THE - ROMAN EMPIRE, - - By EDWARD GIBBON, Esq; - - VOLUME THE FIRST. - - Jam provideo animo, velut qui, proximis littori vadis inducti, - mare pedibus ingrediuntur, quicquid progredior, in vastiorem me - altitudinem, ac velut profundum invehi; et crescere pene opus, - quod prima quæque perficiendo minui videbatur. - - * * * * * - - L O N D O N: - PRINTED FOR W. STRAHAN; AND T. CADELL, IN THE STRAND. - MDCCLXXVI. - - - Reduced Leaf in original, 8.25-10.31 inches - - - - - Whatever Sheridan has done, or chosen to - do, has been _par excellence_ always the - best of its kind. He has written the - best comedy (_School for Scandal_), the - best drama (in my mind far beyond that - St. Giles lampoon, the _Beggar's - Opera_), the best farce (the - _Critic_,--and it is only too good for a - farce), and the best address (_Monologue - on Garrick_), and, to crown all, - delivered the very best oration (the - famous Begum speech) ever conceived or - heard in this country. - BYRON - - - - - THE - _SCHOOL_ - FOR - _SCANDAL._ - A - COMEDY. - - * * * * * - - Satire has always shone among the rest, - And is the boldest way, if not the best, - To tell men freely of their foulest faults, - To laugh at their vain deeds, and vainer thoughts. - In satire, too, the wise took diff'rent ways, - To each deserving its peculiar praise. - DRYDEN. - - * * * * * - - _DUBLIN:_ - Printed for J. EWLING. - - - - - Of all the verses that have been ever - devoted to the subject of domestic - happiness, those in his Winter Evening, - at the opening of the fourth book of the - _Task_, are perhaps the most beautiful. - CAMPBELL - - - - - THE - TASK, - - A - POEM, - IN SIX BOOKS. - - - BY WILLIAM COWPER, - OF THE INNER TEMPLE, ESQ. - - - Fit surculus arbor. - ANONYM. - - - To which are added, - - BY THE SAME AUTHOR, - - AN EPISTLE TO JOSEPH HILL, Esq. TIROCINIUM, or a - REVIEW OF SCHOOLS, and the HISTORY OF JOHN GILPIN. - - * * * * * - - LONDON: - PRINTED FOR J. JOHNSON, N^o 72, ST. PAUL'S - CHURCH-YARD. - 1785. - - - - - Through busiest street and loneliest glen - Are felt the flashes of his pen: - He rules 'mid winter snows, and when - Bees fill their hives: - Deep in the general heart of men - His power survives. - WORDSWORTH - - - - - P O E M S, - CHIEFLY IN THE - SCOTTISH DIALECT, - - BY - ROBERT BURNS. - - * * * * * - - THE Simple Bard, unbroke by rules of Art, - He pours the wild effusions of the heart: - And if inspir'd, 'tis Nature's pow'rs Inspire; - Her's all the melting thrill, and her's the kindling fire. - ANONYMOUS. - - * * * * * - - KILMARNOCK: - PRINTED BY JOHN WILSON. - M,DCC,LXXXVI. - - - - - Open the book where you will, it takes - you out-of-doors. In simplicity of taste - and natural refinement he reminds you of - Walton; in tenderness toward what he - would have called the brute creation, of - Cowper. He seems to have lived before - the Fall. His volumes are the journal of - Adam in Paradise. - LOWELL - - - - - THE - NATURAL HISTORY - AND - ANTIQUITIES - OF - SELBORNE, - IN THE - COUNTY OF SOUTHAMPTON: - - WITH - ENGRAVINGS, AND AN APPENDIX. - - * * * * * - - -- -- -- "ego Apis Matinæ - "More modoque - Grata carpentis -- -- -- per laborem - Plurimum," -- -- -- -- -- HOR. - - "Omnia benè describere, quæ in hoc mundo, a Deo facta, aut - Naturæ creatæ viribus elaborata fuerunt, opus est non unius - hominis, nec unius ævi. Hinc _Faunæ & Floræ_ utilissimæ; hine - _Monographi_ præstantissimi." - - SCOPOLI ANN. HIST. NAT. - - * * * * * - - L O N D O N: - PRINTED BY T. BENSLEY; - FOR B. WHITE AND SON, AT HORACE'S HEAD, FLEET STREET. - M,DCC,LXXXIX, - - - Reduced Leaf in original, 7.43 × 9.5 inches. - - - - - He is without parallel in any age or - country, except perhaps Lord Bacon or - Cicero; and his works contain an ampler - store of political and moral wisdom than - can be found in any other writer - whatever. - MACKINTOSH - - - - - REFLECTIONS - ON THE - REVOLUTION IN FRANCE, - AND ON THE - PROCEEDINGS IN CERTAIN SOCIETIES - IN LONDON - RELATIVE TO THAT EVENT. - IN A - LETTER - - INTENDED TO HAVE BEEN SENT TO A GENTLEMAN - _IN PARIS._ - - BY THE RIGHT HONOURABLE - _EDMUND BURKE._ - - * * * * * - - L O N D O N: - PRINTED FOR J. DODSLEY, IN PALL-MALL. - M.DCC.XC. - - - - - The great Commoner of mankind - CONWAY - - - - - _RIGHTS OF MAN:_ - BEING AN - ANSWER TO MR. BURKE'S ATTACK - ON THE - _FRENCH REVOLUTION._ - - BY - THOMAS PAINE, - - SECRETARY FOR FOREIGN AFFAIRS TO CONGRESS IN THE - AMERICAN WAR, AND - AUTHOR OF THE WORK INTITLED _COMMON SENSE_. - - * * * * * - - L O N D O N: - PRINTED FOR J. JOHNSON, ST PAUL'S CHURCH-YARD. - MDCCXCI. - - - - - Homer is not more decidedly the first of - heroic poets, Shakespeare is not more - decidedly the first of the dramatists, - Demosthenes is not more sensibly the - first of orators, than Boswell is the - first of biographers. - MACAULAY - - - - - THE - LIFE - OF - SAMUEL JOHNSON, LL.D. - - COMPREHENDING - - AN ACCOUNT OF HIS STUDIES - AND NUMEROUS WORKS, - IN CHRONOLOGICAL ORDER; - - A SERIES OF HIS EPISTOLARY CORRESPONDENCE - AND CONVERSATIONS WITH MANY EMINENT PERSONS; - - AND - - VARIOUS ORIGINAL PIECES OF HIS COMPOSITION, - NEVER BEFORE PUBLISHED. - - THE WHOLE EXHIBITING A VIEW OF LITERATURE AND LITERARY MEN - IN GREAT-BRITAIN, FOR NEAR HALF A CENTURY, - DURING WHICH HE FLOURISHED. - - IN TWO VOLUMES. - - BY JAMES BOSWELL, ESQ. - - ----_Quò fit ut_ OMNIS - _Votiva pateat veluti descripta tabella_ - VITA SENIS.---- HORAT. - - * * * * * - - VOLUME THE FIRST. - - * * * * * - - _L O N D O N:_ - PRINTED BY HENRY BALDWIN, - FOR CHARLES DILLY, IN THE POULTRY. - M DCC XCI. - - - Reduced Leaf in original, 8.18 × 10.68 inches. - - - - - He laid us as we lay at birth - On the cool flowery lap of earth; - Smiles broke from us and we had ease, - The hills were round us, and the breeze - Went o'er the sun-lit fields again; - Our foreheads felt the wind and rain. - Our youth return'd; for there was shed - On spirits that had long been dead, - Spirits dried up and closely furl'd, - The freshness of the early world. - ARNOLD - - - - - LYRICAL BALLADS, - - WITH - - _A FEW OTHER POEMS_. - - - LONDON: - PRINTED FOR J. & A. ARCH, GRACECHURCH-STREET. - 1798. - - - - - The history was hailed with delight as - the most witty and original production - from any American pen. The first foreign - critic was Scott, who read it aloud in - his family till their sides were sore - with laughing. - WARNER - - - - - A HISTORY - - OF - - NEW YORK, - - FROM THE BEGINNING OF THE WORLD TO THE - END OF THE DUTCH DYNASTY. - - CONTAINING - - Among many Surprising and Curious Matters, the Unutterable - Ponderings of WALTER THE DOUBTER, the Disastrous Projects of - WILLIAM THE TESTY, and the Chivalric Achievments of PETER THE - HEADSTRONG, the three Dutch Governors of NEW AMSTERDAM; being - the only Authentic History of the Times that ever hath been, or - ever will be Published. - - * * * * * - - BY DIEDRICH KNICKERBOCKER. - - * * * * * - - =De waarheid die in duister lag, - Die komt met klaarheid aan den dag.= - - * * * * * - - IN TWO VOLUMES. - - VOL. I. - - * * * * * - - PUBLISHED BY INSKEEP & BRADFORD, NEW YORK; - BRADFORD & INSKEEP, PHILADELPHIA; WM. M'ILHENNEY, - BOSTON; COALE & THOMAS, BALTIMORE; - AND MORFORD, WILLINGTON, & CO. CHARLESTON. - - * * * * * - - 1809. - - - - - The Pilgrim of Eternity whose fame - Over his living head like heaven is bent. - SHELLEY - - - - - =Childe Harold's Pilgrimage.= - - ROMAUNT. - - BY - - LORD BYRON. - - * * * * * - - L'univers est une espèce de livre, dont on n'a lu que la - première page quand on n'a vu que son pays. J'en ai feuilleté un - assez grand nombre, que j'ai trouvé également mauvaises. Cet - examen ne m'a point été infructueux. Je haïssais ma patrie. - Toutes les impertinences des peuples divers, parmi lesquels j'ai - vécu, m'ont réconcilié avec elle. Quand je n'aurais tiré d'autre - bénéfice de mes voyages que celui-là, je n'en regretterais ni - les frais, ni les fatigues. - LE COSMOPOLITE. - - * * * * * - - _LONDON:_ - PRINTED FOR JOHN MURRAY, 32, FLEET-STREET; - WILLIAM BLACKWOOD, EDINBURGH; AND JOHN CUMMING, DUBLIN. - _By Thomas Davison, White-Friars._ - 1812. - - - Reduced Leaf in original, 7.93 × 10.18 inches. - - - - - I read again, and for the third time, - Miss Austen's very finely written novel - of _Pride and Prejudice_. That young - lady had a talent for describing the - involvements, feelings, and characters - of ordinary life, which is to me the - most wonderful I have ever met with. The - big bow-wow I can do myself like any one - going; but the exquisite touch, which - renders commonplace things and - characters interesting from the truth of - the description and the sentiment, is - denied me. What a pity so gifted a - creature died so early! - SCOTT - - - - - PRIDE - - AND - - PREJUDICE: - - A NOVEL. - - _IN THREE VOLUMES._ - - * * * * * - - BY THE - AUTHOR OF "SENSE AND SENSIBILITY." - - * * * * * - - VOL. I. - - * * * * * - - =London:= - PRINTED FOR T. EGERTON, - MILITARY LIBRARY, WHITEHALL. - 1813. - - - - - A subtle-souled psychologist - SHELLEY - - - - - CHRISTABEL: - - * * * * * - - KUBLA KHAN, - A VISION; - - * * * * * - - THE PAINS OF SLEEP. - - * * * * * - - BY - S. T. COLERIDGE, ESQ. - - * * * * * - - LONDON: - - PRINTED FOR JOHN MURRAY, ALBEMARLE-STREET, - BY WILLIAM BULMER AND CO. CLEVELAND-ROW, - ST. JAMES'S. - 1816. - - - - - O great and gallant Scott, - True gentleman, heart, blood, and bone, - I would it had been my lot - To have seen thee, and heard thee, and known. - TENNYSON - - - - - IVANHOE; - - A ROMANCE. - - BY "THE AUTHOR OF WAVERLEY," &c. - - * * * * * - - Now fitted the halter, now traversed the cart, - And often took leave,--but seem'd loth to depart! - PRIOR. - - * * * * * - - IN THREE VOLUMES. - - VOL. I. - - * * * * * - - EDINBURGH: - PRINTED FOR ARCHIBALD CONSTABLE AND CO. EDINBURGH. - AND HURST, ROBINSON, AND CO. 90, CHEAPSIDE, LONDON. - 1820. - - - - - He is made one with Nature: there is heard - His voice in all her music, from the moan - Of thunder to the song of night's sweet bird; - He is a presence to be felt and known - In darkness and in light, from herb and stone, - Spreading itself where'er that Power may move - Which has withdrawn his being to its own; - Which wields the world with never-wearied love, - Sustains it from beneath, and kindles it above. - SHELLEY - - - - - LAMIA, - - ISABELLA, - - THE EVE OF ST. AGNES, - - AND - - OTHER POEMS. - - * * * * * - - BY JOHN KEATS, - AUTHOR OF ENDYMION. - - * * * * * - - LONDON: - PRINTED FOR TAYLOR AND HESSEY, - FLEET-STREET. - 1820. - - - - - Cor cordium - EPITAPH - - - - - ADONAIS - - * * * * * - - AN ELEGY ON THE DEATH OF JOHN KEATS, - AUTHOR OF ENDYMION, HYPERION ETC. - - BY - - PERCY. B. SHELLEY - - [Greek: Astêr prin men elampes eni zôoisin heôos. - Nun de thanôn, lampeis hesperos en phthimenois.] - PLATO. - - - PISA - WITH THE TYPES OF DIDOT - MDCCCXXI. - - - Reduced Leaf in original, 7.43 × 10.06 inches. - - - - - And the more we walk around his image, - and the closer we look, the more nearly - we arrive at this conclusion, that the - _Elia_ on our shelves is all but the - same being as the pleasant Charles who - was so loved by his friends, who - ransomed from the stalls, to use old - Richard of Bury's phrase, his Thomas - Browne and the "dear silly old angel" - Fuller, and who stammered out such - quaint jests and puns--"Saint Charles," - as Thackeray once called him, while - looking at one of his half-mad letters, - and remembering his devotion to that - quite mad sister. - FITZGERALD - - - - - ELIA. - - - ESSAYS WHICH HAVE APPEARED UNDER THAT SIGNATURE - IN THE - LONDON MAGAZINE. - - * * * * * - - LONDON: - PRINTED FOR TAYLOR AND HESSEY, - FLEET-STREET. - 1823. - - - - - The most confiding of diarists, the most - harmless of turncoats, the most - wondering of _quidnuncs_, the fondest - and most penitential of faithless - husbands, the most admiring, yet - grieving, of the beholders of the ladies - of Charles II, the Sancho Panza of the - most insipid of Quixotes, James II, who - did bestow on him (in naval matters) the - government of a certain "island," which, - to say the truth, he administered to the - surprise and edification of all who - bantered him. Many official patriots - have, doubtless, existed since his time, - and thousands, nay millions of - respectable men of all sorts gone to - their long account, more or less grave - in public, and frail to their - consciences; but when shall we meet with - such another as he was? - HUNT - - - - - MEMOIRS - - OF - - SAMUEL PEPYS, ESQ. F.R.S. - - SECRETARY TO THE ADMIRALTY - IN THE REIGNS OF CHARLES II. AND JAMES II. - - COMPRISING - - H I S D I A R Y - - FROM 1659 TO 1669, - - DECIPHERED BY THE REV. JOHN SMITH, A. B. OF ST. JOHN'S COLLEGE, - CAMBRIDGE, FROM THE ORIGINAL SHORT-HAND MS. IN THE - PEPYSIAN LIBRARY, AND A SELECTION FROM HIS - - P R I V A T E C O R R E S P O N D E N C E. - - [Illustration] - - EDITED BY - RICHARD, LORD BRAYBROOKE. - - * * * * * - - IN TWO VOLUMES. - - VOL. I. - - * * * * * - - LONDON: - HENRY COLBURN, NEW BURLINGTON STREET. - MDCCCXXV. - - - Reduced Leaf in original, 9.25 × 11.87 inches. - - - - - While the love of country continues to - prevail, his memory will exist in the - hearts of the people. - WEBSTER - - - - - THE LAST - - OF - - THE MOHICANS; - - A NARRATIVE OF - - 1757. - - BY THE AUTHOR OF "THE PIONEERS." - - * * * * * - - "Mislike me not, for my complexion, - The shadowed livery of the burnished sun." - - * * * * * - - IN TWO VOLUMES. - VOL. I. - - * * * * * - - PHILADELPHIA: - H. C. CAREY & I. LEA--CHESNUT-STREET. - - * * * * * - - 1826. - - - - - And through the trumpet of a child of Rome - Rang the pure music of the flutes of Greece. - SWINBURNE - - - - - PERICLES AND ASPASIA - - BY - - WALTER SAVAGE LANDOR, ESQ. - - - IN TWO VOLUMES. - - VOL. I. - - - LONDON - SAUNDERS AND OTLEY, CONDUIT STREET. - 1836. - - - - - Thankfully I take my share of love and - kindness which this generous and gentle - and charitable soul has contributed to - the world. I take and enjoy my share and - say a benediction for the meal. - THACKERAY - - - - - THE - - PICKWICK PAPERS. - - BY - - CHARLES DICKENS. - - - [Illustration: PHIZ. feat.] - - - LONDON - CHAPMAN AND HALL 186 STRAND - MDCCCXXXVII. - - - - - Carlyle alone with his wide humanity - has, since Coleridge, kept to us the - promises of England. His provokes rather - than informs. He blows down narrow - walls, and struggles, in a lurid light, - like the Jótuns, to throw the old woman - Time; in his work there is too much of - the anvil and the forge, not enough - hay-making under the sun. He makes us - act rather than think; he does not say, - know thyself, which is impossible, but - know thy work. He has no pillars of - Hercules, no clear goal, but an endless - Atlantis horizon. He exaggerates. Yes: - but he makes the hour great, the future - bright, the reverence and admiration - strong: while mere precise fact is a - coil of lead. - THOREAU - - - - - SARTOR RESARTUS. - - - IN THREE BOOKS. - - * * * * * - - =Reprinted for Friends from Fraser's Magazine.= - - * * * * * - - _Mein Vermächtniss, wie herrlich weit und breit!_ - _Die Zeit ist mein Vermächtniss, mein Acker ist die Zeit._ - - * * * * * - - LONDON: - JAMES FRASER, 215 REGENT STREET. - - * * * * * - - M.DCCC.XXXIV. - - - - - It was good to meet him in the - wood-paths with that pure intellectual - gleam diffused about his presence, like - the garment of a shining one; and he so - quiet, so simple, so without pretension, - encountering each man as if expecting to - receive more than he could impart. - HAWTHORNE - - - - - NATURE. - - * * * * * - - "Nature is but an image or imitation of - wisdom, the last thing of the soul; - nature being a thing which doth only do, - but not know." - PLOTINUS. - - * * * * * - - BOSTON: - JAMES MUNROE AND COMPANY. - M DCCC XXXVI. - - - - - The result of all his labors of - research, thought and composition was a - history possessing the unity, variety - and interest of a magnificent poem. - WHIPPLE - - - - - HISTORY - - OF THE - - CONQUEST OF PERU, - - WITH A PRELIMINARY VIEW - - OF THE - - CIVILIZATION OF THE INCAS. - - * * * * * - - BY - WILLIAM H. PRESCOTT, - CORRESPONDING MEMBER OF THE FRENCH INSTITUTE; OF THE ROYAL ACADEMY - OF HISTORY AT MADRID, ETC. - - * * * * * - - "Congestæ cumulantur opes, orbisque rapinas - Accipit." - CLAUDIAN, In Ruf., lib. i., v. 194. - - "So color de religion - Van a buscar plata y oro - Del encubierto tesoro." - LOPE DE VEGA, El Nuevo Mundo, Jorn. 1. - - * * * * * - - IN TWO VOLUMES. - VOLUME I. - - * * * * * - - NEW YORK: - HARPER AND BROTHERS, 82 CLIFF STREET. - M DCCC XLVII. - - - - - When all is said, Poe remains a master - of fantastic and melancholy sound. Some - foolish old legend tells of a musician - who surpassed all his rivals. His - strains were unearthly sad, and ravished - the ears of those who listened with a - strange melancholy. Yet his viol had but - a single string, and the framework was - fashioned out of a dead woman's - breast-bone. Poe's verse--the parallel - is much in his own taste--resembles that - player's minstrelsy. - LANG - - - - - THE RAVEN - - AND - - OTHER POEMS - - - BY - - EDGAR A. POE. - - * * * * * - - NEW YORK: - WILEY AND PUTNAM, 161 BROADWAY. - 1845. - - - - - Strew with laurel the grave - Of the early-dying! Alas, - Early she goes on the path - To the silent country, and leaves - Half her laurels unwon, - Dying too soon!--yet green - Laurels she had, and a course - Short, but redoubled by fame. - ARNOLD - - - - - JANE EYRE. - - =An Autobiography.= - - - EDITED BY - CURRER BELL. - - - IN THREE VOLUMES. - VOL. I. - - - LONDON: - SMITH, ELDER, AND CO., CORNHILL. - 1847. - - - - - The poem already is a little classic, - and will remain one, just as surely as - _The Vicar of Wakefield_, _The Deserted - Village_, or any other sweet and pious - idyl of our English tongue. - STEDMAN - - - - - EVANGELINE, - - A - - TALE OF ACADIE. - - BY - - HENRY WADSWORTH LONGFELLOW. - - * * * * * - - BOSTON: - - WILLIAM D. TICKNOR & COMPANY. - 1847. - - - - - The most exquisite poetry hitherto - written by a woman. - STEDMAN - - - - - SONNETS. - - - BY - E. B. B. - - - READING: - [NOT FOR PUBLICATION.] - 1847. - - - - - What racy talks of Yankee-land he had! - Up-country girl, up-country farmer-lad; - The regnant clergy of the time of old - In wig and gown:--tales not to be retold. - CLOUGH - - - - - _MELIBOEUS-HIPPONAX._ - - * * * * * - - THE - - =Biglow Papers=, - - EDITED, - - WITH AN INTRODUCTION, NOTES, GLOSSARY, - AND COPIOUS INDEX, - - BY - HOMER WILBUR, A. M., - PASTOR OF THIS FIRST CHURCH IN JAALAM, AND (PROSPECTIVE) MEMBER - OF MANY LITERARY, LEARNED AND SCIENTIFIC SOCIETIES, - (_for which see page v._) - - - The ploughman's whistle, or the trivial flute, - Finds more respect than great Apollo's lute. - _Quarles's Emblems_, B. II. E. 8. - - Margaritas, munde porcine, calcâsti: en, siliquas accipe. - _Jac. Car. Fil. ad Pub. Leg._ §1. - - - CAMBRIDGE: - PUBLISHED BY GEORGE NICHOLS. - 1848. - - - - - There is a man in our own days whose - words are not framed to tickle delicate - ears; who, to my thinking, comes before - the great ones of society much as the - son of Imlah came before the throned - Kings of Judah and Israel; and who - speaks truth as deep, with a power as - prophet-like and as vital--a mien as - dauntless and as daring. Is the satirist - of _Vanity Fair_ admired in high - places?--They say he is like Fielding; - they talk of his wit, humour, comic - powers. He resembles Fielding as an - eagle does a vulture: Fielding could - stoop on carrion, but Thackeray never - does. His wit is bright, his humour - attractive, but both bear the same - relation to his serious genius that the - mere lambent sheet-lightning, playing - under the edge of the summer cloud, does - to the electric death-spark hid in its - womb. - BRONTË - - - - - VANITY FAIR - - =A Novel without a Hero.= - - _BY_ - - WILLIAM MAKEPEACE THACKERAY. - - - _LONDON_ - BRADBURY & EVANS, BOUVERIE STREET, - _1848_ - - - - - The cleverest and most - fascinating of narrators. - FREEMAN - - - - - THE - HISTORY OF ENGLAND - FROM - THE ACCESSION OF JAMES II. - - - BY - THOMAS BABINGTON MACAULAY. - - - VOLUME I. - - - LONDON: - PRINTED FOR - LONGMAN, BROWN, GREEN, AND LONGMANS, - PATERNOSTER-ROW. - 1849. - - - - - Shakespeare and Milton--what third blazoned name - Shall lips of after-ages link to these? - His who, beside the wild encircling seas, - Was England's voice, her voice with one acclaim, - For threescore years; whose word of praise was fame, - Whose scorn gave pause to man's iniquities. - - What strain was his in that Crimean war? - A bugle call in battle, a low breath, - Plaintive and sweet above the fields of death! - So year by year the music rolled afar, - From Euxine wastes to flowery Kandahar, - Bearing the laurel or the cypress wreath. - - Others shall have their little space of time, - Their proper niche and bust, then fade away - Into the darkness, poets of a day; - But thou, O builder of enduring rhyme, - Thou shalt not pass! Thy fame in every clime - On earth shall live where Saxon speech has sway. - ALDRICH - - - - - IN MEMORIAM. - - - LONDON. - EDWARD MOXON, DOVER STREET. - 1850. - - - - - New England's poet, soul reserved and deep, - November nature with a name of May. - LOWELL - - - - - THE - SCARLET LETTER, - - - A ROMANCE. - - - BY - NATHANIEL HAWTHORNE. - - - BOSTON: - TICKNOR, REED, AND FIELDS - M DCCC L. - - - - - Works of imagination written with an aim - to immediate impression are commonly - ephemeral; but the creative faculty of - Mrs. Stowe, like that of Cervantes in - _Don Quixote_ and of Fielding in _Joseph - Andrews_, overpowered the narrow - specialty of her design, and expanded a - local and temporary theme with the - cosmopolitanism of genius. - LOWELL - - - - - UNCLE TOM'S CABIN; - OR, - LIFE AMONG THE LOWLY. - - - BY - HARRIET BEECHER STOWE. - - - [Illustration] - - VOL. I. - - - BOSTON: - JOHN P. JEWETT & COMPANY. - CLEVELAND, OHIO: - JEWETT, PROCTOR & WORTHINGTON. - 1852. - - - - - A strange, unexpected and, I believe, - most true and excellent _sermon_ in - Stones--as well as the best piece of - school-mastery in architectonics. - CARLYLE - - - - - THE - - =Stones of Venice.= - - - VOLUME THE FIRST. - - =The Foundations.= - - - BY JOHN RUSKIN, - AUTHOR OF "THE SEVEN LAMPS OF ARCHITECTURE," "MODERN PAINTERS," - ETC. ETC. - - - WITH ILLUSTRATIONS DRAWN BY THE AUTHOR. - - - LONDON: - SMITH, ELDER, AND CO., 65. CORNHILL. - 1851. - - - Reduced Leaf in orignal 7 x 10 inches. - - - - - There is delight in singing, tho' none hear - Besides the singer; and there is delight - In praising, tho' the praiser sit alone - And see the prais'd far off him, far above. - Shakespeare is not our poet, but the world's; - Therefore on him no speech! and brief for thee, - Browning! Since Chaucer was alive and hale, - No man hath walkt along our roads with step - So active, so inquiring eye, or tongue - So varied in discovery. But warmer climes - Give brighter plumage, stronger wing: the breeze - Of Alpine hights thou playest with, borne on - Beyond Sorrento and Amalfi, where - The Siren waits thee, singing song for song. - LANDOR - - - - - MEN AND WOMEN. - - - BY - ROBERT BROWNING. - - - IN TWO VOLUMES. - VOL. I. - - - LONDON: - CHAPMAN AND HALL, 193, PICCADILLY. - 1855. - - - - - Far from making his book a mere register - of events, he has penetrated deep below - the surface and explored the causes of - these events. He has carefully studied - the physiognomy of the times and given - finished portraits of the great men who - conducted the march of the revolution. - PRESCOTT - - - - - THE RISE - OF THE - DUTCH REPUBLIC. - - =A History.= - - - BY JOHN LOTHROP MOTLEY. - - - IN THREE VOLUMES. - VOL I. - - - NEW YORK: - HARPER & BROTHERS, - 329 & 331 PEARL STREET. - 1856. - - - - - The sphere which she has made specially - her own is that quiet English country - life which she knew in early youth. She - has done for it what Scott did for the - Scotch peasantry, or Fielding for the - eighteenth century Englishman, or - Thackeray for the higher social stratum - of his time. - STEPHEN - - - - - ADAM BEDE - - - BY - GEORGE ELIOT - AUTHOR OF - "SCENES OF CLERICAL LIFE" - - - "So that ye may have - Clear images before your gladden'd eyes - Of nature's unambitious underwood - And flowers that prosper in the shade. And when - I speak of such among the flock as swerved - Or fell, those only shall be singled out - Upon whose lapse, or error, something more - Than brotherly forgiveness may attend." - WORDSWORTH. - - - IN THREE VOLUMES - VOL. I. - - - WILLIAM BLACKWOOD AND SONS - EDINBURGH AND LONDON - MDCCCLIX - - - _The Right of Translation is reserved._ - - - - - The most potent instrument for the - extension of the realm of natural - knowledge which has come into men's - hands since the publication of Newton's - _Principia_ is Darwin's _Origin of - Species_. - HUXLEY - - - - - ON - THE ORIGIN OF SPECIES - BY MEANS OF NATURAL SELECTION, - - OR THE - - PRESERVATION OF FAVOURED RACES IN THE STRUGGLE - FOR LIFE. - - - BY CHARLES DARWIN, M.A., - - FELLOW OF THE ROYAL, GEOLOGICAL, LINNÆAN, ETC., SOCIETIES; - AUTHOR OF 'JOURNAL OF RESEARCHES DURING H.M.S. BEAGLE'S VOYAGE - ROUND THE WORLD.' - - - LONDON: - JOHN MURRAY, ALBEMARLE STREET. - 1859. - - _The right of Translation is reserved._ - - - - - A planet equal to the sun - Which cast it, that large infidel - Your Omar. - TENNYSON - - - - - RUBÁIYÁT - OF - OMAR KHAYYÁM, - THE ASTRONOMER-POET OF PERSIA. - - =Translated into English Verse.= - - * * * * * - - LONDON: - BERNARD QUARITCH, - CASTLE STREET, LEICESTER SQUARE. - 1859. - - - - - I know of no writings which combine, as - Cardinal Newman's do, so penetrating an - insight into the realities of the human - world around us in all its details, with - so unwavering an inwardness of standard - in estimating and judging that world; so - steady a knowledge of the true vanity of - human life with so steady a love for - that which is not vanity or vexation of - spirit. - HUTTON - - - - - APOLOGIA PRO VITA SUA: - - BEING - - =A Reply to a Pamphlet= - - ENTITLED - - "WHAT, THEN, DOES DR. NEWMAN MEAN?" - - - "Commit thy way to the Lord, and trust in Him, and He will do it. - And He will bring forth thy justice as the light, and thy judgment - as the noon-day." - - - BY JOHN HENRY NEWMAN, D.D. - - - LONDON: - LONGMAN, GREEN, LONGMAN, ROBERTS, AND GREEN. - 1864. - - - - - In his prose writings there was - discernible an intellectual _hauteur_ - which contrasted with the uneasiness and - moral incertitude of his versified - moods, and which implied that a - dogmatist stood erect under the shifting - sensitiveness of the poet. A - dogmatist--for Mr. Arnold is not merely - a critic who interprets the minds of - other men through his sensitiveness and - his sympathies; he delivers with - authority the conclusions of his - intellect; he formulates ideas. - DOWDEN - - - - - ESSAYS IN CRITICISM. - - - BY - MATTHEW ARNOLD, - PROFESSOR OF POETRY IN THE UNIVERSITY OF OXFORD. - - - =London and Cambridge:= - MACMILLAN AND CO. - 1865. - - - - - The most faithful picture of our - northern winter that has yet been put - into poetry. - BURROUGHS - - - - - SNOW-BOUND. - - A WINTER IDYL. - - BY - - JOHN GREENLEAF WHITTIER. - - - - - BOSTON: - TICKNOR AND FIELDS. - 1866. - - - - - Transcriber Notes: - -Passages in italics are indicated by _underscores_. - -Passages in bold are indicated by =equal signs=. - -Small caps were replaced with ALL CAPS. - -OE ligatures are indicated by "oe". - -"o" with a macron are indicated by "[=o]". - -"u" with a macron are indicated by "[=u]". - -A single superscripted letter is represented by that single letter -preceded by a caret. - -More than one superscripted letters are represented by the letters -enclosed by curly brackets. - -Throughout the document there were many instances where there was no -hyphens where one would expect hyphens to be. - -The text below images is an attempt to capture what was written in the -images. In some cases, this was difficult because the nature of the -alphabet has changed dramatically since the book was printed, and -because some characters are somewhat illegible. - -In the text below images, text within printer marks are identified by -"(in printer's mark)". Such text is often illegible, but the best -efforts are made to read that text. - -Errors in punctuation and inconsistent hyphenation were not corrected. - - - - - -End of the Project Gutenberg EBook of One Hundred Books Famous in English -Literature, by Grolier Club - -*** END OF THIS PROJECT GUTENBERG EBOOK ONE HUNDRED BOOKS *** - -***** This file should be named 42877-8.txt or 42877-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/8/7/42877/ - -Produced by David Starner, Suzanne Lybarger, Ernest Schaal -and the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by the Posner Memorial Collection -(http://posner.library.cmu.edu/Posner/)) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |