diff options
28 files changed, 17 insertions, 20102 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..c99fa7a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50555 (https://www.gutenberg.org/ebooks/50555) diff --git a/old/50555-0.txt b/old/50555-0.txt deleted file mode 100644 index f1262ce..0000000 --- a/old/50555-0.txt +++ /dev/null @@ -1,9886 +0,0 @@ -The Project Gutenberg EBook of Bibliographic Notes on One Hundred Books -Famous in English Literature, by Henry W. Kent - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Bibliographic Notes on One Hundred Books Famous in English Literature - -Author: Henry W. Kent - -Release Date: November 26, 2015 [EBook #50555] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK BIBLIOGRAPHIC NOTES--100 FAMOUS BOOKS *** - - - - -Produced by David Starner, Suzanne Lybarger, Lesley Halamek, -The Internet Archive/American Libraries 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/)) - - - - - - - - - -Transcriber's Note: - - - - signifies italic text; - ^ or ^{} signifies a superscript. - [=] signifies a letter with a macron accent (straight line over); - [~] signifies a letter with a tilde over. - Both macron and tilde sometimes indicate an omitted letter. - - - This is a collection bibliographical notes on old books. In the - older books there are many instances of the long 's', printed as - 'ſ', and used mostly in the middle of words. - - A final 's' was printed as 's', as it is now. A final double-'s' - was usually printed as 'ſs'. An exception is on Psge 41: 'Odyſſ'. - - "Finis duodecim libri Hom. Odyſſ. Opus nouem dierum," - - Occasionally, 'ſſ' in the middle of a word, was printed as 'ſs'. - - Some examples of the use of 'ſ' and 'ſs': - - 'Paradiſe loſt' (Paradise lost), 'The Pilgrims Progreſs' - (The Pilgrims Progress), 'Odyſses' (Odysses), etc - - The letter 'w' was often printed as 'vv', and 'W' as 'VV'. - 'J/j' was often printed as 'I/i', and 'I/i' as 'J/j'. - - Thus 'The Rich Jew of Malta' appears in this book as - 'The Rich Ievv of Malta'. - - 'v' was often printed as 'u', and 'u' as 'v' thus, "God ſaue the - Queene" for "God save the Queen". - - Also: "vntill this preſent tyme" for "until this present time". - - In the earlier books, people wrote what they heard. All spelling - variants, if they make sense, and are not obvious printing errors, - have been retained. - - Spelling rules did not exist until the later part of the 19th - century. Some words and names (e.g. Church-yard/Churchyard) are - hyphenated on some pages, unhyphenated on others. All have been - retained. - - Punctuation is not nessarily consistent, is not always present, - and sometimes occurs where we would not expect it (e.g. 'the price - of .ii. Shyllynges the piece'; '.xiii Articles'; 'and before the - yere ,M,iiiiC, and .ix', etc.). A colon (:) was sometimes used - instead of a full stop. Apostrophes were sometimes conspicuous by - their absence (e.g. 'Le Morte Darthur' for 'Le Morte D'Arthur'), - and opened brackets were not always closed. There are some - instances of quotations enclosed in double quotes nested inside - quotations similarly enclosed in double quotes, leading to the - occasional paragraph ending in ."" This would appear to have been - the printing style of the time, and has been retained. - - The Author has included a list of corrections on Page 221, at the - end of the book and before the Index. These corrections have been - implemented, as listed. - - The rest of the Transcriber's Note is at the end of the book. - - * * * * * - - - - - The committee on Publications of the Grolier Club - certifies that this copy of "Bibliographical Notes on - One Hundred Books Famous in English Literature" - is one of three hundred and five copies printed on - French hand-made paper, and three on vellum, during - the year nineteen hundred and three. - - * * * * * - - - - -BIBLIOGRAPHICAL NOTES - -ON ONE HUNDRED BOOKS FAMOUS IN - -ENGLISH LITERATURE - - * * * * * - - - - - BIBLIOGRAPHICAL NOTES - ON - ONE HUNDRED BOOKS - FAMOUS IN - ENGLISH LITERATURE - - COMPILED BY - HENRY W. KENT - - [Illustration] - - THE GROLIER CLUB - OF THE CITY OF NEW YORK - - MCMIII - - Copyright, 1903, by - THE GROLIER CLUB OF THE - CITY OF NEW YORK - - - - -PREFACE - - -After the publication of the volume entitled _One Hundred Books -Famous in English Literature with Facsimiles of the Title-pages and -an Introduction by George E. Woodberry_, the books themselves were -gathered from the collections of members of the Club for an exhibition -at the Club-house. All of these volumes belonged to the first -published editions, except where copies of the earliest editions were -not obtainable, or, for some reason, were not desirable. In two cases, -those of "Tottel's Miscellany" and Lyly's _Euphues_, copies of the -first editions are unique, and, therefore, practically not obtainable. -The second edition of _A Myrrour For Magistrates_ contains the first -issue of the poem called an _Induction_ by the Earl of Dorset, -and was, therefore, the edition which it was desirable to show. -Notwithstanding the oft-repeated statement that copies of the second -edition of Bacon's _Essays_ are of greater rarity than those of the -first, no copy of the first edition was forthcoming, and one of the -later date was necessarily included in the collection. In one or -two instances a second issue of a first edition was used where the -extremely rare first issue was not owned by a member of the Club. - -Arranged side by side, each volume open at its title-page, the -individuality of these well-known works was brought out strikingly: -taken collectively, they illustrated, clearly and interestingly, the -development of the Book in England. Members of the Club were thus led -to suggest the publication of a second, or supplementary volume, which -should give the bibliographical facts connected with each book, and -which should indicate, briefly, something of this development. The -present volume was undertaken in response to this suggestion. - -The relations of author with printer or publisher, the success -or failure of the books, matters of illustration, and marked -peculiarities of editions, issues or volumes--all these things are -referred to at greater or less length. In some cases, the facts have -been given with fullness; but in others, like that of the Shakespeare -_First Folio_, about which so much has been written, it was thought -unnecessary to enter into details. Many of the books in the list -having been already the subjects of whole bibliographies, or, having -been carefully collated in other works, full collations have not been -thought desirable here. It should be noted, in this connection, that -the collations of books printed before the eighteenth century -are given by signatures, while of books published after 1700, the -paginations are given. Works of more than two volumes have not been -collated in detail. - - - - -CONTENTS - - TITLE AUTHOR DATE PAGE - - The Canterbury Tales Chaucer 1478 3 - - Confeſſio Amantis Gower 1483 5 - - Le Morte Darthur Malory 1485 7 - - The Booke of the Common Praier 1549 9 - - The Vision of Pierce Plowman Langland 1550 12 - - Chronicles of England Scotlande, and - Irelande Holinshed 1577 15 - - {Baldwin, } - A Myrrour For Magiſtrates {Sackville,} - {and others} 1563 19 - - Songes And Sonettes Howard 1567 22 - - The Tragidie of Ferrex and Porrex {Norton and} - {Sackville } [1570?] 24 - - Euphues Lyly 1581 26 - - The Countesse Of Pembrokes Arcadia Sidney 1590 29 - - The Faerie Queene Spenser 1590 32 - - Eſſaies Bacon 1598 34 - - The Principal Navigations, Voiages, - Traffiques And Discoueries of the - Engliſh Nation Hakluyt 1598 36 - - The Whole Works Of Homer Chapman [n. d.] 40 - - The Holy Bible 44 - - The Workes Jonson 1616 48 - - The Anatomy Of Melancholy Burton 1621 51 - - Comedies, Histories, & Tragedies Shakespeare 1623 53 - - The Tragedy of The Dutchesse of Malfy Webster 1623 56 - - A New Way To Pay Old Debts Massinger 1633 57 - - The Broken Heart Ford 1633 58 - - The Famous Tragedy of - The Rich Ievv Of Malta Marlowe 1633 59 - - The Temple Herbert 1633 60 - - Poems Donne 1633 62 - - Religio Medici Browne 1642 65 - - The Workes Waller 1645 67 - - Comedies And Tragedies {Beaumont and} - {Fletcher } 1647 69 - - Hesperides Herrick 1648 72 - - The Rule And Exercises - Of Holy Living Taylor 1650 74 - - The Compleat Angler Walton 1653 75 - - Hudibras Butler 1663 77 - - Paradiſe loſt Milton 1667 79 - - The Pilgrims Progreſs Bunyan 1678 82 - - Absalom And Achitophel Dryden 1681 84 - - An Essay Concerning - Humane Understanding Locke 1690 86 - - The Way of the World Congreve 1700 88 - - The History Of The - Rebellion and Civil - Wars In England Clarendon 1702 89 - - The Tatler 1710 91 - - The Spectator 1711 94 - - The Life And Strange - Surprizing Adventures - Of Robinson Crusoe Defoe 1719 97 - - Travels Into Several - Remote Nations Of - The World Swift 1726 99 - - An Essay On Man Pope [1733] 102 - - The Analogy Of Religion Butler 1736 104 - - Reliques Of Ancient - English Poetry Percy 1765 105 - - Odes Collins 1747 109 - - Clarissa Richardson 1748 110 - - The History Of Tom Jones Fielding 1749 112 - - An Elegy Wrote In A - Country Church Yard Gray 1751 114 - - A Dictionary Of The English - Language Johnson 1755 117 - - Poor Richard improved Franklin 1758 119 - - Commentaries On The Laws Of England Blackstone 1765 121 - - The Vicar Of Wakefield Goldsmith 1766 123 - - A Sentimental Journey Through - France And Italy Sterne 1768 126 - - The Federalist 1788 128 - - The Expedition of Humphry - Clinker Smollett 1771 130 - - An Inquiry Into The Nature and - Cauſes Of The Wealth Of Nations Smith 1776 132 - - The History Of The Decline And - Fall Of The Roman Empire Gibbon 1776 133 - - The School For Scandal Sheridan [n. d.] 136 - - The Task Cowper 1785 137 - - Poems Burns 1786 141 - - The Natural History And - Antiquities Of Selborne White 1789 143 - - Reflections On The Revolution - In France Burke 1790 146 - - Rights Of Man Paine 1791 147 - - The Life Of Samuel Johnson, LL.D. Boswell 1791 150 - - {Wordsworth } - Lyrical Ballads {and Coleridge} 1798 153 - - A History Of New York - by Diedrich Knickerbocker Irving 1809 155 - - Childe Harold's Pilgrimage Byron 1812 157 - - Pride And Prejudice Austen 1813 161 - - Christabel Kubla Khan, A Vision; - The Pains Of Sleep Coleridge 1816 163 - - Ivanhoe Scott 1820 165 - - Lamia, Isabella, - The Eve Of St. Agnes, - And Other Poems Keats 1820 167 - - Adonais Shelley 1821 169 - - Elia Lamb 1823 171 - - Memoirs Pepys 1825 173 - - The Last Of The Mohicans Cooper 1826 175 - - Pericles And Aspasia Landor 1836 177 - - The Posthumous Papers Of - The Pickwick Club Dickens 1837 180 - - Sartor Resartus Carlyle 1834 183 - - Nature Emerson 1836 186 - - History Of The Conquest Of Peru Prescott 1847 187 - - The Raven And Other Poems Poe 1845 189 - - Jane Eyre Brontë 1847 191 - - Evangeline Longfellow 1847 192 - - Sonnets Mrs. Browning 1847 193 - - Melib[oe]us-Hipponax Lowell 1848 194 - - Vanity Fair Thackeray 1848 196 - - The History Of England Macaulay 1849 199 - - In Memoriam Tennyson 1850 201 - - The Scarlet Letter Hawthorne 1850 202 - - Uncle Tom's Cabin Mrs. Stowe 1852 204 - - The Stones of Venice Ruskin 1851 205 - - Men And Women Browning 1855 208 - - The Rise Of The Dutch Republic Motley 1856 209 - - Adam Bede George Eliot 1859 211 - - On The Origin Of Species Darwin 1859 213 - - Rubáiyát of Omar Khayyám Fitzgerald 1859 216 - - Apologia Pro Vita Sua Newman 1864 217 - - Essays In Criticism Arnold 1865 218 - - Snow-Bound Whittier 1866 219 - - * * * * * - - - BIBLIOGRAPHICAL NOTES - - ON - - ONE HUNDRED BOOKS - - FAMOUS IN - - ENGLISH LITERATURE - - * * * * * - - - - -GEOFFREY CHAUCER - -(1340?-1400) - - -1. [The Canterbury Tales. Printed at Westminster by William Caxton, -about 1478.] - - The text begins with the first line of the book, and there is - no prefatory note or colophon, to give a clue to the name of - the work, its place of publication, its printer, or the date - of its production. The date and the name of the printer, - however, are determined by the type, which is a font used by - Caxton in books printed at Westminster between the years 1475 - and 1481. This type, known as Type No. 2, because it was the - second employed by him (the first used for printing books in - England), is like the characters in manuscripts written in - Bruges in the fifteenth century, and called "Gros Bâtarde." - Colard Mansion, the earliest printer of Bruges, used a font of - similar style, and Caxton probably formed his type on the - same models, if, indeed, he did not procure it from Mansion - himself, with whom he learned the new art of printing. But we - may also identify our printer by means of his own statement - made in the signed "Prohemye" to the second edition of - the work, printed in 1484 (?), where, in speaking of the - difficulty of obtaining a pure text, he makes an interesting - criticism of this, the first edition. He says: - - "For I fynde many of the sayd bookes, whyche wry- | ters haue - abrydgyd it and many thynges left out, And in | so[~m]e place - haue sette certayn versys, that he neuer made ne sette | in - hys booke, of whyche bookes so incorrecte was one brought to - me vj yere passyd, whyche I supposed had ben veray true & - cor- | recte, And accordyne to the same I dyde do enprynte a - certayn | nombre of them, whyche anon were sold to many and - dyuerse | gentyl men, of whome one gentylman cam to me, and - said that | this book was not accordyn in many places vnto the - book that | Gefferey chaucer had made, To whom I answerd that - I had ma-| de it accordyng to my copye, and by me was nothyng - added ne | mynusshyd." - - According to the arrangement of William Blades, this is the - tenth work of England's first printer, and the fifth printed - on English soil. It was printed after his return from Bruges, - whither he had gone as a mercer, and where he turned printer - and editor. Few of the books from his press exceed it in size - and beauty. Nine copies are known; two are in the British - Museum, one in the Bodleian Library, Oxford, one in Merton - College, Oxford, and five in private libraries. Of all these - only two are in perfect condition. - - The volume has no signatures, folios or catchwords, and the - lines are unevenly spaced. The rubrication of the initial - letters was done by hand. - - In the matter of purity of text this edition is inferior - to the second, as Caxton himself thus early recognized; the - manuscript from which it was printed, Tyrwhitt tells us, - "happened unluckily to be one of the worst in all respects - that [he] could possibly have met with." But however that may - be, the _Canterbury Tales_ is entitled to a chief place among - English books as presenting the first printed text of Chaucer, - who, "by hys labour enbelysshyd, ornated, and made faire our - englisshe." - - Folio. Black letter. - - COLLATION: _371 leaves; sixteen of which are in facsimile._ - - - - -JOHN GOWER - -(1325?-1408) - - -2. This book is intituled, confeſ- | ſio amantis / that is to saye -| in englysshe the confeſſyon of | the louer maad and compyled -by | Johan Gower squyer borne in walys | ... (Colophon) Enprynted at -Westmestre by me | Willyam Caxton and fynyſſhed the ij | day of -Septembre the fyrſt yere of the | regne of Kyng Richard the thyrd / -the yere of our lord a thouſand / CCCC / | lxxxxiij / (a mistake for -1483). - - The text is a composite one, being taken from at least three - MSS. Manuscripts are extant in three versions: the earliest is - dedicated to Richard II, and contains a panegyric on Chaucer; - the second is dedicated to Henry of Lancaster, but the poets - having quarreled, the panegyric is omitted; and the third is - likewise addressed to Henry, but with certain differences in - the work. With the exception of these variations, the text is - alike in all. - - The type of the printed work exhibits two variations of the - same characters, and is called Type No. 4, and No. 4*. It is - the smallest font employed by Caxton in any of his books, and - the most used, thirty-one volumes having been printed between - 1480 and 1487 in one or the other or in both variations. - - The printer does not, as in the following work, write a - special prologue or preface to the _Confessio_, but states - all the facts he knows concerning it in the introductory - paragraph, or title, at the beginning of the first column. - The book has no catchwords or folios, and the signatures are - irregularly printed. Seventeen copies were known to Blades: - three in the British Museum; Cambridge, Pembroke College, - Cambridge, Hereford Cathedral, Lambeth Palace Library, Queen's - College, and All Souls, Oxford, each having one; while eight - were in private libraries. - - The copy whose title-page is here shown in facsimile is one - of five copies that are perfect. We first hear of it in the - library of Brian Fairfax, a Commissioner of Customs in the - 18th century, who bequeathed it to his kinsman, Hon. Robert - Fairfax, afterward seventh Lord Fairfax. Lord Fairfax intended - to sell the collection at auction, but eventually sold it - entire, in 1756, to his relative, Francis Child of Osterley - Park, for two thousand pounds. In 1819 the Osterley Park - library passed into the family of the Earl of Jersey, and, - when finally dispersed, in 1885, brought thirteen thousand and - seven pounds, nine shillings. - - At the time of the intended auction, in 1756, a catalogue was - printed, but afterward all but twenty copies of the edition - were suppressed. One of these is marked with the valuation - of each book, and shows the _Confessio_ to have been held at - three pounds. Eight hundred and ten pounds was the price it - brought at the sale in 1885. - - Folio. Black letter. 12-5/8 × 18-15/16 inches - - COLLATION: _222 leaves; four of which are blank_. - - - - -SIR THOMAS MALORY - -(1430?-1470?) - - -3. (Colophon) ¶ Thus endeth thys noble and Joyous book entytled le -morte | Darthur / Notwythſtondyng it treateth of the byrth / lyf / -and | actes of the ſayd kyng Arthur / of his noble knyghtes of the -| rounde table / ... whiche book was re | duced in to englyſſhe by -ſyr Thomas Malory knyght as afore | is ſayd / and by my deuyded in -to xxj bookes chapytred and | enprynted / and fynyſſhed in thabbey -westmestre the last day | of Juyl the yere of our lord / M / CCCC / -lxxxv / ¶ Caxton me fieri fecit. - - The book begins with a prologue by Caxton wherein he tells how - he came to print it, presents his reason for the belief that - Arthur was an historical personage, and relates some facts - with regard to the sources of the romance. He says: - - "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 I haue not do made & enprynte the noble - hystorye of the saynt greal, and of the moost renomed crysten - Kyng, ... kyng Arthur.... - - Th[=e]ne al these thynges forsayd aledged J coude not wel - denye, but that there was suche a noble kyng named arthur, and - reputed one of the ix worthy, & fyrst & chyef of the crysten - men, & many noble volumes be made of hym & of his noble - knyztes in frensshe which I haue seen & redde beyonde the see, - which been not had in our maternal tongue, but in walsshe ben - many & also in frensshe, & Somme in englysshe but nowher nygh - alle, wherfore such as haue late ben drawen oute bryefly in - to englysshe, I haue after the symple connynge that god hath - sente me, vnder the fauour and correctyon of al noble lordes - and gentylmen enprysed to enprynte a book of the noble - hystoryes of the sayd kynge Arthur, and of certeyn of his - knyghtes after a copye vnto me delyuerd, whyche copys Syr - Thomas Malorye dyd take oute of certayn bookes of frensshe and - reduced it in to Englysshe, And I accordyng to my copye haue - doon sette it in emprynte...." - - The volume is printed without folios, head-lines, or - catchwords, in the type known as No. 4, already referred to - under the _Confessio_. The initial letters are printed from - wood. - - Only two copies are known; one perfect, from which the - facsimile of the title-page was taken, the other an imperfect - one, which belonged to Earl Spencer's collection. The British - Museum possesses only a fragment. Our copy, like that of the - _Confessio_, was one of the nine Caxtons belonging to the - Fairfax library. In the list of 1756, it was valued at two - pounds, twelve shillings and sixpence; in 1885 it sold for one - thousand nine hundred and fifty pounds. - - Folio. - - COLLATION: _432 leaves, one of which is blank_. - - - - -THE BOOK OF COMMON PRAYER - - -4. The | booke of the common praier | and adminiſtracion of the | -Sacramentes, and | other rites and | ceremonies | of the | Churche: -after the | uſe of the Churche of | Englande. | Londini, in officina -Richardi Graftoni, | [Two lines] Anno Domini. M.D.XLIX | Menſe -Martij. [Colophon] Excuſum Londini, in edibus Richardi Graftoni | -Regij Impreſſoris. | Menſe Junij M.D.xlix. | Cum priuilegio ad -imprimendum ſolum. - - We know very little about the preparation of the book. An Act, - dated January 22, 1549, entitled "An Act for uniformity of - Service and Administration of the Sacraments throughout the - Realm" speaks of the commissioners who had been appointed, and - had first met at Windsor in May, 1548, as follows: "Whereof - His Highness by the most prudent advice ... to the intent a - uniform, quiet, and godly order should be had concerning the - premisses, hath appointed the Archbishop of Canterbury, and - certain of the most learned and discreet Bishops, and - other learned men of this realm to consider and ponder the - premisses." The same Act goes on to say "the which at this - time by the aid of the Holy Ghost, with one uniform agreement - is of them concluded, set forth and delivered to his highness, - to his great comfort and quietness of mind, in a book - entituled,-- - - "_The Book of Common Prayer, and Administration of the - Sacraments, and other rites and Ceremonies of the Church, - after the Use of the Church of England._" - - Richard Grafton, the printer of our copy, was originally a - prosperous London merchant. His zeal for religion led him to - associate himself with Edward Whitchurch, another merchant, in - causing Matthews's Bible to be translated and printed in - 1537, in publishing the Coverdale Bible of 1535, and again - in printing the Cranmer Bible of 1540. He turned printer - eventually, and his books are counted among the best specimens - of the book-making of the period. He and his friend, who also - became a typographer, received a patent from Henry VIII in - 1543 for printing "bookes of diuine service, that is to say, - the masse booke, the graill, the antyphoner, the himptnell, - the portous, and the prymer, both in Latyn and in Englyshe of - Sarum use," all of which had formerly been printed abroad. - In 1546, Grafton was appointed printer to Prince Edward, - afterward Edward VI, and in 1547 printer to the King. When the - _Prayer Book_ came to be put to press there was therefore no - question of who should be chosen to do the work. - - Ames says that Grafton and Whitchurch continued friends and - partners for many years, but it is a fact, as Dibdin points - out, that while up to 1541 their names appear together upon - title-pages, after that date there are usually two issues of - each work, part having Grafton's name in the imprint, and part - Whitchurch's. This is true of the Cranmer Bible, and the same - thing is found in connection with the_ Prayer Book_. It is - not known whether the separation is due to some economic - arrangement agreeable to both printers, or whether they may - have quarreled. To the names of these two printers of the - first edition, however, should be added another, that of John - Oswen of Worcester, formerly of Ipswich, who by virtue of a - license from Edward VI was printer of "every kind of book, or - books, set forth by us, concerning the service to be used in - churches, ministration of the sacraments, and instruction - of our subjects of the Principality of Wales, and marches - thereunto belonging ... for seven years, prohibiting all other - persons whatsoever from printing the same." - - All issues of this edition differ more or less in general - style and appearance. The most marked dissimilarity in the - volumes issued by the London printers lies in the special - woodcut title-page used by each. Grafton's beautiful border - (repeated for "A Table" and "Kalendar") shows, above a Doric - frieze supported by pilasters, a view of the Council Chamber - with King Edward, surrounded by his advisers, and at the - bottom the printer's punning mark, on a shield upheld by - two angels. It is as fine a piece of work as anything of the - period. Grafton afterward used the same border for his - edition of _A Concordance of the Bible_, printed in 1550. - The Whitchurch copies have a woodcut border very similar in - character to those in use twenty years later, which have the - appearance of being related to some of the borders drawn for - Plantin. This border consists of caryatids representing Roman - soldiers with shields, supporting the royal coat-of-arms, - and below, satyrs and loves with another coat-of-arms in a - cartouche, and the initial _E_ in a tablet on one side, and - _W_ on the other. - - The earliest known copy printed by Oswen, a quarto, has a - colophon which reads: ¶ _At Worceter by_ ¶ | _Jhon Oſwen_. - ¶ _They be also to ſell at Shreweſburye._ | (_Imprinted the - xxiiii. day of May._ | _Anno. M.D.XLIV._ The title is framed - by a border made up of five woodcut panels, carelessly - arranged; and some of the initial letters are ornamented. - - Another copy, dated July 30, is in folio. The title-page is - here bordered with ten woodcuts, having between the inner and - outer sets the rubricated text: "Let euerye soule submyt hym - ſelfe unto the aucthorite of the higher powers. For there is - no power but of God. The powers that be, are ordained of God - whoſoeuer therefore reſiſteth power: reſiſteth the - ordinance of God. Rom. XIVI." A royal coat-of-arms, which in - the quarto was placed before the order of Matins, here heads - the title, printed in red. Every other line following is also - rubricated. In Grafton's copy the "Te Deum Laudamus," "The - Song of Zacharias," and "The Letany," occur at the end of the - book but are not in the table of Contents. - - The statement made in the Act that the work had been - concluded, set forth, and delivered, must apply, it is - thought, to the manuscript, since no printed copy is known - dated earlier than March. A copy printed by Whitchurch has - the date March 7, 1549, and another by Grafton is dated the - eighth; other copies are dated in May, June and July. The book - was used in the London churches on Easter Day, April 21, 1549, - and was ordered, as we have seen, to be used in all churches - after the Feast of Pentecost, which fell upon June 9 in 1549. - - From the requirements of its use, we may infer that the - edition must have been a large one. We are sure of the price - of the volume from the following note, added at the end of the - book: "The Kynges Maieſtie, by the aduyſe of his moſte - deare vncle the Lorde Protector and other his highnes - Counſell, ſtreightly chargeth and commaundeth, that no - maner of perſon do ſell this preſent booke vnbounde, - aboue the price of .ii. Shyllynges the piece. And the ſame - bounde in paſte or in boordes, not aboue the price of three - ſhylleynges and foure pence the piece. God ſaue the Kyng." - The price differs in different volumes. A copy of Oswen's May - 24th issue sets the price at two shillings and twopence for - unbound copies, and three shillings eightpence for bound - copies. - - Folio. Black letter and Roman. - - COLLATION: _183 leaves, including title-page. Sig. A-Y, AA-f._ - - - - -WILLIAM LANGLAND - -(1330?-1400?) - - -5. The Vision | of Pierce Plowman, now | fyrſte imprynted by Roberte -| Crowley, dwellyngin Ely | rentes in Holburne. | Anno Domini | 1505. -Cum priuilegio ad im | primend[~u] ſolum. [Colophon] ¶ Imprinted at -London by Roberte | Crowley, dwellyng in Elye rentes | in Holburne. -The year of | Our Lord M.D.L. - - Before appearing with this work as a publisher, Robert Crowley - was by no means unknown to the reading world as a writer; - nor was it probably a mere printer's venture that led him to - select such a work as this for publication, but sympathy - with the tendency of the book itself. He had been educated - at Oxford, and received early the strong bent toward the - doctrines of the Reformation which prompted the writing of - his first three books, whose titles indicate something of - his leaning in the religious controversies of the day: _The - Confutation of the miſhapen Aunſwer to the miſnamed, - wicked Ballade, called the Abuſe of y^e bleſſed - ſacram[=e]t of the aultare ... that Myles Hoggard ... hath - wreſted.... Compiled by Robert Crowley. Anno. 1548_; _The - confutation of .xiii Articles, wherunto Nicolas Shaxton ... - ſubſcribed and ... recanted ... at the burning of ... Anne - Aſkue_, in [1548] and _An informacion and Peticion agaynſt - the oppreſſours of the Pore Commons of this Realme_, - in [1548]. We may picture to ourselves with what relish so - controversial and partisan a soul must have prepared for the - press, and then watched through it, what Ellis calls "the - keenest ridicule of the vices of all orders of men, and - particularly of the religious." - - Crowley's career as a printer was only an incident in a life - devoted to championing the new doctrines of Protestantism. - The three books mentioned were printed by Day and Sere; and - Herbert thinks that it may have been in their office that our - printer-writer learned the trade which he followed for three - years only. Considering the fact that his press was situated - in Ely Rents, where William Sere also dated his books in 1548, - and thereabouts, this seems very probable. But from Crowley's - use of the excellently designed and really charming woodcut - border with Edward Whitechurch's cipher at the bottom and his - symbol of the sun at the top, we may almost infer that he was - on equally familiar relations with that printer, established - at The Sun, over against the Conduit. We may add that William - Copeland of The Rose Garland also used, at a later date, a - similar compartment in several of his books. - - One might expect Crowley, serious and scholarly in his - tastes, to be a careful editor; and his researches to find - his author's name, as revealed in "The Printer to the Reader," - prove that he was such an one, even if, for some reason - or other, he did not choose to place the name upon the - title-page. He says: - - "Beynge deſyerous to knowe the name of the Autoure of this - moſt worthy worke, (gentle reader) and the tyme of the - writynge of the ſame: I did not onely gather togyther - ſuche aunciente copies as I could come by, but alſo - conſult ſuch m[=e] as I knew to be more exerciſed in - the ſtudie of antiquities, than I myselfe haue ben. And - by ſome of them I haue learned that the Autour was named - Roberte langelande, a Shropshere man borne in Cleybirie, - aboute .viii. myles from Maluerne hilles.... So that this I - may be bold to reporte, that it was fyrſte made and wrytten - after the yeare of our lord .M.iii.C.L. and before the yere - ,M,iiiiC, and .ix which meane ſpaſe was .lix yeares. We - may iuſtly c[=o]iect therfore, y^t it was firſte written - about two hundred yeres paſte, in the tyme of Kynge Edwarde - the thyrde...." - - The year after _The Vision_ was published our printer was - ordained a deacon, and, later, made vicar of St. Giles, - Cripplegate, where he preached and wrote until his death. He - published no less than twenty-two volumes, eight of which he - printed himself, thus taking his place, along with Caxton, at - the head of the list of printer-authors which includes such - names as Wolfe, Baldwin, Richardson and Morris. - - Dibdin calls the vellum copy of _The Vision_ which belonged to - Earl Spencer unique, but the copy here collated would deprive - it of that distinction, even if there were not another in the - British Museum. - - A comparison of several copies of the book reveals the fact - that in most of them the date on the title-page has been - written in to correct the printer's error. - - There were three other impressions issued during 1550, two of - them said to be "nowe the ſeconde tyme imprinted," and - the third with the printer's name spelled "Crowlye" on the - title-page. Rev. W. W. Skeat in his edition of _The Vision_ - says: - - "But all three impressions are much alike. The chief - differences are, that the two later impressions have many more - marginal notes, a few additional lines, and also 6 additional - leaves between the printer's preface and the poem itself, - containing a brief argument or abstract of the prologue and of - each of the Passus. The first impression is the most correct; - also the third impression is much less correct than the - second, and considerably inferior to it." - - Quarto. Black letter. - - COLLATION: [Illustration: Five pointed star], - _two leaves; A-GgI_, in fours. Folioed. - - - - -RAPHAEL HOLINSHED or HOLLINGSHEAD - -(d. 1580?) - - -6. 1577. | The Firſte volume of the | Chronicles of England Scot | -lande, and Irelande. | Conteyning, | The deſcription and Chronicles -of England, from the | Firſte inhabiting vnto the conqueſt | [Six -lines] Faithfully gathered and ſet forth, by | Raphaell Holinſhed. -| At London, | Imprinted for George Biſhop. | God ſaue the Queene. - -1577 | The | Laſte volume of the | Chronicles of England, Scot- | -lande, and Irelande, with | their deſcriptions. | Conteyning, | -The Chronicles of Englande from William Con- | querour vntill this -preſent tyme. | Faithfully gathered and compiled | by Raphaell -Holinſhed. | At London, | Imprinted for George | Biſhop. | -[Printer's mark] God ſaue the Queene. - - The first edition is known as the Shakespeare edition, - because it was used by the great poet, in common with all the - Elizabethan dramatists, in the preparation of his historical - plays. - - That Holinshed used the adjective _faithfully_ in its true - sense may be seen by a reference to the dedication of the book - to Sir William Cecil, Baron of Burleigh, whose coat-of-arms - appears on the back of the title-page. Here he gives an - interesting account of the inception and fortunes of the work, - with an incidental side-light upon the relations of printer - and professional writer: - - "Where as therefore, that worthie Citizen Reginald Wolfe - late Printer to the Queenes Maiestie, a man well knowen and - beholden to your Honour, meant in his life time to publiſh - an vniuerſall Coſmographie of the whole worlde, and - therewith alſo certaine perticular Histories of euery knowen - nation, amongſt other whome he purpoſed to vſe for - performance of his entent in that behalfe, he procured me to - take in hande the collection of thoſe Histories, and hauing - proceeded ſo far in the ſame, as little wanted to the - accompliſhment of that long promiſed worke, it pleased God - to call him to his mercie, after .xxv yeares trauell ſpent - therein, so that by his vntimely deceaſſe, no hope - remayned to ſee that performed, which we had so long - trauayled aboute: thoſe yet whom he left in trust to - diſpoſe his things after his departure hence, wiſhing - to the benefite of others, that ſome fruite might follow of - that whereabout he had imployed ſo long time, willed me to - continue mine endeuour for their furtherance in the ſame, - whiche although I was ready to do, ſo farre as mine abilitie - would reach, and the rather to anſwere that trust which the - deceaſſed repoſed in me, to ſee it brought to ſome - perfection: yet when the volume grewe ſo great, as they - that were to defray the charges for the Impreſsion, were not - willing to go through with the whole, they reſolued first to - publiſhe the Histories of Englande, Scotlande, and Irelande, - with their deſcriptions, whiche deſriptions, becauſe - they were not in ſuch readineſſe, as thoſe of forreyn - countreys, they were enforced to uſe the helpe of other - better able to do it than I." - - Reginald Wolfe, so well known and highly esteemed, was a - German by birth, and trained in his craft in the office of the - Strasburg master Conrad Neobarius, whose device of _The Brazen - Serpent_ he afterward adopted. Edward VI appointed Wolfe royal - printer in Latin, Greek, and Hebrew, as well as bookseller and - stationer, with an annuity of 26s. 8d. - - We find the names of his executors and the chief promoters of - the history in the entry on the Registers of the Stationers' - Company, under date of July 1, 1578: "Receyued of master - harrison and master Bisshop for the licensinge of Raphaels - Hollingshedes cronycles XX^s and a copy," which, by the way, - Mr. Arber remarks to be the largest fee he had met with. Some - copies bear the imprint of one, some of the other; and there - are still others with the names of John Harrison (there were - four publishers of this name), Lucas Harrison and John Hunne, - who were also probably among them "that were to defray the - charges for the impression." - - No printer's name appears in either volume, but the figure of - a mermaid upon the title-pages, and a larger mark of two - hands holding a serpent upon a crutch at the end of the - first volume, show it to have been from the press of Reginald - Wolfe's apprentice and successor, Henry Bynneman of The - Mermaid, in Knight Rider Street. Boy and man knowing his - master's hopes and fears for his _Universal Cosmographie_, - acquainted with the long travail put upon it, and so properly - desirous, like the rest, to see some fruit born of it, who - could have done the work so well and faithfully as he? - - In the preface to the second volume we are told that it was - intended to bring out the histories of England, Scotland, - and Ireland, with their descriptions, in one volume, and - the descriptions and abridgements of the histories of other - countries in another; but that the chronicles of England - growing very voluminous it was deemed best to defer printing - the histories of the other countries, and to divide the - material on hand into two volumes. Here, however, a new - difficulty presented itself; the history of England after the - Conquest was found to equal in length all the other matter, - and, if allowed to follow after the early history of the - Island, in its proper order, would make the volumes very - unequal in size; so it was given a volume by itself, with the - pagination continuing that of the English history in the - first volume. The other histories have separate title-pages, - paginations, and indexes. - - The book is illustrated with woodcuts in two distinct - varieties, one, representing the heads of kings, the other, - spirited scenes in the history. The last are of a better - character than most of those of the period, and show very - clearly the influence that Holbein, who had died in - London twenty-four years before, had exerted upon English - book-illustration. Some of the cuts are repeated. The - elaborate woodcut border in the contemporary German style was - used by the printer in several other books, before and - after this date. A large, well-designed initial C, with a - coat-of-arms in the center, printed from a separate block - ("mortised"), begins the dedication to Lord Burleigh; and a - large I, with a picture of the Creation, probably designed - for the first page of a Bible, begins the preface, and _The - History of Scotland_. This last is the largest initial letter, - Mr. Pollard says, that he has found in an English book. It - had previously been used by Wolfe, in 1563. An initial letter, - representing an astronomer (Ptolemy?), is prefixed to _The - History of Ireland_. It is signed with a C having a small I - within it. Other initials of a similar character had been used - before by John Day, in Cunningham's _Cosmographical Years_, - published in 1559. A royal coat-of-arms begins the Chronicle - of the reign of Queen Elizabeth; and in the second volume, at - page 1868, is a folded woodcut of the "ſiege and wynning of - Edinburg Caſtell. Anno. 1573." It is signed [C T] _Tyrell_. - [TN: C T in a rectangular box.] - - Folio. Two volumes. Black letter and Roman. Double - columns. Woodcuts. - - COLLATION: ¶, _six leaves; [Illustration: 5 pointed star], two - leaves; A-P, in eights; Q, six leaves; r, one leaf; a-s, in - eights; t, one leaf; A and (*b*), two leaves each; *a* and - *b*, six leaves each; A-Z and Aa-Ii, in eights; Kk, four - leaves; Ll and Mm, six leaves each; one leaf; [Illustration: - small floral graphic], two leaves; A-C, in eights; D, four - leaves; and A (repeated)-D, in eights; E, five leaves; F and - G, eight leaves each; H, six leaves; I, two leaves_. - - Volume II: ¶, _two leaves; t, seven leaves; u-z, A-Z, - Aa-Zz, Aaa-Zzz, and Aaaa-Dddd, in eights; Eeee, nine leaves; - Ffff-Yyyy, in eights; Zzzz, two leaves; A-M, in fours; N, two - leaves; ( ), two leaves_. - - - - -WILLIAM BALDWIN - -(fl. 1547), - -THOMAS SACKVILLE, - -FIRST EARL OF DORSET - -(1536-1608), AND OTHERS - - -7. ¶ A Myrrour For | Magiſtrates. | Wherein maye be ſeen by | -example of other, with howe gre- | uous plages vices are -puniſhed.... [Five lines, Quotation] Anno 1563. | ¶ Imprinted at -London in Fleteſtrete | nere to Saynct Dunſtans Churche | by -Thomas Marſhe. - - The Epistle "To the nobilitye and all other in office" is - signed by William Baldwin, who was at one time a corrector - of the press to Edward Whitechurch, and later something of - a printer himself. He printed with his own hands, using - Whitechurch's types and the Garland border, his work entitled - ¶ _The Canticles or Balades of Salomon phraſelyke declared - in Englyſh Metres. Imprinted at London by William Baldwin, - ſeruant with Edwarde Whitechurche._ It was he who edited and - saw this work through the press. He says of it: - - "The wurke was begun and parte of it prynted in Queene Maries - tyme, but hyndered by the Lorde Chauncellour that then was, - nevertheles, through the meanes of my lord Stafford, the fyrst - parte was licenced, and imprynted the fyrſt yeare of the - raygne of this our moſt noble and vertuous Queene, and - dedicate then to your honours with this Preface. Since whych - time, although I have bene called to an other trade of lyfe, - yet my good Lorde Stafforde hath not ceaſſed to call upon - me, to publyſhe ſo much as I had gott[~e] at other mens - hands, ſo that through his Lordſhyppes earneſt meanes, - I have nowe alſo ſet furth an other parte, conteynyng as - little of myne owne, as the fyrst part doth of other mens," - and he expressed the hope that if these prove acceptable, - encouragement may be given to "wurthy wittes to enterpryſe - and performe the reſt." - - After the abortive attempt of Wayland to print the book, under - the title _A memorial of suche Princes, as since the tyme - of King Richarde the seconde, haue beene unfortunate in the - Realme of England. In ædibus Johannis Waylandi: Londini_ - [1555?], the first part referred to was printed by Marshe - in 1559. It contained nineteen legends (although twenty are - mentioned in the table of contents), fourteen of which were - by Baldwin, and the others by Ferrers, Churchyard, Phaer, and - Skelton. Of these helpers, Baldwin says in the Epistle: "Whan - I firſt tooke it in hand, I had the helpe of many graunted, - & offred of ſum, but of few perfourmed, skarſe of any: - So that wher I entended to haue contriued it to Quene Maries - time, I haue ben faine to end it much ſooner: yet ſo, that - it may ſtande for a patarne, till the reſt be ready: - which with Gods Grace--(if I may haue anye helpe) ſhall be - ſhortly." - - The idea of the work is usually said to have originated with - Sackville, who, following Lydgate's _Fall of Princes_, planned - it as a review of the illustrious and unfortunate characters - in English history from the Conquest to the end of the - fourteenth century. He is supposed to have turned the work - over to Baldwin and the others, after writing an "Induction," - and one legend, the life of Henry Stafford, Duke of - Buckingham; but no good reason is given for the omission of - these poems from the volume when it came to be printed in - 1559. Baldwin's reason, already quoted, seems likely enough, - and Lord Stafford's urgent entreaty, referred to, no doubt had - the effect of causing both poems to be added to the edition - issued now, where they appear as _The Seconde Parte_ of the - volume of 1559. The title-pages of the two editions are alike, - except for the date and the imprint; this in the earlier - edition reads: _Londini, In ædibus Thomæ Marſhe_. No - reference is made to the additional part except in the - Epistle. The new part has a separate index. - - This new part contains only one poem by Baldwin; the others, - besides Sackville's two, are by Dolman, Francis Segar, - Churchyard, Ferrers, and Cavyl, eight in all. Besides the - poems, there is "A proſe to the Reader, continued betwene - the tragedies from the beginning of the booke to the ende," - just as in the first part. - - To the Earl of Dorset's legend "The complaynt of Henrye duke - of Buckingham," is prefixed "The Induction," of which Baldwin - speaks in the prose following _Howe the Lord Hastynges was - betrayed_, as follows: "but fyrſt you shal heare his preface - or Induction. Hath he made a preface ([backwards P?R] one) - what meaneth he thereby, ſeeing none hath uſed the like - order. I wyl tell you the cauſe thereof ([backwards P?R] I) - which is thys: After that he underſtoode that some of the - counſayle would not ſuffer the booke to be printed in - ſuche order as we had agreed and determined, he propoſed - with himſelfe to have gotten at my handes, al the tragedies - that were before the duke of Buckinghams, Which he would have - preſerued in one volume. And from that time backeward - even to the time of William the conquerour, he determined to - continue and perfect all the ſtory himſelfe, in ſuch - order as Lydgate (folowing Bocchas) had already uſed. - And therefore to make a meete induction into the matter, he - deuiſed this poeſye:" - - The woodcut border of four pieces with heads of Venus and - Mars at the top had been used by John Byddell in Taverner's - translation of the _Bible_ in 1539, by James Nicholson of - Southwark, in Coverdale's _New Testament_ of 1538, and by - Marsh for the edition of the _Mirror_ in 1559. There are a - few ornamental initial letters at the beginning of the book, - notably one at the beginning of the Epistle, a large P, with - figures of children. This belongs to a series of a children's - alphabet attributed to Dürer, and first used by Cervicornus, a - printer of Cologne. - - Quarto. The second edition. Black letter. - - COLLATION: ¶ _and A, four leaves each; B-N, in eights; O-U, - in fours; X-Z and Aa-Bb, in eights; Cc, four leaves_. - - - - -HENRY HOWARD, - -EARL OF SURREY - -(1517?-1547), AND OTHERS - - -8. ¶ Songes And Sonettes | written by the right honorable | Lord Henry -Haward late | Earle of Surrey, and | others. | Apud Richardum Tottell. -| 1567. | Cum priuilegio. (Colophon) ¶ Imprinted At Lon- | Don In -Fletestrete within Temple barre at the | ſigne of the hand and -ſtarre, by | Richard Tottell, | Anno. 1567. | Cum priuilegio. - - Richard Tottel was licensed to print law-books, and his - publications of that nature exhibit his best work; but this - book, though not attractive in appearance, was his most - popular venture. It was called "Tottel's miscellany," and it - is fitting that his name should always be connected with it as - a testimony to his energy and intelligence in producing a - work so greatly to the "honor of the English tongue." We - learn something of his energy in his desire to establish a - paper-mill in England to compete with the French paper, - then in general use; and his intelligence is evinced in the - following extract from his address "To the reader": - - "That to haue wel written in verſe, yea and in ſmal - parcelles, deſerueth greate praiſe, the woorkes of diuers - Latins, Italians, and other, do proue ſufficiently, that our - tong is able in that kinde to do as praiſe woorthelye as the - reſte, the honorable ſtile of the Earle of Surreye, and - the weightineſſe of the deepe wytted Syr Thomas Wyat - the elders verſe, withe ſeueral graces in ſundrie good - English writers, doe ſhewe abundantlye. It reſteth - now (gentle Reader) that thou thinke it not euill done to - publiſh to the honour of the Engliſhe tongue and for - profit of the ſtudious of English eloquence, thoſe woorkes - which the ungentle horders up of ſuche treaſure haue - hertofore enuied thee." - - His confidence in the gentle reader was not misplaced, and he - had the satisfaction of issuing six editions between 1557 - and 1574. The first was printed at The Hand and Star, June 5, - 1557, and is represented by one copy which is in the Bodleian - Library; the British Museum and the Library of Trinity - College, Cambridge, each owns a copy of a second edition, - dated July 31, 1557; one copy exists of a third edition dated - 1559; and there is a fourth edition dated 1565. The present - edition agrees in its contents with the second, and is said to - be the most correct of all. - - This volume contains two hundred and eighty sonnets, of which - the first forty-one (including one by an unknown author) are - by Lord Howard. "S. T. VVyate the elder" is signed to the - next group of ninety-six; and a collection of one hundred and - thirty-three by "Vncertain auctours," follows. The collection - ends with ten "Songs written by N. G." (Nicholas Grimald). - Grimald had contributed forty to the first edition, which were - cut down to the present number for the second edition. - - Octavo. The fifth edition. Roman. - - COLLATION: _A-P, in eights_. - - - - -THOMAS NORTON - -(1532-1584) - -AND - -THOMAS SACKVILLE, - -FIRST EARL OF DORSET - -(1536-1608) - - -9. ¶The Tragidie of Ferrex | and Porrex, | ſet forth without -addition or alte- | ration 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. - - This play, drawn from Geoffrey of Monmouth's _History of - Britain_, and telling the story of King Gorboduc's efforts to - divide his realm between his sons Ferrex and Porrex, was - the first tragedy written in English. Before this authorized - edition, one unauthorized by the writers, though regularly - licensed by the Government, had appeared in an octavo - volume of thirty-six leaves, printed in black letter, with a - title-page which reads as follows: - - - _The | tragedie of Gorboduc, | where of three Actes were - wrytten by | Thomas Nortone, and the two laste by | Thomas - Sackuyle. | Sette forthe as the same was shewed before the - | Qvenes most excellent Maiestie, in her highnes | Court of - Whitehall, the XViii day of January | Anno Domini, 1561. By - the Gentlemen of Thynner Temple in London. | Imprynted at - London | in Flete strete, at the Signe of the Faucon by - William Griffith; and are | to be sold at his shop in Saincte - | Dunstones Churchyarde in | the West of London. | Anno. 1565. - Septemb. 22._ - - Day, in his introductory note to the present volume, entitled - "The P to the Reader," explains very satisfactorily the reason - for the new edition, but lets us only infer why he dropped the - authors' names from the title-page. He says: - - "Where this Tragedie was for furniture of part of the grand - Chriſtmaſſe in the Inner Temple firſt written about - nine yeares agoe by the right honourable Thomas now Lorde - Buckherſt, and by T. Norton, and after ſhewed before her - Maieſtie, and never intended by the authors therof to be - publiſhed: yet one W. G. getting a copie therof at - ſome youngmans hand that lacked a little money and much - diſcretion, in the last great plage. an. 1565. about V. - yeares paſt, while the ſaid Lord was out of England, and - T. Norton farre out of London, and neither of them both made - priuie, put it forth exceedingly corrupted." - - Then, the worthy printer goes on to say in a very allegorical - vein, that being so dishonored, her parents, the authors, - very much displeased, gave her into his hands to be sent forth - honorably; and he hopes she will be well received, else he - will wish that she had tarried at home with him "for ſhe did - neuer put me to more charge, but this one poore black gowne - linèd with white that I haue now geuen her to goe abroad among - you withall." - - Quarto. The first authorized edition. Roman. - - COLLATION: _A-H3, in fours_. - - - - -JOHN LYLY - -(1553?-1606) - - -10. Euphues. | The Anatomy | of Wit. | [10 lines] By Iohn Lylie, -Maiſter of Art. | Corrected and augmented. | At London | Printed -for Gabriell Cawood, | dwelling in Paules Church-yard. [Colophon] -¶Imprinted at London by | Thomas Eaſt, for Gabrill Cawood, | -dwelling in Paules Church- | yard 1581. - - The work was licensed "under the hande of the bishopp of - London" December 2, 1578, and was printed for Cawood by Thomas - Eate, or East, the stationer, without a date, but probably - in 1578. Many editions of the famous book have been issued; - fifteen are known, dated between 1579 and 1636, but confusion - exists chiefly over the first three. - - Mr. C. Warwick Bond in his recent edition of _The Complete - Works of John Lyly_, Oxford, 1902, brings forward evidence to - prove that two undated copies of _Euphues_, one belonging - to the British Museum and the other to Trinity College, - Cambridge, are all that remain of the first edition, whose - date of issue he sets at about Christmas time, 1578. A unique - Trinity College copy without a date, he thinks was issued - about midsummer of the next year; the famous Malone and Morley - copies of 1579, he considers belong to a third edition, issued - at Christmas; the edition dated 1580 would be fourth and the - copy from which our facsimile was taken would belong to a - fifth edition. Mr. Bond founds his supposition as to the - seasons when the volumes appeared upon the following very - interesting preface: - - "TO THE GENTLEMEN READERS. - - "I Was driuen into a quandarie Gentlemen," says Lyly, "whether - I might ſend this my Pamphlet to the Printer or to the - pedler, I thought it too bad for the preſſe, & to good - for the packe.... We commonly ſee the booke that at Eaſter - lyeth bounde on the Stacioners ſtall, at Chriſtmaſſe - to be broken in the Haberdaſhers ſhop, which ſith it is - the order of proceeding, I am content this Summer to haue my - dooinges read for a toye, that in Winter they may be readye - for traſh.... Gentlemen vſe bookes as Gentlewomen handle - theyr flowres, who in the morning ſticke th[~e] in their - heads, and at night strawe them at their heeles. Cheries - be fulſome when they be through ripe, becauſe they be - plentie, and bookes be ſtale when they be printed in that - they be common. In my minde Printers & Tailers are chiefely - bound to pray for Gentlemen, the one hath ſo much - fantaſies to print, the other ſuch diuers faſhions to - make, that the preſſing yron of the one is neuer out of - the fyre, nor the printing preſſe of the other any tyme - lieth ſtill...." - - The address "To my verie good friends the Gentlemen Scholers - of Oxford" first appeared with the second edition, to which - Lyly made other additions, beside thoroughly revising the - text. - - The title-page is bordered with a band of type-metal - ornaments. Among the initial letters are several of a series, - each letter of which represents a child at play. A large - tail-piece is repeated several times, and East's mark of a - black horse with a white crescent on his shoulder, and the - motto _Mieulx vault mourir en vertu que vivre en Honcte_, - is here used for the first time. Some copies dated 1581 have - Rowland Hall's mark but no printer's name. - - Mr. Henry R. Plomer says of the book in an interesting article - on our printer: "The preliminary matter is printed in a very - regular fount of Roman, the text in his ordinary fount of - Black Letter, and the whole book is distinguished for its - clear, regular, and clean appearance." - - On July 24, 1579, the stationer Cawood entered for license a - second part of _Euphues_, which he had promised at the end of - this volume in the following words: - - "I Haue finiſhed the firſt part of Euphues whome now I - lefte readye to croſſe the Seas to Englande, if the winde - send him a ſhorte cutte you ſhall in the ſeconde part - heare what newes he bringeth and I hope to haue him retourned - within one Summer...." - - The book appeared the next year with the title: ¶_Euphues and - his England. | Containing | his voyages and adventures, myxed - with | ſundry pretie diſcourſes of honeſt Loue ... ¶ - By Iohn Lyly, Maiſter | of Arte. | Commend it, or amend it. - | By Imprinted at London for Gabriell Cawood, dwelling in | - Paules Church-yard._ | 1580. - - Edward Blount, the stationer, who published Shakespeare's - folio works, tells us in a preface to Lyly's _Sixe Court - Comedies_, which he collected and William Stansby printed in - 1632, of the sensation _Euphues_ created when it appeared. - "Our Nation," he wrote, "are in his (i.e. Lyly's) debt, for a - new Engliſh which hee taught them. Euphues and his England - began firſt, that language: All our Ladies were then his - Scollers; And that Beautie in court, which could not Parley - Euphueiſme, was as little regarded, as ſhee which, now - there, ſpeakes not French." - - Quarto. Black letter and Roman. The fifth edition. - - COLLATION: _A-Z, in fours_. - - - - -SIR PHILIP SIDNEY - -(1554-1586) - - -11. The | Countesse | Of Pembrokes | Arcadia, | Written By Sir -Philippe | Sidnei. | [Coat-of-arms of the Sidney family] London | -Printed for William Ponſonbie. | Anno Domini, 1590. - - The _Arcadia_ was begun in 1580, and when finished, probably - before 1583, was circulated in manuscript copies amongst the - author's friends. That he did not wish to have it printed is - evident from his affectionate dedication to his sister, where - he says: - - "HEre now haue you (moſt deare, and moſt worthy to be - moſt deare Lady) this idle worke of mine: which I fear (like - the Spiders webbe) will be thought fitter to be ſwept away, - than worn to any other purpoſe. For my part, in very trueth - (as the cruell fathers among the Greekes, were woont to doo - to the babes they would not foſter) I could well find in my - harte, to caſt out in ſome deſert of forgetfulnes this - child, which I am loath to father. But you deſired me to - doo it, and your deſire, to my hart is an abſolute - commandement. Now, it is done onelie for you, onely to you: if - you keepe it to yourſelfe, or to ſuch friendes, who will - weigh errors in the ballaunce of good will, I hope, for the - fathers ſake, it will be pardoned, perchance made much of, - though in itſelfe it haue deformities. For indeede, for - ſeuerer eyes it is not, being but a trifle, and that - triflinglie handled. Your deare ſelfe can best witnes the - maner, being done in looſe ſheetes of paper, moſt of it - in your preſence, the reſt, by ſheetes ſent vnto - you, as faſt as they were done.... But his chiefe ſafetie - ſhal be the not walking abroad; & his chiefe protection, the - bearing the liuerye of your name; which (if much good will do - not deceaue me) is worthy to be a ſanctuary for a greater - offender." - - And again later, when he lay dying, reflecting, as he did, - that all things in his former life had "been vain, vain, - vain," he requested that the _Arcadia_ should be burned. - But he counted without the public, who in the person of a - publisher took steps to make it common property the very year - of Sidney's death. We have this from a letter written to - Sir Francis Walsingham, Sidney's father-in-law, by Sir Foulk - Greville, first Lord Brooke, who in his self-written epitaph - styled himself "servant to Queen Elizabeth, councillor to King - James, and friend to Sir Philip Sidney": - - "S^r, this day, one ponsonby, a booke-bynder in poles - church-yard, came to me and told me that ther was one in hand - to print S^r Philip Sydney's old arcadia, asking me yf it were - done with your honors consent, or any other of his frendes? - I told him, to my knowledge, no: then he aduysed me to give - warninge of it, either to the archbishope or doctor Cosen, who - haue, as he says, a copy to peruse to that end. - - "S^r, I am loth to renew his memory unto you, but yeat in this - I must presume; for I haue sent my lady, your daughter, at her - request, a correction of that old one, don 4 or 5 years sinse, - which he left in trust with me; wherof there is no more copies, - and fitter to be reprinted than the first which is so common: - notwithstanding, even that to how and why; so as in many - respects, espetially the care of printing of it; so as to be - don with more deliberation." - - Ponsonby obtained a license to print the book, under the hand - of the Archbishop of Canterbury, August 23, 1588, but not with - the full consent and sympathy of the family, owing, we will - hope, to a sentiment of proper respect for the poet's - wishes. There was so much dissatisfaction with Ponsonby's - "adventuring" that Collier thinks the book may have been - called in or suppressed, a fact which would account for its - great rarity. The hesitancy, however, seems to have been - overcome in course of time, for the Countess herself edited - the work for a later edition of Ponsonby's publishing. - - No mark or name of a printer is given in our copy, and - Collier, when he gave it as his opinion that Richard Field did - the work, seemed to have been unaware of the existence of the - variation in the imprint, which occurs in the copy belonging - to Trinity College Library, Cambridge, _London, Iohn Windet - for william Ponsonbie_. Probably several had a hand in the - printing. Only a close examination of the few existing copies - could show whether or not they were all issued at the same - time. We shall never know by name the "overseer of the print," - who assumed the responsibility of arranging the poem, as is - told in a note on the verso of the title-page: - - "The diuiſion and ſumming up of the Chapters was not of - Sir Philip Sidneis dooing, but aduentured by the ouerſeer - of the print, for the more eaſe of the Readers. He therfore - ſubmits himſelfe to their judgement, and if his labour - anſwere not the worthines of the booke, deſireth pardon - for it. As alſo if any defect be found in the Eclogues, - which although they were of Sir Phillip Sidneis writing, yet - were not peruſed by him, but left till the worke had bene - finiſhed, that then choiſe ſhould haue bene made, which - ſhould haue bene taken, and in what manner brought in. - At this time they haue bene choſen and diſposed as the - ouer-ſeer thought beſt." - - Whoever the overseer may have been, whether in the employment - of Ponsonby, Windet, or Field, and however unfortunate the - result of his literary judgment, he produced a book which for - beauty may take its place with the best of the period. The - Roman type and excellent press-work distinguish it amongst - the mass of inferior productions. Large ornamental initial - letters, more or less related, are used at the beginning of - all the Books, while Book I begins with an especially fine - allegorical woodcut initial representing a crowned Tudor rose, - Justice with her foot on Medusa's head, and Peace. Head- and - tail-pieces, some of type metal and some woodcuts, are used at - the beginning of the Books to give added effect. At the end - of the sixteenth chapter of Book III is a panel made of - type-metal ornaments, intended to hold the lines referred to - in the words: "Vpon which, Baſilius himself cauſed this - Epitaph to be written." These, however, owing to the printer's - oversight, were never added. - - In setting up the title-page, it may be that Ponsonby followed - Sidney's hint, and so sought "the chief protection" of the - name of the Countess, and, not content with the name alone, - added the coat-of-arms of the Sidney family. - - Quarto. Roman. - - COLLATION: _A-Zz, in eights_. - - - - -EDMUND SPENSER - -(1552?-1599) - - -12. The Faerie | Queene. | Diſpoſed into twelue books, | -Faſhioning | XII. Morall vertues. | [Printer's mark] London | -Printed for William Ponſonbie. | 1590. - - On December 1, 1589, "Maſter Ponſonbye. Entered for his - Copye, a booke intytuled _the fayrye Queene dyspoſed into - xij. bookes. &c._ Aucthoryzed vnder thandes of the Archbishop - of Canterbery, and bothe the wardens ... vj^{d}." - - Spenser's name not being mentioned and not being printed on - the title-page, it would almost seem as if he had wished his - book to be anonymous; but that was probably not the case, - because the dedication on the verso of the title, "To the Most - Mightie And Magnificent Empresse Elizabeth ..." is signed by - "Her moſt humble Seruant, Ed. Spenſer." The "Letter of the - Authors Expounding his whole intention in the Courſe of the - worke.... To the Right Noble, and Valorous Sir Walter Raleigh - ..." is also signed "Ed. Spenſer," and the last two of his - poems addressed to various personages are signed "E. S." - - It will be observed that the license to print the book, as - well as the title-page, refers to the whole work, only three - books of which, treating of the virtues Holiness, Temperance, - and Chastity, had been completed by the author at this time. - - Ponsonby may be regarded as a fortunate man to have had the - handling of the works of such authors as Greene, Sidney, and - Spenser. If his attempts to exploit the first great English - prose romance were not always successful, his relations with - Spenser were more satisfactory, and this work finding "a - favorable passage," no less than ten other of the poet's - productions were issued over his imprint. - - The printer's name does not appear, but the device on the - title-page is the mark of John Wolfe, son of Reyner Wolfe, a - printer to the City of London, and one of the busiest members - of the Stationers' Company. It was he who printed _The - Shepheard's Calendar_, for John Harrison the younger, in - 1586. His use of the Florentine lily is probably not without - significance. The first Italian book printed in England - (_Petruccio Ubaldino La vita di Carlo Magno Imperadore_, - 1581), came from his press, as well as numerous translations - of books in that tongue; and it is easy to believe that he may - have received his idea for a mark of a fleur-de-lis "seeding," - as Herbert calls it, from the Florentine lily of an Italian - printer seen in some of the Italian books so numerous in - England at this time. - - A frame of printer's ornaments surrounds a verse at the - beginning of each chapter, and there is a rather clumsy - woodcut, representing Saint George and the Dragon, at the end - of the first Book, but these are the chief ornaments in the - volume. This book, like the _Arcadia_, is in the Roman type, - and of remarkably good press-work. - - _The Second | Part Of The | Faerie Queene. | Containing | - The Fourth, | Fifth, | And Sixth Bookes. | By Ed. Spenſer - | [Printer's mark] Imprented at London for VVilliam | - Ponſonby._ 1596. was licensed January 20, 1595-6, and was - published with a second edition of the first part, which - it was meant to accompany. The remaining six books never - appeared. - - The device on the title-page of the second volume is that of - Thomas Vautrollier, a foreigner settled in London, whose stock - passed, at his death, to his son-in-law, Richard Field. It - seems clear that Field printed the volume (Vautrollier did - no work after 1588), although Herbert ascribes it to the - master-printer Thomas Creed. - - In some early copies of the first volume there are blank - spaces on page 332, which had been left by the printer to be - filled later with Welsh words and then forgotten. Other copies - have this omission corrected. - - Quarto. Roman and Italic. - - COLLATION: _A-Qq4, in eights_. - - - - -FRANCIS BACON, BARON VERULAM - -(1561-1626) - - -13. Eſſaies. | Religious Me- | ditations. | Places of -perſwaſion | and diſſwaſion. | Seene and allowed. | London -| Printed for Humfrey Hooper | and are to bee ſolde at the blacke -Beare in Chaun- | cery lane. 1598. [Colophon] Imprinted at London by -John Windet for Humfrey Hooper. 1598. - - This edition is thought by some to be rarer than the first, - which was published by Hooper, in octavo, in the previous - year. Some differences occur in the spelling, the table - of contents here precedes "The Epistle Dedicatorie," the - _Meditationes Sacræ_ are done into English, and the ornaments - used are quite different. Only ten Essays were included - in these two issues, whereas the edition of 1612 has - thirty-eight, and that of 1625, fifty-eight. - - Hooper, of whose publications there are very few examples - existing, is thought by Roberts to have been a young publisher - whom Bacon wished to help. John Windet was the successor to - John Wolfe as printer to the City of London; many books came - from his press, but few of them of note. - - Perhaps the most interesting peculiarity of the book is the - word _essay_, in the sense of a composition of moderate length - on a particular subject. With this work, the word makes its - first appearance on the title-page of an English book. The - first two books of Montaigne's _Essais_ had appeared in 1580, - and Bacon was no doubt familiar with them as a new style of - writing, since his brother, to whom he addressed this volume, - was a friend of Montaigne. He says in his volume of _Essays_ - dedicated to Prince Henry: "For Senacaes Epistles ... are but - Essaies--that is dispersed Meditations ... Essays. The word is - late, but the thing is auncient." - - Lord Bacon's reasons for printing his book, expressed in the - signed preface which accompanied both editions, is interesting - as showing that he was alive to the piracies of the - book-sellers, and that he knew how to meet the difficulty in a - sensible manner. - - "To M. Anthony Bacon his deare brother. - - Louing & beloued Brother, I doe nowe like ſome that haue an - Orcharde ill neighbored, that gather their fruit before it is - ripe, to preuent ſtealing. Theſe fragments of my conceites - were going to print: To labour the ſtaie of them had bin - troubleſome, and ſubiect to interpretation; to let them - paſſe had beene to adu[=e]ture the wrong they might receyue - by ontrue Coppies, or by ſome garniſhment, which it might - pleaſe any that ſhould ſet them forth to beſtowe oppon - them. Therefore I helde it beſt diſcretion to publiſh - them myſelfe as they paſſed long agoe from my pen - without any further diſgrace, then the weakneſſe of the - Author...." - - Duodecimo. The second edition. - - COLLATION: _A-E4, in twelves_. - - - - -RICHARD HAKLUYT - -(1552?-1616) - - -14. The | Principal Navi- | Gations, Voiages, | Traffiques And Disco- -| ueries of the Engliſh Nation, made by Sea | or ouer-land, to the -remote and fartheſt di- | ſtant 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, whereunto | they were directed. | [Thirteen lines] 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 Hakluyt Maſter of | Artes, and -ſometime Student of Chriſt- | Church in Oxford. | [Illustration: -Printer's ornament] Imprinted at London by George | Bishop, Ralph -Newberie | and Robert Barker. | 1598. [-1600]. - - The year 1589 had seen the publication of a small folio volume - entitled: - - _The Principall | Navigations, Voia- | ges, And Discoveries - Of The | Engliſh nation, made by Sea or ouer Land, | - [Twenty-seven lines] By Richard Hakluyt Maſter of Artes, - and Student ſometime | of Chriſt-church in Oxford. | - [Printer's ornament] Imprinted at London by George Bishop | - and Ralph Newberie, Deputies to | christopher Barker, Printer - to the Queenes moſt excellent Maieſtie._ | 1589. - - The book presents a handsome appearance in the matter of type - and ornament: the archer head-band appears, and there are - two large pictorial initials at the beginning signed A. It - contains also "one of the beſt generall mappes of the world - onely, untill the comming out of a very large and most exact - terreſtrial Globe, collected and reformed according to - the neweſt, ſecretest, and lateſt diſcoueries - ... compoſed by M. Emmerie Mollineux of Lambeth, a rare - gentleman in his profeſſion...." This map was a close copy - of one engraved by Francis Hogenberg for Ortelius's _Theatrum - Orbis Terrarum_, published first in Antwerp in 1570. Like the - original it is called _Typus Orbis Terrarum_, but Hogenberg's - name is erased, and no other appears in its stead. - - This volume is usually called the first edition of the - amplified work in three volumes, here facsimiled, which - Hakluyt began to issue nine years later. _The British - Librarian_ of William Oldys, that "oddest mortal that ever - wrote," gives a full synopsis of the contents of the latter - work, "this elaborate and excellent _Collection_, which - redounds as much to the Glory of the _Engliſh_ Nation, as - any Book that ever was publiſhed in it." He says: - - "Tho' the firſt Volume of this _Collection_ does frequently - appear, by the Date, in the Title Page to be printed in 1599. - the Reader is not thence to conclude the ſaid Volume was - then reprinted, but only the Title Page, as upon collating the - Books we have obſerved; and further, that in the ſaid last - printed Title Page, there is no mention made of the _Cadiz_ - Voyage; to omit which, might be one Reaſon of reprinting - that Page: for it being one of the moſt proſperous and - honorable Enterprizes that ever the Earl of Eſſex was - ingaged in, and he falling into the Queen's unpardonable - Displeaſure at this time, our Author, Mr. Hakluyt, might - probably receive Command or Direction, even from one of the - Patrons to whom theſe Voyages are dedicated, who was of the - contrary Faction, not only to ſupreſs all Memorial of that - Action in the Front of this Book, but even cancel the whole - _Narrative_ thereof at the _End_ of it, in all the Copies - (far the greateſt Part of the Impreſſion) which remained - unpubliſhed. And in that caſtrated Manner the Volume has - deſcended to Poſterity; not but if the Caſtration was - intended to have been concealed from us, the laſt Leaf of - the Preface would have been reprinted alſo, with the - like Omiſſion of what is there mentioned concerning the - Inſertion of this Voyage. But at laſt, about the middle of - the late King's Reign, an uncaſtrated copy did ariſe, and - the said Voyage, was reprinted from it; whereby many imperfect - Books have been made complete." - - The cancellation "in the Front" refers to the title-page. - In the new page of the castrated edition the clause "And - laſtly, the memorable defeate of the Spaniſh huge Armada, - Anno 1588. and the famous victorie acheiued at the citie of - Cadiz, 1596." is made to read: "As alſo the memorable defeat - of the Spaniſh huge Armada, Anno 1588."; and the date is - changed to 1599. But, as Oldys remarks, through oversight or - indifference the reference in the preface still remains to - show that the edition is doctored, and not a new one. It - reads: "An excellent diſcourſe whereof, as likewiſe of - the honourable expedition vnder two of the moſt noble and - valiant peeres of this Realme, I meane, the renoumed Erle of - Eſſex, and the right honorable the lord Charles Howard, - lord high Admirall of England, made 1596, vnto the ſtrong - citie of Cadiz, I haue set downe a double epiphonema to - conclude this my firſt volume withall...." The reference - also remains in "A Catalogue of the Voyages," "39 The - honourable voyage to Cadiz, Anno 1596. [p.] 607." and at - page 606 the catchword "A briefe" still bears witness to the - curtailment of "A briefe and true report of the Honourable - voyage vnto Cadiz, 1596." The original leaves ended on page - 619, with a large woodcut representing two winged figures - supporting a crown and rose. They have been twice reprinted, - but both reprints are easily distinguishable from the early - work. - - The second volume was issued by the same printers in 1599, and - the third in 1600. Hakluyt is characterized on the title-page - of the first volume, as on that of the first edition, as - "Master of Artes, and sometime Student of Christ-Church in - Oxford," but in the second and third volumes he is called - "Preacher, and sometime student of Christ-Church in Oxford." - He had been made rector of Wetheringsett in Suffolk in 1590. - - In its general make-up, the new work resembles the old one. - The archer head-bands have not been used, and only one of the - pictorial initials signed [symbol: A; or "SA" monogram],--that - at the beginning of the Dedication,--is retained in volumes - one and two. These pictorial initials belong to an alphabet - illustrating stories from Greek mythology. Mr. Pollard, in a - chapter on _Pictorial and Heraldic Initials_, states that the - first appearance of any of the set known to him occurs in a - proclamation printed by Berthelet, and dated 1546. He finds - that a similar monogram was used by Anton Sylvius, who worked - for Plantin from 1550 to 1573, but he is doubtful about - ascribing these initials to that artist. - - The first and third volumes have the "The" of the title in a - long panel (made of type-metal ornament in the first case, and - a woodcut cartouche in the last one); the printer's ornaments - on the title-pages of the second and third volumes are alike, - and are the same as that in the first edition. "A Table - Alphabetical," printed at the end of the first edition, was - not undertaken for the second; but a new, engraved map of the - world, unsigned and without a title, is found in some copies - of the third volume. It was used also in two states. - - This map is exceedingly rare, and interest attaches to it - for two reasons. It is the first map of the world engraved - in England, on Wright's (Mercator) projection, having been - published the year after Wright had explained the principles - of the projection in his _Certain Errors in Navigation_. A - legend in a cartouche on the engraving says: "Thou hast here - gentle reader a true hydrographical description of ſo much - of the world as hath beene hetherto diſcouered, and is comme - to our knowledge: which we have in ſuch ſort performed, - y^t all places herein ſet downe, haue the ſame poſitions - and diſtances that they haue in the globe...." The second - source of interest is this: the map is, without much doubt, - the one Shakespeare referred to in _Twelfth Night_ when he - made _Maria_ say of _Malvolio_, "he does ſmile his face into - more lynes then is in the new Mappe, with the augmentation of - the Indies." - - A curious error has existed with regard to the map. The - reference in the 1589 volume, already quoted, has been taken - to mean that Hakluyt intended to issue a map by Molineux with - that work, but, that map not being ready in time, he used the - one from Ortelius. What more natural than that the new map in - the 1598 edition should be supposed to be Molineux's, now at - length finished? This was the conclusion jumped at, and the - plate is usually called "Molineux's map." As a matter of fact, - Hakluyt did not refer to Molineux as a map-maker, but as a - globe-maker. He was a friend of that rare gentleman, and he - knew that the mathematician was at work on a large terrestrial - globe embodying all the very latest geographical information - in the most exact way, according to Mercator's projection. He - used the Ortelius map in his book only until the globe should - be ready, when it could be easily adapted to the plane surface - of a map by the engraver. - - The globe, measuring two and a half feet in diameter, was - issued in 1592, and is now preserved in the Library of the - Middle Temple. - - Folio. Black letter. - - COLLATION: Volume I, *, _six leaves; **, six leaves; A-Fff{4}, - in sixes_. - - Volume II, *, _eight leaves; A-Ccb, in sixes; Aaa-Rrrb, in sixes_. - - Volume III, _(A), eight leaves; A-I, in sixes; K, eight leaves; - L-Cccc, in sixes_. - - - - -GEORGE CHAPMAN - -(1559-1634) - - -15. 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 | ſive beati | Te decor eloquij, | ſeu rer[~u] pondera -| tangunt. Angel: Pol: | At London printed for Nathaniell Butter. -| William Hole ſculp: - - Though Butter was the publisher of Dekker's _Belman of - London_, and, with John Busby, of Shakespeare's _Lear_, he is - chiefly to be remembered for two things, for his success as a - compiler and publisher of pamphlets of news,--a success which - entitles him to the place of father of the London press--and - for his connection with Chapman. - - In 1609 (?) Samuel Macham brought out, in small folio form, - _Homer, Prince of Poetts, in Twelve Bookes of his Iliads_, - embellished with an engraved title-page by William Hole, who - was one of the earliest English engravers on copper-plates. - Inflated with his subject, the artist crowded the title into - a small central panel the better to present his conception of - Vulcan, Apollo, Achilles, Hector, and Homer, in a composition - which, if topheavy, was more dignified and better drawn than - many of the borders ascribed to him. - - Under date of April 8, 1611, we find in the Stationers' - Register that Butter "Entered for his Copy by consente of - Samuell Masham, A Booke called Homers Iliads in English - contayning 24 bookes." With his right to print, he also - received the right to use the Hole frontispiece, which he had - reëngraved on a larger scale for the new book. The date of - issue is not given, but it could not have been later than - November 6, 1612, the date of the death of the Prince of - Wales, to whom the book is dedicated, and it was probably - published soon after the date of copyright. The printer's name - is also lacking; but reasons exist for thinking that more than - one worked on the book, and that there were several issues. - There are copies whose signatures agree with those of the - volumes of our issue, but these are printed with different - type, on poorer paper, and the initial letters and other - ornaments are of a much cruder sort. - - After Chapman had published his translation of the Iliad, he - turned his attention to the Odyssey; and, as in the case of - the Iliad, he went to press with half of it first, Butter - being the publisher. The volume ends with the words "Finis - duodecimi libri Hom. Odyſſ. Opus nouem dierum," and begins - with one of the most charming and perfect title-pages of the - period, the greater pity therefore that it is unsigned. - Its composition shows the poet in the midst of a company of - laurel-crowned spirits, whose ethereal forms are expressed - in stipple, with legends which read: "Solus ſapit hic homo, - Reliqui vero," and "Umbræ mouentur." Above, the title is - supported by two cupids, and below are seated figures of - Athena, and Ulysses with his dog. The whole plate was very - delicately drawn. - - The remaining twelve books having been finished, we find - Butter entering the whole twenty-four for copyright, November - 2, 1614; and, although the volume is not dated, it was - probably issued soon afterward. The title reads: _Homer's - Odysses. Tranſlated according to y^e Greeke. By George - Chapman At Miki q^d viuo detraxerit. Inuida Turba Post obitum - duplici foenore reddet Honos. Imprinted at London by Rich: - Field, for Nathaniell Butter._ - - The same engraved title-page was used, but its fine lines had - now grown fainter, the stippled shades seeming to justify the - statement in the inscription. The dedication to the Earl of - Somerset, as it appeared with the first twelve books, was - somewhat altered in the opening lines, necessitating the - resetting of the first page and the consequent change of the - head-band and initial letter; but the rest of the first - half is precisely the same as in the first issue. The words - "Finis," etc., were dropped from the end, in some copies, and - a blank leaf marks the division of the first half from the - last. - - The present book is made up of the complete Iliad, and the - complete Odyssey, sewn together. The enterprising Butter - made the engraved title of the Iliads answer for the general - title-page of this book also, only, of course, changing the - wording in the central panel. Some copies have the engraved - title of the Odyssey, but more lack it. Its omission was - probably due to its having become too faint from continued use - to be of service. Butter added one or two new features to some - copies of the volume, and among them a fine large portrait - of Chapman, which he printed in a very unusual place, on - the verso of the title-page. It represents the head of the - translator, surrounded by clouds, and bears on the circular - frame the inscriptions: _Haec est laurigeri facies diuina - Georgi_; _Hic Ph[oe]bi Decus est_; _Ph[oe]binumqz Deus_; - _Georgius Chapmanus Homeri Metaphrastes_. _Æta: LVII. - M.DC.XVI; Conscium Evasi Diem._ The date of the inscription - is usually given as the date of issue of the book. Below the - frame are ten lines beginning with two quotations, one in - Latin, and one in English, and followed by this interesting - statement: _Eruditorum Poetarum huius Æui, facile Principi, - Dno Georgio Chapman; Homero (velit nolit Inuidia) Rediuiuo. - I.M. Tessellam hanc_ Χαριϛήριον [Greek: Charistêrion] _DD._ - It would be a gratifying thing to know the name of the friend - who thus added so much to the embellishment and interest of the - book. Could it have been John Marston? - - The engraving is ascribed to Hole, though without any very - good reason, except that he had made the title-page of the - Iliad, some four years earlier. It seems hardly probable that - his awkward hand could have drawn the title for the Odyssey, - and, while the same holds true of the engraver of the - portrait, a comparison of the three plates perhaps would show - that Butter employed more than one engraver. - - Besides the portrait, our publisher added after the - title-page, on a separate leaf, an engraved dedication "To the - Imortall Memorie, of the Incomparable Heroe, Henrye Prince - of Wales," who died in 1612. Two columns labelled "Ilias" - and "Odyssæa," bound with a band inscribed "Musar: Hercul: - Colum:," have below them lines ending: - - "... Thow, dead. then; I - Liue deade, for giuing thee Eternitie - - "Ad Famam. - - "To all Tymes future, This Tymes Marck extend; - Homer, No Patrone founde; Nor Chapman, friend: - "Ignotus nimis omnibus; - Sat notus, moritur ſibi:" - - This affecting tribute precedes the other dedication to the - same prince, issued with the Iliad when it first appeared. - Such constancy to the memory of a prince, now some years dead, - and from whom no favors could be expected, argues well for - Chapman's affections; but, on the other hand, one might see - in it a reason for believing that the work was issued before - 1616. - - Folio. - - COLLATION: _Title-page and dedication, 2 ll.; *2,*3, 2 ll.; - A4-A6, A, 5 ll.; B-Z, in sixes; Aa-Ff, in sixes; Gg, 7 ll.; - A3-O, in sixes; R, 7 ll.; S-Z, in sixes; Aa-Hh, in sixes; - Ii, 7 ll._ - - - - -THE HOLY BIBLE - - -16. The | Holy | Bible, [Two lines] ¶ Newly tranſlated out of | the -Originall Tongues: and with | the former Tranſlations diligently -| compared and reuiſed by his | Maieſties ſpeciall Com- | -mandement. | ¶ Appointed to be read in Churches. | ¶ Imprinted | at -London by Robert | Barker, Printer to the | Kings moſt excellent | -Maieſtie. | Anno Dom. 1611. - - Few books present greater difficulties to the bibliographer - than this, the first "Authorized" or King James Version of the - Bible. Many copies bearing the same date, and seemingly alike, - have distinct differences in the text, in the ornamental head- - and tail-pieces, and in the initial letters. But the most - striking difference lies in two forms of the title-page. One - of these, a copper-plate engraving, signed _C. Boel fecit in - Richmont_, represents an architectural framework having large - figures of Moses and Aaron in niches on either side of the - border and seated figures of St. Luke and St. John, with - their emblems, at the bottom: above are seated figures of St. - Matthew and St. Mark, and St. Peter and St. Paul holding the - Agnus Dei, while behind them are various saints and martyrs. - The title reads: - - _The | Holy Bible, | Conteyning the Old Teſtament, | And The - New. | Newly Tranſlated out of the Originall | tongues: - & with the former Tranſlations diligently compared and - reuiſed by his | Maiesties ſpeciall C[~o]mandement. | - Appointed to be read in Churches | Imprinted at London by - Robert | Barker, Printer to the Kings moſt Excellent - Maiestie. Anno Dom. 1611._ - - The style of Boel's work is quite like that of the Sadelers, - to whose school he belonged, and it resembles in its general - effect some of the title-pages made by those artists for - Plantin's famous Antwerp press. - - The other title-page is seen in the facsimile. It is printed - with a woodcut border which represents above, the Evangelists - Matthew and Mark, the Adonai, Lamb, and Dove in cartouches, - while below are found St. Luke and St. John, the Lamb on the - altar, and the cherub's head, Barker's ornament. The tents and - shields of the Twelve Tribes are represented in twelve round - panels on the left side, and the Twelve Apostles, similarly - framed, on the right. The signatures RL [monogram - reverse-R&L] and CS [monogram over semi-circle] are seen - at the bottom of the title panel. This border, like the great - primer black letter of the text, had been previously used - by Christopher Barker, in an edition of the "Bishops Bible," - published in 1585, and by Robert in 1602; afterward, in an - edition of the New Testament (Royal Version) published - in 1617, and also in other works. While more finished in - execution, the design is similar in idea to one often used - by Barker, notably in a Bible printed in 1593, and bears some - resemblance to a border found in Plantin's "Great Bible." - - The copper-plate title is sometimes found with what is called - the first issue of the work, sometimes with the second, and - sometimes with the editions of 1613 and 1617. It has been - suggested that it was intended to be used with the woodcut - border always found with the New Testament in both issues, and - usually ascribed to the second, although "there is no ground - for supposing that it was always issued with it." That Boel - took the motive of the tents and shields of the Tribes for - a minor detail in his border, is a point worthy of notice - because this fact might, with some reason, be used to prove - that inasmuch as his engraving was made some time after the - unknown wood-engraver's border, it could hardly have appeared - with the first issue. - - We quote the following from W. I. Loftie's _A Century of - Bibles_: - - "Mr. Fry has compared together 70 copies of the Bible of 1611. - By observing how many of them were exactly alike he was able - to determine their order of publication. Twenty-three copies - were found to present the same peculiarities. Two only varied - from the 25 and from each other, in 8 leaves, 2 in one and 6 - in the other. Of the remaining 45, 40 were mixed with leaves - from other editions, but 38 contained leaves of the same - edition. Mr. Fry's conclusions were as follows:--One issue is - unmixed except 2 copies in 25: the other is made up (1) - with reprints, (2) with parts of the first issue, (3) with - preliminary leaves from 3 other editions: he therefore infers - that the two issues were distinct and that the issue which - presented the fewest instances of admixture was the first. His - conclusions seem unassailable; it is therefore assumed to be - proved in this list, that the issue of which he examined 25 - copies so nearly alike, is the first, and is entitled to the - honour of being called the _Editio Princeps_ of the version." - - The chief differences in the collation of what is called the - second issue with the first are these: "The fifth leaf is - Sig. B. in the preliminary matter: Kalendar C, C2, C3, and - followers. In the first page of the Dedication OE is printed - for OF and in the eighth line CHKIST for CHRIST. In the 'Names - and order of the Bookes' there are three lines printed in red: - I Chronicles, is misprinted I Corinthians, and II Chronicles, - II Corinthians. The chief errors of the first issue are - corrected, but the repetition in Ezra iii. 5, remains. Exodus - ix. 13, Let my people goe that they may ſerve thee, _for_ - serve me. S. Matthew xxvi. 36, Then commeth Judas with them - unto a place called Gethſemane, _for_ Then cometh - Jeſus. The initial P. in Psalm 112, contains a woodcut of - Walsingham's crest." - - Robert Barker's name calls for more than passing notice, since - he it was who, more than any one else after the forty-seven - translators, was responsible for the production of the - Authorized Version. On January 3, 1599, the court of - assistants of the Stationers' Company recognized the letter - patent of Queen Elizabeth granting Robert Barker the reversion - for life, after his father's death, of the office of Queen's - Printer, with the right of printing English Bibles, Books of - Common Prayer, statutes and proclamations. Christopher Barker, - the father, who was also Queen's Printer, made an interesting - report in December, 1582, on the printing patents which had - been granted from 1558-1582, and in it he speaks of his own - rights. Mr. Edward Arber, in quoting the report, calls it a - masterly summary, whose importance and authority as a graphic - history of English printing, it would be hardly possible - to exaggerate. In "A note of the offices and other speciall - licenses for printing, graunted by her maiestie to diuerse - persons; with a coniecture of the valuation" he says: "Myne - owne office of her Maiesties Printer of the English tongue - gyven to Master Wilkes, (and which he had bought) is abbridged - of the cheefest comodities belonging to the office, as shall - hereafter appeare in the Patentes of Master Seres and Master - Daye: but as it is I haue the printing of the olde and newe - testament, the statutes of the Realme, Proclamations, and the - booke of common prayer by name, and in generall wordes, all - matters for the Churche." - - If the monopoly of printing the Bible brought its gains it - also brought its risks. Christopher Barker in his report goes - on to speak of this: - - "The whole bible together requireth so great a somme of money - to be employed, in the imprinting thereof; as Master Jugge - kept the Realme twelve yere withoute, before he Durst - adventure to print one impression: but I, considering the - great somme I paide to Master Wilkes, Did (as some haue termed - it since) gyve a Desperate adventure to imprint fouer sundry - impressions for all ages, wherein I employed to the value of - three thousande pounde in the term of one yere and a halfe, or - thereaboute: in which tyme if I had died, my wife and children - had ben vtterlie vndone, and many of my frendes greatlie - hindered by disbursing round sommes of money for me, by - suertiship and other meanes...." - - Robert was not without a like experience. The King, it is - claimed, never paid a penny towards the great work. Indeed, - William Ball, writing in 1651, says: "I conceive the sole - printing of the bible, and testament, with power of restraint - in others, to be of right the propriety of one Matthew Barker, - citizen and stationer of London, in regard that his father - paid for the emended or corrected translation of the bible, - 3,500 l.: by reason whereof the translated copy did of right - belong to him and his assignes." - - Whether the great expense connected with its production ruined - him, or whether, as Mr. Plomer suggests, he had been living - beyond his means, Barker's last days were involved in - financial difficulties, and he died in the King's Bench - prison. - - Some of the ornament in the book, particularly that used with - the coat-of-arms of the King, the genealogical tables, the - map, and some few head-bands and initial letters, again recall - the work done for Plantin, and lead us to think that that - great printer's books had not been without their influence - upon the Barkers. The Tudor rose, the thistle, harp and - fleur-de-lis are combined in different ways in initials and - head-bands; the head-band of the archers, which was afterward - used in the folio edition of Shakespeare's works, and is found - in many other books, appears; and a large number of unrelated - and commonplace initials and type-metal head-bands bring to - mind the fact that Barker had come into the possession of - material formerly belonging to John Day and Henry Bynneman. - - Folio. Black letter. Double columns. - - COLLATION: _A, six leaves; B, two leaves; C, one leaf; A2-A6; - D, four leaves; A-C, in sixes; two leaves without signatures; - A-Ccccc6, in sixes; A-Aa6, in sixes_. - - - - -BENJAMIN JONSON - -(1573?-1637) - - -17. The | Workes | Of | Beniamin Jonson | --neque me ut miretur turba -| laboro: Contentus paucis lectoribus. | Imprinted at | London by | -Will Stansby | An^o D. 1616. - - This book, especially as we see it in the copies printed on - large paper, is a handsome specimen of typography. It reflects - great credit upon its printer, Stansby, who was an apprentice - and then successor to John Windet, and himself a master - printer. Such work entitles him to a front rank among the - printers of the reign of James I. - - Jonson is said to have prepared the plays for the press, - himself, and one or two matters of editing, which seem - unusually careful when compared with other folio collections, - certainly appear to show the author's hand. At the end of each - play, for instance, is a statement telling when it was - first acted, and by whom, whether the king's or the queen's - servants. The names of the actors are also given, as well - as the "allowance". The volume embraces nine plays, and - _Epigrammes_, _The Forest_, _Entertaynements_, _Panegyre_, - _Maſques_ and _Barriers_. There is no introductory note by - the printer, and we are not told how Stansby came into the - right to print those plays which had been previously issued by - other printers or publishers. - - In some copies all of the plays have separate printed titles, - while in others there are one, two, or more wood-cut borders - showing a lion and a unicorn, a lily, rose and thistle, and a - grape-vine twined around columns at the side. - - All of the works not included in the first were intended for - a second volume, which, however, did not appear until after - Jonson's death, in 1640, when it was printed for Richard - Meighen, the bookseller, by Bernard Alsop and Thomas Fawcet. - The title reads: _The Workes of Benjamin Jonson. The second - Volume Containing These Playes, Viz._ _1 Bartholomew Fayre. - 2 The Staple of Newes. 3 The Divell is an Asse_.... This title, - it will be seen, mentions only three plays, which are thought - to have been issued somewhat earlier than 1640, perhaps as - a supplement to the first volume. The book, as it is usually - bound, however, contains three more plays and a fragment of a - fourth. - - There are variations in the imprint of the first volume, - some reading, _London, Printed by William Stansby_, and again - others, _London printed by W. Stansby, and are to be ſould - by Rich: Meighen_. The imprints of the large paper copies in - the British Museum and Huth libraries both read like that - of the copy facsimiled. The large paper copies, it should be - noted, are on whiter and finer paper of an entirely different - water-mark. The copies with Meighen's name show traces of the - erasure of our form; a fact leading to the supposition that - they are later in issue. This matter is complicated, however, - by certain striking variations in the text itself. The last - two pages of Meighen's copies, containing _The Golden Age_, - show a transposition of parts affecting the whole literary - value of the ending of the masque. - - Mr. Walter Wilson Greg, in his _List of English Plays_, 1900, - gives the Stansby-Meighen copies the place of the first - issue, calling the Stansby copies a reissue, with the imprint - reëngraved. - - It seems reasonable to suppose, in view of the fact that he - was the seller of the second volume also, that Meighen became - connected with Stansby after the first copies of the first - volume were published. The appearance of his name in the - imprint of Volume I. would mark the beginning of such - a partnership; and this partnership would naturally be - continuous, and not interrupted, as it would appear to be - if copies bearing Stansby's name alone came after the - Stansby-Meighen imprint, and before the 1640 volume. - - "Guliel Hole fecit" is signed to the elaborate title-page - engraved on copper. This monumental structure, with - its representations of Tragicom[oe]dia, Satyr, Pastor, - Trag[oe]dia, Com[oe]dia, Theatrum, Plaustrum, and Visorium, - shows such a considerable knowledge of Roman antiquities that - we are inclined to think that Jonson himself may have had - something to do with the making of it. A similar thought - arises in looking at the pages engraved by Hole for Chapman's - Homer, and one would like to know how far that author, steeped - in his Classics, influenced the engraver. It may be a fair - speculation, how far Jonson and Chapman may have influenced - the development of book illustration. - - It is a point worthy of notice that the execution of the - figures in this engraving is decidedly inferior to that of the - Chapman title. - - Gerard Honthorst's portrait of Jonson, engraved by Robert - Vaughan, whose frontispieces and portraits are found in many - books of the period, is inserted in this copy. The engraving - was probably issued, in its first state, as a separate print. - In a second state it was prefixed to the second edition of - the first volume, _Printed by Richard Biſhop, and are to be - ſold by Andrew Crooke_, in 1640. - - The famous lines, - - "O could there be an art found out that might - Produce his shape soe lively as to Write," - - follow eight lines of Latin, beneath the oval frame. - - Folio. - - COLLATION: _Portrait and title-page, 2 leaves; A-Qqqq4, in sixes_. - - - - -ROBERT BURTON - -(1577-1640) - - -18. The | Anatomy Of | Melancholy, | [Twelve lines]. By | Democritus -Iunior. | With a Satyricall Preface, conducing to | the following -Diſcourſe. | [Quotation] At Oxford, | Printed by Iohn Lichfield -and Iames | Short, for Henry Cripps. | Anno Dom. 1621. - - In the preface, the author tells why he used the pseudonym - "Democritus Junior." Democritus, he says, as described by - Hippocrates and Diogenes Laertius, was "a little wearyiſh - olde man, very melancholy by nature, averſe from company in - his latter times, and much giuen to ſolitarineſſe," who - undertook to find the seat of melancholy. "_Democritus - Iunior_ is therefore bold to imitate, and becauſe he left it - unperfect, to proſecute and finiſh, in this Treatiſe." - In "The Concluſion of the Author to the Reader," three - leaves at the end of the volume, signed "Robert Burton," and - dated "From my Studie in Chriſt Church, Oxon, Decemb 5. - 1620," he says: - - "The laſt Section ſhall be mine, to cut the ſtrings of - _Democritus_ viſor, to vnmaſke and ſhew him as he is ... - _Democritus_ began as a Prologue to this Trage-comedie, but - why doth the Author end, and act the Epilogue in his owne - name? I intended at firſt to haue concealed my ſelfe, - but _ſecunde cogitationes_ &c. for ſome reaſons I haue - altered mine intent, and am willing to ſubſcribe...." - - Later editions, and there were eight during Burton's lifetime, - omit the conclusion, and show other alterations. The success - of the book, as may be seen from this large number of - editions, was great. Wood says that Cripps, the bookseller, - made a fortune out of the sale of it, yet he received only a - half share of the profits; the other half, belonging to the - author, was made over by him in his will to members of the - college and to various Oxford friends. "If anie bookes be - lefte lett my executors dispose of them, with all such bookes - as are written with my owne handes, and half my _Melancholy_ - copie, for Crips hath the other halfe." - - In course of time the _Anatomy_ was almost forgotten, and - Lowndes tells us it owes its revival to Dr. Johnson, who - observed that it "was the only book that ever took him out of - bed two hours sooner than he wished to rise." - - Lichfield and Short were university printers whose press will - be chiefly remembered in connection with the production of - this masterpiece. The book is ornamented with a few type-metal - head- and tail-pieces, and a large initial and a woodcut - head-band at the beginning. - - Quarto. - - COLLATION: _a-f4, in eights; A-Ddd4, in eights_. - - - - -WILLIAM SHAKESPEARE - -(1564-1616) - - -19. M^r. William | Shakespeares | Comedies, | Histories, & | -Tragedies. | Publiſhed according to the True Originall Copies. | -[Portrait] London | Printed by Iſaac Iaggard, and Ed. Blount. 1623. - - The bibliographical history of this most famous book has been - written so completely by Mr. Sidney Lee that little remains to - be said. The following notes aim only at recounting the facts - suggested by a reading of the title-page. - - _Venus and Adonis_, printed in 1593, and _Lucrece_, printed in - 1594, were the only works of Shakespeare published during his - lifetime with his consent and coöperation; but sixteen of - his plays were printed in quarto size, by various publishers, - without his permission. - - The plays here collected, in folio form, are thirty-six in - number, and include sixteen hitherto unpublished,--all the - plays, in fact, except _Pericles_. John Heming and Henry - Condell, friends and fellow-actors of the dramatist, were - professedly responsible for the edition, as appears in their - dedication to the Earls of Pembroke and Montgomery: - - "... that what delight is in them, may be euer your L.L. the - reputation his, & the faults ours, if any be committed, by - a payre ſo carefull to ſhew their gratitude both to the - liuing, and the dead...." But the chief part of the real - editorship is thought to have devolved upon the publisher, - Edward Blount of The Bear, Paul's Churchyard, one of the firm - pecuniarily responsible for the enterprise. His name and that - of Isaac Jaggard, the printer, appear upon the title-page, as - the licensed printers, but in the colophon we read that the - book was "printed at the charges" of William Jaggard, printer - to the City of London, and father to Isaac, Ed. Blount, "I. - Smithweeke," or Smethwick, bookseller under the Dial, in St. - Dunstan's Churchyard, and William Aspley, bookseller of The - Parrots, Paul's Churchyard. - - The "true originall copies" were probably found in the sixteen - unauthorized quarto volumes, previously printed, the playhouse - or prompt-copies, and in transcripts of plays in private - hands. Heming and Condell touch on this matter in their - address "To the great Variety of Readers": "It had bene a - thing, we confeſſe, worthie to haue bene wiſhed, that - the Author himſelfe had liu'd to haue ſet forth, and - ouerſeen his owne writings; But ſince it hath bin ordain'd - otherwiſe, and he by death departed from that right, we pray - you do not envie his Friends, the office of their care, and - paine, to haue collected & publiſh'd them; and ſo to - haue publiſh'd them, as where (before) you were abus'd with - diuerſe ſtolne, and ſurreptitious copies, maimed, - and deformed by the frauds and ſtealthes of iniurious - impoſtors, that expoſed them; even thoſe are now offer'd - to your view cur'd, and perfect of their limbes; and all the - reſt, abſolute in their numbers as he conceiued th[~e]." - - The edition, as published, is thought to have numbered five - hundred copies. About two hundred are now known, but of these - less than twenty are in perfect condition. The price of the - volume when issued was one pound, and the highest price so far - paid is seventeen hundred and twenty pounds. - - The book is not a fine specimen of typography; it contains - numerous errors of all kinds, and the printer's ornaments are - all such as are frequently met with in books issued before and - after this date. This is especially and strikingly true of the - large head-band of the archers which we have already noticed - in the Bible of 1611, and of the large tail-piece used after - twenty-five of the plays. The other head-pieces and initial - letters are of commonplace character, and show much wear. The - portrait, too, by Martin Droeshout, a young Flemish artist, - - "Wherein the Grauer had a ſtrife - With Nature, to out-doo the life:" - - as Jonson assures us in his famous verses "To the Reader," is, - as might be expected, hard and stiff, but it was undoubtedly - done from a painting that has more claims to be considered - "from the life" than any other. With all its technical faults, - it "is intrinsically the most valuable volume in the whole - range of English literature." - - Folio. - - COLLATION: _One leaf without signature; A, eight leaves; A-Z, - Aa-Cc2, in sixes; a, two leaves; Aa3-Aa6, b-g, in sixes; gg, - eight leaves; h-x, in sixes_; ¶, ¶¶, _in sixes_; ¶¶¶, _one leaf; - aa-ff, in sixes; gg, two leaves; gg-zz, aaa-bbb, in sixes_. - - - - -JOHN WEBSTER - -(1580?-1625?) - - -20. 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. | VVritten by John Webſter. -| [Quotation] | London: | Printed by Nicholas Okes, for Iohn | -Waterson, and are to be ſold at the | ſigne of the Crowne, in -Paules | Church-yard, 1623. - - The play was first acted about 1612. - - A list of the actors' names is given on the verso of the - title-page, and among them stands out that of Richard Burbage, - who created the part of the _Duke_. The part of the _Duchess_ - was played by a boy named R. Sharpe. - - It is the only play of Webster's presented on the modern - stage. Miss Glyn played in it in 1851, and Miss May Rorke in - 1892. - - The first edition is called by Dyce, the most correct of the - quartos. - - Quarto. - - COLLATION: _A-N, in fours. Without pagination._ - - - - -PHILIP MASSINGER - -(1583-1640) - - -21. A New Way To Pay | Old Debts | A Comoedie | As it hath beene often -acted at the Ph[oe]- | nix in Drury-Lane, by the Queenes | Maieſties -ſeruants. | The Author. | Philip Massinger. | [Printer's mark] -London, | Printed by E. P. for Henry Seyle, dwelling in S. | Pauls -Churchyard, at the ſigne of the | Tygers head. Anno. M.DC. | XXXIII. - - This comedy retained its popularity longer than any other of - Massinger's plays, and has often been revived upon the modern - stage. - - "E. P." was Elizabeth Purslowe, the widow of George Purslowe, - who this year began to carry on "at the east end of Christ - church" the business followed there by her husband since 1614. - The printer's mark is the one used by the famous family of - French printers, the Estiennes. - - Seile, whose labors covered a period of twenty years, was one - of the many publishers of Massinger's books. - - Quarto. - - COLLATION: _A-M2, in fours. Without pagination._ - - - - -JOHN FORD - -(1586-1639) - - -22. The | Broken | Heart. | A Tragedy. | Acted | By the Kings -Majeſties Seruants | at the priuate Houſe in the | Black-Friers. | -Fide Honor. | [Printer's ornament] London: | Printed by I. B. for Hugh -Beeston, and are to | be ſold at his Shop, neere the Caſtle in | -Corne-hill 1633. - - The words "Fide Honor" are an anagram of Ford's name. Entered - on the Stationers' Register March 28, 1633. - - Quarto. - - COLLATION: _A, three leaves; B-K, in fours. Without pagination._ - - - - -CHRISTOPHER MARLOWE - -(1564-1593) - - -23. The Famous | Tragedy | Of | The Rich Ievv | Of Malta. | As It Was -Playd | Before The King And | Queene, In His Majesties | Theatre at -White-Hall, by her Majeſties | Servants at the Cock-pit. | Written -by Christopher Marlo. | [Printer's ornament] London; | Printed by I. -B. for Nicholas Vavaſour, and are to be ſold | at his Shop in the -Inner-Temple, neere the | Church. 1633. - - Marlowe probably wrote the play not earlier than 1588, because - the line in the opening speech of _Machevill_, "And now the - Guize is dead," refers to the Duc de Guise, the organizer of - the Massacre of Saint Bartholomew, who died in that year. - The tragedy was acted many times before it was entered in the - Stationers' Register by the two publishers, Nicholas Ling and - Thomas Millington, in 1594; but for some reason it was not - printed even then. When finally issued in the form shown here, - it was under the editorship of Thomas Heywood, the dramatist, - who explains his connection with the work in his dedication to - Thomas Hammon: - - "This Play, compoſed by ſo worthy an Authour as Mr. Marlo; - and the part of the Jew preſented by ſo vnimitable an - Actor as Mr. Allin, being in this later Age commended to the - Stage: As I vſher'd it into the Court, and preſented it - to the Cock-pit, with theſe Prologues and Epilogues here - inſerted, ſo now being newly brought to the preſſe I - was loth it ſhould be publiſhed without the ornament of an - epistle...." - - Quarto. - - COLLATION: _A-K2, in fours. Without pagination._ - - - - -GEORGE HERBERT - -(1593-1643) - - -24. The | Temple. | [Four lines] By M^r. George Herbert. | [Quotation] -Cambridge | Printed by Thom. Buck, | and Roger Daniel, printers | to -the Univerſitie. | 1633. - - Izaak Walton wrote the well-known account of the circumstances - connected with the printing of _The Temple_. He tells how - Herbert, upon his death-bed, received a visit from a Mr. - Edmond Duncon, and how he confided to him the manuscript to be - delivered to Nicholas Ferrar of Little Gidding. These are his - words: - - "... Having said this, he did, with so sweet a humility - as seemed to exalt him, bow down to Mr. Duncon, and with - a thoughtful and contented look, say to him, 'Sir, I pray - deliver this little book to my dear brother Farrer [Ferrar], - and tell him he shall find in it a picture of the many - spiritual conflicts that have passed betwixt God and my soul - ... 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 publick; if not, let him burn it, for I and it are less - than the least of God's mercies.' Thus meanly did this humble - man think of this excellent book, which now bears the name of - _The Temple_, or _Sacred Poems and Private Ejaculations_...." - - The small volume was entered for license soon after the poet's - death, but was at first refused by the Vice-Chancellor. Izaak - Walton is again our informant of the circumstance: - - "And this ought to be noted, that when Mr. Farrer sent - this book to Cambridge to be licensed for the press, the - Vice-Chancellor would by no means allow the two so much-noted - verses, - - 'Religion stands a tiptoe in our land, - Ready to pass to American strand,' - - to be printed; and Mr. Farrer would by no means allow the - book to be printed and want them. But after some time and - some arguments for and against their being made publick, the - Vice-Chancellor said, 'I knew Mr. Herbert well, and know that - he had many heavenly speculations, and was a divine poet; but - I hope the world will not take him to be an inspired prophet, - and therefore I license the whole book.' So that it came to be - printed without the diminution or addition of a syllable since - it was delivered into the hands of Mr. Duncon, save only that - Mr. Farrer hath added that excellent preface that is printed - before it." - - There were two editions of the book in the same year, and - beside these, two copies are known, like the first edition in - every particular, except the title-page, which is not dated, - and reads as follows: - - _The | Temple. | Sacred poems | And | Private Eja- | - culations. | By M^r. George Herbert, late Oratour of the - Univerſitie | at Cambridge. | Psal. 29. | In his Temple doth - every | man speak of his honour. | Cambridge: | Printed by - Thomas Buck | and Roger Daniel_: | ¶ _And are to be ſold by - Francis | Green, ſtationer in | Cambridge._ - - Grosart thinks that the undated copies were limited to a very - few, issued as gifts to intimate friends. - - Thomas Buck appears to have held the office of printer to the - University from 1625 for upward of forty years. During that - period he had several partners besides Daniel, with all of - whom he quarrelled. Daniel was appointed on July 24, 1632, and - the next year, or the year when Herbert's book was published, - entered into an agreement by which he received one-third of - the profits of the office, while Buck received two-thirds. - - Duodecimo. - - COLLATION: ¶, _four leaves; A-I2, in twelves_. - - - - -JOHN DONNE - -(1573-1631) - - -25. 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 St. Dunſtans | Churchyard in Fleet-ſtreet. 1633. - - An entry in the Registers of the Stationers' Company shows the - book to have been regularly licensed, though somewhat delayed - owing to the doubts of the censor concerning the Satires and - certain of the Elegies. - - "_13^o Septembris 1632_ - - "John Marriott. Entred for his Copy vnder the handes of Sir - Henry Herbert and both the Wardens a booke of verses and Poems - (the five satires, the first, second, Tenth, Eleaventh and - Thirteenth Elegies being excepted) and these before excepted - to be his, when he bringes lawfull authority ... vj^d. - - "written by Doctor John Dunn." - - But in 1637, after two editions had been published, the poet's - son, who had a somewhat unsavory reputation, addressed a - petition to the Archbishop of Canterbury stating that it had - been put forth "withoute anie leaue or Authoritie," and, as - a result, the Archbishop issued the following order, December - 16, 1637. - - "I require ye Parties whom this Petition concernes not to - meddle any farther with ye Printing or Selling of any ye - pretended workes of ye late Deane of St. Paules, saue onely - such as shall be licensed by publike authority, and approued - by the Petitioner, as they will answere ye contrary to theyr - perill. And this I desire Mr. Deane of ye Arches to take - care." - - In view of this discussion, Marriot's note in "The Printer - To The Understanders," which is not found in all copies, and - which, since it is printed on two extra leaves, was evidently - an afterthought for late issues, takes on an added interest. - It would be difficult to say whether his apologies touching on - all these matters were actuated by the noble spirit in which - he claims he printed the book, or to ward off anticipated - criticism. One is almost tempted to try and read between the - lines when he exclaims: - - "If you looke for an Epiſtle, as you haue before ordinary - publications, I am ſory that I muſt deceive you; but you - will not lay it to my charge, when you shall conſider that - this is not ordinary ..., you may imagine (if it pleaſe - you) that I could endeare it unto you, by ſaying, that - importunity drew it on, that had it not beene preſented - here, it would haue come to us beyond the Seas (which perhaps - is true enough,) that my charge and paines in procuring of - it hath beene ſuch, and ſuch. I could adde hereunto a - promiſe of more correctneſſe, or enlargement in the next - Edition, if you ſhall in the meane time content you with - this.... - - "If any man (thinking I ſpeake this to enflame him for the - vent of the Impreſſion) be of another opinion, I ſhall - as willingly ſpare his money as his judgement. I cannot - looſe ſo much by him as hee will by himſelfe. For I - ſhall ſatiſfie my ſelfe with the conſcience of well - doing, in making ſo much good common. - - "Howſoeuer it may appeare to you, it ſhall ſuffice me - to enforme you that it hath the beſt warrant that can bee, - publique authority and private friends." - - The younger Donne's petition is supported by the appearance of - the book itself, which was edited in a very careless fashion, - without any attempt at order or relation. But, on the other - hand, as Mr. Edmund Gosse has pointed out, Marriott and his - edition really do seem to have had the support of the best - men among Donne's disciples and friends: King, Hyde, Thomas - Browne, Richard Corbet, Henry Valentine, Izaak Walton, Thomas - Carew, Jasper Mayne, Richard Brathwaite and Endymion Porter, - all of whom, beside several others, combined to write the - Elegies mentioned on the title-page. - - The printer, "M. F.," was Miles Flesher, or Fletcher, - successor to George Eld, and one of the twenty master printers - who worked during this most troublous period, following the - famous act of July 11, 1637. He also printed for Marriott - the second edition of 1635 in octavo, and the third of 1639, - which, in the matter of contents, is practically the same as - the second. - - Marriott's first reference in the lines of the "Hexaſtichon - Bibliopolæ" which follows "The Printer To The Understanders," - - "I See in his laſt preach'd, and printed booke, - His Picture in a ſheete; in Pauls I looke, - And ſee his Statue in a ſheete of ſtone, - And ſure his body in the graue hath one: - Thoſe ſheetes preſent him dead, theſe if you buy, - You haue him living to Eternity," - - refers to the portrait engraved by Martin Droeshout, issued - with _Death's Duell_, in 1632. The whole verse seems to be an - apology for the lack of a portrait in this volume. Donne was - abundantly figured afterward. The _Poems_, printed in 1635, - and again in 1639, contained his portrait at the age of - eighteen, engraved by Marshall; Merian engraved him at the age - of forty-two, for the _Sermons_ of 1640; and Lombart produced - the beautiful head for the _Letters_ of 1651. - - Quarto. - - COLLATION: _Title, one leaf; A-Z, Aa-Zz, and Aaa-Fff3, in fours_. - - - - -SIR THOMAS BROWNE - -(1605-1682) - - -26. Religio, | Medici. | Printed for Andrew Crooke. 1642. Will: -Marſhall. ſcu. - - This is thought to be the earlier of two anonymous editions - published in the same year, and without the author's sanction, - as we learn from the third edition published in the following - year, entitled _A true and full coppy of that which was moſt - | imperfectly and Surreptitiously printed before | under the - name of: Religio Medici._ In the preface Browne says over his - signature: "... I have at preſent repreſented into the - world a ful and intended copy of that Peece which was moſt - imperfectly and surreptitiouſly publiſhed before." He - repeats the complaint of surreptitious publication in a letter - to Sir Kenelm Digby, in which he begs the latter to delay - the publication of his "Animadversions upon ... the Religio - Medici" which "the liberty of these times committed to the - Press." - - The chief points of difference between the two surreptitious - editions have been pointed out by Mr. W. A. Greenhill in his - facsimile edition of the book, printed in 1883. The form of - some of the capital letters is occasionally different; the - issue which he calls A, and to which our copy belongs, has pp. - 190, the other, B, 159; A has 25 lines to a page--B, 26; and - the lines in A are shorter than those in B. After comparing - these with the authorized version, Mr. Greenhill says: - - "It will appear from the above collection of various readings - that the alterations made by the Author in the authorized - edition consisted chiefly in the correction of positive - blunders, made (as we know from an examination of the existing - MSS.) quite as often by the copyist as by the printer. But he - also took the opportunity of modifying various positive and - strongly worded propositions by the substitution of less - dogmatic expressions, or the insertion of the qualifying - words, _I think_, _as some will have it, in some sense, upon - some grounds_, and the like." "Upon the whole," Mr. Greenhill - thinks Browne "had good reason to complain bitterly that - the book was published, not only without his knowledge and - consent, but also in a "depraved and 'imperfect' form." - - The curious coincidence that all three editions, spurious and - authorized, were issued by the same publisher, who used - the engraved title-page by William Marshall for each, only - changing the imprint, gave rise to the hypothesis that, if Sir - Thomas did not authorize, he did not prevent the publication - of the early editions. In fact, Dr. Johnson (though he - professes to acquit him) favored the view "that Browne - procured the anonymous publication of the treatise in order - to try its success with the public before openly acknowledging - the authorship." - - The effect of the work certainly justified any fears the - author may have had. It excited much controversy and was - placed in the _Index Expurgatorius_ of the Roman Church. But - from the publisher's point of view, it was a great success. - Eleven editions appeared during Browne's lifetime, it was - reprinted over and over again, and it provoked over thirty - imitations of its scope or title. It was translated into - Latin, Dutch, French and German. - - The emblematic fancy of Marshall has represented on the - engraved title-page of this volume, a hand from the clouds - catching a man to hinder his falling from a rock into the - sea. The picture bears the legend "à coelo salus," which was - afterward erased, not, we will hope, because of lack of faith - in the sentiment expressed. The title was also rubbed out. - - Duodecimo. - - COLLATION: _Engraved title, one leaf; A-M, in eights_. - - - - -EDMUND WALLER - -(1606-1687) - - -27. The | Workes | Of | Edmond VValler | Eſquire, | [Four lines] -Imprimatur | Na. Brent. Decem. 30. 1644. | London, | Printed for -Thomas Walkley | 1645. - - The "Workes" of this poet "nursed in parliaments" consist of - poems and speeches. The book was probably issued early in the - year, having, as we see from the title-page, been licensed - in December, 1644. There are copies identical in every other - respect, that show a block of printer's ornament instead - of the "Imprimatur," and still others with quite a new - title-page, which reads: _Poems,| &c. | Written By | Mr. Ed. - Waller | of Beckonſfield, Eſquire; lately a | Member of - the Honourable | House of Commons. | All the Lyrick Poems in - this Booke | were ſet by Mr. Henry Lavves Gent. | of the - Kings Chappell, and one of his | Majeſties Private Muſick. - | Printed and Publiſhed according to Order. | London, | - Printed by T. W. for Humphrey Moſley, at the | Princes Armes - in Pauls Church- | yard._ 1645. - - New poems have been added to this last issue, and "The Table" - of contents has been inserted between the poems and speeches. - There is also an Epistle "To my Lady," and "An advertiſement - to the Reader" wherein we read: - - "This parcell of exquiſit poems, have paſſ'd up and - downe through many hands amongſt perſons of the beſt - quallity, in looſe imperfect Manuſcripts, and there - is lately obtruded to the world an adulterate Copy, - surruptitiouſly and illegally imprinted, to the derogation - of the Author, and the abuſe of the Buyer. But in this - booke they apeare in their pure originalls and true genuine - colours." - - We may with reasonableness see in the first variation a - publisher's trick to make his book appear to have had a quick - sale; while the second might indicate a transfer of the unsold - sheets from Walkley to Moseley, who for some reason, perhaps - an agreement arrived at with the poet, considered himself to - be the authorized publisher. - - Later in the same year, Moseley issued a reprint, which - omitted the Speeches, and a new edition in octavo with a - title-page which now reads: - - _Poems, &c. | Written By | Mr. Ed. Waller | [Three lines] And - Printed by a Copy of | his own hand-writing. | [Four lines] - Printed and Publiſhed according to Order. | London, | - Printed by J. N. for Hu. Moſley, at the Princes | Armes in - Pauls Church-yard, | 1645_. - - The volume has been entirely reprinted. - - The Speeches appear again, but the rest of the contents remain - as before. Mr. Beverly Chew, in an article on "The First - Edition of Waller's Poems," says: "It is this edition that - is generally called the 'first authorized edition,' but it - is quite evident that all of the editions of this year stand - about on the same level so far as the author is concerned." - Not until the edition of 1664 do we read on the title-page, - "Never till now Corrected and Published with the approbation - of the Author." - - Octavo. - - COLLATION: _Title, one leaf, B-H, in eights_. - - - - -FRANCIS BEAUMONT - -(1584-1616) - -AND - -JOHN FLETCHER - -(1579-1625) - - -28. Comedies | And | Tragedies | Written by | Francis Beaumont | And -| Iohn Fletcher | Gentlemen. | Never printed before, | And now -publiſhed by the Authours | Originall Copies. | [Quotation] London, -| Printed for Humphrey Robinſon, at the three Pidgeons, and for | -Humphrey Moſeley at the Princes Armes in S^t Pauls | Church-yard. -1647. - - These two dramatists, between whom "there was a wonderfull - consimility of phancy," and who shared everything in common, - were inseparably connected in their writings. No collected - edition of their plays appeared before this posthumous one, - which is dedicated to Philip, Earl of Pembroke, by ten - actors, and is introduced to the reader by James Shirley, the - dramatist, who speaks of the volume as "without flattery the - greatest Monument of the Scene that Time and Humanity - have produced." This, too, notwithstanding the fact that - Shakespeare's _Works_ had appeared twenty-four years before. - - This edition appears to have been due to Moseley's enterprise. - He tells us in a frank address called "The Stationer to the - Readers": - - "'T were vaine to mention the Chargeableneſſe of this - VVork; for thoſe who own'd the Manuſcripts, too well - knew their value to make a cheap eſtimate of any of theſe - Pieces, and though another joyn'd with me in the Purchaſe - and Printing, yet the _Care & Pains_ were wholly mine...." - - Commenting upon the fact stated on the title-page that the - plays had not been printed before, he says: "You have here a - New Booke; I can ſpeake it clearely; for of all this large - Uolume of Comedies and Tragedies, not one, till now, was ever - printed before...." "And as here's nothing but what is genuine - and Theirs, ſo you will find here are no Omiſſions; you - have not onely All I could get, but all that you muſt ever - expect. For (beſides thoſe which were formerly printed) - there is not any Piece written by theſe Authours, either - Joyntly or Severally, but what are now publiſhed to the - VVorld in this Volume. One only Play I muſt except (for - I meane to deale openly) 'tis a Comedy called the - _VVilde-gooſe-Chase_, which hath beene long lost...." - - Nothing which throws light upon the history of printing at - this time is more interesting than the Postscript added at the - end of the commendatory verses by Waller, Lovelace, Herrick, - Ben Jonson and others, and immediately after a poem by Moseley - himself ending, "If this Booke faile, 'tis time to quit the - Trade."... - - "... After the _Comedies_ and _Tragedies_ were wrought off, - we were forced (for expedition) to ſend the _Gentlemens_ - Verſes to ſeverall Printers, which was the occaſion of - their different Character; but the _Worke_ it ſelfe is one - continued Letter, which (though very legible) is none of - the biggeſt, becauſe (as much as poſſible) we would - leſſen the Bulke of the Volume." - - This matter of size seems to have been the cause of no little - solicitude and care. Speaking of adding more plays to the - volume, he says: - - "And indeed it would have rendred the Booke ſo Voluminous, - that _Ladies_ and _Gentlewomen_ would have found it ſcarce - manageable, who in Workes of this nature muſt firſt be - remembred." - - There are thirty-six plays in the collection: as the stationer - tells us in the preface to the reader quoted above, all those - previously printed in quarto are included, except the _Wild - Goose Chase_, which had been lost. It is added at the end of - the volume with a separate title-page dated 1652. - - The following epigram by Sir Aston Cockain, addressed to the - publishers, the two Humphreys, is not without interest in this - connection as showing that the difficulties arising from the - joint authorship were early sources of perplexity: - - "In the large book of Plays you late did print - (In Beaumonts and in Fletchers name) why in't - Did you not juſtice? give to each his due? - For Beaumont (of thoſe many) writ in few: - And Maſſinger in other few; the Main - Being ſole Iſſues of ſweet Fletchers brain. - But how come I (you ask) ſo much to know? - Fletchers chief boſome-friend inform'd me ſo. - - ... ... ... ... ... - - For Beaumont's works, & Fletchers ſhould come forth - With all the right belonging to their worth." - - Moseley, in his address as stationer, says of the portrait of - Fletcher by William Marshall, which bears the inscriptions, - "Poetarum Ingeniosissimus Ioannes Fletcherus Anglus Episcopi - Lond: Fili." "Obijt 1625 Ætat 49": "This figure of Mr. - Fletcher was cut by ſeveral Originall Pieces, which his - friends lent me; but withall they tell me, that his unimitable - Soule did ſhine through his countenance in ſuch _Ayre_ and - _Spirit_, that the Painters confeſſed it, was not eaſie - to expreſſe him." The nine lines of verse beneath the - portrait are by Sir John Birkenhead. The portrait is found - in two states, distinguishable by the size of the letters in - Birkenhead's name. Although he was very ambitious to get a - portrait of Master Beaumont, his search proved unavailing. - - There are a few woodcut head-bands, varied with others made of - type metal, in the front part of the book, but the last part - is severely plain. - - Folio. The first collected edition. - - COLLATION: _Portrait; A, four leaves; a-c, in fours; d-g, in - twos; B-L2, in fours; Aa-Ss, in fours; Aaa-Xxx, in fours; - 4A-4I, in fours; 5A-5X, in fours; 6A-6K, in fours; 6L, six leaves; - 7A-7G, in fours; 8A-8C, in fours; *Dddddddd, two leaves; - 8D-8F, in fours._ - - - - -ROBERT HERRICK - -(1591-1674) - - -29. Hesperides: | Or, | The Works | Both | Humane & Divine | Of | -Robert Herrick Eſq. [Quotation, Printer's mark] London, | Printed -for John Williams, and Francis Eglesfield, | and are to be ſold at -the Crown and Marygold | in Saint Pauls Church-yard. 1648. - - A volume entitled "The seuerall Poems written by Master Robert - Herrick" was entered by Master Crooke for license April 29, - 1640, but was not published. The _Hesperides_ was the first - work of the poet to be printed, except some occasional - contributions to collections of poems. It is dedicated in - a metrical epistle to the most illustrious and most hopeful - Charles, Prince of Wales, afterward Charles II. - - The book is divided into two parts, the second having a - separate title-page which reads: _His | Noble Numbers: | Or, - | His Pious Pieces, | Wherein (amongſt other things) | - he ſings the Birth of his Christ: | and ſighs for his - Saviours ſuffe- | ring on the Croſſe.| [Quotation] - London. | Printed for John Williams, and Francis Eglesfield, - 1647. |_ - - This part was not issued, as far as is known, except with the - Hesperides to which the author evidently intended it to be - affixed, if we may judge by the lines toward the end of the - first part: "Part of the work remains; one part is past." - - The year of publication had seen Herrick dispossessed of his - living at Dean Prior by the predominant Puritan party, and - it has been suggested that he was glad to take this means - of gaining an income. His use of the form, "Robert Herrick, - Esquire," was, it is thought, a wise move on the part of - the publishers, since a book by the "Reverend," or "Robert - Herrick, Vicker" would have been less likely to meet with - favor. - - Neither Williams nor Eglesfield was a bookseller of - importance, and the printer is entirely unknown. He may - have withheld his name for fear of the judgment suggested by - Herrick at the head of his column of Errata: - - "For theſe Tranſgreſsions which thou here doſt ſee, - Condemne the Printer, Reader, and not me; - Who gave him forth good Grain, though he miſtook - The Seed; ſo ſow'd theſe Tares throughout my Book." - - Copies vary in the imprint, some reading _London, Printed for - John Williams and Francis Eglesfield, and are to be ſold - by Tho. Hunt, Bookſeller in Exon, 1648_; and several - differences of spelling, capitalization and punctuation also - occur. These variations have given rise to a discussion that - aims to determine the sequence of issues; but thus far it - serves only to prove that constant editorial tinkering took - place at the press-side. - - William Marshall, whose prolific graver (Strutt says he - used only that tool) produced portraits, frontispieces, - title-pages, and other decorations of a certain charm, even - if dry and cramped in style, had in Herrick a subject of more - than usual difficulty. As if conscious of his shortcomings - he attempts to make atonement by the emblematic flattery - of Pegasus winging his flight from Parnassus, the Spring of - Helicon, loves and flowers, which he adds to lines signed _I. - H. C._ and _W. M._ - - Octavo. - - COLLATION: _Four leaves (without signatures): B-Z and Aa-Cc, in - eights, Aa-Ee, in eights._ - - - - -JEREMY TAYLOR - -(1613-1667) - - -30. The Rule | And | Exercises | Of | Holy Living. | [Eleven lines] -London, | Printed for Francis Aſh, Book- | Seller in Worceſter. | -MDCL. [Colophon] London, | Printed by R. Norton. | MDCL. - - The remarkably well-designed title-page engraved by Robert - Vaughan, which precedes the printed title, bears the imprint, - _London printed for R: Royſton | in Ivye lane_. 1650. and - some copies have the following imprint on the title-page: - _London, | Printed for Richard Royſton at the | Angel in - Ivie-Lane. | MDCL._ Royston was the royal bookseller, and - publisher of _Eikon Basilike_, which ran through fifty - editions in the single year 1649. Taylor's work was also a - popular venture, and reached a fourteenth edition in 1686. - - This edition contains "Prayers for our Rulers," which recalls - the fact that these were stirring times when the book was - published. Charles had been beheaded in January of the - previous year, and Cromwell won his victory at Worcester, - where Ash had his shop, in the year following. It was not - without some worldly wisdom of living, then, that our author - used the above heading, and later, when times were changed, - altered it so as to make it read, "For the King." - - Duodecimo. - - COLLATION: _Frontispiece; ¶, twelve leaves; A-S4, in twelves._ - - - - -IZAAK WALTON - -(1593-1683) - - -31. The | Compleat Angler | [Six lines, Quotation.] London, Printed -by T. Maxey for Rich. Marriot, in | S. Dunſtans Church-yard -Fleetſtreet, 1653. - - In the _Perfect Diurnall_, as well as in other broad-sheets, - the following advertisement appeared from Monday, May 9, to - Monday, May 16, 1653: - - "The Compleat Angler or the Contemplative Man's Recreation, - being a Diſcourſe of Fish and Fishing, not unworthy the - peruſal of moſt Anglers, of 18 pence price. Written by - Iz. Wa. Alſo the known Play of the Spaniſh Gipſee, never - till now publiſhed. Both printed for Richard Marriot, to - be ſold at his ſhop in St. Dunſtans Church-yard, Fleet - Street." Walton could hardly have expected his work to be - anonymous when his very distinctive initials appeared so - plainly in the advertisement. And even though they are not - printed on the title-page of the book, they are signed to the - dedication to his most honoured friend, Mr. John Offley of - Madeley Manor, and at the end of the address "To the Reader of - this Discourse: but eſpecially To the honeſt Angler." - The name was added to the title in the fifth or 1676 edition, - called _The Universal Angler._ - - Contemplative men did indeed find the work not unworthy their - perusal, and Marriot, who seems to have been fortunate in the - books he published, alone issued five editions during the life - of the author. Between then and now we may count no less than - one hundred and thirty different imprints. At Sotheby's, in - 1895, a copy of this eighteen-pence book sold for four hundred - and fifteen pounds, an earnest of its rarity and of the - eagerness with which it is sought. - - Concerning the engraved cartouche with the first part of the - title, on the title-page, and the six illustrations of fish - engraved in the text, the author says "To the Reader of this - Discourse": "And let me adde this, that he that likes not the - diſcourſe ſhould like the pictures of the _Trout_ and - other fiſh, which I may commend, becauſe they concern not - myſelf." No name is given to show whose work they may be; - they are sometimes ascribed to Pierre Lombart, a Frenchman - resident in London, and employed by book-publishers to - illustrate their books. But on the other hand we must - not forget that Vaughan and Faithorne were both making - illustrations for books at this time. There is reason for - calling attention to the belief, formerly current, that the - engravings were done on plates of silver, a notion which, as - Thomas Westwood remarks, is sufficiently disproved by their - repeated use in no less than five editions of _The Compleat - Angler_, and the same number of Venable's _Experienc'd - Angler_. - - Henry Lawes, the musician, and the author of several works, - wrote the music to "The Anglers' Song For two Voyces, - Treble and Baſſe," which occupies pages 216 and 217. - The right-hand page is printed upside down for the greater - convenience of the singers, who could thus stand facing one - another. Lawes used a similar arrangement in his _Select Ayres - and Dialogues_, published the same year as the _Angler_. - - Octavo. - - COLLATION: _A-R3, in eights._ - - - - -SAMUEL BUTLER - -(1612-1680) - - -32. Hudibras. | The First Part, | Written in the time of the late -Wars. | [Device] London, | Printed by J. G. for Richard Marriot, under -Saint | Dunstan's Church in Fleetſtreet. 1663. - - Although "written in the time of the late Wars," _Hudibras_ - was not licensed to be printed until November 11, 1662, two - years after the reëstablishment of the monarchy, when a satire - on Puritanism could no longer give offense to the ruling - party. On the contrary, the satisfaction which it gave to - the King and court had much to do with the great success it - achieved. Butler himself records the royal favor: - - "He never ate, nor drank, nor slept, - But 'Hudibras' still near him kept; - Nor would he go to church or so, - But 'Hudibras' must with him go." - - Marriot, the successful publisher of Walton's _Angler_ - and some of Donne's books, issued the first part in three - different forms, large octavo, like our copy, small octavo, - and duodecimo; the last two sizes being sold for a lower price - than the former, to meet the popular demand for the work. - Besides these there is another edition, in three issues of the - same date, which has no name of printer or publisher in - the imprint, although, like Marriot's copies, it bears the - license, "Imprimatur. Jo: Berkenhead, Novemb. 11, 1662." If - it were not for this imprimatur, the following notice, which - appeared in the _Public Intelligencer_ for December 23, 1662, - would make it seem certain that the nameless edition was - really spurious: - - "There is stolen abroad a most false imperfect copy of a - poem called _Hudibras_, without name either of printer or - bookseller, as fit for so lame and spurious an impression. The - true and perfect edition printed by the author's original, is - sold by Richard Marriot under St. Dunstan's church in Fleet - Street; that other nameless is a cheat, and will not abuse - the buyer as well as the author, whose poem deserves to have - fallen into better hands." But the presence of the regular - license brings us to the very probable theory that Marriot may - have issued both editions; the first without his name because - he was unwilling to allow it to appear until the fortune of - the book seemed certain. - - Singularly enough, Marriot did not issue _The Second Part. By - the Authour of the Firſt_, which came out the next year in - two sizes, octavo and small octavo, _Printed by T. R. for John - Martyn, and James Alleſtry, at the Bell in St. Pauls Church - Yard_. Ten years later we find the volume being issued by - Martyn and also by Herringman. - - _The Third and laſt_ | _Part_. | _Written by the Author_ | - _Of The | First and Second Parts_. | _London_, | _Printed for - Simon Miller, at the Sign of the Star_ | _at the Weſt End of - St. Pauls, 1678._ was only published in one size, the octavo. - We get an idea of the great interest the book created, when, - after a lapse of so many years, this last part ran into a - second edition in a twelvemonth.* - - Mr. Pepys is our authority for the cost of the spurious book. - He says, in his Diary on Christmas Day, 1662: "Hither come Mr. - Battersby; and we falling into a discourse of a new book of - drollery in verse, called Hudebras, I would needs go find it - out, and met with it at the Temple: it cost 2s. 6d. But when - I came to read it, it is so silly an abuse of the Presbyter - Knight going to the warrs, that I am ashamed of it; and by and - by, meeting at Mr. Townsend's at dinner, I sold it to him for - 18d." He afterward tried to read the second part, so we learn - from his notes dated November 28, 1663; but which issue he - used we shall never know. He says: - - "... To Paul's Church Yarde, and there looked upon the second - part of Hudibras, which I buy not, but borrow to read, to - see if he be as good as the first, which the world do cry so - mightily up, though it hath not a good liking in me...." - - Octavo. - - COLLATION: _Title; A-R, in eights_. - - - * It should be noted that some copies of the - volume have the record of the license and some have none. - - - - -JOHN MILTON - -(1608-1674) - - -33. Paradiſe loft. | A | Poem | Written in | Ten Books | By John -Milton. | Licenſed and Entred according | to Order. | London | -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. - - Milton began his great epic in 1658, and is said to have - finished it in 1663. It was licensed after some delay, - occasioned by the hesitation of the deputy of the Archbishop - of Canterbury over the lines: - - "As when the Sun, new ris'n - Looks through the Horizontal Misty Air - Shorn of his Beams, or from behind the Moon - In dim Eclips, disastrous twilight sheds - On half the Nations, and with fear of change - Perplexes Monarchs." - - He may, as Professor Masson has pointed out, have had - difficulty in finding a publisher able and willing to venture - upon the printing of a work by one "whose attacks on the - Church and defenses of the execution of Charles I. were still - fresh in the memory of all, and some of whose pamphlets had - been publicly burnt by the hangman after the Restoration." - Few probably of those whose shops had centered around Paul's - Churchyard, the very heart of the book-trade, could have done - so, for they were, if not ruined, certainly inconvenienced - by the loss of their stock and shops in the Great Fire of the - year before. It is small wonder that Simmons, to whom, through - some agency or other, the poet did come, drove a hard bargain - when the agreement for the copyright was entered into, - April 27, 1667. The original of this agreement came into the - possession of the Tonsons, the proprietors of the copyright, - and was finally presented to the British Museum by Samuel - Rogers, who acquired it from Pickering the publisher. "Milton - was to receive 5 l. down, and 5 l. more upon the sale of each - of the first three editions. The editions were to be accounted - as ended when thirteen hundred copies of each were sold 'to - particular reading customers,' and were not to exceed fifteen - hundred copies apiece. Milton received the second 5 l. in - April, 1669, that is 15 l. in all. His widow in 1680 settled - all claims upon Simmons for 8 l. and Simmons became proprietor - of the copyright, then understood to be perpetuated." - - The book made its appearance at an unfortunate time. London - had barely recovered from the Plague of 1665 (during which - eighty printers had died, wherein is seen another reason for - the difficulty in finding a publisher), and the great district - devastated by the Fire was still only partly rebuilt. It was - not surprising that the 1200 copies which are thought to have - made the first edition did not have a brisk sale; these were - not exhausted for at least eighteen months, and a second - impression was not put out for four years. - - The copies of the first printing may be divided into several - classes, according to the title-pages they bear. These all - differ from one another in several more or less important - particulars, but the text of the work is identical in all - cases, except for a few typographical errors. Two titles, - supposed to be the earliest, were _Licenſed and Entred - according | to Order_, and have the imprint: - - _London | 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._ - - On these the poem is seen to be by "John Milton," and the only - difference between them lies in the type used for Milton's - name, one being of a smaller size than the other. A third - title-page, having a similar imprint but dated 1668, has - "The Author J. M." A fourth has "The Author John Milton," the - license has given place to a group of _fleurs-de-lis_, and the - imprint reads: - - _London, | Printed by S. Simmons, and to be ſold by S. - Thomſon at | the Biſhopſ-Head in Duck-lane, H. Mortlack, - at the | White Hart in Weſtminſter Hall, M. Walker under - | St. Dunſtans Church in Fleet-ſtreet, and R. Boulter at | - the Turks-Head in Biſhopſgate ſtreet, 1668._ - - Two new title-pages were used in 1669, differing only in the - type. The imprint reads: - - _London, | Printed by S. Simmons, and are to be ſold by | T. - Helder at the Angel in Little Brittain. | 1669._ - - Beside these there are others. Early bibliographers claimed - that eight or even nine variations existed, but later - investigation has failed to verify more than six. - - The chief point of interest in all these variations lies in - the fact that Peter Parker, not Simmons, issued the first - volumes. As we have pointed out above, the theory has been - advanced that the owner of the copyright was timid about - avowing his connection with the poet. A more natural reason - would seem to be that he was unable to print the book at - first, through losses, in the Fire perhaps, of presses and - types. Such a theory would seem to derive weight from the fact - that the issues of 1668 and 1669 which bear his name do not - give an address, and it is not until the second edition - of 1674 that we find him "next door to the Golden Lion in - Aldersgate-ſtreet." - - The original selling price of the volume was three shillings. - The prices now vary according to the sequence of the - title-pages. A copy of the first issue sold in New York in - 1901 for eight hundred and thirty dollars. - - The volume has no introductory matter, but begins at once with - the lines "Of Mans Firſt Diſobedience"; Simmons added the - following note to the second edition: "There was no Argument - at firſt intended to the Book, but for the ſatisfaction of - many that have deſired it, is procured." The printer adopted - a very useful custom in numbering the lines of the poem. He - set the figures down by tens in the margin, within the double - lines that frame the text. - - Quarto. The first edition with the first title-page. - - COLLATION: _Two leaves without signatures; A-Z, and Aa-Vv2, - in fours. Without pagination._ - - - - -JOHN BUNYAN - -(1628-1688) - - -34. The | Pilgrims Progreſs | [Eleven lines] By John Bunyan. | -Licenſed and Entered according to Order. | London, | Printed for -Nath. Ponder at the Peacock | in the Poultrey near Cornhil, 1678. - - In 1672 Bunyan was released from the gaol, which, possibly - with a brief interval, had been his "close and uncomfortable" - home for twelve years; and Ponder, who, for his connection - with his famous client, was called "Bunyan's Ponder," entered - the imperishable story, written in "similitudes," at the - Stationers' Hall, December 22, 1677. The customary fee of - sixpence being duly paid, early in the following year the - book was licensed, and soon after published at one shilling - sixpence. - - Its success was very great: the first year saw a second - edition, and the year following a third, each with important - additions. - - Southey stated, in 1830, when he put out a new edition of the - book, that there was no copy of the first edition known, but - since then five have been unearthed, two of which are perfect. - - The portrait of Bunyan engraved by Robert White makes our copy - unique. It shows the author lying asleep over a lion's den, - while above him Christian is represented on his journey. Until - 1886, when this volume was brought to light, the third edition - was supposed to be the first to have a picture of the author; - but now it seems quite certain that other volumes of the first - edition may, like this, have had the print. In the edition - of 1679, the label of the city from which the Pilgrim - was journeying, called "Vanity" here, was changed to - "Destruction." - - The price paid for this volume, when it was sold at auction in - 1901, was fourteen hundred and seventy-five pounds. - - The second part of the _Pilgrim's Progress_ appeared in 1684. - It depends more upon reflected than intrinsic merit; but - copies of the first edition are even rarer than those of the - first edition of the first part. - - Octavo. - - COLLATION: _A-Q3, in eights. Portrait._ - - - - -JOHN DRYDEN - -(1631-1700) - - -35. Absalom | And | Achitophel. | A | Poem. | ... Si Propiùs ſtes | -Te Capiet Magis.... | London, | Printed for J. T. and are to be Sold -by W. Davis in | Amen-Corner, 1681. - - The Earl of Shaftesbury, here typified as Achitophel for his - share in the conspiracy to place the young Duke of Monmouth, - Absalom, on the throne, was committed to the Tower in July, - 1681; and this satire appeared in November, just before the - Grand Jury acquitted him. Notwithstanding the lateness of the - work, its success was unprecedented. We are told that Samuel - Johnson's father, a bookseller of Litchfield, said that he - could not remember a sale of equal rapidity, except that of - the reports of the Sacheverell trial. - - The author's name does not appear in the book; nor yet in the - second edition, to which Tonson added two unsigned poems "To - the unknown author." - - Jacob Tonson, the publisher of the work, was one of the - notable figures in the annals of book-publishing in England, - and his name is inseparably connected with some of the most - important literary ventures of the period: with those of - Milton, Addison, Steele, Congreve, but above all with those of - Dryden. Basil Kennett wrote in 1696: "Twill be as impossible - to think of Virgil without Mr. Dryden, as of either without - Mr. Tonson." He was so poor when he began business that he - is said to have borrowed the twenty pounds necessary to the - purchase of the first play of Dryden's that he published; but, - thanks to his shrewdness, and to the success of his ventures, - he died in affluent circumstances, having fully earned the - title of "prince of booksellers." He was the founder of the - famous Kit-Cat Club, and in spite of Dryden's ill-tempered - lines, - - "With leering looks, bull-faced and freckled fair, - With two left legs, with Judas-coloured hair, - And frowsy pores that taint the ambient air," - - he was not unliked by his clients and friends. - - The only decoration in the book consists of a head-band - preceding the poem, and an initial letter. In some copies the - head-band is pieced out to the width of the type page with - small ornaments. - - Folio. - - COLLATION: _Two leaves without signatures; B-I, in twos._ - - - - -JOHN LOCKE - -(1632-1704) - - -36. An | Essay | Concerning | Humane Understanding. | In Four Books. -[Quotation, Group of Ornaments] London: | Printed by Eliz. Holt, -for Thomas Baſſet, at the | George in Fleet-ſtreet, near St -Dunſtan's | Church. MDCXC. - - Locke's two previous works had been issued anonymously; but - this book, while it has no name on the title-page, has the - author's name signed at the foot of the dedication to Thomas, - Earl of Pembroke; a dedication of such fulsome compliment that - even Pope, who called Locke his philosophic master, is said to - have thought he could never forgive it. In the first edition, - that appeared early in the year, the dedication is not dated, - but "Dorset Court, May 24, 1689," appears in all the following - issues. - - Basset paid thirty pounds for the copyright of the work, and - later agreed to give six bound copies of every subsequent - edition, and ten shillings for every sheet of additional - matter. - - Some copies of the first edition have the imprint: _Printed - for Tho. Baſſet, and ſold by Edw. Mory | at the Sign - of the Three Bibles in St. Paul's Church-Yard. MDCXC._ They - probably belong to an earlier issue: the two _ss_ in _Essay_, - which were here printed upside down, were set right in - the title-pages of the issue facsimiled; and the group - of printer's ornaments, here placed irregularly, were - straightened in our copy. - - In August, 1692, Locke writes: "I am happy to tell you that - a new edition of my book is called for, which, in the - present turmoil of the protestant world, I consider very - satisfactory." The month of September, 1694 brought the book - again before the public, and by the year 1800 twenty different - editions had been published. - - The first edition was full of faults that the second aimed - to correct. "Beſides what is already mentioned, this - Second Edition has the Summaries of the several § §. not only - Printed, as before, in a Table by themſelves, but in the - Margent too. And at the end there is now an Index added. - Theſe two, with a great number of ſhort additions, - amendments, and alterations, are advantages of this Edition, - which the bookseller hopes will make it ſell. For as to the - larger additions and alterations, I have obliged him, and he - has promiſed me to print them by themſelves, ſo that the - former Edition may not be wholly loſt to thoſe who - have it, but by the inſerting in their proper places the - paſſages that will be imprinted alone, to that - purpoſe, the former Book may be made as little defective as - poſſible." - - The amendments and alterations were printed on separate slips - of paper, which were given to purchasers of the first edition - to be pasted into their copies; certainly an ingenious if - not altogether satisfactory way of keeping abreast with the - author's mind. It must have been considered useful, however, - for the same plan was resorted to with the fourth edition. - - "Our friend Dr. Locke, I am told, has made an addition to his - excellent 'Essay,' which may be had without purchasing the - whole book," said the thrifty Evelyn to the careful Pepys, - who replied: "Dr. Locke has set a useful example to future - reprinters. I hope it will be followed in books of value." A - copy of the book in the Bodleian Library, which has its little - slips all carefully pasted in, has a note on the fly-leaf, - written by its owner: - - "Here is observable the honesty of the great Mr. Locke in - printing for the purchasers of this edition the improvements - made in the second." - - Folio. - - COLLATION: _A, four leaves; [a], two leaves; B-Z, Aa-Zz, - and Aaa-Ccc, in fours._ - - - - -WILLIAM CONGREVE - -(1670-1729) - - -37. 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. | [Quotation] London: | Printed for Jacob -Tonſon, within Gray's-Inn-Gate next | Gray's-Inn-Lane. 1700. - - This was the last of Congreve's plays to be performed upon - the stage. It was presented by Betterton's company, but was - a failure. "The unkind Reception this excellent comedy met - with," said Charles Wilson, "was truly the Cauſe of Mr. - Congreve's juſt Reſentment; and upon which, I have often - heard him declare, that he had form'd a ſtrong Reſolution - never more to concern himſelf with Dramatic Writings." - - Quarto. - - COLLATION: _A, three leaves; a, two leaves; B-N2, in fours._ - - - - -EDWARD HYDE - -FIRST EARL OF CLARENDON - -(1609-1674) - - -38. The | History | Of The | Rebellion and Civil Wars | In | England, -| [Five lines] Written by the Right Honourable | Edward Earl of -Clarendon, | [Two lines, Quotations] Volume The First. [Vignette] -Oxford, | Printed at the Theater, An. Dom. MDCCII. [-MDCCIV]. - - Begun in April, 1641, and finished during the period of - Clarendon's exile, which extended from 1667 until his death, - the _History_ was prepared for printing under the direction of - Laurence Hyde, Earl of Rochester, who received assistance from - Dr. Henry Aldrich, Dean of Christ Church, and Thomas Sprat, - Bishop of Rochester. Rochester wrote the introduction and - dedications. - - On the verso of the title-page of the first volume we find - "Imprimatur. Ro. Hander Vice-Can. Oxon. Apr. 29. 1702."; the - second volume is signed "Guil Delaune Vice-Can, Oxon. Sept. - 15, 1703," and the third, by Delaune, "Octob. 16, 1704." - - There is no dedication to the first volume, which begins at - once with the preface; but the second and third volumes are - dedicated to the queen. In the last two volumes a proclamation - by her Majesty, dated June 24, 1703, states that: "whereas Our - Truſty and Wellbeloved William Delaune, Doctor in Divinity, - and Vice-Chancellor of Our Univerſity of Oxford, has humbly - preſented unto US, in the behalf of the ſaid Univerſity, - that They have at Great Expence already Publiſhed One Volume - of the late Earl of Clarendon's Hiſtory, and intend in a - ſhort time to Publiſh the Second and Third Volumes for - Compleating the Work; and the ſole Right of the Copy of the - ſaid Work being Veſted in Our Univerſity of Oxford, - and They having humbly beſought US to Grant Them Our - Royal Priviledge and Licence for the ſole Printing and - Publiſhing the ſame for the Term of Fourteen Years; ... do - therefore hereby Give and Grant ... the same." This refers - to the fact that Clarendon, who had been chancellor of the - University from 1660 until he went into exile, provided in his - will that the profits from the sale of copies of the _History_ - should belong to the University and should be expended in - erecting a building for the exclusive use of the Press, - founded in "1468." - - Previously, and at the time of the printing of the book, the - work of the University Press was done in the "Theatre," a view - of which is given at the left of the figure of Minerva, in the - vignette on the title-page. This was the Sheldonian Theatre, - built from designs by Christopher Wren, at the expense of - Archbishop Gilbert Sheldon, who succeeded Lord Clarendon as - chancellor. It was opened in 1669, and was used for various - academic purposes, as well as for the home of the Press. - Clarendon's design was fulfilled in 1713; and the Clarendon - Building, as it was called, was occupied until it was - outgrown, and the Clarendon Press, for under this name it was - now equally well known, was removed once more, in 1830, to its - present quarters. - - The vignette, with its interesting glimpse of the buildings - near the Theatre, is signed "delin MBurg. ſculp. Univ. Ox.," - in the first two volumes, and "delin MBurghers ſculpt, Univ. - Ox. 1704," in the third, where the plate also shows other - signs of having been gone over or reëngraved.* Beside these - vignettes, the work is ornamented with ambitious copper-plate - head- and tail-pieces, and initial letters, some unsigned, - but probably all by Burg. A portrait of Clarendon occurs as - a frontispiece in each of the three volumes. It is after the - painting by Sir Peter Lely, and was engraved in 1700 by Robert - White, a prolific producer of portraits framed with borders - that, in most cases, were less tasteful than this one, with - its mace, bag, and coat-of-arms. The inscription reads: - "Edward Earle of Clarendon, Lord High Chancellor of England, - and Chancellor of the Univerſity of Oxford. An^o. Dñi 1667." - - The plate for the third volume has been much worked over, - if not entirely redrawn in a slavish copy. White's name is - erased, and Burg's appears in its stead. Some copies of all - three volumes of the first edition are dated 1704; while - others show a confusion of dates, and the portraits do not - follow the order here described. - - Folio. Large paper copy. - - COLLATION: _Three volumes. Three portraits._ - - * A: P. L. Lamborn used a similar idea for an ornament - which he engraved for the Cambridge University Press - about 1761. - - - - -THE TATLER - -39. The | Lucubrations | Of | Iſaac Bickerſtaff Eſq; | Vol. I. -| [Quotation] London, | Printed: And ſold by John Morphew, near -Stationers-Hall. MDCCX. [-MDCCXI.] Note. The Bookbinder is deſired -to place the Index after [Tatler, No. 114] which ends the Firſt -Volume in Folio. - - - The first number of the _Lucubrations_, a folio sheet headed - with the title _The Tatler_, and ending with the imprint - _London: Printed for the Author, 1709_, appeared on Tuesday, - April 12. It was issued thereafter three times a week, on - Tuesdays, Thursdays, and Saturdays, "for the convenience of - the post." - - Public interest having displayed itself in a sufficiently - emphatic manner, the "Author" evidently felt justified in - engaging a permanent printer, and the imprint of the fifth - number reads: "Sold by John Morphew near Stationers-Hall; - where Advertiſements are taken in." - - The first four numbers were distributed free as a kind of - advertisement. Then, "Upon the humble Petition of the Running - Stationers, &c.," they were sold at one penny. But a charge - of halfpence was added after the twenty-sixth number, "Whereas - Several Gentlemen have deſir'd this Paper, with a blank - Leaf to write Buſineſs on, and for the convenience of the - poſt." - - "Quidquid agunt homines nostri farrago libelli" is the motto - printed at the head of the first forty numbers, and "Celebrare - domestica facta" on Nos. 41 and 42, but after that special - mottoes were used. The single numbers usually bear the name - of "_Isaac Bickerstaff, Esq,_, aged sixty-four, an old man, - a philosopher, an humorist, an astrologer and a censor," but - sometimes other members of his family appear in his stead, - especially his half-sister Jenny Distaff, and her husband. - - Number 271, dated January 2, 1711, omits Bickerstaff's name, - and the whole paper, except for some advertisements at the - end, is given to a letter signed by Steele, in which he says: - "The Printer having informed me that there are as many of - theſe Papers printed as will make Four Volumes, I am now - come to the End of my Ambition in this Matter, and have - nothing further to ſay to the World, under the Character of - _Iſaac Bickerſtaff_. This Work has indeed for ſome time - been diſagreeable to me, and the Purpoſe of it wholly - loſt by my being ſo long underſtood as the Author.... - All I can now do for the further Gratification of the Town, is - to give them a faithful Index and Explication of Paſſages - and Alluſions...." The index, called "A Faithful Index of - the Dull as well as Ingenious Paſſages in the Tatlers," - bears at the end the important note, "[The Price of theſe - Two Sheets, Three Pence.]" The "Explication of paſſages" - was made in "The Preface," which, in our copy, is bound after - the dedications of the second volume. For, as it will thus - be seen, Steele bethought himself to add further to the - gratification of the public by printing two title-pages and - four dedications, on folio sheets, for the benefit of those - subscribers who might wish to bind their copies. - - The title-page of the second volume is like the first, only - it is dated 1711; and the foot-note reads: [Symbol: Right - pointing hand] "Note, The Bookbinder is deſired to place the - Index after [Tatler No. 271.] which ends the ſecond Volume - in Folio." The index to the _Tatlers_ of this volume has the - note: "[The Price of theſe Three Sheets and a Half, Six - Pence.]" The notes on the dedications, and the fact that while - the folio sheets made only two volumes, four dedications were - issued, shows us that the binding of the current sheets was an - afterthought, and that the quarto edition in four volumes was - relied upon to keep alive the lucubrations. Thus the quarto - edition dedications were made to do double service. - - In its present form the first volume is dedicated anonymously - to Mr. Arthur Maynwaring, while the second has the other three - dedications. One, to Edward Wortley Montague, signed Isaac - Bickerstaff, has the note: "The Dedication foregoing belongs - to the Second Volume of Tatlers in Octavo; which begins with - N^o 51, and ends with N^o 114". One, to William, Lord Cowper, - signed Richard Steele, has the note: "The foregoing Dedication - belongs to the Third Volume of Tatlers in Octavo, which - begins with N^o. 115, and ends with N^o. 189." The last one, - dedicated to Charles, Lord Halifax, also signed by Steele, - has a note which reads: "This Dedication belongs to the Fourth - Volume of Tatlers in Octavo, which begins with N^o 190, and - ends with N^o 271." - - Aitken tells us that, "Like other publications of the time, - the successive numbers of the Tatler were reprinted in Dublin - and Edinburgh, as they came out. The Dublin issue was in - quarto form, the Edinburgh paper a folio sheet, rather smaller - than the original, and with a fresh set of advertisements of - interest to local readers." - - In No. 102, our editor says of the octavo edition: - - "Whereas I am informed, That there is a ſpurious and very - incorrect Edition of theſe Papers printed in a ſmall - Volume; Theſe are to give Notice, That there is in the - Preſs, and will ſpeedily be publiſhed, a very neat - Edition, fitted for the Pocket, on extraordinary good Paper, - a new Brevier Letter, like the Elzevir Editions, and adorned - with ſeveral Cuts by the beſt Artiſts. To which is - added, a Preface, Index, and many Notes, for the better - Explanation of theſe Lucubrations. By the Author. Who has - reviſed, amended, and made many Additions to the Whole." In - the last number he says again: "The Third Volume of theſe - Lucubrations being juſt finiſh'd, on a large Letter in - Octavo, ſuch as pleaſe to ſubſcribe for it on a Royal - Paper, to keep up their Sets, are deſired to ſend - their Names to Charles Lillie, Perfumer, at the Corner of - Beauford-Buildings, in the Strand, or John Morphew near - Stationers Hall, where the Firſt and Second Volumes are to - be deliver'd." - - The price of the corrected work in four quarto volumes, if - bought of the printer, was £1 per volume on royal paper, and - ten shillings on medium paper; and it is gratifying to learn - that the work met with so great a success that there was - hardly a name eminent at the time which was not subscribed. - - A copy in the British Museum has for a frontispiece a portrait - of "Isaac Bickerstaff Esq. Engraved and ſold by John Sturt - in Golden-Lion Court in Alderſgate Street Price Six Pence. - MDCCX." and signed _B. L ens ſen^r delineavit_. - - Folio. - - COLLATION: _Two volumes. No signatures._ Volume I: _iv pp. - [114 ll.], iv pp._ Volume II: _viii pp. [271 ll.], vi pp._ - - - - -THE SPECTATOR - - -40. Numb. I | 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. [At the end] London: -Printed for Sam. Buckley, at the Dolphin in Little Britain; and sold -by A. Baldwin in Warwick-Lane. - - The last _Tatler_ had appeared in the previous January: - the new paper like its predecessor came out in single folio - sheets, but, as may be seen above, its editors considered the - demand sufficient to warrant its daily publication. - - The first fifteen numbers bore the imprint here given, with - the additional information, after the second number, "where - Advertisements are taken in." Buckley paid Addison and Steele - £575, on November 10, 1712, for a half-share in the copyright - of the paper and in the numbers not yet published. On October - 13, 1714, he transferred this assignment to Jacob Tonson, - Jr., whose name appears October 2, 1712, in place of that of - Baldwin's and of "Charles Lillie, Perfumer, at the Corner of - Beaufort-Buildings in the Strand," who had sold the sheet from - the sixteenth number, dated March 19, 1711, until that time. - - On December 6, 1712, the following notice by Steele appeared, - and as it sums up briefly the main points in the _Spectator's_ - successful career, it may be regarded as a text for the - succeeding notes. - - "I have nothing more to add, but having ſwelled this Work to - Five hundred and fifty-five Papers, they will be diſpoſed - into ſeven Volumes, four of which are already publiſh'd, - and the three others in the Preſs. It will not be demanded - of me why I now leave off, tho' I muſt own my ſelf obliged - to give an Account to the Town of my Time hereafter, ſince - I retire when their Partiality to me is ſo great, that an - Edition of the former Volumes of Spectators of above Nine - thouſand each Book is already ſold off, and the Tax on - each half Sheet has brought into the Stamp-Office one Week - with another above 20 l. a Week ariſing from this ſingle - Paper, notwithſtanding it at first reduced it to leſs than - half the number that was uſually Printed before this Tax was - laid." - - Volumes 1 and 2, printed in octavo, were bound up, and, - dedicated to Lord Somers and Lord Halifax, were issued in - 1712; volumes 3 and 4, with dedications to Henry Boyle and the - Duke of Marlborough, came out the next year; and the remaining - three, with dedications to the Marquis of Wharton, Earl of - Sunderland, and Sir Paul Methuen, were also published in - 1713. With the help of Eustace Budgell, Addison issued a - continuation of the paper in 1714, which, when it made enough - numbers for a volume, was issued with a dedication to - Will Honeycomb, in 1715. An edition in duodecimo was also - published. A few copies on large paper sold at one guinea a - volume. - - There is some difference of opinion as to the exact number - of copies circulated, all founded on the facts given in the - _Spectator_ itself. In No. 10, Addison says that there were - already 3000 copies distributed every day. "So that if I allow - Twenty Readers to every Paper, which I look upon as a modeſt - Computation, I may reckon about Threeſcore thouſand - Diſciples in London and Weſtminster". On July 23, 1711, he - wrote: "... my Bookſeller tells me, the Demand for theſe - my Papers increaſes daily," and on December 31 he repeated, - "I find that the Demand for my Papers has encreaſed every - Month ſince their firſt appearance in the World." On the - 1st of August, 1712, St. John's Stamp Act came into force, by - which a halfpenny stamp was imposed upon all newspapers and - periodical sheets. This attempt to suppress free expression - of opinion succeeded to some extent; many of the papers of the - day ceased to exist. The _Spectator_ continued as before, - but the price was raised from one penny to twopence. "... A - payment of over £20. a week for stamp duty represents a daily - circulation of more than 1,600 copies, or 10,000 a week, - from the 1st August to the 6th December 1712, and the - daily circulation before the 1st August would therefore be, - according to Steele's statement, nearly 4000." - - Two hundred and seventy-four of the 635 papers are attributed - to Addison, and from 236 to 240 to Steele. Addison usually - signed his essays with one of the letters of the name Clio, - and Steele wrote over the initials T. and R. Besides the two - principal writers, Budgell, Hughes, Parnell, Pope and Tickell - are thought to have contributed papers, but considerable - uncertainty exists with regard to their work. - - Folio. - - COLLATION: _In numbers._ - - - - -DANIEL DEFOE - -(1661?-1731) - - -41. The | Life | And | Strange Surprizing | Adventures | Of | Robinson -Crusoe, | Of York, Mariner: | [Nine lines] Written by Himſelf. | -London: | Printed for W. Taylor at the Ship in Pater-Noſter- | Row. -MDCCXIX. - - The story is told of how Defoe's manuscript was refused by - many of the London publishers before William Taylor, one of - the most esteemed and successful of them, accepted it. The - book came out April 25, and its success was immediate; a - second edition was called for only seventeen days after the - first; a third followed twenty-five days later, and a fourth - on the 8th of August. _The Farther | Adventures | Of Robinson - Crusoe; | Being the Second and Laſt Part | Of His | Life ... - To which is added a Map of the World_ ... was issued in August - of the same year, and was followed on August 6, 1720, by a - sequel called _Serious Reflections | During | The | Life ... - of Robinson Crusoe_. Further evidence of the popularity of the - work is furnished by the piracies, numerous imitations, and - translations that appeared within a short time after its - publication. - - Lowndes and others repeat an error of Dibdin's in saying that - _Robinson Crusoe_ first appeared in the _Original London - Post, or Heathcot's Intelligence_, from No. 125 to No. 289 - inclusive, the latter dated October 7, 1719. The story - was _reprinted_ in that paper, "with a care to divert and - entertain the reader," but _beginning_ October 7, 1719, and - ending with No. 289, dated October 19, 1720. The unsigned - folding map was used in this last as well as in the fourth - edition of the first part. An engraving representing the hero - of the story is placed sometimes as a frontispiece. It is - signed, like the map of the island, "Clark & Pine Sc.," and, - while not remarkable for artistic merit, is certainly notable - as having been the model of all future conceptions. - - Defoe sold all his property in _Robinson Crusoe_ to Taylor, - who gained a very large fortune by it and its successors. When - that worthy man died, only five years after the publication of - the book, he was reputed to be worth between forty and fifty - thousand pounds. He added an introduction to _The Serious - Reflections_, in which he says: - - "The ſucceſs the two former Parts have met with, has been - known by the Envy it has brought upon the Editor, expreſs'd - in a thouſand hard Words from the Men of Trade; the Effect - of that Regret which they entertain'd at their having no Share - in it: And I muſt do the Author the Justice to ſay that - not a Dog has wag'd his Tongue at the Work itſelf, nor has a - Word been ſaid to leſſen the Value of it, but which has - been the viſible Effect of that Envy at the good Fortune of - the Bookſeller." - - A guarantee of this good fortune may be seen in the imprint - of the book, which now reads: "At the Ship and _Black-Swan_ - in Pater-noſter Row," that last-named property having been - purchased out of the proceeds of its sale. After Taylor's - death, the business was sold to Thomas Longman, the founder - of the firm of Longmans, Green & Co., for over three thousand - pounds. - - Octavo. - - COLLATION: _3 l., pp. 364. [4 l.] pp. 373. [9 l.], pp. 270, - 84 [2 l.]_ - - - - -JONATHAN SWIFT - -(1667-1745) - - -42. Travels | Into Several | Remote Nations | Of The | World. | In -Four Parts. | By Lemuel Gulliver, | Firſt a Surgeon, and then a -Cap- | tain of ſeveral Ships. | Vol. I. | London: | Printed for Benj. -Motte, at the | Middle Temple-Gate in Fleet-ſtreet. | MDCCXXVI. - - "I have employed my time, (beside ditching) in finishing, - correcting, amending, and transcribing my travels in four - parts complete, newly augmented and intended for the press, - when the world shall deserve them, or rather when a printer - shall be found brave enough to venture his ears." This is what - Swift says in a letter written to Pope, and thus it will be - seen that there could have been no real doubt among Swift's - friends as to the authorship of the book, though for very - obvious reasons it was found desirable to have it published - anonymously. Even after it was issued, and had proved a - success, the pretense of ignorance of the author's identity - was kept up. Pope himself writes, November 16, 1726 (the work - appeared October 28): - - "I congratulate you first on what you call your cousin's - wonderful book, which is _publica trita manu_ at present, and - I prophesy will hereafter be the admiration of all men...." - "Motte," (the publisher who had been brave enough to risk - his ears), "received the copy, he tells me, he knew not from - whence, nor from whom, dropped at his house in the dark, from - a hackney coach. By computating the time I found it was after - you left England, so for my part, I suspend my judgement." - - Swift was staying with Pope when the manuscript was so - mysteriously left at Motte's door by Charles Ford, his - intermediary, through whom, and Erasmus Lewis, all the - business was conducted. Writing under the assumed name of - Sympson, Swift demanded that Motte should give him £200, which - the publisher agreed to do after six months if the success of - the book would allow. The whole issue was exhausted within - a week after its appearance, and a second edition speedily - followed, making the payment, which we learn was promptly - effected, an easy matter. We are told that Swift used to leave - the profits of his writing to the booksellers; but _Gulliver_ - proved the exception to the rule. He says, in 1735, "I never - got a farthing by anything I writ, except one about eight - years ago, and that was by Mr. Pope's prudent arrangement for - me." Motte, like Taylor with _Robinson Crusoe_, grew rich out - of it; or, as Swift puts it to Knightley Chetwood in a letter - dated February 14, 1726-7, in which he still keeps up the - mystery of the authorship, "... in Engl^d I hear it hath made - a bookseller almost rich enough to be an alderman." - - Of its success, Arbuthnot says, November 8, 1726: "_Gulliver's - Travels_, I believe, will have as great a run as John Bunyan. - It is in everybody's hands...." Gay wrote a few days later: - "The whole impression sold in a week. From the highest to the - lowest it is universally read, from the cabinet council to the - nursery." "Here is a book come out," says Lady Mary Wortley - Montagu, "that all our people of taste run mad about...." - - It speaks well for Motte's sagacity that he should have been - willing to undertake the publishing of so violent a book at - all, and we are little surprised that he balked at certain - passages, and that, to avoid offense, "he got those - alterations and insertions made" which Swift afterward so - bitterly resented. In the letter to Knightley Chetwood quoted - above, Swift said: "In my Judgment I should think it hath been - mangled in the press, for in some parts it doth not seem of - a piece, but I shall hear more when I am in England." In a - letter to Ford written more than six years later, we find him - still recurring to the matter: - - "Now you may please to remember how much I complained of - Motte's suffering some friend of his (I suppose it was Mr. - Tooke, a clergyman, now dead) not onely to blot out some - things that he thought might give offence, but to insert - a good deal contrary to the author's manner and style and - intention. I think you had a Gulliver interleaved and set - right in those mangled and murdered pages.... To say the truth - I cannot with patience endure that mingled and mangled manner - as it came from Motte's hands, and it will be extremely - difficult for me to correct it by other means, with so ill a - memory and so bad a state of health." Swift had good reason to - complain about this matter as he did, personally and through - Ford, who wrote to Motte blaming him for the printer's gross - errors. "Besides the whole sting is absent out of several - passages in order to soften them. Thus the style is debased, - the humours quite lost, and the matter insipid," cries the - enraged author. The interleaved copy was forthcoming, and the - text as corrected was printed in Dublin in 1735. - - The bibliography of the book is perplexing. There seem to have - been four distinct issues, or, rather, editions, during - the first year; while copies of the same edition show many - variations. The edition to which the large paper copies belong - is usually called the first. In it the four parts are paged - separately, and the portrait of Gulliver, signed "Sturt et. - Sheppard. Sc.," is found in two states. One of these states, - evidently the first, has the inscription, "Captain Lemuel - Gulliver, of Redriff Ætat. ſuæ 58.," in two lines below - the oval. The other has the inscription around the oval, - as follows: "Captain Lemuel Gulliver Of Redriff Ætat. Suæ - LVIII.," and beneath, where the name was before, a quotation - from Persius now appears. - - The three other editions have distinct differences of type, - setting and ornaments. The portrait in all of these is of - the second state. Two of these editions have the parts paged - separately, but one has a continuous pagination for each - volume. One edition was reissued in 1727, with verses by Pope - prefixed. On the title-page of the first volume it is called - "second edition," and on that of the second volume, "second - edition corrected." This edition was probably considered - by the publisher to be the most correct, and was therefore, - probably, the last issued in 1726. - - Octavo. - - COLLATION: _Two volumes._ Volume I: _1 l., xvi, 148 pp.; 3 ll., - 164 pp._ Volume II: _3 ll., 155 pp.; 4 ll., 199 pp._ Portrait, - four maps. - - - - -ALEXANDER POPE - -(1688-1744) - - -43. An | Essay | On | Man | Addreſs'd to a Friend. | Part I. | -[Printer's ornament] London: | Printed for J. Wilford, at the Three -Flower-de-luces, be- | hind the Chapter-Houſe, St. Pauls. | [Price -One Shilling.] - - The friend to whom, under the name of Lælius, the four - Epistles that make up the _Essay_ were addressed, was Henry - Saint John, first Viscount Bolingbroke, the object of Pope's - reverence, and the inspirer of much of his poetry. It seems to - be agreed that Bolingbroke's philosophical fragments gave the - "philosophical stamina" to this work also. - - The first part appeared in February, the second, about April, - 1733; they were undated and anonymous, for fear of charges - against the author's orthodoxy. Pope went to considerable - lengths to mislead the public in this matter, but, as Dr. - Crowley says, the applause received "took off all the alarm - which the writer might have felt at his new experiment in the - marriage of metaphysics with immortal verse." "The design of - concealing myself," said our author, "was good, and had its - full effect. I was thought a divine, a philosopher and what - not? and my doctrine had a sanction I could not have given to - it." - - In "Epistle II," as the second part is called on the - title-page, there is a note "To the Reader" which says: - "The Author has been induced to publiſh theſe Epiſtles - ſeparately for two Reaſons; The one, that he might not - impoſe upon the Publick too much at once of what he thinks - incorrect; The other, that by this Method he might profit of - its Judgement on the Parts, in order to make the Whole leſs - unworthy of it." At the end of "Epistle III," which came out - the same year, is a note as follows: "N. B. The Reſt of this - Work will be publiſhed the next Winter." And at the end of - the fourth Epistle, issued about the middle of January, 1734: - "Lately Publiſhed the three former Parts of An Essay on Man. - In Epiſtles to a Friend. Sold by J. Wilford at the Three - Flower-de-Luces, behind the Chapter-Houſe in St. Paul's - Church-yard." - - All four parts were issued in octavo and quarto, as well as - in folio. The quarto edition bears the dates of publication. A - second edition of the first part, called "Epistle I, corrected - by the Author," contained a table of contents to the first - three Epistles. The fourth Epistle was originally issued with - such a table called, "The Contents, Of the Nature and State of - Man, with reſpect to Happiness." - - Pope intrusted the publication of the book to John Wilford, - who was afterward summoned before the House of Lords for - breach of privilege in publishing, with the bookseller, - Edmund Curll, the names of the titled correspondents in the - advertisement to the quasi-unauthorized _Letters_. Pope - made the change from Bernard Lintot, his usual publisher, to - Wilford in order to conceal his identity the more completely, - and to add to the mystery of authorship. - - The volume is handsome in appearance: it is ornamented - with initial letters, and woodcut and type-metal head- and - tail-pieces. - - Folio. - - COLLATION: _19 pp., 1 l., 18, 20 pp., 2 ll., 18 pp., 1 l._ - - - - -JOSEPH BUTLER - -BISHOP OF DURHAM - -(1692-1752) - - -44. The | Analogy | Of | Religion, | Natural and Revealed, | [Six -lines] By | Joseph Butler, L.L.D. Rector of | Stanhope, in the -Biſhoprick of Durham. | [Quotation] London: | Printed for James, -John and Paul Knapton, at the | Crown in Ludgate Street. MDCCXXXVI. - - The _Analogy_ ran into edition after edition, and is reprinted - even now. "Few productions of the human mind," Allibone tells - us, "have elicited the labours of so many learned commentators - as have employed their talents in the exposition of Butler's - Analogy." He gives seventeen editions with commentaries, - printed before 1858. In recent times no less a name than that - of Gladstone may be counted among the number. - - The Knaptons were the publishers of Butler's first printed - volume, _Fifteen Sermons_, 1726. - - Quarto. - - COLLATION: _5 ll., x, 11-320 pp._ - - - - -THOMAS PERCY - -BISHOP OF DROMORE - -(1729-1811) - - -45. Reliques | Of | Ancient English Poetry: | [Five lines] Volume The -First. | [Vignette with the words] _Durat Opus Vatum._ | London: | -Printed for J. Dodsley in Pall-Mall. | MDCCLXV. - - Although his name does not appear upon the title-page, the - author signed it to the dedication to Elizabeth, Countess - of Northumberland. He offers the book, he says, with some - hesitation, yet hopes that the names of so many men of - learning and character among his patrons and subscribers will - "ſerve as an amulet to guard him from every unfavourable - cenſure for having beſtowed any attention on a parcel of - Old Ballads." - - The book came out in February, after four or five years of - active preparation. Johnson criticised it, but in the main the - work was received with the verdict, which has held ever since, - that it marked an epoch. Dibdin says that when it appeared, - the critics "roared aloud for a sight of the MS.!" especially - Joseph Ritson, the antiquary, who denied its existence. - Dibdin, however, saw the folio, and describes it at some - length, besides quoting notes in the Bishop's handwriting, one - of which is of especial interest: - - "Memorandum. _Northumberland House, Nov. 7, 1769._ This very - curious old Manuscript in its present mutilated state, but - unbound and sadly torn, I rescued from destruction, and begged - at the hands of my worthy friend _Humphrey Pitt, Esq._ then - living at Shiffnal in Shropshire, afterwards of Prior Lee near - that town; who died very lately at Bath: viz. in Summer, - 1769. I saw it lying dirty on the Floor under a Bureau in ye - Parlour: being used by the Maids to light the fire. It was - afterwards sent most unfortunately to an ignorant Bookbinder, - who pared the margin, when I put it into Boards in order to - lend it to Dr. Johnson." - - James Dodsley, the printer of our charming volumes, was the - younger brother of Robert, with whom, as _R. & J. Dodsley_, - he was for some time a partner, until, in 1759, he became - the sole proprietor of the house. He lacked the elder - man's energy, but he carried on an extensive and profitable - business. He is said to have paid Percy 100 guineas for the - first edition of the _Reliques_--not a very large sum for such - a work. Pickford tells us, however, that "as the _Reliques_ - became popular, and as other editions were in request, so did - the sums paid to Percy increase; and best of all, the book - attracted the notice of those in a high class, in whose power - it was to forward and promote the interests of the editor." - Whatever the basis of his relations with Dodsley, we have his - own word for it that when the third edition was published he - "had no share in the property of the impression." Those "in - a high class" promoted our author from one thing to another, - until, as Granger had hoped he would do, "he found himself - sung into a throne," a reward quite as much to his mind, no - doubt, as anything Dodsley could have arranged. - - It is only fair to say that few authors of the period were - better served by their publisher than Percy was by his in the - matter of typography. The ornament used is also especially - good. A frontispiece to the first volume, surmounted by the - inscription, "Non Omnis Moriar," and representing a harper - delighting an audience, is signed by Samuel Wale, who was - chiefly employed in designing vignettes and illustrations for - books. He had studied with Francis Hayman, a printer and maker - of illustrations, who, with N. Blakey, was employed by Messrs. - Knapton and Dodsley to execute the first series of historical - prints designed by Englishmen. The plate was engraved by - Charles Grignion, or Grignon, a pupil of Gravelot and Le Bas, - who, like Wale, was much employed by publishers. Together they - illustrated a large number of books; but the charm of their - work seems to be chiefly due to Grignion. The vignettes, with - the motto "Durat Opus Vatum" on the title-pages and the head- - and tail-pieces, though unsigned, were evidently designed and - engraved by the same hands. - - There are three parts to each volume, and each part begins and - ends with a copper-plate engraving illustrative of a ballad. - The head-pieces refer to the first ballad in the book, but the - tail-pieces have legends showing where the poem is found. On - page 24 of the second volume, the following note is attached - to the poem "For the Victory of Agincourt": "This ſong or - hymn is given meerly as a curioſity, and is printed from a - MS copy in the Pepys collection, vol. I. folio. It is there - accompanied with the muſical notes, which are copied in a - ſmall plate at the end of this volume." - - A table of "Errata" for all three volumes, an "Advertisement," - and a note "To the Binder" are found at the end of the first - volume. The Advertisement reads: "The Editor's diſtance from - the preſs has occaſioned ſome miſtakes and confuſion - in the Numbers of the ſeveral Poems, and in the References - from one Volume to another: the latter will be ſet right by - the Table of Errata, and the former by the Tables of Contents. - In the Second Volume, page 129 follows page 112: this was - merely an overſight in the Printer; nothing is there - omitted." - - The binder finds this caution addressed to him: "The Binder - is deſired to take Notice that the marginal Numbers of the - 1ſt and 3^d Volumes are wrong: that the Sheets marked Vol. - i. are to be bound up as Volume The Third: and that thoſe - noted Vol. III. as Volume The First." Neither author nor - printer thought to tell us of the addition of "George - Barnwell" in eight leaves, at page 224 of Volume III; but - perhaps the inclusion was decided upon too late for the - crowding in of another note. - - The notes are interesting, and are quoted here as showing that - Percy made many changes in the work even after it was ready - to be sewed, perhaps after some copies had been issued. For - instance, there seems to be no reason to doubt that he changed - the order of the volumes after they were all printed, making - the first last, in order to bring the ballads of "Chevy Chase" - and the Robin Hood cycle at the beginning. Two volumes of the - _Reliques_ without imprints, preserved in the Douce collection - of the Bodleian Library, are interesting in this connection - since they contain many pieces not in the published edition. - A note by Furnivall, added to Rev. J. Pickford's Life of Percy - which prefaced the Hales and Furnivall _Bishop Percy's Folio - Manuscript_, 1867, gives the omission and changes in detail. - We quote only the following: "... and the engraving at the end - of Douce's volume ii., instead of being the published rustic - sketch, is a coat of arms, with a lion and unicorn at the - side with the Percy motto 'Esperance en Dieu.' This was wisely - cancelled, no doubt, as the Countess of Northumberland might - not then have appreciated the compliment of the grocer's son - claiming kinship with her." - - Octavo. - - COLLATION: _Three volumes_. - - - - -WILLIAM COLLINS - -(1721-1759) - - -46. Odes | On Several | Deſcriptive and Allegoric | Subjects. | -By William Collins. | [Quotation, Vignette] London: | Printed for A. -Millar, in the Strand. | M.DCC.XLVII. | (Price One Shilling.) - - Collins and his friend Joseph Warton, the critic, both at the - time unknown, proposed to issue a volume of poems together: - "Collins met me in Surrey, at Guildford races, when I wrote - out for him my odes, and he likewise communicated some of his - to me; and being both in very high spirits, we took courage, - and resolved to join our forces, and to publish them - immediately." The plan, however, fell through and they finally - published separately, though almost simultaneously. This work, - though dated 1747, really appeared in December, 1746. Warton's - _Odes on various Subjects, London, 1746_, reached a second - edition, but Collins's book was not a success, and it is said - that, in disgust, he burned the larger part of the unsold - edition. - - "Each," wrote Gray, "is the half of a considerable man, and - one the counterpart of the other. The first [i.e. Warton] has - but little invention, very poetical choice of expression, and - a good ear. The second [i.e. Collins] a fine fancy, modelled - upon the antique, a bad ear, great variety of words, and - images with no choice at all. They both deserve to last some - years, but will not." Time has set Collins right. - - The vignette on the title-page, representing a pan-pipe and - harp surrounded by a wreath of fruit, laurel, oak, and palm, - with heads of Pan and Apollo at the top, is by Gerard (?) Van - der Gucht. Thin woodcut head-bands at the beginning of some - of the odes, and a tail-piece after the first one, furnish all - the ornament for this pathetic volume. - - Octavo. - - COLLATION: _2 ll., 52 pp._ - - - - -SAMUEL RICHARDSON - -(1689-1761) - - -47. Clarissa. | Or, The | History | Of A | Young Lady: | [Six lines] -Publiſhed by the Editor of Pamela. | Vol. I. | London: | 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. - - _Pamela_ was written at the suggestion of two booksellers, - Rivington and Osborne, who published it in four volumes - in 1741-42; and as it proved a great success its "Editor" - followed it with _Clarissa_. Only the last five volumes - appeared in 1748, the first two having come out the previous - year. - - In connection with the mistaken idea, which has existed, that - there were eight volumes in the first edition, Mr. Dobson, - in his life of Richardson, gives us these quotations from the - author himself: - - "There were in fact, in the first edition, not eight volumes - but seven. "I take the liberty to join the 4 Vols. you have - of _Clarissa_, by two more," says Richardson to Hill in an - unpublished letter of November 7, 1748. "The Whole will make - Seven; that is, one more to attend these two. Eight crowded - into Seven by a smaller Type. Ashamed as I am of the - Prolixity, I thought I owed the Public Eight Vols. in Quantity - for the Price of Seven"; and he adds a later footnote to - explain that the 12mo book "was at first published in Seven - Vols. [and] Afterwards by deferred Restorations made Eight as - now."" Then Mr. Dobson goes on to add the following: - - "Of the seven volumes constituting the first edition, two were - issued in November, 1747; two more in April, 1748 (making - "the 4 Vols. you have," above referred to); and the remaining - three, which, according to Mr. Urban's advertisement, - "compleats the whole," in December, 1748." - - The second and succeeding volumes have the line, _And Sold - by John Osborn, in Pater-noſter-Row_, added to the imprint, - after Richardson's name. - - Bishop Warburton presented the author with a preface in which - he pointed out the variety of the characters in the book, and - commended the moral tendency of the work. This, by the - way, serves to remind us that he afterward quarrelled with - Richardson because the novelist ventured to censure Pope's - sentiment, "Every woman is at heart a rake." - - In a catalogue like this, no name has more interest than that - of Samuel Richardson, "The Father of the English Novel," and a - printer and publisher of distinction. At the age of seventeen - he chose the profession of printer, because he thought that in - it he would be able to satisfy his craving for reading. After - a diligent apprenticeship to John Wilde, whose daughter was - his first wife, he gradually won his way until he became one - of the leading printers of his time. He issued twenty-six - volumes of _Journals_ of the House of Commons, though he found - the position more honorable than lucrative; he was the printer - of the _Daily Journal_ from 1736 to 1737, and of the _Daily - Gazetteer_ in 1738; he was chosen printer to an interesting - _Society for the Encouragement of Learning_, for whom - he printed and edited their first and only volume, _The - Negociations of Sir Thomas Roe in his Embassy to the Ottoman - Porte from the year 1621 to 1628 inclusive_. He also printed, - among other books, an edition of _Æsop's Fables_, De Foe's - _Tour through Great Britain_, Young's _Night Thoughts_, and - the second volume of De Thou's _Historia Sui Temporis_, 1733. - He became a member of the Stationers' Company in 1689, and its - master in 1754. - - Duodecimo. - - COLLATION: _Seven volumes._ - - - - -HENRY FIELDING - -(1707-1754) - - -48. The | History | Of | Tom Jones, | A | Foundling. | In Six Volumes -| By Henry Fielding, Eſq; | [Quotation] London: | Printed for A. -Millar, over-againſt | Catharine-ſtreet in the Strand. | MDCCXLIX. - - The announcement of the appearance of the work in the _General - Advertizer_ for February 28, 1749, reads as follows: - - "This day is published, in six vols., 12mo, The History of Tom - Jones, A Foundling.--Mores hominum multorum vidit. By Henry - Fielding Esq. - - "It being impossible to get sets bound fast enough to answer - the demand for them, such Gentlemen and Ladies as please may - have them served in Blue Paper and Boards, at the price of - 16s. a set, of A. Millar, over against Catharine Street, in - the Strand." - - The sale was really enormous for those days, and Millar, the - successful publisher, could afford to be generous to Fielding, - as he had been to others, thus winning for himself the - position of a patron as well as publisher. Johnson called him - "the Mæcenas of literature." "I respect Millar, sir;" said he, - "he has raised the price of literature." - - Horace Walpole gives us an account of the dealing of this - remarkable man in this case. He says, in a letter to George - Montagu: "Millar, the bookseller, has done very generously - by him [Fielding]; finding 'Tom Jones' for which he gave him - £600. sell so greatly, he has since given him another £100." - - A second edition in four volumes was issued the same year, and - a third, also in four volumes, the year following. The book - has been translated into French, German, Spanish, Dutch, - Russian, and Swedish. It was frequently dramatized, and was - also turned into a comic opera. - - An original document in the possession of the owner of the - book from which the facsimile was made shows that the value - of _Tom Jones_ had not decreased with successive editions, or - else the various partners, whose well-known names are - signed to it, would not have thought it worth their while to - prosecute. - - "Memorandum July, 24. 1770. - - "At the Chapter Coffee-house, it is agreed by the Partners - in Joseph Andrews and Tom Jones, to prosecute Alexander - Donaldson, Bookseller in the Strand, for printing the above - Books, in the Court of Chancery, and do agree to pay our - respective Shares of the Expence of the Proscecution. - - WILL: STRAHAN - THO^S. LONGMAN - W. JOHNSTON - ROBERT HORSFIELD - THO: CADELL - T BECKET - ROBINſON & ROBERTS - HAWES, CLARKE & COLLINS - STANLEY CROWDON - EDM^D. & CH^S DILLY - WM. & J. RICHARDſON - THO^S. LOWNDES - THOMAS CASLON" - - - Duodecimo. - - COLLATION: _Six volumes._ - - - - -THOMAS GRAY - -(1716-1771) - - -49. 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.] - - In 1750 Gray finished a poem which he had begun eight years - before, and it was circulated freely, in manuscript, among his - delighted friends. One of them, Horace Walpole, received the - following communication from the author, dated at Cambridge, - February 11, 1751: - - "As you have brought me into a little sort of distress, you - must assist me, I believe, to get out of it as well as I can. - - "Yesterday I had the misfortune of receiving a letter from - certain gentlemen (as their bookseller expresses it), who have - taken the Magazine of Magazines into their hands. They tell - me that an _ingenious_ Poem, called reflections in a Country - Church-yard has been communicated to them, which they - are printing forthwith; that they are informed that the - _excellent_ author of it is I by name, and that they beg not - only his _indulgence_, but the _honour_ of his correspondence. - As I am not at all disposed to be either so indulgent or so - correspondent as they desire, I have but one bad way left to - escape the honour they would inflict upon me; and therefore am - obliged to desire you would make Dodsley print it immediately - (which may be done in less than a week's time) from your copy, - but without my name, in what form is most convenient for him, - but on his best paper and character; he must correct the - press himself, and print it without any interval between the - stanzas, because the sense is in some places continued beyond - them; and the title must be,--Elegy, written in a Country - Church-yard. If he would add a line or two to say it came into - his hands by accident, I should like it better. If you behold - the Magazine of Magazines in the light that I do, you will not - refuse to give yourself this trouble on my account, which you - have taken of your own accord before now. If Dodsley do not do - this immediately, he may as well let it alone." - - "You have indeed, conducted with great decency my little - _misfortune_:" (this was written to Walpole on Ash-Wednesday, - after the book was published): "you have taken a paternal care - of it, and expressed much more kindness than could have been - expressed from so near a relation. But we are all frail; and I - hope to do as much for you another time. - - "Nurse Dodsley has given it a pinch or two in the cradle, that - (I doubt) it will bear the marks of as long as it lives. But - no matter: we have ourselves suffered under her hands before - now; and besides it will only look the more careless and by - _accident_ as it were. I thank you for your advertisement [the - preface, signed 'The Editor'], which saves my honour, and in a - manner _bien flatteuse pour moi_, who should be put to it even - to make myself a compliment in good English." - - Dodsley's promptness was noteworthy; on February 16 the book - was issued, having been six days, at most, in the printer's - hands. The author, even if he had desired, could hardly have - complained about the ornaments on the title-page, since he had - given Dodsley a free hand. It would be pleasant to see in - the woodcuts, with their death's-heads, spades, cross-bones, - hour-glasses, pickaxes and crowns, an argument for a sense - of decoration, or even of a sense of humour, rather than the - evidences of a habit of the use of such things for funeral - sermons. - - Speaking of Nurse Dodsley's "pinches," the following extract - from a letter to Walpole, dated March 3, 1751, proves of - additional interest: "I do not expect any more editions; as - I have appeared in more magazines than one. The chief errata - were _sacred_ bower for _secret_; _hidden_ for _kindred_ (in - spite of dukes and classics); and "_frowning_ as in scorn" for - _smiling_. I humbly propose, for the benefit of Mr. Dodsley - and his matrons, that take _awake_ for a verb, that they - should read _asleep_, and all will be right." - - The two versions of the poem probably appeared on the same - day. - - _The Magazine of Magazines Compiled from Original Pieces, - With Extracts from the moſt celebrated Books And Periodical - Compoſitions Publiſhed in Europe_, was issued by William - Owen, maker of mineral water, at Homer's Head, near Temple - Bar. Owen's compositor, having had more time, avoided some - of the errors of the printers of the book, but he fell into - others of his own; and he completely frustrated Gray's desire - to be anonymous. The poem is introduced, amidst a running fire - of talk, in this way: "Gentlemen, ſaid _Hilario_, give - me leave to ſooth my own melancholy, and amuſe you in a - moſt noble manner, with a fine copy of verſes by the - very ingenious Mr. Gray, of _Peterhouſe_, Cambridge.--They - are--"Stanza's written in a Country Church-yard."" - - The book proved immensely popular. Gray himself received - no pecuniary reward from it, having given the copyright - to Dodsley in accordance with a notion, very common in the - preceding century but seeming quixotic now, that it was - beneath a gentleman to receive money from a bookseller, a view - in which, we are told, Dodsley warmly concurred. Later, Mason, - Gray's friend, attempted to regain possession of the copyright - by means of litigation. - - We are indebted to our Author for the following - bibliographical note: "Publish'd in Feb^{ry}, 1751, by - Dodsley, & went thro' four editions, in two months; and - afterwards a fifth, 6th, 7th, & 8th, 9th, & 10th, & 11th; - printed also in 1753 with Mr. Bentley's Designs, of w^{c}h - there is a 2d Edition, & again by Dodsley in his _Miscellany_, - Vol. 7th & in a Scotch Collection call'd the _Union_; - translated into Latin by Ch^{r} Anstey, Esq., and the Rev^{d}. - Mr. Roberts, & published in 1762, & again in the same year by - Rob. Lloyd, M.A." - - Dodsley figures so prominently in the publication of the - _Elegy_ that we are reminded that he was himself a poet and - also a dramatist. His epitaph in the churchyard of Durham - cathedral lays stress on this point: - - "If you have any respect - for uncommon industry and merit, - regard this place, - in which are deposited the remains of - Mr. Robert Dodsley; - who, as an Authour, raised himself - much above what could have been expected - from one in his rank in life, - and without a learned education; - ... ... ... ..." - - - Quarto. - - COLLATION: _11 pp._ - - - - -SAMUEL JOHNSON - -(1709-1784) - - -50. A | Dictionary | Of The | English Language: | [Ten lines] By -Samuel Johnson, A.M. | In Two Volumes | Vol. I. | [Quotation] London, -| 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. - - Robert Dodsley first suggested to Johnson that a dictionary of - the English language would take well with the public; though - Johnson afterward told Boswell that he had long thought of it - himself. But it was Dodsley who, in accordance with the - custom of the time of placing books under the patronage of - an influential person, suggested the Earl of Chesterfield as - patron for the work; and Johnson addressed him as such in _The - Plan Of A Dictionary Of The English Language; Addreſſed to - the Right Honourable Philip Dormer, Earl of Chesterfield: ... - London_, 1747, a pamphlet of thirty-four pages. - - This step eventually led to the letter called by Carlyle "the - far famed blast of doom proclaiming into the ears of Lord - Chesterfield, and through him to the listening world, that - patronage should be no more." For the Earl was tardy in - acknowledging the inscription (his commendatory letters did - not appear until the November and December issues of _The - World_, 1754), and did little to encourage the enterprise; - "Upon which," said the irritated author, "I wrote him a letter - expressed in civil terms, but such as might show him that I - did not mind what he said or wrote, and I had done with him." - It was dated February 7, 1755, and ends with the famous words: - "Is not a patron, my lord, one who looks with unconcern upon a - man struggling for life in the water, and when he has reached - ground encumbers him with help?" - - Johnson undertook his great work single-handed, expecting - to finish it in three years; but the labor was enormous, and - eight years were consumed (the work appeared on February - 20, 1755), though not all of the time was spent upon the - Dictionary, for he was editor of _The Rambler_, also, at this - period. In this connection his own words written at the end - of the Preface are: "I have protracted my work till moſt - of thoſe whom I wiſhed to pleaſe have ſunk into the - grave, and ſucceſs and miſcarriage are empty ſounds: - I therefore diſmiſs it with frigid tranquillity, having - little to fear or hope from cenſure or from praiſe." - - The _A.M._ after the author's name was procured for him - at Oxford through the good offices of his friend, the - poet-laureate, Thomas Warton, since it "was thought desirable - that these letters should appear on the title-page of the - dictionary for the credit both of himself and the university." - - The publishers whose names are given in the imprint were joint - proprietors of the work, having paid Johnson 1575l. for the - copyright. "The payment included the whole work of preparing - for the press; and Johnson lost 20l. on one occasion for a - transcription of some leaves which had been written on both - sides. He employed six amanuenses, five of whom, as Boswell is - glad to record, were Scotsmen ... they received 23s. a week, - which he agreed to raise to 2l. 2s., not, it is to be hoped, - out of the 1,575l." Boswell would lead us to think that even - if these extras did come out of Johnson's pocket, he was not - dissatisfied. "I once said to him, "I am sorry, sir, you did - not get more for your Dictionary." His answer was "I am - sorry too. But it was very well. The booksellers are generous - liberal-minded men."" - - To Andrew Millar fell the responsibility of seeing the book - through the press; and his patience, we are told, was sorely - tried by Johnson's dilatoriness. When the last sheet was - brought to him, he exclaimed: "Thank God I have done with - him!" This was repeated to Johnson, who said, with a smile: "I - am glad that he thanks God for anything." - - Folio. - - COLLATION: _Two volumes. Without pagination._ - - - - -BENJAMIN FRANKLIN - -(1706-1790) - - -51. Poor Richard improved: | Being An | Almanack | And | Ephemeris -| [Eight lines] For The | Year of our Lord 1758: | [Ten lines] By -Richard Saunders, Philom. | Philadelpeia: | Printed and Sold by B. -Franklin; and D. Hall. [1757.] - - Franklin says in his _Autobiography_: - - "In 1732 I first publish'd my Almanack, under the name of - _Richard Saunders_; it was continu'd by me about twenty-five - years, commonly call'd _Poor Richard's Almanac_. I endeavor'd - to make it both entertaining and useful, and it accordingly - came to be in such demand, that I reap'd considerable profit - from it, vending annually near ten thousand...." The price - was five pence. So great was its popularity that it was found - necessary to issue three editions in the first month. In 1747 - we are told in a note, "This Almanack us'd to contain but 24 - Pages, and now has 36; yet the Price is very little advanc'd," - and to fit the new conditions the title was changed to _Poor - Richard Improved_. - - The _Almanac_, whose title-page is here facsimiled, was the - last of the series edited by Franklin. A collection of the - proverbial sentences which had "filled all the little spaces - that occur'd between the remarkable days in the calendar" in - former issues, were collected into one speech, supposed to be - delivered by an old man, named _Father Abraham_, to the - people at an auction sale. "The bringing all these scatter'd - counsells thus into a focus enabled them to make a greater - impression." The discourse was quickly reprinted, and is - famous now under various titles, _The Speech of Father - Abraham_; _The Way to Wealth_, and _La science du bonhomme - Richard_. It has been translated and reprinted oftener "than - any other work from an American pen." "Seventy editions of - it," says Mr. Paul L. Ford, "have been printed in English, - fifty-six in French, eleven in German, and nine in Italian. - It has been translated into Spanish, Danish, Swedish, Welsh, - Polish, Gaelic, Russian, Bohemian, Dutch, Catalan, Chinese, - Modern Greek and Phonetic writing. It has been printed at - least four hundred times, and is to-day as popular as ever." - - Franklin borrowed for his pseudonym the name of an English - "philomath" of the seventeenth century, because, as he says, - he knew "that his name would hardly give it [the _Almanack_] - currency among readers who still looked upon it as dealing in - magic, witchcraft and astrology." - - In 1747 or 1748 our author-printer entered into partnership - with David Hall, who took the sole management of the business - until 1766, when the firm was dissolved. - - Octavo. - - COLLATION: _36 pp._ - - - - -SIR WILLIAM BLACKSTONE - -(1723-1780) - - -52. Commentaries | On The | Laws | Of | England. | Book The First. | -By | William Blackstone, Esq. | [Three lines] Oxford, | Printed At The -Clarendon Press. | M.DCC.LXV. [--M.DCC.LXIX.] - - The story of the publication of Blackstone's lectures, as - Professor of Law at Oxford, reminds us of Bacon's "orchard - ill-neighbored." The author relates the circumstances in his - preface: "For the truth is, that the preſent publication is - as much the effect of neceſſity, as it is of choice. The - notes which were taken by his hearers, haue by ſome of them - (too partial to his favour) been thought worth reuiſing and - tranſcribing, and theſe tranſcripts haue been frequently - lent to others. Hence copies haue been multiplied, in their - nature imperfect, if not erroneous; ſome of which haue - fallen into mercenary hands, and become the object of - clandeſtine ſale. Having therefore ſo much reaſon to - apprehend a ſurreptitious impreſſion, he choſe rather - to ſubmit his own errors to the world, than to ſeem - anſwerable for thoſe of other men." - - The volumes were not all issued at once, but followed one - another at different times during a period of four years. They - were printed at the Clarendon Press, which Blackstone, when - appointed a delegate in 1755, had "found languishing in a lazy - obscurity," and whose quickening was in no small measure due - to his "repeated conferences with the most eminent masters, in - London and other places, with regard to the mechanical part - of printing," his recommendations, and to his own examples of - good typography supplied in the _Magna Charta_, published in - 1759, and in this his _magnum opus_. - - The wonderful success of the work is attested by the number - of its editions. A second was issued in 1768, and six more - appeared before the author's death. From then until now, it - has been frequently reprinted. Blackstone is reputed to have - received from the sale of the _Commentaries_, and from his - lectures, about £14,000. - - Quarto. - - COLLATION: _Four volumes._ - - - - -OLIVER GOLDSMITH - -(1728-1774) - - -53. The | Vicar | Of | Wakefield: | A Tale. | Suppoſed to be -written by Himself. | Sperate miſeri, cavete f[oe]lices. | Vol. -I. Salisbury: | Printed by B. Collins, | For F. Newbery, in -Pater-Noſter-Row, London. | MDCCLXVI. - - Boswell, Mrs. Piozzi, Sir John Hawkins and others have given - slightly different versions of the well-known story of the - sale of the manuscript of the _Vicar_; but aside from throwing - light on the character of Goldsmith, none of them have - helped us to a definite understanding of the transaction. The - earliest account was written by Mrs. Piozzi in 1786, under the - title of _Anecdotes of the late Samuel Johnson, LL.D., during - the last Twenty Years of his Life_. At pp. 119-120 she says: - - "I have forgotten the year, but it could scarcely I think be - later than 1765 or 1766, that he [Johnson] was called abruptly - from our house after dinner, and returning in about three - hours, ſaid, he had been with an enraged author, whose - landlady pressed him for payment within doors, while the - bailiffs beset him without; that he was drinking himself drunk - with Madeira to drown care, and fretting over a novel which - when finished was to be his whole fortune; but he could not - get it done for distraction, nor could he step out of doors to - offer it to sale. Mr. Johnson therefore set away the bottle, - and went to the bookseller, recommending the performance, and - desiring some immediate relief, which when he brought back - to the writer, he called the woman of the house directly to - partake of punch, and pass the time in merriment." - - Boswell adds, in his account, that Johnson sold the novel for - £60. There seems to be no evidence to prove this, nor yet to - show who bought it. It has generally been supposed that the - publisher, "F. Newbery," or his uncle, John Newbery, with whom - he was inseparably connected, was the purchaser, until Mr. - Charles Welsh made the discovery which he relates in his _A - Bookseller of the Last Century_. He says: - - "In a book marked 'Account of copies, their cost and value, - 1764,' I find the following entry:--"'Vicar of Wakefield,' - 2 vols. 12mo., 1/3 rd. B. Collins, Salisbury, bought of Dr. - Goldsmith, the author, October 28, 1762, £21."" - - From this entry of Collins, the Salisbury printer, we may - conclude that the amount Johnson is said to have received for - the distressed author (from Newbery, perhaps) was an advance - on the unfinished story; and that Collins bought his third - interest some time afterward. In 1785, when Collins sold out - his interest, Mr. Strahan owned one third, and Carnan and - Newbery the other third. - - There are several circumstances, besides the date given by - Collins, which show that the _Vicar_ was sold, in whole or in - part, at least four years before it was published, and not a - few months before, as Mrs. Piozzi thought. The occasion for - the delay has been explained in various ways. One explanation - is that it was held back until the _Traveller_, which came out - in 1765, should have increased the author's reputation. It may - have been, as Johnson told Boswell, that the publishers were - afraid that the book would not sell. Certainly the results - would seem to bear them out in any doubts they may have had of - its financial success. Mr. Welsh says: - - "All the writers who have spoken of the "Vicar of Wakefield" - have jumped to the conclusion that it brought a golden harvest - to its publishers.... The first three editions ... resulted in - a loss and the fourth, which was not issued until eight years - after the first, started with a balance against it of £2 16s. - 6d., and it was not until the fourth edition had been sold - that the balance came out on the right side." - - After being three months in the press, the book appeared March - 27, 1766. The advertisement in the _Public Advertiser_ reads: - "This Day is publiſhed, In two Volumes in Twelves, Price - 6s. bound, or 5s. ſewed, The Vicar of Wakefield, A Tale. - Supposed to be written by Himself. 'Seperate [ſic] miſere - cavete f[oe]lices.' Printed for F. Newbery, at the Crown in - Pater-Noſter Row, of whom may be had, Price 1s. 6d. The - Traveller, or, a Proſpect of Society, a Poem. By Dr. - Goldsmith." The author's name was signed to the preface, or - "Advertisement" of the book, so it was not really anonymous, - as the title-page and newspaper advertisement would lead us - to think. If it was not a financial success the tale seems to - have met with popular favor. The second edition, bearing the - imprint _London: Printed for F. Newbery, in Pater-Noster-Row, - MDCCLXVI._, was issued May 31, and the third on August 29. - Ninety-six editions were issued before 1886, and there are - translations in every European language. - - This Francis Newbery, as we have said, was nephew and - successor to John Newbery. The elder man combined a successful - business in the publishing of books with the sale of quack - medicines,--not an unusual thing in those days. His list of - nostrums contained over thirty medicines, among them being - Dr. James's Fever Powder, Dr. Steer's Oil for Convulsions, Dr. - Harper's Female Pills, and a certain Cordial Cephalic Snuff. - His book-selling ventures demand more than passing mention, - since he really introduced "the regular system of a Juvenile - Library, and gave children books in a more permanent form than - the popular chap-books of the period,"--delightful books of - which more than one writer has spoken with affection. The - general character of the stories, splendidly bound in flowered - and gilt Dutch papers, may be gathered from a few of their - titles: _The History of Little Goody Two Shoes_, _The Renowned - History of Giles Gingerbread_, and _Blossoms of Morality_. - - Newbery's publishing ventures were not confined to children's - books, by any means; his name gains additional luster by - appearing on the title-pages of several of Goldsmith's works. - Francis was mostly a reflection of his enterprising uncle, but - his connection with the _Vicar of Wakefield_ will ever cause - him to be remembered. - - Duodecimo. - - COLLATION: _Two volumes._ Volume I: _2 ll., 214 pp._ Volume II: - _1 l., 223 pp._ - - - - -LAURENCE STERNE - -(1713-1768) - - -54. A | Sentimental Journey | Through | France And Italy. | By | Mr. -Yorick. | Vol. I. | London: | Printed for T. Becket and P. A. De -Hondt, | in the Strand. MDCCLXVIII. - - The real journey immortalized in the story was made in - October, 1765; in December, 1767, two volumes were completed, - and on February 27, the work was published at five shillings - for the two volumes. On the eighteenth of March, Sterne died. - - Yorick, in _Tristram Shandy_, was represented as an - Englishman, descended from the Yorick of Shakespeare, "a - fellow of infinite jest, of most excellent fancy." Sterne also - used the pseudonym in his _Sermons by Mr. Yorick_, published - in 1760, so that the authorship of this book was probably - never in doubt. "The lively, witty, sensitive and heedless - parson," was, as Sir Walter Scott says, "the well-known - personification of Sterne himself." - - Fitzgerald tells us in his biography of Sterne, that it was - the author's first thought to have the volume a stately quarto - with handsome margins, costing a half-guinea, but that he - finally decided to use the _Shandy_ size, which had become a - favorite with the public. The book, which is without ornament, - except for an engraving on copper of a coat of arms (Sterne's - book-plate), in the second volume, is a good specimen of the - best typography of the period. Large paper copies also - were issued. The first volume begins with a long list of - "Subscribers," the names starred being down for "Imperial - Paper." - - Thomas Becket lived to be ninety-three years old, long enough, - as Charles Knight remarks, to see many revolutions in - literary taste; long enough, in fact, to see Sterne, his most - successful author, go out of fashion. He was an assistant to - Andrew Millar, before he became De Hondt's partner. It was - he who published the famous anonymous book, _The Pursuits of - Literature_ by Mathias, which had the distinction of running - into fourteen editions. - - Duodecimo. - - COLLATION: _Two volumes._ Volume I, _xx, 203 pp._ Volume II, - 2 _ll., 208 pp._ - - - - -THE FEDERALIST - - -55. The | Federalist: | A Collection | Of | Essays, | 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 papers under the title of "Federalist," and signature of - "Publius," were written by Alexander Hamilton, James Madison, - and John Jay, in the latter part of the year 1787 and the - former part of the year 1788. The immediate object of them - was, to vindicate and recommend the new Constitution to the - State of New York, whose ratification of the instrument was - doubtful, as well as important. The undertaking was proposed - by A. Hamilton (who had probably consulted Mr. Jay and others) - to J. M., who agreed to take a part in it. The papers were - originally addressed to the people of N. York, under the - signature of a "Citizen of New York." This was changed for - that of "Publius," the first name of Valerius Publicola. A - reason for the change was, that one of the writers was not - a Citizen of that State; another, that the publication had - diffused itself among most of the other States. The papers - were first published at New York in a newspaper printed by - Francis Childs, at the rate, during great part of the time, - at least, of four numbers a week; and notwithstanding this - exertion, they were not compleated till a large proportion of - the States had decided on the Constitution. They were edited - as soon as possible in two small volumes, the preface to the - first volume, drawn up by Mr. Hamilton, bearing date N. York, - March, 1788...." This from Madison in a letter to Mr. Paulding - at Washington, dated July 24, 1818. - - The first seven papers appeared under the title _The - F[oe]deralist. No. 1. To the People of the State of New York_, - in _The Independent Journal_, and many of the succeeding - numbers first came out in that paper: some were issued in _The - New York Packet_, two appeared in _The Daily Advertiser_, six - appeared simultaneously in two or more papers, and nine were - not published until the whole was collected in book form. - - Mr. Paul Leicester Ford, in his _Bibliotheca Hamiltoniana_, - gives Jay credit for five numbers; "Madison numbers 10, 14, 37 - to 48 inclusive; numbers 18, 19 and 20 are the joint work of - Madison and Hamilton; numbers 49 to 58, 62 and 63 are claimed - by both Madison and Hamilton; the rest of the numbers are by - Hamilton." - - Duodecimo. - - COLLATION: _Two volumes._ Volume I, _vi, 227 pp._ Volume II, _vi, - 384 pp._ - - - - -TOBIAS GEORGE SMOLLETT - -(1721-1771) - - -56. The | Expedition | Of | Humphry Clinker. | By the Author of | -Roderick Random. | In Three Volumes. | Vol. I. | [Quotation] London, -| Printed for W. Johnston, in Ludgate-Street: | and B. Collins, in -Saliſbury. | MDCLXXI. - - _Roderick Random_, Smollett's first book, had appeared in - 1748. The greater part of _Humphry Clinker_ was written in - the autumn of 1770, when its author was dying. He "had the - satisfaction of seeing his masterpiece, but not of hearing the - chorus of praise that greeted it." - - Some copies of the first volume have, as in this instance, an - error in the date, 1671 being printed for 1771. - - Collins, as we have seen, was associated with Francis Newbery - in the publication of _The Vicar of Wakefield_, and he was - also associated with nephew and uncle in the sale of Dr. - James's Fever Powder, and the manufacture of the celebrated - _Cordial Cephalic Snuff_. We are fortunate in having his - orderly and well-kept account books, in one of which is the - following entry, worthy of a place here, and at length: - - From B. Collins' Publishing Book. - - Account Of Books Printed, And Shares Therein. - - No. 3. 1770 To 1785. - - Humphrey Clinker: A Novel, 3 vols. 12mo. - - Of which I have one moiety, in partnership with Mr. William - Johnston, London. - - _Dr._ | _Cr._ - | - To Dr S. Mollet | - copy money £210 0 0 | - | - To Printing and | - Paper 2,000 | - No. 155 15 6 | - | - 9 Sets to the Hall | - and 10 to the | - Author 6 1 10 | - | - Advertisements 15 10 0 | - ------------ | - £387 7 4 | - | - To Balance for | By 2000 Books - Profit 92 12 8 | sold at £24 - ------------ | - £480 0 0 | per 100 £480 0 0 - | - My Moiety of Profits, £46, 6s. 4d., | - for which I received Mr. | - Johnston's Note, Nov. 19, 1772. | - --B. C. | - - - Duodecimo. - - COLLATION: _Three volumes._ - - - - -ADAM SMITH - -(1723-1790) - - -57. An | Inquiry | 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. - - It is doubtful if any English book were ever longer in being - put to press than this one. Mr. John Rae, in his life of - Smith, says he took twelve years to write it, and that it was - in contemplation twelve years before that. It was explicitly - and publicly promised in the concluding paragraph of _The - Theory of Moral Sentiments_, which appeared in 1759. - - Nothing definite is known of the terms on which the author - parted with the work to his publishers, but it is thought to - have been sold outright. It is estimated that Strahan paid - five hundred pounds for the first edition, and that he - published later editions at half profit. The selling price of - the first edition was £1 16s. The edition was exhausted in six - months, but the number of copies is unknown. - - Beginning as a printer, in which capacity we have already seen - him in connection with Dr. Johnson's Dictionary, Strahan rose - rapidly to eminence as a publisher, figuring prominently - in the ventures of Hume, Gibbon, Robertson, Blackstone, - and Blair. He introduced into his dealings with his clients - amenities unknown before. His pecuniary successes, as in this - case, enabled him to set up the coach which Dr. Johnson said - was a credit to literature. - - Quarto. - - COLLATION: _Two volumes._ Volume I: _6 ll., 510 pp._ Volume II: - _2 ll., 587 pp._ - - - - -EDWARD GIBBON - -(1737-1794) - - -58. The | History | Of The | Decline And Fall | Of The | Roman Empire. -| By Edward Gibbon, Eſq; | Volume The First. | [Quotation] London: -| Printed For W. Strahan; And T. Cadell, In The Strand. | MDCCLXXVI. -[--MDCCLXXXVIII] - - We are fortunate in having an account of the publication of - this work written by Gibbon himself. In June, 1775, he says: - - "The volume of my history, which had been somewhat delayed by - the novelty and tumult of a first session, was now ready for - the press. After the perilous adventure had been declined by - my timid friend Mr. Elmsley, I agreed, on very easy terms, - with Mr. Thomas Cadell, a respectable bookseller, and Mr. - William Strahan, an eminent printer; and they undertook the - care and risk of the publication, which derived more credit - from the name of the shop than from that of the author. The - last revisal of the proofs was submitted to my vigilance; - and many blemishes of style, which had been invisible in - the manuscript, were discovered and corrected in the - printed sheet. So moderate were our hopes, that the original - impression had been stinted to five hundred, till the number - was doubled by the prophetic taste of Mr. Strahan. During this - awful interval I was neither elated by the ambition of fame, - nor depressed by the apprehension of contempt. My diligence - and accuracy were attested by my own conscience...." - - It was on the 17th of February that the first volume of the - great work finally "declined into the World," as the author - expressed it. Its success was immediate. "I am at a loss how - to describe the success of the work without betraying the - vanity of the writer. The first impression was exhausted in a - few days; a second and third edition were scarcely adequate to - the demand, and the bookseller's property was twice invaded by - the pyrates of Dublin. My book was on every table, and almost - on every toilette...." - - The second edition was called for in 1776. On May 20th Gibbon - writes to J. B. Holroyd: - - "In about a fortnight I again launch into the World in the - shape of a quarto Volume. The dear Cadell assures me that he - never remembered so eager and impatient a demand for a second - Edition." And again in June he writes to the same: "The 1500 - Copies are moving off with decent speed, and the obliging - Cadell begins to mutter something of a third Edition for next - year." This third edition did not, however, appear until 1782. - - In June, 1780, we find our author busy revising and correcting - for the press the second and third volumes of the first - edition, both of which appeared the next year. Under date of - April 13, 1781, he writes to his stepmother: - - "The reception of these two volumes has been very unlike that - of the first, and yet my vanity is so very dextrous, that I - am not displeased with the difference. The effects of novelty - could no longer operate, and the public was not surprised by - the unexpected appearance of a new and unknown author. The - progress of these two volumes has hitherto been quiet and - silent. Almost everybody that reads has purchased, but few - persons (comparatively) have read them; and I find that the - greatest number, satisfied that they have acquired a valuable - fund of entertainment, differ the perusal to the summer, the - country, and a more quiet period. Yet I have reason to think, - from the opinion of some judges, that my reputation has - not suffered by this publication. The Clergy (such is the - advantage of a total loss of character) commend my decency - and moderation: but the patriots wish to down the work and the - author." - - The concluding volumes were delayed for various reasons as - Gibbon said to Lord Sheffield in July, 1786: "A book takes - more time in making than a pudding." In June, 1787, he says: - "I am building a great book, which, besides the three stories - already exposed to the public eye, will have three stories - more before we reach the roof and battlement," and promises - that, with the diligence and speed then exerted, he hopes to - be able to have the work ready for the press in August, or - perhaps July. In an earlier letter he says: - - "About a month ago I had a voluntary, and not unpleasing - Epistle from Cadell; he informs me that he is going to print - a new octavo edition, the former being exhausted, and that the - public expect with impatience the conclusion of the excellent - work, whose reputation and sale increases every day, etc. I - answered him by the return of the post, to inform him of the - period and extent of my labours, and to express a reasonable - hope that he would set the same value on the three last as he - had done on the three former Volumes. Should we conclude in - this easy manner a transaction as honourable to the author - and bookseller, my way is clear and open before; in pecuniary - matters I think I am assured for the rest of my life of never - troubling my friends, or being troubled myself; a state to - which I aspire, and which I indeed deserve, if not by my - management, at least by moderation." - - The publishers had allowed Gibbon two thirds of the profits - for the first volume, which amounted on the first edition - to £490. In a letter written in 1788, to his stepmother, he - refers again to his relations with Cadell: "The public, where - it costs them nothing, are extravagantly liberal; yet I will - allow with Dr. Johnson 'that booksellers in this age are not - the worst patrons of literature.'" Allibone tells us that - the historian's "profit on the whole is stated to have been - £6,000, whilst the booksellers netted the handsome sum of - £60,000." - - The sixth volume was finished June 27, 1787, and was published - with the fourth and fifth in April, 1788. Gibbon says: - - "The impression of the fourth volume had consumed three - months; our common interest required that we should move with - quicker pace, and Mr. Strahan fulfilled his engagement, which - few printers could sustain, of delivering every week three - thousand copies of nine sheets. The day of publication was, - however, delayed, that it might coincide with the fifty-first - anniversary of my own birthday: the double festival was - celebrated by a cheerful literary dinner at Mr. Cadell's - house, and I seemed to blush while they read an elegant - compliment from Mr. Haley." - - John Hall, historical engraver to George III, and one of the - engravers of the plates for Alderman Boydell's collection, - executed the portrait of Gibbon, after Sir Joshua Reynolds, - which faces the title-page of our first volume. The plate was - issued separately in 1780, Cadell having "strenuously urged - the curiosity of the public" as a reason for its immediate - publication. It was most appropriate to introduce, as he did, - the vignettes emblematic of Rome. - - Quarto. - - COLLATION: _Six volumes._ - - - - -RICHARD BRINSLEY SHERIDAN - -(1751-1816) - - -59. The | School | For | Scandal. | A | Comedy. | [Quotation] Dublin: -| Printed for J. Ewling. - - The first performance of the play occurred May 8, 1777, at - the Drury Lane Theatre, which had been opened under Sheridan's - management the previous year. A publisher immediately offered - five hundred guineas for a corrected copy of the comedy, and - Sheridan promised to prepare it for the press; but Mr. W. - Fraser Rae tells us that when importuned for the revised - manuscript Sheridan "always replied that he had never been - able to satisfy himself as to the version which he wished - to be published, and the comedy, with any of his final - corrections, has not yet been given to the world." - - The Ewling edition was printed from an acting copy which - Sheridan had given to his sister, Mrs. LeFanu of Dublin, who, - for one hundred guineas and free admission to the theater for - herself and family, had let it go to Mr. Roger of the Theatre - Royal. A dated edition appeared in Dublin in 1781. - - The omission of the author's name from the title-page recalls - the foolish statement made by Dr. Watkins on the authority of - Isaac Reed, "that the play was written by a young lady, the - daughter of a merchant in Thames Street [whose name and the - number of whose house are judiciously withheld], that, at - the beginning of the season when Mr. Sheridan commenced - his management, the manuscript was put into his hands for - judgment, soon after which the fair writer, who was then in a - stage of decline, went to Bristol Hot Wells, where she died." - - Duodecimo. - - COLLATION: _vi, 93 pp., 1 l._ - - - - -WILLIAM COWPER - -(1731-1800) - - -60. 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. - - In October, 1784, William Cawthorne Unwin, - - "A friend whose worth deserves as warm a lay - As ever friendship penned," - - received from Cowper "four quires of verse" with the request - that it might be read by him and, if approved, conveyed to - Joseph Johnson, the publisher of Cowper's first volume. - - "If, when you make the offer of my book [_The Task_], to - Johnson, he should stroke his chin, and look up at the ceiling - and cry 'Humph!', anticipate him, I beseech you, at once - by saying 'that you know I should be sorry that he should - undertake for me to his own disadvantage, or that my volume - should be in any degree pressed upon him. I make him the offer - merely because I think he would have reason to complain of - me if I did not.' But, that punctilio once satisfied, it is a - matter of indifference to me what publisher sends me forth." - Johnson, however, accepted. - - "My imagination tells me," says Cowper to Unwin, "(for I know - you interest yourself in the success of my productions) that - your heart fluttered when you approached his door, and that it - felt itself discharged of a burthen when you came out again." - - The "Advertisement," or preface, accounting for _The Task_, is - worth reprinting. It runs: - - "The hiſtory of the following production is briefly this. A - lady, fond of blank verſe, demanded a poem of that kind from - the author, and gave him the SOFA for a ſubject. He obeyed; - and having much leiſure, connected another ſubject - with it; and purſuing the train of thought to which his - ſituation and turn of mind led him, brought forth at length, - inſtead of the trifle which he at firſt intended, a - ſerious affair--a Volume." - - The lady, who was Cowper's friend, Lady Austin, was also - responsible for _John Gilpin_, for it was from her that - the poet first heard the tale. It is said that he wrote the - outline that night and sent it to _The Public Advertiser_, - anonymously, the next morning; but, in fact, it appeared in - November, 1782. It had a great success in the newspapers, and - in pamphlet form, and Henderson, the actor, gave it further - vogue by his recitations. - - "I have not been without thoughts of adding 'John Gilpin' at - the tail of all," wrote Cowper, while _The Task_ was in press. - "He has made a good deal of noise in the world; and perhaps it - may not be amiss to show, that though I write generally with a - serious intention, I know how to be occasionally merry." - - There was some discussion between the poet and the publisher, - as to the propriety of putting poems so different in character - into the same volume. The poet says to Mr. Newton: "I should - blame nobody, not even my intimate friends, and those who - have the most favorable opinion of me, were they to charge the - publication of John Gilpin, at the end of so much solemn and - serious truth, to the score of the author's vanity; and to - suspect that, however sober I may be upon proper occasions, I - have yet that itch of popularity that would not suffer me to - sink my title to a jest that had been so successful. But - the case is not such. When I sent the copy of the _Task_ to - Johnson, I desired, indeed, Mr. Unwin to ask him the question, - whether or not he would choose to make it a part of the - volume. This I did merely with a view to promote the sale of - it. Johnson answered, 'By all means.' Some months afterward, - he enclosed a note to me in one of my packets, in which he - expressed a change of mind, alleging, that to print John - Gilpin would only be to print what had been hackneyed in every - magazine, in every shop, and at the corner of every street. - I answered, that I desired to be entirely governed by his - opinion; and that if he chose to waive it, I should be better - pleased with the omission. Nothing more passed between us - on the subject, and I concluded that I should never have the - immortal honor of being generally known as the author of John - Gilpin. In the last packet, however, down came John, very - fairly printed, and equipped for public appearance. The - business having taken this turn, I concluded that Johnson had - adopted my original thought, that it might prove advantageous - to the sale; and as he had had the trouble and expense of - printing it, I corrected the copy, and let it pass." - - The half-title to _John Gilpin_ in our copy reads: _The - Diverting | History | Of | John Gilpin, | Shewing How He Went - Farther Than He | Intended And Came Safe Home Again_. - - The book appeared in June, having now grown into a volume of - poems, containing, as the title-page shows, four works, paged - continuously. It cost four shillings, in boards. The volume - was a great success, and two issues were made in the same - year. These show several variations, but chiefly in the - arrangement of the pages. A half-title, found in some copies, - and thought to belong only to late issues, reads: _Poems, - By William Cowper, Esq. Vol. II_. Herein we may possibly see - Johnson's afterthought to make the book a second volume to the - collection of _Poems_ issued in 1782, and referred to in the - advertisement on the last page: "Lately publiſhed by the - ſame Author, in one Volume of this Size. Price 4s. ſewed." - It would have been a shrewd plan thus to make the successful - later volume carry the unsuccessful earlier. - - Cowper gave the copyright to Johnson, who afterward, when the - work proved so successful, would have allowed him to take back - his gift, but Cowper refused. - - This Johnson was also the publisher of Horne Tooke, Fuseli, - Bonnycastle, Mary Wollstonecraft, and Miss Edgeworth. He, as - well as his successor, Rowland Hunter, was a dissenter, and - the building which he occupied, we are told, was "plain and - unadorned, befitting the head-quarters of the bookselling of - Protestant Dissent." Charles Knight, in _Shadows of the - Old Booksellers_, has a paragraph, which must be quoted in - connection with the appearance of Johnson's books. - - "With wire-wove hot-pres'd paper's glossy glare, - Blind all the wise, and make the stupid stare." - - The publisher of Cowper was an exception to his brother - publishers of that day, who are addressed in these lines. - Aikin says of him, "It is proper to mention that his true - regard for the interests of literature rendered him an enemy - to that typographical luxury which, joined to the necessary - increase of expense in printing, has so much enhanced the - price of new books as to be a material obstacle to the - indulgence of a laudable and reasonable curiosity to the - reading public." - - It is quite certain that in making the _Task_ he did not sin - against these principles of philanthropy, even if he sinned - against many of the rules of good book-making. - - Octavo. - - COLLATION: _4 ll., 359 pp._ - - - - -ROBERT BURNS - -(1759-1796) - - -61. Poems, | Chiefly In The | Scottish Dialect, | By | Robert Burns. | -[Quotation] Kilmarnock: | Printed By John Wilson. | M,DCC,LXXXVI. - - One of Burns's warmest friends, Gavin Hamilton, advised him to - publish his poems in order to get enough money to emigrate - to Jamaica, where it was hoped he would escape from the - complications incident upon his love affair with Jean Armour. - In the preface Burns tells us that none of the poems was - written with a view to publication, but as a counterpoise to - the troubles of the world. - - The _Proposals For Publishing By Subscription, Scottish Poems, - By Robert Burns_, only one copy of which is known, appeared in - 1786, and ran as follows: "The Work to be elegantly printed, - in one volume octavo. Price, stitched, Three Shillings. As the - Author has not the most distant mercenary view in publishing, - as soon as so many subscribers appear as will defray the - necessary expense, the work will be sent to Press." A stanza - of a poem by Alan Ramsay was followed by the agreement: "We - undersubscribers engage to take the above-mentioned work on - the conditions specified." The book went to press in June, and - appeared the last day of July. Six hundred and twelve copies - were printed; three hundred and fifty were taken by the - author's friends; and, by August 28, all but thirteen had been - sold. Burns cleared about twenty pounds. - - In October a new edition of a thousand copies was suggested - by Burns, but the printer refused to proceed unless the author - would advance twenty-seven pounds, the price of the paper, - "But this, you know," says the luckless poet to Robert Aiken, - "is out of my power; so farewell hopes of a second edition - till I grow richer! an epocha, which, I think, will arrive at - the payment of the British National Debt." - - Unlike Messrs. Dunlop and Wilson of Glasgow, to whom Burns is - said, without much authority, to have first offered the poem, - Wilson, the printer of the little volume, was not a great or - leading publisher; but he succeeded in making a volume that is - very charming in appearance, and not without reminders of the - French press-work of the period. - - A copy of this book sold at the auction of the library of Mr. - A. C. Lamb of Dundee, in February, 1898, for the sum of five - hundred and seventy-two pounds, five shillings--"the most - amazing price ever realized for a modern book." - - Octavo. - - COLLATION: _240 pp._ - - - - -GILBERT WHITE - -(1720-1793) - - -62. The | Natural History | And | Antiquities | Of | Selborne, | [Two -lines] With | Engravings, And An Appendix. | [Quotations] London: | -Printed by T. Bensley; | For B. White And Son, at Horace's Head, Fleet -Street. | M,DCC,LXXXIX. - - "B. White" was Benjamin, next older brother of Gilbert, and - one of the chief publishers of books relating to natural - history. His interest in this book, therefore, must have - been more than usually great, an assumption justified by its - typographical appearance. It may, perhaps, be truly said - that, with the possible exceptions of Clarendon's History and - Percy's _Reliques_, it is the only work in our series having - special artistic merit. - - Thomas Bensley was one of the first English printers to - turn his attention to printing as a fine art; and he may be - reckoned, with Bulmer, chief among the reformers of the - art. As Dibdin says, in the _Bibliographical Decameron_, he - "completed the establishment of a _self working_ press, - which prints on _both sides_ of the sheet by one and the same - operation--and throws off 900 copies in an hour! This really - seems magical. It is certainly without precedent." It was, no - doubt, with intent that Benjamin White gave the printing of - this book into such hands, and something of the sumptuousness - which afterward in Macklin's _Bible_ and Hume's _History of - England_ made Bensley famous may be seen in this work. - - Our chief interest in the volume, as a piece of bookmaking, - centers in the illustrations, engraved by Peter Mazell and - Daniel Lerpinière. These comprise a vignette on the title-page - to _The Natural History_, with a line from White's own poem, - "The Invitation to Selbourne"; seven plates, one, the large - folding frontispiece, which is said to contain portraits of - four of White's friends; and a vignette on the title-page of - _The Antiquities_. They are all from drawings by a young Swiss - artist named Samuel Hieronymus Grimm, who settled in London in - 1778, and was much employed in topographical work. - - White's references to him in various letters give us quite - an insight into the details of making this delightful book. - Writing to Rev. John White, August 12, 1775, he says: - - "Mr. Grimm, the Swiss, is still in Derbyshire; and is to - continue there and in Staffordshire 'til the end of the month. - I have made all the inquiry I can concerning this artist, as - it much behoves me to do. Mr. Tho. Mulso, and Brother Thomas, - and Benjamin, and Mr. Lort have been to his lodgings to see - his performances. They all agree that he is a man of genius; - but the two former say that he does hardly seem to stick - enough to nature; and that his trees are grotesque and - strange. Brother Benjamin seems to approve of him. They all - allow that he excels in grounds, water, and buildings. Friend - Curtis recommends a Mr. Mullins, a worker in oil-colours. - Grimm, it seems, has a way of staining his scapes with light - water-colours, and seems disposed much in scapes for light - sketchings; now I want _strong lights and shades_ and good - trees and foliage." - - The inquiries seem, in the end, to have been satisfactory, - and by May the fifth of the next year the young man had been - engaged. An entry in _The Naturalists' Journal_, under date of - July 8, 1776, records: "Mr. Grimm, my artist, came from London - to take some of our finest views." - - On August 9, 1776, he says: - - "Mr. Grimm was with me just 28 days; 24 of which he worked - very hard, and shewed good specimens of his genius, assiduity, - and modest behaviour, much to my satisfaction. He finished - for me 12 views. He first of all sketches his scapes with a - lead-pencil; then he _pens_ them all over, as he calls it, - with india-ink, rubbing out the superfluous pencil-strokes; - then he gives a charming shading with a brush dipped in - indian-ink; and last he throws a light tinge of water-colours - over the whole. The scapes, many of them at least, looked - so lovely in their indian-ink shading, that it was with - difficulty the artist could prevail on me to permit him - to tinge them; as I feared those colours might puzzle the - engravers; but he assured me to the contrary." - - In a letter to Mr. Samuel Barker, November 1, 1776, we find: - - "In 24 days Mr. Grimm finished for me 12 drawings; the most - elegant of which are 1, a view of the village and hanger from - the short Lithe [the large folding frontispiece]; 2, a view of - the S. E. end of the hanger and its cottages, taken from - the upper end of the street; 3, a side view of the _old_ - hermitage, with the hermit standing at the door, [the vignette - on the title-page]: this piece he is to copy again for Uncle - Harry; 4, a sweet view of the short Lithe and Dorton from the - lane beyond Peasecod's house. He took also two views of the - Church [opposite pp. 315, 323]; two views of my outlet; a view - of the Temple-Farm [opposite p. 342]; a view of the village - from the inside of the present hermitage; Hawkley hanger, - which does not prove very engaging; and a grotesque and - romantic drawing of the water-fall in the hollow bed of the - stream in Silkwood's vale to the N. E. of Berriman's house. - You need not wonder that the drawings you saw by Grimm did - not please you; for they were 3s. 6d. pieces done for a little - ready money; so there was no room for softening his trees, &c. - He is a most elegant colourist; and what is more, the use of - these fine natural stainings is altogether his own, yet his - pieces were so engaging in India-ink that it was with regret - that I submitted to have some of them coloured...." The plates - bear the legend, "Published Nov^r. 1. 1788 as the Act directs, - by B. White & Son." - - The work appeared anonymously at the end of 1788, but it is - dated the next year. It was sold for one guinea, in boards. - Fifty copies were printed on large paper, with the plate on - page 3 in colors. Although it seems to have sold well, it was - the only edition issued during the author's lifetime. White - wrote to a friend in 1789: "My book is still asked for - in Fleet Street. A gent. came the other day, and said he - understood that there was a Mr. White who had lately - published two books, a good one and a bad one; the bad one - was concerning Botany Bay ['_A Voyage to New South Wales_,' - by John White (no relation), published in 1790], the better - respecting some parish." - - The index, which White described when he was making it as - "an occupation full as entertaining as that of darning of - stockings," was criticised for not being full enough, a - criticism applicable to every edition issued since the first. - - Quarto. - - COLLATION: _1 l., v., 468 pp., 7 ll. Seven plates._ - - - - -EDMUND BURKE - -(1729-1797) - - -63. Reflections | On The | Revolution In France, | [Four lines] In A -| Letter | Intended To Have Been Sent To A Gentleman | In Paris. | -By The Right Honorable | Edmund Burke. | London: | Printed For J. -Dodsley, in Pall Mall. | M.DCC.XC. - - It was well known, long before the book appeared, that Burke - was at work upon this subject. As early as October, 1789, - he had written a letter expressing his opinion on the - revolutionary movement in France, and in this volume he - but gave in permanent form a more elaborate and careful - presentation of the same subject. Interest in the new volume - was in no way diminished, but rather increased by the delay; - and when the little book made its appearance, November 1, in - a modest unlettered wrapper of gray paper, selling for five - shillings, it created a profound impression. The King called - it "a good book, a very good book; every gentleman ought - to read it," and it ran into eleven editions, or eighteen - thousand copies, within a twelvemonth. - - Our author and his publishers were well known to each other - at this time: they had issued his _A Vindication of Natural - Society_ in 1756; and he had been the conductor and chief - editor of the historical portion of their _Annual Register_ - for a number of years. - - Octavo. - - COLLATION: _iv, 356 pp._ - - - - -THOMAS PAINE - -(1737-1809) - - -64. 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. | London: | Printed for J. Johnson, St. Paul's -Church-Yard. | MDCCXCI. - - "Mr. Burke's Attack," as we have seen, appeared in November, - 1790, and Paine immediately replied with the first part of - his "Answer." Joseph Johnson, who printed Cowper's _Task_, - and published for Horne Tooke, Fuseli, Bonnycastle and Miss - Edgeworth, began the work and issued a few copies, but he - became frightened at the serious outlook and gave it up. It - was then put into the hands of J. S. Jordan, of No. 166 - Fleet Street, who reissued it March 13, 1791, under the - superintendence of three of Paine's friends, Paine himself - having in the meantime gone to Paris. There were a few - corrections in the spelling of some words, some passages were - softened, and a preface to the English edition, which Paine - sent back from Europe, was added to the new edition. - - The success of the book was enormous, and it ran into edition - after edition. In a letter to Washington, to whom it was - dedicated, Paine says, under date of July 21, 1791: - - "... I took the liberty of addressing my late work 'Rights of - Man', to you; but tho' I left it at that time to find its way - to you, I now request your acceptance of fifty copies as a - token of remembrance to yourself and my Friends. The work - has had a run beyond anything that has been published in - this Country on the subject of Government, and the demand - continues. In Ireland it has had a much greater. A letter I - received from Dublin, 10th of May, mentioned that the fourth - edition was then on sale. I know not what number of copies - were printed at each edition, except the second, which was ten - thousand.... - - "I have printed sixteen thousand copies; when the whole are - gone, of which there remain between three and four thousand, - I shall then make a cheap edition, just sufficient to bring in - the price of printing and paper as I did by Common Sense." - - The earlier editions of the first part were made uniform - with Burke's _Reflections_, and sold, so we learn from the - half-title, for half a crown; the second edition sold for - three shillings; and the cheap edition, which was _Printed - For H. D. Symonds, Paternoster Row, M,DCC,XCII._, sold for - sixpence. - - _The Gazetteer_ for January 25, contained the following - announcement: "Mr Paine, it is known, is to produce another - book this season. The composition of this is now past, and it - was given a few weeks since to two printers, whose presses it - was to go through as soon as possible. They printed about half - of it, and then, being alarmed by _some intimations_, refused - to go further. Some delay has thus occurred, but another - printer has taken it, and in the course of the next month it - will appear. Its title is to be a repetition of the former, - 'The Rights of Man,' of which the words 'Part the Second,' - will show that it is a continuation." - - The title in full, runs as follows: _Rights Of Man. | Part - | The Second. | Combining | Principle And Practice. | By - | Thomas Paine, | [Four lines] London: | Printed for J. S. - Jordan, No. 166, Fleet-Street. | 1792_. - - The volume was the same size as the first part, and contained - 178 pages, selling, as the half-title tells us, for three - shillings. It was dedicated to Lafayette. This part was also - issued by Symonds in a cheap edition, uniform with the first - part, which sold for sixpence. - - The printer alarmed by the "intimations" was Chapman. He had - offered successively, at different stages of the publication, - £100, £500, and £1000, for the work, but Paine preferred to - keep it in his own hands, fearing, perhaps, that this was - a government attempt to suppress the book. From a financial - point of view he was wise, since, on July 4, he handed over - to the Society for Constitutional Information, £1000, which he - had already received from sales. After Chapman's withdrawal, - Jordan took up the printing, but with the understanding - that if questioned he should say that Paine was author and - publisher, and would personally answer for the work. - - The fears of the printers proved anything but groundless. - The persecution, by imprisonment or fines, of those who were - connected with the publishing (printing and selling) of the - book would "astonish you", as Dr. Currie writes in 1793, "and - most of these are for offences committed many months ago. The - printer of the _Manchester Herald_ has had seven different - indictments preferred against him for paragraphs in his paper; - and six _different_ indictments for selling or disposing of - six different copies of Paine--all previous to the _trial_ - of Paine. The man was opulent, supposed worth 20,000 l.; but - these different actions will ruin him, as they were intended - to do." - - Octavo. - - COLLATION: _1 l., 162 pp._ - - - - -JAMES BOSWELL - -(1740-1795) - - -65. The | Life | Of | Samuel Johnson, LL.D. | [Twelve lines] In Two -Volumes. | By James Boswell, Esq. | [Quotation] Volume The First. -| London: | Printed by Henry Baldwin, | For Charles Dilly, In the -Poultry. | MDCCXCI. - - Boswell had published, the year before, two specimens of his - work: _The Celebrated Letter from Samuel Johnson, LL.D., - to Philip Dormer Stanhope, Earl of Chesterfield, now first - published, with notes by James Boswell, Esq._, and _A - Conversation between His Most Sacred Majesty George III, and - Samuel Johnson, LL.D., illustrated with observations by - James Boswell, Esq._ They were probably issued to secure the - copyright, and sold for half a guinea apiece. - - The whole matter of publication of the _Life_ was a source of - no small worry to our author. He was plunged, at that time, - in pecuniary difficulties due to the purchase of an estate for - £2500, and it seemed as if he might be obliged to accept the - offer of Robinson, the publisher, of £1000 for the copyright - of his beloved book. "But it would go to his heart," he said, - "to accept such a sum, which he considered far too low", and - he avoided the difficulty by borrowing the money. All of these - things made him very low-spirited: - - "I am at present," he says, "in such bad spirits that I - have fear concerning it--that I may get no profit, nay, may - lose--that the public may be disappointed, and think that I - have done it poorly--that I may make many enemies, and - even have quarrels. But perhaps the very reverse of all may - happen." - - He worked very hard over all the details connected with the - making of the book. "I am within a short walk of Mr. Malone, - who revises my 'Life of Johnson' with me. We have not yet - gone over quite a half of it, but it is at last fairly in the - press. I intended to have printed it upon what is called an - _English_ letter, which would have made it look better. I have - therefore taken a smaller type, called _Pica_, and even upon - that I am afraid its bulk will be very large." He gave much - thought to the title-page, and we are told that it was a long - time before he could be perfectly satisfied. This statement, - we are compelled to assume, refers to the literary composition - of the title, rather than to the construction of the page: - upon the latter he might have worked much longer and still - have been dissatisfied. - - The work was at last delivered to the world May sixteenth (the - "Advertisement" is dated April twentieth), and was sold - for two guineas a copy. So successful was it that by August - twenty-second, 1200 out of the edition of 1700 copies were - disposed of, and the whole edition was exhausted before the - end of the year. A supplement was issued in 1793, at one - guinea; and a second edition with eight additional sheets - appeared in July of the same year. - - With all Boswell's fussiness many mistakes crept into the - printing, and the book abounds in wrong paging, omission of - pages, and other things "of which," says Fitzgerald, "the - great exemplar is the first Shakespeare Folio." So bad were - these errors, indeed, that it was found necessary to issue a - small quarto volume of forty-two pages to correct them. This - pamphlet is sometimes bound up with the second edition. It is - entitled: _The | Principal Corrections and Addition | To The - First Edition Of | Mr. Boswell's Life | Of | Dr. Johnson. | - London: | Printed by Henry Baldwin, | For Charles Dilly In The - Poultry. | MDCCXCIII. | [Price Two Shillings and Sixpence.]_ - "A Chronological Catalogue of the Prose Works of Samuel - Johnson, L.L.D.," is printed at the end. - - Charles Dilly, the bookseller, was well known in his day. - Beloe speaks of him as "the queer little man ... characterized - by a dryness of manner peculiarly his own." He and his elder - brother, John, were famous not only for their successful - publishing ventures, but for their dinners as well. Boswell - speaks of "my worthy booksellers and friends, Messrs. Dilly, - in the Poultry, at whose hospitable and well covered table I - have seen a greater number of literary men than at any other, - except that of Sir Joshua Reynolds." - - The engraved portrait of Doctor Johnson by James Heath, after - the painting by Sir Joshua Reynolds, 1756, which forms the - frontispiece to the first volume, bears the inscription: - "Samuel Johnson. From the original Picture in the - Poſseſsion of James Boswell, Esq. Publiſh'd April 10, - 1791, by C. Dilly." A plate of facsimiles of Dr. Johnson's - handwriting, and another showing a "Round Robin, addreſsed - to Samuel Johnson, L.L.D., with FacSimiles of the Signatures," - add to the interest of the second volume. Both plates were - engraved by H. Shepherd. - - Quarto. - - COLLATION: _Two volumes._ Volume I: _xii pp., 8 ll., 516 pp._ - Volume II: _1 l., 588 pp. Portrait. Two plates._ - - - - -WILLIAM WORDSWORTH - -(1770-1850) - -AND - -SAMUEL TAYLOR COLERIDGE - -(1772-1834) - - -66. Lyrical Ballads, | With | A Few Other Poems. | London: | Printed -For J. & A. Arch, Gracechurch-Street. | 1798. - - In Cottle, the Bristol bookseller and poet, Wordsworth and - Coleridge found a friend whose appreciation of their genius - took a practical form. As early as 1795 we learn from a letter - of Coleridge to Thomas Poole that "Cottle has entered into an - engagement to give me a guinea and a half for every hundred - lines of poetry I write, which will be perfectly sufficient - for my maintenance, I only amusing myself on mornings; and all - my prose works he is eager to purchase." When the two poets - planned to issue a book in which Coleridge should show - "the dramatic treatment of supernatural incidents," while - Wordsworth should try to give the charm of novelty to "things - of ever[y] day," it was Cottle who bought it. He says: "A - visit to Mr. Coleridge at Stowey has been the means of my - introduction to Mr. Wordsworth, who read me many of his - Lyrical Pieces, when I perceived in them a peculiar but - decided merit. I advised him to publish them, expressing a - belief that they would be well received. I further said that - he should be at no risk; that I would give him the same sum - which I had given Mr. Coleridge and Mr. Southey, and that it - would be a gratifying circumstance to me to usher into the - world, by becoming the publisher of, the first volumes of - three such poets as Southey, Coleridge and Wordsworth--a - distinction that might never again occur to a provincial - publisher." - - He gave Wordsworth thirty guineas for the copyright, and - issued the book with the following imprint: _Bristol: Printed - by Biggs and Cottle, for T. N. Longman, Paternoster Row, - London, 1798_. But this imprint did not remain upon the - title-page of the whole edition, for Cottle tells us that the - sale was so slow, and the severity of most of the reviews so - great, that its progress to oblivion seemed ordained to be as - rapid as it was certain. He parted with the largest proportion - of the five hundred at a loss, to Mr. Arch, a London - bookseller, who bound up his copies with a new title-page - bearing his name. The copies of the earlier issue are very - rare. - - Shortly after the transfer, Cottle retired from business, - selling all his copyrights to Longman and Rees, far-sighted - publishers, both of whom were also Bristol men. In the - transfer the copyright of the _Lyrical Ballads_ was down in - the bill as worth nothing, whereupon Cottle begged the receipt - for the thirty guineas, and presented it to Wordsworth. - - The work was entirely anonymous, with nothing to show that it - was a joint production. Coleridge's poem, _The Nightingale_, - inserted at the last minute, in place of _Lewti_, makes an - extra leaf between pages 68 and 69. It is numbered 69 (the - verso is blank), but no apparent confusion results since - the original page 69 is not numbered, in accordance with the - printer's scheme of numbering. - - We catch an interesting glimpse of this poet-publisher in a - letter of Coleridge's to Robert Southey, written under date of - July 22, 1801: - - "Poor Joseph! he has scribbled away both head and heart. What - an affecting essay I could write on that man's character! Had - he gone in his quiet way on a little pony, looking about him - with a sheep's-eye cast now and then at a short poem, I do - verily think from many parts of the "Malvern Hill," that he - would at last have become a poet better than many who have had - much fame, but he would be an Epic, and so - - 'Victorious o'er the Danes, I Alfred, preach, - Of my own forces, Chaplain-General.'" - - - Duodecimo. - - COLLATION: _viii, 68 pp., 1 l., 69-210 pp., 1 l._ - - - - -WASHINGTON IRVING - -(1783-1859) - - -67. A History | Of | New York, | From The Beginning Of The World -To The | End Of The Dutch Dynasty. | [Eight lines] By Diedrich -Knickerbocker. | [Quotation] In Two Volumes. | Vol. I. | Published By -Inskeep & Bradford, New York; | Bradford & Inskeep, Philadelphia; -Wm. M'Il- | Henny, Boston; Coale & Thomas, Baltimore; | And Morford, -Willington, & Co. Charleston. | 1809. - - Early in the year 1809 a notice in the newspapers, headed - "Distressing," announced the disappearance from his lodgings - of a "small elderly gentleman" named Knickerbocker; and - another notice, signed Seth Handaside, landlord of the - Independent Columbian Hotel, Mulberry Street, reads: - - "Sir:--You have been good enough to publish in your paper a - paragraph about Mr. Diedrich Knickerbocker, who was missing - so strangely from his lodgings some time since. Nothing - satisfactory has been heard of the old gentleman since; but - a _very curious kind of a written book_ has been found in his - room in his own handwriting. Now I wish you to notice him, if - he is still alive, that if he does not return and pay off his - bill, for board and lodging, I shall have to dispose of his - Book, to satisfy me for the same." - - On December 6, 1809, the actual publication of the work is - announced in the _American Citizen_: - - "IS THIS DAY PUBLISHED, - BY INSKEEP AND BRADFORD--NO. 128 BROADWAY - A HISTORY OF NEW YORK. - - In 2 vols. duodecimo--price 3 dollars. - - "Containing an account of its discovery and settlement, with - its internal policy, manners, customs, wars, &c., &c., under - the Dutch government, furnishing many curious and interesting - particulars never before published, and which are gathered - from various manuscripts and other authenticated sources, the - whole being interspersed with philosophical speculations and - moral precepts. - - "This work was found in the chamber of Mr. Diedrich - Knickerbocker, the old gentleman whose sudden and mysterious - disappearance has been noticed. It is published in order to - discharge certain debts he has left behind." - - In this way Irving chose to introduce his satire to the world. - The book was put to press in Philadelphia instead of in New - York, in order the more easily to preserve its anonymous - character. - - The pretence that it was a serious history was carried even - into the dedication "To the New York Historical Society," and - the work may really be described as a practical joke in book - form. - - The volumes sold well, and, on the whole, were well received. - Some members of the old Dutch families of the state saw in - them a reflection upon their ancestors that they found it hard - to overlook, and Irving himself describes their indignation - against him. Mr. Pierre M. Irving tells us that he heard - his uncle say that the avails of the first edition of _The - History_ amounted to about three thousand dollars. - - A narrow folded plate, in the first volume, is entitled, "New - Amsterdam (Now New-York) As it appeared about the year 1640, - while under the Dutch Government". A legend beneath the - engraving adds: "Copied from an ancient Etching of the same - size, Published by Justus Danckers at Amsterdam". The view is - often missing, being much sought after by print collectors. - - Duodecimo. - - COLLATION: _Two volumes._ Volume I: _xxiii, 268 pp._ Volume II: - _1 l., 258 pp. Folded plate._ - - - - -GEORGE GORDON BYRON, - -SIXTH BARON - -(1788-1824) - - -68. Childe Harold's Pilgrimage. | A Romaunt. | By | Lord Byron | -[Quotation] London: | Printed For John Murray, 32, Fleet-Street; | -William Blackwood, Edinburgh; And John Cumming, Dublin. | By Thomas -Davison, White-Friars. | 1812. - - Robert Charles Dallas, a "well-meaning, self-satisfied, dull, - industrious man," Byron's friend, having read with enthusiasm - "a new attempt in the Spenserian stanza," which Byron brought - back from Italy with him, undertook to find a publisher for - it. William Miller, who afterward sold out to John Murray, - refused it on the ground that it contained "sceptical - stanzas," and that it attacked Lord Elgin as a "plunderer." To - this criticism Byron's reply is characteristic: - - "REDDISH'S HOTEL, July 30th, 1811. - - "SIR: I am perfectly aware of the justice of your remarks, - and am convinced that, if ever the poem is published, the same - objections will be made in much stronger terms. But as it was - intended to be a poem on _Ariosto's plan_, that _is_ to _say_ - on _no plan_ at all, and, as is usual in similar cases, having - a predilection for the worst passages, I shall retain those - parts, though I cannot venture to defend them. Under these - circumstances I regret that you decline the publication, on - my own account, as I think the book would have done better in - your hands; the pecuniary part, you know, I have nothing to do - with. But I can perfectly conceive, and indeed _approve_ - your reasons, and assure you my sensations are not - _Archiepiscopal_* enough as yet to regard the rejection of - my Homilies." - - Murray, to whom the manuscript was next carried, was more than - willing to undertake the publication of the poem. He offered - six hundred pounds for the copyright of the first two cantos; - but Byron, refusing to keep the money himself, presented it to - the needy Dallas. Dallas was the intermediary, at first, as we - learn from Byron's letter to him dated August 21, 1811: "I - do not think I shall return to London immediately, and shall - therefore accept freely what is offered courteously--your - mediation between me and Murray." Again, in a letter to - Murray, August 23, 1811, he says: "My friend, Mr. Dallas, - has placed in your hands a manuscript poem written by me in - Greece, which he tells me you do not object to publishing." - - The relations between Murray and Byron form one of the most - interesting chapters in the history of bookselling, redounding - equally to the credit of each. In a letter to the publisher, - dated September 5, 1811, the poet says: "The time seems to be - past when (as Dr. Johnson said) a man was certain to 'hear - the truth from his bookseller,' for you have paid me so many - compliments, that if I was not the veriest scribbler on earth, - I should feel affronted." Murray in one letter asked him to - "obviate" some expressions concerning Spain and Portugal, "and - with them, perhaps, some religious feelings which may deprive - me of some customers amongst the _Orthodox_," but Byron - refused to change anything, saying: "As for the '_Orthodox_' - let us hope they will buy, on purpose to abuse--you will - forgive the one if they do the other." - - The following extracts give us an insight into our author's - feelings about the appearance and make-up of his book. - Speaking of its form, he says: "He [Murray] wants to have - it in a quarto, which is a cursed unsaleable size; but it is - pestilent long, and one must obey one's publisher." And to - Murray himself he writes in answer to a very natural question: - "... The printer may place the notes in his _own way_, or any - _way_, so that they are not in _my way_. I care nothing about - types or margins." - - The use of the poet's name on the title-page caused some - discussion, as we see from a letter to Dallas already quoted: - "I don't think my name will answer the purpose, and you must - be aware that my plaguey Satire will bring the north and south - Grub Street down upon the _Pilgrimage_;--but, nevertheless, if - Murray makes a point of it, and you coincide with him, I - will do it daringly; so let it be entitled 'By the author of - _English Bards and Scotch Reviewers_...." There was another - reason why he did not want his name to appear: "Has Murray - shown the work to any one? He may--but I will have no traps - for applause ... I much wish to avoid identifying _Childe - Harold's_ character with mine, and that, in sooth, is my - second objection to my name appearing in the title-page." - Later, however, as we see, he gave way on this point. - - We are indebted to Smiles, in his memoirs of John Murray, for - a vivid picture of Byron as a book-maker. - - "He afterwards looked in [at 32, Fleet Street] from time - to time, while the sheets [of _Childe Harold_] were passing - through the press, fresh from the fencing rooms of Angelo and - Jackson. He used to amuse himself by renewing his practice of - _Carte et Tierce_, with his walking-cane directed against the - book-shelves, while Murray was reading passages from the poem - with occasional ejaculations of admiration, on which Byron - would say, 'You think that a good idea, do you, Murray?' - Then he would fence and lunge with his walking stick at some - special book which he had picked out on the shelves before - him. As Murray afterwards said, 'I was often very glad to get - rid of him!'" - - The poem, that is, two Cantos of it, was published March 1, - 1812, in an edition of five hundred copies, which were - all sold in three days. We hear from Elizabeth, Duchess of - Devonshire, that "the subject of conversation, of curiosity, - of enthusiasm, almost, one might say, of the moment is not - Spain, or Portugal, Warriors or Patriots, but Lord Byron!" "He - returned," she continues, "sorry for the severity of some - of his lines (in the _English Bards_), and with a new poem, - _Childe Harold_, which he published. This poem is on every - table, and himself courted, visited, flattered, and praised - whenever he appears. He has a pale, sickly, but handsome - countenance, a bad figure, and, in short, he is really the - only topic almost of every conversation--the men jealous of - him, the women of each other." - - Thomas Davison, the printer of the book, was also responsible - for many of the volumes of Campbell, Moore and Wordsworth, - but he is known chiefly for his fine edition of Whitaker's - _History of Richmondshire_, Rogers's _Italy_, and Dugdale's - _Monasticon Anglicanum_. Timperley speaks of the singular - beauty and correctness of his works, which brought about him - a "connection" of the most respectable publishers of the day, - and he adds: "By improvements which he made in printing - ink, (a secret of which he had for a long time the exclusive - possession) and other merits, he acquired great celebrity; and - few indeed of his competitors, could approach the characters - of what issued from his press." - - "For equal accuracy and beauty, let the palm be extended to - Davison and Moyes," cries Mr. Dibdin in _The Bibliographical - Decameron_. In a note he adds: "Mr. Davison is both an - excellent and an elegant printer. His _Gil Blas_, published - by Messrs. Longman, Hurst, and Co. is quite worthy of the - beautiful engravings with which that edition is adorned: but - his _Arabian Nights_, by Scott, 1811, in 6 octavo volumes, is, - to my eye, a more exquisite performance." - - Early in their intercourse Murray had said to Byron: "Could - I flatter myself that these suggestions were not obtrusive, - I would hazard another, in an earnest solicitation that your - lordship would add the two promised Cantos, and complete the - _Poem_." But the volume containing the third Canto was not - issued until 1816, when Murray paid £2000 for it. The fourth - Canto, in a much thicker volume, came out two years afterward, - and for this £2100 were received by the poet. The second - volume sold for 5s. 6d., and the last for 12s. - - Byron must have carried his point about the size, for these - last volumes were issued in octavo. - - Quarto. - - COLLATION: _vi pp., 1 l., 226 pp. Facsimile._ - - * Alluding to Gil Blas and the Archbishop of Grenada. - - - - -JANE AUSTEN - -(1775-1817) - - -69. 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. - - Egerton published _Sense and Sensibility_ in 1811, while - _Pride and Prejudice_ (originally named _First Impressions_), - which had been finished in August, 1797, was first offered by - Miss Austen's father to Cadell, the famous publisher, in the - following letter: - - "Sir,--I have in my possession a manuscript novel, comprising - 3 vols., about the length of Miss Burney's 'Evelina.' As I am - well aware of what consequence it is that a work of this sort - sh^{d} make its first appearance under a respectable name, I - apply to you. I shall be much obliged, therefore, if you will - inform me whether you choose to be concerned in it, what will - be the expense of publishing it at the author's risk, and - what you will venture to advance for the property of it, if on - perusal it is approved of. Should you give any encouragement, - I will send you the work. - - "Steventon, near Overton, Hants. - - "1^{st}. Nov. 1797." - - Cadell refused the book without reading it, and it was finally - carried to Egerton, who accepted the story and made it into an - attractive volume, although Gifford, who afterward read it for - Murray with a view to publishing _Emma_, tells us that it - was "--wretchedly printed, and so pointed as to be almost - unintelligible." - - _Mansfield Park_ and _Emma_, like her two earlier novels, were - issued anonymously during Miss Austen's lifetime. Though the - author's name was an open secret, it did not appear in any of - her books until the year after her death, when her brother, - Henry Austen, announced it in a short biographical notice - prefixed to _Northanger Abbey_ and _Persuasion_. - - One hundred and fifty pounds were received from the sale of - _Sense and Sensibility_, and less then seven hundred pounds - from the sale of all four books issued before the two novels - of 1818. - - The work, "my own darling child," as Miss Austen called it, - appeared in January, and she says of it: "There are a few - typical errors; and a 'said he,' or a 'said she,' would - sometimes make the dialogue more immediately clear; but 'I - do not write for such dull elves' as have not a great deal - of ingenuity themselves. The second volume is shorter than I - could wish; but the difference is not so much in reality, as - in look." - - Duodecimo. - - COLLATION: _Three volumes._ - - - - -SAMUEL TAYLOR COLERIDGE - -(1772-1834) - - -70. 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. - - Coleridge, writing to his wife, April 4, 1803, says: "To-day I - dine again with Sotheby. He had informed me that ten gentlemen - who have met me at his house desired him to solicit me to - finish the 'Christabel,' and to permit them to publish it for - me; and they engaged that it should be in paper, printing, - and decorations the most magnificent thing that had hitherto - appeared. Of course I declined it. The lovely lady shan't come - to that pass! Many times rather would I have it printed at - Soulby's on the true ballad paper. However, it was civil, and - Sotheby is very civil to me." - - It was not until May 8, 1816, that the still unfinished poem - of _Christabel_ was offered to Murray, who, upon Byron's - recommendation, so Lamb tells us, agreed to take it, paying - seventy guineas for it, "until the other poems shall be - completed, when the copyright shall revert to the author." - _Christabel_ is in two parts. The "three parts yet to come," - and which Coleridge in the Preface said he hoped would be - finished in the present year, never appeared. _Kubla Khan; Or - A Vision In A Dream_ is prefaced by a short introduction. - The seventy guineas Coleridge turned over to a needy friend. - Murray also gave "£20 for permission to publish the other - fragment of a poem, _Kubla Khan_, but which the author should - not be restricted from publishing in any other way that he - pleased." - - We may not pass over this book, modest as it is in appearance, - without giving a quotation from the voluble Dibdin on the - merits of its printer and his press, "The Shakespeare Press." - "Trivial as the theme may appear," says he, "there are some - very reasonable folks who would prefer an account of this - eminent press to the 'History of the Seven Years War:' and I - frankly own myself to be of that number. Nor is it--with due - deference be it said to William Bulmer & Co.--from the - least admiration of the _exterior_ or _interior_ of this - printing-office that I take up my pen in behalf of it; but - because it has effectually contributed to the promotion of - belles-lettres, and national improvement in the matter of - puncheon and matrix." - - Dibdin might have said more, without exaggeration; some of - the chief glories of English typography came from the hands of - William Bulmer & Co., works like the edition of Shakespeare - of Alderman Boydell; _The Poetical Works of John Milton_, in - three volumes, with engravings after designs by R. Westall; - Goldsmith's _Traveller_ and _Deserted Village_, with - engravings upon wood by Thomas Bewick; Somerville's _Chase_, - with engravings by John and Thomas Bewick; Forster's edition - of _The Arabian Nights' Entertainments_ in five volumes, with - illustrations after Smirke's designs; and last, but not least, - Dibdin's own _Bibliotheca Spenceriana_. Specimens of printing - such as these justify Bulmer's claim that great strides had - been taken toward raising the art from the depths to which it - had fallen. - - One is tempted to wonder if the ten gentlemen friends of - Sotheby, smitten by the mania for this new-found mode of - expression in book-making, could have had it in mind to issue - _Christabel_ with designs by Bewick, or Westall, or Smirke. - - Octavo. - - COLLATION: _vii, 64 pp., 2 ll._ - - - - -SIR WALTER SCOTT - -(1771-1832) - - -71. Ivanhoe; | A Romance. | By "The Author Of Waverley," &c. | -[Quotation] In Three Volumes. | Vol. I. | Edinburgh: | Printed For -Archibald Constable And Co. Edinburgh: | And Hurst, Robinson, And Co. -90, Cheapside, London. | 1820. - - Constable offered "The Author of Waverley" £700 for its - copyright; but was told that the sum was too little if the - book succeeded, and too much if it failed. The success of - the novel, when it appeared, July 7, 1814, was enormous. One - thousand copies were sold in the first five weeks, and - six editions were necessary within the year. The whole - English-reading world waited for another book from the same - pen. _Ivanhoe_ appeared, December 18, 1819, and Mr. Leslie - Stephen says that it was "Scott's culminating success in a - book-selling sense, and marked the highest point both of his - literary and social prosperity." - - The "Waverley novels" had been issued in duodecimo, but this - volume marked a change to a new size. The paper was finer than - hitherto, and the press-work much better. The price, too, was - raised from eight shillings the volume to ten. These changes - were made, Lockhart tells us, to assist the impression, which - it was thought best to create, that _Ivanhoe_ was by a new - hand; but "when the day of publication approached, [Constable] - remonstrated against this experiment, and it was accordingly - abandoned." The sale of the novel, in the early editions, - amounted to 12,000 copies. Its popularity to-day is as great - as ever. - - Scott's persistence in keeping up his anonymity is well known. - In agreements with Constable a clause was introduced making - the publisher liable to a penalty of £2000 if the author's - name were revealed. - - A survey of Scott's publishing ventures would hardly be - complete without a word concerning this publisher with whom - his fortunes were so inseparably connected. Curwen says: "From - 1790 to 1820 Edinburgh richly deserved the honorable title of - 'Modern Athens.' Her University and her High School, directed - by men preëminently fitted for their duties ... attracted and - educated a set of young men, unrivalled, perhaps, in modern - times for genius and energy, for wit and learning. Nothing, - then, was wanting to their due encouragement but a liberal - patron, and this position was speedily occupied by a publisher - who, in his munificence and venturous spirit, soon outstripped - his boldest English rival--whose one fault was, in fact, - that of always being a Mæcenas, never a tradesman." By his - liberality to writers, Constable transformed the publishing - business, and practically put it upon a new basis. He made it - possible for authors to do away with aristocratic patrons, and - to stand upon their own merits. Scott had good reason to say, - even after his disastrous participation in Constable and Co.'s - failure, "Never did there exist so intelligent and so liberal - an establishment." - - Octavo. - - COLLATION: _Three volumes._ - - - - -JOHN KEATS - -(1795-1821) - - -72. 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. - - The poems in this volume represent the labor of a little over - a year and a half--that is, from March, 1818, to October, - 1819,--and were all written after the publication of - _Endymion_. The book was issued in the beginning of July, - and was the third, and, as it proved, the last of the poet's - works. "My book is coming out," said he, "with very low hopes, - though not spirits, on my part. This shall be my last trial; - not succeeding, I shall try what I can do in the apothecary - line." It was not lack of success, however, that led him to - discontinue the publishing line. - - Among the "other poems" mentioned on the title-page is - _Hyperion. A Fragment_. The publishers, who seem to have - cordially appreciated Keats's genius, refer to it in a - special "Advertisement" placed after the title-page, and dated - Fleet-Street, June 26, 1820: - - "If any apology be thought necessary for the appearance of the - unfinished poem of Hyperion, the publishers beg to state - that they alone are responsible, as it was printed at their - particular request, and contrary to the wish of the author. - The poem was intended to have been of equal length with - Endymion, but the reception given to that work discouraged the - author from proceeding." - - The volume was issued in light brown paper-covered boards, at - 7s. 6d., and our poet says in a letter to Charles A. Brown: - "My book has had good success among the literary people, and - I believe has a moderate sale." And again he writes on this - subject to Mr. Brown, August, 1820: "The sale of my book is - very slow, though it has been very highly rated. One of - the causes, I understand from different quarters, of the - unpopularity of this new book, is the offence the ladies take - at me. On thinking that matter over, I am certain that I have - said nothing in a spirit to displease any woman I would care - to please; but still there is a tendency to class women in my - books with roses and sweetmeats,--they never see themselves - dominant." - - On the verso of the title-page of some copies, and at the - end of the book, we find _London: Printed by Thomas - Davison, Whitefriars_, a guarantee for the excellence of the - typography, the key-note of which is struck in the admirably - arranged title-page. - - Duodecimo. - - COLLATION: _3 ll., 199 pp._ - - - - -PERCY BYSSHE SHELLEY - -(1792-1822) - - -73. Adonais | An Elegy On The Death Of John Keats, | Author Of -Endymion, Hyperion Etc. | By | Percy. B. Shelley | [Quotation] Pisa | -With The Types Of Didot | MDCCCXXI. - - Charles Ollier, the publisher, received the following - interesting letter from Shelley, dated at Pisa, June 8, 1821: - - "Dear Sir,--You may announce for publication a poem entitled - "Adonais." It is a lament on the death of poor Keats, with - some interposed stabs on the assassins of his peace and of - his fame; and will be preceded by a criticism on "Hyperion," - asserting the due claims which that fragment gives him to - the rank which I have assigned him. My poem is finished, and - consists of about forty Spenser stanzas. I shall send it you, - either printed at Pisa, or transcribed in such a manner as - it shall be difficult for the reviser to leave such errors as - _assist_ the obscurity of the "Prometheus." But in case I send - it printed, it will be merely that mistakes may be avoided; - [so] that I shall only have a few copies struck off in the - cheapest manner." - - The latter course was finally decided upon. The manuscript was - sent to the printer at Pisa on June 16, 1821, and the first - finished copy, in a blue, ornamented paper wrapper, was - received July 13. This was not slow work, and the more - remarkable when it is known that there are very few printer's - errors in the book. This accuracy is due to the great pains - Shelley took in revising the proofs. - - The volume, and especially the untrimmed copies measuring - 10×7-1/2 inches, are beautiful in appearance. There is a - certain marked peculiarity in the typography, however, which - is explained by Mr. Forman in this way: "The frequent dashes, - which seem to have exactly the value usual with Shelley, are - all double the usual length, except in two instances. The fact - is that, in Shelley's bold writing, these dashes _were_ very - long: the English printers would understand this; but Didot's - people seem to have followed them literally; and the book - being boldly printed, this peculiarity would not be likely to - strike Shelley in revising." - - The name of the press at Pisa is not given; the fact that the - "Types of Didot" were used does not of course necessarily mean - that the Didots had an office there, as Mr. Forman would seem - to imply. - - In the preface Shelley speaks as if he had changed his mind - about issuing the criticism of _Hyperion_ with this volume, as - he planned to do in the letter to Ollier. "It is my intention - to subjoin to the London edition of this poem, a criticism - upon the claims of its lamented object to be classed among the - writers of the highest genius who have adorned our age." No - London edition is known, however. - - The poem was first printed in England in the columns of - the _Literary Chronicle_ for December 1, 1821, where it was - appended to a review; but in this form stanzas XIX to XXIV - were omitted. The earliest separate reprint bears the impress - _Cambridge: Printed by W. Metcalfe, and sold by Messrs. Gee & - Bridges, Market-Hill_. MDCCCXXIX. - - Two quotations from an interesting unpublished letter, - belonging to a member of the Grolier Club, show that Ollier, - who had been the publisher of most of Shelley's works, had - copies of the Pisa book for sale, shortly after it was - issued; the letter is addressed to "Meſs^r. Ollier & Co., - Booksellers Vere Street, Bond St., London, Angleterre," and - reads: - - "Bagni. July 27. 1821 - - "DEAR SIR - - "I send you the bill of lading of the box containing Adonais: - and I send also a copy to yourself by M^r. Gisborne who - probably will arrive before the Ship.... The work I send you, - has been seen in print by M^r. Gisborne, & has excited, as it - must in every one, the deepest interest. - - "Dear Sir, Yours very truly - - "P. B. SHELLEY." - - - Quarto. - - COLLATION: _25 pp._ - - - - -CHARLES LAMB - -(1775-1834) - - -74. Elia. | Essays Which Have Appeared Under That Signature | In The -| London Magazine. | London: | Printed For Taylor And Hessey, | -Fleet-Street. | 1823. - - "Poor Elia," says Lamb in a letter to the publisher, Taylor, - under date of July 30, 1821, "Poor Elia, the real (for I am - but a counterfeit), is dead. The fact is, a person of that - name, an Italian, was a fellow-clerk of mine at the South - Sea House thirty (not forty) years ago, when the characters - I described there existed, but had left it like myself many - years; and I, having a brother now there, and doubting how he - might relish certain descriptions in it, I clapt down the name - of Elia to it, which passed off pretty well, for Elia himself - added the function of an author to that of a scrivener, like - myself. - - "I went the other day (not having seen him for a year) to - laugh over with him at my usurpation of his name, and found - him, alas! no more than a name, for he died of consumption - eleven months ago, and I knew not of it. - - "So the name has fairly devolved to me, I think, and 'tis all - he has left me." - - In this way our author himself accounts for the pseudonym, - which, by the way, he says should be pronounced "Ellia." - - The _London Magazine, London: Printed for Baldwin, Cradock, - And Joy_, was established in January, 1820; but Taylor and - Hessey did not become its proprietors until July of the - following year, when Taylor, who was something of a writer - himself, especially on monetary subjects, acted as editor, - with Thomas Hood as sub-editor. John Scott, whom Byron - described as "a man of very considerable talents and of great - acquirements," had been called to the editorship when Lamb - began his essays, and William Hazlitt was on the staff. - - The first of the series appeared in the August number, - 1820, and the papers continued until October, 1822, when, - twenty-seven having been issued, they, with one other called - _Valentine's Day_, which had appeared in the _Indicator_ for - February, 1821, were collected to form this volume. - - When the book was in press Lamb thought to use a dedication, - which he wrote and sent to Taylor with the following note, - dated December 7, 1822: - - "Dear Sir--I should like the enclosed Dedication to be - printed, unless you dislike it. I like it. It is in the olden - style. But if you object to it, put forth the book as it is; - only pray don't let the printer mistake the word _curt_ for - _curst_. - - C. L. - - "On better consideration, pray omit that Dedication. The - Essays want no Preface: they are _all Preface_. A Preface is - nothing but a talk with the reader; and they do nothing else. - Pray omit it. - - "There will be a sort of Preface in the next Magazine, which - may act as an advertisement, but not proper for the volume. - - "Let Elia come forth bare as he was born." - - The label on the paper-covered boards gives the price of the - volume as 9s. 6d., a fairish price for the neat, but in no way - remarkable piece of book-making which Thomas Davison executed - for the publishers. - - Some copies of the first edition show a variation in the - imprint: Messrs. Taylor and Hessey having opened a new shop at - 13, Waterloo Place, this address was printed in a line below - the old one. Occasion was also taken, at this time, to furnish - the book with a half-title. - - Octavo. - - COLLATION: _iv, 341 pp._ - - - - -SAMUEL PEPYS - -(1633-1703) - - -75. Memoirs | Of | Samuel Pepys, Esq. F.R.S. | [Two lines] Comprising -| His Diary | From 1659-1669, | Deciphered By The Rev. John Smith, -A.B. Of St. John's College, Cambridge, | From The Original Short-Hand -MS. In The Pepysian Library, | [Two lines] [Copy of one of Pepys's -book-plates] Edited By | Richard, Lord Braybrooke. | In Two Volumes. | -Vol. I. | London: | Henry Colburn, New Burlington Street. | MDCCCXXV. - - To the information given on the title-page, the noble editor - adds some further facts in a preface. He says that the six - volumes, closely written in short-hand by Pepys himself, had - formed a part of the collection of books and prints bequeathed - to Magdalen College, where they had remained unexamined (from - the date of Pepys's death) until the appointment of Lord - Braybrooke's brother, George Neville, afterwards called - Grenville, as master of the College. Under Neville's auspices - they were deciphered by Mr. Smith, whom his lordship had not - the pleasure of knowing. - - Pepys used short-hand for his notes because he often had - things to say which he did not think fit for all the world to - know; and Lord Braybrooke found it "absolutely necessary" to - "curtail the MS. materially." The complete journal, all that - it is possible to print, was not issued until 1893. - - Colburn, the publisher, known for his successful ventures, and - especially for the series called _Colburn's Modern Standard - Novelists_ and _The Literary Gazette_, containing works by - Bulwer Lytton, Lady Morgan, Captain Marryat, and others, had - been so fortunate with an issue of Evelyn's _Diary_ that he - was led into the present undertaking. With this edition, which - sold at six pounds six shillings, and with two succeeding - editions selling at five guineas, he is reputed to have made a - handsome profit on the twenty-two hundred pounds paid for the - copyright. - - The large volumes with their broad margins are handsome - specimens of the excellent typographical work of the Bentleys. - They are embellished with two illustrations in the text, - and thirteen engraved plates. A frontispiece portrait of the - author, after the painting by Kneller, was engraved by T. - Bragg, and a smaller portrait used as a head-piece to the - Life is signed _R. W. ſculp_. This last is a copy of one of - Pepys's book-plates; it has the motto "Mens cujusque is est - Quisque" above the oval frame, and "Sam. Pepys. Car. Et. - Iac. Angl. Regib. A. Secretis Admiraliæ" in two lines below. - Another book-plate used by the Secretary is copied on the - title-page. Of the remaining portraits, one was engraved by - John Thomson, while five were the work of R. Cooper, who also - engraved the "View of the Mole at Tangier" and the "View of - Mr. Pepys' Library." The other plates, including one showing - facsimiles of Pepys's short- and long-hand; two of pedigrees, - and a folded map, are signed "Sid^y. Hall, Bury Str^t. - Bloomsb^y." - - Some copies of the book on fine paper, with beautiful - impressions of the plates, are marked in red on the half-title - page, "Presentation Copies." - - Quarto. - - COLLATION: _Two volumes._ Volume I: _1 l., xlii, 498, xlix pp._ - Volume II: _2 ll., 348, vii, 311 pp. Seven portraits. Six plates._ - - - - -JAMES FENIMORE COOPER - -(1789-1851) - - -76. The Last | Of | The Mohicans; | A Narrative Of | 1757. | By The -Author Of "The Pioneers." [Quotation] In Two Volumes. | Vol. I. | -Philadelphia: | H. C. Carey & I. Lea--Chestnut-Street. | 1826. - - _The Pioneers_ was the first of _The Leather Stocking Tales_. - It appeared in 1823, and was an immediate success; more than - 3500 copies are said to have been sold before noon of the - day of publication. This was reason enough for following the - custom of the English novelists of putting on the title-page, - not the name of the author, but the name of his first success. - _The Last of the Mohicans_ appeared February 4, 1826, and was - also a prodigious success. - - The surprising meagerness of bibliographical facts concerning - Cooper's works is, Professor Lounsbury says in his life of - the novelist, characteristic of a reticence and dislike of - publicity which extended to all his dealings. "The size of the - editions has never been given to the public. The sale of 'The - Pioneers' on the morning of its publication has already been - noticed, and there are contemporary newspaper statements to - the effect that the first edition of 'The Red Rover' consisted - of five thousand copies, and that this was exhausted in a few - days. But it was only from incidental references of this kind, - which can rarely be relied upon absolutely, that we, at this - late day, are able to give any specific information whatever. - - "He was unquestionably helped in the end, however, by what in - the beginning threatened to be a serious if not insuperable - obstacle. He was unable to get any one concerned in the book - trade to assume the risk of bringing out 'The Spy.' That had - to be taken by the author himself. In the case of this novel, - we know positively that Cooper was not only the owner of the - copyright, but of all the edition; that he gave directions - as to the terms on which the work was to be furnished to the - booksellers, while the publishers, Wiley & Halsted, had - no direct interest in it, and received their reward by a - commission. It is evident that under this arrangement his - profits on the sale were far larger than would usually be the - case. Whether he followed the same method in any of his later - productions, there seems to be no method of ascertaining. - Wiley, however, until his death, continued to be his - publisher. 'The Last of the Mohicans' went into the hands - of Carey & Lea of Philadelphia, and this firm, under various - changes of name, continued to bring out the American edition - of his novels until the year 1844." - - Henry Charles Carey, son of Matthew Carey, was as celebrated - for his writings on political economy as for his connection - with this publishing house, which was one of the largest in - the country. - - Duodecimo. - - COLLATION: _Two volumes._ Volume I: _262 pp._ Volume II: _260 pp._ - - - - -WALTER SAVAGE LANDOR - -(1775-1864) - - -77. Pericles And Aspasia | By | Walter Savage Landor, Esq. | In Two -Volumes. | Vol. I. | London | Saunders and Otley, Conduit Street. | -1836. - - These volumes were issued in three or more styles of binding: - paper-covered boards, straight-grain dull green cloth, and - half roan with brown glazed paper boards all with paper - labels. The publishers' advertisements, two leaves at the end - of Vol. II. are the same with each style of binding. - - This work was written by Landor during his residence at - Fiesole, but it was published after his return to England. His - own choleric temperament and irascible manner unfitted him for - personal dealings with publishers, as he had found from past - experiences, and so the arrangements for this publication were - intrusted to his friend Mr. G. P. R. James, the novelist, who - sold the manuscript to Saunders and Otley for £100. - - The following unpublished letter of Landor's, belonging to - a member of the Grolier Club, is interesting as referring to - this transaction. - - - "MY DEAR SIR: - - "When I offered my Pericles to MM. Saunders & Otley I did not - suppose there was more than enough for one volume, the size of - the Examination of Shakspeare. They told you it would form two - volumes of that size. Knowing that I had material for thirty - pages more, I said that if they would make the first vol: 300 - pp. I would take care that the second should not fall short - of it more than a dozen pages. Now I have sent them not thirty - but a hundred--and they tell me to-day that there is not - remaining, for the second volume, more than 175 pp. I have, - you perceive, already sent above one third more than what I - calculated the whole at, when you had the kindness to make the - agreement for me. - - "In reply to their letter I have said that, if they will give - me fifty pounds more, I will send one hundred more pages, 50 - within three weeks, 50 more in the three following; and if - this does not appear equitable to them I leave it entirely to - you. I shall then have given them 200 pp. for fifty pounds, - when I offered them only 285 for a hundred. It will be my - business to take care that the remainder shall fall as - little short as possible of the preceding. I have furthermore - stipulated for twenty copies. Many of these will take nothing - from the profits, as more than a dozen will be given to people - who certainly would not have bought them, and who are not - likely to lend them. - - "A friend has offered me some pheasants, which I have desired - to be sent to you. I hope they will please the young lion with - their plumage. The first of Feb. I set out for Clifton: an old - favorite of mine for winter and spring. I have requested MM - Saunders to favour me with two (I should be glad of three) - copies of the first volume as my friend Ablett's birthday is - on the 31 of this month, and mine on the 30, and I have three - friends to whom it would delight me to give them before I - leave Wales. With best compliments to Mrs. James, believe me - ever, - - "Yrs very sincerely - - "W. S. LANDOR - - "LLAMBEDR, Jan. 18 [1836] - - "I have seen the last sheet of Vol. I, but not the short - Preface sent from London. - - "How can you complain of your English. There is hardly a fault - to be found in the 3 volumes. I have read them a second time. - - "G. P. R. James, Esq. - - "1 Lloyds Buildings - - "Blackheath - - "London" - - The work appeared during the early part of 1836, and though - it was received with much praise by his friends, and had many - favorable reviews, the sale dragged. In October of the same - year, Landor, in one of his letters to Forster, refers to an - unfavorable review which appeared in _Blackwood_: "... I am - not informed how long this Scotchman has been at work about - me, but my publisher has advised me, that he loses £150. by my - _Pericles_. So that it is probable the Edinburgh Areopagites - have condemned me to a fine in my absence; for I never can - allow any man to be a loser by me, and am trying to economise - to the amount of this indemnity to Saunders and Otley...." - The money was in fact paid back, and yet, curiously enough, - as Forster relates, Landor not only forgot, three years later, - that he had received a payment for the copyright, but even - that he himself had sent back the money, and was making - further remittances to satisfy the supposed loss. This was - stopped by a statement from Mr. Saunders, to which Landor - refers in a letter to Forster: "Never, in the course of - my life, was I so surprised as at the _verification_ of my - account with Saunders; for such it is. Certain I am that no - part of the money was ever spent by me, nor can I possibly - bring to mind either the receiving or the returning of it...." - - The first American edition of _Pericles and Aspasia_, in - two volumes, was published by Carey, Philadelphia, 1839, the - second English edition in 1849, and there have been frequent - editions since, both in England and in America. - - Duodecimo. - - COLLATION: _Two Volumes._ Volume I: _viii, 299 pp._ - Volume II: _viii, 343 pp._ - - - - -CHARLES DICKENS - -(1812-1870) - - -78. The | Posthumous Papers | Of | The Pickwick Club. | By Charles -Dickens. | With | Forty-three illustrations by R. Seymour and | Phiz. -| London: | Chapman and Hall, 186, Strand. | MDCCCXXXVII. - - An advertisement in the _Times_ for March 26, 1836, reads: - - "THE PICKWICK PAPERS.--On the 31st of March will be published, - to be continued monthly, price One Shilling, the first number - of the Posthumous Papers of the Pickwick Club, containing - a faithful record of the Perambulations, Perils, Travels, - Adventures, and Sporting Transactions of the Corresponding - Members. Edited by Boz. Each monthly Part embellished with - four Illustrations by Seymour. Chapman & Hall, 186 Strand, and - of all booksellers." - - Robert Seymour, a caricaturist, and the illustrator of such - works as _The Odd Volume_, _The Looking Glass_, and _Humorous - Sketches_, had been employed by Chapman and Hall to illustrate - a comic publication called _The Squib Annual_; and this - led him to suggest that he should make a series of Cockney - sporting plates which could be furnished with letter-press. - Hall applied to Dickens, then an unknown newspaper man, for - the text, a "something which should be a vehicle for certain - plates to be executed by Mr. Seymour." Dickens says of this - proposition: "I objected.... My views being deferred to, I - thought of Mr. Pickwick, and wrote the first number; from the - proof-sheets of which Mr. Seymour made his drawing of the - Club and his happy portrait of its founder. I connected Mr. - Pickwick with a club, because of the original suggestion; and - I put in Mr. Winkle expressly for the use of Mr. Seymour." - - The work came out in twenty parts (parts nineteen and twenty - were bound together), beginning in April, 1836, and ending - with November, 1837. They were covered in light green paper - bordered with a design by Seymour, and engraved by John - Jackson, a pupil of Bewick and Hervey. The title reads, _The - Posthumous Papers of the Pickwick Club_ [_Five lines_] _Edited - by "Boz. With Illustrations...."_ - - The publication of the second number was delayed by the - suicide of Seymour, whose mind gave way from overwork. This - sad event was announced to the public in a note, and an - apology was offered for the reduction of the number of plates - from four to three. "When we state that they comprise Mr. - Seymour's last efforts, and that on one of them, in particular - (the embellishment of the Stroller's Tale), he was engaged - up to a late hour of the night preceding his death, we feel - confident that the excuse will be deemed a sufficient one." - - The third and succeeding numbers contained two plates each. - Those in the third part were originally executed by Robert - Buss, who learned to etch in order to produce them. But he - gave up the work, and his plates were replaced in later - issues by others by Hablot K. Browne, or "Phiz," who did the - remaining plates. The last or double part contained three - plates and an engraved title-page. With it subscribers - received also the printed title-page, dedication, preface, - contents, Directions to the Binder and Table of Errata. - - In the eighteenth number, dated September 29, 1837, the - following important announcement appears: - - "The subscribers to this work and the trade are respectfully - informed that Nos. XIX. and XX. (with titles, contents, &c.) - will be published together on 1^{st} of November; and that the - complete volume, neatly bound in cloth, price one guinea, will - be ready for delivery by the 14^{th} of that month, and for - which country producers are requested to send early orders to - their respective agents." - - The venture was almost a failure at first, and it was not - until the appearance of Sam Weller, with the fifth number, - that the bookbinder, who had prepared four hundred copies of - the first number, was obliged to increase the supply. From - this time on, the demand grew until the enormous output of - forty thousand was reached with the fifteenth number. - - There are differences in the various accounts of the amount - Dickens was to receive for his work. A letter from the - publishers to him mentions their terms as nine guineas a - sheet for each part consisting of a sheet and a half; fifteen - guineas a number was the sum as stated by Mr. Edward Chapman - to Mr. Forster; and Dickens himself, in a letter to Miss - Hogarth, afterwards his wife, says, fourteen pounds a month. - During publication, he received in checks from the publishers - £3000. In 1837 Chapman & Hall agreed that after five years he - should have a share in the copyright, on consideration that - he write a similar book for which he was to receive £3000, - besides having the whole copyright after five years. Forster - thinks the author received, in all, £25,000, while the - publishers' profits during the three years from 1836 to 1839 - are said to have amounted to £14,000 on the sale of the work - in numbers alone. - - Chapman & Hall issued the book in volume form in 1837, at - twenty-one shillings. - - Mr. Frederic G. Kitton says: - - "There are probably not more than a dozen copies of the first - edition of "Pickwick" in existence. An examination of a number - of impressions presumably of this edition results in the - discovery of slight variations both in plates and text. These - are especially noticeable in the illustrations, for, owing to - the enormous demand, the plates were re-etched directly they - showed signs of deterioration in the printing, and "Phiz," in - reproducing his designs, sometimes altered them slightly. The - earliest impressions of the work may be distinguished by - the absence of engraved titles on the plates, and by their - containing the _original_ etchings by Seymour and Buss, not - "Phiz's" _replicas_ of them." - - Octavo. - - COLLATION: _xiv pp., 1 l., 609 pp. Forty-five plates, including - engraved title-page._ - - - - -THOMAS CARLYLE - -(1795-1881) - - -79. Sartor Resartus. | In Three Books. | Reprinted for Friends from -Fraser's Magazine. | [Quotation] London: | James Fraser, 215 Regent -Street. | M.DCCC.XXXIV. - - Carlyle went up to London with _Teufelsdröckh_ in his satchel, - to find a publisher for it. He put much confidence in the help - of his friend Francis Jeffrey, the lord advocate, who exerted - himself chiefly to establish relations between the author and - John Murray. - - Mrs. Carlyle, at home in Craigenputtoch, received the - following letter from her husband, August 11, 1831: - - "... After a time by some movements, I got the company - dispersed, and the Advocate by himself, and began to take - counsel with him about 'Teufelsdröckh.' He thought Murray, in - spite of the Radicalism, would be the better publisher; to him - accordingly he gave me a line, saying that I was a genius and - would likely become eminent;... I directly set off with this - to Albemarle Street; found Murray out; returned afterwards - and found him in, gave an outline of the book, at which the - Arimaspian smiled, stated also that I had nothing else to - do here but the getting of it published, and was above all - anxious that his decision should be given soon...." - - On the 22d he wrote again: - - "On Saturday morning I set out for Albemarle Street. Murray, - as usual, was not in; but an answer lay for me--my poor - 'Teufelsdröckh,' wrapped in new paper, with a letter stuck - under the packthread. I took it with a silent fury, and walked - off. The letter said he regretted exceedingly, etc.; all his - literary friends were out of town; he himself occupied with a - sick family in the country; that he had conceived the finest - hope, etc. In short, that 'Teufelsdröckh' had never been - looked into; but that if I would let him keep it for a month, - he would _then_ be able to say a word, and by God's blessing a - favorable one. - - "I walked on through Regent Street and looked in upon James - Fraser, the bookseller. We got to talk about 'Teufelsdröckh,' - when, after much hithering and thithering about the black - state of trade, &c., it turned out that honest James would - publish the book for me on this principle: if I would give - _him_ a sum not exceeding 150 l. sterling! 'I think you had - better wait a little,' said an Edinburgh advocate to me since, - when he heard of this proposal. 'Yes,' I answered, 'it is - my purpose to wait to the end of eternity for it.' 'But the - public will not buy books.' 'The public has done the wisest - thing it could, and ought never more to buy what they call - books.' - - "Spurning at destiny, yet in the mildest terms taking leave of - Fraser, I strode through the street carrying 'Teufelsdröckh' - openly in my hand.... Having rested a little, I set out again - to the Longmans, to hear what they had to say." - - The Longmans, "honest, rugged, punctual-looking people," said - little to the point, however, and then, through Lord Jeffrey's - efforts in his behalf, Murray offered as follows: "The short - of it is this: Murray will print an edition (750 copies) of - Dreck on the half-profit system (that is, I getting _nothing_, - but also giving nothing); after which the sole copyright of - the book is to be mine...." - - Carlyle then tried Colburn & Bentley, but with his mind made - up "unless they say about 100 l. I will prefer Murray." These - negotiations came to nothing, and back he went to Murray, - whose offer "is not so bad: 750 copies for the task of - publishing poor Dreck, and the rest of him _our own_." The - terms were accepted, the manuscript was sent to the printer, - and a page set up, when Murray repented his bargain, which had - never pleased him, and, having heard that Carlyle had carried - his MS. elsewhere, he seized the opportunity to send the - author a note saying that since he had, unbeknown to him, - carried his book to "the greatest publishers in London, who - had declined to engage in it," he must ask to have it read by - some literary friend, before he could in justice to himself - engage in the printing of it. The upshot was that the - manuscript was returned to its author. - - "The printing of 'Teufelsdröckh,'" Carlyle says to his wife, - "which I announced as commencing, and even sent you a specimen - of, has altogether stopped, and Murray's bargain with me has - burst into air. The man behaved like a pig, and was speared, - but perhaps without art; Jack and I at least laughed that - night _à gorge déployée_ at the answer I wrote his base - _glare_ of a letter: he has written again in much politer - style, and I shall answer him, as McLeod advised my - grandfather's people, 'sharp but mannerly.' The truth of the - matter is now clear enough; Dreck cannot be disposed of - in London at this time. Whether he lie in my trunk or in a - bookseller's coffer seems partly indifferent. Neither, on the - whole, do I know whether it is not better that we have stopped - for the present. Money I was to have none; author's vanity - embarked on that bottom I have almost none; nay, some time - or other that the book can be _so_ disposed of it is certain - enough." - - Nearly two years later, in 1833, the unlucky Dreck was - published "piecemeal," in ten parts of ten pages each, in - _Fraser's Magazine_, beginning with November and running - until August, 1834. With the shrewdness of his tribe, Fraser, - fearing failure, paid only twelve guineas a sheet for the - work, though he had been paying its author twenty guineas - a sheet, five guineas more than he paid to any other - contributor. It turned out, however, that he was wise, for the - great essay was not a success, even in the magazine. - - "'Magazine Fraser' writes that 'Teufelsdröckh' excites the - most unqualified disapprobation--_à la bonne heure_," said - Carlyle; and again: "--Literature still all a mystery; nothing - 'paying;' 'Teufelsdröckh' beyond measure unpopular; an oldest - subscriber came into him and said, 'If there is any more of - that d----d stuff, I will,' &c., &c.; on the other hand an - order from America (Boston or Philadelphia) to send a copy of - the magazine '_so long_ as there was anything of Carlyle's in - it.' 'One spake up and the other spake down.'" - - After the work had run its course in the magazine, about fifty - copies were struck off from the types and stitched together - for distribution among friends. - - It remained to the honor of America, to print the book in - 1836, through the energetic efforts of Dr. LeBaron Russell. - Emerson furnished the copy and a preface; and before the end - of the year he was able to announce to Carlyle the sale of the - whole edition. Another edition of over a thousand copies was - sold before the first English edition, "a dingy, ill-managed - edition" of a thousand copies, was published anonymously by - Saunders and Otley in 1838. - - Octavo. - - COLLATION: _1 l., 107 pp._ - - - - -RALPH WALDO EMERSON - -(1803-1882) - - -80. Nature. | [Quotation] Boston: | James Munroe And Company. | -MDCCCXXXVI. - - "My little book is nearly done. Its title is 'Nature.' Its - contents will not exceed in bulk Sampson Reed's 'Growth of the - Mind.' My design is to follow it by another essay, 'Spirit,' - and the two shall make a decent volume." Thus Emerson wrote to - his brother William, from Concord, June 28, 1836. - - _Nature_ was, however, published alone in September by - Metcalf, Torry and Ballou of the Cambridge Press. It received - little attention except from "the representatives of orthodox - opinion," who violently attacked it. Only a few hundred copies - were sold, and it was twelve years before a second edition was - called for. - - Duodecimo. - - COLLATION: _95 pp._ - - - - -WILLIAM HICKLING PRESCOTT - -(1796-1859) - - -81. History | Of The | Conquest Of Peru, | [Three lines] By | William -H. Prescott, | [Two lines] [Quotations] In Two Volumes. | Volume I. | -New York: | Harper And Brothers, 82 Cliff Street. | MDCCCXLVII. - - George Ticknor, in his life of Prescott, gives the story of - the production of the _History_ in the following words: - - "The composition of the 'Conquest of Peru' was, therefore, - finished within the time he had set for it a year previously, - and the work being put to press without delay, the printing - was completed in the latter part of March, 1847; about two - years and nine months from the day when he first put pen - to paper. It made just a thousand pages, exclusive of the - Appendix, and was stereotyped under the careful correction and - supervision of his friend Mr. Folsom of Cambridge. - - "While it was passing through the press, or just as the - stereotyping was fairly begun, he made a contract with the - Messrs. Harper to pay for seven thousand five hundred copies - on the day of publication at the rate of one dollar per copy, - to be sold within two years, and to continue to publish at - the same rate afterwards, or to surrender the contract to the - author at his pleasure; terms, I suppose, more liberal than - had ever been offered for a work of grave history on this side - of the Atlantic. In London it was published by Mr. Bentley, - who purchased the copyright for eight hundred pounds, under - the kind auspices of Colonel Aspinwall; again a large sum, as - it was already doubtful whether an exclusive privilege could - be legally maintained in Great Britain by a foreigner." - - The demand for the book was large: in five months five - thousand copies were sold in America, and an edition of half - that number sold in England. By January 1, 1860, there had - been sold of the American and English editions together, - 16,965 copies. It was translated into Spanish, French, German, - and Dutch. - - Octavo. - - COLLATION: _Two volumes._ Volume I: _xl, 527 pp._ Volume II: - _xix, 547 pp._ - - - - -EDGAR ALLAN POE - -(1809-1849) - - -82. The Raven | And | Other Poems. | By | Edgar A. Poe. | New York: | -Wiley And Putnam, 161 Broadway. | 1845. - - The poem first appeared in print in the columns of the _New - York Evening Mirror_ for January 29, 1845, where N. P. Willis, - its editor, says in a note: "We are permitted to copy, - (in advance of publication,) from the second number of the - _American Review_, the following remarkable poem by Edgar - Poe." Willis issued the poem again in the weekly edition of - the _Mirror_, dated February 8, and Charles F. Briggs, with - whom Poe afterward became associated, also published it in the - _Broadway Journal_ of the same date, crediting it to "Edgar A. - Poe." Both of these weeklies seem to have appeared before the - _American Review_ came out. We are not told the reason for - Mr. George H. Colton's editorial courtesy in permitting this - advance publication when the second, or February number of - his paper, _The American Review: A Whig Journal Of Politics, - Literature, Art And Science_, was so soon to appear. It is a - curious circumstance that Willis and Briggs gave the author's - name freely, while Colton's issue, as originally intended, - appeared with the pseudonym of "---- Quarles." - - The poem was an immense success, and was copied far and wide - in all the newspapers of the country. Writing to F. W. Thomas, - May 4, Poe says: - - "'The Raven' has had a great run, Thomas--but I wrote it for - the express purpose of running--just as I did the 'Gold Bug,' - you know. The bird beat the bug, though, all hollow." - - This popularity was the poet's greatest reward, for we learn - that the actual money remuneration was only ten dollars. Poe - makes us think of the early writers, like Bacon and Browne, - whom we have seen take to printing their books to save them - from the errors of the unlicensed publisher. In a preface to - this volume he writes: - - "These trifles are collected and republished chiefly with a - view to their redemption from the many improvements to which - they have been subjected while going at random 'the rounds of - the press.' If what I have written is to circulate at all, - I am naturally anxious that it should circulate as I wrote - it...." - - From the original straw-colored paper covers in which it - appeared, about December, we learn that the book was issued - as one of a series, _Wiley And Putnam's Library Of American - Books. No. VIII._, and that its price was the unusual sum of - thirty-one cents. Among the other volumes, its companions - in the set, were _Journal of an African Cruiser_, edited by - Nathaniel Hawthorne; _Tales_ of Edgar A. Poe; _Letters from - Italy_, by J. T. Headley; _The Wigwam and the Cabin_, by W. - Gilmore Simms; and _Big Abel_, by Cornelius Mathews. - - Duodecimo. - - COLLATION: _4 ll., 91 pp._ - - - - -CHARLOTTE BRONTË - -(1816-1855) - - -83. Jane Eyre. | An Autobiography. | Edited By | Currer Bell. | In -Three Volumes. | Vol. I. | London: | Smith, Elder, And Co., Cornhill. -| 1847. - - Under date of August 24, 1847, Miss Brontë wrote a letter to - Messrs. Smith, Elder & Co., in which she said: "I now send you - per rail a MS. entitled 'Jane Eyre,' a novel in three volumes, - by Currer Bell." The novel was accepted, was printed and - published by October sixteenth, and on the nineteenth the - publishers received the following: - - "Gentlemen,--The six copies of 'Jane Eyre' reached me this - morning. You have given the work every advantage which good - paper, clear type, and a seemly outside can supply;--if it - fails, the fault will be with the author,--you are exempt. - I now await the judgment of the press and the public. I am, - Gentlemen, yours respectfully, C. Bell." - - Their judgment was decisive, and the book was so great a - success that a second edition, dedicated to Thackeray, was - issued January 18, 1848. - - Octavo. - - COLLATION: _Three volumes._ - - - - -HENRY WADSWORTH LONGFELLOW - -(1807-1882) - - -84. Evangeline, | A | Tale Of Acadie. | By | Henry Wadsworth -Longfellow. | Boston: | William D. Ticknor & Company. | 1847. - - Writing in his journal under date of October 2, 1847, - Longfellow says: "Why does not Ticknor publish Evangeline? I - am going to town to ask him that very question. And his answer - was that he should do so without further delay." An entry, - dated October 30, says, "Evangeline published." On November 8, - he says: "Evangeline goes on bravely. I have received greater - and warmer commendations than on any previous volume. The - public takes more kindly to hexameters than I could have - imagined." On November 13, a third thousand is recorded, and - on April 8 of the following year we learn: "Next week Ticknor - prints the sixth thousand of Evangeline, making one thousand a - month since its publication." - - In 1857 the following entry sums up the successful career of - the poem: - - "Allibone wants to get from the publishers the number of - copies of my book sold up to date, the editions in this - country only," and _Evangeline_ is set down as 35,850 copies. - - The poem was translated into German, Swedish, Danish, Italian, - Portuguese, Spanish, Polish, and French, and was made a - school-book in Italy. - - Sextodecimo. - - COLLATION: _163 pp._ - - - - -ELIZABETH BARRETT BROWNING - -(1806-1861) - - -85. Sonnets. | By | E. B. B. | Reading: | [Not For Publication.] 1847. - - This is the first appearance in print of the _Sonnets from - the Portuguese_ which were not published until 1850, when they - were issued under the title _Sonnets from the Portuguese_, as - a part of the _Poems by Elizabeth Barrett Browning_. - - Mr. Browning told the story of the Portuguese Sonnets to Mr. - Edmund Gosse, who printed the account in _Critical Kit-Kats_, - 1896: - - "The Sonnets were intended for her husband's eyes alone; in - the first instance, not even for his.... Fortunately for all - those who love true poetry, Mr. Browning judged rightly of the - obligation laid upon him by the possession of these poems. - 'I dared not,' he said, 'reserve to myself the finest sonnets - written in any language since Shakespeare's.' Accordingly - he persuaded his wife to commit the printing of them to - her friend Miss Mitford; and in the course of the year they - appeared in a slender volume entitled 'Sonnets, by E. B. - B.,' with the imprint 'Reading, 1847,' and marked 'Not for - publication.'" - - Duodecimo. - - COLLATION: _47 pp._ - - - - -JAMES RUSSELL LOWELL - -(1819-1891) - - -86. Melib[oe]us-Hipponax. | The | Biglow Papers, | Edited, | With -An Introduction, Notes, Glossary, | And Copious Index, | By | Homer -Wilbur, A.M., | [Three lines] [Quotations] Cambridge: | Published By -George Nichols. | 1848. - - Writing to Thomas Hughes on September 13, 1859, Lowell says: - "I tried my first "Biglow Papers" in a newspaper, and found - that it had a great run. So I wrote the others from time to - time during the year which followed, always very rapidly, and - sometimes (as "What Mr. Robinson thinks") at one sitting. - - "When I came to collect them and publish them in a volume, I - conceived my parson-editor with his pedantry and verbosity, - his amiable vanity and superiority to the verses he was - editing, as a fitting artistic background and foil." - - The following extracts from letters show, in detail, the - evolution of the work. - - "You will find a squib of mine in this week's _Courier_," said - he to Sidney H. Gay, on June 16, 1846, "I wish it to continue - anonymous, for I wish Slavery to think it has as many enemies - as possible. If I may judge from the number of persons who - have asked me if I wrote it, I have struck the old hulk of - the Public between wind and water...." On the last day of - December, 1847, he says to C. F. Briggs: - - "I am going to indulge all my fun in a volume of H. Biglow's - verses which I am preparing, and which I shall edit under the - character of the Rev. Mr. Wilbur.... I am going to include in - the volume an essay of the reverend gentleman on the Yankee - dialect, and on dialects in general, and on every thing else, - and also an attempt at a complete natural history of the - Humbug--which I think I shall write in Latin. The book will - purport to be published at Jaalam (Mr. B's native place), and - will be printed on brownish paper with those little head and - tail-pieces which used to adorn our earlier publications--such - as hives, scrolls, urns, and the like." - - The latter part of 1848 found the poet busily engaged in - getting out the book, and he wrote to Gay in September: - - "This having to do with printers is dreadful business. There - was a Mr. Melville who, I believe, enjoyed it, but, for my - part, I am heartily sick of Typee." - - In October he says: - - "I should have sent you this yesterday, but it was not - written, and I was working like a dog all day, preparing a - glossary and an _index_. If I ever make another glossary or - index--!".... - - "... Hosea is done with," he says in November, "and will soon - be out. It made fifty pages more than I expected and so took - longer." The volume appeared on the 10th, and on the 25th he - again writes to Gay: "... The first edition of Hosea is nearly - exhausted already." - - The following retrospect, sent to the same friend on February - 26, 1849, contains the lesson of experience: - - "There were a great many alterations of spelling made in - the plates of the "Biglow Papers," which added much to the - expense. I ought not to have stereotyped at all. But we are - never done with cutting eye-teeth." - - George Nichols, who published the book, was at one time an - owner of the University Book-store, and, later, one of the - proprietors of the University Press. He was noted for his - skill in proof-reading. - - The printing was done by Metcalf and Company, printers to - the University; and the little book came out from their hands - innocent of hives, scrolls, urns, or any other ornament. - Something changed the author's mind, too, regarding _Jaalam_ - as the purporting place of publication. - - Duodecimo. - - COLLATION: _12, xxxii, 163 pp._ - - - - -WILLIAM MAKEPEACE THACKERAY - -(1811-1863) - - -87. Vanity Fair. | A Novel without a Hero. | By | William Makepeace -Thackeray. | With Illustrations On Steel And Wood By The Author. | -London: | Bradbury and Evans, 11, Bouverie Street. | 1848. - - The name of the book, as we see it in the delightful and - altogether characteristic drawing on the engraved title-page, - reminds us of what Miss Kate Perry says in her reminiscences - of Thackeray: - - "He told me, some time afterward, that, after ransacking his - brain for a name for his novel, it came upon him unawares, in - the middle of the night, as if a voice had whispered, 'Vanity - Fair.' He said, 'I jumped out of bed, and ran three times - round my room, uttering as I went, 'Vanity Fair, Vanity Fair, - Vanity Fair.'" - - It has been repeated, more than once, that _Vanity Fair_ was - refused by _Colburn's Magazine_, and various other publishers, - before Bradbury and Evans undertook it, but Vizetelly, in his - _Glances Back Through Seventy Years_, thinks that this could - not have been the case, since Thackeray did not finish the - story until long after it had been accepted, and, in fact, was - well along in the printer's hands. If refused, therefore, it - was refused before it was finished. "I know perfectly well - that after the publication commenced much of the remainder of - the work was written under pressure for and from the printer, - and not infrequently the first instalment of 'copy' needed - to fill the customary thirty-two pages was penned while the - printer's boy was waiting in the hall at Young Street." - - Vizetelly also gives the following account of the final - arrangements for the publication of the book: - - "One afternoon, when he called in Peterborough Court he had - a small brown paper parcel with him, and opened it to show - me his two careful drawings for the page plates to the first - number of _Vanity Fair_. Tied up with them was the manuscript - of the earlier part of the book, of which he had several times - spoken to me, referring to the quaint character that Chiswick - Mall--within a stone's throw of which I was then living--still - retained. His present intention, he told me, was to see - Bradbury & Evans, and offer the work to them.... In little - more than half an hour Thackeray again made his appearance, - and, with a beaming face, gleefully informed me that he had - settled the business. 'Bradbury & Evans,' he said, 'accepted - so readily that I am deuced sorry I didn't ask them for - another tenner. I am certain they would have given it.' He - then explained that he had named fifty guineas per part, - including the two sheets of letterpress, a couple of etchings, - and the initials at the commencement of the chapters. He - reckoned the text, I remember, at no more than five-and-twenty - shillings a page, the two etchings at six guineas each, while - as for the few initials at the beginnings of the chapters, he - threw those in." - - Following the plan of Chapman and Hall, who issued Dickens's - works in monthly parts in green covers, and of Charles James - Lever's publishers, who brought him out in pink, Bradbury and - Evans published _Vanity Fair_ in yellow-covered numbers dated - January, 1847, to July, 1848, and costing one shilling a part. - The title on these paper covers ran: _Vanity Fair: Pen And - Pencil Sketches Of English Society. By W. M. Thackeray [Two - lines] London: Published At The Punch Office, 85, Fleet - Street. [One line] 1847._, and there was a woodcut vignette. - - There are numerous illustrations in the text, and each part - has two plates, etchings, except the last, which has three and - the engraved title-page. The last part as published contained - the title-page, dedication, "Before the Curtain," a preface, - table of contents, and list of plates. - - The earliest issues contain, on page 336, a woodcut of the - Marquis of Steyne, which was afterward suppressed, the type - from pages 336 to 440 being shifted to fill the vacancy. In - the first edition, too, the title at the head of Chapter I is - in rustic type. - - At first the novel did not sell well; it was even questioned - whether it might not be best to stop its publication. But - later in the year, owing to some cause, perhaps the eulogistic - mention in Miss Brontë's preface to _Jane Eyre_, or, perhaps, - a favorable review in the _Edinburgh Review_, its success - became assured. - - Mrs. Carlyle, writing to her husband, says: "Very good indeed, - beats Dickens out of the World." - - Octavo. - - COLLATION: _xvi, 624 pp. Forty plates, including the engraved - title-page._ - - - - -THOMAS BABINGTON MACAULAY, - -FIRST BARON MACAULAY - -(1800-1859) - - -88. 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. -[-1861]. - - Trevelyan, in his _Life and Letters of Lord Macaulay_, tells - us there was no end to the trouble that the author devoted - to matters which most writers are glad to leave to their - publishers. "He could not rest until the lines were level to a - hair's breadth, and the punctuation correct to a comma; until - every paragraph concluded with a telling sentence, and every - sentence flowed like water." - - In a footnote he adds this quotation from one of Macaulay's - letters to Mr. Longman, which, while it referred to the - edition of 1858, is also indicative of his attitude toward - this, the first edition: - - "I have no more corrections to make at present. I am inclined - to hope that the book will be as nearly faultless, as to - typographical execution, as any work of equal extent that is - to be found in the world." - - He was apprehensive concerning the success of the book. He - writes, "I have armed myself with all my philosophy for the - event of failure," but his fears were groundless. - - "The people of the United States," says Trevelyan, "were even - more eager than the people of the United Kingdom to read about - their common ancestors; with the advantage that, from the - absence of an international copyright, they were able to read - about them for next to nothing. On the 4th of April, 1849, - Messrs. Harper, of New York, wrote to Macaulay: 'We beg you - to accept herewith a copy of our cheap edition of your work. - There have been three other editions published by different - houses, and another is now in preparation; so there will be - six different editions in the market. We have already sold - forty thousand copies, and we presume that over sixty thousand - copies have been disposed of. Probably, within three months - of this time, the sale will amount to two hundred thousand - copies. No work, of any kind, has ever so completely taken - our whole country by storm.' An indirect compliment to the - celebrity of the book was afforded by a desperate, and almost - internecine, controversy which raged throughout the American - newspapers as to whether the Messrs. Harper were justified in - having altered Macaulay's spelling to suit the orthographical - canons laid down in Noah Webster's dictionary." - - This quotation refers to the first volume. The second volume - came out in the same year, but the third and fourth did - not appear until 1855. Volume five was edited by Macaulay's - sister, Lady Trevelyan, in 1861. It continued the portion of - the History which was fairly transcribed and revised by the - author before his death. - - The posthumous appearance of the last volume reminds us of - what Mr. Alexander B. Grosart says in his life of Spenser, - apropos of the promise on the title-page of the _Fairy Queen_ - that the work should be in twelve books fashioning twelve - moral virtues: - - "Than this splendid audacity I know nothing comparable, - unless Lord Macaulay's opening of his _History of England_, - wherein--without any saving clause, as Thomas Fuller would - have said, of 'if the Lord will'--he pledges himself to write - his great Story down to 'memories' of men 'still living.'" - - Octavo. - - COLLATION: _Five volumes._ - - - - -ALFRED TENNYSON, - -FIRST BARON TENNYSON - -(1809-1892) - - -89. In Memoriam. | London. | Edward Moxon, Dover Street. | 1850. - - In May of the year 1850, _In Memoriam_ was privately printed - for the use of friends, and soon afterward was published - in the present form, at six shillings. A second and third - editions were issued in the same year. They are alike in - all particulars except for the correction of two literal - misprints. Though the book was anonymous, the authorship was - never in doubt. - - A circumstance connected with its publication, though not - bibliographical in its bearing, demands a passing word. "If - 'In Memoriam' were published," Hallam Tennyson says in his - life of the laureate, "Moxon had promised a small yearly - royalty on this and on the other poems, and so my father had - decided that he could now honourably offer my mother a home. - Accordingly after ten years of separation their engagement was - renewed.... Moxon now advanced £300--so my uncle Charles told - a friend,--at all events £300 were in my father's bank in his - name." With this and their small incomes combined they decided - to marry. The marriage took place June 13, the month that saw - the publication of "In Memoriam." - - Octavo. - - COLLATION: _vii, 210 pp._ - - - - -NATHANIEL HAWTHORNE - -(1804-1864) - - -90. The | Scarlet Letter, | A Romance. | By | Nathaniel Hawthorne. | -Boston: | Ticknor, Read, And Fields | MDCCCL. - - James T. Fields, in his little life of Hawthorne, tells of a - visit to Salem to see the author. He goes on to say: - - "... I caught sight of a bureau or set of drawers near where - we were sitting; and immediately it occurred to me that hidden - away somewhere in that article of furniture was a story or - stories by the author of the 'Twice-Told Tales,' and I became - so positive of it that I charged him vehemently with the fact. - He seemed surprised, I thought, but shook his head again; and - I rose to take my leave.... I was hurrying down the stairs - when he called after me from the chamber, asking me to stop - a moment. Then quickly stepping into the entry with a roll of - manuscript in his hands, he said: 'How in Heaven's name did - you know the thing was there? As you have found me out, take - what I have written, and tell me, after you get home and have - time to read it, if it is good for anything....' On my way up - to Boston I read the germ of 'The Scarlet Letter'; before I - slept that night I wrote him a note all aglow with admiration - of the marvellous story he had put into my hands, and told him - that I would come again to Salem the next day and arrange for - its publication." - - It was Hawthorne's first intention to make the romance one of - a volume of several short stories, because, as he remarks to - Mr. Fields: - - "A hunter loads his gun with a bullet and several buckshot; - and, following his sagacious example, it was my purpose to - conjoin the one long story with half a dozen shorter ones, so - that, failing to kill the public outright with my biggest and - heaviest lump of lead, I might have other chances with the - smaller bits, individually and in the aggregate." But this - plan was finally changed and it was decided to publish the - story alone. There was then some talk about a title for it. - "In this latter event" (the event of publishing alone), "it - appears to me that the only proper title for the book would - be 'The Scarlet Letter,' for 'The Custom House' is merely - introductory...." And so it was decided. - - "If 'The Scarlet Letter' is to be the title," he asked Mr. - Fields, "would it not be well to print it on the title-page in - red ink? I am not quite sure about the good taste of so doing, - but it would certainly be piquant and appropriate, and, I - think, attractive to the great gull whom we are endeavoring to - circumvent." The reader might ask the bibliophile if the red - title line, for it was printed in that way, really did have - anything to do with the circumventing which eventually took - place. - - On February 4, 1850, Hawthorne wrote to Horatio Bridges: - - "I finished my book yesterday, one end being in the press in - Boston, while the other was in my head here in Salem; so that, - as you see, the story is at least fourteen miles long." - - The book appeared about March 16. As Mr. George Parsons - Lathrop points out, there seems to have been no expectation of - a very successful sale, in spite of Mr. Fields's enthusiasm; - but to the surprise of all, the whole issue was exhausted in - ten days. A second edition, with a preface dated March 30, was - soon published, making, with the first, a total number of five - thousand copies. All these were printed by Metcalf & - Company of Cambridge. The third issue was entirely reset and - electrotyped, and numbered 307 pages. - - The second issue, beside the preface, shows numerous changes, - especially in words. Among these the bookseller's favorite - catch-word "reduplicate" (p. 21, l. 20) was changed to - "repudiate." In late copies of the stereotyped form, this word - was changed to "resuscitate." - - Duodecimo. - - COLLATION: _vi, 322 pp._ - - - - -HARRIET BEECHER STOWE - -(1811-1896) - - -91. Uncle Tom's Cabin; | Or, | Life Among The Lowly. | By | Harriet -Beecher Stowe. | [Vignette] Vol. I. | Boston: | John P. Jewett & -Company. | Cleveland, Ohio: | Jewett, Proctor & Worthington. | 1852. - - The first chapter of _Uncle Tom_ appeared June, 1851, in _The - National Era_ of Washington, a magazine edited by Gamaliel - Bailey, and one of the ablest mediums of opinion of the - anti-slavery party. It was finished in April, 1852. Mrs. Stowe - received $300 for her labor. - - The interest which the story awakened led John Punchard - Jewett, a member of the first anti-slavery society in New - England, and himself a frequent contributor to the newspapers - on anti-slavery topics, to offer to bring it out immediately - in book form, giving the author ten per cent. on the sales. - The proposition was accepted, and the book was published March - 20, 1852. The very remarkable sale of three thousand copies - the first day was only an earnest of what was to happen. - Over 300,000 copies were sold within the year, and eight - power-presses running day and night could hardly supply the - demand. - - There is a vignette on the title-pages signed by the - engravers, _Baker-Smith_, and each volume contains three - unsigned plates, evidently by the same artist, and engraved - by the same hands as the vignette. The volumes were bound - in black with the vignette of the title-page stamped on the - covers, the front impression being in gold. - - Octavo. - - COLLATION: _Two volumes._ Volume I: _312 pp._ Volume II: _322 - pp. Six plates._ - - - - -JOHN RUSKIN - -(1819-1900) - - -92. The | Stones of Venice. | Volume The First. | The Foundations. | -By John Ruskin, | [Two lines] With Illustrations Drawn By The Author. -| London: | Smith, Elder And Co., 65. Cornhill. | 1851. [-1853.] - - These fine volumes, printed by Spottiswoode and Shaw, have a - particularly clean and clear type-page, and are excellent - in press-work. It is not the type, however, that demands our - especial attention, but the illustrations with which the work - is liberally furnished. These distinguish it from anything we - have hitherto seen in our list of books. The plates and cuts, - made by various processes, mezzo-tinting, lithography, line - engraving and wood-cutting, mark most clearly the advance - in bookmaking which had taken place within the half century. - Hitherto we have had illustrations for their own sakes, or for - the ornamentation of the books they are in, and depending for - their existence solely upon the liberality and intelligence of - the publisher; but here we have illustrations introduced - into the book for the sake of the text, of which they are an - integral part. Ruskin's own words about them, as found in the - Preface, are instructive: - - "It was of course inexpedient to reduce drawings of crowded - details to the size of an octavo volume,--I do not say - impossible, but inexpedient; requiring infinite pains on the - part of the engraver, with no result except farther pain to - the beholder. And as, on the other hand, folio books are - not easy reading, I determined to separate the text and the - unreduceable plates. I have given, with the principal - text, all the illustrations absolutely necessary to the - understanding of it, and, in the detached work, such - additional text as had special reference to the larger - illustrations. - - "A considerable number of these larger plates were at first - intended to be executed in tinted lithography; but, finding - the result unsatisfactory, I have determined to prepare the - principal subjects for mezzotinting,--a change of method - requiring two new drawings to be made for every subject; one - a carefully penned outline for the etcher, and then a finished - drawing upon the etching.... - - "For the illustrations of the body of the work itself, I - have used any kind of engraving which seemed suited to the - subjects--line and mezzotint, on steel, with mixed lithographs - and woodcuts, at a considerable loss of uniformity in the - appearance of the volume, but, I hope, with advantage, in - rendering the character of the architecture it describes." - - "The illustrations to the new book," Collingwood adds, "were - a great advance upon the rough soft-ground etchings of the - _Seven Lamps_. He secured the services of some of the finest - engravers who ever handled the tools of their art. The English - school of engravers was then in its last and most accomplished - period. Photography had not yet begun to supersede it; and the - demand for delicate work in book illustration had encouraged - minuteness and precision of handling to the last degree. In - this excessive refinement there were the symptoms of decline; - but it was most fortunate for Mr. Ruskin that his drawings - could be interpreted by such men as Armytage and Cousen, Cuff - and Le Keux, Boys and Lupton.... The mere fact of their skill - in translating a sketch from a note-book into a gem-like - vignette, encouraged him to ask for more; so that some of - the subjects which became the most elaborate were at first - comparatively rough drawings, and were gradually worked up - from successive retouchings of the proofs by the infinite - patience of both parties. In other cases, working drawings - were prepared by Mr. Ruskin, as refined as the plates." - - "Like much else of his work, these plates for 'Stones of - Venice' were in advance of the times. The publishers thought - them 'caviare to the general,' so Mr. J. J. Ruskin told his - son; but gave it as his own belief that 'some dealers in - Ruskins and Turners in 1890 will get great prices for what at - present will not sell.'" - - An "Advertisement" in the second volume tells us, "It was - originally intended that this Work should consist of two - volumes only; the subject has extended to three. The second - volume, however, will conclude the account of the ancient - architecture of Venice. The third will embrace the Early, the - Roman, and the Grotesque Renaissance; and an Index...." - - The first volume, called _The Foundations_, and having - twenty-one plates, and the second, called _The Sea-Stories_, - with twenty plates, each cost two guineas. The third volume, - called _The Fall_, with twelve plates, cost a guinea and a - half. They were bound in cloth, stamped in gold, with the - "Lion of St. Mark" on the back. A few copies of both volumes - one and two were issued in two parts. The first volume ran - into a second edition in 1858, and the second and third were - reissued in 1867. - - Octavo. - - COLLATION: _Three volumes. Illustrations. Fifty-three plates._ - - - - -ROBERT BROWNING - -(1812-1889) - - -93. Men And Women. | By | Robert Browning. | In Two Volumes. | Vol. I. -| London: | Chapman And Hall, 193, Piccadilly. | 1855. - - This was the only edition of _Men and Women_ published - separately. The poems it contained were afterward incorporated - in collected editions; with the exception of _In a Balcony_, - they were distributed under the respective headings of - _Dramatic Lyrics_, _Dramatic Romances_, and _Men and Women_. - - The book was issued in a green cloth binding, at twelve - shillings a copy. - - Octavo. - - COLLATION: _Two volumes._ Volume I: _iv, 260 pp._ Volume II: - _iv, 241 pp._ - - - - -JOHN LOTHROP MOTLEY - -(1814-1877) - - -94. 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. - - Motley wrote a letter to his wife, dated at London, May 10, - 1854, in which he says that he has had the matter of copyright - looked up, and finds that the English law will protect him - if he publish his book recently completed, first, by however - small an interval, in England. He then carried the manuscript - to Murray, who received him civilly, and professed interest - in his subject, promising an answer in a fortnight. But the - answer, when it came, was unfavorable, and, being of the mind - that "if Murray declines ... I shall doubt very much whether - anybody will accept, because history is very much in his - line," he seems to have tried no farther, but to have arranged - with Mr. John Chapman to publish the _Dutch Republic_ himself. - - Throughout the transaction Motley was very modest and not at - all sanguine for the success of his venture. - - "It cannot take in England," he says to his mother in 1855, - "and moreover the war, Macaulay's new volumes, and Prescott's, - will entirely absorb the public attention." And again to his - father, May 13, 1856, he says: - - "I have heard nothing from Chapman since the book was - published, but I feel sure from the silence that very few - copies have been sold. I shall be surprised if a hundred - copies are sold at the end of a year." - - In reality, the book, as Dr. Holmes said, was "a triumph." - Seventeen thousand copies were sold in England alone during - the first year, and in America, where it was issued by the - Harpers, just long enough after the English edition to fulfill - all the demands of the copyright law, it was equally popular. - Mr. Murray afterward asked to be allowed to publish _The - History of the United Netherlands_, and expressed his - regret "at what he candidly called his mistake in the first - instance." Prescott, Motley's friend and generous rival, wrote - from Boston, April 18, 1856: - - "You have good reason to be pleased with the reception the - book has had from the English press, considering that you had - no one particularly to stand godfather to your bantling, but - that it tumbled into the world almost without the aid of - a midwife. Under these circumstances success is a great - triumph...." - - Octavo. - - COLLATION: _Three volumes._ - - - - -GEORGE ELIOT - -MARY ANN _or_ MARIAN CROSS - -(1819-1880) - - -95. Adam Bede | By | George Eliot | Author Of | "Scenes Of Clerical -Life" | [Quotation] In Three Volumes | Vol. I. | William Blackwood And -Sons | Edinburgh And London | MDCCCLIX | The Right of Translation is -reserved. - - _Scenes from Clerical Life_ had appeared in the early part of - January, 1858, and had proved an unexpected success, but the - name of its author, concealed under a pseudonym, long proved a - mystery. - - "The first volume [of Adam Bede]," says Mrs. Cross, "was - written at Richmond, and given to Blackwood in March. He - expressed great admiration of its freshness and vividness, but - seemed to hesitate about putting it in the Magazine, which was - the form of publication he, as well as myself, had previously - contemplated. He still _wished_ to have it for the Magazine, - but desired to know the course of the story. At _present_ he - saw nothing to prevent its reception in 'Maga,' but he would - like to see more. I am uncertain whether his doubts rested - solely on Hetty's relation to Arthur, or whether they were - also directed towards the treatment of Methodism by the - Church. I refused to tell my story beforehand, on the ground - that I would not have it judged apart from my _treatment_, - which alone determines the moral quality of art; and - ultimately I proposed that the notion of publication in 'Maga' - should be given up, and that the novel should be published in - three volumes at Christmas, if possible. He assented." - - "... When, on October 29, I had written to the end of the - love-scene at the Farm between Adam and Dinah, I sent the MS. - to Blackwood, since the remainder of the third volume could - not affect the judgement passed on what had gone before. He - wrote back in warm admiration, and offered me, on the part of - the firm, £800 for four years' copyright. I accepted the - offer.... The book would have been published at Christmas, or - rather early in December, but that Bulwer's 'What will he do - with it?' was to be published by Blackwood at that time, and - it was thought that this novel might interfere with mine." - - The book was published the first day of January with the still - unpenetrated pseudonym on the title-page. It cost thirty one - shillings and six pence. The advance subscriptions amounted - to 730 copies, and the following note, written March 16, gives - the history of its success: - - "Blackwood writes to say I am 'a popular author as well as - a great author.' They printed 2,090 of 'Adam Bede,' and have - disposed of more than 1800, so that they are thinking of a - second edition." - - In May, Blackwood proposed to add, at the end of the year, - £400 to the £800 originally given for the copyright. A fourth - edition of 5000 volumes was issued in 1859, all of which were - sold in a fortnight; a seventh was printed the same year, and - in October Blackwood felt justified in proposing to pay £800 - more at the beginning of the new year. The sale amounted to - 16,000 volumes in one year. - - Octavo. - - COLLATION: _Three volumes._ - - - - -CHARLES ROBERT DARWIN - -(1809-1882) - - -96. On | The Origin Of Species | [Four lines] By Charles Darwin, M.A., -[Three lines] London: | John Murray, Albemarle Street. | 1859. | The -right of Translation is reserved. - - The simplicity and honesty of Darwin's character are nowhere - more clearly seen than in his correspondence over the - production of this book, which, from its unorthodoxy, he - feared might expose others as well as himself to censure. For - example, he says in a letter of March 28, 1859, to Sir Charles - Lyell, the famous geologist, who made the arrangements for the - publication of the work: - - "P.S. Would you advise me to tell Murray that my book is not - more _un_-orthodox than the subject makes inevitable.... - Or had I better say _nothing_ to Murray, and assume that he - cannot object to this much unorthodoxy, which in fact is not - more than any Geological Treatise which runs slap counter to - Genesis." - - Afterward, in a letter to J. D. Hooker, under date of April 2, - 1859, he says: - - "... I wrote to him [Mr. Murray] and gave him the headings of - the chapters, and told him he could not have the MSS. for ten - days or so; and this morning I received a letter, offering - me handsome terms, and agreeing to publish without seeing - the MS.! So he is eager enough; I think I should have been - cautious, anyhow, but, owing to your letter, I told him most - _explicitly_ that I accepted his offer solely on condition - that, after he has seen part or all the MS., he has full power - of retracting. You will think me presumptuous, but I think - my book will be popular to a certain extent (enough to ensure - [against] heavy loss) amongst scientific and semiscientific - men.... Anyhow, Murray ought to be the best judge, and if - he chooses to publish it, I think I may wash my hands of all - responsibility...." - - His views on the success of the book are worth recording. To - Murray he writes, April 5, 1859: "It may be conceit, but I - believe the subject will interest the public, and I am sure - that the views are original. If you think otherwise, I must - repeat my request that you will freely reject my work; and - though I shall be a little disappointed, I shall be in no way - injured." And again to J. D. Hooker: "... Please do not say - to any one that I thought my book on Species would be fairly - popular, and have a fairly remunerative sale (which was the - height of my ambition), for if it proves a dead failure, it - would make me the more ridiculous." - - After the book went to press he found it necessary to make - many corrections involving no slight extra expense; without - waiting for Murray to complain he took the initiative in - setting the matter upon the proper footing in the following - manner, in a letter written June 14, 1859: - - "P.S. I have been looking at the corrections, and considering - them. It seems to me that I shall put you to quite unfair - expense. If you please I should like to enter into some such - arrangement as the following: - - "When work completed, you to allow in the account a fairly - moderately heavy charge for corrections, and all excess - over that to be deducted from my profits, or paid by me - individually." - - "... But you are really too generous about the, to me, - scandalously heavy corrections. Are you not acting unfairly - towards yourself? Would it not be better at least to share the - £72 8s.? I shall be fully satisfied, for I had no business - to send, though quite unintentionally and unexpectedly, such - badly composed MS. to the printers." - - The first edition, a child, Darwin calls it, in whose - appearance he takes infinite pride and pleasure, was published - November 24: - - "It is no doubt the chief work of my life. It was from the - first highly successful. The first small edition of 1250 - copies was sold on the day of publication, and a second - edition of 3000 copies soon afterward. Sixteen thousand copies - have now (1876) been sold in England; and considering - how stiff a book it is, this is a large sale. It has been - translated into almost every European tongue, even into such - languages as Spanish, Bohemian, Polish, and Russian. It has - also, according to Miss Bird, been translated into Japanese - [a mistake] and is there much studied. Even an essay in Hebrew - has appeared on it, showing that the theory is contained in - the Old Testament!" - - The second edition of 3000 copies, only a reprint, yet with - a few important corrections, was issued January 7, 1860. An - edition of 2500 copies was issued in the United States, where - it enjoyed great popularity. "I never dreamed," said he, "of - my book being so successful with general readers; I believe - I should have laughed at the idea of sending the sheets to - America." - - The sum of £180 was received by the author for the first - edition, and £636 13s., for the second. - - Duodecimo. - - COLLATION: _ix, 502 pp. Folded plate._ - - - - -EDWARD FITZGERALD - -(1809-1883) - - -97. Rubáiyát | Of | Omar Khayyám, | The Astronomer-Poet Of Persia. | -Translated into English Verse. | London: | Bernard Quaritch, | Castle -Street, Leicester Square. | 1859. - - Fitzgerald first offered his translation to the editor of - _Fraser's Magazine_, who returned it after holding it a long - time, apparently afraid to publish it. It was not until years - afterward that the poet, having nearly doubled the number of - the verses, issued it himself, anonymously, inserting in the - imprint, without even asking permission, the name of Bernard - Quaritch. - - The little pamphlet in brown paper, with its eleven pages of - biography, and five pages of notes, against sixteen pages of - poem, was not attractive in appearance; and we are told that - it was not advertised in any way except by entry among the - Oriental numbers of Quaritch's catalogue. So it is really not - to be greatly wondered at that its sale was slow, even though - the price was set as low as five shillings. Two hundred copies - remaining on his hands, Quaritch, who had consented to act as - bookseller, finally resorted to the expedient of offering them - at half-a-crown, then at a shilling, then at sixpence, until - finally they were cleared out at a penny a volume. - - Those who read it at this price acted as leaven, and nine - years afterward, in 1868, a second edition was called for; a - third was published in 1872, and a fourth in 1879. These were - all issued by Quaritch at his own expense, and all without - the translator's name. Quaritch paid Fitzgerald a small - honorarium, which he promptly gave away in charity. - - Octavo. - - COLLATION: _xiii, 21 pp._ - - - - -JOHN HENRY NEWMAN, - -CARDINAL - -(1801-1890) - - -98. Apologia Pro Vita Sua: | Being | A Reply to a Pamphlet | Entitled -| "What, Then, Does Dr. Newman Mean?" [Quotation] By John Henry -Newman, D.D. | London: | Longman, Green, Longman, Roberts, And Green. -| 1864. - - The pamphlet _"What, Then, Does Dr. Newman Mean?" A Reply to - a Pamphlet lately published by Dr. Newman. By the Rev. Charles - Kingsley._, was issued in March, 1864. Cardinal Newman's - rejoinder took the form of a series of pamphlets. The first - appeared on Thursday, April 21, and its brown paper cover bore - the title given above, with the additional line, _Pt. I. Mr. - Kingsley's Method of Disputation_. Thereafter, on successive - Thursdays, until June 16, the following numbers appeared: _Pt. - II. True Mode Of Meeting Mr. Kingsley._ _Pt. III-VI. History - Of My Religious Opinions._ _Pt. VII. General Answer To Mr. - Kingsley._ _Appendix. Answer in Detail To Mr. Kingsley's - Accusations._ - - A title-page and "Contents" were issued with the Appendix. - Parts I, II, and III cost a shilling each, Parts IV, V, and - VII, two shillings each, Part VI, and the Appendix, each two - shillings sixpence. - - The parts were issued afterward in a cloth binding. In later - editions almost all of Parts I and II, and about half of the - Appendix were omitted, while some new matter was added in the - form of notes. - - Octavo. - - COLLATION: _iv, 430, 127 pp._ - - - - -MATTHEW ARNOLD - -(1822-1888) - - -99. Essays In Criticism. | By | Matthew Arnold, | Professor Of Poetry -In The University Of Oxford. | London and Cambridge: Macmillan And Co. -| 1865. - - The first edition contained a satirical and not altogether - tasteful preface which, Arnold said in a letter to his mother - before the book was out, "will make you laugh." But later, in - a letter to Lady de Rothschild written February 11, 1865, he - says of it: "I had read the Preface to a brother and sister of - mine, and they received it in such solemn silence that I began - to tremble...." The silence of his friends and the criticism - of others produced their effect upon him, and he writes again, - to Lady de Rothschild: "I think if I republish the book I - shall leave out some of the preface and notes, as being too - much of mere temporary matter...." - - The volume contained nine essays, afterward made ten. - - Professor Saintsbury says, in reviewing the book: - - "I am afraid it must be taken as only too strong a - confirmation of Mr. Arnold's belief as to the indifference of - the English people to criticism that no second edition of the - book was called for till four years were past, no third for - ten, and no fourth for nearly twenty." - - We get an intimation of the terms on which the book was - published from the following note to Miss Quillinan, dated - March 8, 1865: - - "The book is Macmillan's, not mine, as my Poems were, and I - have had so few copies at my own disposal that they have not - even sufficed to go the round of my own nearest relations, to - whom I have always been accustomed to send what I write." - - Octavo. - - COLLATION: _xx, 302 pp._ - - - - -JOHN GREENLEAF WHITTIER - -(1807-1892) - - -100. Snow-Bound. | A Winter Idyl. | By | John Greenleaf Whittier. | -[Vignette] Boston: | Ticknor And Fields. | 1866. - - It was at first proposed to publish the poem with - illustrations by Felix Octavius Darley, who so successfully - illustrated Cooper, Irving, Longfellow, Lossing, and many - others; but, for some reason, this idea was abandoned, and - illustration of the work was reduced to a vignette showing - "a view of the old farm house in a snow storm, copied from a - photograph ..." It was drawn by Harry Fenn. We might regret - that we are thus the losers of some characteristic work by - Darley, but, on the other hand, we must agree with Whittier, - who, when referring to the proposed illustrations of _The - Pageant_, published later, said: "I know of no one who could - do it, however, so well as Harry Fenn." The bit of work - reproduced here is in its way quite as worthy of commendation - as that drawn by this "Nestor of his guild," for _Ballads - of New England_, 1869, and so appreciatively reviewed by Mr. - William Dean Howells in _The Atlantic_ for December. - - The poet took an unusual interest in the make-up of his book. - For example, he says of the vignette: - - "In the picture of the old home, the rim of hemlocks, etc., at - the foot of the high hill which rises abruptly to the left, is - not seen. They would make a far better snow picture than the - oaks which are in the view." - - His remarks, too, about his portrait are particularly - entertaining. - - "I don't know about the portrait. At first thought, it strikes - me that it would be rather out of place at the head of a - new venture in rhyme. I don't want to run the risk of being - laughed at. However, do as thee likes about it. Put thyself in - the place of Mrs. Grundy, and see if it will be safe for any - 'counterfeit presentment' to brave the old lady's criticism." - - Mr. Fields evidently dared to add the portrait. It is a - steel engraving, and bears, besides the name, the following - inscription: "Engraved By H. W. Smith. From a Photograph - By Hawes." The book is further embellished by a woodcut - head-piece and an initial letter, representing snow scenes. - - From other letters we learn that Whittier liked the page - and type of the volume, and in this he showed himself a good - judge. His opinion is confirmed by those who see in the book - an example worthy of its publishers, all of whose productions, - issued at this period, are good, while some are beautiful in - their simplicity and elegance. When the matter of paper was - brought up, the author said, "Don't put the poem on tinted or - fancy paper, let it be white as the snow it tells of." Fifty - copies were printed on large paper, and were probably given - by the poet only to his friends. These embodied all the - corrections afterward incorporated in the regular editions. - - Whittier's feeling for appropriateness is shown also in the - following quotation: - - "I wish it could come out in season for winter fireside - reading--the very season for it.... I shall dedicate it to my - brother, and shall occupy one page with quotations from Cor. - Agrippa, and from Emerson's 'Snow Storm.'..." - - He changed his mind about the dedication, however, for - the book is inscribed "To the memory of the household it - describes." - - Among the errors which crept into the poem, one, the phrase - "Pindus-born Araxes," was afterward corrected to "Pindus-born - Arachthus"; and another, - - "The wedding _knell_ and dirge of death," - - held its ground from 1866 until 1893. - - Whittier's share in the profits of _Snow-Bound_, we are told, - amounted to ten thousand dollars. - - COLLATION: _52 pp. Portrait._ - - - - -CORRIGENDA - - - PAGE LINE READ - - 4 7 copies are known - 9 2 adminiſtracion - 15 4 The | Firſte - 16 32 Arber - 25 3 authors' names - 25 10 youngmans - 33 20 Imprented - 34 4 diſſwaſion. | - 34 6 the | blacke - 40 6 omnia: | fiue - 41 11 duodecimi - 41 23 Odysses - 41 24 Mihi q^d viuo - 41 34 end, in some copies, - 45 1 are found - 45 8 1585 - 48 18 Maſques - 48 30 The second Volume Containing These - 56 7 length - 61 19 Grosart - 67 4 Decem. - 69 7 Beaumont - 77 5 Dunstan's - 79 9 in - 86 27 The month of September, 1694 - 89 8 Theater - 94 18 Charles - 121 28 1759 - 126 4 By | - 128 6 A. M'Lean - 147 6 Intitled - - * * * * * - - -INDEX TO AUTHORS AND TITLES - - * * * * * - - - - -INDEX TO AUTHORS AND TITLES - - - Absalom And Achitophel, 84, 85 - - Adam Bede, 211, 212 - - Addison (Joseph). The Spectator, 94-96 - - Adonais, 169, 170 - - Analogy (The) Of Religion, 104 - - Anatomy (The) Of Melancholy, 51, 52 - - Apologia Pro Vita Sua, 217 - - Arcadia. The Countesse Of Pembrokes, 29-31 - - Arnold (Matthew). Essays In Criticism, 218 - - Austen (Jane). Pride And Prejudice, 161, 162 - - - B. (E. B.) Sonnets, 193 - - Bacon (Francis), Baron Verulam. Essaies, 34, 35 - - Baldwin (William), Thomas Sackville, and others. A Myrrour For - Magiſtrates, 19-21 - - Beaumont (Francis) and John Fletcher. Comedies And Tragedies, 69-71 - - Bell (Currer). Jane Eyre. An Autobiography. Edited by, 191 - - Bible. The Holy, 44-47 - - Biglow Papers (The), 194, 195 - - Blackstone (Sir William). Commentaries, 121, 122 - - Booke (The) of the common praier, 9-11 - - Boswell (James). The Life Of Samuel Johnson, 150-152 - - Braybrooke (Richard, Lord). _See_ Pepys (Samuel). Memoirs, 173, 174 - - Broken Heart (The), 58 - - Brontë (Charlotte). Jane Eyre, 191 - - Browne (Sir Thomas). Religio Medici, 65, 66 - - Browning (Elizabeth Barrett). Sonnets, 193 - - Browning (Robert). Men and Women, 208 - - Bunyan (John). The Pilgrims Progreſs, 82, 83 - - Burke (Edmund). Reflections On The Revolution In France, 146 - - Burns (Robert). Poems, 141, 142 - - Burton (Robert). The Anatomy Of Melancholy, 51, 52 - - Butler (Joseph), Bishop of Durham. The Analogy Of Religion, 104 - - Butler (Samuel). Hudibras. 77, 78 - - Byron (George Gordon), Sixth Baron. Childe Harold's Pilgrimage, - 157-160 - - - Canterbury Tales (The), 3, 4 - - Carlyle (Thomas). Sartor Resartus, 183-185. - - Chapman (George). The Whole Works Of Homer, 40-43. - - Chaucer (Geoffrey). The Canterbury Tales, 3, 4 - - Childe Harold's Pilgrimage, 157-160 - - Christabel: Kubla Khan ... The Pains Of Sleep, 163, 164 - - Chronicles of England, Scotlande, and Irelande, 15-18 - - Clarendon (Edward Hyde, First Earl of). The History Of The - Rebellion, 89, 90 - - Clarissa, 110, 111 - - Coleridge (Samuel Taylor). Christabel, 163, 164 - - Coleridge (Samuel Taylor) and William Wordsworth. Lyrical Ballads, - 153, 154 - - Collins (William). Odes, 109 - - Comedies And Tragedies, 69-71 - - Comedies, Histories, & Tragedies, 53-55 - - Commentaries On The Laws Of England, 121, 122 - - Common praier. The booke of the, 9-11 - - Compleat Angler (The), 75, 76 - - Confeſſio amantis, 5, 6 - - Congreve (William). The Way of the World, 88 - - Conquest Of Peru. History Of The, 187, 188 - - Cooper (James Fenimore). The Last Of The Mohicans, 175, 176 - - Countesse Of Pembrokes Arcadia (The), 29-31 - - Cowper (William). The Task, 137-140 - - Cross (Mary Ann or Marian). Adam Bede Edited By George Eliot, 211, - 212 - - - D. (J.). Poems by, 62-64 - - Darwin (Charles Robert). On The Origin Of Species, 213-215 - - Decline And Fall Of The Roman Empire. The History Of The, 133-135 - - Defoe (Daniel). The Life And Strange Surprizing Adventures Of - Robinson Crusoe, 97, 98 - - Democritus Iunior. _See_ Burton (Robert). - - Dickens (Charles). The Posthumous Papers Of The Pickwick Club, - 180-182 - - Dictionary (A) Of The English Language, 117, 118 - - Donne (John). Poems, 62-64 - - Dorset (Thomas Sackville, First Earl of). _See_ Thomas Sackville. - - Dryden (John). Absalom And Achitophel, 84, 85 - - Dutch Republic. The Rise Of The, 209, 210 - - Dutchesse of Malfy. The Tragedy Of The, 56 - - - Elegy (An) Wrote In A Country Church Yard, 114-116 - - Elia. Essays Which Have Appeared Under That Signature, 171, 172 - - Emerson (Ralph Waldo). Nature, 186 - - Essaies. Religious Meditationes, 34, 35 - - Essay (An) Concerning Humane Understanding, 86, 87 - - Essay (An) On Man, 102, 103 - - Essays In Criticism, 218 - - Euphues, 26-28 - - Evangeline, 192 - - Eve Of St. Agnes (The). Lamia, Isabella, 167, 168 - - Expedition (The) Of Humphry Clinker, 130, 131 - - - Faerie Queene (The), 32, 33 - - Famous Tragedy (The) Of The Rich Ievv Of Malta, 59 - - Federalist (The), 128, 129 - - Ferrex and Porrex. The Tragidie of, 24, 25 - - Fielding (Henry). The History Of Tom Jones, 112, 113 - - Fitzgerald (Edward). Rubáiyát Of Omar Khayyám, 216 - - Fletcher (John) and Francis Beaumont. Comedies And Tragedies, 69-71 - - Ford (John). The Broken Heart, 58 - - Franklin (Benjamin). Poor Richard improved, 119, 120 - - - George Eliot. Adam Bede, 211, 212 - - Gibbon (Edward). The History Of The Decline And Fall Of The Roman - Empire, 133-135 - - Goldsmith (Oliver). The Vicar Of Wakefield, 123-125 - - Gower (John). Confeſſio amantis, 5, 6 - - Gray (Thomas). An Elegy Wrote In A Country Church Yard, 114-116 - - Gulliver (Lemuel). Travels Into Several Remote Nations ... By, - 99-101 - - - Hakluyt (Richard). The Principal Navigations, etc., 36-39 - - Hawthorne (Nathaniel). The Scarlet Letter, 202, 203 - - Herbert (George). The Temple, 60, 61 - - Herrick (Robert). Hesperides, 72, 73 - - Hesperides, 72, 73 - - History (The) of England, 199, 200 - - History (A) Of New York ... By Diedrich Knickerbocker, 155, 156 - - History Of The Conquest Of Peru, 187, 188 - - History (The) Of The Decline And Fall Of The Roman Empire, 133-135 - - History (The) Of The Rebellion, 89, 90 - - History (The) Of Tom Jones, 112, 113 - - Holinshed (Raphael). Chronicles, 15-18 - - Holy Bible (The), 44-47 - - Holy Living. The Rule And Exercises Of, 74 - - Homer. The Whole Works Of, 40-43 - - Howard (Henry), Earl of Surrey, and others. Songes And Sonnettes, - 22, 23 - - Hudibras, 77, 78 - - Humane Understanding. An Essay Concerning, 86, 87 - - Humphry Clinker. The Expedition Of, 130, 131 - - Hyde (Edward), First Earl of Clarendon. The History Of The - Rebellion, 89, 90 - - - In Memoriam, 201 - - Inquiry (An) Into The Nature and Cauſes Of The Wealth Of - Nations, 132 - - Irving (Washington). A History Of New York, 155, 156 - - Isabella, The Eve Of St. Agnes. Lamia, 167, 168 - - Ivanhoe, 165, 166 - - - Jane Eyre. An Autobiography. Edited By Currer Bell, 191 - - Johnson (Samuel). A Dictionary Of The English Language, 117, 118 - - Johnson, The Life Of Samuel, 150-152 - - Jonson (Benjamin). The Workes, 48-50 - - - Keats (John). Lamia, Isabella, The Eve Of St. Agnes, 167, 168 - - Knickerbocker (Diedrich). A History Of New York ... By, 155, 156 - - Kubla Khan, A Vision; The Pains Of Sleep. Christabel, 163, 164 - - - Lamb (Charles). Elia, 171, 172 - - Lamia, Isabella, The Eve Of St. Agnes, 167, 168 - - Landor (Walter Savage). Pericles And Aspasia, 177-179 - - Langland (William). The Vision of Pierce Plowman, 12-14 - - Last Of The Mohicans (The), 175, 176 - - Life (The) And Strange Surprizing Adventures Of Robinson Crusoe, - 97, 98 - - Life (The) Of Samuel Johnson, 150-152 - - Locke (John). An Essay Concerning Humane Understanding, 86, 87 - - Longfellow (Henry Wadsworth). Evangeline, 192 - - Lowell (James Russell). The Biglow Papers, 194, 195 - - Lucubrations (The) Of Isaac Bickerſtaff Eſq., 91-93 - - Lyly (John). Euphues, 26-28 - - Lyrical Ballads, With A Few Other Poems, 153, 154 - - - Macaulay (Thomas Babington), First Baron Macaulay, The History Of - England, 199, 200 - - Malfy. The Tragedy Of The Dutchesse Of, 56 - - Malory (Sir Thomas). Le Morte Darthur, 7, 8 - - Marlowe (Christopher). The Famous Tragedy Of The Rich Ievv Of - Malta, 59 - - Massinger (John). A New Way To Pay Old Debts, 57 - - Melib[oe]us-Hipponax. The Biglow Papers. Edited ... By Homer - Wilbur, 194, 195 - - Memoirs Of Samuel Pepys, Esq. F.R.S., 173, 174 - - Men And Women, 208 - - Milton (John). Paradiſe loſt, 79-81 - - Morte Darthur. (Le), 7, 8 - - Motley (John Lothrop). The Rise Of The Dutch Republic, 209, 210 - - Myrrour For Magiſtrates (A), 19-21 - - - Natural History (The) And Antiquities Of Selborne, 143-145 - - Nature, 186 - - New Way (A) To Pay Old Debts, 57 - - Newman (John Henry), Cardinal. Apologia Pro Vita Sua, 217 - - Norton (Thomas) and Thomas Sackville. The Tragidie of Ferrex and - Porrex, 24, 25 - - - Odes On Several Deſcriptive and Allegoric Subjects, 109 - - Omar Khayyám. Rubáiyát Of, 216 - - On The Origin Of Species, 213-215 - - - Paine (Thomas). Rights Of Man, 147-149 - - Pains Of Sleep. Christabel: Kubla Khan ... 163, 164 - - Paradiſe loſt, 79-81 - - Pepys (Samuel). Memoirs, 173, 174 - - Percy (Thomas), Bishop of Dromore. Reliques Of Ancient English - Poetry, 105-108 - - Pericles And Aspasia, 177-179 - - Pickwick Club. The Posthumous Papers Of The, 180-182 - - Pierce Plowman. The Vision of, 12-14 - - Pilgrims Progreſs (The), 82, 83 - - Poe (Edgar Allan). The Raven, 189, 190 - - Poems, By J. D., 62-64 - - Poems, Chiefly In The Scottish Dialect, 141, 142 - - Poor Richard improved, 119, 120 - - Pope (Alexander). An Essay On Man, 102, 103 - - Posthumous Papers (The) Of The Pickwick Club, 180-182 - - Prescott (William Hinckling). History Of The Conquest Of Peru, - 187, 188 - - Pride And Prejudice, 161, 162 - - Principal Navigations, (The) Voiages, Traffiques And Discoueries - of the Engliſh Nation, 36-39 - - - Raven (The) And Other Poems, 189, 190 - - Reflections On The Revolution In France, 146 - - Religio Medici, 65, 66 - - Reliques Of Ancient English Poetry, 105-108 - - Revolution In France. Reflections On The, 146 - - Richardson (Samuel). Clarissa, 110, 111 - - Rich Ievv Of Malta. The Famous Tragedy Of The, 59 - - Rights Of Man, 147-149 - - Rise Of The Dutch Republic, 209, 210 - - Robinson Crusoe. The Life And Strange Surprizing Adventures Of, - 97, 98 - - Rubáiyát of Omar Khayyám, 216 - - Rule And Exercises Of Holy Living, 74 - - Ruskin (John). The Stones of Venice, 205-207 - - - Sackville (Thomas), First Earl of Dorset, and Thomas Norton. The - Tragidie of Ferrex and Porrex, 24, 25 - - Sackville (Thomas), First Earl of Dorset, William Baldwin and - others. A Myrrour For Magiſtrates, 19-21 - - Sartor Resartus, 183-185 - - Scarlet Letter (The), 202, 203 - - School (The) For Scandal, 136 - - Scott (Sir Walter). Ivanhoe, 165, 166 - - Selborne. The Natural History And Antiquities Of, 143-145 - - Sentimental Journey (A), 126, 127 - - Shakespeare (William). Comedies, Histories, & Tragedies, 53-55 - - Shelley (Percy Bysshe). Adonais, 169, 170 - - Sheridan (Richard Brinsley). The School For Scandal, 136 - - Sidney (Sir Philip). The Countesse Of Pembrokes Arcadia, 29-31 - - Smith (Adam). An Inquiry Into The Nature and Causes Of The Wealth - Of Nations, 132 - - Smollett (Tobias George). The Expedition Of Humphry Clinker, 130, - 131 - - Snow-Bound, 219, 220 - - Songes And Sonnettes, 22, 23 - - Sonnets. By E. B. B., 193 - - Spectator (The), 94-96 - - Spenser (Edmund). The Faerie Queene, 32, 33 - - Steele (Sir Richard). The Tatler, 91-93 - - Sterne (Laurence). A Sentimental Journey, 126, 127 - - Stones of Venice (The), 205-207 - - Stowe (Harriet Beecher). Uncle Tom's Cabin, 204 - - Surrey (Henry Howard), Earl of. Songes And Sonnettes, 22, 23 - - Swift (Jonathan). Travels Into Several Remote Nations ... By - Lemuel Gulliver, 99-101 - - - Task (The), 137-140 - - Tatler (The), 91-93 - - Taylor (Jeremy). The Rule And Exercises Of Holy Living, 74 - - Temple (The), 60, 61 - - Tennyson (Alfred), First Baron Tennyson. In Memoriam. 201 - - Thackeray (William Makepeace). Vanity Fair, 196-198 - - Tom Jones. The History Of, 112, 113 - - Tragedy (The) Of The Dutchesse Of Malfy, 56 - - Tragedy of The Rich Ievv Of Malta. The Famous, 59 - - Tragidie (The) of Ferrex and Porrex, 24, 25 - - Travels Into Several Remote Nations ... By Lemuel Gulliver, 99-101 - - - Uncle Tom's Cabin, 204 - - - Vanity Fair, 196-198 - - Vicar Of Wakefield (The), 123-125 - - Vision (The) of Pierce Plowman, 12-14 - - - Waller (Edmund). The Workes, 67, 68 - - Walton (Izaak). The Compleat Angler, 75, 76 - - Way of the World (The), 88 - - Wealth Of Nations. An Inquiry Into The Nature and Cauſes Of The, - 132 - - Webster (John). The Tragedy Of The Dutchesse Of Malfy, 56 - - White (Gilbert). The Natural History And Antiquities Of Selborne, - 143-145 - - Whittier (John Greenleaf). Snow-Bound, 219, 220 - - Wilbur (Homer) ... The Biglow Papers. Edited ... by, 194, 195 - - Wordsworth (William) and Samuel Taylor Coleridge. Lyrical Ballads, - 153, 154. - - * * * * * - -[Illustration: - καὶ μὴν ἀριθμὸν - ἔξοχον σοφισμάτων - έξεῦρον αὐτοῖς - γραμμάτών τε συνθέσεις - μνήμην θ'ἁπάντων - μουσομήτορ' ἐργάτιν - -THE DE VINNE PRESS - -IMPRIMATVR] - -[Greek: - kai mên arithmon - exochon sophismatôn - exeuron autois - grammatôn te syntheseis - mnêmên th'apantôn - mousomêtor' ergatin] - -Translation (De Vinne Press - https: //printinghistory.org/de-vinne/): -"and further I discovered for them [i.e., mankind] numeration, most -striking of inventions, and composition, nurse of the arts, producer -of the record of all things."--Prometheus. - - * * * * * - - - - -Transcriber's Note: - -This book contains many instances of ſ (long s), which have been -retained, though its use is not necessarily consistent. - -Some joining m-dashes (—) (usually in dates) have been changed -to hyphens (-). - -Lines 921, 927 (page 16): 'trust' has twice appeared on this page as -'trust', instead of the expected 'truſt'. It may have been deliberate, -and has been retained. - - "thoſe yet whom he left in trust to diſpoſe his things - after...." - - "and the rather to anſwere that trust which the deceaſſed - repoſed in me,..." - -Line 1070 (page 20): 'fyrst' has been retained. - - "as the fyrst part doth of other mens," ... ... "wurthy wittes to - enterpryſe and performe the reſt." - -Line 1122 (Page 21): ([backwards P?R] one) and ([backwards P?R] I). -This appears to be a monogram, either qR, joined, or backwards-P -joined to R. - -Line 1718 (Page 36): 'christopher Barker' is as printed. - - "... christopher Barker, Printer to the Queenes moſt excellent - Maieſtie." - -Line 1723 (Page 36): Decorative 'A', or SA monogram? - - "... and there are two large pictorial initials at the beginning - signed A." - -(also Line 1807 on Page 38) - -Line 1982 (Page 42): 'χαριsńgιον' corrected to 'χαριϛήριον' -[Greek: Charistêrion] - -Line 2754: (Page 63): 'fory' corrected to 'ſory' - - "I am ſory that I muſt deceive you; but you will not...." - -Lines 3799-3800 (Page 90): 'MBurg.' and 'MBurghers', with M and B -close together - a monogram? - - "... is signed "delin MBurg. ſculp. Univ. Ox.," in the first two - volumes, and "delin MBurghers ſculpt, Univ. Ox. 1704," in the - third,..." - -Line 3805 (Page 90): "A portrait of Clarendon, occurs as a -frontispiece in each of the three volumes." ... either extraneous -comma after 'Clarenden' or missing comma after 'portrait'. Extraneous -comma removed for clarity. - -Line 3971 (Page 94): 'ſumum' corrected to 'fumum' - - "Non fumum ex fulgore, ſed ex fumo dare lucem" - -Line 4913 (Page 118): "... they received 23s. a week, which he agreed -to raise to 2l. 2s., not, it is to be hoped, out of the 1,575l." - -l = £ (pound/pounds); so, - - "... they received 23 shillings a week, which he agreed to raise to - £2. 2s. (2 pounds 2 shillings, or 42 shillings), not, it is to be - hoped, out of the £1575 (1,575 pounds)." - -Line 5505, Page 135: 'historians'' corrected to 'historian's' - - (re Gibbon) "... the historian's "profit on the whole is stated...." - -Line 9236 (Page 226): 'surprising' corrected to 'surprizing' to match -title, and other index entry. - - "Robinson Crusoe. The Life And Strange Surprizing Adventures Of, 97, - 98" - -Lines 9370, 9378 (Page 230): The transliteration of the Greek poem in -the De Vinne Press Logo, and the translation supplied by the De Vinne -Press website, have been added for readers' benefit. - - - - - - - - - - -End of the Project Gutenberg EBook of Bibliographic Notes on One Hundred -Books Famous in English Literature, by Henry W. Kent - -*** END OF THIS PROJECT GUTENBERG EBOOK BIBLIOGRAPHIC NOTES--100 FAMOUS BOOKS *** - -***** This file should be named 50555-0.txt or 50555-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/5/5/50555/ - -Produced by David Starner, Suzanne Lybarger, Lesley Halamek, -The Internet Archive/American Libraries 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 print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright 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: 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. - diff --git a/old/50555-0.zip b/old/50555-0.zip Binary files differdeleted file mode 100644 index e182298..0000000 --- a/old/50555-0.zip +++ /dev/null diff --git a/old/50555-h.zip b/old/50555-h.zip Binary files differdeleted file mode 100644 index d21206e..0000000 --- a/old/50555-h.zip +++ /dev/null diff --git a/old/50555-h/50555-h.htm b/old/50555-h/50555-h.htm deleted file mode 100644 index 6ec0bb7..0000000 --- a/old/50555-h/50555-h.htm +++ /dev/null @@ -1,10216 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" -"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> - -<head> - <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> - - <title>Bibliographical notes on one hundred books famous in English literature, by Henry Watson Kent</title> - -<link rel="coverpage" href="images/cover.jpg" /> - - <style type="text/css"> - - body {margin-left: 12%; margin-right: 12%;} - #coverpage {border: 1px solid black;} - #half-title {text-align: center; font-size: large; line-height: 150%; margin-bottom: 3em;} - .half-title {text-align: center; font-size: large; line-height: 150%; margin-bottom: 3em;} - .half-title1 {text-align: center; font-size: 1em; line-height: 150%;} - @media screen { - .half-title, half-title1 {margin: 6em 0;} - } - @media print, handheld { - #half-title {page-break-before: always; page-break-after: always;} - } - .tn {width: 80%; margin: auto; background-color: #ffffee; color: #000000; margin-top: 3em; margin-bottom: 2em; padding: 1em;border: 1px dashed #eeeeee;} - p {text-align: justify; margin-left: 2em;} - p.head {text-align: justify; font-size: 1.2em;margin-top: 2em; margin-bottom: 2em; margin-left: 1.5em;} - - @media print, handheld { - p.head {margin-left: 1.5em;} - } - - table {width: auto; margin: 0 auto;} - .publisher {width: auto; margin: 0 auto; border-collapse: collapse;} - .toc {width: auto; margin: auto;} - th {padding-bottom: 0.5em;} - .left {font-weight: normal; font-size: 0.9em; text-align: left; padding-left: 0; padding-right: 1em; vertical-align: top;} - .left1 {font-weight: normal; font-size: 0.9em; text-align: left; padding-left: 1em; padding-right: 0; vertical-align: top;} - .left1a {text-align: left; padding-left: 2em;} - .left1b {font-weight: normal; font-size: 0.9em; text-align: left; padding-left: 1em; padding-right: 0; vertical-align: bottom;} - .left1q {font-weight: normal; font-size: 0.9em; text-align: left; padding-left: 1em; padding-right: 0; vertical-align: bottom; border-left: 1px solid black;} - .right {font-weight: normal; font-size: 0.9em; text-align: right; padding-left: 1em; padding-right: 0; vertical-align: top;} - .rightb {font-weight: normal; font-size: 0.9em; text-align: right; padding-left: 1em; padding-right: 1em; vertical-align: bottom; border-right: 1px solid black;} - .rightb1 {font-weight: normal; font-size: 0.9em; text-align: right; padding-left: 1em; padding-right: 0; vertical-align: bottom;} - td.center {font-weight: normal; font-size: 0.9em; text-align: center;} - .ind {padding-left: 2em; margin-right: 2em;} - .indq {padding-left: 2em; margin-right: 2em; margin-bottom: -0.7em;} - .ind1 {padding-left: 2em; margin-top: -0.5em;} - .ind1a {padding-left: 2em;} - .ind2 {padding-left: 4em; margin-top: -1em;} - .ind2a {padding-left: 6em; margin-top: -1em;} - .ind3 {padding-left: 8em; margin-top: -1em;} - .rindent {text-align: right; margin-top: 0.5em; margin-right: 2em;} - .rindent1 {text-align: right; margin-top: 0.5em; margin-right: 5em; margin-bottom: 0;} - .rindent2 {text-align: right; margin-top: -1.5em; margin-right: 2em;} - .outdent {margin-left: -1em;} - h1 {font-size: 200%; margin-top: 2em; margin-bottom: 1.5em;} - h2 {font-size: 150%; margin-top: 2em; line-height: 130%;} - h1,h2,h3,h4,h5,h6 {text-align: center;} - - @media print, handheld { - div.chapter {page-break-before: always;} -} - - p.title1b {text-align: center; text-indent: 0; font-weight: bold; margin-top:2em; margin-bottom: 0; line-height: 150%;} - - .less {font-size: 90%;} - .less2 {font-size: 80%;} - small {font-size: 70%;} - .small {font-size: 70%; line-height: 110%;} - big {font-size: 140%;} - pre {font-size: 0.7em;} - .sc {font-variant: small-caps;} - .center {text-align: center; margin-left: 0;} - .center1 {text-align: center; margin-top: 0.2em;} - .centersm {text-align: center; font-size: 0.9em; margin-top: 3em; margin-bottom: 3em;} - .centerb {text-align: center; font-weight: bold; font-size: 1em;} - .centerb1 {text-align: center; font-weight: bold; font-size: 1.1em;} - .centerc {text-align: center; font-weight: bold; font-size: 1.2em;} - .centerc1 {text-align: center; font-weight: bold; font-size: 1.4em;} - - .space-above2 {margin-top: 2em;} - .space-below {margin-bottom: 2em;} - .space-below3 {margin-bottom: 3em;} - .spaced2 {letter-spacing: 0.2em;} - - .b5 {line-height: 5%;} - .b30 {line-height: 30%;} - .b50 {line-height: 50%;} - - .left15 {padding-left: 1.5em;} - .left2 {padding-left: 2em;} - - ul.none {font-size: 1em; margin-left: 20%; list-style-type: none;} - ul.index {font-size: 0.9em; margin-right: 5em; margin-left: 3em; list-style-type: none;} - li.top {margin-top: 1em;} - - .boxed {font-size: 0.9em; border: 1px solid black; padding-top: 0; padding-right: 0.1em; padding-bottom: 0; padding-left: 0.1em;} - - ins {text-decoration: none; border-bottom: dashed 1px silver;} - hr {width: 100%;} - html>body hr {margin-right: 0%; margin-left: 0%; width: 100%;} - hr.medium {width: 76%;} - html>body hr.medium {margin-right: 12%; margin-left: 12%; width: 76%;} - - div.center {text-align: center; max-width: 30em; margin: auto;} - div.content {max-width: 30em; font-size: 1.2em; text-align: left; line-height: 120%; margin-top: 5em; margin-bottom: 4em;} - div.content1s {max-width: 16em; font-size: 1em; max-width: 12em; text-align: left;} - span.pagenum {position: absolute; left: 1%; right: 91%; font-size: 8pt; text-indent: 0;} - - .footnote {font-size: 0.9em; margin-left: 5%; margin-right: 5%; margin-top: 1em;} - .footnote1 {font-size: 0.9em; margin-left: 5%; margin-right: 5%; margin-top: 2em;} - - .width21 {max-width: 21em;} - .width24 {max-width: 24em;} - - .poem {margin: auto;} - .poem .stanza {margin: 1em auto;} - .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} - .poem p.i2 {margin-left: 1em;} - .poem p.i4 {margin-left: 2em;} - .poem p.i6 {margin-left: 3em;} - .poem p.i8 {margin-left: 4em;} - .poem p.i12 {margin-left: 6em;} - .poem p.i2q {margin-left: 1em; font-size: 1.2em;} - - .figcenter {padding: 1em; margin: 0; text-align: center; font-size: 0.8em;} - .figcenter img - {border: none;} - .figcenter p - {margin: 1em 0 0 0; text-indent: 1em;} - .figcenter {margin: auto;} - - img.drop-cap {float: left; margin: 0 0.5em 0 2em;}/*check left margin (2em)*/ - - p.drop-cap:first-letter {color: transparent; - visibility: hidden; - margin-left: -0.9em;} - - @media handheld { - img.drop-cap {display: none;} - } - @media handheld - { - p.drop-cap:first-letter {color: inherit; - visibility: visible; - margin-left: 0;} - } - -span.dropcap {float:left; font-size:3em; font-weight:bold; line-height:80%;} - - a.toc:link {color: #330066; text-decoration: none;} - a.toc:visited {color: #cc3399; text-decoration: none;} - - a.ask:link {color: blue; background: inherit; font-size: 1.0em; font-weight: normal; text-decoration: none;} - a.ask:visited {color: #cc3399; background: inherit; font-size: 1.0em; font-weight: normal;text-decoration: none;} - -@media handheld { -body { -margin-left : 2%; -margin-right : 2%; -margin-top : 1%; -margin-bottom : 1%; -} -hr { -margin-top : 0.1em; -margin-bottom : 0.1em; -visibility : hidden; -color : white; -display : none; -} -} -@media print { -span.pagenum { -visibility : hidden; -color : white; -display : none; -} -} - - </style> -</head> -<body> - - -<pre> - -The Project Gutenberg EBook of Bibliographic Notes on One Hundred Books -Famous in English Literature, by Henry W. Kent - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Bibliographic Notes on One Hundred Books Famous in English Literature - -Author: Henry W. Kent - -Release Date: November 26, 2015 [EBook #50555] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK BIBLIOGRAPHIC NOTES--100 FAMOUS BOOKS *** - - - - -Produced by David Starner, Suzanne Lybarger, Lesley Halamek, -The Internet Archive/American Libraries 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/)) - - - - - - -</pre> - - -<div class="figcenter" style="width: 400px;"><a href="images/i_title-1000.png"><img src="images/i_title-400.png" width="400" height="553" alt="title page" /></a></div> - -<div class="tn"> -<h4>Transcriber's Note:<a name="top" id="top"></a></h4> - -<p>This is a collection bibliographical notes on old books. In the older books -there are many instances of the long 's', printed as ſ, and used mostly -in the middle of words.</p> - -<p>A final 's' was printed as 's', as it is now. A final double-'s' was -usually printed as 'ſs'. An exception is on Page 41: 'Odyſſ'.</p> - -<p class="ind">"Finis duodecim libri Hom. Odyſſ. Opus nouem dierum,"</p> - -<p>Occasionally, 'ſſ' in the middle of a word, was printed as 'ſs'. - -The letter 'w' was often printed as 'vv', and 'W' as 'VV'. 'J/j' was -often printed as 'I/i', and 'I/i' as 'J/j'. Thus 'The Rich Jew of Malta' -would be 'The Rich Ievv of Malta'; also: 'Paradiſe loſt' (Paradise lost), -'The Pilgrims Progreſs' (The Pilgrims Progress), 'Odyſses' (Odysses), etc.</p> - -<p>'v' was often printed as 'u', and 'u' as 'v' thus, "God ſaue the Queene" -for "God save the Queen".</p> - -<p>Also: "vntill this preſent tyme" for "until this present time".</p> - -<p>In the earlier books, people wrote what they heard. All spelling variants, -if they make sense, and are not obvious printing errors, have been retained.</p> - -<p>Spelling rules did not exist until the later part of the 19th century. -Some words and names (e.g. Church-yard/Churchyard) are hyphenated on some -pages, unhyphenated on others. All have been retained.</p> - -<p>Punctuation is not necessarily consistent, is not always present, and sometimes occurs where we would not expect it -(e.g. 'the price of .ii. Shyllynges the piece'; '.xiii Articles'; 'and before the yere ,M,iiiiC, and .ix', etc.). -A colon (:) was sometimes used instead of a full stop. Apostrophes were sometimes conspicuous by their absence -(e.g. 'Le Morte Darthur' for 'Le Morte D'Arthur'), and opened brackets were not always closed. -There are some instances of quotations enclosed in double quotes nested inside quotations similarly enclosed in double quotes, -leading to the occasional paragraph ending in ."" This would appear to have been the printing style of the time, and has been retained.</p> - -<p>The Author has included a list of corrections on Page <a href="#page221">221</a>, at the end of the book and before the Index.<br /> -These corrections have been implemented, as listed.</p> - -<p>The rest of the Transcriber's Note is at the <a href="#end">end</a> of the book.</p> -</div> -<hr class="medium" /> -<p><span class="pagenum"><a name="pagei" id="pagei"></a></span></p> - -<div class="center"><div class="content"> -The committee on Publications of the Grolier Club<br /> -certifies that this copy of "Bibliographical Notes on<br /> -One Hundred Books Famous in English Literature"<br /> -is one of three hundred and five copies printed on<br /> -French hand-made paper, and three on vellum, during<br /> -the year nineteen hundred and three. -</div></div> - -<hr class="medium" /> - -<div class="chapter"> -<p><span class="pagenum"><a name="pageii" id="pageii"></a></span><br /> -<span class="pagenum"><a name="pageiii" id="pageiii"></a></span></p> - -<div class="half-title1 space-below3"> -<h2>BIBLIOGRAPHICAL NOTES<br /><br /> - -ON ONE HUNDRED BOOKS FAMOUS IN<br /><br /> - -ENGLISH LITERATURE</h2></div></div> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="pageiv" id="pageiv"></a></span><br /> -<span class="pagenum"><a name="pagev" id="pagev"></a></span></p> - -<h1><span class="spaced2">BIBLIOGRAPHICAL NOTES</span><br /><br class="b50" /> - -<span class="small">ON</span><br /><br class="b50" /> - -<span class="less2">ONE HUNDRED BOOKS</span><br /><br class="b50" /> - -<span class="small">FAMOUS IN</span><br /><br class="b50" /> - -<span class="less">ENGLISH LITERATURE</span></h1></div> - -<p class="centerb1">COMPILED BY</p> -<p class="centerc1">HENRY W. KENT</p> - -<div class="figcenter" style="width: 100px;"><a href="images/i_title-scut-330.png"><img src="images/i_title-scut-100.png" width="100" height="90" alt="Grolier Club emblem" /></a></div> - -<p class="centerc">THE GROLIER CLUB</p> -<p class="centerc">OF THE CITY OF NEW YORK</p> - -<p class="centerc">MCMIII</p> - -<p><span class="pagenum"><a name="pagevi" id="pagevi"></a></span></p> - -<p class="centersm">Copyright, 1903, by<br /> -<span class="sc">The Grolier Club of the<br /> -City of New York</span></p> - -<div class="chapter"> -<p><span class="pagenum"><a name="pagevii" id="pagevii"></a>[pg vii]</span></p> - -<div class="figcenter" style="width: 600px;"><a href="images/i_f007a-1000.png"><img src="images/i_f007a-600.png" width="600" height="179" alt="Frieze" /></a></div> - -<h2>PREFACE</h2></div> - -<div><img class="drop-cap" src="images/dropcapa-100.png" width="100" height="100" alt="A" /></div> -<p class="drop-cap"><span class="upper-case">AFTER</span> - the publication of the volume -entitled <i>One Hundred Books -Famous in English Literature -with Facsimiles of the Title-pages -and an Introduction by -George E. Woodberry</i>, the books -themselves were gathered from -the collections of members of the -Club for an exhibition at the Club-house. All of these -volumes belonged to the first published editions, except -where copies of the earliest editions were not obtainable, -or, for some reason, were not desirable. In two -cases, those of "Tottel's Miscellany" and Lyly's <i>Euphues</i>, -copies of the first editions are unique, and, therefore, -practically not obtainable. The second edition of <i>A -Myrrour For Magistrates</i> contains the first issue of the -poem called an <i>Induction</i> by the Earl of Dorset, and -was, therefore, the edition which it was desirable to -show. Notwithstanding the oft-repeated statement that -copies of the second edition of Bacon's <i>Essays</i> are of -<span class="pagenum"><a name="pageviii" id="pageviii"></a>[pg viii]</span> -greater rarity than those of the first, no copy of the -first edition was forthcoming, and one of the later date -was necessarily included in the collection. In one or -two instances a second issue of a first edition was used -where the extremely rare first issue was not owned by a -member of the Club.</p> - -<p>Arranged side by side, each volume open at its -title-page, the individuality of these well-known works -was brought out strikingly: taken collectively, they -illustrated, clearly and interestingly, the development -of the Book in England. Members of the Club were -thus led to suggest the publication of a second, or -supplementary volume, which should give the bibliographical -facts connected with each book, and which -should indicate, briefly, something of this development. -The present volume was undertaken in response to this -suggestion.</p> - -<p>The relations of author with printer or publisher, the -success or failure of the books, matters of illustration, -and marked peculiarities of editions, issues or volumes—all -these things are referred to at greater or less length. -In some cases, the facts have been given with fullness; -but in others, like that of the Shakespeare <i>First Folio</i>, -about which so much has been written, it was thought -unnecessary to enter into details. Many of the books -in the list having been already the subjects of whole -bibliographies, or, having been carefully collated in other -works, full collations have not been thought desirable -here. It should be noted, in this connection, that the -collations of books printed before the eighteenth century -are given by signatures, while of books published after -1700, the paginations are given. Works of more than -two volumes have not been collated in detail.</p> - -<div class="chapter"> -<p><span class="pagenum"><a name="pageix" id="pageix"></a>[pg ix]</span></p> - -<h2>CONTENTS.</h2></div> - -<table class="toc space-below" summary="contents" border="0"> - -<tr> - <th class="center">TITLE</th> - <th class="center">AUTHOR</th> - <th class="center">DATE</th> - <th class="center">PAGE</th> -</tr> -<tr> - <td class="left"><a class="toc" href="#page3">The Canterbury Tales</a></td> - <td class="left1">Chaucer</td> - <td class="left1">1478</td> - <td class="right"><a class="ask" href="#page3">3</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page5">Confeſſio Amantis</a></td> - <td class="left1">Gower</td> - <td class="left1">1483</td> - <td class="right"><a class="ask" href="#page5">5</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page7">Le Morte Darthur</a></td> - <td class="left1">Malory</td> - <td class="left1">1485</td> - <td class="right"><a class="ask" href="#page7">7</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page9">The Booke of the Common Praier</a></td> - <td class="left1"> </td> - <td class="left1">1549</td> - <td class="right"><a class="ask" href="#page9">9</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page12">The Vision of Pierce Plowman</a></td> - <td class="left1">Langland</td> - <td class="left1">1550</td> - <td class="right"><a class="ask" href="#page12">12</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page15">Chronicles of England Scotlande, and Irelande</a></td> - <td class="left1">Holinshed</td> - <td class="left1">1577</td> - <td class="right"><a class="ask" href="#page15">15</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page19">A Myrrour For Magiſtrates</a></td> - <td class="left1">Baldwin, Sackville, and others</td> - <td class="left1">1563</td> - <td class="right"><a class="ask" href="#page19">19</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page22">Songes And Sonettes</a></td> - <td class="left1">Howard</td> - <td class="left1">1567</td> - <td class="right"><a class="ask" href="#page22">22</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page24">The Tragidie of Ferrex and Porrex</a></td> - <td class="left1">Norton and Sackville</td> - <td class="left1">1570?</td> - <td class="right"><a class="ask" href="#page24">24</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page26">Euphues</a></td> - <td class="left1">Lyly</td> - <td class="left1">1581</td> - <td class="right"><a class="ask" href="#page26">26</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page29">The Countesse Of Pembrokes Arcadia</a></td> - <td class="left1">Sidney</td> - <td class="left1">1590</td> - <td class="right"><a class="ask" href="#page29">29</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page32">The Faerie Queene</a></td> - <td class="left1">Spenser</td> - <td class="left1">1590</td> - <td class="right"><a class="ask" href="#page32">32</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page34">Eſſaies</a></td> - <td class="left1">Bacon</td> - <td class="left1">1598</td> - <td class="right"><a class="ask" href="#page34">34</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page36">The Principal Navigations, Voiages, Traffiques<br /> And Discoueries of the Engliſh Nation</a></td> - <td class="left1b">Hakluyt</td> - <td class="left1b">1598</td> - <td class="rightb1"><a class="ask" href="#page36">36</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page40">The Whole Works Of Homer</a></td> - <td class="left1">Chapman</td> - <td class="left1">[n. d.]</td> - <td class="right"><a class="ask" href="#page40">40</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page44">The Holy Bible</a></td> - <td class="left1"> </td> - <td class="left1"> </td> - <td class="right"><a class="ask" href="#page44">44</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page48">The Workes</a></td> - <td class="left1">Jonson</td> - <td class="left1">1616</td> - <td class="right"><a class="ask" href="#page48">48</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page51">The Anatomy Of Melancholy</a></td> - <td class="left1">Burton</td> - <td class="left1">1621</td> - <td class="right"><a class="ask" href="#page51">51</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page53">Comedies, Histories, & Tragedies</a></td> - <td class="left1">Shakespeare</td> - <td class="left1">1623</td> - <td class="right"><a class="ask" href="#page53">53</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page56">The Tragedy of The Dutchesse of Malfy</a></td> - <td class="left1">Webster</td> - <td class="left1">1623</td> - <td class="right"><a class="ask" href="#page56">56</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page57">A New Way To Pay Old Debts</a></td> - <td class="left1">Massinger</td> - <td class="left1">1633</td> - <td class="right"><a class="ask" href="#page57">57</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page58">The Broken Heart</a><span class="pagenum"><a name="pagex" id="pagex"></a>[pg x]</span></td> - <td class="left1">Ford</td> - <td class="left1">1633</td> - <td class="right"><a class="ask" href="#page58">58</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page59">The Famous Tragedy of The Rich Ievv Of Malta</a></td> - <td class="left1">Marlowe</td> - <td class="left1">1633</td> - <td class="right"><a class="ask" href="#page59">59</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page60">The Temple</a></td> - <td class="left1">Herbert</td> - <td class="left1">1633</td> - <td class="right"><a class="ask" href="#page60">60</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page62">Poems</a></td> - <td class="left1">Donne</td> - <td class="left1">1633</td> - <td class="right"><a class="ask" href="#page62">62</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page65">Religio Medici</a></td> - <td class="left1">Browne</td> - <td class="left1">1642</td> - <td class="right"><a class="ask" href="#page65">65</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page67">The Workes</a></td> - <td class="left1">Waller</td> - <td class="left1">1645</td> - <td class="right"><a class="ask" href="#page67">67</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page69">Comedies And Tragedies</a></td> - <td class="left1">Beaumont and Fletcher</td> - <td class="left1">1647</td> - <td class="right"><a class="ask" href="#page69">69</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page72">Hesperides</a></td> - <td class="left1">Herrick</td> - <td class="left1">1648</td> - <td class="right"><a class="ask" href="#page72">72</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page74">The Rule And Exercises Of Holy Living</a></td> - <td class="left1">Taylor</td> - <td class="left1">1650</td> - <td class="right"><a class="ask" href="#page74">74</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page75">The Compleat Angler</a></td> - <td class="left1">Walton</td> - <td class="left1">1653</td> - <td class="right"><a class="ask" href="#page75">75</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page77">Hudibras</a></td> - <td class="left1">Butler</td> - <td class="left1">1663</td> - <td class="right"><a class="ask" href="#page77">77</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page79">Paradiſe loſt</a></td> - <td class="left1">Milton</td> - <td class="left1">1667</td> - <td class="right"><a class="ask" href="#page79">79</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page82">The Pilgrims Progreſs</a></td> - <td class="left1">Bunyan</td> - <td class="left1">1678</td> - <td class="right"><a class="ask" href="#page82">82</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page84">Absalom And Achitophel</a></td> - <td class="left1">Dryden</td> - <td class="left1">1681</td> - <td class="right"><a class="ask" href="#page84">84</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page86">An Essay Concerning Humane Understanding</a></td> - <td class="left1">Locke</td> - <td class="left1">1690</td> - <td class="right"><a class="ask" href="#page86">86</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page88">The Way of the World</a></td> - <td class="left1">Congreve</td> - <td class="left1">1700</td> - <td class="right"><a class="ask" href="#page88">88</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page89">The History Of The Rebellion and<br /> Civil Wars In England</a></td> - <td class="left1b">Clarendon</td> - <td class="left1b">1702</td> - <td class="rightb1"><a class="ask" href="#page89">89</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page91">The Tatler</a></td> - <td class="left1"> </td> - <td class="left1">1710</td> - <td class="right"><a class="ask" href="#page91">91</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page94">The Spectator</a></td> - <td class="left1"> </td> - <td class="left1">1711</td> - <td class="right"><a class="ask" href="#page94">94</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page97">The Life And Strange Surprizing Adventures <br />Of Robinson Crusoe</a></td> - <td class="left1b">Defoe</td> - <td class="left1b">1719</td> - <td class="rightb1"><a class="ask" href="#page97">97</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page99">Travels Into Several Remote Nations <br />Of The World </a></td> - <td class="left1b">Swift</td> - <td class="left1b">1726</td> - <td class="rightb1"><a class="ask" href="#page99">99</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page102">An Essay On Man</a></td> - <td class="left1">Pope</td> - <td class="left1">[1733]</td> - <td class="right"><a class="ask" href="#page102">102</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page104">The Analogy Of Religion</a></td> - <td class="left1">Butler</td> - <td class="left1">1736</td> - <td class="right"><a class="ask" href="#page104">104</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page105">Reliques Of Ancient English Poetry</a></td> - <td class="left1">Percy</td> - <td class="left1">1765</td> - <td class="right"><a class="ask" href="#page105">105</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page109">Odes</a></td> - <td class="left1">Collins</td> - <td class="left1">1747</td> - <td class="right"><a class="ask" href="#page109">109</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page110">Clarissa</a></td> - <td class="left1">Richardson</td> - <td class="left1">1748</td> - <td class="right"><a class="ask" href="#page110">110</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page112">The History Of Tom Jones</a><span class="pagenum"><a name="pagexi" id="pagexi"></a>[pg xi]</span></td> - <td class="left1">Fielding</td> - <td class="left1">1749</td> - <td class="right"><a class="ask" href="#page112">112</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page114">An Elegy Wrote In A Country Church Yard</a></td> - <td class="left1">Gray</td> - <td class="left1">1751</td> - <td class="right"><a class="ask" href="#page114">114</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page117">A Dictionary Of The English Language</a></td> - <td class="left1">Johnson</td> - <td class="left1">1755</td> - <td class="right"><a class="ask" href="#page117">117</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page119">Poor Richard improved</a></td> - <td class="left1">Franklin</td> - <td class="left1">1758</td> - <td class="right"><a class="ask" href="#page119">119</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page121">Commentaries On The Laws Of England</a></td> - <td class="left1">Blackstone</td> - <td class="left1">1765</td> - <td class="right"><a class="ask" href="#page121">121</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page123">The Vicar Of Wakefield</a></td> - <td class="left1">Goldsmith</td> - <td class="left1">1766</td> - <td class="right"><a class="ask" href="#page123">123</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page126">A Sentimental Journey Through France And Italy</a></td> - <td class="left1">Sterne</td> - <td class="left1">1768</td> - <td class="right"><a class="ask" href="#page126">126</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page128">The Federalist</a></td> - <td class="left1"> </td> - <td class="left1">1788</td> - <td class="right"><a class="ask" href="#page128">128</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page130">The Expedition of Humphry Clinker</a></td> - <td class="left1">Smollett</td> - <td class="left1">1771</td> - <td class="right"><a class="ask" href="#page139">130</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page132">An Inquiry Into The Nature and Cauſes Of The <br />Wealth Of Nations</a></td> - <td class="left1b">Smith</td> - <td class="left1b">1776</td> - <td class="rightb1"><a class="ask" href="#page132">132</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page133">The History Of The Decline And Fall Of The <br />Roman Empire</a></td> - <td class="left1b">Gibbon</td> - <td class="left1b">1776</td> - <td class="rightb1"><a class="ask" href="#page133">133</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page136">The School For Scandal</a></td> - <td class="left1">Sheridan</td> - <td class="left1">[n. d.]</td> - <td class="right"><a class="ask" href="#page136">136</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page137">The Task</a></td> - <td class="left1">Cowper</td> - <td class="left1">1785</td> - <td class="right"><a class="ask" href="#page137">137</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page141">Poems</a></td> - <td class="left1">Burns</td> - <td class="left1">1786</td> - <td class="right"><a class="ask" href="#page141">141</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page143">The Natural History And Antiquities Of Selborne</a></td> - <td class="left1">White</td> - <td class="left1">1789</td> - <td class="right"><a class="ask" href="#page143">143</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page146">Reflections On The Revolution In France </a></td> - <td class="left1">Burke</td> - <td class="left1">1790</td> - <td class="right"><a class="ask" href="#page146">146</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page147">Rights Of Man</a></td> - <td class="left1">Paine</td> - <td class="left1">1791</td> - <td class="right"><a class="ask" href="#page147">147</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page150">The Life Of Samuel Johnson, LL.D.</a></td> - <td class="left1">Boswell</td> - <td class="left1">1791</td> - <td class="right"><a class="ask" href="#page150">150</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page153"> Lyrical Ballads</a></td> - <td class="left1">Wordsworth and Coleridge</td> - <td class="left1">1798</td> - <td class="right"><a class="ask" href="#page153">153</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page155">A History Of New York by Diedrich Knickerbocker</a></td> - <td class="left1">Irving</td> - <td class="left1">1809</td> - <td class="right"><a class="ask" href="#page155">155</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page157">Childe Harold's Pilgrimage</a></td> - <td class="left1">Byron</td> - <td class="left1">1812</td> - <td class="right"><a class="ask" href="#page157">157</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page161">Pride And Prejudice</a></td> - <td class="left1">Austen</td> - <td class="left1">1813</td> - <td class="right"><a class="ask" href="#page161">161</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page163">Christabel Kubla Khan, A Vision; The Pains Of Sleep</a></td> - <td class="left1">Coleridge</td> - <td class="left1">1816</td> - <td class="right"><a class="ask" href="#page163">163</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page165">Ivanhoe</a></td> - <td class="left1">Scott</td> - <td class="left1">1820</td> - <td class="right"><a class="ask" href="#page165">165</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page167">Lamia, Isabella, The Eve Of St. Agnes, <br />And Other Poems</a><span class="pagenum"><a name="pagexii" id="pagexii"></a>[pg xii]</span></td> - <td class="left1b">Keats</td> - <td class="left1b">1820</td> - <td class="rightb1"><a class="ask" href="#page167">167</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page169">Adonais</a></td> - <td class="left1">Shelley</td> - <td class="left1">1821</td> - <td class="right"><a class="ask" href="#page169">169</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page171">Elia</a></td> - <td class="left1">Lamb</td> - <td class="left1">1823</td> - <td class="right"><a class="ask" href="#page171">171</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page173">Memoirs</a></td> - <td class="left1">Pepys</td> - <td class="left1">1825</td> - <td class="right"><a class="ask" href="#page173">173</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page175">The Last Of The Mohicans</a></td> - <td class="left1">Cooper</td> - <td class="left1">1826</td> - <td class="right"><a class="ask" href="#page175">175</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page177">Pericles And Aspasia</a></td> - <td class="left1">Landor </td> - <td class="left1">1836</td> - <td class="right"><a class="ask" href="#page177">177</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page180">The Posthumous Papers Of The Pickwick Club</a></td> - <td class="left1">Dickens</td> - <td class="left1">1837</td> - <td class="right"><a class="ask" href="#page180">180</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page183">Sartor Resartus</a></td> - <td class="left1">Carlyle</td> - <td class="left1">1834</td> - <td class="right"><a class="ask" href="#page183">183</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page186">Nature</a></td> - <td class="left1">Emerson</td> - <td class="left1">1836</td> - <td class="right"><a class="ask" href="#page186">186</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page187">History Of The Conquest Of Peru</a></td> - <td class="left1">Prescott</td> - <td class="left1">1847</td> - <td class="right"><a class="ask" href="#page187">187</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page189">The Raven And Other Poems </a></td> - <td class="left1">Poe</td> - <td class="left1">1845</td> - <td class="right"><a class="ask" href="#page189">189</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page191">Jane Eyre</a></td> - <td class="left1">Bront</td> - <td class="left1">1847</td> - <td class="right"><a class="ask" href="#page191">191</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page192">Evangeline</a></td> - <td class="left1">Longfellow</td> - <td class="left1">1847</td> - <td class="right"><a class="ask" href="#page192">192</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page193">Sonnets</a></td> - <td class="left1">Mrs. Browning</td> - <td class="left1">1847</td> - <td class="right"><a class="ask" href="#page193">193</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page194">Melibœus-Hipponax</a></td> - <td class="left1">Lowell</td> - <td class="left1">1848</td> - <td class="right"><a class="ask" href="#page194">194</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page196">Vanity Fair</a></td> - <td class="left1">Thackeray</td> - <td class="left1">1848</td> - <td class="right"><a class="ask" href="#page196">196</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page199">The History Of England</a></td> - <td class="left1">Macaulay</td> - <td class="left1">1849</td> - <td class="right"><a class="ask" href="#page199">199</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page201">In Memoriam</a></td> - <td class="left1">Tennyson</td> - <td class="left1">1850</td> - <td class="right"><a class="ask" href="#page201">201</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page202">The Scarlet Letter</a></td> - <td class="left1">Hawthorne</td> - <td class="left1">1850</td> - <td class="right"><a class="ask" href="#page202">202</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page204">Uncle Tom's Cabin</a></td> - <td class="left1">Mrs. Stowe</td> - <td class="left1">1852</td> - <td class="right"><a class="ask" href="#page204">204</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page205">The Stones of Venice</a></td> - <td class="left1">Ruskin</td> - <td class="left1">1851</td> - <td class="right"><a class="ask" href="#page205">205</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page208">Men And Women</a></td> - <td class="left1">Browning</td> - <td class="left1">1855</td> - <td class="right"><a class="ask" href="#page208">208</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page209">The Rise Of The Dutch Republic</a></td> - <td class="left1">Motley</td> - <td class="left1">1856</td> - <td class="right"><a class="ask" href="#page209">209</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page211">Adam Bede</a></td> - <td class="left1">George Eliot</td> - <td class="left1">1859</td> - <td class="right"><a class="ask" href="#page211">211</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page213">On The Origin Of Species</a></td> - <td class="left1">Darwin</td> - <td class="left1">1859</td> - <td class="right"><a class="ask" href="#page213">213</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page216">Rubiyt of Omar Khayym</a></td> - <td class="left1">Fitzgerald</td> - <td class="left1">1859</td> - <td class="right"><a class="ask" href="#page216">216</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page217">Apologia Pro Vita Sua</a></td> - <td class="left1">Newman</td> - <td class="left1">1864</td> - <td class="right"><a class="ask" href="#page217">217</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page218">Essays In Criticism</a></td> - <td class="left1">Arnold</td> - <td class="left1">1865</td> - <td class="right"><a class="ask" href="#page218">218</a></td> -</tr> -<tr> - <td class="left"><a class="toc" href="#page219">Snow-Bound</a></td> - <td class="left1">Whittier</td> - <td class="left1">1866</td> - <td class="right"><a class="ask" href="#page219">219</a></td> -</tr> -</table> -<hr class="medium" /> - -<div class="chapter"> -<p><span class="pagenum"><a name="page1" id="page1"></a>[pg 1]</span></p> - -<h2>BIBLIOGRAPHICAL NOTES<br /><br class="b30" /> - -<span class="small">ON</span><br /><br class="b30" /> - -<span class="less2">ONE HUNDRED BOOKS</span><br /><br class="b30" /> - -<span class="small">FAMOUS IN</span><br /><br class="b30" /> - -<span class="less">ENGLISH LITERATURE</span></h2></div> - -<hr class="medium" /> - -<div class="chapter"> -<p><span class="pagenum"><a name="page2" id="page2"></a>[pg 2]</span></p><br /> -<p><span class="pagenum"><a name="page3" id="page3"></a>[pg 3]</span></p> - -<h2>GEOFFREY CHAUCER<br /><br class="b30" /> - -<span class="less2">(1340?-1400)</span></h2></div> - -<p class="head"><span class="outdent">1. [The Canterbury Tales</span>. Printed at Westminster by -William Caxton, about 1478.]</p> - -<p>The text begins with the first line of the book, and there is no -prefatory note or colophon, to give a clue to the name of the work, -its place of publication, its printer, or the date of its production. The -date and the name of the printer, however, are determined by the -type, which is a font used by Caxton in books printed at Westminster -between the years 1475 and 1481. This type, known as Type -No. 2, because it was the second employed by him (the first used for -printing books in England), is like the characters in manuscripts -written in Bruges in the fifteenth century, and called "Gros Btarde." -Colard Mansion, the earliest printer of Bruges, used a font of similar -style, and Caxton probably formed his type on the same models, if, -indeed, he did not procure it from Mansion himself, with whom he -learned the new art of printing. But we may also identify our printer -by means of his own statement made in the signed "Prohemye" to -the second edition of the work, printed in 1484 (?), where, in speaking -of the difficulty of obtaining a pure text, he makes an interesting -criticism of this, the first edition. He says:</p> - -<p>"For I fynde many of the sayd bookes, whyche wry- | ters haue -abrydgyd it and many thynges left out, And in | so<img src="images/003-mtilde-11.png" width="11" height="11" alt="m-tilde" />e place haue sette -certayn versys, that he neuer made ne sette | in hys booke, of whyche -bookes so incorrecte was one brought to me vj yere passyd, whyche I -supposed had ben veray true & cor- | recte, And accordyne to the -same I dyde do enprynte a certayn | nombre of them, whyche anon -were sold to many and dyuerse | gentyl men, of whome one gentylman -cam to me, and said that | this book was not accordyn in many places -vnto the book that | Gefferey chaucer had made, To whom I answerd -<span class="pagenum"><a name="page4" id="page4"></a>[pg 4]</span> -that I had ma-| de it accordyng to my copye, and by me was nothyng -added ne | mynusshyd."</p> - -<p>According to the arrangement of William Blades, this is the tenth -work of England's first printer, and the fifth printed on English soil. -It was printed after his return from Bruges, whither he had gone as a -mercer, and where he turned printer and editor. Few of the books -from his press exceed it in size and beauty. Nine copies are known; -two are in the British Museum, one in the Bodleian Library, Oxford, -one in Merton College, Oxford, and five in private libraries. Of all -these only two are in perfect condition.</p> - -<p>The volume has no signatures, folios or catchwords, and the lines -are unevenly spaced. The rubrication of the initial letters was done -by hand.</p> - -<p>In the matter of purity of text this edition is inferior to the second, -as Caxton himself thus early recognized; the manuscript from which -it was printed, Tyrwhitt tells us, "happened unluckily to be one of the -worst in all respects that [he] could possibly have met with." But -however that may be, the <i>Canterbury Tales</i> is entitled to a chief place -among English books as presenting the first printed text of Chaucer, -who, "by hys labour enbelysshyd, ornated, and made faire our -englisshe."</p> - -<p class="ind1">Folio. Black letter.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>371 leaves; sixteen of which are in facsimile.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page5" id="page5"></a>[pg 5]</span></p> - -<h2>JOHN GOWER<br /><br class="b30" /> - -<span class="less2">(1325?-1408)</span></h2></div> - -<p class="head"><span class="outdent">2. This book is intituled,</span> confeſ- | ſio amantis / that is to -saye | in englysshe the confeſſyon of | the louer maad -and compyled by | Johan Gower squyer borne in -walys | ... (Colophon) Enprynted at Westmestre -by me | Willyam Caxton and fynyſſhed the ij | day -of Septembre the fyrſt yere of the | regne of Kyng -Richard the thyrd / the yere of our lord a thouſand / -CCCC / | lxxxxiij / (a mistake for 1483).</p> - -<p>The text is a composite one, being taken from at least three MSS. -Manuscripts are extant in three versions: the earliest is dedicated to -Richard II, and contains a panegyric on Chaucer; the second is -dedicated to Henry of Lancaster, but the poets having quarreled, the -panegyric is omitted; and the third is likewise addressed to Henry, -but with certain differences in the work. With the exception of these -variations, the text is alike in all.</p> - -<p>The type of the printed work exhibits two variations of the same -characters, and is called Type No. 4, and No. 4*. It is the smallest -font employed by Caxton in any of his books, and the most used, -thirty-one volumes having been printed between 1480 and 1487 in -one or the other or in both variations.</p> - -<p>The printer does not, as in the following work, write a special -prologue or preface to the <i>Confessio</i>, but states all the facts he knows -concerning it in the introductory paragraph, or title, at the beginning -of the first column. The book has no catchwords or folios, and -the signatures are irregularly printed. Seventeen copies were known to -Blades: three in the British Museum; Cambridge, Pembroke College, -Cambridge, Hereford Cathedral, Lambeth Palace Library, Queen's -<span class="pagenum"><a name="page6" id="page6"></a>[pg 6]</span> -College, and All Souls, Oxford, each having one; while eight were -in private libraries.</p> - -<p>The copy whose title-page is here shown in facsimile is one of five -copies that are perfect. We first hear of it in the library of Brian -Fairfax, a Commissioner of Customs in the 18th century, who bequeathed -it to his kinsman, Hon. Robert Fairfax, afterward seventh -Lord Fairfax. Lord Fairfax intended to sell the collection at auction, -but eventually sold it entire, in 1756, to his relative, Francis Child of -Osterley Park, for two thousand pounds. In 1819 the Osterley Park -library passed into the family of the Earl of Jersey, and, when finally -dispersed, in 1885, brought thirteen thousand and seven pounds, nine -shillings.</p> - -<p>At the time of the intended auction, in 1756, a catalogue was -printed, but afterward all but twenty copies of the edition were suppressed. -One of these is marked with the valuation of each book, -and shows the <i>Confessio</i> to have been held at three pounds. Eight -hundred and ten pounds was the price it brought at the sale in 1885.</p> - -<p class="ind1">Folio. Black letter. 12⅝ × 18<small><sup>15</sup></small>⁄<small>16</small> inches</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>222 leaves; four of which are blank</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page7" id="page7"></a>[pg 7]</span></p> - -<h2>SIR THOMAS MALORY<br /><br class="b30" /> - -<span class="less2">(1430?-1470?)</span></h2></div> - -<p class="head"><span class="outdent">3. (Colophon) <img src="images/i_p012-15.png" width="15" height="16" alt="pilcrow" style="margin-bottom: -0.1em;" /> Thus endeth</span> thys noble and Joyous -book entytled le morte | Darthur / Notwythſtondyng -it treateth of the byrth / lyf / and | actes of the ſayd -kyng Arthur / of his noble knyghtes of the | rounde -table / ... whiche book was re | duced in to englyſſhe -by ſyr Thomas Malory knyght as afore | is ſayd / and -by my deuyded in to xxj bookes chapytred and | enprynted -/ and fynyſſhed in thabbey westmestre the last -day | of Juyl the yere of our lord / M / CCCC / lxxxv / - <img src="images/i_p012-15.png" width="15" height="16" alt="pilcrow" style="margin-bottom: -0.1em;" /> Caxton me fieri fecit.</p> - -<p>The book begins with a prologue by Caxton wherein he tells how he -came to print it, presents his reason for the belief that Arthur was an -historical personage, and relates some facts with regard to the sources -of the romance. He says:</p> - -<p>"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 -I haue not do made & enprynte the noble hystorye of the saynt greal, -and of the moost renomed crysten Kyng,... kyng Arthur....</p> - -<p>Thēne al these thynges forsayd aledged J coude not wel denye, -but that there was suche a noble kyng named arthur, and reputed one -of the ix worthy, & fyrst & chyef of the crysten men, & many noble -volumes be made of hym & of his noble knyztes in frensshe which I -haue seen & redde beyonde the see, which been not had in our maternal -<span class="pagenum"><a name="page8" id="page8"></a>[pg 8]</span> -tongue, but in walsshe ben many & also in frensshe, & Somme -in englysshe but nowher nygh alle, wherfore such as haue late ben -drawen oute bryefly in to englysshe, I haue after the symple connynge -that god hath sente me, vnder the fauour and correctyon of al noble -lordes and gentylmen enprysed to enprynte a book of the noble hystoryes -of the sayd kynge Arthur, and of certeyn of his knyghtes after -a copye vnto me delyuerd, whyche copys Syr Thomas Malorye dyd -take oute of certayn bookes of frensshe and reduced it in to Englysshe, -And I accordyng to my copye haue doon sette it in emprynte...."</p> - -<p>The volume is printed without folios, head-lines, or catchwords, in -the type known as No. 4, already referred to under the <i>Confessio</i>. -The initial letters are printed from wood.</p> - -<p>Only two copies are known; one perfect, from which the facsimile -of the title-page was taken, the other an imperfect one, which belonged -to Earl Spencer's collection. The British Museum possesses -only a fragment. Our copy, like that of the <i>Confessio</i>, was one of -the nine Caxtons belonging to the Fairfax library. In the list of 1756, -it was valued at two pounds, twelve shillings and sixpence; in 1885 -it sold for one thousand nine hundred and fifty pounds.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>432 leaves, one of which is blank</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page9" id="page9"></a>[pg 9]</span></p> - -<h2>THE BOOK OF COMMON PRAYER</h2></div> - -<p class="head"><span class="outdent">4. The | booke of</span> the common praier | and adminiſtracion -of the | Sacramentes, and | other rites and | ceremonies | -of the | Churche: after the | uſe of the Churche -of | Englande. | Londini, in officina Richardi Graftoni, | -[Two lines] Anno Domini. M.D.XLIX | Menſe Martij. -[Colophon] Excuſum Londini, in edibus Richardi -Graftoni | Regij Impreſſoris. | Menſe Junij M.D.xlix. | -Cum priuilegio ad imprimendum ſolum.</p> - -<p>We know very little about the preparation of the book. An Act, -dated January 22, 1549, entitled "An Act for uniformity of Service -and Administration of the Sacraments throughout the Realm" speaks -of the commissioners who had been appointed, and had first met at -Windsor in May, 1548, as follows: "Whereof His Highness by the -most prudent advice ... to the intent a uniform, quiet, and godly -order should be had concerning the premisses, hath appointed the Archbishop -of Canterbury, and certain of the most learned and discreet -Bishops, and other learned men of this realm to consider and ponder -the premisses." The same Act goes on to say "the which at this -time by the aid of the Holy Ghost, with one uniform agreement is -of them concluded, set forth and delivered to his highness, to his great -comfort and quietness of mind, in a book entituled,—</p> - -<p>"<i>The Book of Common Prayer, and Administration of the Sacraments, -and other rites and Ceremonies of the Church, after the Use of -the Church of England.</i>"</p> - -<p>Richard Grafton, the printer of our copy, was originally a prosperous -London merchant. His zeal for religion led him to associate himself -with Edward Whitchurch, another merchant, in causing Matthews's -Bible to be translated and printed in 1537, in publishing the Coverdale -Bible of 1535, and again in printing the Cranmer Bible of 1540. -He turned printer eventually, and his books are counted among the -best specimens of the book-making of the period. He and his friend, -who also became a typographer, received a patent from Henry VIII -<span class="pagenum"><a name="page10" id="page10"></a>[pg 10]</span> -in 1543 for printing "bookes of diuine service, that is to say, the -masse booke, the graill, the antyphoner, the himptnell, the portous, -and the prymer, both in Latyn and in Englyshe of Sarum use," all of -which had formerly been printed abroad. In 1546, Grafton was appointed -printer to Prince Edward, afterward Edward VI, and in 1547 -printer to the King. When the <i>Prayer Book</i> came to be put to press -there was therefore no question of who should be chosen to do the -work.</p> - -<p>Ames says that Grafton and Whitchurch continued friends and -partners for many years, but it is a fact, as Dibdin points out, that -while up to 1541 their names appear together upon title-pages, after -that date there are usually two issues of each work, part having -Grafton's name in the imprint, and part Whitchurch's. This is true -of the Cranmer Bible, and the same thing is found in connection with -the<i> Prayer Book</i>. It is not known whether the separation is due to -some economic arrangement agreeable to both printers, or whether -they may have quarreled. To the names of these two printers of the -first edition, however, should be added another, that of John Oswen -of Worcester, formerly of Ipswich, who by virtue of a license from -Edward VI was printer of "every kind of book, or books, set forth by -us, concerning the service to be used in churches, ministration of the -sacraments, and instruction of our subjects of the Principality of -Wales, and marches thereunto belonging ... for seven years, prohibiting -all other persons whatsoever from printing the same."</p> - -<p>All issues of this edition differ more or less in general style and appearance. -The most marked dissimilarity in the volumes issued by the -London printers lies in the special woodcut title-page used by each. -Grafton's beautiful border (repeated for "A Table" and "Kalendar") -shows, above a Doric frieze supported by pilasters, a view of the -Council Chamber with King Edward, surrounded by his advisers, and -at the bottom the printer's punning mark, on a shield upheld by two -angels. It is as fine a piece of work as anything of the period. Grafton -afterward used the same border for his edition of <i>A Concordance -of the Bible</i>, printed in 1550. The Whitchurch copies have a woodcut -border very similar in character to those in use twenty years later, -which have the appearance of being related to some of the borders -drawn for Plantin. This border consists of caryatids representing -Roman soldiers with shields, supporting the royal coat-of-arms, and -below, satyrs and loves with another coat-of-arms in a cartouche, and -the initial <i>E</i> in a tablet on one side, and <i>W</i> on the other.</p> - -<p><span class="pagenum"><a name="page11" id="page11"></a>[pg 11]</span></p> - -<p>The earliest known copy printed by Oswen, a quarto, has a colophon -which reads: <img src="images/i_p012-12.png" width="12" height="12" alt="pilcrow" style="margin-bottom: -0.1em;" /> -<i>At Worceter by</i> <img src="images/i_p012-12.png" width="12" height="12" alt="pilcrow" style="margin-bottom: -0.1em;" /> | -<i>Jhon Oſwen</i>. <img src="images/i_p012-12.png" width="12" height="12" alt="pilcrow" style="margin-bottom: -0.1em;" /> <i>They be also -to ſell at Shreweſburye.</i> | (<i>Imprinted the xxiiii. day of May.</i> | <i>Anno. -M.D.XLIV.</i> The title is framed by a border made up of five woodcut -panels, carelessly arranged; and some of the initial letters are -ornamented.</p> - -<p>Another copy, dated July 30, is in folio. The title-page is here -bordered with ten woodcuts, having between the inner and outer sets -the rubricated text: "Let euerye soule submyt hym ſelfe unto the aucthorite -of the higher powers. For there is no power but of God. The -powers that be, are ordained of God whoſoeuer therefore reſiſteth -power: reſiſteth the ordinance of God. Rom. XIVI." A royal coat-of-arms, -which in the quarto was placed before the order of Matins, -here heads the title, printed in red. Every other line following is also -rubricated. In Grafton's copy the "Te Deum Laudamus," "The -Song of Zacharias," and "The Letany," occur at the end of the book -but are not in the table of Contents.</p> - -<p>The statement made in the Act that the work had been concluded, -set forth, and delivered, must apply, it is thought, to the manuscript, -since no printed copy is known dated earlier than March. A copy -printed by Whitchurch has the date March 7, 1549, and another by -Grafton is dated the eighth; other copies are dated in May, June and -July. The book was used in the London churches on Easter Day, -April 21, 1549, and was ordered, as we have seen, to be used in all -churches after the Feast of Pentecost, which fell upon June 9 in 1549.</p> - -<p>From the requirements of its use, we may infer that the edition must -have been a large one. We are sure of the price of the volume from -the following note, added at the end of the book: "The Kynges -Maieſtie, by the aduyſe of his moſte deare vncle the Lorde Protector -and other his highnes Counſell, ſtreightly chargeth and commaundeth, -that no maner of perſon do ſell this preſent booke vnbounde, -aboue the price of .ii. Shyllynges the piece. And the ſame -bounde in paſte or in boordes, not aboue the price of three ſhylleynges -and foure pence the piece. God ſaue the Kyng." The price differs -in different volumes. A copy of Oswen's May 24th issue sets the -price at two shillings and twopence for unbound copies, and three -shillings eightpence for bound copies.</p> - -<p class="ind1">Folio. Black letter and Roman.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>183 leaves, including title-page. Sig. A-Y, AA-f.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page12" id="page12"></a>[pg 12]</span></p> - -<h2>WILLIAM LANGLAND<br /><br class="b30" /> - -<span class="less2">(1330?-1400?)</span></h2></div> - -<p class="head"><span class="outdent">5. The Vision | of Pierce Plowman,</span> now | fyrſte imprynted -by Roberte | Crowley, dwellyngin Ely | rentes in Holburne. -| Anno Domini | 1505. Cum priuilegio ad im | -primendũ ſolum. [Colophon] <img src="images/i_p012-15.png" width="15" height="16" alt="pilcrow" style="margin-bottom: -0.1em;" /> Imprinted at London -by Roberte | Crowley, dwellyng in Elye rentes | in -Holburne. The year of | Our Lord M.D.L.</p> - -<p>Before appearing with this work as a publisher, Robert Crowley was -by no means unknown to the reading world as a writer; nor was it -probably a mere printer's venture that led him to select such a work -as this for publication, but sympathy with the tendency of the book -itself. He had been educated at Oxford, and received early the strong -bent toward the doctrines of the Reformation which prompted the -writing of his first three books, whose titles indicate something of his -leaning in the religious controversies of the day: <i>The Confutation of -the miſhapen Aunſwer to the miſnamed, wicked Ballade, called the -Abuſe of y<sup>e</sup> bleſſed ſacramēt of the aultare ... that Myles Hoggard ... -hath wreſted.... Compiled by Robert Crowley. Anno.</i> 1548; <i>The confutation -of .xiii Articles, wherunto Nicolas Shaxton ... ſubſcribed and -... recanted ... at the burning of ... Anne Aſkue</i>, in [1548] and -<i>An informacion and Peticion agaynſt the oppreſſours of the Pore Commons -of this Realme</i>, in [1548]. We may picture to ourselves with -what relish so controversial and partisan a soul must have prepared -for the press, and then watched through it, what Ellis calls "the -keenest ridicule of the vices of all orders of men, and particularly of -the religious."</p> - -<p>Crowley's career as a printer was only an incident in a life devoted -to championing the new doctrines of Protestantism. The three -books mentioned were printed by Day and Sere; and Herbert thinks -<span class="pagenum"><a name="page13" id="page13"></a>[pg 13]</span> -that it may have been in their office that our printer-writer learned -the trade which he followed for three years only. Considering the -fact that his press was situated in Ely Rents, where William Sere -also dated his books in 1548, and thereabouts, this seems very -probable. But from Crowley's use of the excellently designed and -really charming woodcut border with Edward Whitechurch's cipher at -the bottom and his symbol of the sun at the top, we may almost infer -that he was on equally familiar relations with that printer, established -at The Sun, over against the Conduit. We may add that William -Copeland of The Rose Garland also used, at a later date, a similar -compartment in several of his books.</p> - -<p>One might expect Crowley, serious and scholarly in his tastes, -to be a careful editor; and his researches to find his author's name, -as revealed in "The Printer to the Reader," prove that he was such -an one, even if, for some reason or other, he did not choose to place -the name upon the title-page. He says:</p> - -<p>"Beynge deſyerous to knowe the name of the Autoure of this moſt -worthy worke, (gentle reader) and the tyme of the writynge of the -ſame: I did not onely gather togyther ſuche aunciente copies as I -could come by, but alſo conſult ſuch mē as I knew to be more -exerciſed in the ſtudie of antiquities, than I myselfe haue ben. And -by ſome of them I haue learned that the Autour was named -Roberte langelande, a Shropshere man borne in Cleybirie, aboute -.viii. myles from Maluerne hilles.... So that this I may be bold to -reporte, that it was fyrſte made and wrytten after the yeare of our -lord .M.iii.C.L. and before the yere ,M,iiiiC, and .ix which meane -ſpaſe was .lix yeares. We may iuſtly cōiect therfore, y<sup>t</sup> it was firſte -written about two hundred yeres paſte, in the tyme of Kynge Edwarde -the thyrde...."</p> - -<p>The year after <i>The Vision</i> was published our printer was ordained -a deacon, and, later, made vicar of St. Giles, Cripplegate, where he -preached and wrote until his death. He published no less than -twenty-two volumes, eight of which he printed himself, thus taking -his place, along with Caxton, at the head of the list of printer-authors -which includes such names as Wolfe, Baldwin, Richardson -and Morris.</p> - -<p>Dibdin calls the vellum copy of <i>The Vision</i> which belonged to Earl -Spencer unique, but the copy here collated would deprive it of that -distinction, even if there were not another in the British Museum.</p> -<p><span class="pagenum"><a name="page14" id="page14"></a>[pg 14]</span></p> - -<p>A comparison of several copies of the book reveals the fact that -in most of them the date on the title-page has been written in to -correct the printer's error.</p> - -<p>There were three other impressions issued during 1550, two of them -said to be "nowe the ſeconde tyme imprinted," and the third with -the printer's name spelled "Crowlye" on the title-page. Rev. W. W. -Skeat in his edition of <i>The Vision</i> says:</p> - -<p>"But all three impressions are much alike. The chief differences are, -that the two later impressions have many more marginal notes, a few -additional lines, and also 6 additional leaves between the printer's -preface and the poem itself, containing a brief argument or abstract of -the prologue and of each of the Passus. The first impression is the -most correct; also the third impression is much less correct than -the second, and considerably inferior to it." -</p> - -<p class="ind1">Quarto. Black letter.</p> - -<p class="ind1"><span class="sc">Collation</span>: <img src="images/i_p018-5star-15.png" width="15" height="14" alt="5-pointed star" />, -<i>two leaves; A-GgI</i>, in fours. Folioed.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page15" id="page15"></a>[pg 15]</span></p> - -<h2>RAPHAEL HOLINSHED or HOLLINGSHEAD<br /><br class="b30" /> - -<span class="less2">(d. 1580?)</span></h2></div> - -<p class="head"><span class="outdent">6. 1577. | The Firſte volume</span> of the | Chronicles of England -Scot | lande, and Irelande. | Conteyning, | The deſcription -and Chronicles of England, from the | Firſte inhabiting -vnto the conqueſt | [Six lines] Faithfully gathered -and ſet forth, by | Raphaell Holinſhed. | At London, | -Imprinted for George Biſhop. | God ſaue the Queene.</p> - -<p class="head">1577 | The | Laſte volume of the | Chronicles of England, -Scot- | lande, and Irelande, with | their deſcriptions. -| Conteyning, | The Chronicles of Englande from -William Con- | querour vntill this preſent tyme. | Faithfully -gathered and compiled | by Raphaell Holinſhed. -| At London, | Imprinted for George | Biſhop. | [Printer's -mark] God ſaue the Queene.</p> - -<p>The first edition is known as the Shakespeare edition, because it was -used by the great poet, in common with all the Elizabethan dramatists, -in the preparation of his historical plays.</p> - -<p>That Holinshed used the adjective <i>faithfully</i> in its true sense may -be seen by a reference to the dedication of the book to Sir William -Cecil, Baron of Burleigh, whose coat-of-arms appears on the back of -the title-page. Here he gives an interesting account of the inception -and fortunes of the work, with an incidental side-light upon the relations -of printer and professional writer:</p> - -<p>"Where as therefore, that worthie Citizen Reginald Wolfe late -Printer to the Queenes Maiestie, a man well knowen and beholden to -your Honour, meant in his life time to publiſh an vniuerſall Coſmographie -<span class="pagenum"><a name="page16" id="page16"></a>[pg 16]</span> -of the whole worlde, and therewith alſo certaine perticular Histories -of euery knowen nation, amongſt other whome he purpoſed to vſe -for performance of his entent in that behalfe, he procured me to take in -hande the collection of thoſe Histories, and hauing proceeded ſo far in -the ſame, as little wanted to the accompliſhment of that long promiſed -worke, it pleased God to call him to his mercie, after .xxv yeares -trauell ſpent therein, so that by his vntimely deceaſſe, no hope remayned -to ſee that performed, which we had so long trauayled aboute: thoſe -yet whom he left in trust to diſpoſe his things after his departure hence, -wiſhing to the benefite of others, that ſome fruite might follow of that -whereabout he had imployed ſo long time, willed me to continue mine -endeuour for their furtherance in the ſame, whiche although I was -ready to do, ſo farre as mine abilitie would reach, and the rather to -anſwere that trust which the deceaſſed repoſed in me, to ſee it brought -to ſome perfection: yet when the volume grewe ſo great, as they that -were to defray the charges for the Impreſsion, were not willing to go -through with the whole, they reſolued first to publiſhe the Histories of -Englande, Scotlande, and Irelande, with their deſcriptions, whiche -deſriptions, becauſe they were not in ſuch readineſſe, as thoſe of -forreyn countreys, they were enforced to uſe the helpe of other better -able to do it than I."</p> - -<p>Reginald Wolfe, so well known and highly esteemed, was a German -by birth, and trained in his craft in the office of the Strasburg master -Conrad Neobarius, whose device of <i>The Brazen Serpent</i> he afterward -adopted. Edward VI appointed Wolfe royal printer in Latin, -Greek, and Hebrew, as well as bookseller and stationer, with an -annuity of 26s. 8d.</p> - -<p>We find the names of his executors and the chief promoters of the -history in the entry on the Registers of the Stationers' Company, -under date of July 1, 1578: "Receyued of master harrison and master -Bisshop for the licensinge of Raphaels Hollingshedes cronycles -XX<sup>s</sup> and a copy," which, by the way, Mr. Arber remarks to be the -largest fee he had met with. Some copies bear the imprint of one, -some of the other; and there are still others with the names of John -Harrison (there were four publishers of this name), Lucas Harrison -and John Hunne, who were also probably among them "that were to -defray the charges for the impression."</p> - -<p>No printer's name appears in either volume, but the figure of a -mermaid upon the title-pages, and a larger mark of two hands holding -<span class="pagenum"><a name="page17" id="page17"></a>[pg 17]</span> -a serpent upon a crutch at the end of the first volume, show it -to have been from the press of Reginald Wolfe's apprentice and successor, -Henry Bynneman of The Mermaid, in Knight Rider Street. -Boy and man knowing his master's hopes and fears for his <i>Universal -Cosmographie</i>, acquainted with the long travail put upon it, and so -properly desirous, like the rest, to see some fruit born of it, who could -have done the work so well and faithfully as he?</p> - -<p>In the preface to the second volume we are told that it was intended -to bring out the histories of England, Scotland, and Ireland, -with their descriptions, in one volume, and the descriptions and -abridgements of the histories of other countries in another; but that -the chronicles of England growing very voluminous it was deemed -best to defer printing the histories of the other countries, and to -divide the material on hand into two volumes. Here, however, a -new difficulty presented itself; the history of England after the Conquest -was found to equal in length all the other matter, and, if -allowed to follow after the early history of the Island, in its proper -order, would make the volumes very unequal in size; so it was given -a volume by itself, with the pagination continuing that of the English -history in the first volume. The other histories have separate title-pages, -paginations, and indexes.</p> - -<p>The book is illustrated with woodcuts in two distinct varieties, one, -representing the heads of kings, the other, spirited scenes in the history. -The last are of a better character than most of those of the period, and -show very clearly the influence that Holbein, who had died in London -twenty-four years before, had exerted upon English book-illustration. -Some of the cuts are repeated. The elaborate woodcut border in the -contemporary German style was used by the printer in several other -books, before and after this date. A large, well-designed initial C, -with a coat-of-arms in the center, printed from a separate block -("mortised"), begins the dedication to Lord Burleigh; and a large I, -with a picture of the Creation, probably designed for the first page of -a Bible, begins the preface, and <i>The History of Scotland</i>. This last is -the largest initial letter, Mr. Pollard says, that he has found in an English -book. It had previously been used by Wolfe, in 1563. An initial -letter, representing an astronomer (Ptolemy?), is prefixed to <i>The History -of Ireland</i>. It is signed with a C having a small I within it. -Other initials of a similar character had been used before by John -Day, in Cunningham's <i>Cosmographical Years</i>, published in 1559. -<span class="pagenum"><a name="page18" id="page18"></a>[pg 18]</span> -A royal coat-of-arms begins the Chronicle of the reign of Queen Elizabeth; -and in the second volume, at page 1868, is a folded woodcut -of the "ſiege and wynning of Edinburg Caſtell. Anno. 1573." It -is signed <span class="boxed">C T</span> <i>Tyrell</i>.</p> - -<p class="ind1">Folio. Two volumes. Black letter and Roman. Double columns. Woodcuts.</p> - -<p class="ind1"><span class="sc">Collation</span>: , <i>six leaves;</i> <img src="images/i_p018-5star-15.png" width="15" height="14" alt="5-pointed star" />, -<i>two leaves; A-P, in eights; Q, six leaves; -r, one leaf; a-s, in eights; t, one leaf; A and (*b*), two leaves each; -*a* and *b*, six leaves each; A-Z and Aa-Ii, in eights; Kk, four -leaves; Ll and Mm, six leaves each; one leaf; <img src="images/i_p018-grapes-25.png" width="25" height="17" alt="small floral graphic" />, two leaves; A-C, -in eights; D, four leaves; and A (repeated)-D, in eights; E, five -leaves; F and G, eight leaves each; H, six leaves; I, two leaves</i>.</p> - -<p class="ind1">Volume II: , <i>two leaves; t, seven leaves; u-z, A-Z, Aa-Zz, Aaa-Zzz, -and Aaaa-Dddd, in eights; Eeee, nine leaves; Ffff-Yyyy, in -eights; Zzzz, two leaves; A-M, in fours; N, two leaves; ( ), two -leaves</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page19" id="page19"></a>[pg 19]</span></p> - -<h2>WILLIAM BALDWIN<br /><br class="b30" /> - -<span class="less2">(fl. 1547),</span><br /><br class="b30" /> - -THOMAS SACKVILLE,<br /><br class="b30" /> - -<span class="less2">FIRST EARL OF DORSET</span><br /><br class="b30" /> - -<span class="less2">(1536-1608), AND OTHERS</span></h2></div> - -<p class="head"><span class="outdent">7. A Myrrour For | Magiſtrates. </span>| Wherein maye be -ſeen by | example of other, with howe gre- | uous -plages vices are puniſhed ... [Five lines, Quotation] -Anno 1563. | Imprinted at London in Fleteſtrete | nere -to Saynct Dunſtans Churche | by Thomas Marſhe.</p> - -<p>The Epistle "To the nobilitye and all other in office" is signed by -William Baldwin, who was at one time a corrector of the press to -Edward Whitechurch, and later something of a printer himself. He -printed with his own hands, using Whitechurch's types and the Garland -border, his work entitled <img src="images/i_p012-12.png" width="12" height="12" alt="pilcrow" style="margin-bottom: -0.1em;" /> -<i>The Canticles or Balades of Salomon -phraſelyke declared in Englyſh Metres. Imprinted at London by William -Baldwin, ſeruant with Edwarde Whitechurche.</i> It was he who edited -and saw this work through the press. He says of it:</p> - -<p>"The wurke was begun and parte of it prynted in Queene Maries -tyme, but hyndered by the Lorde Chauncellour that then was, nevertheles, -through the meanes of my lord Stafford, the fyrst parte was -licenced, and imprynted the fyrſt yeare of the raygne of this our moſt -noble and vertuous Queene, and dedicate then to your honours with -this Preface. Since whych time, although I have bene called to an -other trade of lyfe, yet my good Lorde Stafforde hath not ceaſſed to -call upon me, to publyſhe ſo much as I had gottẽ at other mens hands, -ſo that through his Lordſhyppes earneſt meanes, I have nowe alſo ſet -<span class="pagenum"><a name="page20" id="page20"></a>[pg 20]</span> -furth an other parte, conteynyng as little of myne owne, as the fyrst -part doth of other mens," and he expressed the hope that if these -prove acceptable, encouragement may be given to "wurthy wittes to -enterpryſe and performe the reſt."</p> - -<p>After the abortive attempt of Wayland to print the book, under -the title <i>A memorial of suche Princes, as since the tyme of King Richarde -the seconde, haue beene unfortunate in the Realme of England. In -dibus Johannis Waylandi: Londini</i> [1555?], the first part referred to -was printed by Marshe in 1559. It contained nineteen legends -(although twenty are mentioned in the table of contents), fourteen of -which were by Baldwin, and the others by Ferrers, Churchyard, Phaer, -and Skelton. Of these helpers, Baldwin says in the Epistle: "Whan I -firſt tooke it in hand, I had the helpe of many graunted, & offred of -ſum, but of few perfourmed, skarſe of any: So that wher I entended -to haue contriued it to Quene Maries time, I haue ben faine to end it -much ſooner: yet ſo, that it may ſtande for a patarne, till the reſt be -ready: which with Gods Grace—(if I may haue anye helpe) ſhall be -ſhortly."</p> - -<p>The idea of the work is usually said to have originated with Sackville, -who, following Lydgate's <i>Fall of Princes</i>, planned it as a review -of the illustrious and unfortunate characters in English history from -the Conquest to the end of the fourteenth century. He is supposed -to have turned the work over to Baldwin and the others, after writing -an "Induction," and one legend, the life of Henry Stafford, Duke -of Buckingham; but no good reason is given for the omission of these -poems from the volume when it came to be printed in 1559. Baldwin's -reason, already quoted, seems likely enough, and Lord Stafford's -urgent entreaty, referred to, no doubt had the effect of causing both -poems to be added to the edition issued now, where they appear -as <i>The Seconde Parte</i> of the volume of 1559. The title-pages of the -two editions are alike, except for the date and the imprint; this -in the earlier edition reads: <i>Londini, In dibus Thom Marſhe</i>. No -reference is made to the additional part except in the Epistle. The -new part has a separate index.</p> - -<p>This new part contains only one poem by Baldwin; the others, -besides Sackville's two, are by Dolman, Francis Segar, Churchyard, -Ferrers, and Cavyl, eight in all. Besides the poems, there is "A -proſe to the Reader, continued betwene the tragedies from the beginning -of the booke to the ende," just as in the first part.</p> -<p><span class="pagenum"><a name="page21" id="page21"></a>[pg 21]</span></p> - -<p>To the Earl of Dorset's legend "The complaynt of Henrye duke of -Buckingham," is prefixed "The Induction," of which Baldwin speaks -in the prose following <i>Howe the Lord Hastynges was betrayed</i>, as -follows: "but fyrſt you shal heare his preface or Induction. Hath -he made a preface (<img src="images/i_p021-17.png" width="17" height="12" alt="monogram" /> one) what meaneth he thereby, ſeeing none -hath uſed the like order. I wyl tell you the cauſe thereof -(<img src="images/i_p021-17.png" width="17" height="12" alt="monogram" /> I) which is thys: After that he underſtoode that some of the counſayle -would not ſuffer the booke to be printed in ſuche order as we had -agreed and determined, he propoſed with himſelfe to have gotten at my -handes, al the tragedies that were before the duke of Buckinghams, -Which he would have preſerued in one volume. And from that time -backeward even to the time of William the conquerour, he determined -to continue and perfect all the ſtory himſelfe, in ſuch order as Lydgate -(folowing Bocchas) had already uſed. And therefore to make a meete -induction into the matter, he deuiſed this poeſye:"</p> - -<p>The woodcut border of four pieces with heads of Venus and Mars -at the top had been used by John Byddell in Taverner's translation of -the <i>Bible</i> in 1539, by James Nicholson of Southwark, in Coverdale's -<i>New Testament</i> of 1538, and by Marsh for the edition of the <i>Mirror</i> -in 1559. There are a few ornamental initial letters at the beginning -of the book, notably one at the beginning of the Epistle, a large P, -with figures of children. This belongs to a series of a children's -alphabet attributed to Drer, and first used by Cervicornus, a printer -of Cologne.</p> - -<p class="ind1">Quarto. The second edition. Black letter.</p> - -<p class="ind1"><span class="sc">Collation</span>: <img src="images/i_p012-12.png" width="12" height="12" alt="pilcrow" style="margin-bottom: -0.1em;" /> - <i>and A, four leaves each; B-N, in eights; O-U, in - fours; X-Z and Aa-Bb, in eights; Cc, four leaves</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page22" id="page22"></a>[pg 22]</span></p> - -<h2>HENRY HOWARD,<br /><br class="b30" /> - -<span class="less2">EARL OF SURREY</span><br /><br class="b30" /> - -<span class="less2">(1517?-1547), AND OTHERS</span></h2></div> - -<p class="head"><span class="outdent">8. Songes And Sonettes </span>| written by the right honorable -| Lord Henry Haward late | Earle of Surrey, and | -others. | Apud Richardum Tottell. | 1567. | Cum priuilegio. -(Colophon) Imprinted At Lon- | Don In -Fletestrete within Temple barre at the | ſigne of the -hand and ſtarre, by | Richard Tottell, | Anno. 1567. | -Cum priuilegio.</p> - -<p>Richard Tottel was licensed to print law-books, and his publications -of that nature exhibit his best work; but this book, though not attractive -in appearance, was his most popular venture. It was called -"Tottel's miscellany," and it is fitting that his name should always be -connected with it as a testimony to his energy and intelligence in -producing a work so greatly to the "honor of the English tongue." -We learn something of his energy in his desire to establish a paper-mill -in England to compete with the French paper, then in general -use; and his intelligence is evinced in the following extract from his -address "To the reader":</p> - -<p>"That to haue wel written in verſe, yea and in ſmal parcelles, -deſerueth greate praiſe, the woorkes of diuers Latins, Italians, and -other, do proue ſufficiently, that our tong is able in that kinde to do as -praiſe woorthelye as the reſte, the honorable ſtile of the Earle of -Surreye, and the weightineſſe of the deepe wytted Syr Thomas Wyat -the elders verſe, withe ſeueral graces in ſundrie good English writers, -doe ſhewe abundantlye. It reſteth now (gentle Reader) that thou -thinke it not euill done to publiſh to the honour of the Engliſhe tongue -and for profit of the ſtudious of English eloquence, thoſe woorkes -<span class="pagenum"><a name="page23" id="page23"></a>[pg 23]</span> -which the ungentle horders up of ſuche treaſure haue hertofore enuied -thee."</p> - -<p>His confidence in the gentle reader was not misplaced, and he had -the satisfaction of issuing six editions between 1557 and 1574. The -first was printed at The Hand and Star, June 5, 1557, and is represented -by one copy which is in the Bodleian Library; the British -Museum and the Library of Trinity College, Cambridge, each owns a -copy of a second edition, dated July 31, 1557; one copy exists of -a third edition dated 1559; and there is a fourth edition dated 1565. -The present edition agrees in its contents with the second, and is -said to be the most correct of all.</p> - -<p>This volume contains two hundred and eighty sonnets, of which the -first forty-one (including one by an unknown author) are by Lord -Howard. "S. T. VVyate the elder" is signed to the next group of -ninety-six; and a collection of one hundred and thirty-three by "Vncertain -auctours," follows. The collection ends with ten "Songs -written by N. G." (Nicholas Grimald). Grimald had contributed -forty to the first edition, which were cut down to the present number -for the second edition.</p> - -<p class="ind1">Octavo. The fifth edition. Roman.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-P, in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page24" id="page24"></a>[pg 24]</span></p> - -<h2>THOMAS NORTON<br /><br class="b30" /> - -<span class="less2">(1532-1584)</span><br /><br class="b30" /> - -<span class="small">AND</span><br /><br class="b30" /> - -THOMAS SACKVILLE,<br /><br class="b30" /> - -<span class="less2">FIRST EARL OF DORSET</span><br /><br class="b30" /> - -<span class="less2">(1536-1608)</span></h2></div> - -<p class="head"><span class="outdent">9. The Tragidie of Ferrex </span>| and Porrex, | ſet forth -without addition or alte- | ration 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.</p> - -<p>This play, drawn from Geoffrey of Monmouth's <i>History of Britain</i>, -and telling the story of King Gorboduc's efforts to divide his realm -between his sons Ferrex and Porrex, was the first tragedy written in -English. Before this authorized edition, one unauthorized by the -writers, though regularly licensed by the Government, had appeared -in an octavo volume of thirty-six leaves, printed in black letter, with a -title-page which reads as follows:</p> - -<p><i>The</i> | <i>tragedie of Gorboduc</i>, | <i>where of three Actes were wrytten by</i> | -<i>Thomas Nortone, and the two laste by</i> | <i>Thomas Sackuyle.</i> | <i>Sette -forthe as the same was shewed before the</i> | <i>Qvenes most excellent Maiestie, -in her highnes</i> | <i>Court of Whitehall, the XViii day of January</i> | <i>Anno -Domini</i>, 1561. <i>By the Gentlemen of Thynner Temple in London.</i> | -<i>Imprynted at London</i> | <i>in Flete strete, at the Signe of the Faucon by -William Griffith; and are</i> | <i>to be sold at his shop in Saincte</i> | <i>Dunstones -Churchyarde in</i> | <i>the West of London.</i> | <i>Anno.</i> 1565. <i>Septemb.</i> 22.</p> -<p><span class="pagenum"><a name="page25" id="page25"></a>[pg 25]</span></p> - -<p>Day, in his introductory note to the present volume, entitled "The -P to the Reader," explains very satisfactorily the reason for the new -edition, but lets us only infer why he dropped the authors' names from -the title-page. He says:</p> - -<p>"Where this Tragedie was for furniture of part of the grand Chriſtmaſſe -in the Inner Temple firſt written about nine yeares agoe by the -right honourable Thomas now Lorde Buckherſt, and by T. Norton, -and after ſhewed before her Maieſtie, and never intended by the -authors therof to be publiſhed: yet one W. G. getting a copie therof -at ſome youngmans hand that lacked a little money and much diſcretion, -in the last great plage. an. 1565. about V. yeares paſt, while the -ſaid Lord was out of England, and T. Norton farre out of London, -and neither of them both made priuie, put it forth exceedingly corrupted."</p> - -<p>Then, the worthy printer goes on to say in a very allegorical vein, -that being so dishonored, her parents, the authors, very much displeased, -gave her into his hands to be sent forth honorably; and he -hopes she will be well received, else he will wish that she had tarried -at home with him "for ſhe did neuer put me to more charge, but this -one poore black gowne lind with white that I haue now geuen her to -goe abroad among you withall."</p> - -<p class="ind1">Quarto. The first authorized edition. Roman.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-H3, in fours</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page26" id="page26"></a>[pg 26]</span></p> - -<h2>JOHN LYLY<br /><br class="b30" /> - -<span class="less2">(1553?-1606)</span></h2></div> - -<p class="head"><span class="outdent">10. Euphues. | The Anatomy | of Wit.</span> | [10 lines] By -Iohn Lylie, Maiſter of Art. | Corrected and augmented. | -At London | Printed for Gabriell Cawood, | dwelling in -Paules Church-yard. [Colophon] Imprinted at London -by | Thomas Eaſt, for Gabrill Cawood, | dwelling in -Paules Church- | yard 1581.</p> - -<p>The work was licensed "under the hande of the bishopp of London" -December 2, 1578, and was printed for Cawood by Thomas Eate, or -East, the stationer, without a date, but probably in 1578. Many editions -of the famous book have been issued; fifteen are known, dated -between 1579 and 1636, but confusion exists chiefly over the first -three.</p> - -<p>Mr. C. Warwick Bond in his recent edition of <i>The Complete Works -of John Lyly</i>, Oxford, 1902, brings forward evidence to prove that -two undated copies of <i>Euphues</i>, one belonging to the British Museum -and the other to Trinity College, Cambridge, are all that remain of the -first edition, whose date of issue he sets at about Christmas time, 1578. -A unique Trinity College copy without a date, he thinks was issued -about midsummer of the next year; the famous Malone and Morley -copies of 1579, he considers belong to a third edition, issued at -Christmas; the edition dated 1580 would be fourth and the copy from -which our facsimile was taken would belong to a fifth edition. Mr. -Bond founds his supposition as to the seasons when the volumes -appeared upon the following very interesting preface:</p> - -<p class="centerb"><span class="sc">To the Gentlemen Readers</span>.</p> - -<p><span class="pagenum"><a name="page27" id="page27"></a>[pg 27]</span></p> - -<p>"I Was driuen into a quandarie Gentlemen," says Lyly, "whether -I might ſend this my Pamphlet to the Printer or to the pedler, I -thought it too bad for the preſſe, & to good for the packe.... We -commonly ſee the booke that at Eaſter lyeth bounde on the Stacioners -ſtall, at Chriſtmaſſe to be broken in the Haberdaſhers ſhop, which -ſith it is the order of proceeding, I am content this Summer to haue -my dooinges read for a toye, that in Winter they may be readye for -traſh.... Gentlemen vſe bookes as Gentlewomen handle theyr -flowres, who in the morning ſticke thẽ in their heads, and at night -strawe them at their heeles. Cheries be fulſome when they be through -ripe, becauſe they be plentie, and bookes be ſtale when they be printed -in that they be common. In my minde Printers & Tailers are chiefely -bound to pray for Gentlemen, the one hath ſo much fantaſies to print, -the other ſuch diuers faſhions to make, that the preſſing yron of the -one is neuer out of the fyre, nor the printing preſſe of the other any -tyme lieth ſtill...."</p> - -<p>The address "To my verie good friends the Gentlemen Scholers of -Oxford" first appeared with the second edition, to which Lyly made -other additions, beside thoroughly revising the text.</p> - -<p>The title-page is bordered with a band of type-metal ornaments. -Among the initial letters are several of a series, each letter of which -represents a child at play. A large tail-piece is repeated several times, -and East's mark of a black horse with a white crescent on his shoulder, -and the motto <i>Mieulx vault mourir en vertu que vivre en Honcte</i>, is -here used for the first time. Some copies dated 1581 have Rowland -Hall's mark but no printer's name.</p> - -<p>Mr. Henry R. Plomer says of the book in an interesting article on -our printer: "The preliminary matter is printed in a very regular fount -of Roman, the text in his ordinary fount of Black Letter, and the -whole book is distinguished for its clear, regular, and clean appearance."</p> - -<p>On July 24, 1579, the stationer Cawood entered for license a second -part of <i>Euphues</i>, which he had promised at the end of this volume in -the following words:</p> - -<p>"I Haue finiſhed the firſt part of Euphues whome now I lefte readye -to croſſe the Seas to Englande, if the winde send him a ſhorte cutte -you ſhall in the ſeconde part heare what newes he bringeth and I hope -to haue him retourned within one Summer...."</p> - -<p>The book appeared the next year with the title: <i>Euphues and his -England.</i> | <i>Containing</i> | <i>his voyages and adventures, myxed with</i> | <i>ſundry</i> -<span class="pagenum"><a name="page28" id="page28"></a>[pg 28]</span> -<i>pretie diſcourſes of honeſt Loue ... By Iohn Lyly, Maiſter</i> | <i>of Arte.</i> | -<i>Commend it, or amend it.</i> | <i>By Imprinted at London for Gabriell Cawood, -dwelling in</i> | <i>Paules Church-yard.</i> | 1580.</p> - -<p>Edward Blount, the stationer, who published Shakespeare's folio -works, tells us in a preface to Lyly's <i>Sixe Court Comedies</i>, which he -collected and William Stansby printed in 1632, of the sensation -<i>Euphues</i> created when it appeared. "Our Nation," he wrote, "are -in his (i.e. Lyly's) debt, for a new Engliſh which hee taught them. -Euphues and his England began firſt, that language: All our Ladies -were then his Scollers; And that Beautie in court, which could not -Parley Euphueiſme, was as little regarded, as ſhee which, now there, -ſpeakes not French."</p> - -<p class="ind1">Quarto. Black letter and Roman. The fifth edition.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-Z, in fours</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page29" id="page29"></a>[pg 29]</span></p> - -<h2>SIR PHILIP SIDNEY<br /><br class="b30" /> - -<span class="less2">(1554-1586)</span></h2></div> - -<p class="head"><span class="outdent">11. The | Countesse | Of Pembrokes </span>| Arcadia, | Written -By Sir Philippe | Sidnei. | [Coat-of-arms of the Sidney -family] London | Printed for William Ponſonbie. | Anno -Domini, 1590.</p> - -<p>The <i>Arcadia</i> was begun in 1580, and when finished, probably before -1583, was circulated in manuscript copies amongst the author's friends. -That he did not wish to have it printed is evident from his affectionate -dedication to his sister, where he says:</p> - -<p>"HEre now haue you (moſt deare, and moſt worthy to be moſt -deare Lady) this idle worke of mine: which I fear (like the Spiders -webbe) will be thought fitter to be ſwept away, than worn to -any other purpoſe. For my part, in very trueth (as the cruell fathers -among the Greekes, were woont to doo to the babes they -would not foſter) I could well find in my harte, to caſt out in -ſome deſert of forgetfulnes this child, which I am loath to father. -But you deſired me to doo it, and your deſire, to my hart is an abſolute -commandement. Now, it is done onelie for you, onely to you: -if you keepe it to yourſelfe, or to ſuch friendes, who will weigh errors -in the ballaunce of good will, I hope, for the fathers ſake, it will be -pardoned, perchance made much of, though in itſelfe it haue deformities. -For indeede, for ſeuerer eyes it is not, being but a trifle, and -that triflinglie handled. Your deare ſelfe can best witnes the maner, -being done in looſe ſheetes of paper, moſt of it in your preſence, the -reſt, by ſheetes ſent vnto you, as faſt as they were done.... But his -chiefe ſafetie ſhal be the not walking abroad; & his chiefe protection, -the bearing the liuerye of your name; which (if much good will do -not deceaue me) is worthy to be a ſanctuary for a greater offender."</p> - -<p>And again later, when he lay dying, reflecting, as he did, that all -things in his former life had "been vain, vain, vain," he requested -<span class="pagenum"><a name="page30" id="page30"></a>[pg 30]</span> -that the <i>Arcadia</i> should be burned. But he counted without the -public, who in the person of a publisher took steps to make it common -property the very year of Sidney's death. We have this from -a letter written to Sir Francis Walsingham, Sidney's father-in-law, by -Sir Foulk Greville, first Lord Brooke, who in his self-written epitaph -styled himself "servant to Queen Elizabeth, councillor to King James, -and friend to Sir Philip Sidney":</p> - -<p>"S<sup>r</sup>, this day, one ponsonby, a booke-bynder in poles church-yard, -came to me and told me that ther was one in hand to print S<sup>r</sup> Philip -Sydney's old arcadia, asking me yf it were done with your honors consent, -or any other of his frendes? I told him, to my knowledge, no: -then he aduysed me to give warninge of it, either to the archbishope -or doctor Cosen, who haue, as he says, a copy to peruse to that end.</p> - -<p>"S<sup>r</sup>, I am loth to renew his memory unto you, but yeat in this I -must presume; for I haue sent my lady, your daughter, at her request, -a correction of that old one, don 4 or 5 years sinse, which he left in -trust with me; wherof there is no more copies, and fitter to be reprinted -than the first which is so common: notwithstanding, even that -to how and why; so as in many respects, espetially the care of printing -of it; so as to be don with more deliberation."</p> - -<p>Ponsonby obtained a license to print the book, under the hand of -the Archbishop of Canterbury, August 23, 1588, but not with the full -consent and sympathy of the family, owing, we will hope, to a sentiment -of proper respect for the poet's wishes. There was so much dissatisfaction -with Ponsonby's "adventuring" that Collier thinks the -book may have been called in or suppressed, a fact which would account -for its great rarity. The hesitancy, however, seems to have -been overcome in course of time, for the Countess herself edited the -work for a later edition of Ponsonby's publishing.</p> - -<p>No mark or name of a printer is given in our copy, and Collier, -when he gave it as his opinion that Richard Field did the work, -seemed to have been unaware of the existence of the variation in the -imprint, which occurs in the copy belonging to Trinity College -Library, Cambridge, <i>London, Iohn Windet for william Ponsonbie</i>. -Probably several had a hand in the printing. Only a close examination -of the few existing copies could show whether or not they were -all issued at the same time. We shall never know by name the "overseer -of the print," who assumed the responsibility of arranging the -poem, as is told in a note on the verso of the title-page:</p> -<p><span class="pagenum"><a name="page31" id="page31"></a>[pg 31]</span></p> - -<p>"The diuiſion and ſumming up of the Chapters was not of Sir -Philip Sidneis dooing, but aduentured by the ouerſeer of the print, for -the more eaſe of the Readers. He therfore ſubmits himſelfe to their -judgement, and if his labour anſwere not the worthines of the booke, -deſireth pardon for it. As alſo if any defect be found in the Eclogues, -which although they were of Sir Phillip Sidneis writing, yet were not -peruſed by him, but left till the worke had bene finiſhed, that then -choiſe ſhould haue bene made, which ſhould haue bene taken, and in -what manner brought in. At this time they haue bene choſen and -diſposed as the ouer-ſeer thought beſt."</p> - -<p>Whoever the overseer may have been, whether in the employment -of Ponsonby, Windet, or Field, and however unfortunate the result -of his literary judgment, he produced a book which for beauty may -take its place with the best of the period. The Roman type and -excellent press-work distinguish it amongst the mass of inferior productions. -Large ornamental initial letters, more or less related, are -used at the beginning of all the Books, while Book I begins with -an especially fine allegorical woodcut initial representing a crowned -Tudor rose, Justice with her foot on Medusa's head, and Peace. -Head- and tail-pieces, some of type metal and some woodcuts, are -used at the beginning of the Books to give added effect. At the end -of the sixteenth chapter of Book III is a panel made of type-metal -ornaments, intended to hold the lines referred to in the words: -"Vpon which, Baſilius himself cauſed this Epitaph to be written." -These, however, owing to the printer's oversight, were never added.</p> - -<p>In setting up the title-page, it may be that Ponsonby followed -Sidney's hint, and so sought "the chief protection" of the name of -the Countess, and, not content with the name alone, added the coat-of-arms -of the Sidney family.</p> - -<p class="ind1">Quarto. Roman.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-Zz, in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page32" id="page32"></a>[pg 32]</span></p> - -<h2>EDMUND SPENSER<br /><br class="b30" /> - -<span class="less2">(1552?-1599)</span></h2></div> - -<p class="head"><span class="outdent">12. The Faerie | Queene. </span>| Diſpoſed into twelue books, | -Faſhioning | XII. Morall vertues. | [Printer's mark] -London | Printed for William Ponſonbie. | 1590.</p> - -<p>On December 1, 1589, "Maſter Ponſonbye. Entered for his Copye, -a booke intytuled <i>the fayrye Queene dyspoſed into xij. bookes. &c.</i> Aucthoryzed -vnder thandes of the Archbishop of Canterbery, and bothe -the wardens ... vj<sup>d</sup>."</p> - -<p>Spenser's name not being mentioned and not being printed on -the title-page, it would almost seem as if he had wished his book -to be anonymous; but that was probably not the case, because the -dedication on the verso of the title, "To the Most Mightie And -Magnificent Empresse Elizabeth ..." is signed by "Her moſt humble -Seruant, Ed. Spenſer." The "Letter of the Authors Expounding his -whole intention in the Courſe of the worke.... To the Right Noble, -and Valorous Sir Walter Raleigh ..." is also signed "Ed. Spenſer," -and the last two of his poems addressed to various personages are -signed "E. S."</p> - -<p>It will be observed that the license to print the book, as well as the -title-page, refers to the whole work, only three books of which, treating -of the virtues Holiness, Temperance, and Chastity, had been -completed by the author at this time.</p> - -<p>Ponsonby may be regarded as a fortunate man to have had the -handling of the works of such authors as Greene, Sidney, and Spenser. -If his attempts to exploit the first great English prose romance -were not always successful, his relations with Spenser were more -satisfactory, and this work finding "a favorable passage," no less -than ten other of the poet's productions were issued over his imprint.</p> -<p><span class="pagenum"><a name="page33" id="page33"></a>[pg 33]</span></p> - -<p>The printer's name does not appear, but the device on the title-page -is the mark of John Wolfe, son of Reyner Wolfe, a printer to -the City of London, and one of the busiest members of the Stationers' -Company. It was he who printed <i>The Shepheard's Calendar</i>, for -John Harrison the younger, in 1586. His use of the Florentine lily -is probably not without significance. The first Italian book printed -in England (<i>Petruccio Ubaldino La vita di Carlo Magno Imperadore</i>, -1581), came from his press, as well as numerous translations of books -in that tongue; and it is easy to believe that he may have received -his idea for a mark of a fleur-de-lis "seeding," as Herbert calls it, -from the Florentine lily of an Italian printer seen in some of the -Italian books so numerous in England at this time.</p> - -<p>A frame of printer's ornaments surrounds a verse at the beginning -of each chapter, and there is a rather clumsy woodcut, representing -Saint George and the Dragon, at the end of the first Book, but these -are the chief ornaments in the volume. This book, like the <i>Arcadia</i>, -is in the Roman type, and of remarkably good press-work.</p> - -<p><i>The Second</i> | <i>Part Of The</i> | <i>Faerie Queene.</i> | <i>Containing</i> | <i>The -Fourth</i>, | <i>Fifth</i>, | <i>And Sixth Bookes.</i> | <i>By Ed. Spenſer</i> | [<i>Printer's -mark</i>] <i>Imprented at London for VVilliam</i> | <i>Ponſonby.</i> 1596. was -licensed January 20, 1595-6, and was published with a second edition -of the first part, which it was meant to accompany. The remaining -six books never appeared.</p> - -<p>The device on the title-page of the second volume is that of Thomas -Vautrollier, a foreigner settled in London, whose stock passed, at his -death, to his son-in-law, Richard Field. It seems clear that Field -printed the volume (Vautrollier did no work after 1588), although -Herbert ascribes it to the master-printer Thomas Creed.</p> - -<p>In some early copies of the first volume there are blank spaces on -page 332, which had been left by the printer to be filled later with -Welsh words and then forgotten. Other copies have this omission -corrected. -</p> - -<p class="ind1">Quarto. Roman and Italic.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-Qq4, in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page34" id="page34"></a>[pg 34]</span></p> - -<h2>FRANCIS BACON, BARON VERULAM<br /><br class="b30" /> - -<span class="less2">(1561-1626)</span></h2></div> -<!-- Corrigenda p. 221 applied to here --> -<p class="head"><span class="outdent">13. Eſſaies. | Religious Me- | ditations. </span>| Places of perſwaſion -| and diſſwaſion. | Seene and allowed. | London | -Printed for Humfrey Hooper | and are to bee ſolde at -the blacke Beare in Chaun- | cery lane. 1598. [Colophon] -Imprinted at London by John Windet for Humfrey -Hooper. 1598.</p> - -<p>This edition is thought by some to be rarer than the first, which -was published by Hooper, in octavo, in the previous year. Some -differences occur in the spelling, the table of contents here precedes -"The Epistle Dedicatorie," the <i>Meditationes Sacr</i> are done into -English, and the ornaments used are quite different. Only ten Essays -were included in these two issues, whereas the edition of 1612 has -thirty-eight, and that of 1625, fifty-eight.</p> - -<p>Hooper, of whose publications there are very few examples existing, -is thought by Roberts to have been a young publisher whom Bacon -wished to help. John Windet was the successor to John Wolfe as -printer to the City of London; many books came from his press, but -few of them of note.</p> - -<p>Perhaps the most interesting peculiarity of the book is the word -<i>essay</i>, in the sense of a composition of moderate length on a particular -subject. With this work, the word makes its first appearance on the -title-page of an English book. The first two books of Montaigne's -<i>Essais</i> had appeared in 1580, and Bacon was no doubt familiar with -them as a new style of writing, since his brother, to whom he addressed -this volume, was a friend of Montaigne. He says in his volume of -<i>Essays</i> dedicated to Prince Henry: "For Senacaes Epistles ... are -but Essaies—that is dispersed Meditations ... Essays. The word -is late, but the thing is auncient."</p> -<p><span class="pagenum"><a name="page35" id="page35"></a>[pg 35]</span></p> - -<p>Lord Bacon's reasons for printing his book, expressed in the signed -preface which accompanied both editions, is interesting as showing -that he was alive to the piracies of the book-sellers, and that he knew -how to meet the difficulty in a sensible manner.</p> - -<p>"To M. Anthony Bacon his deare brother.</p> - -<p>Louing & beloued Brother, I doe nowe like ſome that haue an -Orcharde ill neighbored, that gather their fruit before it is ripe, to preuent -ſtealing. Theſe fragments of my conceites were going to print: -To labour the ſtaie of them had bin troubleſome, and ſubiect to interpretation; -to let them paſſe had beene to aduēture the wrong they -might receyue by ontrue Coppies, or by ſome garniſhment, which it -might pleaſe any that ſhould ſet them forth to beſtowe oppon them. -Therefore I helde it beſt diſcretion to publiſh them myſelfe as they -paſſed long agoe from my pen without any further diſgrace, then the -weakneſſe of the Author...."</p> - -<p class="ind1">Duodecimo. The second edition.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-E4, in twelves</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page36" id="page36"></a>[pg 36]</span></p> - -<h2>RICHARD HAKLUYT<br /><br class="b30" /> - -<span class="less2">(1552?-1616)</span></h2></div> - -<p class="head"><span class="outdent">14. The | Principal Navi- | Gations, Voiages, </span>| Traffiques -And Disco- | ueries of the Engliſh Nation, made by -Sea | or ouer-land, to the remote and fartheſt di- | ſtant -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, -whereunto | they were directed. | [Thirteen lines] -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 -Hakluyt Maſter of | Artes, and ſometime Student of -Chriſt- | Church in Oxford. | [Printer's ornament] <img src="images/i_p036-18.png" width="18" height="20" alt="Printer's ornament" style="margin-bottom: -0.2em;" /> -Imprinted at London by George | Bishop, Ralph Newberie -| and Robert Barker. | 1598. [-1600].</p> - -<p>The year 1589 had seen the publication of a small folio volume entitled:</p> - -<p><i>The Principall</i> | <i>Navigations, Voia-</i> | <i>ges, And Discoveries Of The</i> | -<i>Engliſh nation, made by Sea or ouer Land</i>, | [<i>Twenty-seven lines</i>] <i>By -Richard Hakluyt Maſter of Artes, and Student ſometime</i> | <i>of Chriſt-church -in Oxford.</i> | [<i>Printer's ornament</i>] <i>Imprinted at London by -George Bishop</i> | <i>and Ralph Newberie, Deputies to</i> | <i>christopher Barker, -Printer to the Queenes moſt excellent Maieſtie.</i> | 1589.</p> - -<p>The book presents a handsome appearance in the matter of type -and ornament: the archer head-band appears, and there are two -large pictorial initials at the beginning signed <img src="images/i_p038-sa-monogram-20.png" width="20" height="19" style="margin-bottom: -0.2em;" alt="A with tails or SA monogram" />. It contains also -"one of the beſt generall mappes of the world onely, untill the comming -out of a very large and most exact terreſtrial Globe, collected -and reformed according to the neweſt, ſecretest, and lateſt diſcoueries -... compoſed by M. Emmerie Mollineux of Lambeth, a -<span class="pagenum"><a name="page37" id="page37"></a>[pg 37]</span> -rare gentleman in his profeſſion...." This map was a close copy of -one engraved by Francis Hogenberg for Ortelius's <i>Theatrum Orbis -Terrarum</i>, published first in Antwerp in 1570. Like the original it is -called <i>Typus Orbis Terrarum</i>, but Hogenberg's name is erased, and -no other appears in its stead.</p> - -<p>This volume is usually called the first edition of the amplified work -in three volumes, here facsimiled, which Hakluyt began to issue nine -years later. <i>The British Librarian</i> of William Oldys, that "oddest -mortal that ever wrote," gives a full synopsis of the contents of the -latter work, "this elaborate and excellent <i>Collection</i>, which redounds -as much to the Glory of the <i>Engliſh</i> Nation, as any Book that ever -was publiſhed in it." He says:</p> - -<p>"Tho' the firſt Volume of this <i>Collection</i> does frequently appear, by -the Date, in the Title Page to be printed in 1599. the Reader is not -thence to conclude the ſaid Volume was then reprinted, but only the -Title Page, as upon collating the Books we have obſerved; and -further, that in the ſaid last printed Title Page, there is no mention -made of the <i>Cadiz</i> Voyage; to omit which, might be one Reaſon of -reprinting that Page: for it being one of the moſt proſperous and honorable -Enterprizes that ever the Earl of Eſſex was ingaged in, and he -falling into the Queen's unpardonable Displeaſure at this time, our -Author, Mr. Hakluyt, might probably receive Command or Direction, -even from one of the Patrons to whom theſe Voyages are dedicated, -who was of the contrary Faction, not only to ſupreſs all Memorial of -that Action in the Front of this Book, but even cancel the whole <i>Narrative</i> -thereof at the <i>End</i> of it, in all the Copies (far the greateſt Part -of the Impreſſion) which remained unpubliſhed. And in that caſtrated -Manner the Volume has deſcended to Poſterity; not but if the Caſtration -was intended to have been concealed from us, the laſt Leaf of -the Preface would have been reprinted alſo, with the like Omiſſion of -what is there mentioned concerning the Inſertion of this Voyage. But -at laſt, about the middle of the late King's Reign, an uncaſtrated copy -did ariſe, and the said Voyage, was reprinted from it; whereby many -imperfect Books have been made complete."</p> - -<p>The cancellation "in the Front" refers to the title-page. In the -new page of the castrated edition the clause "And laſtly, the memorable -defeate of the Spaniſh huge Armada, Anno 1588. and the famous -victorie acheiued at the citie of Cadiz, 1596." is made to read: "As -alſo the memorable defeat of the Spaniſh huge Armada, Anno 1588."; -<span class="pagenum"><a name="page38" id="page38"></a>[pg 38]</span> -and the date is changed to 1599. But, as Oldys remarks, through -oversight or indifference the reference in the preface still remains to -show that the edition is doctored, and not a new one. It reads: -"An excellent diſcourſe whereof, as likewiſe of the honourable -expedition vnder two of the moſt noble and valiant peeres of this -Realme, I meane, the renoumed Erle of Eſſex, and the right honorable -the lord Charles Howard, lord high Admirall of England, made 1596, -vnto the ſtrong citie of Cadiz, I haue set downe a double epiphonema to -conclude this my firſt volume withall...." The reference also remains -in "A Catalogue of the Voyages," "39 The honourable voyage to -Cadiz, Anno 1596. [p.] 607." and at page 606 the catchword "A -briefe" still bears witness to the curtailment of "A briefe and true -report of the Honourable voyage vnto Cadiz, 1596." The original -leaves ended on page 619, with a large woodcut representing two -winged figures supporting a crown and rose. They have been twice -reprinted, but both reprints are easily distinguishable from the early -work.</p> - -<p>The second volume was issued by the same printers in 1599, and -the third in 1600. Hakluyt is characterized on the title-page of the -first volume, as on that of the first edition, as "Master of Artes, and -sometime Student of Christ-Church in Oxford," but in the second -and third volumes he is called "Preacher, and sometime student of -Christ-Church in Oxford." He had been made rector of Wetheringsett -in Suffolk in 1590.</p> - -<p>In its general make-up, the new work resembles the old one. The -archer head-bands have not been used, and only one of the pictorial initials -signed <img src="images/i_p038-sa-monogram-20.png" width="20" height="19" style="margin-bottom: -0.2em;" alt="sa-monogram" />,—that at the beginning of the Dedication,—is retained -in volumes one and two. These pictorial initials belong to an alphabet -illustrating stories from Greek mythology. Mr. Pollard, in a chapter on -<i>Pictorial and Heraldic Initials</i>, states that the first appearance of any of -the set known to him occurs in a proclamation printed by Berthelet, and -dated 1546. He finds that a similar monogram was used by Anton -Sylvius, who worked for Plantin from 1550 to 1573, but he is doubtful -about ascribing these initials to that artist.</p> - -<p>The first and third volumes have the "The" of the title in a long -panel (made of type-metal ornament in the first case, and a woodcut -cartouche in the last one); the printer's ornaments on the title-pages -of the second and third volumes are alike, and are the same as that in -the first edition. "A Table Alphabetical," printed at the end of the -first edition, was not undertaken for the second; but a new, engraved -<span class="pagenum"><a name="page39" id="page39"></a>[pg 39]</span> -map of the world, unsigned and without a title, is found in some copies -of the third volume. It was used also in two states.</p> - -<p>This map is exceedingly rare, and interest attaches to it for two -reasons. It is the first map of the world engraved in England, on -Wright's (Mercator) projection, having been published the year after -Wright had explained the principles of the projection in his <i>Certain -Errors in Navigation</i>. A legend in a cartouche on the engraving says: -"Thou hast here gentle reader a true hydrographical description of -ſo much of the world as hath beene hetherto diſcouered, and is comme -to our knowledge: which we have in ſuch ſort performed, y<sup>t</sup> all -places herein ſet downe, haue the ſame poſitions and diſtances that they -haue in the globe...." The second source of interest is this: the -map is, without much doubt, the one Shakespeare referred to in <i>Twelfth -Night</i> when he made <i>Maria</i> say of <i>Malvolio</i>, "he does ſmile his face -into more lynes then is in the new Mappe, with the augmentation of -the Indies."</p> - -<p>A curious error has existed with regard to the map. The reference -in the 1589 volume, already quoted, has been taken to mean that -Hakluyt intended to issue a map by Molineux with that work, but, -that map not being ready in time, he used the one from Ortelius. What -more natural than that the new map in the 1598 edition should be -supposed to be Molineux's, now at length finished? This was the -conclusion jumped at, and the plate is usually called "Molineux's -map." As a matter of fact, Hakluyt did not refer to Molineux as a -map-maker, but as a globe-maker. He was a friend of that rare gentleman, -and he knew that the mathematician was at work on a large -terrestrial globe embodying all the very latest geographical information -in the most exact way, according to Mercator's projection. He -used the Ortelius map in his book only until the globe should be -ready, when it could be easily adapted to the plane surface of a map -by the engraver.</p> - -<p>The globe, measuring two and a half feet in diameter, was issued in -1592, and is now preserved in the Library of the Middle Temple.</p> - -<p class="ind1">Folio. Black letter.</p> - -<p class="ind1"><span class="sc">Collation:</span> Volume I, *, <i>six leaves</i>; **, <i>six leaves</i>; <i>A-Fff</i><sub>4</sub>, <i>in - sixes</i>.</p> - -<p class="ind1">Volume II, *, <i>eight leaves; A-Ccb, in sixes; Aaa-Rrrb, in sixes</i>.</p> - -<p class="ind1">Volume III, <i>(A), eight leaves; A-I, in sixes; K, eight leaves; - L-Cccc, in sixes</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page40" id="page40"></a>[pg 40]</span></p> - -<h2>GEORGE CHAPMAN<br /><br class="b30" /> - -<span class="less2">(1559-1634)</span></h2></div> - -<p class="head"><span class="outdent">15. The | Whole Works | Of | Homer;</span> | 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 | ſive beati | Te decor -eloquij, | ſeu rerũ pondera | tangunt. Angel: Pol: -| At London printed for Nathaniell Butter. | William -Hole ſculp:</p> - -<p>Though Butter was the publisher of Dekker's <i>Belman of London</i>, and, -with John Busby, of Shakespeare's <i>Lear</i>, he is chiefly to be remembered -for two things, for his success as a compiler and publisher of -pamphlets of news,—a success which entitles him to the place of -father of the London press—and for his connection with Chapman.</p> - -<p>In 1609 (?) Samuel Macham brought out, in small folio form, -<i>Homer, Prince of Poetts, in Twelve Bookes of his Iliads</i>, embellished with -an engraved title-page by William Hole, who was one of the earliest -English engravers on copper-plates. Inflated with his subject, the -artist crowded the title into a small central panel the better to present -his conception of Vulcan, Apollo, Achilles, Hector, and Homer, in a -composition which, if topheavy, was more dignified and better drawn -than many of the borders ascribed to him.</p> - -<p>Under date of April 8, 1611, we find in the Stationers' Register -that Butter "Entered for his Copy by consente of Samuell Masham, -A Booke called Homers Iliads in English contayning 24 bookes." -With his right to print, he also received the right to use the Hole frontispiece, -which he had rengraved on a larger scale for the new book. -The date of issue is not given, but it could not have been later than -November 6, 1612, the date of the death of the Prince of Wales, to -<span class="pagenum"><a name="page41" id="page41"></a>[pg 41]</span> -whom the book is dedicated, and it was probably published soon after -the date of copyright. The printer's name is also lacking; but reasons -exist for thinking that more than one worked on the book, and that -there were several issues. There are copies whose signatures agree -with those of the volumes of our issue, but these are printed with -different type, on poorer paper, and the initial letters and other ornaments -are of a much cruder sort.</p> - -<p>After Chapman had published his translation of the Iliad, he turned -his attention to the Odyssey; and, as in the case of the Iliad, he went -to press with half of it first, Butter being the publisher. The volume -ends with the words "Finis duodecimi libri Hom. Odyſſ. Opus nouem -dierum," and begins with one of the most charming and perfect title-pages -of the period, the greater pity therefore that it is unsigned. Its -composition shows the poet in the midst of a company of laurel-crowned -spirits, whose ethereal forms are expressed in stipple, with -legends which read: "Solus ſapit hic homo, Reliqui vero," and "Umbr -mouentur." Above, the title is supported by two cupids, and below -are seated figures of Athena, and Ulysses with his dog. The whole -plate was very delicately drawn.</p> - -<p>The remaining twelve books having been finished, we find Butter -entering the whole twenty-four for copyright, November 2, 1614; and, -although the volume is not dated, it was probably issued soon afterward. -The title reads: <i>Homer's Odysses. Tranſlated according to y<sup>e</sup> -Greeke. By George Chapman At Miki q<sup>d</sup> viuo detraxerit. Inuida -Turba Post obitum duplici foenore reddet Honos. Imprinted at London -by Rich: Field, for Nathaniell Butter.</i></p> - -<p>The same engraved title-page was used, but its fine lines had now -grown fainter, the stippled shades seeming to justify the statement -in the inscription. The dedication to the Earl of Somerset, as it appeared -with the first twelve books, was somewhat altered in the opening -lines, necessitating the resetting of the first page and the consequent -change of the head-band and initial letter; but the rest of the first half -is precisely the same as in the first issue. The words "Finis," etc., -were dropped from the end, in some copies, and a blank leaf marks the division -of the first half from the last.</p> - -<p>The present book is made up of the complete Iliad, and the complete -Odyssey, sewn together. The enterprising Butter made the -engraved title of the Iliads answer for the general title-page of this -book also, only, of course, changing the wording in the central panel. -<span class="pagenum"><a name="page42" id="page42"></a>[pg 42]</span> -Some copies have the engraved title of the Odyssey, but more lack -it. Its omission was probably due to its having become too faint -from continued use to be of service. Butter added one or two new -features to some copies of the volume, and among them a fine large -portrait of Chapman, which he printed in a very unusual place, on the -verso of the title-page. It represents the head of the translator, -surrounded by clouds, and bears on the circular frame the inscriptions: -<i>Haec est laurigeri facies diuina Georgi</i>; <i>Hic Phœbi Decus est</i>; <i>Phœbinumqz -Deus</i>; <i>Georgius Chapmanus Homeri Metaphrastes</i>. <i>ta: -LVII. M.DC.XVI; Conscium Evasi Diem.</i> The date of the inscription -is usually given as the date of issue of the book. Below the -frame are ten lines beginning with two quotations, one in Latin, and -one in English, and followed by this interesting statement: <i>Eruditorum -Poetarum huius ui, facile Principi, Dno Georgio Chapman; Homero -(velit nolit Inuidia) Rediuiuo. I.M. Tessellam hanc</i> <ins title="Charistrion">χαριϛήριον</ins>. <i>DD.</i> -It would be a gratifying thing to know the name of the friend who -thus added so much to the embellishment and interest of the book. -Could it have been John Marston?</p> - -<p>The engraving is ascribed to Hole, though without any very good -reason, except that he had made the title-page of the Iliad, some four -years earlier. It seems hardly probable that his awkward hand could -have drawn the title for the Odyssey, and, while the same holds true -of the engraver of the portrait, a comparison of the three plates perhaps -would show that Butter employed more than one engraver.</p> - -<p>Besides the portrait, our publisher added after the title-page, on -a separate leaf, an engraved dedication "To the Imortall Memorie, of -the Incomparable Heroe, Henrye Prince of Wales," who died in 1612. -Two columns labelled "Ilias" and "Odyssa," bound with a band -inscribed "Musar: Hercul: Colum:," have below them lines ending:</p> - -<div class="poem width24"> <div class="stanza"> -<p>"... Thow, dead. then; I</p> -<p>Liue deade, for giuing thee Eternitie</p> - </div> <div class="stanza"> -<p class="i12">"Ad Famam.</p> -</div> <div class="stanza"> -<p>"To all Tymes future, This Tymes Marck extend;</p> -<p>Homer, No Patrone founde; Nor Chapman, friend:</p> -<p class="i8">"Ignotus nimis omnibus;</p> -<p class="i8">Sat notus, moritur ſibi:"</p> - </div> </div> - -<p><span class="pagenum"><a name="page43" id="page43"></a>[pg 43]</span></p> - -<p>This affecting tribute precedes the other dedication to the same -prince, issued with the Iliad when it first appeared. Such constancy -to the memory of a prince, now some years dead, and from whom -no favors could be expected, argues well for Chapman's affections; -but, on the other hand, one might see in it a reason for believing that -the work was issued before 1616.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Title-page and dedication, 2 ll.; *2,*3, 2 ll.; A4-A6, - A, 5 ll.; B-Z, in sixes; Aa-Ff, in sixes; Gg, 7 ll.; A3-O, in sixes; - R, 7 ll.; S-Z, in sixes; Aa-Hh, in sixes; Ii, 7 ll.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page44" id="page44"></a>[pg 44]</span></p> - -<h2>THE HOLY BIBLE</h2></div> - -<p class="head"><span class="outdent">16. The | Holy | Bible, </span>[Two lines] Newly tranſlated out -of | the Originall Tongues: and with | the former -Tranſlations diligently | compared and reuiſed by his | -Maieſties ſpeciall Com- | mandement. | Appointed to be -read in Churches. | Imprinted | at London by Robert -| Barker, Printer to the | Kings moſt excellent | -Maieſtie. | Anno Dom. 1611.</p> - -<p>Few books present greater difficulties to the bibliographer than this, -the first "Authorized" or King James Version of the Bible. Many -copies bearing the same date, and seemingly alike, have distinct -differences in the text, in the ornamental head- and tail-pieces, and in -the initial letters. But the most striking difference lies in two forms -of the title-page. One of these, a copper-plate engraving, signed <i>C. -Boel fecit in Richmont</i>, represents an architectural framework having -large figures of Moses and Aaron in niches on either side of the -border and seated figures of St. Luke and St. John, with their emblems, -at the bottom: above are seated figures of St. Matthew and St. Mark, -and St. Peter and St. Paul holding the Agnus Dei, while behind them -are various saints and martyrs. The title reads:</p> - -<p><i>The</i> | <i>Holy Bible</i>, | <i>Conteyning the Old Teſtament</i>, | <i>And The New.</i> | -<i>Newly Tranſlated out of the Originall</i> | <i>tongues: & with the former -Tranſlations diligently compared and reuiſed by his</i> | <i>Maiesties ſpeciall -Cõmandement.</i> | <i>Appointed to be read in Churches</i> | <i>Imprinted at London -by Robert</i> | <i>Barker, Printer to the Kings moſt Excellent Maiestie. Anno -Dom.</i> 1611.</p> - -<p>The style of Boel's work is quite like that of the Sadelers, to whose -school he belonged, and it resembles in its general effect some of the -title-pages made by those artists for Plantin's famous Antwerp press.</p> - -<p>The other title-page is seen in the facsimile. It is printed with a -woodcut border which represents above, the Evangelists Matthew and -<span class="pagenum"><a name="page45" id="page45"></a>[pg 45]</span> -Mark, the Adonai, Lamb, and Dove in cartouches, while below are found -St. Luke and St. John, the Lamb on the altar, and the cherub's head, -Barker's ornament. The tents and shields of the Twelve Tribes are -represented in twelve round panels on the left side, and the Twelve -Apostles, similarly framed, on the right. The signatures <img src="images/i_p045a-21.png" width="21" height="15" alt="RL" style="margin-bottom: -0.2em;" /> -and <img src="images/i_p045b-20.png" width="20" height="21" alt="CS over semicircle" style="margin-bottom: -0.4em;" /> -are seen at the bottom of the title panel. This border, like the great -primer black letter of the text, had been previously used by Christopher -Barker, in an edition of the "Bishops Bible," published in 1585, and -by Robert in 1602; afterward, in an edition of the New Testament -(Royal Version) published in 1617, and also in other works. While -more finished in execution, the design is similar in idea to one often -used by Barker, notably in a Bible printed in 1593, and bears some -resemblance to a border found in Plantin's "Great Bible."</p> - -<p>The copper-plate title is sometimes found with what is called the -first issue of the work, sometimes with the second, and sometimes -with the editions of 1613 and 1617. It has been suggested that it -was intended to be used with the woodcut border always found with -the New Testament in both issues, and usually ascribed to the second, -although "there is no ground for supposing that it was always -issued with it." That Boel took the motive of the tents and shields -of the Tribes for a minor detail in his border, is a point worthy of -notice because this fact might, with some reason, be used to prove -that inasmuch as his engraving was made some time after the unknown -wood-engraver's border, it could hardly have appeared with -the first issue.</p> - -<p>We quote the following from W. I. Loftie's <i>A Century of Bibles</i>:</p> - -<p>"Mr. Fry has compared together 70 copies of the Bible of 1611. -By observing how many of them were exactly alike he was able to -determine their order of publication. Twenty-three copies were found -to present the same peculiarities. Two only varied from the 25 and -from each other, in 8 leaves, 2 in one and 6 in the other. Of the -remaining 45, 40 were mixed with leaves from other editions, but 38 -contained leaves of the same edition. Mr. Fry's conclusions were as -follows:—One issue is unmixed except 2 copies in 25: the other is -made up (1) with reprints, (2) with parts of the first issue, (3) with -preliminary leaves from 3 other editions: he therefore infers that the -two issues were distinct and that the issue which presented the fewest -instances of admixture was the first. His conclusions seem unassailable; -it is therefore assumed to be proved in this list, that the issue -<span class="pagenum"><a name="page46" id="page46"></a>[pg 46]</span> -of which he examined 25 copies so nearly alike, is the first, and is -entitled to the honour of being called the <i>Editio Princeps</i> of the version."</p> - -<p>The chief differences in the collation of what is called the second -issue with the first are these: "The fifth leaf is Sig. B. in the preliminary -matter: Kalendar C, C2, C3, and followers. In the first -page of the Dedication OE is printed for OF and in the eighth line -CHKIST for CHRIST. In the 'Names and order of the Bookes' -there are three lines printed in red: I Chronicles, is misprinted I -Corinthians, and II Chronicles, II Corinthians. The chief errors -of the first issue are corrected, but the repetition in Ezra iii. 5, remains. -Exodus ix. 13, Let my people goe that they may ſerve thee, <i>for</i> -serve me. S. Matthew xxvi. 36, Then commeth Judas with them unto -a place called Gethſemane, <i>for</i> Then cometh Jeſus. The initial P. -in Psalm 112, contains a woodcut of Walsingham's crest."</p> - -<p>Robert Barker's name calls for more than passing notice, since he -it was who, more than any one else after the forty-seven translators, -was responsible for the production of the Authorized Version. On -January 3, 1599, the court of assistants of the Stationers' Company -recognized the letter patent of Queen Elizabeth granting Robert Barker -the reversion for life, after his father's death, of the office of -Queen's Printer, with the right of printing English Bibles, Books of -Common Prayer, statutes and proclamations. Christopher Barker, -the father, who was also Queen's Printer, made an interesting report -in December, 1582, on the printing patents which had been granted -from 1558-1582, and in it he speaks of his own rights. Mr. Edward -Arber, in quoting the report, calls it a masterly summary, whose importance -and authority as a graphic history of English printing, it -would be hardly possible to exaggerate. In "A note of the offices -and other speciall licenses for printing, graunted by her maiestie to -diuerse persons; with a coniecture of the valuation" he says: "Myne -owne office of her Maiesties Printer of the English tongue gyven to -Master Wilkes, (and which he had bought) is abbridged of the cheefest -comodities belonging to the office, as shall hereafter appeare in the -Patentes of Master Seres and Master Daye: but as it is I haue the -printing of the olde and newe testament, the statutes of the Realme, -Proclamations, and the booke of common prayer by name, and in -generall wordes, all matters for the Churche."</p> - -<p>If the monopoly of printing the Bible brought its gains it also -brought its risks. Christopher Barker in his report goes on to speak -of this:</p> -<p><span class="pagenum"><a name="page47" id="page47"></a>[pg 47]</span></p> - -<p>"The whole bible together requireth so great a somme of money to -be employed, in the imprinting thereof; as Master Jugge kept the -Realme twelve yere withoute, before he Durst adventure to print one -impression: but I, considering the great somme I paide to Master -Wilkes, Did (as some haue termed it since) gyve a Desperate adventure -to imprint fouer sundry impressions for all ages, wherein I -employed to the value of three thousande pounde in the term of one -yere and a halfe, or thereaboute: in which tyme if I had died, my -wife and children had ben vtterlie vndone, and many of my frendes -greatlie hindered by disbursing round sommes of money for me, by -suertiship and other meanes...."</p> - -<p>Robert was not without a like experience. The King, it is claimed, -never paid a penny towards the great work. Indeed, William Ball, -writing in 1651, says: "I conceive the sole printing of the bible, and -testament, with power of restraint in others, to be of right the propriety -of one Matthew Barker, citizen and stationer of London, in regard -that his father paid for the emended or corrected translation of the -bible, 3,500 l.: by reason whereof the translated copy did of right -belong to him and his assignes."</p> - -<p>Whether the great expense connected with its production ruined -him, or whether, as Mr. Plomer suggests, he had been living beyond -his means, Barker's last days were involved in financial difficulties, -and he died in the King's Bench prison.</p> - -<p>Some of the ornament in the book, particularly that used with the -coat-of-arms of the King, the genealogical tables, the map, and some -few head-bands and initial letters, again recall the work done for -Plantin, and lead us to think that that great printer's books had not -been without their influence upon the Barkers. The Tudor rose, the -thistle, harp and fleur-de-lis are combined in different ways in initials -and head-bands; the head-band of the archers, which was afterward -used in the folio edition of Shakespeare's works, and is found in many -other books, appears; and a large number of unrelated and commonplace -initials and type-metal head-bands bring to mind the fact that -Barker had come into the possession of material formerly belonging to -John Day and Henry Bynneman.</p> - -<p class="ind1">Folio. Black letter. Double columns.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A, six leaves; B, two leaves; C, one leaf; A2-A6; - D, four leaves; A-C, in sixes; two leaves without signatures; A-Ccccc6, - in sixes; A-Aa6, in sixes</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page48" id="page48"></a>[pg 48]</span></p> - -<h2>BENJAMIN JONSON<br /><br class="b30" /> - -<span class="less2">(1573?-1637)</span></h2></div> - -<p class="head"><span class="outdent">17. The | Workes | Of | Beniamin Jonson </span>| —neque me ut -miretur turba | laboro: Contentus paucis lectoribus. | -Imprinted at | London by | Will Stansby | An<sup>o</sup> D. 1616.</p> - -<p>This book, especially as we see it in the copies printed on large -paper, is a handsome specimen of typography. It reflects great credit -upon its printer, Stansby, who was an apprentice and then successor -to John Windet, and himself a master printer. Such work entitles him -to a front rank among the printers of the reign of James I.</p> - -<p>Jonson is said to have prepared the plays for the press, himself, and -one or two matters of editing, which seem unusually careful when compared -with other folio collections, certainly appear to show the author's -hand. At the end of each play, for instance, is a statement telling -when it was first acted, and by whom, whether the king's or the -queen's servants. The names of the actors are also given, as well as -the "allowance". The volume embraces nine plays, and <i>Epigrammes</i>, -<i>The Forest</i>, <i>Entertaynements</i>, <i>Panegyre</i>, <i>Maſques</i> and <i>Barriers</i>. There -is no introductory note by the printer, and we are not told how Stansby -came into the right to print those plays which had been previously -issued by other printers or publishers.</p> - -<p>In some copies all of the plays have separate printed titles, while in -others there are one, two, or more wood-cut borders showing a lion -and a unicorn, a lily, rose and thistle, and a grape-vine twined around -columns at the side.</p> - -<p>All of the works not included in the first were intended for a second -volume, which, however, did not appear until after Jonson's death, in -1640, when it was printed for Richard Meighen, the bookseller, by -Bernard Alsop and Thomas Fawcet. The title reads: <i>The Workes of -Benjamin Jonson. The second Volume Containing These Playes, Viz.</i> -<span class="pagenum"><a name="page49" id="page49"></a>[pg 49]</span> -<i>1 Bartholomew Fayre. 2 The Staple of Newes. 3 The Divell is an -Asse</i>.... This title, it will be seen, mentions only three plays, which -are thought to have been issued somewhat earlier than 1640, perhaps as -a supplement to the first volume. The book, as it is usually bound, -however, contains three more plays and a fragment of a fourth.</p> - -<p>There are variations in the imprint of the first volume, some reading, -<i>London, Printed by William Stansby</i>, and again others, <i>London -printed by W. Stansby, and are to be ſould by Rich: Meighen</i>. The -imprints of the large paper copies in the British Museum and Huth -libraries both read like that of the copy facsimiled. The large -paper copies, it should be noted, are on whiter and finer paper of an -entirely different water-mark. The copies with Meighen's name show -traces of the erasure of our form; a fact leading to the supposition -that they are later in issue. This matter is complicated, however, by -certain striking variations in the text itself. The last two pages of -Meighen's copies, containing <i>The Golden Age</i>, show a transposition -of parts affecting the whole literary value of the ending of the masque.</p> - -<p>Mr. Walter Wilson Greg, in his <i>List of English Plays</i>, 1900, gives -the Stansby-Meighen copies the place of the first issue, calling the -Stansby copies a reissue, with the imprint rengraved.</p> - -<p>It seems reasonable to suppose, in view of the fact that he was the -seller of the second volume also, that Meighen became connected -with Stansby after the first copies of the first volume were published. -The appearance of his name in the imprint of Volume I. would mark -the beginning of such a partnership; and this partnership would naturally -be continuous, and not interrupted, as it would appear to be if -copies bearing Stansby's name alone came after the Stansby-Meighen -imprint, and before the 1640 volume.</p> - -<p>"Guliel Hole fecit" is signed to the elaborate title-page engraved -on copper. This monumental structure, with its representations of -Tragicomœdia, Satyr, Pastor, Tragœdia, Comœdia, Theatrum, Plaustrum, -and Visorium, shows such a considerable knowledge of Roman -antiquities that we are inclined to think that Jonson himself may have -had something to do with the making of it. A similar thought arises -in looking at the pages engraved by Hole for Chapman's Homer, -and one would like to know how far that author, steeped in his -Classics, influenced the engraver. It may be a fair speculation, how -far Jonson and Chapman may have influenced the development of -book illustration.</p> -<p><span class="pagenum"><a name="page50" id="page50"></a>[pg 50]</span></p> - -<p>It is a point worthy of notice that the execution of the figures in -this engraving is decidedly inferior to that of the Chapman title.</p> - -<p>Gerard Honthorst's portrait of Jonson, engraved by Robert -Vaughan, whose frontispieces and portraits are found in many books -of the period, is inserted in this copy. The engraving was probably -issued, in its first state, as a separate print. In a second state it was -prefixed to the second edition of the first volume, <i>Printed by Richard -Biſhop, and are to be ſold by Andrew Crooke</i>, in 1640.</p> - -<p>The famous lines,</p> - -<div class="poem width24"> <div class="stanza"> -<p>"O could there be an art found out that might</p> -<p>Produce his shape soe lively as to Write,"</p> - </div> </div> - -<p>follow eight lines of Latin, beneath the oval frame.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Portrait and title-page, 2 leaves; A-Qqqq4, in sixes</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page51" id="page51"></a>[pg 51]</span></p> - -<h2>ROBERT BURTON<br /><br class="b30" /> - -<span class="less2">(1577-1640)</span></h2></div> - -<p class="head"><span class="outdent">18. The | Anatomy Of | Melancholy, </span>| [Twelve lines]. By | -Democritus Iunior. | With a Satyricall Preface, conducing -to | the following Diſcourſe. | [Quotation] At Oxford, | -Printed by Iohn Lichfield and Iames | Short, for Henry -Cripps. | Anno Dom. 1621.</p> - -<p>In the preface, the author tells why he used the pseudonym "Democritus -Junior." Democritus, he says, as described by Hippocrates and Diogenes -Laertius, was "a little wearyiſh olde man, very melancholy by -nature, averſe from company in his latter times, and much giuen to -ſolitarineſſe," who undertook to find the seat of melancholy. "<i>Democritus -Iunior</i> is therefore bold to imitate, and becauſe he left it unperfect, -to proſecute and finiſh, in this Treatiſe." In "The Concluſion -of the Author to the Reader," three leaves at the end of the volume, -signed "Robert Burton," and dated "From my Studie in Chriſt -Church, Oxon, Decemb 5. 1620," he says:</p> - -<p>"The laſt Section ſhall be mine, to cut the ſtrings of <i>Democritus</i> -viſor, to vnmaſke and ſhew him as he is ... <i>Democritus</i> began as a -Prologue to this Trage-comedie, but why doth the Author end, and -act the Epilogue in his owne name? I intended at firſt to haue concealed -my ſelfe, but <i>ſecunde cogitationes</i> &c. for ſome reaſons I haue -altered mine intent, and am willing to ſubſcribe...."</p> - -<p>Later editions, and there were eight during Burton's lifetime, omit -the conclusion, and show other alterations. The success of the book, -as may be seen from this large number of editions, was great. Wood -says that Cripps, the bookseller, made a fortune out of the sale of it, -yet he received only a half share of the profits; the other half, belonging -to the author, was made over by him in his will to members -of the college and to various Oxford friends. "If anie bookes be -<span class="pagenum"><a name="page52" id="page52"></a>[pg 52]</span> -lefte lett my executors dispose of them, with all such bookes as are -written with my owne handes, and half my <i>Melancholy</i> copie, for -Crips hath the other halfe."</p> - -<p>In course of time the <i>Anatomy</i> was almost forgotten, and Lowndes -tells us it owes its revival to Dr. Johnson, who observed that it "was -the only book that ever took him out of bed two hours sooner than -he wished to rise."</p> - -<p>Lichfield and Short were university printers whose press will be -chiefly remembered in connection with the production of this masterpiece. -The book is ornamented with a few type-metal head- and -tail-pieces, and a large initial and a woodcut head-band at the beginning.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>a-f4, in eights; A-Ddd</i><sub>4</sub>, <i>in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page53" id="page53"></a>[pg 53]</span></p> - -<h2>WILLIAM SHAKESPEARE<br /><br class="b30" /> - -<span class="less2">(1564-1616)</span></h2></div> - -<p class="head"><span class="outdent">19. M<sup>r</sup>. William | Shakespeares </span>| Comedies, | Histories, & | -Tragedies. | Publiſhed according to the True Originall -Copies. | [Portrait] London | Printed by Iſaac Iaggard, -and Ed. Blount. 1623.</p> - -<p>The bibliographical history of this most famous book has been written -so completely by Mr. Sidney Lee that little remains to be said. The -following notes aim only at recounting the facts suggested by a reading -of the title-page.</p> - -<p><i>Venus and Adonis</i>, printed in 1593, and <i>Lucrece</i>, printed in 1594, were -the only works of Shakespeare published during his lifetime with his -consent and coperation; but sixteen of his plays were printed in -quarto size, by various publishers, without his permission.</p> - -<p>The plays here collected, in folio form, are thirty-six in number, -and include sixteen hitherto unpublished,—all the plays, in fact, -except <i>Pericles</i>. John Heming and Henry Condell, friends and fellow-actors -of the dramatist, were professedly responsible for the edition, -as appears in their dedication to the Earls of Pembroke and Montgomery:</p> - -<p>"... that what delight is in them, may be euer your L.L. the reputation -his, & the faults ours, if any be committed, by a payre ſo carefull -to ſhew their gratitude both to the liuing, and the dead...." But -the chief part of the real editorship is thought to have devolved upon -the publisher, Edward Blount of The Bear, Paul's Churchyard, one of -the firm pecuniarily responsible for the enterprise. His name and -that of Isaac Jaggard, the printer, appear upon the title-page, as the -licensed printers, but in the colophon we read that the book was -<span class="pagenum"><a name="page54" id="page54"></a>[pg 54]</span> -"printed at the charges" of William Jaggard, printer to the City of -London, and father to Isaac, Ed. Blount, "I. Smithweeke," or Smethwick, -bookseller under the Dial, in St. Dunstan's Churchyard, and -William Aspley, bookseller of The Parrots, Paul's Churchyard.</p> - -<p>The "true originall copies" were probably found in the sixteen unauthorized -quarto volumes, previously printed, the playhouse or -prompt-copies, and in transcripts of plays in private hands. Heming -and Condell touch on this matter in their address "To the great Variety -of Readers": "It had bene a thing, we confeſſe, worthie to -haue bene wiſhed, that the Author himſelfe had liu'd to haue ſet -forth, and ouerſeen his owne writings; But ſince it hath bin ordain'd -otherwiſe, and he by death departed from that right, we pray you do -not envie his Friends, the office of their care, and paine, to haue collected -& publiſh'd them; and ſo to haue publiſh'd them, as where -(before) you were abus'd with diuerſe ſtolne, and ſurreptitious copies, -maimed, and deformed by the frauds and ſtealthes of iniurious -impoſtors, that expoſed them; even thoſe are now offer'd to your view -cur'd, and perfect of their limbes; and all the reſt, abſolute in their -numbers as he conceiued thẽ."</p> - -<p>The edition, as published, is thought to have numbered five hundred -copies. About two hundred are now known, but of these less -than twenty are in perfect condition. The price of the volume when -issued was one pound, and the highest price so far paid is seventeen -hundred and twenty pounds.</p> - -<p>The book is not a fine specimen of typography; it contains numerous -errors of all kinds, and the printer's ornaments are all such as are -frequently met with in books issued before and after this date. This -is especially and strikingly true of the large head-band of the archers -which we have already noticed in the Bible of 1611, and of the large -tail-piece used after twenty-five of the plays. The other head-pieces -and initial letters are of commonplace character, and show much -wear. The portrait, too, by Martin Droeshout, a young Flemish -artist,</p> - -<div class="poem width21"> <div class="stanza"> -<p>"Wherein the Grauer had a ſtrife</p> -<p>With Nature, to out-doo the life:"</p> - </div> </div> - -<p>as Jonson assures us in his famous verses "To the Reader," is, as -might be expected, hard and stiff, but it was undoubtedly done from -a painting that has more claims to be considered "from the life" -<span class="pagenum"><a name="page55" id="page55"></a>[pg 55]</span> -than any other. With all its technical faults, it "is intrinsically the -most valuable volume in the whole range of English literature."</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>One leaf without signature; A, eight leaves; A-Z, Aa-Cc2, - in sixes; a, two leaves; Aa3-Aa6, b-g, in sixes; gg, eight leaves; h-x, - in sixes</i>; , , <i>in sixes</i>; , <i>one leaf; aa-ff, in sixes; gg, two leaves; - gg-zz, aaa-bbb, in sixes</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page56" id="page56"></a>[pg 56]</span></p> - -<h2>JOHN WEBSTER<br /><br class="b30" /> - -<span class="less2">(1580?-1625?)</span></h2></div> - -<p class="head"><span class="outdent">20. The | Tragedy | Of The Dutchesse </span>| 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. | VVritten by John Webſter. | -[Quotation] | London: | Printed by Nicholas Okes, -for Iohn | Waterson, and are to be ſold at the | ſigne of -the Crowne, in Paules | Church-yard, 1623.</p> - -<p>The play was first acted about 1612.</p> - -<p>A list of the actors' names is given on the verso of the title-page, -and among them stands out that of Richard Burbage, who created -the part of the <i>Duke</i>. The part of the <i>Duchess</i> was played by a boy -named R. Sharpe.</p> - -<p>It is the only play of Webster's presented on the modern stage. -Miss Glyn played in it in 1851, and Miss May Rorke in 1892.</p> - -<p>The first edition is called by Dyce, the most correct of the quartos.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-N, in fours. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page57" id="page57"></a>[pg 57]</span></p> - -<h2>PHILIP MASSINGER<br /><br class="b30" /> - -<span class="less2">(1583-1640)</span></h2></div> - -<p class="head"><span class="outdent">21. A New Way To Pay | Old Debts </span>| A Comoedie | As it -hath beene often acted at the Phœ- | nix in Drury-Lane, -by the Queenes | Maieſties ſeruants. | The Author. | -Philip Massinger. | [Printer's mark] London, | Printed -by E. P. for Henry Seyle, dwelling in S. | Pauls Churchyard, -at the ſigne of the | Tygers head. Anno. M.DC. | -XXXIII.</p> - -<p>This comedy retained its popularity longer than any other of Massinger's -plays, and has often been revived upon the modern stage.</p> - -<p>"E. P." was Elizabeth Purslowe, the widow of George Purslowe, -who this year began to carry on "at the east end of Christ church" -the business followed there by her husband since 1614. The printer's -mark is the one used by the famous family of French printers, the -Estiennes.</p> - -<p>Seile, whose labors covered a period of twenty years, was one of the -many publishers of Massinger's books.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-M2, in fours. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page58" id="page58"></a>[pg 58]</span></p> - -<h2>JOHN FORD<br /><br class="b30" /> - -<span class="less2">(1586-1639)</span></h2></div> - -<p class="head"><span class="outdent">22. The | Broken | Heart. </span>| A Tragedy. | Acted | By the -Kings Majeſties Seruants | at the priuate Houſe in the | -Black-Friers. | Fide Honor. | [Printer's ornament] -London: | Printed by I. B. for Hugh Beeston, and are -to | be ſold at his Shop, neere the Caſtle in | Corne-hill -1633.</p> - -<p>The words "Fide Honor" are an anagram of Ford's name. Entered -on the Stationers' Register March 28, 1633.</p> - -<p class="ind1">Quarto</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A, three leaves; B-K, in fours. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page59" id="page59"></a>[pg 59]</span></p> - -<h2>CHRISTOPHER MARLOWE<br /><br class="b30" /> - -<span class="less2">(1564-1593)</span></h2></div> - -<p class="head"><span class="outdent">23. The Famous | Tragedy | Of </span>| The Rich Ievv | Of -Malta. | As It Was Playd | Before The King And | -Queene, In His Majesties | Theatre at White-Hall, by -her Majeſties | Servants at the Cock-pit. | Written by -Christopher Marlo. | [Printer's ornament] London; | -Printed by I. B. for Nicholas Vavaſour, and are to be -ſold | at his Shop in the Inner-Temple, neere the | -Church. 1633.</p> - -<p>Marlowe probably wrote the play not earlier than 1588, because the -line in the opening speech of <i>Machevill</i>, "And now the Guize is -dead," refers to the Duc de Guise, the organizer of the Massacre of -Saint Bartholomew, who died in that year. The tragedy was acted -many times before it was entered in the Stationers' Register by the two -publishers, Nicholas Ling and Thomas Millington, in 1594; but for -some reason it was not printed even then. When finally issued in the -form shown here, it was under the editorship of Thomas Heywood, -the dramatist, who explains his connection with the work in his dedication -to Thomas Hammon:</p> - -<p>"This Play, compoſed by ſo worthy an Authour as Mr. Marlo; -and the part of the Jew preſented by ſo vnimitable an Actor as Mr. -Allin, being in this later Age commended to the Stage: As I vſher'd -it into the Court, and preſented it to the Cock-pit, with theſe Prologues -and Epilogues here inſerted, ſo now being newly brought to -the preſſe I was loth it ſhould be publiſhed without the ornament of -an epistle...."</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-K2, in fours. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page60" id="page60"></a>[pg 60]</span></p> - -<h2>GEORGE HERBERT<br /><br class="b30" /> - -<span class="less2">(1593-1643)</span></h2></div> - -<p class="head"><span class="outdent">24. The | Temple. | [Four lines] </span>By M<sup>r</sup>. George Herbert. -| [Quotation] Cambridge | Printed by Thom. -Buck, | and Roger Daniel, printers | to the Univerſitie. -| 1633.</p> - -<p>Izaak Walton wrote the well-known account of the circumstances -connected with the printing of <i>The Temple</i>. He tells how Herbert, -upon his death-bed, received a visit from a Mr. Edmond Duncon, and -how he confided to him the manuscript to be delivered to Nicholas -Ferrar of Little Gidding. These are his words:</p> - -<p>"... Having said this, he did, with so sweet a humility as -seemed to exalt him, bow down to Mr. Duncon, and with a thoughtful -and contented look, say to him, 'Sir, I pray deliver this little book to -my dear brother Farrer [Ferrar], and tell him he shall find in it a picture -of the many spiritual conflicts that have passed betwixt God and -my soul ... 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 publick; -if not, let him burn it, for I and it are less than the least of -God's mercies.' Thus meanly did this humble man think of this -excellent book, which now bears the name of <i>The Temple</i>, or <i>Sacred -Poems and Private Ejaculations</i>...."</p> - -<p>The small volume was entered for license soon after the poet's -death, but was at first refused by the Vice-Chancellor. Izaak Walton -is again our informant of the circumstance:</p> - -<p>"And this ought to be noted, that when Mr. Farrer sent this book -to Cambridge to be licensed for the press, the Vice-Chancellor would -by no means allow the two so much-noted verses,</p> - -<div class="poem width21"> <div class="stanza"> -<p>'Religion stands a tiptoe in our land,</p> -<p>Ready to pass to American strand,'</p> - </div> </div> - -<p><span class="pagenum"><a name="page61" id="page61"></a>[pg 61]</span></p> - -<p>to be printed; and Mr. Farrer would by no means allow the book to -be printed and want them. But after some time and some arguments -for and against their being made publick, the Vice-Chancellor said, -'I knew Mr. Herbert well, and know that he had many heavenly -speculations, and was a divine poet; but I hope the world will not -take him to be an inspired prophet, and therefore I license the whole -book.' So that it came to be printed without the diminution or addition -of a syllable since it was delivered into the hands of Mr. Duncon, -save only that Mr. Farrer hath added that excellent preface that is -printed before it."</p> - -<p>There were two editions of the book in the same year, and beside -these, two copies are known, like the first edition in every particular, -except the title-page, which is not dated, and reads as follows:</p> - -<p><i>The</i> | <i>Temple.</i> | <i>Sacred poems</i> | <i>And</i> | <i>Private Eja-</i> | <i>culations.</i> | <i>By -M<sup>r</sup>. George Herbert, late Oratour of the Univerſitie</i> | <i>at Cambridge.</i> | -<i>Psal.</i> 29. | <i>In his Temple doth every</i> | <i>man speak of his honour.</i> | <i>Cambridge:</i> -| <i>Printed by Thomas Buck</i> | <i>and Roger Daniel:</i> | <i>And are to -be ſold by Francis</i> | <i>Green, ſtationer in</i> | <i>Cambridge.</i></p> - -<p>Grosart thinks that the undated copies were limited to a very few, -issued as gifts to intimate friends.</p> - -<p>Thomas Buck appears to have held the office of printer to the University -from 1625 for upward of forty years. During that period he -had several partners besides Daniel, with all of whom he quarrelled. -Daniel was appointed on July 24, 1632, and the next year, or the -year when Herbert's book was published, entered into an agreement -by which he received one-third of the profits of the office, while Buck -received two-thirds.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: , <i>four leaves; A-I<small>2</small>, in twelves</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page62" id="page62"></a>[pg 62]</span></p> - -<h2>JOHN DONNE<br /><br class="b30" /> - -<span class="less2">(1573-1631)</span></h2></div> - -<p class="head"><span class="outdent">25. Poems, | By J. D. | With | Elegies </span>| On The Authors | -Death. | London.| Printed by M. F. for Iohn Marriot, | -and are to be ſold at his ſhop in St. Dunſtans | Churchyard -in Fleet-ſtreet. 1633.</p> - -<p>An entry in the Registers of the Stationers' Company shows the -book to have been regularly licensed, though somewhat delayed -owing to the doubts of the censor concerning the Satires and certain -of the Elegies.</p> - -<p class="rindent">"<i>13<sup>o</sup> Septembris 1632</i></p> - -<p>"John Marriott. Entred for his Copy vnder the handes of Sir Henry -Herbert and both the Wardens a booke of verses and Poems (the five -satires, the first, second, Tenth, Eleaventh and Thirteenth Elegies -being excepted) and these before excepted to be his, when he bringes -lawfull authority ... vj<sup>d</sup>.</p> - -<p class="center">"written by Doctor John Dunn."</p> - -<p>But in 1637, after two editions had been published, the poet's son, -who had a somewhat unsavory reputation, addressed a petition to the -Archbishop of Canterbury stating that it had been put forth "withoute -anie leaue or Authoritie," and, as a result, the Archbishop issued the -following order, December 16, 1637.</p> - -<p>"I require ye Parties whom this Petition concernes not to meddle -any farther with ye Printing or Selling of any ye pretended workes of -ye late Deane of St. Paules, saue onely such as shall be licensed by -publike authority, and approued by the Petitioner, as they will answere -ye contrary to theyr perill. And this I desire Mr. Deane of ye Arches -to take care."</p> - -<p>In view of this discussion, Marriot's note in "The Printer To The -Understanders," which is not found in all copies, and which, since it -<span class="pagenum"><a name="page63" id="page63"></a>[pg 63]</span> -is printed on two extra leaves, was evidently an afterthought for -late issues, takes on an added interest. It would be difficult to say -whether his apologies touching on all these matters were actuated by -the noble spirit in which he claims he printed the book, or to ward off -anticipated criticism. One is almost tempted to try and read between -the lines when he exclaims:</p> - -<p>"If you looke for an Epiſtle, as you haue before ordinary publications, -I am ſory that I muſt deceive you; but you will not lay it to my -charge, when you shall conſider that this is not ordinary ..., you -may imagine (if it pleaſe you) that I could endeare it unto you, by -ſaying, that importunity drew it on, that had it not beene preſented -here, it would haue come to us beyond the Seas (which perhaps is -true enough,) that my charge and paines in procuring of it hath beene -ſuch, and ſuch. I could adde hereunto a promiſe of more correctneſſe, -or enlargement in the next Edition, if you ſhall in the meane time -content you with this....</p> - -<p>"If any man (thinking I ſpeake this to enflame him for the vent of -the Impreſſion) be of another opinion, I ſhall as willingly ſpare his -money as his judgement. I cannot looſe ſo much by him as hee will -by himſelfe. For I ſhall ſatiſfie my ſelfe with the conſcience of well -doing, in making ſo much good common.</p> - -<p>"Howſoeuer it may appeare to you, it ſhall ſuffice me to enforme -you that it hath the beſt warrant that can bee, publique authority and -private friends."</p> - -<p>The younger Donne's petition is supported by the appearance of -the book itself, which was edited in a very careless fashion, without any -attempt at order or relation. But, on the other hand, as Mr. Edmund -Gosse has pointed out, Marriott and his edition really do seem to -have had the support of the best men among Donne's disciples and -friends: King, Hyde, Thomas Browne, Richard Corbet, Henry Valentine, -Izaak Walton, Thomas Carew, Jasper Mayne, Richard Brathwaite -and Endymion Porter, all of whom, beside several others, combined -to write the Elegies mentioned on the title-page.</p> - -<p>The printer, "M. F.," was Miles Flesher, or Fletcher, successor to -George Eld, and one of the twenty master printers who worked during -this most troublous period, following the famous act of July 11, 1637. -He also printed for Marriott the second edition of 1635 in octavo, -and the third of 1639, which, in the matter of contents, is practically -the same as the second.</p> -<p><span class="pagenum"><a name="page64" id="page64"></a>[pg 64]</span></p> - -<p>Marriott's first reference in the lines of the "Hexaſtichon Bibliopol" -which follows "The Printer To The Understanders,"</p> - -<div class="poem width24"> <div class="stanza"> -<p>"I See in his laſt preach'd, and printed booke,</p> -<p>His Picture in a ſheete; in Pauls I looke,</p> -<p>And ſee his Statue in a ſheete of ſtone,</p> -<p>And ſure his body in the graue hath one:</p> -<p>Thoſe ſheetes preſent him dead, theſe if you buy,</p> -<p>You haue him living to Eternity,"</p> - </div> </div> - -<p>refers to the portrait engraved by Martin Droeshout, issued with -<i>Death's Duell</i>, in 1632. The whole verse seems to be an apology for -the lack of a portrait in this volume. Donne was abundantly figured -afterward. The <i>Poems</i>, printed in 1635, and again in 1639, contained -his portrait at the age of eighteen, engraved by Marshall; Merian engraved -him at the age of forty-two, for the <i>Sermons</i> of 1640; and -Lombart produced the beautiful head for the <i>Letters</i> of 1651.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Title, one leaf; A-Z, Aa-Zz, and Aaa-Fff3, in fours</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page65" id="page65"></a>[pg 65]</span></p> - -<h2>SIR THOMAS BROWNE<br /><br class="b30" /> - -<span class="less2">(1605-1682)</span></h2></div> - -<p class="head"><span class="outdent">26. Religio, | Medici. |</span> Printed for Andrew Crooke. 1642. -Will: Marſhall. ſcu.</p> - -<p>This is thought to be the earlier of two anonymous editions published -in the same year, and without the author's sanction, as we learn from the -third edition published in the following year, entitled <i>A true and full -coppy of that which was moſt | imperfectly and Surreptitiously printed -before | under the name of: Religio Medici.</i> In the preface Browne -says over his signature: "... I have at preſent repreſented into the -world a ful and intended copy of that Peece which was moſt imperfectly -and surreptitiouſly publiſhed before." He repeats the complaint of -surreptitious publication in a letter to Sir Kenelm Digby, in which he -begs the latter to delay the publication of his "Animadversions -upon ... the Religio Medici" which "the liberty of these times -committed to the Press."</p> - -<p>The chief points of difference between the two surreptitious editions -have been pointed out by Mr. W. A. Greenhill in his facsimile edition -of the book, printed in 1883. The form of some of the capital letters -is occasionally different; the issue which he calls A, and to which our -copy belongs, has pp. 190, the other, B, 159; A has 25 lines to a page—B, -26; and the lines in A are shorter than those in B. After comparing -these with the authorized version, Mr. Greenhill says:</p> - -<p>"It will appear from the above collection of various readings that -the alterations made by the Author in the authorized edition consisted -chiefly in the correction of positive blunders, made (as we know from -an examination of the existing MSS.) quite as often by the copyist as -by the printer. But he also took the opportunity of modifying various -positive and strongly worded propositions by the substitution of less -dogmatic expressions, or the insertion of the qualifying words, <i>I think</i>, -<span class="pagenum"><a name="page66" id="page66"></a>[pg 66]</span> -<i>as some will have it, in some sense, upon some grounds</i>, and the like." -"Upon the whole," Mr. Greenhill thinks Browne "had good reason -to complain bitterly that the book was published, not only without -his knowledge and consent, but also in a "depraved and 'imperfect' -form."</p> - -<p>The curious coincidence that all three editions, spurious and authorized, -were issued by the same publisher, who used the engraved title-page -by William Marshall for each, only changing the imprint, gave -rise to the hypothesis that, if Sir Thomas did not authorize, he did -not prevent the publication of the early editions. In fact, Dr. Johnson -(though he professes to acquit him) favored the view "that -Browne procured the anonymous publication of the treatise in order to -try its success with the public before openly acknowledging the authorship."</p> - -<p>The effect of the work certainly justified any fears the author may -have had. It excited much controversy and was placed in the <i>Index -Expurgatorius</i> of the Roman Church. But from the publisher's point -of view, it was a great success. Eleven editions appeared during -Browne's lifetime, it was reprinted over and over again, and it provoked -over thirty imitations of its scope or title. It was translated -into Latin, Dutch, French and German.</p> - -<p>The emblematic fancy of Marshall has represented on the engraved -title-page of this volume, a hand from the clouds catching a man to -hinder his falling from a rock into the sea. The picture bears the legend -" coelo salus," which was afterward erased, not, we will hope, because -of lack of faith in the sentiment expressed. The title was also rubbed -out.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Engraved title, one leaf; A-M, in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page67" id="page67"></a>[pg 67]</span></p> - -<h2>EDMUND WALLER<br /><br class="b30" /> - -<span class="less2">(1606-1687)</span></h2></div> - -<p class="head"><span class="outdent">27. The | Workes | Of | Edmond VValler </span>| Eſquire, | -[Four lines] Imprimatur | Na. Brent. Decem. 30. -1644. | London, | Printed for Thomas Walkley | 1645.</p> - -<p>The "Workes" of this poet "nursed in parliaments" consist of poems -and speeches. The book was probably issued early in the year, -having, as we see from the title-page, been licensed in December, -1644. There are copies identical in every other respect, that show a -block of printer's ornament instead of the "Imprimatur," and still -others with quite a new title-page, which reads: <i>Poems,| &c. | Written -By | Mr. Ed. Waller | of Beckonſfield, Eſquire; lately a | Member -of the Honourable | House of Commons. | All the Lyrick Poems in -this Booke | were ſet by Mr. Henry Lavves Gent. | of the Kings Chappell, -and one of his | Majeſties Private Muſick. | Printed and Publiſhed -according to Order. | London, | Printed by T. W. for Humphrey Moſley, -at the | Princes Armes in Pauls Church- | yard.</i> 1645.</p> - -<p>New poems have been added to this last issue, and "The Table" -of contents has been inserted between the poems and speeches. -There is also an Epistle "To my Lady," and "An advertiſement to -the Reader" wherein we read:</p> - -<p>"This parcell of exquiſit poems, have paſſ'd up and downe through -many hands amongſt perſons of the beſt quallity, in looſe imperfect -Manuſcripts, and there is lately obtruded to the world an adulterate -Copy, surruptitiouſly and illegally imprinted, to the derogation of the -Author, and the abuſe of the Buyer. But in this booke they apeare in -their pure originalls and true genuine colours."</p> - -<p>We may with reasonableness see in the first variation a publisher's -trick to make his book appear to have had a quick sale; while the -second might indicate a transfer of the unsold sheets from Walkley to -<span class="pagenum"><a name="page68" id="page68"></a>[pg 68]</span> -Moseley, who for some reason, perhaps an agreement arrived at with -the poet, considered himself to be the authorized publisher.</p> - -<p>Later in the same year, Moseley issued a reprint, which omitted -the Speeches, and a new edition in octavo with a title-page which -now reads:</p> - -<p><i>Poems, &c.</i> | <i>Written By</i> | <i>Mr. Ed. Waller</i> | [<i>Three lines</i>] <i>And -Printed by a Copy of</i> | <i>his own hand-writing.</i> | [<i>Four lines</i>] <i>Printed -and Publiſhed according to Order.</i> | <i>London</i>, | <i>Printed by J. N. for Hu. -Moſley, at the Princes</i> | <i>Armes in Pauls Church-yard</i>, | 1645.</p> - -<p>The volume has been entirely reprinted.</p> - -<p>The Speeches appear again, but the rest of the contents remain as -before. Mr. Beverly Chew, in an article on "The First Edition of -Waller's Poems," says: "It is this edition that is generally called the -'first authorized edition,' but it is quite evident that all of the editions -of this year stand about on the same level so far as the author is -concerned." Not until the edition of 1664 do we read on the title-page, -"Never till now Corrected and Published with the approbation -of the Author."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Title, one leaf, B-H, in eights</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page69" id="page69"></a>[pg 69]</span></p> - -<h2>FRANCIS BEAUMONT<br /><br class="b30" /> - -<span class="less2">(1584-1616)</span><br /><br class="b30" /> - -<span class="small">AND</span><br /><br class="b30" /> - -JOHN FLETCHER<br /><br class="b30" /> - -<span class="less2">(1579-1625)</span></h2></div> - -<p class="head"><span class="outdent">28. Comedies | And | Tragedies </span>| Written by | Francis -Beaumont | And | Iohn Fletcher | Gentlemen. | Never -printed before, | And now publiſhed by the Authours | -Originall Copies. | [Quotation] London, | Printed for -Humphrey Robinſon, at the three Pidgeons, and for | -Humphrey Moſeley at the Princes Armes in S<sup>t</sup> Pauls | -Church-yard. 1647.</p> - -<p>These two dramatists, between whom "there was a wonderfull consimility -of phancy," and who shared everything in common, were inseparably -connected in their writings. No collected edition of their -plays appeared before this posthumous one, which is dedicated to -Philip, Earl of Pembroke, by ten actors, and is introduced to the -reader by James Shirley, the dramatist, who speaks of the volume as -"without flattery the greatest Monument of the Scene that Time and -Humanity have produced." This, too, notwithstanding the fact that -Shakespeare's <i>Works</i> had appeared twenty-four years before.</p> - -<p>This edition appears to have been due to Moseley's enterprise. He -tells us in a frank address called "The Stationer to the Readers":</p> - -<p>"'T were vaine to mention the Chargeableneſſe of this VVork; for -thoſe who own'd the Manuſcripts, too well knew their value to make a -cheap eſtimate of any of theſe Pieces, and though another joyn'd with -<span class="pagenum"><a name="page70" id="page70"></a>[pg 70]</span> -me in the Purchaſe and Printing, yet the <i>Care & Pains</i> were wholly -mine...."</p> - -<p>Commenting upon the fact stated on the title-page that the plays -had not been printed before, he says: "You have here a New Booke; -I can ſpeake it clearely; for of all this large Uolume of Comedies -and Tragedies, not one, till now, was ever printed before...." -"And as here's nothing but what is genuine and Theirs, ſo you will -find here are no Omiſſions; you have not onely All I could get, but -all that you muſt ever expect. For (beſides thoſe which were formerly -printed) there is not any Piece written by theſe Authours, either -Joyntly or Severally, but what are now publiſhed to the VVorld in this -Volume. One only Play I muſt except (for I meane to deale openly) -'tis a Comedy called the <i>VVilde-gooſe-Chase</i>, which hath beene long -lost...."</p> - -<p>Nothing which throws light upon the history of printing at this -time is more interesting than the Postscript added at the end of the -commendatory verses by Waller, Lovelace, Herrick, Ben Jonson and -others, and immediately after a poem by Moseley himself ending, "If -this Booke faile, 'tis time to quit the Trade." ...</p> - -<p>"... After the <i>Comedies</i> and <i>Tragedies</i> were wrought off, we were -forced (for expedition) to ſend the <i>Gentlemens</i> Verſes to ſeverall -Printers, which was the occaſion of their different Character; but the -<i>Worke</i> it ſelfe is one continued Letter, which (though very legible) is -none of the biggeſt, becauſe (as much as poſſible) we would leſſen the -Bulke of the Volume."</p> - -<p>This matter of size seems to have been the cause of no little solicitude -and care. Speaking of adding more plays to the volume, he says:</p> - -<p>"And indeed it would have rendred the Booke ſo Voluminous, that -<i>Ladies</i> and <i>Gentlewomen</i> would have found it ſcarce manageable, who -in Workes of this nature muſt firſt be remembred."</p> - -<p>There are thirty-six plays in the collection: as the stationer tells -us in the preface to the reader quoted above, all those previously -printed in quarto are included, except the <i>Wild Goose Chase</i>, which had -been lost. It is added at the end of the volume with a separate title-page -dated 1652.</p> - -<p>The following epigram by Sir Aston Cockain, addressed to the publishers, -the two Humphreys, is not without interest in this connection -as showing that the difficulties arising from the joint authorship were -early sources of perplexity:</p> -<p><span class="pagenum"><a name="page71" id="page71"></a>[pg 71]</span></p> - -<div class="poem width24"> <div class="stanza"> -<p class="i2">"In the large book of Plays you late did print</p> -<p>(In Beaumonts and in Fletchers name) why in't</p> -<p>Did you not juſtice? give to each his due?</p> -<p>For Beaumont (of thoſe many) writ in few:</p> -<p>And Maſſinger in other few; the Main</p> -<p>Being ſole Iſſues of ſweet Fletchers brain.</p> -<p>But how come I (you ask) ſo much to know?</p> -<p>Fletchers chief boſome-friend inform'd me ſo.</p> -</div><div class="stanza"> -<p class="i2q">. . .<span class="left15">. . .</span> -<span class="left15">. . .</span><span class="left15">. . .</span> -<span class="left15">. . .</span></p> -</div><div class="stanza"> -<p>For Beaumont's works, & Fletchers ſhould come forth</p> -<p>With all the right belonging to their worth."</p> - </div> </div> - -<p>Moseley, in his address as stationer, says of the portrait of Fletcher -by William Marshall, which bears the inscriptions, "Poetarum Ingeniosissimus -Ioannes Fletcherus Anglus Episcopi Lond: Fili." "Obijt -1625 tat 49": "This figure of Mr. Fletcher was cut by ſeveral -Originall Pieces, which his friends lent me; but withall they tell me, -that his unimitable Soule did ſhine through his countenance in ſuch -<i>Ayre</i> and <i>Spirit</i>, that the Painters confeſſed it, was not eaſie to expreſſe -him." The nine lines of verse beneath the portrait are by Sir John -Birkenhead. The portrait is found in two states, distinguishable by -the size of the letters in Birkenhead's name. Although he was very -ambitious to get a portrait of Master Beaumont, his search proved -unavailing.</p> - -<p>There are a few woodcut head-bands, varied with others made of -type metal, in the front part of the book, but the last part is severely -plain. -</p> - -<p class="ind1">Folio. The first collected edition.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Portrait; A, four leaves; a-c, in fours; d-g, in - twos; B-L<small>2</small>, in fours; Aa-Ss, in fours; Aaa-Xxx, in fours; - 4A-4I, in fours; 5A-5X, in fours; 6A-6K, in fours; 6L, six leaves; - 7A-7G, in fours; 8A-8C, in fours; *Dddddddd, two leaves; - 8D-8F, in fours.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page72" id="page72"></a>[pg 72]</span></p> - -<h2>ROBERT HERRICK<br /><br class="b30" /> - -<span class="less2">(1591-1674)</span></h2></div> - -<p class="head"><span class="outdent">29. Hesperides: | Or, | The Works </span>| Both | Humane & -Divine | Of | Robert Herrick Eſq. [Quotation, Printer's -mark] London, | Printed for John Williams, and -Francis Eglesfield, | and are to be ſold at the Crown -and Marygold | in Saint Pauls Church-yard. 1648.</p> - -<p>A volume entitled "The seuerall Poems written by Master Robert -Herrick" was entered by Master Crooke for license April 29, 1640, -but was not published. The <i>Hesperides</i> was the first work of the -poet to be printed, except some occasional contributions to collections -of poems. It is dedicated in a metrical epistle to the most illustrious -and most hopeful Charles, Prince of Wales, afterward Charles II.</p> - -<p>The book is divided into two parts, the second having a separate -title-page which reads: <i>His</i> | <i>Noble Numbers:</i> | <i>Or</i>, | <i>His Pious -Pieces</i>, | <i>Wherein</i> (<i>amongſt other things</i>) | <i>he ſings the Birth of his -Christ:</i> | <i>and ſighs for his Saviours ſuffe-</i> | <i>ring on the Croſſe</i>.| [<i>Quotation</i>] -<i>London</i>. | <i>Printed for John Williams</i>, and <i>Francis Eglesfield</i>, -1647. |</p> - -<p>This part was not issued, as far as is known, except with the -Hesperides to which the author evidently intended it to be affixed, if -we may judge by the lines toward the end of the first part: "Part of -the work remains; one part is past."</p> - -<p>The year of publication had seen Herrick dispossessed of his -living at Dean Prior by the predominant Puritan party, and it has -been suggested that he was glad to take this means of gaining an -income. His use of the form, "Robert Herrick, Esquire," was, it -is thought, a wise move on the part of the publishers, since a book by -the "Reverend," or "Robert Herrick, Vicker" would have been less -likely to meet with favor.</p> -<p><span class="pagenum"><a name="page73" id="page73"></a>[pg 73]</span></p> - -<p>Neither Williams nor Eglesfield was a bookseller of importance, -and the printer is entirely unknown. He may have withheld his -name for fear of the judgment suggested by Herrick at the head -of his column of Errata:</p> - -<div class="poem width24"> <div class="stanza"> -<p>"For theſe Tranſgreſsions which thou here doſt ſee,</p> -<p>Condemne the Printer, Reader, and not me;</p> -<p>Who gave him forth good Grain, though he miſtook</p> -<p>The Seed; ſo ſow'd theſe Tares throughout my Book."</p> - </div> </div> - -<p>Copies vary in the imprint, some reading <i>London, Printed for John -Williams and Francis Eglesfield, and are to be ſold by Tho. Hunt, Bookſeller -in Exon, 1648</i>; and several differences of spelling, capitalization -and punctuation also occur. These variations have given rise to a -discussion that aims to determine the sequence of issues; but thus far -it serves only to prove that constant editorial tinkering took place -at the press-side.</p> - -<p>William Marshall, whose prolific graver (Strutt says he used only -that tool) produced portraits, frontispieces, title-pages, and other -decorations of a certain charm, even if dry and cramped in style, -had in Herrick a subject of more than usual difficulty. As if conscious -of his shortcomings he attempts to make atonement by the -emblematic flattery of Pegasus winging his flight from Parnassus, the -Spring of Helicon, loves and flowers, which he adds to lines signed -<i>I. H. C.</i> and <i>W. M.</i></p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Four leaves (without signatures): B-Z and Aa-Cc, in - eights, Aa-Ee, in eights.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page74" id="page74"></a>[pg 74]</span></p> - -<h2>JEREMY TAYLOR<br /><br class="b30" /> - -<span class="less2">(1613-1667)</span></h2></div> - -<p class="head"><span class="outdent">30. The Rule | And | Exercises </span>| Of | Holy Living. | -[Eleven lines] London, | Printed for Francis Aſh, -Book- | Seller in Worceſter. | MDCL. [Colophon] -London, | Printed by R. Norton. | MDCL.</p> - -<p>The remarkably well-designed title-page engraved by Robert Vaughan, -which precedes the printed title, bears the imprint, <i>London printed for R: -Royſton | in Ivye lane</i>. 1650. and some copies have the following imprint -on the title-page: <i>London, | Printed for Richard Royſton at -the | Angel in Ivie-Lane. | MDCL.</i> Royston was the royal bookseller, -and publisher of <i>Eikon Basilike</i>, which ran through fifty editions in -the single year 1649. Taylor's work was also a popular venture, and -reached a fourteenth edition in 1686.</p> - -<p>This edition contains "Prayers for our Rulers," which recalls the fact -that these were stirring times when the book was published. Charles -had been beheaded in January of the previous year, and Cromwell -won his victory at Worcester, where Ash had his shop, in the year -following. It was not without some worldly wisdom of living, then, -that our author used the above heading, and later, when times were -changed, altered it so as to make it read, "For the King."</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Frontispiece; , twelve leaves; A-S4, in twelves.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page75" id="page75"></a>[pg 75]</span></p> - -<h2>IZAAK WALTON<br /><br class="b30" /> - -<span class="less2">(1593-1683)</span></h2></div> - -<p class="head"><span class="outdent">31. The | Compleat Angler </span>| [Six lines, Quotation.] London, -Printed by T. Maxey for Rich. Marriot, in | S. -Dunſtans Church-yard Fleetſtreet, 1653.</p> - -<p>In the <i>Perfect Diurnall</i>, as well as in other broad-sheets, the following -advertisement appeared from Monday, May 9, to Monday, May -16, 1653:</p> - -<p>"The Compleat Angler or the Contemplative Man's Recreation, -being a Diſcourſe of Fish and Fishing, not unworthy the peruſal -of moſt Anglers, of 18 pence price. Written by Iz. Wa. Alſo the -known Play of the Spaniſh Gipſee, never till now publiſhed. Both -printed for Richard Marriot, to be ſold at his ſhop in St. Dunſtans -Church-yard, Fleet Street." Walton could hardly have expected -his work to be anonymous when his very distinctive initials appeared -so plainly in the advertisement. And even though they are -not printed on the title-page of the book, they are signed to the -dedication to his most honoured friend, Mr. John Offley of Madeley -Manor, and at the end of the address "To the Reader of this Discourse: -but eſpecially To the honeſt Angler." The name was added -to the title in the fifth or 1676 edition, called <i>The Universal Angler.</i></p> - -<p>Contemplative men did indeed find the work not unworthy their -perusal, and Marriot, who seems to have been fortunate in the books -he published, alone issued five editions during the life of the author. -Between then and now we may count no less than one hundred and -thirty different imprints. At Sotheby's, in 1895, a copy of this eighteen-pence -book sold for four hundred and fifteen pounds, an earnest of -its rarity and of the eagerness with which it is sought.</p> - -<p>Concerning the engraved cartouche with the first part of the title, -on the title-page, and the six illustrations of fish engraved in the text, -<span class="pagenum"><a name="page76" id="page76"></a>[pg 76]</span> -the author says "To the Reader of this Discourse": "And let me -adde this, that he that likes not the diſcourſe ſhould like the pictures -of the <i>Trout</i> and other fiſh, which I may commend, becauſe they -concern not myſelf." No name is given to show whose work they -may be; they are sometimes ascribed to Pierre Lombart, a Frenchman -resident in London, and employed by book-publishers to illustrate -their books. But on the other hand we must not forget that -Vaughan and Faithorne were both making illustrations for books at this -time. There is reason for calling attention to the belief, formerly current, -that the engravings were done on plates of silver, a notion which, -as Thomas Westwood remarks, is sufficiently disproved by their repeated -use in no less than five editions of <i>The Compleat Angler</i>, and -the same number of Venable's <i>Experienc'd Angler</i>.</p> - -<p>Henry Lawes, the musician, and the author of several works, wrote -the music to "The Anglers' Song For two Voyces, Treble and Baſſe," -which occupies pages 216 and 217. The right-hand page is printed -upside down for the greater convenience of the singers, who could -thus stand facing one another. Lawes used a similar arrangement in -his <i>Select Ayres and Dialogues</i>, published the same year as the <i>Angler</i>.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-R3, in eights.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page77" id="page77"></a>[pg 77]</span></p> - -<h2>SAMUEL BUTLER<br /><br class="b30" /> - -<span class="less2">(1612-1680)</span></h2></div> - -<p class="head"><span class="outdent">32. Hudibras. | The First Part, </span>| Written in the time of the -late Wars. | [Device] London, | Printed by J. G. for -Richard Marriot, under Saint | Dunstan's Church in -Fleetſtreet. 1663.</p> - -<p>Although "written in the time of the late Wars," <i>Hudibras</i> was not -licensed to be printed until November 11, 1662, two years after the -restablishment of the monarchy, when a satire on Puritanism could -no longer give offense to the ruling party. On the contrary, the -satisfaction which it gave to the King and court had much to do -with the great success it achieved. Butler himself records the royal -favor:</p> - -<div class="poem width21"> <div class="stanza"> -<p>"He never ate, nor drank, nor slept,</p> -<p>But 'Hudibras' still near him kept;</p> -<p>Nor would he go to church or so,</p> -<p>But 'Hudibras' must with him go."</p> - </div> </div> - -<p>Marriot, the successful publisher of Walton's <i>Angler</i> and some of -Donne's books, issued the first part in three different forms, large -octavo, like our copy, small octavo, and duodecimo; the last two -sizes being sold for a lower price than the former, to meet the popular -demand for the work. Besides these there is another edition, in three -issues of the same date, which has no name of printer or publisher in -the imprint, although, like Marriot's copies, it bears the license, "Imprimatur. -Jo: Berkenhead, Novemb. 11, 1662." If it were not for -this imprimatur, the following notice, which appeared in the <i>Public -Intelligencer</i> for December 23, 1662, would make it seem certain that -the nameless edition was really spurious:</p> - -<p>"There is stolen abroad a most false imperfect copy of a poem -called <i>Hudibras</i>, without name either of printer or bookseller, as fit for -so lame and spurious an impression. The true and perfect edition -<span class="pagenum"><a name="page78" id="page78"></a>[pg 78]</span> -printed by the author's original, is sold by Richard Marriot under -St. Dunstan's church in Fleet Street; that other nameless is a cheat, -and will not abuse the buyer as well as the author, whose poem -deserves to have fallen into better hands." But the presence of the -regular license brings us to the very probable theory that Marriot may -have issued both editions; the first without his name because he was -unwilling to allow it to appear until the fortune of the book seemed -certain.</p> - -<p>Singularly enough, Marriot did not issue <i>The Second Part. By the -Authour of the Firſt</i>, which came out the next year in two sizes, octavo -and small octavo, <i>Printed by T. R. for John Martyn, and James -Alleſtry, at the Bell in St. Pauls Church Yard</i>. Ten years later we -find the volume being issued by Martyn and also by Herringman.</p> - -<p><i>The Third and laſt</i> | <i>Part</i>. | <i>Written by the Author</i> | <i>Of The | First -and Second Parts</i>. | <i>London</i>, | <i>Printed for Simon Miller, at the Sign of -the Star</i> | <i>at the Weſt End of St. Pauls, 1678.</i> was only published in -one size, the octavo. We get an idea of the great interest the book -created, when, after a lapse of so many years, this last part ran into a -second edition in a twelvemonth.<a name="footnotetag1" id="footnotetag1"></a><a class="ask" href="#footnote1"><big>*</big></a></p> - -<p>Mr. Pepys is our authority for the cost of the spurious book. He -says, in his Diary on Christmas Day, 1662: "Hither come Mr. -Battersby; and we falling into a discourse of a new book of drollery -in verse, called Hudebras, I would needs go find it out, and met with -it at the Temple: it cost 2s. 6d. But when I came to read it, it is so -silly an abuse of the Presbyter Knight going to the warrs, that I am -ashamed of it; and by and by, meeting at Mr. Townsend's at dinner, -I sold it to him for 18d." He afterward tried to read the second part, -so we learn from his notes dated November 28, 1663; but which issue -he used we shall never know. He says:</p> - -<p>"... To Paul's Church Yarde, and there looked upon the second -part of Hudibras, which I buy not, but borrow to read, to see if he -be as good as the first, which the world do cry so mightily up, though -it hath not a good liking in me...."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Title; A-R, in eights</i>.</p> - -<p class="footnote"><a id="footnote1" name="footnote1"></a> <a class="ask" href="#footnotetag1"><big>*</big></a> -It should be noted that some copies of the volume have the record of the license and some have none.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page79" id="page79"></a>[pg 79]</span></p> - -<h2>JOHN MILTON<br /><br class="b30" /> - -<span class="less2">(1608-1674)</span></h2></div> - -<p class="head"><span class="outdent">33. Paradiſe loft. | A | Poem |</span> Written in | Ten Books | By -John Milton. | Licenſed and Entred according | to -Order. | London | 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.</p> - -<p>Milton began his great epic in 1658, and is said to have finished it in -1663. It was licensed after some delay, occasioned by the hesitation -of the deputy of the Archbishop of Canterbury over the lines:</p> - -<div class="poem width24"> <div class="stanza"> -<p class="i2">"As when the Sun, new ris'n</p> -<p>Looks through the Horizontal Misty Air</p> -<p>Shorn of his Beams, or from behind the Moon</p> -<p>In dim Eclips, disastrous twilight sheds</p> -<p>On half the Nations, and with fear of change</p> -<p>Perplexes Monarchs."</p> - </div> </div> - -<p>He may, as Professor Masson has pointed out, have had difficulty -in finding a publisher able and willing to venture upon the printing of -a work by one "whose attacks on the Church and defenses of the execution -of Charles I. were still fresh in the memory of all, and some -of whose pamphlets had been publicly burnt by the hangman after the -Restoration." Few probably of those whose shops had centered -around Paul's Churchyard, the very heart of the book-trade, could -have done so, for they were, if not ruined, certainly inconvenienced -by the loss of their stock and shops in the Great Fire of the year before. -It is small wonder that Simmons, to whom, through some -<span class="pagenum"><a name="page80" id="page80"></a>[pg 80]</span> -agency or other, the poet did come, drove a hard bargain when the -agreement for the copyright was entered into, April 27, 1667. The -original of this agreement came into the possession of the Tonsons, -the proprietors of the copyright, and was finally presented to the -British Museum by Samuel Rogers, who acquired it from Pickering the -publisher. "Milton was to receive 5 l. down, and 5 l. more upon -the sale of each of the first three editions. The editions were to be -accounted as ended when thirteen hundred copies of each were sold -'to particular reading customers,' and were not to exceed fifteen -hundred copies apiece. Milton received the second 5 l. in April, -1669, that is 15 l. in all. His widow in 1680 settled all claims upon -Simmons for 8 l. and Simmons became proprietor of the copyright, -then understood to be perpetuated."</p> - -<p>The book made its appearance at an unfortunate time. London -had barely recovered from the Plague of 1665 (during which eighty -printers had died, wherein is seen another reason for the difficulty in -finding a publisher), and the great district devastated by the Fire was -still only partly rebuilt. It was not surprising that the 1200 copies -which are thought to have made the first edition did not have a brisk -sale; these were not exhausted for at least eighteen months, and a -second impression was not put out for four years.</p> - -<p>The copies of the first printing may be divided into several classes, -according to the title-pages they bear. These all differ from one -another in several more or less important particulars, but the text -of the work is identical in all cases, except for a few typographical -errors. Two titles, supposed to be the earliest, were <i>Licenſed and -Entred according | to Order</i>, and have the imprint:</p> - -<p><i>London</i> | <i>Printed, and are to be ſold by Peter Parker</i> | <i>under Creed -Church neer Aldgate; And by</i> | <i>Robert Boulter at the Turks Head in -Biſhopſgate-ſtreet;</i> | <i>And Matthias Walker, under St. Dunſtons Church</i> | -<i>in Fleet-ſtreet, 1667.</i></p> - -<p>On these the poem is seen to be by "John Milton," and the only -difference between them lies in the type used for Milton's name, one -being of a smaller size than the other. A third title-page, having a -similar imprint but dated 1668, has "The Author J. M." A fourth has -"The Author John Milton," the license has given place to a group of -<i>fleurs-de-lis</i>, and the imprint reads:</p> - -<p><i>London</i>, | <i>Printed by S. Simmons, and to be ſold by S. Thomſon at</i> | -<i>the Biſhopſ-Head in Duck-lane, H. Mortlack, at the</i> | <i>White Hart in</i> -<span class="pagenum"><a name="page81" id="page81"></a>[pg 81]</span> -<i>Weſtminſter Hall, M. Walker under</i> | <i>St. Dunſtans Church in Fleet-ſtreet, -and R. Boulter at</i> | <i>the Turks-Head in Biſhopſgate ſtreet, 1668.</i></p> - -<p>Two new title-pages were used in 1669, differing only in the type. -The imprint reads:</p> - -<p><i>London</i>, | <i>Printed by S. Simmons, and are to be ſold by</i> | <i>T. Helder at -the Angel in Little Brittain.</i> | <i>1669.</i></p> - -<p>Beside these there are others. Early bibliographers claimed that -eight or even nine variations existed, but later investigation has failed -to verify more than six.</p> - -<p>The chief point of interest in all these variations lies in the fact -that Peter Parker, not Simmons, issued the first volumes. As we have -pointed out above, the theory has been advanced that the owner of -the copyright was timid about avowing his connection with the poet. -A more natural reason would seem to be that he was unable to print -the book at first, through losses, in the Fire perhaps, of presses and -types. Such a theory would seem to derive weight from the fact that -the issues of 1668 and 1669 which bear his name do not give an address, -and it is not until the second edition of 1674 that we find him -"next door to the Golden Lion in Aldersgate-ſtreet."</p> - -<p>The original selling price of the volume was three shillings. The -prices now vary according to the sequence of the title-pages. A copy -of the first issue sold in New York in 1901 for eight hundred and -thirty dollars.</p> - -<p>The volume has no introductory matter, but begins at once with -the lines "Of Mans Firſt Diſobedience"; Simmons added the following -note to the second edition: "There was no Argument at firſt -intended to the Book, but for the ſatisfaction of many that have deſired -it, is procured." The printer adopted a very useful custom in -numbering the lines of the poem. He set the figures down by tens in -the margin, within the double lines that frame the text.</p> - -<p class="ind1"> The first edition with the first title-page.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two leaves without signatures; A-Z, and Aa-Vv2, - in fours. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page82" id="page82"></a>[pg 82]</span></p> - -<h2>JOHN BUNYAN<br /><br class="b30" /> - -<span class="less2">(1628-1688)</span></h2></div> - -<p class="head"><span class="outdent">34. The | Pilgrims Progreſs |</span> [Eleven lines] By John Bunyan. -| Licenſed and Entered according to Order. | -London, | Printed for Nath. Ponder at the Peacock | in -the Poultrey near Cornhil, 1678.</p> - -<p>In 1672 Bunyan was released from the gaol, which, possibly with a -brief interval, had been his "close and uncomfortable" home for -twelve years; and Ponder, who, for his connection with his famous -client, was called "Bunyan's Ponder," entered the imperishable story, -written in "similitudes," at the Stationers' Hall, December 22, 1677. -The customary fee of sixpence being duly paid, early in the following -year the book was licensed, and soon after published at one shilling -sixpence.</p> - -<p>Its success was very great: the first year saw a second edition, and -the year following a third, each with important additions.</p> - -<p>Southey stated, in 1830, when he put out a new edition of the book, -that there was no copy of the first edition known, but since then five -have been unearthed, two of which are perfect.</p> - -<p>The portrait of Bunyan engraved by Robert White makes our copy -unique. It shows the author lying asleep over a lion's den, while -above him Christian is represented on his journey. Until 1886, when -this volume was brought to light, the third edition was supposed -to be the first to have a picture of the author; but now it seems -quite certain that other volumes of the first edition may, like this, -have had the print. In the edition of 1679, the label of the city -from which the Pilgrim was journeying, called "Vanity" here, was -changed to "Destruction."</p> - -<p>The price paid for this volume, when it was sold at auction in 1901, -was fourteen hundred and seventy-five pounds.</p> -<p><span class="pagenum"><a name="page83" id="page83"></a>[pg 83]</span></p> - -<p>The second part of the <i>Pilgrim's Progress</i> appeared in 1684. It -depends more upon reflected than intrinsic merit; but copies of the -first edition are even rarer than those of the first edition of the first -part.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A-Q3, in eights. Portrait.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page84" id="page84"></a>[pg 84]</span></p> - -<h2>JOHN DRYDEN<br /><br class="b30" /> - -<span class="less2">(1631-1700)</span></h2></div> - -<p class="head"><span class="outdent">35. Absalom | And | Achitophel. </span>| A | Poem. | ... Si -Propis ſtes | Te Capiet Magis.... | London, | -Printed for J. T. and are to be Sold by W. Davis in | -Amen-Corner, 1681.</p> - -<p>The Earl of Shaftesbury, here typified as Achitophel for his share in -the conspiracy to place the young Duke of Monmouth, Absalom, on -the throne, was committed to the Tower in July, 1681; and this satire -appeared in November, just before the Grand Jury acquitted him. -Notwithstanding the lateness of the work, its success was unprecedented. -We are told that Samuel Johnson's father, a bookseller -of Litchfield, said that he could not remember a sale of equal rapidity, -except that of the reports of the Sacheverell trial.</p> - -<p>The author's name does not appear in the book; nor yet in the -second edition, to which Tonson added two unsigned poems "To the -unknown author."</p> - -<p>Jacob Tonson, the publisher of the work, was one of the notable -figures in the annals of book-publishing in England, and his name is -inseparably connected with some of the most important literary -ventures of the period: with those of Milton, Addison, Steele, Congreve, -but above all with those of Dryden. Basil Kennett wrote in -1696: "Twill be as impossible to think of Virgil without Mr. Dryden, -as of either without Mr. Tonson." He was so poor when he began -business that he is said to have borrowed the twenty pounds necessary -to the purchase of the first play of Dryden's that he published; but, -thanks to his shrewdness, and to the success of his ventures, he died -in affluent circumstances, having fully earned the title of "prince of -<span class="pagenum"><a name="page85" id="page85"></a>[pg 85]</span> -booksellers." He was the founder of the famous Kit-Cat Club, and -in spite of Dryden's ill-tempered lines,</p> - -<div class="poem width24"> <div class="stanza"> -<p>"With leering looks, bull-faced and freckled fair,</p> -<p>With two left legs, with Judas-coloured hair,</p> -<p>And frowsy pores that taint the ambient air,"</p> - </div> </div> - -<p>he was not unliked by his clients and friends.</p> - -<p>The only decoration in the book consists of a head-band preceding -the poem, and an initial letter. In some copies the head-band is -pieced out to the width of the type page with small ornaments.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two leaves without signatures; B-I, in twos.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page86" id="page86"></a>[pg 86]</span></p> - -<h2>JOHN LOCKE<br /><br class="b30" /> - -<span class="less2">(1632-1704)</span></h2></div> - -<p class="head"><span class="outdent">36. An | Essay | Concerning </span>| Humane Understanding. | -In Four Books. [Quotation, Group of Ornaments] -London: | Printed by Eliz. Holt, for Thomas Baſſet, at -the | George in Fleet-ſtreet, near St Dunſtan's | Church. -MDCXC.</p> - -<p>Locke's two previous works had been issued anonymously; but this -book, while it has no name on the title-page, has the author's name -signed at the foot of the dedication to Thomas, Earl of Pembroke; -a dedication of such fulsome compliment that even Pope, who called -Locke his philosophic master, is said to have thought he could never -forgive it. In the first edition, that appeared early in the year, the -dedication is not dated, but "Dorset Court, May 24, 1689," appears -in all the following issues.</p> - -<p>Basset paid thirty pounds for the copyright of the work, and later -agreed to give six bound copies of every subsequent edition, and ten -shillings for every sheet of additional matter.</p> - -<p>Some copies of the first edition have the imprint: <i>Printed for Tho. -Baſſet, and ſold by Edw. Mory | at the Sign of the Three Bibles in St. -Paul's Church-Yard. MDCXC.</i> They probably belong to an earlier issue: -the two <i>ss</i> in <i>Essay</i>, which were here printed upside down, were set -right in the title-pages of the issue facsimiled; and the group of printer's -ornaments, here placed irregularly, were straightened in our copy.</p> - -<p>In August, 1692, Locke writes: "I am happy to tell you that a -new edition of my book is called for, which, in the present turmoil of -the protestant world, I consider very satisfactory." The month of -September, 1694 brought the book again before the public, and by -the year 1800 twenty different editions had been published.</p> -<p><span class="pagenum"><a name="page87" id="page87"></a>[pg 87]</span></p> - -<p>The first edition was full of faults that the second aimed to correct. -"Beſides what is already mentioned, this Second Edition has the Summaries -of the several . not only Printed, as before, in a Table by -themſelves, but in the Margent too. And at the end there is now an -Index added. Theſe two, with a great number of ſhort additions, -amendments, and alterations, are advantages of this Edition, which the -bookseller hopes will make it ſell. For as to the larger additions and -alterations, I have obliged him, and he has promiſed me to print them -by themſelves, ſo that the former Edition may not be wholly loſt to -thoſe who have it, but by the inſerting in their proper places the paſſages -that will be imprinted alone, to that purpoſe, the former Book -may be made as little defective as poſſible."</p> - -<p>The amendments and alterations were printed on separate slips of -paper, which were given to purchasers of the first edition to be -pasted into their copies; certainly an ingenious if not altogether -satisfactory way of keeping abreast with the author's mind. It must -have been considered useful, however, for the same plan was resorted -to with the fourth edition.</p> - -<p>"Our friend Dr. Locke, I am told, has made an addition to his excellent -'Essay,' which may be had without purchasing the whole -book," said the thrifty Evelyn to the careful Pepys, who replied: -"Dr. Locke has set a useful example to future reprinters. I hope it -will be followed in books of value." A copy of the book in the -Bodleian Library, which has its little slips all carefully pasted in, has -a note on the fly-leaf, written by its owner:</p> - -<p>"Here is observable the honesty of the great Mr. Locke in printing -for the purchasers of this edition the improvements made in the -second."</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A, four leaves; [a], two leaves; B-Z, Aa-Zz, and Aaa-Ccc, - in fours.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page88" id="page88"></a>[pg 88]</span></p> - -<h2>WILLIAM CONGREVE<br /><br class="b30" /> - -<span class="less2">(1670-1729)</span></h2></div> - -<p class="head"><span class="outdent">37. The | Way of the World,</span> | A | Comedy. | As it is -Acted | At The | Theatre in Lincoln's-Inn-Fields, | By | -His Majeſty's Servants. | Written by Mr. Congreve. | -[Quotation] London: | Printed for Jacob Tonſon, within -Gray's-Inn-Gate next | Gray's-Inn-Lane. 1700.</p> - -<p>This was the last of Congreve's plays to be performed upon the -stage. It was presented by Betterton's company, but was a failure. -"The unkind Reception this excellent comedy met with," said Charles -Wilson, "was truly the Cauſe of Mr. Congreve's juſt Reſentment; and -upon which, I have often heard him declare, that he had form'd a -ſtrong Reſolution never more to concern himſelf with Dramatic -Writings."</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>A, three leaves; a, two leaves; B-N2, in fours.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page89" id="page89"></a>[pg 89]</span></p> - -<h2>EDWARD HYDE<br /><br class="b30" /> - -<span class="less2">FIRST EARL OF CLARENDON</span><br /><br class="b30" /> - -<span class="less2">(1609-1674)</span></h2></div> - -<p class="head"><span class="outdent">38. The | History | Of The </span>| Rebellion and Civil Wars | -In | England, | [Five lines] Written by the Right Honourable -| Edward Earl of Clarendon, | [Two lines, Quotations] -Volume The First. [Vignette] Oxford, | Printed -at the Theater, An. Dom. MDCCII. [-MDCCIV].</p> - -<p>Begun in April, 1641, and finished during the period of Clarendon's -exile, which extended from 1667 until his death, the <i>History</i> was prepared -for printing under the direction of Laurence Hyde, Earl of -Rochester, who received assistance from Dr. Henry Aldrich, Dean of -Christ Church, and Thomas Sprat, Bishop of Rochester. Rochester -wrote the introduction and dedications.</p> - -<p>On the verso of the title-page of the first volume we find "Imprimatur. -Ro. Hander Vice-Can. Oxon. Apr. 29. 1702."; the second -volume is signed "Guil Delaune Vice-Can, Oxon. Sept. 15, 1703," and -the third, by Delaune, "Octob. 16, 1704."</p> - -<p>There is no dedication to the first volume, which begins at once -with the preface; but the second and third volumes are dedicated to -the queen. In the last two volumes a proclamation by her Majesty, -dated June 24, 1703, states that: "whereas Our Truſty and -Wellbeloved William Delaune, Doctor in Divinity, and Vice-Chancellor -of Our Univerſity of Oxford, has humbly preſented unto US, -in the behalf of the ſaid Univerſity, that They have at Great Expence -already Publiſhed One Volume of the late Earl of Clarendon's -Hiſtory, and intend in a ſhort time to Publiſh the Second and -Third Volumes for Compleating the Work; and the ſole Right of the -Copy of the ſaid Work being Veſted in Our Univerſity of Oxford, and -They having humbly beſought US to Grant Them Our Royal Priviledge -and Licence for the ſole Printing and Publiſhing the ſame for -the Term of Fourteen Years; ... do therefore hereby Give and -Grant ... the same." This refers to the fact that Clarendon, who -<span class="pagenum"><a name="page90" id="page90"></a>[pg 90]</span> -had been chancellor of the University from 1660 until he went into -exile, provided in his will that the profits from the sale of copies of the -<i>History</i> should belong to the University and should be expended in erecting -a building for the exclusive use of the Press, founded in "1468."</p> - -<p>Previously, and at the time of the printing of the book, the work of -the University Press was done in the "Theatre," a view of which is -given at the left of the figure of Minerva, in the vignette on the title-page. -This was the Sheldonian Theatre, built from designs by Christopher -Wren, at the expense of Archbishop Gilbert Sheldon, who succeeded -Lord Clarendon as chancellor. It was opened in 1669, and -was used for various academic purposes, as well as for the home of the -Press. Clarendon's design was fulfilled in 1713; and the Clarendon -Building, as it was called, was occupied until it was outgrown, and the -Clarendon Press, for under this name it was now equally well known, -was removed once more, in 1830, to its present quarters.</p> - -<p>The vignette, with its interesting glimpse of the buildings near the -Theatre, is signed "delin <img src="images/i_p090-20.png" width="20" height="13" alt="MB" style="margin-bottom: -0.1em;" />urg. ſculp. Univ. Ox.," in the first two volumes, -and "delin <img src="images/i_p090-20.png" width="20" height="13" alt="MB" style="margin-bottom: -0.1em;" />urghers ſculpt, Univ. Ox. 1704," in the third, -where the plate also shows other signs of having been gone over or -rengraved.<a name="footnotetag2" id="footnotetag2"></a><a class="ask" href="#footnote2"><big>*</big></a> Beside these vignettes, the work is ornamented with ambitious -copper-plate head- and tail-pieces, and initial letters, some unsigned, -but probably all by Burg. A portrait of Clarendon occurs as a -frontispiece in each of the three volumes. It is after the painting by -Sir Peter Lely, and was engraved in 1700 by Robert White, a prolific -producer of portraits framed with borders that, in most cases, were less -tasteful than this one, with its mace, bag, and coat-of-arms. The inscription -reads: "Edward Earle of Clarendon, Lord High Chancellor of -England, and Chancellor of the Univerſity of Oxford. An<sup>o</sup>. Di 1667."</p> - -<p>The plate for the third volume has been much worked over, if not -entirely redrawn in a slavish copy. White's name is erased, and Burg's -appears in its stead. Some copies of all three volumes of the first edition -are dated 1704; while others show a confusion of dates, and the -portraits do not follow the order here described.</p> - -<p class="ind1">Folio. Large paper copy.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes. Three portraits.</i></p> - -<p class="footnote"><a id="footnote2" name="footnote2"></a> <a class="ask" href="#footnotetag2"><big>*</big></a> P. L. Lamborn used a similar idea for an ornament which he engraved - for the Cambridge University Press about 1761.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page91" id="page91"></a>[pg 91]</span></p> - -<h2>THE TATLER</h2></div> - -<p class="head"><span class="outdent">39. The | Lucubrations | Of </span>| Iſaac Bickerſtaff Eſq; | -Vol. I. | [Quotation] London, | Printed: And ſold -by John Morphew, near Stationers-Hall. MDCCX. -[-MDCCXI.] Note. The Bookbinder is deſired to place the -Index after [Tatler, No. 114] which ends the Firſt Volume in Folio.</p> - -<p>The first number of the <i>Lucubrations</i>, a folio sheet headed with the -title <i>The Tatler</i>, and ending with the imprint <i>London: Printed for the -Author, 1709</i>, appeared on Tuesday, April 12. It was issued thereafter -three times a week, on Tuesdays, Thursdays, and Saturdays, "for the -convenience of the post."</p> - -<p>Public interest having displayed itself in a sufficiently emphatic -manner, the "Author" evidently felt justified in engaging a permanent -printer, and the imprint of the fifth number reads: "Sold by John -Morphew near Stationers-Hall; where Advertiſements are taken in."</p> - -<p>The first four numbers were distributed free as a kind of advertisement. -Then, "Upon the humble Petition of the Running Stationers, -&c.," they were sold at one penny. But a charge of halfpence was -added after the twenty-sixth number, "Whereas Several Gentlemen -have deſir'd this Paper, with a blank Leaf to write Buſineſs on, and -for the convenience of the poſt."</p> - -<p>"Quidquid agunt homines nostri farrago libelli" is the motto printed -at the head of the first forty numbers, and "Celebrare domestica -facta" on Nos. 41 and 42, but after that special mottoes were used. -The single numbers usually bear the name of "<i>Isaac Bickerstaff, Esq,</i>, -aged sixty-four, an old man, a philosopher, an humorist, an astrologer -and a censor," but sometimes other members of his family appear in -his stead, especially his half-sister Jenny Distaff, and her husband.</p> - -<p>Number 271, dated January 2, 1711, omits Bickerstaff's name, and -the whole paper, except for some advertisements at the end, is given -to a letter signed by Steele, in which he says: "The Printer having -<span class="pagenum"><a name="page92" id="page92"></a>[pg 92]</span> -informed me that there are as many of theſe Papers printed as will -make Four Volumes, I am now come to the End of my Ambition in -this Matter, and have nothing further to ſay to the World, under the -Character of <i>Iſaac Bickerſtaff</i>. This Work has indeed for ſome time -been diſagreeable to me, and the Purpoſe of it wholly loſt by my being -ſo long underſtood as the Author.... All I can now do for the -further Gratification of the Town, is to give them a faithful Index and -Explication of Paſſages and Alluſions...." The index, called "A -Faithful Index of the Dull as well as Ingenious Paſſages in the -Tatlers," bears at the end the important note, "[The Price of theſe -Two Sheets, Three Pence.]" The "Explication of paſſages" was -made in "The Preface," which, in our copy, is bound after the dedications -of the second volume. For, as it will thus be seen, Steele -bethought himself to add further to the gratification of the public by -printing two title-pages and four dedications, on folio sheets, for the -benefit of those subscribers who might wish to bind their copies.</p> - -<p>The title-page of the second volume is like the first, only it is dated -1711; and the foot-note reads: <img src="images/i_p092-15.png" width="28" height="15" alt="right-pointing hand" style="margin-bottom: -0.2em;" /> -"Note, The Bookbinder is deſired -to place the Index after [Tatler No. 271.] which ends the ſecond -Volume in Folio." The index to the <i>Tatlers</i> of this volume has the -note: "[The Price of theſe Three Sheets and a Half, Six Pence.]" -The notes on the dedications, and the fact that while the folio -sheets made only two volumes, four dedications were issued, shows us -that the binding of the current sheets was an afterthought, and that -the quarto edition in four volumes was relied upon to keep alive the -lucubrations. Thus the quarto edition dedications were made to do -double service.</p> - -<p>In its present form the first volume is dedicated anonymously to -Mr. Arthur Maynwaring, while the second has the other three dedications. -One, to Edward Wortley Montague, signed Isaac Bickerstaff, -has the note: "The Dedication foregoing belongs to the Second -Volume of Tatlers in Octavo; which begins with N<sup>o</sup> 51, and ends -with N<sup>o</sup> 114". One, to William, Lord Cowper, signed Richard -Steele, has the note: "The foregoing Dedication belongs to the Third -Volume of Tatlers in Octavo, which begins with N<sup>o</sup>. 115, and ends -with N<sup>o</sup>. 189." The last one, dedicated to Charles, Lord Halifax, also -signed by Steele, has a note which reads: "This Dedication belongs -to the Fourth Volume of Tatlers in Octavo, which begins with N<sup>o</sup> 190, -and ends with N<sup>o</sup> 271."</p> -<p><span class="pagenum"><a name="page93" id="page93"></a>[pg 93]</span></p> - -<p>Aitken tells us that, "Like other publications of the time, the successive -numbers of the Tatler were reprinted in Dublin and Edinburgh, as -they came out. The Dublin issue was in quarto form, the Edinburgh -paper a folio sheet, rather smaller than the original, and with a fresh -set of advertisements of interest to local readers."</p> - -<p>In No. 102, our editor says of the octavo edition:</p> - -<p>"Whereas I am informed, That there is a ſpurious and very incorrect -Edition of theſe Papers printed in a ſmall Volume; Theſe are to -give Notice, That there is in the Preſs, and will ſpeedily be publiſhed, -a very neat Edition, fitted for the Pocket, on extraordinary good -Paper, a new Brevier Letter, like the Elzevir Editions, and adorned -with ſeveral Cuts by the beſt Artiſts. To which is added, a Preface, -Index, and many Notes, for the better Explanation of theſe Lucubrations. -By the Author. Who has reviſed, amended, and made many -Additions to the Whole." In the last number he says again: "The -Third Volume of theſe Lucubrations being juſt finiſh'd, on a large -Letter in Octavo, ſuch as pleaſe to ſubſcribe for it on a Royal Paper, -to keep up their Sets, are deſired to ſend their Names to Charles -Lillie, Perfumer, at the Corner of Beauford-Buildings, in the Strand, -or John Morphew near Stationers Hall, where the Firſt and Second -Volumes are to be deliver'd."</p> - -<p>The price of the corrected work in four quarto volumes, if bought -of the printer, was 1 per volume on royal paper, and ten shillings -on medium paper; and it is gratifying to learn that the work met -with so great a success that there was hardly a name eminent at the -time which was not subscribed.</p> - -<p>A copy in the British Museum has for a frontispiece a portrait of -"Isaac Bickerstaff Esq. Engraved and ſold by John Sturt in Golden-Lion -Court in Alderſgate Street Price Six Pence. MDCCX." and -signed <i>B. L ens ſen<sup>r</sup> delineavit</i>.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes. No signatures.</i> Volume I: <i>iv pp. -[114 ll.], iv pp.</i> Volume II: <i>viii pp. [271 ll.], vi pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page94" id="page94"></a>[pg 94]</span></p> - -<h2>THE SPECTATOR</h2></div> - -<p class="head"><span class="outdent">40. Numb. I | The Spectator |</span> 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. [At the end] London: Printed for -Sam. Buckley, at the Dolphin in Little Britain; and -sold by A. Baldwin in Warwick-Lane.</p> - -<p>The last <i>Tatler</i> had appeared in the previous January: the new paper -like its predecessor came out in single folio sheets, but, as may be -seen above, its editors considered the demand sufficient to warrant its -daily publication.</p> - -<p>The first fifteen numbers bore the imprint here given, with the additional -information, after the second number, "where Advertisements -are taken in." Buckley paid Addison and Steele 575, on November -10, 1712, for a half-share in the copyright of the paper and in the -numbers not yet published. On October 13, 1714, he transferred this -assignment to Jacob Tonson, Jr., whose name appears October 2, -1712, in place of that of Baldwin's and of "Charles Lillie, Perfumer, -at the Corner of Beaufort-Buildings in the Strand," who had sold the -sheet from the sixteenth number, dated March 19, 1711, until that time.</p> - -<p>On December 6, 1712, the following notice by Steele appeared, -and as it sums up briefly the main points in the <i>Spectator's</i> successful -career, it may be regarded as a text for the succeeding notes.</p> - -<p>"I have nothing more to add, but having ſwelled this Work to Five -hundred and fifty-five Papers, they will be diſpoſed into ſeven Volumes, -four of which are already publiſh'd, and the three others in the -Preſs. It will not be demanded of me why I now leave off, tho' I -muſt own my ſelf obliged to give an Account to the Town of my Time -hereafter, ſince I retire when their Partiality to me is ſo great, that an -<span class="pagenum"><a name="page95" id="page95"></a>[pg 95]</span> -Edition of the former Volumes of Spectators of above Nine thouſand -each Book is already ſold off, and the Tax on each half Sheet has -brought into the Stamp-Office one Week with another above 20 l. a -Week ariſing from this ſingle Paper, notwithſtanding it at first reduced -it to leſs than half the number that was uſually Printed before this -Tax was laid."</p> - -<p>Volumes 1 and 2, printed in octavo, were bound up, and, dedicated -to Lord Somers and Lord Halifax, were issued in 1712; volumes -3 and 4, with dedications to Henry Boyle and the Duke of -Marlborough, came out the next year; and the remaining three, with -dedications to the Marquis of Wharton, Earl of Sunderland, and -Sir Paul Methuen, were also published in 1713. With the help of -Eustace Budgell, Addison issued a continuation of the paper in 1714, -which, when it made enough numbers for a volume, was issued with a -dedication to Will Honeycomb, in 1715. An edition in duodecimo -was also published. A few copies on large paper sold at one guinea -a volume.</p> - -<p>There is some difference of opinion as to the exact number of copies -circulated, all founded on the facts given in the <i>Spectator</i> itself. In -No. 10, Addison says that there were already 3000 copies distributed -every day. "So that if I allow Twenty Readers to every Paper, -which I look upon as a modeſt Computation, I may reckon about -Threeſcore thouſand Diſciples in London and Weſtminster". On July 23, -1711, he wrote: "... my Bookſeller tells me, the Demand for theſe -my Papers increaſes daily," and on December 31 he repeated, "I -find that the Demand for my Papers has encreaſed every Month -ſince their firſt appearance in the World." On the 1st of August, -1712, St. John's Stamp Act came into force, by which a halfpenny -stamp was imposed upon all newspapers and periodical sheets. This -attempt to suppress free expression of opinion succeeded to some extent; -many of the papers of the day ceased to exist. The <i>Spectator</i> -continued as before, but the price was raised from one penny to -twopence. "... A payment of over 20. a week for stamp duty -represents a daily circulation of more than 1,600 copies, or 10,000 a -week, from the 1st August to the 6th December 1712, and the daily -circulation before the 1st August would therefore be, according to -Steele's statement, nearly 4000."</p> - -<p>Two hundred and seventy-four of the 635 papers are attributed to -Addison, and from 236 to 240 to Steele. Addison usually signed his -<span class="pagenum"><a name="page96" id="page96"></a>[pg 96]</span> -essays with one of the letters of the name Clio, and Steele wrote over -the initials T. and R. Besides the two principal writers, Budgell, -Hughes, Parnell, Pope and Tickell are thought to have contributed -papers, but considerable uncertainty exists with regard to their work.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>In numbers.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page97" id="page97"></a>[pg 97]</span></p> - -<h2>DANIEL DEFOE<br /><br class="b30" /> - -<span class="less2">(1661?-1731)</span></h2></div> - -<p class="head"><span class="outdent">41. The | Life | And </span>| Strange Surprizing | Adventures | -Of | Robinson Crusoe, | Of York, Mariner: | [Nine -lines] Written by Himſelf. | London: | Printed for -W. Taylor at the Ship in Pater-Noſter- | Row. -MDCCXIX.</p> - -<p>The story is told of how Defoe's manuscript was refused by many of -the London publishers before William Taylor, one of the most esteemed -and successful of them, accepted it. The book came out -April 25, and its success was immediate; a second edition was -called for only seventeen days after the first; a third followed twenty-five -days later, and a fourth on the 8th of August. <i>The Farther</i> | <i>Adventures</i> -| <i>Of Robinson Crusoe;</i> | <i>Being the Second and Laſt Part</i> | <i>Of -His</i> | <i>Life ... To which is added a Map of the World</i> ... was -issued in August of the same year, and was followed on August 6, -1720, by a sequel called <i>Serious Reflections</i> | <i>During</i> | <i>The | Life ... -of Robinson Crusoe</i>. Further evidence of the popularity of the work -is furnished by the piracies, numerous imitations, and translations -that appeared within a short time after its publication.</p> - -<p>Lowndes and others repeat an error of Dibdin's in saying that -<i>Robinson Crusoe</i> first appeared in the <i>Original London Post, or -Heathcot's Intelligence</i>, from No. 125 to No. 289 inclusive, the latter -dated October 7, 1719. The story was <i>reprinted</i> in that paper, -"with a care to divert and entertain the reader," but <i>beginning</i> -October 7, 1719, and ending with No. 289, dated October 19, 1720. -The unsigned folding map was used in this last as well as in the -fourth edition of the first part. An engraving representing the hero -of the story is placed sometimes as a frontispiece. It is signed, like -<span class="pagenum"><a name="page98" id="page98"></a>[pg 98]</span> -the map of the island, "Clark & Pine Sc.," and, while not remarkable -for artistic merit, is certainly notable as having been the model of all -future conceptions.</p> - -<p>Defoe sold all his property in <i>Robinson Crusoe</i> to Taylor, who -gained a very large fortune by it and its successors. When that worthy -man died, only five years after the publication of the book, he was -reputed to be worth between forty and fifty thousand pounds. He -added an introduction to <i>The Serious Reflections</i>, in which he says:</p> - -<p>"The ſucceſs the two former Parts have met with, has been known -by the Envy it has brought upon the Editor, expreſs'd in a thouſand -hard Words from the Men of Trade; the Effect of that Regret which -they entertain'd at their having no Share in it: And I muſt do the -Author the Justice to ſay that not a Dog has wag'd his Tongue at -the Work itſelf, nor has a Word been ſaid to leſſen the Value of it, -but which has been the viſible Effect of that Envy at the good -Fortune of the Bookſeller."</p> - -<p>A guarantee of this good fortune may be seen in the imprint of the -book, which now reads: "At the Ship and <i>Black-Swan</i> in Pater-noſter -Row," that last-named property having been purchased out of -the proceeds of its sale. After Taylor's death, the business was sold -to Thomas Longman, the founder of the firm of Longmans, Green & -Co., for over three thousand pounds.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>3 l., pp. 364. [4 l.] pp. 373. [9 l.], pp. 270, 84 [2 l.]</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page99" id="page99"></a>[pg 99]</span></p> - -<h2>JONATHAN SWIFT<br /><br class="b30" /> - -<span class="less2">(1667-1745)</span></h2></div> - -<p class="head"><span class="outdent">42. Travels | Into Several</span> | Remote Nations | Of The | -World. | In Four Parts. | By Lemuel Gulliver, | Firſt a -Surgeon, and then a Cap- | tain of ſeveral Ships. | Vol. -I. | London: | Printed for Benj. Motte, at the | Middle -Temple-Gate in Fleet-ſtreet. | MDCCXXVI.</p> - -<p>"I have employed my time, (beside ditching) in finishing, correcting, -amending, and transcribing my travels in four parts complete, newly -augmented and intended for the press, when the world shall deserve -them, or rather when a printer shall be found brave enough to venture -his ears." This is what Swift says in a letter written to Pope, -and thus it will be seen that there could have been no real doubt -among Swift's friends as to the authorship of the book, though for -very obvious reasons it was found desirable to have it published -anonymously. Even after it was issued, and had proved a success, -the pretense of ignorance of the author's identity was kept up. Pope -himself writes, November 16, 1726 (the work appeared October 28):</p> - -<p>"I congratulate you first on what you call your cousin's wonderful -book, which is <i>publica trita manu</i> at present, and I prophesy will -hereafter be the admiration of all men...." "Motte," (the publisher -who had been brave enough to risk his ears), "received the copy, -he tells me, he knew not from whence, nor from whom, dropped -at his house in the dark, from a hackney coach. By computating -the time I found it was after you left England, so for my part, I suspend -my judgement."</p> - -<p>Swift was staying with Pope when the manuscript was so mysteriously -left at Motte's door by Charles Ford, his intermediary, through -whom, and Erasmus Lewis, all the business was conducted. Writing -under the assumed name of Sympson, Swift demanded that Motte -<span class="pagenum"><a name="page100" id="page100"></a>[pg 100]</span> -should give him 200, which the publisher agreed to do after six -months if the success of the book would allow. The whole issue -was exhausted within a week after its appearance, and a second edition -speedily followed, making the payment, which we learn was -promptly effected, an easy matter. We are told that Swift used to -leave the profits of his writing to the booksellers; but <i>Gulliver</i> proved -the exception to the rule. He says, in 1735, "I never got a farthing -by anything I writ, except one about eight years ago, and that was by -Mr. Pope's prudent arrangement for me." Motte, like Taylor with <i>Robinson -Crusoe</i>, grew rich out of it; or, as Swift puts it to Knightley Chetwood -in a letter dated February 14, 1726-7, in which he still keeps up -the mystery of the authorship, "... in Engl<sup>d</sup> I hear it hath made a -bookseller almost rich enough to be an alderman."</p> - -<p>Of its success, Arbuthnot says, November 8, 1726: "<i>Gulliver's -Travels</i>, I believe, will have as great a run as John Bunyan. It is in -everybody's hands...." Gay wrote a few days later: "The whole -impression sold in a week. From the highest to the lowest it is universally -read, from the cabinet council to the nursery." "Here is a -book come out," says Lady Mary Wortley Montagu, "that all our -people of taste run mad about...."</p> - -<p>It speaks well for Motte's sagacity that he should have been willing -to undertake the publishing of so violent a book at all, and we are little -surprised that he balked at certain passages, and that, to avoid -offense, "he got those alterations and insertions made" which Swift -afterward so bitterly resented. In the letter to Knightley Chetwood -quoted above, Swift said: "In my Judgment I should think it hath -been mangled in the press, for in some parts it doth not seem of a -piece, but I shall hear more when I am in England." In a letter to -Ford written more than six years later, we find him still recurring to -the matter:</p> - -<p>"Now you may please to remember how much I complained of -Motte's suffering some friend of his (I suppose it was Mr. Tooke, a -clergyman, now dead) not onely to blot out some things that he -thought might give offence, but to insert a good deal contrary to the -author's manner and style and intention. I think you had a Gulliver -interleaved and set right in those mangled and murdered pages ... -To say the truth I cannot with patience endure that mingled and -mangled manner as it came from Motte's hands, and it will be extremely -difficult for me to correct it by other means, with so ill a -<span class="pagenum"><a name="page101" id="page101"></a>[pg 101]</span> -memory and so bad a state of health." Swift had good reason to -complain about this matter as he did, personally and through Ford, who -wrote to Motte blaming him for the printer's gross errors. "Besides -the whole sting is absent out of several passages in order to soften -them. Thus the style is debased, the humours quite lost, and the -matter insipid," cries the enraged author. The interleaved copy was -forthcoming, and the text as corrected was printed in Dublin in 1735.</p> - -<p>The bibliography of the book is perplexing. There seem to have -been four distinct issues, or, rather, editions, during the first year; -while copies of the same edition show many variations. The edition to -which the large paper copies belong is usually called the first. In it the -four parts are paged separately, and the portrait of Gulliver, signed -"Sturt et. Sheppard. Sc.," is found in two states. One of these states, evidently -the first, has the inscription, "Captain Lemuel Gulliver, of Redriff -tat. ſu 58.," in two lines below the oval. The other has the inscription -around the oval, as follows: "Captain Lemuel Gulliver Of -Redriff tat. Su LVIII.," and beneath, where the name was before, -a quotation from Persius now appears.</p> - -<p>The three other editions have distinct differences of type, setting and -ornaments. The portrait in all of these is of the second state. Two of -these editions have the parts paged separately, but one has a continuous -pagination for each volume. One edition was reissued in 1727, with -verses by Pope prefixed. On the title-page of the first volume it is -called "second edition," and on that of the second volume, "second -edition corrected." This edition was probably considered by the -publisher to be the most correct, and was therefore, probably, the last -issued in 1726.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>1 l., xvi, 148 pp.; 3 ll., 164 - pp.</i> Volume II: <i>3 ll., 155 pp.; 4 ll., 199 pp.</i> Portrait, four maps.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page102" id="page102"></a>[pg 102]</span></p> - -<h2>ALEXANDER POPE<br /><br class="b30" /> - -<span class="less2">(1688-1744)</span></h2></div> - -<p class="head"><span class="outdent">43. An | Essay | On | Man </span>| Addreſs'd to a Friend. | -Part I. | [Printer's ornament] London: | Printed for -J. Wilford, at the Three Flower-de-luces, be- | hind the -Chapter-Houſe, St. Pauls. | [Price One Shilling.]</p> - -<p>The friend to whom, under the name of Llius, the four Epistles that -make up the <i>Essay</i> were addressed, was Henry Saint John, first -Viscount Bolingbroke, the object of Pope's reverence, and the inspirer -of much of his poetry. It seems to be agreed that Bolingbroke's -philosophical fragments gave the "philosophical stamina" to this -work also.</p> - -<p>The first part appeared in February, the second, about April, 1733; -they were undated and anonymous, for fear of charges against the -author's orthodoxy. Pope went to considerable lengths to mislead -the public in this matter, but, as Dr. Crowley says, the applause received -"took off all the alarm which the writer might have felt at his -new experiment in the marriage of metaphysics with immortal verse." -"The design of concealing myself," said our author, "was good, and -had its full effect. I was thought a divine, a philosopher and what -not? and my doctrine had a sanction I could not have given to it."</p> - -<p>In "Epistle II," as the second part is called on the title-page, there -is a note "To the Reader" which says: "The Author has been induced -to publiſh theſe Epiſtles ſeparately for two Reaſons; The one, -that he might not impoſe upon the Publick too much at once of what -he thinks incorrect; The other, that by this Method he might profit -of its Judgement on the Parts, in order to make the Whole leſs unworthy -of it." At the end of "Epistle III," which came out the same -year, is a note as follows: "N. B. The Reſt of this Work will be publiſhed -the next Winter." And at the end of the fourth Epistle, issued -<span class="pagenum"><a name="page103" id="page103"></a>[pg 103]</span> -about the middle of January, 1734: "Lately Publiſhed the three -former Parts of An Essay on Man. In Epiſtles to a Friend. Sold -by J. Wilford at the Three Flower-de-Luces, behind the Chapter-Houſe -in St. Paul's Church-yard."</p> - -<p>All four parts were issued in octavo and quarto, as well as in folio. -The quarto edition bears the dates of publication. A second edition -of the first part, called "Epistle I, corrected by the Author," contained -a table of contents to the first three Epistles. The fourth Epistle was -originally issued with such a table called, "The Contents, Of the -Nature and State of Man, with reſpect to Happiness."</p> - -<p>Pope intrusted the publication of the book to John Wilford, who -was afterward summoned before the House of Lords for breach of -privilege in publishing, with the bookseller, Edmund Curll, the names -of the titled correspondents in the advertisement to the quasi-unauthorized -<i>Letters</i>. Pope made the change from Bernard Lintot, his usual -publisher, to Wilford in order to conceal his identity the more completely, -and to add to the mystery of authorship.</p> - -<p>The volume is handsome in appearance: it is ornamented with -initial letters, and woodcut and type-metal head- and tail-pieces.</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>19 pp., 1 l., 18, 20 pp., 2 ll., 18 pp., 1 l.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page104" id="page104"></a>[pg 104]</span></p> - -<h2>JOSEPH BUTLER<br /><br class="b30" /> - -<span class="less2">BISHOP OF DURHAM</span><br class="b30" /> - -<span class="less2">(1692-1752)</span></h2></div> - -<p class="head"><span class="outdent">44. The | Analogy | Of | Religion, </span>| Natural and Revealed, -| [Six lines] By | Joseph Butler, L.L.D. Rector of | -Stanhope, in the Biſhoprick of Durham. | [Quotation] -London: | Printed for James, John and Paul Knapton, -at the | Crown in Ludgate Street. MDCCXXXVI.</p> - -<p>The <i>Analogy</i> ran into edition after edition, and is reprinted even now. -"Few productions of the human mind," Allibone tells us, "have -elicited the labours of so many learned commentators as have employed -their talents in the exposition of Butler's Analogy." He gives -seventeen editions with commentaries, printed before 1858. In recent -times no less a name than that of Gladstone may be counted among -the number.</p> - -<p>The Knaptons were the publishers of Butler's first printed volume, -<i>Fifteen Sermons</i>, 1726.</p> - -<p class="ind1">Quarto</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>5 ll., x, 11-320 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page105" id="page105"></a>[pg 105]</span></p> - -<h2>THOMAS PERCY<br /><br class="b30" /> - -<span class="less2">BISHOP OF DROMORE</span><br class="b30" /> - -<span class="less2">(1729-1811)</span></h2></div> - -<p class="head"><span class="outdent">45. Reliques | Of | Ancient English Poetry: </span>| [Five lines] -Volume The First. | [Vignette with the words] <i>Durat -Opus Vatum.</i> | London: | Printed for J. Dodsley in -Pall-Mall. | MDCCLXV.</p> - -<p>Although his name does not appear upon the title-page, the author -signed it to the dedication to Elizabeth, Countess of Northumberland. -He offers the book, he says, with some hesitation, yet hopes that the -names of so many men of learning and character among his patrons -and subscribers will "ſerve as an amulet to guard him from every -unfavourable cenſure for having beſtowed any attention on a parcel of -Old Ballads."</p> - -<p>The book came out in February, after four or five years of active -preparation. Johnson criticised it, but in the main the work was received -with the verdict, which has held ever since, that it marked an -epoch. Dibdin says that when it appeared, the critics "roared aloud -for a sight of the MS.!" especially Joseph Ritson, the antiquary, who -denied its existence. Dibdin, however, saw the folio, and describes it -at some length, besides quoting notes in the Bishop's handwriting, one -of which is of especial interest:</p> - -<p>"Memorandum. <i>Northumberland House, Nov. 7, 1769.</i> This very -curious old Manuscript in its present mutilated state, but unbound and -sadly torn, I rescued from destruction, and begged at the hands of my -worthy friend <i>Humphrey Pitt, Esq.</i> then living at Shiffnal in Shropshire, -afterwards of Prior Lee near that town; who died very lately -<span class="pagenum"><a name="page106" id="page106"></a>[pg 106]</span> -at Bath: viz. in Summer, 1769. I saw it lying dirty on the Floor -under a Bureau in ye Parlour: being used by the Maids to light the -fire. It was afterwards sent most unfortunately to an ignorant Bookbinder, -who pared the margin, when I put it into Boards in order to -lend it to Dr. Johnson."</p> - -<p>James Dodsley, the printer of our charming volumes, was the -younger brother of Robert, with whom, as <i>R. & J. Dodsley</i>, he was -for some time a partner, until, in 1759, he became the sole proprietor -of the house. He lacked the elder man's energy, but he carried on -an extensive and profitable business. He is said to have paid Percy -100 guineas for the first edition of the <i>Reliques</i>—not a very large sum -for such a work. Pickford tells us, however, that "as the <i>Reliques</i> became -popular, and as other editions were in request, so did the sums paid to -Percy increase; and best of all, the book attracted the notice of those -in a high class, in whose power it was to forward and promote the -interests of the editor." Whatever the basis of his relations with -Dodsley, we have his own word for it that when the third edition was -published he "had no share in the property of the impression." Those -"in a high class" promoted our author from one thing to another, -until, as Granger had hoped he would do, "he found himself sung -into a throne," a reward quite as much to his mind, no doubt, as anything -Dodsley could have arranged.</p> - -<p>It is only fair to say that few authors of the period were better -served by their publisher than Percy was by his in the matter of -typography. The ornament used is also especially good. A frontispiece -to the first volume, surmounted by the inscription, "Non Omnis -Moriar," and representing a harper delighting an audience, is -signed by Samuel Wale, who was chiefly employed in designing -vignettes and illustrations for books. He had studied with Francis -Hayman, a printer and maker of illustrations, who, with N. Blakey, -was employed by Messrs. Knapton and Dodsley to execute the first -series of historical prints designed by Englishmen. The plate was -engraved by Charles Grignion, or Grignon, a pupil of Gravelot and -Le Bas, who, like Wale, was much employed by publishers. Together -they illustrated a large number of books; but the charm of their work -seems to be chiefly due to Grignion. The vignettes, with the motto -"Durat Opus Vatum" on the title-pages and the head- and tail-pieces, -though unsigned, were evidently designed and engraved by the same -hands.</p> -<p><span class="pagenum"><a name="page107" id="page107"></a>[pg 107]</span></p> - -<p>There are three parts to each volume, and each part begins and -ends with a copper-plate engraving illustrative of a ballad. The head-pieces -refer to the first ballad in the book, but the tail-pieces have -legends showing where the poem is found. On page 24 of the second -volume, the following note is attached to the poem "For the Victory -of Agincourt": "This ſong or hymn is given meerly as a curioſity, and -is printed from a MS copy in the Pepys collection, vol. I. folio. It -is there accompanied with the muſical notes, which are copied in a -ſmall plate at the end of this volume."</p> - -<p>A table of "Errata" for all three volumes, an "Advertisement," -and a note "To the Binder" are found at the end of the first volume. -The Advertisement reads: "The Editor's diſtance from the preſs has -occaſioned ſome miſtakes and confuſion in the Numbers of the ſeveral -Poems, and in the References from one Volume to another: the latter -will be ſet right by the Table of Errata, and the former by the Tables -of Contents. In the Second Volume, page 129 follows page 112: -this was merely an overſight in the Printer; nothing is there omitted."</p> - -<p>The binder finds this caution addressed to him: "The Binder is -deſired to take Notice that the marginal Numbers of the 1ſt and 3<sup>d</sup> -Volumes are wrong: that the Sheets marked Vol. i. are to be bound -up as Volume The Third: and that thoſe noted Vol. III. as Volume -The First." Neither author nor printer thought to tell us of the -addition of "George Barnwell" in eight leaves, at page 224 of -Volume III; but perhaps the inclusion was decided upon too late for -the crowding in of another note.</p> - -<p>The notes are interesting, and are quoted here as showing that -Percy made many changes in the work even after it was ready to be -sewed, perhaps after some copies had been issued. For instance, there -seems to be no reason to doubt that he changed the order of the -volumes after they were all printed, making the first last, in order to -bring the ballads of "Chevy Chase" and the Robin Hood cycle at -the beginning. Two volumes of the <i>Reliques</i> without imprints, preserved -in the Douce collection of the Bodleian Library, are interesting -in this connection since they contain many pieces not in the published -edition. A note by Furnivall, added to Rev. J. Pickford's Life -of Percy which prefaced the Hales and Furnivall <i>Bishop Percy's -Folio Manuscript</i>, 1867, gives the omission and changes in detail. We -quote only the following: "... and the engraving at the end of -Douce's volume ii., instead of being the published rustic sketch, is a -<span class="pagenum"><a name="page108" id="page108"></a>[pg 108]</span> -coat of arms, with a lion and unicorn at the side with the Percy -motto 'Esperance en Dieu.' This was wisely cancelled, no doubt, -as the Countess of Northumberland might not then have appreciated -the compliment of the grocer's son claiming kinship with her."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation:</span> <i>Three volumes</i>.</p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page109" id="page109"></a>[pg 109]</span></p> - -<h2>WILLIAM COLLINS<br /><br class="b30" /> - -<span class="less2">(1721-1759)</span></h2></div> - -<p class="head"><span class="outdent">46. Odes | On Several </span>| Deſcriptive and Allegoric | Subjects. -| By William Collins. | [Quotation, Vignette] -London: | Printed for A. Millar, in the Strand. | -M.DCC.XLVII. | (Price One Shilling.)</p> - -<p>Collins and his friend Joseph Warton, the critic, both at the time unknown, -proposed to issue a volume of poems together: "Collins met -me in Surrey, at Guildford races, when I wrote out for him my odes, -and he likewise communicated some of his to me; and being both in -very high spirits, we took courage, and resolved to join our forces, and -to publish them immediately." The plan, however, fell through and -they finally published separately, though almost simultaneously. This -work, though dated 1747, really appeared in December, 1746. Warton's -<i>Odes on various Subjects, London</i>, 1746, reached a second edition, -but Collins's book was not a success, and it is said that, in disgust, -he burned the larger part of the unsold edition.</p> - -<p>"Each," wrote Gray, "is the half of a considerable man, and one -the counterpart of the other. The first [i.e. Warton] has but little invention, -very poetical choice of expression, and a good ear. The -second [i.e. Collins] a fine fancy, modelled upon the antique, a bad -ear, great variety of words, and images with no choice at all. They -both deserve to last some years, but will not." Time has set Collins -right.</p> - -<p>The vignette on the title-page, representing a pan-pipe and harp -surrounded by a wreath of fruit, laurel, oak, and palm, with heads of -Pan and Apollo at the top, is by Gerard (?) Van der Gucht. Thin -woodcut head-bands at the beginning of some of the odes, and a tail-piece -after the first one, furnish all the ornament for this pathetic -volume.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>2 ll., 52 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page110" id="page110"></a>[pg 110]</span></p> - -<h2>SAMUEL RICHARDSON<br /><br class="b30" /> - -<span class="less2">(1689-1761)</span></h2></div> - -<p class="head"><span class="outdent">47. Clarissa. </span>| Or, The | History | Of A | Young Lady: | -[Six lines] Publiſhed by the Editor of Pamela. | Vol. I. -| London: | 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.</p> - -<p><i>Pamela</i> was written at the suggestion of two booksellers, Rivington -and Osborne, who published it in four volumes in 1741-42; and as it -proved a great success its "Editor" followed it with <i>Clarissa</i>. Only -the last five volumes appeared in 1748, the first two having come out -the previous year.</p> - -<p>In connection with the mistaken idea, which has existed, that there -were eight volumes in the first edition, Mr. Dobson, in his life of -Richardson, gives us these quotations from the author himself:</p> - -<p>"There were in fact, in the first edition, not eight volumes but -seven. "I take the liberty to join the 4 Vols. you have of <i>Clarissa</i>, -by two more," says Richardson to Hill in an unpublished letter of -November 7, 1748. "The Whole will make Seven; that is, one more -to attend these two. Eight crowded into Seven by a smaller Type. -Ashamed as I am of the Prolixity, I thought I owed the Public Eight -Vols. in Quantity for the Price of Seven"; and he adds a later footnote -to explain that the 12mo book "was at first published in Seven -Vols. [and] Afterwards by deferred Restorations made Eight as now."" -Then Mr. Dobson goes on to add the following:</p> - -<p>"Of the seven volumes constituting the first edition, two were issued -in November, 1747; two more in April, 1748 (making "the 4 -<span class="pagenum"><a name="page111" id="page111"></a>[pg 111]</span> -Vols. you have," above referred to); and the remaining three, which, -according to Mr. Urban's advertisement, "compleats the whole," in -December, 1748."</p> - -<p>The second and succeeding volumes have the line, <i>And Sold by -John Osborn, in Pater-noſter-Row</i>, added to the imprint, after Richardson's -name.</p> - -<p>Bishop Warburton presented the author with a preface in which he -pointed out the variety of the characters in the book, and commended -the moral tendency of the work. This, by the way, serves to remind -us that he afterward quarrelled with Richardson because the -novelist ventured to censure Pope's sentiment, "Every woman is at -heart a rake."</p> - -<p>In a catalogue like this, no name has more interest than that of -Samuel Richardson, "The Father of the English Novel," and a -printer and publisher of distinction. At the age of seventeen he chose -the profession of printer, because he thought that in it he would be -able to satisfy his craving for reading. After a diligent apprenticeship -to John Wilde, whose daughter was his first wife, he gradually -won his way until he became one of the leading printers of his time. -He issued twenty-six volumes of <i>Journals</i> of the House of Commons, -though he found the position more honorable than lucrative; he was -the printer of the <i>Daily Journal</i> from 1736 to 1737, and of the <i>Daily -Gazetteer</i> in 1738; he was chosen printer to an interesting <i>Society for -the Encouragement of Learning</i>, for whom he printed and edited their -first and only volume, <i>The Negociations of Sir Thomas Roe in his -Embassy to the Ottoman Porte from the year 1621 to 1628 inclusive</i>. -He also printed, among other books, an edition of <i>sop's Fables</i>, -De Foe's <i>Tour through Great Britain</i>, Young's <i>Night Thoughts</i>, and -the second volume of De Thou's <i>Historia Sui Temporis</i>, 1733. He -became a member of the Stationers' Company in 1689, and its master -in 1754.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"> <span class="sc">Collation</span>: <i>Seven volumes.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page112" id="page112"></a>[pg 112]</span></p> - -<h2>HENRY FIELDING<br /><br class="b30" /> - -<span class="less2">(1707-1754)</span></h2></div> - -<p class="head"><span class="outdent">48. The | History | Of | Tom Jones,</span> | A | Foundling. | In -Six Volumes | By Henry Fielding, Eſq; | [Quotation] -London: | Printed for A. Millar, over-againſt | Catharine-ſtreet -in the Strand. | MDCCXLIX.</p> - -<p>The announcement of the appearance of the work in the <i>General -Advertizer</i> for February 28, 1749, reads as follows:</p> - -<p>"This day is published, in six vols., 12mo, The History of Tom -Jones, A Foundling.—Mores hominum multorum vidit. By Henry -Fielding Esq.</p> - -<p>"It being impossible to get sets bound fast enough to answer the -demand for them, such Gentlemen and Ladies as please may have -them served in Blue Paper and Boards, at the price of 16s. a set, of A. -Millar, over against Catharine Street, in the Strand."</p> - -<p>The sale was really enormous for those days, and Millar, the -successful publisher, could afford to be generous to Fielding, as he -had been to others, thus winning for himself the position of a patron -as well as publisher. Johnson called him "the Mcenas of literature." -"I respect Millar, sir;" said he, "he has raised the price of -literature."</p> - -<p>Horace Walpole gives us an account of the dealing of this remarkable -man in this case. He says, in a letter to George Montagu: -"Millar, the bookseller, has done very generously by him [Fielding]; -finding 'Tom Jones' for which he gave him 600. sell so greatly, he -has since given him another 100."</p> - -<p>A second edition in four volumes was issued the same year, and a -third, also in four volumes, the year following. The book has been -translated into French, German, Spanish, Dutch, Russian, and Swedish. -<span class="pagenum"><a name="page113" id="page113"></a>[pg 113]</span> -It was frequently dramatized, and was also turned into a comic -opera.</p> - -<p>An original document in the possession of the owner of the book -from which the facsimile was made shows that the value of <i>Tom -Jones</i> had not decreased with successive editions, or else the various -partners, whose well-known names are signed to it, would not have -thought it worth their while to prosecute.</p> - -<p class="rindent space-above2">"Memorandum July, 24. 1770.</p> - -<p>"At the Chapter Coffee-house, it is agreed by the Partners in Joseph -Andrews and Tom Jones, to prosecute Alexander Donaldson, Bookseller -in the Strand, for printing the above Books, in the Court of -Chancery, and do agree to pay our respective Shares of the Expence -of the Proscecution.</p> - -<ul class="none"> -<li><span class="sc">Will: Strahan</span></li> -<li><span class="sc">Tho<sup>s</sup>. Longman</span></li> -<li><span class="sc">W. Johnston</span></li> -<li><span class="sc">Robert Horsfield</span></li> -<li> <span class="sc">Tho: Cadell</span></li> -<li><span class="sc">T Becket</span></li> -<li><span class="sc">Robinſon & Roberts</span></li> -<li><span class="sc">Hawes, Clarke & Collins</span></li> -<li><span class="sc">Stanley Crowdon</span></li> -<li><span class="sc">Edm<sup>d</sup>. & Ch<sup>s</sup> Dilly</span></li> -<li><span class="sc">Wm. & J. Richardſon</span></li> -<li><span class="sc">Tho<sup>s</sup>. Lowndes</span></li> -<li><span class="sc">Thomas Caslon"</span></li> -</ul> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Six volumes.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page114" id="page114"></a>[pg 114]</span></p> - -<h2>THOMAS GRAY<br /><br class="b30" /> - -<span class="less2">(1716-1771)</span></h2></div> - -<p class="head"><span class="outdent">49. An | Elegy | Wrote In A </span>| Country Church Yard | -London: | Printed for R. Dodsley in Pall-mall; | And -ſold by M. Cooper in Pater-noſter-Row. 1751. | [Price -Six-pence.]</p> - -<p>In 1750 Gray finished a poem which he had begun eight years before, -and it was circulated freely, in manuscript, among his delighted friends. -One of them, Horace Walpole, received the following communication -from the author, dated at Cambridge, February 11, 1751:</p> - -<p>"As you have brought me into a little sort of distress, you must -assist me, I believe, to get out of it as well as I can.</p> - -<p>"Yesterday I had the misfortune of receiving a letter from certain -gentlemen (as their bookseller expresses it), who have taken the Magazine -of Magazines into their hands. They tell me that an <i>ingenious</i> -Poem, called reflections in a Country Church-yard has been communicated -to them, which they are printing forthwith; that they are informed -that the <i>excellent</i> author of it is I by name, and that they beg -not only his <i>indulgence</i>, but the <i>honour</i> of his correspondence. As I -am not at all disposed to be either so indulgent or so correspondent as -they desire, I have but one bad way left to escape the honour they -would inflict upon me; and therefore am obliged to desire you would -make Dodsley print it immediately (which may be done in less than a -week's time) from your copy, but without my name, in what form is -most convenient for him, but on his best paper and character; he -must correct the press himself, and print it without any interval between -the stanzas, because the sense is in some places continued beyond -them; and the title must be,—Elegy, written in a Country -Church-yard. If he would add a line or two to say it came into his -hands by accident, I should like it better. If you behold the Magazine -<span class="pagenum"><a name="page115" id="page115"></a>[pg 115]</span> -of Magazines in the light that I do, you will not refuse to give -yourself this trouble on my account, which you have taken of your -own accord before now. If Dodsley do not do this immediately, he -may as well let it alone."</p> - -<p>"You have indeed, conducted with great decency my little <i>misfortune</i>:" -(this was written to Walpole on Ash-Wednesday, after the -book was published): "you have taken a paternal care of it, and expressed -much more kindness than could have been expressed from so -near a relation. But we are all frail; and I hope to do as much for -you another time.</p> - -<p>"Nurse Dodsley has given it a pinch or two in the cradle, that (I -doubt) it will bear the marks of as long as it lives. But no matter: -we have ourselves suffered under her hands before now; and besides -it will only look the more careless and by <i>accident</i> as it were. I thank -you for your advertisement [the preface, signed 'The Editor'], which -saves my honour, and in a manner <i>bien flatteuse pour moi</i>, who should -be put to it even to make myself a compliment in good English."</p> - -<p>Dodsley's promptness was noteworthy; on February 16 the book -was issued, having been six days, at most, in the printer's hands. The -author, even if he had desired, could hardly have complained about -the ornaments on the title-page, since he had given Dodsley a free -hand. It would be pleasant to see in the woodcuts, with their -death's-heads, spades, cross-bones, hour-glasses, pickaxes and crowns, -an argument for a sense of decoration, or even of a sense of humour, -rather than the evidences of a habit of the use of such things for -funeral sermons.</p> - -<p>Speaking of Nurse Dodsley's "pinches," the following extract from -a letter to Walpole, dated March 3, 1751, proves of additional interest: -"I do not expect any more editions; as I have appeared in more -magazines than one. The chief errata were <i>sacred</i> bower for <i>secret</i>; -<i>hidden</i> for <i>kindred</i> (in spite of dukes and classics); and "<i>frowning</i> as -in scorn" for <i>smiling</i>. I humbly propose, for the benefit of Mr. Dodsley -and his matrons, that take <i>awake</i> for a verb, that they should read -<i>asleep</i>, and all will be right."</p> - -<p>The two versions of the poem probably appeared on the same day.</p> - -<p><i>The Magazine of Magazines Compiled from Original Pieces, With -Extracts from the moſt celebrated Books And Periodical Compoſitions Publiſhed -in Europe</i>, was issued by William Owen, maker of mineral water, -at Homer's Head, near Temple Bar. Owen's compositor, having had -<span class="pagenum"><a name="page116" id="page116"></a>[pg 116]</span> -more time, avoided some of the errors of the printers of the book, but -he fell into others of his own; and he completely frustrated Gray's -desire to be anonymous. The poem is introduced, amidst a running -fire of talk, in this way: "Gentlemen, ſaid <i>Hilario</i>, give me leave to -ſooth my own melancholy, and amuſe you in a moſt noble manner, -with a fine copy of verſes by the very ingenious Mr. Gray, of <i>Peterhouſe</i>, -Cambridge.—They are—"Stanza's written in a Country Church-yard.""</p> - -<p>The book proved immensely popular. Gray himself received no -pecuniary reward from it, having given the copyright to Dodsley -in accordance with a notion, very common in the preceding century -but seeming quixotic now, that it was beneath a gentleman to receive -money from a bookseller, a view in which, we are told, Dodsley -warmly concurred. Later, Mason, Gray's friend, attempted to regain -possession of the copyright by means of litigation.</p> - -<p>We are indebted to our Author for the following bibliographical -note: "Publish'd in Feb<sup>ry</sup>, 1751, by Dodsley, & went thro' four editions, -in two months; and afterwards a fifth, 6th, 7th, & 8th, 9th, & 10th, -& 11th; printed also in 1753 with Mr. Bentley's Designs, of w<sup>c</sup>h there -is a 2d Edition, & again by Dodsley in his <i>Miscellany</i>, Vol. 7th & in a -Scotch Collection call'd the <i>Union</i>; translated into Latin by Ch<sup>r</sup> -Anstey, Esq., and the Rev<sup>d</sup>. Mr. Roberts, & published in 1762, & again -in the same year by Rob. Lloyd, M.A."</p> - -<p>Dodsley figures so prominently in the publication of the <i>Elegy</i> that -we are reminded that he was himself a poet and also a dramatist. His -epitaph in the churchyard of Durham cathedral lays stress on this point:</p> - -<div class="poem width21"> <div class="stanza"> -<p class="i2">"If you have any respect</p> -<p class="i6">for uncommon industry and merit,</p> -<p class="i6">regard this place,</p> -<p class="i2">in which are deposited the remains of</p> -<p class="i6">Mr. Robert Dodsley;</p> -<p class="i2">who, as an Authour, raised himself</p> -<p>much above what could have been expected</p> -<p class="i4">from one in his rank in life,</p> -<p class="i2">and without a learned education;</p> -<p>. . .<span class="left2">. . .</span> -<span class="left2">. . .</span><span class="left2">. . .</span>"</p> - </div> </div> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>11 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page117" id="page117"></a>[pg 117]</span></p> - -<h2>SAMUEL JOHNSON<br /><br class="b30" /> - -<span class="less2">(1709-1784)</span></h2></div> - -<p class="head"><span class="outdent">50. A | Dictionary | Of The </span>| English Language: | [Ten -lines] By Samuel Johnson, A.M. | In Two Volumes | -Vol. I. | [Quotation] London, | 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.</p> - -<p>Robert Dodsley first suggested to Johnson that a dictionary of the -English language would take well with the public; though Johnson -afterward told Boswell that he had long thought of it himself. But it -was Dodsley who, in accordance with the custom of the time of -placing books under the patronage of an influential person, suggested -the Earl of Chesterfield as patron for the work; and Johnson addressed -him as such in <i>The Plan Of A Dictionary Of The English -Language; Addreſſed to the Right Honourable Philip Dormer, Earl -of Chesterfield: ... London</i>, 1747, a pamphlet of thirty-four pages.</p> - -<p>This step eventually led to the letter called by Carlyle "the far famed -blast of doom proclaiming into the ears of Lord Chesterfield, and -through him to the listening world, that patronage should be no more." -For the Earl was tardy in acknowledging the inscription (his commendatory -letters did not appear until the November and December -issues of <i>The World</i>, 1754), and did little to encourage the enterprise; -"Upon which," said the irritated author, "I wrote him a letter expressed -in civil terms, but such as might show him that I did not -mind what he said or wrote, and I had done with him." It was -dated February 7, 1755, and ends with the famous words: "Is not -a patron, my lord, one who looks with unconcern upon a man struggling -for life in the water, and when he has reached ground encumbers -him with help?"</p> -<p><span class="pagenum"><a name="page118" id="page118"></a>[pg 118]</span></p> - -<p>Johnson undertook his great work single-handed, expecting to -finish it in three years; but the labor was enormous, and eight years -were consumed (the work appeared on February 20, 1755), though -not all of the time was spent upon the Dictionary, for he was editor -of <i>The Rambler</i>, also, at this period. In this connection his own -words written at the end of the Preface are: "I have protracted my -work till moſt of thoſe whom I wiſhed to pleaſe have ſunk into the -grave, and ſucceſs and miſcarriage are empty ſounds: I therefore -diſmiſs it with frigid tranquillity, having little to fear or hope from -cenſure or from praiſe."</p> - -<p>The <i>A.M.</i> after the author's name was procured for him at Oxford -through the good offices of his friend, the poet-laureate, Thomas -Warton, since it "was thought desirable that these letters should appear -on the title-page of the dictionary for the credit both of himself -and the university."</p> - -<p>The publishers whose names are given in the imprint were joint -proprietors of the work, having paid Johnson 1575l. for the copyright. -"The payment included the whole work of preparing for the -press; and Johnson lost 20l. on one occasion for a transcription of -some leaves which had been written on both sides. He employed six -amanuenses, five of whom, as Boswell is glad to record, were Scotsmen -... they received 23s. a week, which he agreed to raise to 2l. -2s., not, it is to be hoped, out of the 1,575l." Boswell would lead us -to think that even if these extras did come out of Johnson's pocket, -he was not dissatisfied. "I once said to him, "I am sorry, sir, you -did not get more for your Dictionary." His answer was "I am sorry -too. But it was very well. The booksellers are generous liberal-minded -men.""</p> - -<p>To Andrew Millar fell the responsibility of seeing the book through -the press; and his patience, we are told, was sorely tried by Johnson's -dilatoriness. When the last sheet was brought to him, he exclaimed: -"Thank God I have done with him!" This was repeated to Johnson, -who said, with a smile: "I am glad that he thanks God for -anything."</p> - -<p class="ind1">Folio.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes. Without pagination.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page119" id="page119"></a>[pg 119]</span></p> - -<h2>BENJAMIN FRANKLIN<br /><br class="b30" /> - -<span class="less2">(1706-1790)</span></h2></div> - -<p class="head"><span class="outdent">51. Poor Richard improved: </span>| Being An | Almanack | And | -Ephemeris | [Eight lines] For The | Year of our Lord -1758: | [Ten lines] By Richard Saunders, Philom. | -Philadelpeia: | Printed and Sold by B. Franklin; and -D. Hall. [1757.]</p> - -<p>Franklin says in his <i>Autobiography</i>:</p> - -<p>"In 1732 I first publish'd my Almanack, under the name of <i>Richard -Saunders</i>; it was continu'd by me about twenty-five years, commonly -call'd <i>Poor Richard's Almanac</i>. I endeavor'd to make it both entertaining -and useful, and it accordingly came to be in such demand, -that I reap'd considerable profit from it, vending annually near ten -thousand...." The price was five pence. So great was its popularity -that it was found necessary to issue three editions in the first -month. In 1747 we are told in a note, "This Almanack us'd to contain -but 24 Pages, and now has 36; yet the Price is very little -advanc'd," and to fit the new conditions the title was changed to <i>Poor -Richard Improved</i>.</p> - -<p>The <i>Almanac</i>, whose title-page is here facsimiled, was the last of -the series edited by Franklin. A collection of the proverbial sentences -which had "filled all the little spaces that occur'd between the remarkable -days in the calendar" in former issues, were collected into -one speech, supposed to be delivered by an old man, named <i>Father -Abraham</i>, to the people at an auction sale. "The bringing all these -scatter'd counsells thus into a focus enabled them to make a greater -impression." The discourse was quickly reprinted, and is famous now -under various titles, <i>The Speech of Father Abraham</i>; <i>The Way to -Wealth</i>, and <i>La science du bonhomme Richard</i>. It has been translated -and reprinted oftener "than any other work from an American -<span class="pagenum"><a name="page120" id="page120"></a>[pg 120]</span> -pen." "Seventy editions of it," says Mr. Paul L. Ford, "have been -printed in English, fifty-six in French, eleven in German, and nine in -Italian. It has been translated into Spanish, Danish, Swedish, Welsh, -Polish, Gaelic, Russian, Bohemian, Dutch, Catalan, Chinese, Modern -Greek and Phonetic writing. It has been printed at least four -hundred times, and is to-day as popular as ever."</p> - -<p>Franklin borrowed for his pseudonym the name of an English -"philomath" of the seventeenth century, because, as he says, he knew -"that his name would hardly give it [the <i>Almanack</i>] currency among -readers who still looked upon it as dealing in magic, witchcraft and -astrology."</p> - -<p>In 1747 or 1748 our author-printer entered into partnership with -David Hall, who took the sole management of the business until 1766, -when the firm was dissolved.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>36 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page121" id="page121"></a>[pg 121]</span></p> - -<h2>SIR WILLIAM BLACKSTONE<br /><br class="b30" /> - -<span class="less2">(1723-1780)</span></h2></div> - -<p class="head"><span class="outdent">52. Commentaries </span>| On The | Laws | Of | England. | -Book The First. | By | William Blackstone, Esq. | -[Three lines] Oxford, | Printed At The Clarendon -Press. | M.DCC.LXV. [—M.DCC.LXIX.]</p> - -<p>The story of the publication of Blackstone's lectures, as Professor of -Law at Oxford, reminds us of Bacon's "orchard ill-neighbored." The -author relates the circumstances in his preface: "For the truth is, that -the preſent publication is as much the effect of neceſſity, as it is of choice. -The notes which were taken by his hearers, haue by ſome of them (too -partial to his favour) been thought worth reuiſing and tranſcribing, -and theſe tranſcripts haue been frequently lent to others. Hence -copies haue been multiplied, in their nature imperfect, if not erroneous; -ſome of which haue fallen into mercenary hands, and become -the object of clandeſtine ſale. Having therefore ſo much reaſon to -apprehend a ſurreptitious impreſſion, he choſe rather to ſubmit his -own errors to the world, than to ſeem anſwerable for thoſe of other -men."</p> - -<p>The volumes were not all issued at once, but followed one another -at different times during a period of four years. They were printed -at the Clarendon Press, which Blackstone, when appointed a delegate -in 1755, had "found languishing in a lazy obscurity," and whose -quickening was in no small measure due to his "repeated conferences -with the most eminent masters, in London and other places, with regard -to the mechanical part of printing," his recommendations, and to -his own examples of good typography supplied in the <i>Magna Charta</i>, -published in 1759, and in this his <i>magnum opus</i>.</p> - -<p>The wonderful success of the work is attested by the number of its -editions. A second was issued in 1768, and six more appeared before -<span class="pagenum"><a name="page122" id="page122"></a>[pg 122]</span> -the author's death. From then until now, it has been frequently reprinted. -Blackstone is reputed to have received from the sale of the -<i>Commentaries</i>, and from his lectures, about 14,000.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Four volumes.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page123" id="page123"></a>[pg 123]</span></p> - -<h2>OLIVER GOLDSMITH<br /><br class="b30" /> - -<span class="less2">(1728—1774)</span></h2></div> - -<p class="head"><span class="outdent">53. The | Vicar | Of | Wakefield: </span>| A Tale. | Suppoſed to -be written by Himself. | Sperate miſeri, cavete fœlices. | -Vol. I. Salisbury: | Printed by B. Collins, | For F. Newbery, -in Pater-Noſter-Row, London. | MDCCLXVI.</p> - -<p>Boswell, Mrs. Piozzi, Sir John Hawkins and others have given -slightly different versions of the well-known story of the sale of the -manuscript of the <i>Vicar</i>; but aside from throwing light on the character -of Goldsmith, none of them have helped us to a definite understanding -of the transaction. The earliest account was written by Mrs. -Piozzi in 1786, under the title of <i>Anecdotes of the late Samuel Johnson, -LL.D., during the last Twenty Years of his Life</i>. At pp. 119-120 she -says:</p> - -<p>"I have forgotten the year, but it could scarcely I think be later -than 1765 or 1766, that he [Johnson] was called abruptly from our -house after dinner, and returning in about three hours, ſaid, he had -been with an enraged author, whose landlady pressed him for payment -within doors, while the bailiffs beset him without; that he was drinking -himself drunk with Madeira to drown care, and fretting over a -novel which when finished was to be his whole fortune; but he could -not get it done for distraction, nor could he step out of doors to offer -it to sale. Mr. Johnson therefore set away the bottle, and went to the -bookseller, recommending the performance, and desiring some immediate -relief, which when he brought back to the writer, he called the -woman of the house directly to partake of punch, and pass the time -in merriment."</p> - -<p>Boswell adds, in his account, that Johnson sold the novel for 60. -There seems to be no evidence to prove this, nor yet to show who -bought it. It has generally been supposed that the publisher, "F. -<span class="pagenum"><a name="page124" id="page124"></a>[pg 124]</span> -Newbery," or his uncle, John Newbery, with whom he was inseparably -connected, was the purchaser, until Mr. Charles Welsh made the discovery -which he relates in his <i>A Bookseller of the Last Century</i>. He -says:</p> - -<p>"In a book marked 'Account of copies, their cost and value, -1764,' I find the following entry:—"'Vicar of Wakefield,' 2 vols. -12mo., ⅓ rd. B. Collins, Salisbury, bought of Dr. Goldsmith, the -author, October 28, 1762, 21.""</p> - -<p>From this entry of Collins, the Salisbury printer, we may conclude -that the amount Johnson is said to have received for the distressed -author (from Newbery, perhaps) was an advance on the unfinished -story; and that Collins bought his third interest some time afterward. -In 1785, when Collins sold out his interest, Mr. Strahan owned one -third, and Carnan and Newbery the other third.</p> - -<p>There are several circumstances, besides the date given by Collins, -which show that the <i>Vicar</i> was sold, in whole or in part, at least four -years before it was published, and not a few months before, as Mrs. -Piozzi thought. The occasion for the delay has been explained in -various ways. One explanation is that it was held back until the -<i>Traveller</i>, which came out in 1765, should have increased the author's -reputation. It may have been, as Johnson told Boswell, that the publishers -were afraid that the book would not sell. Certainly the results -would seem to bear them out in any doubts they may have had of -its financial success. Mr. Welsh says:</p> - -<p>"All the writers who have spoken of the "Vicar of Wakefield" have -jumped to the conclusion that it brought a golden harvest to its publishers - ... The first three editions ... resulted in a loss, and the -fourth, which was not issued until eight years after the first, started -with a balance against it of 2 16s. 6d., and it was not until the -fourth edition had been sold that the balance came out on the right -side."</p> - -<p>After being three months in the press, the book appeared March -27, 1766. The advertisement in the <i>Public Advertiser</i> reads: "This -Day is publiſhed, In two Volumes in Twelves, Price 6s. bound, or 5s. -ſewed, The Vicar of Wakefield, A Tale. Supposed to be written by -Himself. 'Seperate [ſic] miſere cavete fœlices.' Printed for F. Newbery, -at the Crown in Pater-Noſter Row, of whom may be had, Price -1s. 6d. The Traveller, or, a Proſpect of Society, a Poem. By Dr. -Goldsmith." The author's name was signed to the preface, or "Advertisement" -<span class="pagenum"><a name="page125" id="page125"></a>[pg 125]</span> -of the book, so it was not really anonymous, as the -title-page and newspaper advertisement would lead us to think. If it -was not a financial success the tale seems to have met with popular -favor. The second edition, bearing the imprint <i>London: Printed for -F. Newbery, in Pater-Noster-Row, MDCCLXVI.</i>, was issued May 31, -and the third on August 29. Ninety-six editions were issued before -1886, and there are translations in every European language.</p> - -<p>This Francis Newbery, as we have said, was nephew and successor -to John Newbery. The elder man combined a successful business in -the publishing of books with the sale of quack medicines,—not an -unusual thing in those days. His list of nostrums contained over -thirty medicines, among them being Dr. James's Fever Powder, Dr. -Steer's Oil for Convulsions, Dr. Harper's Female Pills, and a certain -Cordial Cephalic Snuff. His book-selling ventures demand more than -passing mention, since he really introduced "the regular system of a -Juvenile Library, and gave children books in a more permanent form -than the popular chap-books of the period,"—delightful books of which -more than one writer has spoken with affection. The general character -of the stories, splendidly bound in flowered and gilt Dutch -papers, may be gathered from a few of their titles: <i>The History of -Little Goody Two Shoes</i>, <i>The Renowned History of Giles Gingerbread</i>, -and <i>Blossoms of Morality</i>.</p> - -<p>Newbery's publishing ventures were not confined to children's -books, by any means; his name gains additional luster by appearing -on the title-pages of several of Goldsmith's works. Francis was mostly -a reflection of his enterprising uncle, but his connection with the <i>Vicar -of Wakefield</i> will ever cause him to be remembered.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>2 ll., 214 pp.</i> Volume II: - <i>1 l., 223 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page126" id="page126"></a>[pg 126]</span></p> - -<h2>LAURENCE STERNE<br /><br class="b30" /> - -<span class="less2">(1713—1768)</span></h2></div> - -<p class="head"><span class="outdent">54. A | Sentimental Journey </span>| Through | France And Italy. -| By | Mr. Yorick. | Vol. I. | London: | Printed for T. -Becket and P. A. De Hondt, | in the Strand. MDCCLXVIII.</p> - -<p>The real journey immortalized in the story was made in October, -1765; in December, 1767, two volumes were completed, and on February -27, the work was published at five shillings for the two volumes. -On the eighteenth of March, Sterne died.</p> - -<p>Yorick, in <i>Tristram Shandy</i>, was represented as an Englishman, descended -from the Yorick of Shakespeare, "a fellow of infinite jest, of -most excellent fancy." Sterne also used the pseudonym in his <i>Sermons -by Mr. Yorick</i>, published in 1760, so that the authorship of this -book was probably never in doubt. "The lively, witty, sensitive and -heedless parson," was, as Sir Walter Scott says, "the well-known personification -of Sterne himself."</p> - -<p>Fitzgerald tells us in his biography of Sterne, that it was the author's -first thought to have the volume a stately quarto with handsome -margins, costing a half-guinea, but that he finally decided to use the -<i>Shandy</i> size, which had become a favorite with the public. The book, -which is without ornament, except for an engraving on copper of a -coat of arms (Sterne's book-plate), in the second volume, is a good -specimen of the best typography of the period. Large paper copies -also were issued. The first volume begins with a long list of "Subscribers," -the names starred being down for "Imperial Paper."</p> - -<p>Thomas Becket lived to be ninety-three years old, long enough, as -Charles Knight remarks, to see many revolutions in literary taste; -long enough, in fact, to see Sterne, his most successful author, go out -of fashion. He was an assistant to Andrew Millar, before he became -<span class="pagenum"><a name="page127" id="page127"></a>[pg 127]</span> -De Hondt's partner. It was he who published the famous anonymous -book, <i>The Pursuits of Literature</i> by Mathias, which had the distinction -of running into fourteen editions.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I, <i>xx, 203 pp.</i> Volume II, 2 <i>ll., - 208 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page128" id="page128"></a>[pg 128]</span></p> - -<h2>THE FEDERALIST</h2></div> - -<p class="head"><span class="outdent">55. The | Federalist: | </span>A Collection | Of | Essays, | 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.</p> - -<p>"The papers under the title of "Federalist," and signature of -"Publius," were written by Alexander Hamilton, James Madison, -and John Jay, in the latter part of the year 1787 and the former part -of the year 1788. The immediate object of them was, to vindicate -and recommend the new Constitution to the State of New York, -whose ratification of the instrument was doubtful, as well as important. -The undertaking was proposed by A. Hamilton (who had -probably consulted Mr. Jay and others) to J. M., who agreed to take -a part in it. The papers were originally addressed to the people of -N. York, under the signature of a "Citizen of New York." This -was changed for that of "Publius," the first name of Valerius Publicola. -A reason for the change was, that one of the writers was not -a Citizen of that State; another, that the publication had diffused -itself among most of the other States. The papers were first published -at New York in a newspaper printed by Francis Childs, at the -rate, during great part of the time, at least, of four numbers a week; -and notwithstanding this exertion, they were not compleated till a -large proportion of the States had decided on the Constitution. -They were edited as soon as possible in two small volumes, the preface -to the first volume, drawn up by Mr. Hamilton, bearing date -N. York, March, 1788...." This from Madison in a letter to Mr. -Paulding at Washington, dated July 24, 1818.</p> -<p><span class="pagenum"><a name="page129" id="page129"></a>[pg 129]</span></p> - -<p>The first seven papers appeared under the title <i>The Fœderalist. -No. 1. To the People of the State of New York</i>, in <i>The Independent -Journal</i>, and many of the succeeding numbers first came out in that -paper: some were issued in <i>The New York Packet</i>, two appeared in -<i>The Daily Advertiser</i>, six appeared simultaneously in two or more -papers, and nine were not published until the whole was collected in -book form.</p> - -<p>Mr. Paul Leicester Ford, in his <i>Bibliotheca Hamiltoniana</i>, gives Jay -credit for five numbers; "Madison numbers 10, 14, 37 to 48 inclusive; -numbers 18, 19 and 20 are the joint work of Madison and Hamilton; -numbers 49 to 58, 62 and 63 are claimed by both Madison and -Hamilton; the rest of the numbers are by Hamilton."</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I, <i>vi, 227 pp.</i> Volume II, <i>vi, - 384 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page130" id="page130"></a>[pg 130]</span></p> - -<h2>TOBIAS GEORGE SMOLLETT<br /><br class="b30" /> - -<span class="less2">(1721-1771)</span></h2></div> - -<p class="head"><span class="outdent">56. The | Expedition | </span>Of | Humphry Clinker. | By the -Author of | Roderick Random. | In Three Volumes. | -Vol. I. | [Quotation] London, | Printed for W. Johnston, -in Ludgate-Street: | and B. Collins, in Saliſbury. | -MDCLXXI.</p> - -<p><i>Roderick Random</i>, Smollett's first book, had appeared in 1748. The -greater part of <i>Humphry Clinker</i> was written in the autumn of 1770, -when its author was dying. He "had the satisfaction of seeing his -masterpiece, but not of hearing the chorus of praise that greeted it."</p> - -<p>Some copies of the first volume have, as in this instance, an error in -the date, 1671 being printed for 1771.</p> - -<p>Collins, as we have seen, was associated with Francis Newbery in -the publication of <i>The Vicar of Wakefield</i>, and he was also associated -with nephew and uncle in the sale of Dr. James's Fever Powder, and -the manufacture of the celebrated <i>Cordial Cephalic Snuff</i>. We are -fortunate in having his orderly and well-kept account books, in one of -which is the following entry, worthy of a place here, and at length:</p> - -<p class="title1b">From B. Collins' Publishing Book.<br /> - - Account Of Books Printed, And Shares Therein.<br /> - -No. 3. 1770 To 1785.<br /> - -Humphrey Clinker: A Novel, 3 vols. 12mo.</p> - -<p>Of which I have one moiety, in partnership with Mr. William Johnston, - London.</p> -<p><span class="pagenum"><a name="page131" id="page131"></a>[pg 131]</span></p> - -<table class="publisher" summary="From B. Collins' Publishing Book." border="0"> -<tr> - <th class="left"><i>Dr.</i></th> - <th class="rightb"> </th> - <th class="left1"> </th> - <th class="right"><i>Cr.</i></th> -</tr> -<tr> - <td class="left">To Dr S. Mollet <br />copy money</td> - <td class="rightb">210 0 0</td> - <td class="left1"> </td> - <td class="right"> </td> -</tr> -<tr> - <td class="left">To Printing and <br />Paper 2,000 No.</td> - <td class="rightb">155 15 6</td> - <td class="left1"> </td> - <td class="right"> </td> -</tr> -<tr> - <td class="left">9 Sets to the Hall <br />and 10 to the Author</td> - <td class="rightb">6 1 10</td> - <td class="left1"> </td> - <td class="right"> </td> -</tr> -<tr> - <td class="left">Advertisements</td> - <td class="rightb">15 10 0 <br class="b5" /> __________</td> - <td class="left1"> </td> - <td class="right"> </td> -</tr> -<tr> - <td class="left"> </td> - <td class="rightb">387 7 4</td> - <td class="left1"> </td> - <td class="right"> </td> -</tr> -<tr> - <td class="left">To Balance for</td> - <td class="rightb"> </td> - <td class="left1">By 2000 Books</td> - <td class="right"> </td> -</tr> -<tr> - <td class="left">Profit</td> - <td class="rightb">92 12 8 <br class="b5" /> __________</td> - <td class="left1">sold at 24</td> - <td class="right"> </td> -</tr> -<tr> - <td class="left"> </td> - <td class="rightb">480 0 0</td> - <td class="left1">per 100</td> - <td class="right">480 0 0</td> -</tr> -<tr> - <td class="left" colspan="2">My Moiety of Profits, 46, 6s. 4d., <br />for which I received Mr. Johnston's <br />Note, Nov. 19, 1772. —B. C.<br /></td> - <td class="left1q" colspan="2"> </td><!-- --> -</tr> -</table> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page132" id="page132"></a>[pg 132]</span></p> - -<h2>ADAM SMITH<br /><br class="b30" /> - -<span class="less2">(1723-1790)</span></h2></div> - -<p class="head"><span class="outdent">57. An | Inquiry | </span>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.</p> - -<p>It is doubtful if any English book were ever longer in being put -to press than this one. Mr. John Rae, in his life of Smith, says he -took twelve years to write it, and that it was in contemplation twelve -years before that. It was explicitly and publicly promised in the concluding -paragraph of <i>The Theory of Moral Sentiments</i>, which appeared -in 1759.</p> - -<p>Nothing definite is known of the terms on which the author parted -with the work to his publishers, but it is thought to have been sold -outright. It is estimated that Strahan paid five hundred pounds for -the first edition, and that he published later editions at half profit. -The selling price of the first edition was 1 16s. The edition was -exhausted in six months, but the number of copies is unknown.</p> - -<p>Beginning as a printer, in which capacity we have already seen him -in connection with Dr. Johnson's Dictionary, Strahan rose rapidly to -eminence as a publisher, figuring prominently in the ventures of Hume, -Gibbon, Robertson, Blackstone, and Blair. He introduced into his -dealings with his clients amenities unknown before. His pecuniary -successes, as in this case, enabled him to set up the coach which Dr. -Johnson said was a credit to literature. -</p> - -<p class="ind1">Quarto.</p> - -<p><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>6 ll., 510 pp.</i> Volume -II: <i>2 ll., 587 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page133" id="page133"></a>[pg 133]</span></p> - -<h2>EDWARD GIBBON<br /><br class="b30" /> - -<span class="less2">(1737-1794)</span></h2></div> - -<p class="head"><span class="outdent">58. The | History | </span>Of The | Decline And Fall | Of -The | Roman Empire. | By Edward Gibbon, Eſq; | -Volume The First. | [Quotation] London: | Printed -For W. Strahan; And T. Cadell, In The Strand. | -MDCCLXXVI. [—MDCCLXXXVIII]</p> - -<p>We are fortunate in having an account of the publication of this work -written by Gibbon himself. In June, 1775, he says:</p> - -<p>"The volume of my history, which had been somewhat delayed by the -novelty and tumult of a first session, was now ready for the press. After -the perilous adventure had been declined by my timid friend Mr. Elmsley, -I agreed, on very easy terms, with Mr. Thomas Cadell, a respectable -bookseller, and Mr. William Strahan, an eminent printer; and they -undertook the care and risk of the publication, which derived more -credit from the name of the shop than from that of the author. The -last revisal of the proofs was submitted to my vigilance; and many -blemishes of style, which had been invisible in the manuscript, were -discovered and corrected in the printed sheet. So moderate were our -hopes, that the original impression had been stinted to five hundred, -till the number was doubled by the prophetic taste of Mr. Strahan. -During this awful interval I was neither elated by the ambition of -fame, nor depressed by the apprehension of contempt. My diligence -and accuracy were attested by my own conscience...."</p> - -<p>It was on the 17th of February that the first volume of the great -work finally "declined into the World," as the author expressed it. -Its success was immediate. "I am at a loss how to describe the success -of the work without betraying the vanity of the writer. The first -impression was exhausted in a few days; a second and third edition -were scarcely adequate to the demand, and the bookseller's property -<span class="pagenum"><a name="page134" id="page134"></a>[pg 134]</span> -was twice invaded by the pyrates of Dublin. My book was on every -table, and almost on every toilette...."</p> - -<p>The second edition was called for in 1776. On May 20th Gibbon -writes to J. B. Holroyd:</p> - -<p>"In about a fortnight I again launch into the World in the shape -of a quarto Volume. The dear Cadell assures me that he never -remembered so eager and impatient a demand for a second Edition." -And again in June he writes to the same: "The 1500 Copies are moving -off with decent speed, and the obliging Cadell begins to mutter -something of a third Edition for next year." This third edition did not, -however, appear until 1782.</p> - -<p>In June, 1780, we find our author busy revising and correcting for -the press the second and third volumes of the first edition, both of -which appeared the next year. Under date of April 13, 1781, he -writes to his stepmother:</p> - -<p>"The reception of these two volumes has been very unlike that -of the first, and yet my vanity is so very dextrous, that I am not displeased -with the difference. The effects of novelty could no longer -operate, and the public was not surprised by the unexpected appearance -of a new and unknown author. The progress of these two -volumes has hitherto been quiet and silent. Almost everybody that -reads has purchased, but few persons (comparatively) have read them; -and I find that the greatest number, satisfied that they have acquired -a valuable fund of entertainment, differ the perusal to the summer, the -country, and a more quiet period. Yet I have reason to think, from -the opinion of some judges, that my reputation has not suffered by -this publication. The Clergy (such is the advantage of a total loss of -character) commend my decency and moderation: but the patriots -wish to down the work and the author."</p> - -<p>The concluding volumes were delayed for various reasons as Gibbon -said to Lord Sheffield in July, 1786: "A book takes more time -in making than a pudding." In June, 1787, he says: "I am building -a great book, which, besides the three stories already exposed to the -public eye, will have three stories more before we reach the roof and -battlement," and promises that, with the diligence and speed then -exerted, he hopes to be able to have the work ready for the press in -August, or perhaps July. In an earlier letter he says:</p> - -<p>"About a month ago I had a voluntary, and not unpleasing Epistle -from Cadell; he informs me that he is going to print a new octavo -edition, the former being exhausted, and that the public expect with -<span class="pagenum"><a name="page135" id="page135"></a>[pg 135]</span> -impatience the conclusion of the excellent work, whose reputation and -sale increases every day, etc. I answered him by the return of the -post, to inform him of the period and extent of my labours, and to -express a reasonable hope that he would set the same value on the -three last as he had done on the three former Volumes. Should -we conclude in this easy manner a transaction as honourable to the -author and bookseller, my way is clear and open before; in pecuniary -matters I think I am assured for the rest of my life of never -troubling my friends, or being troubled myself; a state to which I aspire, -and which I indeed deserve, if not by my management, at least -by moderation."</p> - -<p>The publishers had allowed Gibbon two thirds of the profits for the -first volume, which amounted on the first edition to 490. In a letter -written in 1788, to his stepmother, he refers again to his relations with -Cadell: "The public, where it costs them nothing, are extravagantly -liberal; yet I will allow with Dr. Johnson 'that booksellers in this age are -not the worst patrons of literature.'" Allibone tells us that the historians' -"profit on the whole is stated to have been 6,000, whilst the -booksellers netted the handsome sum of 60,000."</p> - -<p>The sixth volume was finished June 27, 1787, and was published with -the fourth and fifth in April, 1788. Gibbon says:</p> - -<p>"The impression of the fourth volume had consumed three months; -our common interest required that we should move with quicker -pace, and Mr. Strahan fulfilled his engagement, which few printers -could sustain, of delivering every week three thousand copies of -nine sheets. The day of publication was, however, delayed, that -it might coincide with the fifty-first anniversary of my own birthday: -the double festival was celebrated by a cheerful literary dinner at Mr. -Cadell's house, and I seemed to blush while they read an elegant -compliment from Mr. Haley."</p> - -<p>John Hall, historical engraver to George III, and one of the engravers -of the plates for Alderman Boydell's collection, executed the -portrait of Gibbon, after Sir Joshua Reynolds, which faces the title-page -of our first volume. The plate was issued separately in 1780, -Cadell having "strenuously urged the curiosity of the public" as a -reason for its immediate publication. It was most appropriate to introduce, -as he did, the vignettes emblematic of Rome.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Six volumes.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page136" id="page136"></a>[pg 136]</span></p> - -<h2>RICHARD BRINSLEY SHERIDAN<br /><br class="b30" /> - -<span class="less2">(1751-1816)</span></h2></div> - -<p class="head"><span class="outdent">59. The | School </span>| For | Scandal. | A | Comedy. | [Quotation] -Dublin: | Printed for J. Ewling.</p> - -<p>The first performance of the play occurred May 8, 1777, at the -Drury Lane Theatre, which had been opened under Sheridan's management -the previous year. A publisher immediately offered five -hundred guineas for a corrected copy of the comedy, and Sheridan -promised to prepare it for the press; but Mr. W. Fraser Rae tells us -that when importuned for the revised manuscript Sheridan "always -replied that he had never been able to satisfy himself as to the version -which he wished to be published, and the comedy, with any of his -final corrections, has not yet been given to the world."</p> - -<p>The Ewling edition was printed from an acting copy which Sheridan -had given to his sister, Mrs. LeFanu of Dublin, who, for one hundred -guineas and free admission to the theater for herself and family, -had let it go to Mr. Roger of the Theatre Royal. A dated edition appeared -in Dublin in 1781.</p> - -<p>The omission of the author's name from the title-page recalls the -foolish statement made by Dr. Watkins on the authority of Isaac -Reed, "that the play was written by a young lady, the daughter of a -merchant in Thames Street [whose name and the number of whose -house are judiciously withheld], that, at the beginning of the season -when Mr. Sheridan commenced his management, the manuscript was -put into his hands for judgment, soon after which the fair writer, -who was then in a stage of decline, went to Bristol Hot Wells, where -she died."</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>vi, 93 pp., 1 l.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page137" id="page137"></a>[pg 137]</span></p> - -<h2>WILLIAM COWPER<br /><br class="b30" /> - -<span class="less2">(1731-1800)</span></h2></div> - -<p class="head"><span class="outdent">60. The | Task, | A | Poem, </span>| 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<sup>o</sup> 72, St. -Paul's | Church-Yard: | 1785.</p> - -<p>In October, 1784, William Cawthorne Unwin,</p> - -<div class="poem width24"> <div class="stanza"> -<p>"A friend whose worth deserves as warm a lay</p> -<p class="i2">As ever friendship penned,"</p> - </div> </div> - -<p>received from Cowper "four quires of verse" with the request that it -might be read by him and, if approved, conveyed to Joseph Johnson, -the publisher of Cowper's first volume.</p> - -<p>"If, when you make the offer of my book [<i>The Task</i>], to Johnson, -he should stroke his chin, and look up at the ceiling and cry 'Humph!', -anticipate him, I beseech you, at once by saying 'that you know I -should be sorry that he should undertake for me to his own disadvantage, -or that my volume should be in any degree pressed upon -him. I make him the offer merely because I think he would have -reason to complain of me if I did not.' But, that punctilio once -satisfied, it is a matter of indifference to me what publisher sends me -forth." Johnson, however, accepted.</p> - -<p>"My imagination tells me," says Cowper to Unwin, "(for I know -you interest yourself in the success of my productions) that your heart -fluttered when you approached his door, and that it felt itself discharged -of a burthen when you came out again."</p> -<p><span class="pagenum"><a name="page138" id="page138"></a>[pg 138]</span></p> - -<p>The "Advertisement," or preface, accounting for <i>The Task</i>, is worth -reprinting. It runs:</p> - -<p>"The hiſtory of the following production is briefly this. A lady, -fond of blank verſe, demanded a poem of that kind from the author, -and gave him the <span class="sc">Sofa</span> for a ſubject. He obeyed; and having much -leiſure, connected another ſubject with it; and purſuing the train of -thought to which his ſituation and turn of mind led him, brought forth -at length, inſtead of the trifle which he at firſt intended, a ſerious -affair—a Volume."</p> - -<p>The lady, who was Cowper's friend, Lady Austin, was also responsible -for <i>John Gilpin</i>, for it was from her that the poet first heard the -tale. It is said that he wrote the outline that night and sent it to -<i>The Public Advertiser</i>, anonymously, the next morning; but, in fact, it -appeared in November, 1782. It had a great success in the newspapers, -and in pamphlet form, and Henderson, the actor, gave it further -vogue by his recitations.</p> - -<p>"I have not been without thoughts of adding 'John Gilpin' at the -tail of all," wrote Cowper, while <i>The Task</i> was in press. "He has -made a good deal of noise in the world; and perhaps it may not be -amiss to show, that though I write generally with a serious intention, -I know how to be occasionally merry."</p> - -<p>There was some discussion between the poet and the publisher, as to -the propriety of putting poems so different in character into the -same volume. The poet says to Mr. Newton: "I should blame nobody, -not even my intimate friends, and those who have the most -favorable opinion of me, were they to charge the publication of John -Gilpin, at the end of so much solemn and serious truth, to the score -of the author's vanity; and to suspect that, however sober I may be -upon proper occasions, I have yet that itch of popularity that would -not suffer me to sink my title to a jest that had been so successful. -But the case is not such. When I sent the copy of the <i>Task</i> to Johnson, -I desired, indeed, Mr. Unwin to ask him the question, whether or -not he would choose to make it a part of the volume. This I did -merely with a view to promote the sale of it. Johnson answered, 'By -all means.' Some months afterward, he enclosed a note to me in one -of my packets, in which he expressed a change of mind, alleging, that -to print John Gilpin would only be to print what had been hackneyed -in every magazine, in every shop, and at the corner of every street. I -answered, that I desired to be entirely governed by his opinion; and -<span class="pagenum"><a name="page139" id="page139"></a>[pg 139]</span> -that if he chose to waive it, I should be better pleased with the omission. -Nothing more passed between us on the subject, and I concluded -that I should never have the immortal honor of being generally -known as the author of John Gilpin. In the last packet, however, -down came John, very fairly printed, and equipped for public appearance. -The business having taken this turn, I concluded that Johnson -had adopted my original thought, that it might prove advantageous to -the sale; and as he had had the trouble and expense of printing it, I -corrected the copy, and let it pass."</p> - -<p>The half-title to <i>John Gilpin</i> in our copy reads: <i>The Diverting</i> | <i>History</i> -| <i>Of</i> | <i>John Gilpin</i>, | <i>Shewing How He Went Farther Than He</i> | -<i>Intended And Came Safe Home Again</i>.</p> - -<p>The book appeared in June, having now grown into a volume of -poems, containing, as the title-page shows, four works, paged continuously. -It cost four shillings, in boards. The volume was a great success, -and two issues were made in the same year. These show several -variations, but chiefly in the arrangement of the pages. A half-title, -found in some copies, and thought to belong only to late issues, reads: -<i>Poems, By William Cowper, Esq. Vol. II</i>. Herein we may possibly see -Johnson's afterthought to make the book a second volume to the collection -of <i>Poems</i> issued in 1782, and referred to in the advertisement on -the last page: "Lately publiſhed by the ſame Author, in one Volume of -this Size. Price 4s. ſewed." It would have been a shrewd plan thus to -make the successful later volume carry the unsuccessful earlier.</p> - -<p>Cowper gave the copyright to Johnson, who afterward, when the -work proved so successful, would have allowed him to take back his gift, -but Cowper refused.</p> - -<p>This Johnson was also the publisher of Horne Tooke, Fuseli, Bonnycastle, -Mary Wollstonecraft, and Miss Edgeworth. He, as well as -his successor, Rowland Hunter, was a dissenter, and the building -which he occupied, we are told, was "plain and unadorned, befitting -the head-quarters of the bookselling of Protestant Dissent." Charles -Knight, in <i>Shadows of the Old Booksellers</i>, has a paragraph, which must -be quoted in connection with the appearance of Johnson's books.</p> - -<div class="poem width24"> <div class="stanza"> -<p>"With wire-wove hot-pres'd paper's glossy glare,</p> -<p>Blind all the wise, and make the stupid stare."</p> - </div> </div> - -<p>The publisher of Cowper was an exception to his brother publishers -of that day, who are addressed in these lines. Aikin says of him, -<span class="pagenum"><a name="page140" id="page140"></a>[pg 140]</span> -"It is proper to mention that his true regard for the interests of literature -rendered him an enemy to that typographical luxury which, joined -to the necessary increase of expense in printing, has so much enhanced -the price of new books as to be a material obstacle to the indulgence -of a laudable and reasonable curiosity to the reading public."</p> - -<p>It is quite certain that in making the <i>Task</i> he did not sin against -these principles of philanthropy, even if he sinned against many of the -rules of good book-making.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>4 ll., 359 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page141" id="page141"></a>[pg 141]</span></p> - -<h2>ROBERT BURNS<br /><br class="b30" /> - -<span class="less2">(1759-1796)</span></h2></div> - -<p class="head"><span class="outdent">61. Poems, | Chiefly In The | Scottish Dialect, </span>| By | Robert -Burns. | [Quotation] Kilmarnock: | Printed By John -Wilson. | M,DCC,LXXXVI.</p> - -<p>One of Burns's warmest friends, Gavin Hamilton, advised him to publish -his poems in order to get enough money to emigrate to Jamaica, -where it was hoped he would escape from the complications incident -upon his love affair with Jean Armour. In the preface Burns tells us -that none of the poems was written with a view to publication, but as -a counterpoise to the troubles of the world.</p> - -<p>The <i>Proposals For Publishing By Subscription, Scottish Poems, By -Robert Burns</i>, only one copy of which is known, appeared in 1786, and -ran as follows: "The Work to be elegantly printed, in one volume -octavo. Price, stitched, Three Shillings. As the Author has not the -most distant mercenary view in publishing, as soon as so many subscribers -appear as will defray the necessary expense, the work will be sent to -Press." A stanza of a poem by Alan Ramsay was followed by the -agreement: "We undersubscribers engage to take the above-mentioned -work on the conditions specified." The book went to press in -June, and appeared the last day of July. Six hundred and twelve -copies were printed; three hundred and fifty were taken by the author's -friends; and, by August 28, all but thirteen had been sold. Burns -cleared about twenty pounds.</p> - -<p>In October a new edition of a thousand copies was suggested by -Burns, but the printer refused to proceed unless the author would -advance twenty-seven pounds, the price of the paper, "But this, you -know," says the luckless poet to Robert Aiken, "is out of my power; -so farewell hopes of a second edition till I grow richer! an epocha, -<span class="pagenum"><a name="page142" id="page142"></a>[pg 142]</span> -which, I think, will arrive at the payment of the British National -Debt."</p> - -<p>Unlike Messrs. Dunlop and Wilson of Glasgow, to whom Burns is -said, without much authority, to have first offered the poem, Wilson, -the printer of the little volume, was not a great or leading publisher; -but he succeeded in making a volume that is very charming in appearance, -and not without reminders of the French press-work of the -period.</p> - -<p>A copy of this book sold at the auction of the library of Mr. A. C. -Lamb of Dundee, in February, 1898, for the sum of five hundred and -seventy-two pounds, five shillings—"the most amazing price ever -realized for a modern book."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>240 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page143" id="page143"></a>[pg 143]</span></p> - -<h2>GILBERT WHITE<br /><br class="b30" /> - -<span class="less2">(1720-1793)</span></h2></div> - -<p class="head"><span class="outdent">62. The | Natural History </span>| And | Antiquities | Of | Selborne, -| [Two lines] With | Engravings, And An -Appendix. | [Quotations] London: | Printed by T. -Bensley; | For B. White And Son, at Horace's Head, -Fleet Street. | M,DCC,LXXXIX.</p> - -<p>"B. White" was Benjamin, next older brother of Gilbert, and one -of the chief publishers of books relating to natural history. His -interest in this book, therefore, must have been more than usually -great, an assumption justified by its typographical appearance. It -may, perhaps, be truly said that, with the possible exceptions of Clarendon's -History and Percy's <i>Reliques</i>, it is the only work in our series -having special artistic merit.</p> - -<p>Thomas Bensley was one of the first English printers to turn his -attention to printing as a fine art; and he may be reckoned, with -Bulmer, chief among the reformers of the art. As Dibdin says, in -the <i>Bibliographical Decameron</i>, he "completed the establishment of a -<i>self working</i> press, which prints on <i>both sides</i> of the sheet by one and -the same operation—and throws off 900 copies in an hour! This -really seems magical. It is certainly without precedent." It was, no -doubt, with intent that Benjamin White gave the printing of this book -into such hands, and something of the sumptuousness which afterward -in Macklin's <i>Bible</i> and Hume's <i>History of England</i> made Bensley -famous may be seen in this work.</p> - -<p>Our chief interest in the volume, as a piece of bookmaking, centers -in the illustrations, engraved by Peter Mazell and Daniel Lerpinire. -These comprise a vignette on the title-page to <i>The Natural History</i>, -with a line from White's own poem, "The Invitation to Selbourne"; -seven plates, one, the large folding frontispiece, which is said to contain -<span class="pagenum"><a name="page144" id="page144"></a>[pg 144]</span> -portraits of four of White's friends; and a vignette on the title-page -of <i>The Antiquities</i>. They are all from drawings by a young -Swiss artist named Samuel Hieronymus Grimm, who settled in London -in 1778, and was much employed in topographical work.</p> - -<p>White's references to him in various letters give us quite an insight -into the details of making this delightful book. Writing to Rev. John -White, August 12, 1775, he says:</p> - -<p>"Mr. Grimm, the Swiss, is still in Derbyshire; and is to continue -there and in Staffordshire 'til the end of the month. I have made all -the inquiry I can concerning this artist, as it much behoves me to do. -Mr. Tho. Mulso, and Brother Thomas, and Benjamin, and Mr. Lort -have been to his lodgings to see his performances. They all agree -that he is a man of genius; but the two former say that he does hardly -seem to stick enough to nature; and that his trees are grotesque and -strange. Brother Benjamin seems to approve of him. They all allow -that he excels in grounds, water, and buildings. Friend Curtis recommends -a Mr. Mullins, a worker in oil-colours. Grimm, it seems, has -a way of staining his scapes with light water-colours, and seems disposed -much in scapes for light sketchings; now I want <i>strong lights -and shades</i> and good trees and foliage."</p> - -<p>The inquiries seem, in the end, to have been satisfactory, and by -May the fifth of the next year the young man had been engaged. An -entry in <i>The Naturalists' Journal</i>, under date of July 8, 1776, records: -"Mr. Grimm, my artist, came from London to take some of our finest -views."</p> - -<p>On August 9, 1776, he says:</p> - -<p>"Mr. Grimm was with me just 28 days; 24 of which he worked -very hard, and shewed good specimens of his genius, assiduity, and -modest behaviour, much to my satisfaction. He finished for me 12 -views. He first of all sketches his scapes with a lead-pencil; then he -<i>pens</i> them all over, as he calls it, with india-ink, rubbing out the superfluous -pencil-strokes; then he gives a charming shading with a brush -dipped in indian-ink; and last he throws a light tinge of water-colours -over the whole. The scapes, many of them at least, looked so lovely -in their indian-ink shading, that it was with difficulty the artist could -prevail on me to permit him to tinge them; as I feared those colours -might puzzle the engravers; but he assured me to the contrary."</p> - -<p>In a letter to Mr. Samuel Barker, November 1, 1776, we find:</p> - -<p>"In 24 days Mr. Grimm finished for me 12 drawings; the most -<span class="pagenum"><a name="page145" id="page145"></a>[pg 145]</span> -elegant of which are 1, a view of the village and hanger from the -short Lithe [the large folding frontispiece]; 2, a view of the S. E. -end of the hanger and its cottages, taken from the upper end of the -street; 3, a side view of the <i>old</i> hermitage, with the hermit standing -at the door, [the vignette on the title-page]: this piece he is to copy -again for Uncle Harry; 4, a sweet view of the short Lithe and Dorton -from the lane beyond Peasecod's house. He took also two views -of the Church [opposite pp. 315, 323]; two views of my outlet; -a view of the Temple-Farm [opposite p. 342]; a view of the village -from the inside of the present hermitage; Hawkley hanger, which -does not prove very engaging; and a grotesque and romantic drawing -of the water-fall in the hollow bed of the stream in Silkwood's vale to -the N. E. of Berriman's house. You need not wonder that the drawings -you saw by Grimm did not please you; for they were 3s. 6d. pieces -done for a little ready money; so there was no room for softening his -trees, &c. He is a most elegant colourist; and what is more, the use -of these fine natural stainings is altogether his own, yet his pieces were -so engaging in India-ink that it was with regret that I submitted to -have some of them coloured...." The plates bear the legend, -"Published Nov<sup>r</sup>. 1. 1788 as the Act directs, by B. White & Son."</p> - -<p>The work appeared anonymously at the end of 1788, but it is -dated the next year. It was sold for one guinea, in boards. Fifty -copies were printed on large paper, with the plate on page 3 in colors. -Although it seems to have sold well, it was the only edition issued -during the author's lifetime. White wrote to a friend in 1789: "My -book is still asked for in Fleet Street. A gent. came the other day, -and said he understood that there was a Mr. White who had lately -published two books, a good one and a bad one; the bad one was -concerning Botany Bay ['<i>A Voyage to New South Wales</i>,' by John -White (no relation), published in 1790], the better respecting some -parish."</p> - -<p>The index, which White described when he was making it as "an -occupation full as entertaining as that of darning of stockings," was -criticised for not being full enough, a criticism applicable to every -edition issued since the first.</p> - -<p class="ind1">Quarto</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>1 l., v., 468 pp., 7 ll. Seven plates.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page146" id="page146"></a>[pg 146]</span></p> - -<h2>EDMUND BURKE<br /><br class="b30" /> - -<span class="less2">(1729-1797)</span></h2></div> - -<p class="head"><span class="outdent">63. Reflections | On The </span>| Revolution In France, | [Four -lines] In A | Letter | Intended To Have Been Sent -To A Gentleman | In Paris. | By The Right Honorable -| Edmund Burke. | London: | Printed For J. Dodsley, in -Pall Mall. | M.DCC.XC.</p> - -<p>It was well known, long before the book appeared, that Burke was at -work upon this subject. As early as October, 1789, he had written a -letter expressing his opinion on the revolutionary movement in France, -and in this volume he but gave in permanent form a more elaborate -and careful presentation of the same subject. Interest in the new -volume was in no way diminished, but rather increased by the delay; -and when the little book made its appearance, November 1, in a modest -unlettered wrapper of gray paper, selling for five shillings, it created a -profound impression. The King called it "a good book, a very good -book; every gentleman ought to read it," and it ran into eleven editions, -or eighteen thousand copies, within a twelvemonth.</p> - -<p>Our author and his publishers were well known to each other at this -time: they had issued his <i>A Vindication of Natural Society</i> in 1756; -and he had been the conductor and chief editor of the historical portion -of their <i>Annual Register</i> for a number of years.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>iv, 356 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page147" id="page147"></a>[pg 147]</span></p> - -<h2>THOMAS PAINE<br /><br class="b30" /> - -<span class="less2">(1737-1809)</span></h2></div> - -<p class="head"><span class="outdent">64. Rights Of Man: </span>| 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. | London: | -Printed for J. Johnson, St. Paul's Church-Yard. | MDCCXCI.</p> - -<p>"Mr. Burke's Attack," as we have seen, appeared in November, 1790, -and Paine immediately replied with the first part of his "Answer." -Joseph Johnson, who printed Cowper's <i>Task</i>, and published for Horne -Tooke, Fuseli, Bonnycastle and Miss Edgeworth, began the work and -issued a few copies, but he became frightened at the serious outlook -and gave it up. It was then put into the hands of J. S. Jordan, of -No. 166 Fleet Street, who reissued it March 13, 1791, under the -superintendence of three of Paine's friends, Paine himself having in -the meantime gone to Paris. There were a few corrections in the spelling -of some words, some passages were softened, and a preface to the -English edition, which Paine sent back from Europe, was added to -the new edition.</p> - -<p>The success of the book was enormous, and it ran into edition after -edition. In a letter to Washington, to whom it was dedicated, Paine -says, under date of July 21, 1791:</p> - -<p>"... I took the liberty of addressing my late work 'Rights of Man', -to you; but tho' I left it at that time to find its way to you, I now request -your acceptance of fifty copies as a token of remembrance to -yourself and my Friends. The work has had a run beyond anything -that has been published in this Country on the subject of Government, -and the demand continues. In Ireland it has had a much greater. A -letter I received from Dublin, 10th of May, mentioned that the fourth -<span class="pagenum"><a name="page148" id="page148"></a>[pg 148]</span> -edition was then on sale. I know not what number of copies were -printed at each edition, except the second, which was ten thousand....</p> - -<p>"I have printed sixteen thousand copies; when the whole are gone, -of which there remain between three and four thousand, I shall then -make a cheap edition, just sufficient to bring in the price of printing -and paper as I did by Common Sense."</p> - -<p>The earlier editions of the first part were made uniform with Burke's -<i>Reflections</i>, and sold, so we learn from the half-title, for half a crown; -the second edition sold for three shillings; and the cheap edition, -which was <i>Printed For H. D. Symonds, Paternoster Row, M,DCC,XCII.</i>, -sold for sixpence.</p> - -<p><i>The Gazetteer</i> for January 25, contained the following announcement: -"Mr Paine, it is known, is to produce another book this -season. The composition of this is now past, and it was given a few -weeks since to two printers, whose presses it was to go through as soon -as possible. They printed about half of it, and then, being alarmed -by <i>some intimations</i>, refused to go further. Some delay has thus -occurred, but another printer has taken it, and in the course of the -next month it will appear. Its title is to be a repetition of the former, -'The Rights of Man,' of which the words 'Part the Second,' will show -that it is a continuation."</p> - -<p>The title in full, runs as follows: <i>Rights Of Man.</i> | <i>Part</i> | <i>The -Second.</i> | <i>Combining</i> | <i>Principle And Practice.</i> | <i>By</i> | <i>Thomas Paine</i>, | -[<i>Four lines</i>] <i>London:</i> | <i>Printed for J. S. Jordan, No. 166, Fleet-Street.</i> | -1792.</p> - -<p>The volume was the same size as the first part, and contained 178 -pages, selling, as the half-title tells us, for three shillings. It was -dedicated to Lafayette. This part was also issued by Symonds in a -cheap edition, uniform with the first part, which sold for sixpence.</p> - -<p>The printer alarmed by the "intimations" was Chapman. He had -offered successively, at different stages of the publication, 100, 500, -and 1000, for the work, but Paine preferred to keep it in his own -hands, fearing, perhaps, that this was a government attempt to suppress -the book. From a financial point of view he was wise, since, on -July 4, he handed over to the Society for Constitutional Information, -1000, which he had already received from sales. After Chapman's -withdrawal, Jordan took up the printing, but with the understanding -that if questioned he should say that Paine was author and publisher, -and would personally answer for the work.</p> -<p><span class="pagenum"><a name="page149" id="page149"></a>[pg 149]</span></p> - -<p>The fears of the printers proved anything but groundless. The persecution, -by imprisonment or fines, of those who were connected with the -publishing (printing and selling) of the book would "astonish you", -as Dr. Currie writes in 1793, "and most of these are for offences committed -many months ago. The printer of the <i>Manchester Herald</i> has -had seven different indictments preferred against him for paragraphs -in his paper; and six <i>different</i> indictments for selling or disposing of -six different copies of Paine—all previous to the <i>trial</i> of Paine. The -man was opulent, supposed worth 20,000 l.; but these different actions -will ruin him, as they were intended to do."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>1 l., 162 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page150" id="page150"></a>[pg 150]</span></p> - -<h2>JAMES BOSWELL<br /><br class="b30" /> - -<span class="less2">(1740—1795)</span></h2></div> - -<p class="head"><span class="outdent">65. The | Life | </span>Of | Samuel Johnson, LL.D. | [Twelve -lines] In Two Volumes. | By James Boswell, Esq. | -[Quotation] Volume The First. | London: | Printed by -Henry Baldwin, | For Charles Dilly, In the Poultry. | -MDCCXCI.</p> - -<p>Boswell had published, the year before, two specimens of his work: -<i>The Celebrated Letter from Samuel Johnson, LL.D., to Philip Dormer -Stanhope, Earl of Chesterfield, now first published, with notes by James -Boswell, Esq.</i>, and <i>A Conversation between His Most Sacred Majesty -George III, and Samuel Johnson, LL.D., illustrated with observations -by James Boswell, Esq.</i> They were probably issued to secure the -copyright, and sold for half a guinea apiece.</p> - -<p>The whole matter of publication of the <i>Life</i> was a source of no -small worry to our author. He was plunged, at that time, in pecuniary -difficulties due to the purchase of an estate for 2500, and it seemed -as if he might be obliged to accept the offer of Robinson, the publisher, -of 1000 for the copyright of his beloved book. "But it would -go to his heart," he said, "to accept such a sum, which he considered -far too low", and he avoided the difficulty by borrowing the money. -All of these things made him very low-spirited:</p> - -<p>"I am at present," he says, "in such bad spirits that I have fear -concerning it—that I may get no profit, nay, may lose—that the public -may be disappointed, and think that I have done it poorly—that I -may make many enemies, and even have quarrels. But perhaps the -very reverse of all may happen."</p> - -<p>He worked very hard over all the details connected with the making -of the book. "I am within a short walk of Mr. Malone, who -revises my 'Life of Johnson' with me. We have not yet gone over -<span class="pagenum"><a name="page151" id="page151"></a>[pg 151]</span> -quite a half of it, but it is at last fairly in the press. I intended to -have printed it upon what is called an <i>English</i> letter, which would -have made it look better. I have therefore taken a smaller type, -called <i>Pica</i>, and even upon that I am afraid its bulk will be very -large." He gave much thought to the title-page, and we are told that -it was a long time before he could be perfectly satisfied. This statement, -we are compelled to assume, refers to the literary composition -of the title, rather than to the construction of the page: upon the latter -he might have worked much longer and still have been dissatisfied.</p> - -<p>The work was at last delivered to the world May sixteenth (the -"Advertisement" is dated April twentieth), and was sold for two guineas -a copy. So successful was it that by August twenty-second, 1200 out of -the edition of 1700 copies were disposed of, and the whole edition -was exhausted before the end of the year. A supplement was issued -in 1793, at one guinea; and a second edition with eight additional -sheets appeared in July of the same year.</p> - -<p>With all Boswell's fussiness many mistakes crept into the printing, -and the book abounds in wrong paging, omission of pages, and -other things "of which," says Fitzgerald, "the great exemplar is the -first Shakespeare Folio." So bad were these errors, indeed, that it -was found necessary to issue a small quarto volume of forty-two -pages to correct them. This pamphlet is sometimes bound up with -the second edition. It is entitled: <i>The</i> | <i>Principal Corrections and -Addition</i> | <i>To The First Edition Of</i> | <i>Mr. Boswell's Life</i> | <i>Of</i> | <i>Dr. -Johnson.</i> | <i>London:</i> | <i>Printed by Henry Baldwin</i>, | <i>For Charles Dilly -In The Poultry.</i> | <i>MDCCXCIII.</i>| [<i>Price Two Shillings and Sixpence.</i>] -"A Chronological Catalogue of the Prose Works of Samuel Johnson, -L.L.D.," is printed at the end.</p> - -<p>Charles Dilly, the bookseller, was well known in his day. Beloe -speaks of him as "the queer little man ... characterized by a dryness -of manner peculiarly his own." He and his elder brother, -John, were famous not only for their successful publishing ventures, -but for their dinners as well. Boswell speaks of "my worthy booksellers -and friends, Messrs. Dilly, in the Poultry, at whose hospitable -and well covered table I have seen a greater number of literary men -than at any other, except that of Sir Joshua Reynolds."</p> - -<p>The engraved portrait of Doctor Johnson by James Heath, after the -painting by Sir Joshua Reynolds, 1756, which forms the frontispiece -to the first volume, bears the inscription: "Samuel Johnson. From -<span class="pagenum"><a name="page152" id="page152"></a>[pg 152]</span> -the original Picture in the Poſseſsion of James Boswell, Esq. Publiſh'd -April 10, 1791, by C. Dilly." A plate of facsimiles of Dr. Johnson's -handwriting, and another showing a "Round Robin, addreſsed to -Samuel Johnson, L.L.D., with FacSimiles of the Signatures," add to -the interest of the second volume. Both plates were engraved by -H. Shepherd.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>xii pp., 8 ll., 516 pp.</i> Volume - II: <i>1 l., 588 pp. Portrait. Two plates.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page153" id="page153"></a>[pg 153]</span></p> - -<h2>WILLIAM WORDSWORTH<br /><br class="b30" /> - -<span class="less2">(1770-1850)</span> - -<span class="small">AND</span><br /><br class="b30" /> - -SAMUEL TAYLOR COLERIDGE<br /><br class="b30" /> - -<span class="less2">(1772-1834)</span></h2></div> - -<p class="head"><span class="outdent">66. Lyrical Ballads, </span>| With | A Few Other Poems. | London: | -Printed For J. & A. Arch, Gracechurch-Street. | -1798.</p> - -<p>In Cottle, the Bristol bookseller and poet, Wordsworth and Coleridge -found a friend whose appreciation of their genius took a practical form. -As early as 1795 we learn from a letter of Coleridge to Thomas Poole -that "Cottle has entered into an engagement to give me a guinea and -a half for every hundred lines of poetry I write, which will be perfectly -sufficient for my maintenance, I only amusing myself on mornings; and -all my prose works he is eager to purchase." When the two poets -planned to issue a book in which Coleridge should show "the dramatic -treatment of supernatural incidents," while Wordsworth should try to -give the charm of novelty to "things of ever[y] day," it was Cottle who -bought it. He says: "A visit to Mr. Coleridge at Stowey has been the -means of my introduction to Mr. Wordsworth, who read me many of -his Lyrical Pieces, when I perceived in them a peculiar but decided -merit. I advised him to publish them, expressing a belief that they -would be well received. I further said that he should be at no risk; -that I would give him the same sum which I had given Mr. Coleridge -and Mr. Southey, and that it would be a gratifying circumstance to me -to usher into the world, by becoming the publisher of, the first volumes -of three such poets as Southey, Coleridge and Wordsworth—a distinction -that might never again occur to a provincial publisher."</p> -<p><span class="pagenum"><a name="page154" id="page154"></a>[pg 154]</span></p> - -<p>He gave Wordsworth thirty guineas for the copyright, and issued the -book with the following imprint: <i>Bristol: Printed by Biggs and Cottle, -for T. N. Longman, Paternoster Row, London, 1798</i>. But this imprint -did not remain upon the title-page of the whole edition, for Cottle tells -us that the sale was so slow, and the severity of most of the reviews -so great, that its progress to oblivion seemed ordained to be as rapid -as it was certain. He parted with the largest proportion of the five -hundred at a loss, to Mr. Arch, a London bookseller, who bound up -his copies with a new title-page bearing his name. The copies of -the earlier issue are very rare.</p> - -<p>Shortly after the transfer, Cottle retired from business, selling all his -copyrights to Longman and Rees, far-sighted publishers, both of -whom were also Bristol men. In the transfer the copyright of the -<i>Lyrical Ballads</i> was down in the bill as worth nothing, whereupon -Cottle begged the receipt for the thirty guineas, and presented it to -Wordsworth.</p> - -<p>The work was entirely anonymous, with nothing to show that it -was a joint production. Coleridge's poem, <i>The Nightingale</i>, inserted -at the last minute, in place of <i>Lewti</i>, makes an extra leaf between -pages 68 and 69. It is numbered 69 (the verso is blank), but no -apparent confusion results since the original page 69 is not numbered, -in accordance with the printer's scheme of numbering.</p> - -<p>We catch an interesting glimpse of this poet-publisher in a letter of -Coleridge's to Robert Southey, written under date of July 22, 1801:</p> - -<p>"Poor Joseph! he has scribbled away both head and heart. -What an affecting essay I could write on that man's character! Had -he gone in his quiet way on a little pony, looking about him with a -sheep's-eye cast now and then at a short poem, I do verily think from -many parts of the "Malvern Hill," that he would at last have become -a poet better than many who have had much fame, but he would be -an Epic, and so</p> - -<div class="poem width24"> <div class="stanza"> -<p>'Victorious o'er the Danes, I Alfred, preach,</p> -<p>Of my own forces, Chaplain-General.'"</p> - </div> </div> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>viii, 68 pp., 1 l., 69-210 pp., 1 l.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page155" id="page155"></a>[pg 155]</span></p> - -<h2>WASHINGTON IRVING<br /><br class="b30" /> - -<span class="less2">(1783-1859)</span></h2></div> - -<p class="head"><span class="outdent">67. A History | Of |</span> New York, | From The Beginning Of -The World To The | End Of The Dutch Dynasty. | -[Eight lines] By Diedrich Knickerbocker. | [Quotation] -In Two Volumes. | Vol. I. | Published By Inskeep & -Bradford, New York; | Bradford & Inskeep, Philadelphia; -Wm. M'Il- | Henny, Boston; Coale & Thomas, -Baltimore; | And Morford, Willington, & Co. Charleston. -| 1809.</p> - -<p>Early in the year 1809 a notice in the newspapers, headed "Distressing," -announced the disappearance from his lodgings of a "small -elderly gentleman" named Knickerbocker; and another notice, signed -Seth Handaside, landlord of the Independent Columbian Hotel, Mulberry -Street, reads:</p> - -<p>"Sir:—You have been good enough to publish in your paper a -paragraph about Mr. Diedrich Knickerbocker, who was missing so -strangely from his lodgings some time since. Nothing satisfactory -has been heard of the old gentleman since; but a <i>very curious kind of -a written book</i> has been found in his room in his own handwriting. -Now I wish you to notice him, if he is still alive, that if he does not -return and pay off his bill, for board and lodging, I shall have to dispose -of his Book, to satisfy me for the same."</p> - -<p>On December 6, 1809, the actual publication of the work is announced -in the <i>American Citizen</i>:</p> - -<p class="title1b"> "<span class="sc">Is This Day Published,<br /> - By Inskeep And Bradford—No. 128 Broadway<br /> - A History Of New York.</span></p> - -<p class="center1">In 2 vols. duodecimo—price 3 dollars.</p> - -<p><span class="pagenum"><a name="page156" id="page156"></a>[pg 156]</span></p> - -<p>"Containing an account of its discovery and settlement, with its internal -policy, manners, customs, wars, &c., &c., under the Dutch government, -furnishing many curious and interesting particulars never -before published, and which are gathered from various manuscripts -and other authenticated sources, the whole being interspersed with -philosophical speculations and moral precepts.</p> - -<p>"This work was found in the chamber of Mr. Diedrich Knickerbocker, -the old gentleman whose sudden and mysterious disappearance -has been noticed. It is published in order to discharge certain debts -he has left behind."</p> - -<p>In this way Irving chose to introduce his satire to the world. The -book was put to press in Philadelphia instead of in New York, in order -the more easily to preserve its anonymous character.</p> - -<p>The pretence that it was a serious history was carried even into the -dedication "To the New York Historical Society," and the work may -really be described as a practical joke in book form.</p> - -<p>The volumes sold well, and, on the whole, were well received. -Some members of the old Dutch families of the state saw in them a -reflection upon their ancestors that they found it hard to overlook, and -Irving himself describes their indignation against him. Mr. Pierre M. -Irving tells us that he heard his uncle say that the avails of the first -edition of <i>The History</i> amounted to about three thousand dollars.</p> - -<p>A narrow folded plate, in the first volume, is entitled, "New -Amsterdam (Now New-York) As it appeared about the year 1640, -while under the Dutch Government". A legend beneath the engraving -adds: "Copied from an ancient Etching of the same size, Published -by Justus Danckers at Amsterdam". The view is often missing, -being much sought after by print collectors.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>xxiii, 268 pp.</i> Volume II: - <i>1 l., 258 pp. Folded plate.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page157" id="page157"></a>[pg 157]</span></p> - -<h2>GEORGE GORDON BYRON,<br /><br class="b30" /> - -<span class="less2">SIXTH BARON</span><br /><br class="b30" /> - -<span class="less2">(1788-1824)</span></h2></div> - -<p class="head"><span class="outdent">68. Childe Harold's Pilgrimage. </span>| A Romaunt. | By | Lord -Byron | [Quotation] London: | Printed For John -Murray, 32, Fleet-Street; | William Blackwood, Edinburgh; -And John Cumming, Dublin. | By Thomas -Davison, White-Friars. | 1812.</p> - -<p>Robert Charles Dallas, a "well-meaning, self-satisfied, dull, industrious -man," Byron's friend, having read with enthusiasm "a new attempt in -the Spenserian stanza," which Byron brought back from Italy with him, -undertook to find a publisher for it. William Miller, who afterward -sold out to John Murray, refused it on the ground that it contained -"sceptical stanzas," and that it attacked Lord Elgin as a "plunderer." -To this criticism Byron's reply is characteristic:</p> - -<p class="rindent">"<span class="sc">Reddish's Hotel</span>, July 30th, 1811.</p> - -<p>"<span class="sc">Sir</span>: I am perfectly aware of the justice of your remarks, and am -convinced that, if ever the poem is published, the same objections will -be made in much stronger terms. But as it was intended to be a poem -on <i>Ariosto's plan</i>, that <i>is</i> to <i>say</i> on <i>no plan</i> at all, and, as is usual in -similar cases, having a predilection for the worst passages, I shall retain -those parts, though I cannot venture to defend them. Under -these circumstances I regret that you decline the publication, on my -own account, as I think the book would have done better in your -hands; the pecuniary part, you know, I have nothing to do with. -But I can perfectly conceive, and indeed <i>approve</i> your reasons, and -assure you my sensations are not <i>Archiepiscopal</i><a name="footnotetag3" id="footnotetag3"></a><a class="ask" href="#footnote3"><big>*</big></a> enough as yet to -regard the rejection of my Homilies."</p> -<p><span class="pagenum"><a name="page158" id="page158"></a>[pg 158]</span></p> - -<p>Murray, to whom the manuscript was next carried, was more than -willing to undertake the publication of the poem. He offered six -hundred pounds for the copyright of the first two cantos; but Byron, -refusing to keep the money himself, presented it to the needy Dallas. -Dallas was the intermediary, at first, as we learn from Byron's letter -to him dated August 21, 1811: "I do not think I shall return to -London immediately, and shall therefore accept freely what is offered -courteously—your mediation between me and Murray." Again, in -a letter to Murray, August 23, 1811, he says: "My friend, Mr. -Dallas, has placed in your hands a manuscript poem written by me in -Greece, which he tells me you do not object to publishing."</p> - -<p>The relations between Murray and Byron form one of the most -interesting chapters in the history of bookselling, redounding equally -to the credit of each. In a letter to the publisher, dated September -5, 1811, the poet says: "The time seems to be past when (as Dr. -Johnson said) a man was certain to 'hear the truth from his bookseller,' -for you have paid me so many compliments, that if I was not -the veriest scribbler on earth, I should feel affronted." Murray in -one letter asked him to "obviate" some expressions concerning Spain -and Portugal, "and with them, perhaps, some religious feelings which -may deprive me of some customers amongst the <i>Orthodox</i>," but -Byron refused to change anything, saying: "As for the '<i>Orthodox</i>' -let us hope they will buy, on purpose to abuse—you will forgive the -one if they do the other."</p> - -<p>The following extracts give us an insight into our author's feelings -about the appearance and make-up of his book. Speaking of its form, -he says: "He [Murray] wants to have it in a quarto, which is a cursed -unsaleable size; but it is pestilent long, and one must obey one's publisher." -And to Murray himself he writes in answer to a very natural -question: "... The printer may place the notes in his <i>own way</i>, or -any <i>way</i>, so that they are not in <i>my way</i>. I care nothing about types -or margins."</p> - -<p>The use of the poet's name on the title-page caused some discussion, -as we see from a letter to Dallas already quoted: "I don't -think my name will answer the purpose, and you must be aware that -my plaguey Satire will bring the north and south Grub Street down -upon the <i>Pilgrimage</i>;—but, nevertheless, if Murray makes a point of -it, and you coincide with him, I will do it daringly; so let it be -entitled 'By the author of <i>English Bards and Scotch Reviewers</i>...." -<span class="pagenum"><a name="page159" id="page159"></a>[pg 159]</span> -There was another reason why he did not want his name to appear: -"Has Murray shown the work to any one? He may—but I will -have no traps for applause ... I much wish to avoid identifying -<i>Childe Harold's</i> character with mine, and that, in sooth, is my second -objection to my name appearing in the title-page." Later, however, -as we see, he gave way on this point.</p> - -<p>We are indebted to Smiles, in his memoirs of John Murray, for a -vivid picture of Byron as a book-maker.</p> - -<p>"He afterwards looked in [at 32, Fleet Street] from time to time, -while the sheets [of <i>Childe Harold</i>] were passing through the press, fresh -from the fencing rooms of Angelo and Jackson. He used to amuse himself -by renewing his practice of <i>Carte et Tierce</i>, with his walking-cane -directed against the book-shelves, while Murray was reading passages -from the poem with occasional ejaculations of admiration, on which -Byron would say, 'You think that a good idea, do you, Murray?' -Then he would fence and lunge with his walking stick at some special -book which he had picked out on the shelves before him. As Murray -afterwards said, 'I was often very glad to get rid of him!'"</p> - -<p>The poem, that is, two Cantos of it, was published March 1, 1812, -in an edition of five hundred copies, which were all sold in three days. -We hear from Elizabeth, Duchess of Devonshire, that "the subject of -conversation, of curiosity, of enthusiasm, almost, one might say, of -the moment is not Spain, or Portugal, Warriors or Patriots, but Lord -Byron!" "He returned," she continues, "sorry for the severity of -some of his lines (in the <i>English Bards</i>), and with a new poem, <i>Childe -Harold</i>, which he published. This poem is on every table, and himself -courted, visited, flattered, and praised whenever he appears. He -has a pale, sickly, but handsome countenance, a bad figure, and, in -short, he is really the only topic almost of every conversation—the -men jealous of him, the women of each other."</p> - -<p>Thomas Davison, the printer of the book, was also responsible for -many of the volumes of Campbell, Moore and Wordsworth, but he is -known chiefly for his fine edition of Whitaker's <i>History of Richmondshire</i>, -Rogers's <i>Italy</i>, and Dugdale's <i>Monasticon Anglicanum</i>. -Timperley speaks of the singular beauty and correctness of his works, -which brought about him a "connection" of the most respectable -publishers of the day, and he adds: "By improvements which he -made in printing ink, (a secret of which he had for a long time the -exclusive possession) and other merits, he acquired great celebrity; -<span class="pagenum"><a name="page160" id="page160"></a>[pg 160]</span> -and few indeed of his competitors, could approach the characters of -what issued from his press."</p> - -<p>"For equal accuracy and beauty, let the palm be extended to Davison -and Moyes," cries Mr. Dibdin in <i>The Bibliographical Decameron</i>. -In a note he adds: "Mr. Davison is both an excellent and an elegant -printer. His <i>Gil Blas</i>, published by Messrs. Longman, Hurst, -and Co. is quite worthy of the beautiful engravings with which that -edition is adorned: but his <i>Arabian Nights</i>, by Scott, 1811, in 6 -octavo volumes, is, to my eye, a more exquisite performance."</p> - -<p>Early in their intercourse Murray had said to Byron: "Could I -flatter myself that these suggestions were not obtrusive, I would hazard -another, in an earnest solicitation that your lordship would add the -two promised Cantos, and complete the <i>Poem</i>." But the volume containing -the third Canto was not issued until 1816, when Murray -paid 2000 for it. The fourth Canto, in a much thicker volume, -came out two years afterward, and for this 2100 were received by -the poet. The second volume sold for 5s. 6d., and the last for 12s.</p> - -<p>Byron must have carried his point about the size, for these last -volumes were issued in octavo.</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>vi pp., 1 l., 226 pp. Facsimile.</i></p> - -<p class="footnote"><a id="footnote3" name="footnote3"></a> <a class="ask" href="#footnotetag3"><big>*</big></a> Alluding to Gil Blas and the Archbishop of Grenada.</p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page161" id="page161"></a>[pg 161]</span></p> - -<h2>JANE AUSTEN<br /><br class="b30" /> - -<span class="less2">(1775-1817)</span></h2></div> - -<p class="head"><span class="outdent">69. Pride | And | Prejudice: </span>| A Novel. | In Three Volumes. -| By The | Author Of "Sense And Sensibility." -| Vol. I. | London: | Printed For T. Egerton, | Military -Library, Whitehall. | 1813.</p> - -<p>Egerton published <i>Sense and Sensibility</i> in 1811, while <i>Pride and Prejudice</i> -(originally named <i>First Impressions</i>), which had been finished in -August, 1797, was first offered by Miss Austen's father to Cadell, the -famous publisher, in the following letter:</p> - -<p>"Sir,—I have in my possession a manuscript novel, comprising 3 -vols., about the length of Miss Burney's 'Evelina.' As I am well -aware of what consequence it is that a work of this sort sh<sup>d</sup> make its -first appearance under a respectable name, I apply to you. I shall -be much obliged, therefore, if you will inform me whether you choose -to be concerned in it, what will be the expense of publishing it at the -author's risk, and what you will venture to advance for the property -of it, if on perusal it is approved of. Should you give any encouragement, -I will send you the work.</p> - -<p class="ind1">"Steventon, near Overton, Hants.</p> - -<p class="ind2">"1<sup>st</sup>. Nov. 1797."</p> - -<p>Cadell refused the book without reading it, and it was finally carried -to Egerton, who accepted the story and made it into an attractive -volume, although Gifford, who afterward read it for Murray with a -view to publishing <i>Emma</i>, tells us that it was "—wretchedly printed, -and so pointed as to be almost unintelligible."</p> - -<p><i>Mansfield Park</i> and <i>Emma</i>, like her two earlier novels, were issued -anonymously during Miss Austen's lifetime. Though the author's -<span class="pagenum"><a name="page162" id="page162"></a>[pg 162]</span> -name was an open secret, it did not appear in any of her books -until the year after her death, when her brother, Henry Austen, -announced it in a short biographical notice prefixed to <i>Northanger -Abbey</i> and <i>Persuasion</i>.</p> - -<p>One hundred and fifty pounds were received from the sale of -<i>Sense and Sensibility</i>, and less then seven hundred pounds from the -sale of all four books issued before the two novels of 1818.</p> - -<p>The work, "my own darling child," as Miss Austen called it, appeared -in January, and she says of it: "There are a few typical -errors; and a 'said he,' or a 'said she,' would sometimes make the -dialogue more immediately clear; but 'I do not write for such dull -elves' as have not a great deal of ingenuity themselves. The second -volume is shorter than I could wish; but the difference is not so much -in reality, as in look."</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page163" id="page163"></a>[pg 163]</span></p> - -<h2>SAMUEL TAYLOR COLERIDGE<br /><br class="b30" /> - -<span class="less2">(1772-1834)</span></h2></div> - -<p class="head"><span class="outdent">70. Christabel: | Kubla Khan,</span> | 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.</p> - -<p>Coleridge, writing to his wife, April 4, 1803, says: "To-day I dine -again with Sotheby. He had informed me that ten gentlemen who -have met me at his house desired him to solicit me to finish the -'Christabel,' and to permit them to publish it for me; and they -engaged that it should be in paper, printing, and decorations the most -magnificent thing that had hitherto appeared. Of course I declined -it. The lovely lady shan't come to that pass! Many times rather -would I have it printed at Soulby's on the true ballad paper. However, -it was civil, and Sotheby is very civil to me."</p> - -<p>It was not until May 8, 1816, that the still unfinished poem of -<i>Christabel</i> was offered to Murray, who, upon Byron's recommendation, -so Lamb tells us, agreed to take it, paying seventy guineas for -it, "until the other poems shall be completed, when the copyright -shall revert to the author." <i>Christabel</i> is in two parts. The "three -parts yet to come," and which Coleridge in the Preface said he hoped -would be finished in the present year, never appeared. <i>Kubla Khan; -Or A Vision In A Dream</i> is prefaced by a short introduction. The -seventy guineas Coleridge turned over to a needy friend. Murray -also gave "20 for permission to publish the other fragment of a -poem, <i>Kubla Khan</i>, but which the author should not be restricted from -publishing in any other way that he pleased."</p> - -<p>We may not pass over this book, modest as it is in appearance, -without giving a quotation from the voluble Dibdin on the merits of -its printer and his press, "The Shakespeare Press." "Trivial as the -<span class="pagenum"><a name="page164" id="page164"></a>[pg 164]</span> -theme may appear," says he, "there are some very reasonable folks -who would prefer an account of this eminent press to the 'History of -the Seven Years War:' and I frankly own myself to be of that number. -Nor is it—with due deference be it said to William Bulmer & -Co.—from the least admiration of the <i>exterior</i> or <i>interior</i> of this -printing-office that I take up my pen in behalf of it; but because it -has effectually contributed to the promotion of belles-lettres, and -national improvement in the matter of puncheon and matrix."</p> - -<p>Dibdin might have said more, without exaggeration; some of the -chief glories of English typography came from the hands of William -Bulmer & Co., works like the edition of Shakespeare of Alderman -Boydell; <i>The Poetical Works of John Milton</i>, in three volumes, with -engravings after designs by R. Westall; Goldsmith's <i>Traveller</i> and -<i>Deserted Village</i>, with engravings upon wood by Thomas Bewick; -Somerville's <i>Chase</i>, with engravings by John and Thomas Bewick; -Forster's edition of <i>The Arabian Nights' Entertainments</i> in five volumes, -with illustrations after Smirke's designs; and last, but not least, -Dibdin's own <i>Bibliotheca Spenceriana</i>. Specimens of printing such as -these justify Bulmer's claim that great strides had been taken toward -raising the art from the depths to which it had fallen.</p> - -<p>One is tempted to wonder if the ten gentlemen friends of Sotheby, -smitten by the mania for this new-found mode of expression in book-making, -could have had it in mind to issue <i>Christabel</i> with designs by -Bewick, or Westall, or Smirke.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>vii, 64 pp., 2 ll.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page165" id="page165"></a>[pg 165]</span></p> - -<h2>SIR WALTER SCOTT<br /><br class="b30" /> - -<span class="less2">(1771-1832)</span></h2></div> - -<p class="head"><span class="outdent">71. Ivanhoe; | A Romance. </span>| By "The Author Of Waverley," -&c. | [Quotation] In Three Volumes. | Vol. I. | -Edinburgh: | Printed For Archibald Constable And Co. -Edinburgh: | And Hurst, Robinson, And Co. 90, Cheapside, -London. | 1820.</p> - -<p>Constable offered "The Author of Waverley" 700 for its copyright; -but was told that the sum was too little if the book succeeded, and too -much if it failed. The success of the novel, when it appeared, July 7, -1814, was enormous. One thousand copies were sold in the first five -weeks, and six editions were necessary within the year. The whole -English-reading world waited for another book from the same pen. -<i>Ivanhoe</i> appeared, December 18, 1819, and Mr. Leslie Stephen -says that it was "Scott's culminating success in a book-selling sense, -and marked the highest point both of his literary and social prosperity."</p> - -<p>The "Waverley novels" had been issued in duodecimo, but this volume -marked a change to a new size. The paper was finer than -hitherto, and the press-work much better. The price, too, was raised -from eight shillings the volume to ten. These changes were made, -Lockhart tells us, to assist the impression, which it was thought best -to create, that <i>Ivanhoe</i> was by a new hand; but "when the day of -publication approached, [Constable] remonstrated against this experiment, -and it was accordingly abandoned." The sale of the novel, in -the early editions, amounted to 12,000 copies. Its popularity to-day -is as great as ever.</p> - -<p>Scott's persistence in keeping up his anonymity is well known. In -<span class="pagenum"><a name="page166" id="page166"></a>[pg 166]</span> -agreements with Constable a clause was introduced making the publisher -liable to a penalty of 2000 if the author's name were revealed.</p> - -<p>A survey of Scott's publishing ventures would hardly be complete -without a word concerning this publisher with whom his fortunes were -so inseparably connected. Curwen says: "From 1790 to 1820 Edinburgh -richly deserved the honorable title of 'Modern Athens.' Her -University and her High School, directed by men preminently fitted -for their duties ... attracted and educated a set of young men, unrivalled, -perhaps, in modern times for genius and energy, for wit and -learning. Nothing, then, was wanting to their due encouragement but -a liberal patron, and this position was speedily occupied by a publisher -who, in his munificence and venturous spirit, soon outstripped his -boldest English rival—whose one fault was, in fact, that of always being -a Mcenas, never a tradesman." By his liberality to writers, Constable -transformed the publishing business, and practically put it upon -a new basis. He made it possible for authors to do away with aristocratic -patrons, and to stand upon their own merits. Scott had good -reason to say, even after his disastrous participation in Constable and -Co.'s failure, "Never did there exist so intelligent and so liberal an establishment."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page167" id="page167"></a>[pg 167]</span></p> - -<h2>JOHN KEATS<br /><br class="b30" /> - -<span class="less2">(1795-1821)</span></h2></div> - -<p class="head"><span class="outdent">72. Lamia, | Isabella, | </span>The Eve Of St. Agnes, | And | -Other Poems. | By John Keats, | Author Of Endymion. | -London: | Printed For Taylor And Hessey, | Fleet-Street. -| 1820.</p> - -<p>The poems in this volume represent the labor of a little over a year -and a half—that is, from March, 1818, to October, 1819,—and were all -written after the publication of <i>Endymion</i>. The book was issued in -the beginning of July, and was the third, and, as it proved, the last of -the poet's works. "My book is coming out," said he, "with very low -hopes, though not spirits, on my part. This shall be my last trial; -not succeeding, I shall try what I can do in the apothecary line." It -was not lack of success, however, that led him to discontinue the publishing -line.</p> - -<p>Among the "other poems" mentioned on the title-page is <i>Hyperion. -A Fragment</i>. The publishers, who seem to have cordially appreciated -Keats's genius, refer to it in a special "Advertisement" placed after -the title-page, and dated Fleet-Street, June 26, 1820:</p> - -<p>"If any apology be thought necessary for the appearance of the -unfinished poem of Hyperion, the publishers beg to state that they -alone are responsible, as it was printed at their particular request, and -contrary to the wish of the author. The poem was intended to have -been of equal length with Endymion, but the reception given to that -work discouraged the author from proceeding."</p> - -<p>The volume was issued in light brown paper-covered boards, at -7s. 6d., and our poet says in a letter to Charles A. Brown: "My -book has had good success among the literary people, and I believe -has a moderate sale." And again he writes on this subject to Mr. -Brown, August, 1820: "The sale of my book is very slow, though it -<span class="pagenum"><a name="page168" id="page168"></a>[pg 168]</span> -has been very highly rated. One of the causes, I understand from -different quarters, of the unpopularity of this new book, is the offence -the ladies take at me. On thinking that matter over, I am certain -that I have said nothing in a spirit to displease any woman I would -care to please; but still there is a tendency to class women in my -books with roses and sweetmeats,—they never see themselves dominant."</p> - -<p>On the verso of the title-page of some copies, and at the end of the -book, we find <i>London: Printed by Thomas Davison, Whitefriars</i>, a -guarantee for the excellence of the typography, the key-note of which -is struck in the admirably arranged title-page.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>3 ll., 199 pp.</i></p> -<div class="chapter"> -<p><span class="pagenum"><a name="page169" id="page169"></a>[pg 169]</span></p> - -<h2>PERCY BYSSHE SHELLEY<br /><br class="b30" /> - -<span class="less2">(1792-1822)</span></h2></div> - -<p class="head"><span class="outdent">73. Adonais | </span>An Elegy On The Death Of John Keats, | -Author Of Endymion, Hyperion Etc. | By | Percy. B. -Shelley | [Quotation] Pisa | With The Types Of -Didot | MDCCCXXI.</p> - -<p>Charles Ollier, the publisher, received the following interesting letter -from Shelley, dated at Pisa, June 8, 1821:</p> - -<p>"Dear Sir,—You may announce for publication a poem entitled -"Adonais." It is a lament on the death of poor Keats, with some interposed -stabs on the assassins of his peace and of his fame; and will be -preceded by a criticism on "Hyperion," asserting the due claims which -that fragment gives him to the rank which I have assigned him. My -poem is finished, and consists of about forty Spenser stanzas. I shall -send it you, either printed at Pisa, or transcribed in such a manner as it -shall be difficult for the reviser to leave such errors as <i>assist</i> the obscurity -of the "Prometheus." But in case I send it printed, it will be merely -that mistakes may be avoided; [so] that I shall only have a few copies -struck off in the cheapest manner."</p> - -<p>The latter course was finally decided upon. The manuscript was -sent to the printer at Pisa on June 16, 1821, and the first finished -copy, in a blue, ornamented paper wrapper, was received July 13. -This was not slow work, and the more remarkable when it is known -that there are very few printer's errors in the book. This accuracy is -due to the great pains Shelley took in revising the proofs.</p> - -<p>The volume, and especially the untrimmed copies measuring -10×7½ inches, are beautiful in appearance. There is a certain marked -peculiarity in the typography, however, which is explained by Mr. -<span class="pagenum"><a name="page170" id="page170"></a>[pg 170]</span> -Forman in this way: "The frequent dashes, which seem to have -exactly the value usual with Shelley, are all double the usual length, except -in two instances. The fact is that, in Shelley's bold writing, -these dashes <i>were</i> very long: the English printers would understand -this; but Didot's people seem to have followed them literally; and -the book being boldly printed, this peculiarity would not be likely to -strike Shelley in revising."</p> - -<p>The name of the press at Pisa is not given; the fact that the "Types -of Didot" were used does not of course necessarily mean that the -Didots had an office there, as Mr. Forman would seem to imply.</p> - -<p>In the preface Shelley speaks as if he had changed his mind about -issuing the criticism of <i>Hyperion</i> with this volume, as he planned -to do in the letter to Ollier. "It is my intention to subjoin to the -London edition of this poem, a criticism upon the claims of its -lamented object to be classed among the writers of the highest genius -who have adorned our age." No London edition is known, however.</p> - -<p>The poem was first printed in England in the columns of the <i>Literary -Chronicle</i> for December 1, 1821, where it was appended to a -review; but in this form stanzas XIX to XXIV were omitted. The -earliest separate reprint bears the impress <i>Cambridge: Printed by -W. Metcalfe, and sold by Messrs. Gee & Bridges, Market-Hill</i>. -MDCCCXXIX.</p> - -<p>Two quotations from an interesting unpublished letter, belonging to -a member of the Grolier Club, show that Ollier, who had been the publisher -of most of Shelley's works, had copies of the Pisa book for sale, -shortly after it was issued; the letter is addressed to "Meſs<sup>r</sup>. Ollier -& Co., Booksellers Vere Street, Bond St., London, Angleterre," and -reads:</p> - -<p class="rindent">"Bagni. July 27. 1821</p> - -<p class="ind1">"<span class="sc">Dear Sir</span></p> - -<p>"I send you the bill of lading of the box containing Adonais: and -I send also a copy to yourself by M<sup>r</sup>. Gisborne who probably will -arrive before the Ship ... The work I send you, has been seen in -print by M<sup>r</sup>. Gisborne, & has excited, as it must in every one, the -deepest interest.</p> - -<p class="rindent1">"Dear Sir, Yours very truly</p> - -<p class="rindent">"<span class="sc">P. B. Shelley.</span>"</p> - -<p class="ind1">Quarto.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>25 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page171" id="page171"></a>[pg 171]</span></p> - -<h2>CHARLES LAMB<br /><br class="b30" /> - -<span class="less2">(1775-1834)</span></h2></div> - -<p class="head"><span class="outdent">74. Elia. | </span>Essays Which Have Appeared Under That -Signature | In The | London Magazine. | London: | -Printed For Taylor And Hessey, | Fleet-Street. | 1823.</p> - -<p>"Poor Elia," says Lamb in a letter to the publisher, Taylor, under -date of July 30, 1821, "Poor Elia, the real (for I am but a counterfeit), -is dead. The fact is, a person of that name, an Italian, was a -fellow-clerk of mine at the South Sea House thirty (not forty) years -ago, when the characters I described there existed, but had left it like -myself many years; and I, having a brother now there, and doubting -how he might relish certain descriptions in it, I clapt down the name -of Elia to it, which passed off pretty well, for Elia himself added -the function of an author to that of a scrivener, like myself.</p> - -<p>"I went the other day (not having seen him for a year) to laugh -over with him at my usurpation of his name, and found him, alas! no -more than a name, for he died of consumption eleven months ago, and -I knew not of it.</p> - -<p>"So the name has fairly devolved to me, I think, and 'tis all he has -left me."</p> - -<p>In this way our author himself accounts for the pseudonym, which, -by the way, he says should be pronounced "Ellia."</p> - -<p>The <i>London Magazine, London: Printed for Baldwin, Cradock, And -Joy</i>, was established in January, 1820; but Taylor and Hessey did not -become its proprietors until July of the following year, when Taylor, -who was something of a writer himself, especially on monetary subjects, -acted as editor, with Thomas Hood as sub-editor. John Scott, -whom Byron described as "a man of very considerable talents and of -great acquirements," had been called to the editorship when Lamb -began his essays, and William Hazlitt was on the staff.</p> -<p><span class="pagenum"><a name="page172" id="page172"></a>[pg 172]</span></p> - -<p>The first of the series appeared in the August number, 1820, and -the papers continued until October, 1822, when, twenty-seven having -been issued, they, with one other called <i>Valentine's Day</i>, which had -appeared in the <i>Indicator</i> for February, 1821, were collected to form -this volume.</p> - -<p>When the book was in press Lamb thought to use a dedication, -which he wrote and sent to Taylor with the following note, dated -December 7, 1822:</p> - -<p>"Dear Sir—I should like the enclosed Dedication to be printed, -unless you dislike it. I like it. It is in the olden style. But if you -object to it, put forth the book as it is; only pray don't let the printer -mistake the word <i>curt</i> for <i>curst</i>.</p> - -<p class="rindent2">C. L.</p> - -<p>"On better consideration, pray omit that Dedication. The Essays -want no Preface: they are <i>all Preface</i>. A Preface is nothing but a talk -with the reader; and they do nothing else. Pray omit it.</p> - -<p>"There will be a sort of Preface in the next Magazine, which may -act as an advertisement, but not proper for the volume.</p> - -<p>"Let Elia come forth bare as he was born."</p> - -<p>The label on the paper-covered boards gives the price of the -volume as 9s. 6d., a fairish price for the neat, but in no way remarkable -piece of book-making which Thomas Davison executed for -the publishers.</p> - -<p>Some copies of the first edition show a variation in the imprint: -Messrs. Taylor and Hessey having opened a new shop at 13, Waterloo -Place, this address was printed in a line below the old one. Occasion -was also taken, at this time, to furnish the book with a half-title.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>iv, 341 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page173" id="page173"></a>[pg 173]</span></p> - -<h2>SAMUEL PEPYS<br /><br class="b30" /> - -<span class="less2">(1633-1703)</span></h2></div> - -<p class="head"><span class="outdent">75. Memoirs | Of | </span>Samuel Pepys, Esq. F.R.S. | [Two -lines] Comprising | His Diary | From 1659-1669, | -Deciphered By The Rev. John Smith, A.B. Of St. -John's College, Cambridge, | From The Original Short-Hand -MS. In The Pepysian Library, | [Two lines] -[Copy of one of Pepys's book-plates] Edited By | -Richard, Lord Braybrooke. | In Two Volumes. | Vol. -I. | London: | Henry Colburn, New Burlington Street. | -MDCCCXXV.</p> - -<p>To the information given on the title-page, the noble editor adds some -further facts in a preface. He says that the six volumes, closely -written in short-hand by Pepys himself, had formed a part of the collection -of books and prints bequeathed to Magdalen College, where they -had remained unexamined (from the date of Pepys's death) until the -appointment of Lord Braybrooke's brother, George Neville, afterwards -called Grenville, as master of the College. Under Neville's auspices -they were deciphered by Mr. Smith, whom his lordship had not the -pleasure of knowing.</p> - -<p>Pepys used short-hand for his notes because he often had things to -say which he did not think fit for all the world to know; and Lord -Braybrooke found it "absolutely necessary" to "curtail the MS. materially." -The complete journal, all that it is possible to print, was not -issued until 1893.</p> - -<p>Colburn, the publisher, known for his successful ventures, and -especially for the series called <i>Colburn's Modern Standard Novelists</i> -and <i>The Literary Gazette</i>, containing works by Bulwer Lytton, Lady -Morgan, Captain Marryat, and others, had been so fortunate with an -<span class="pagenum"><a name="page174" id="page174"></a>[pg 174]</span> -issue of Evelyn's <i>Diary</i> that he was led into the present undertaking. -With this edition, which sold at six pounds six shillings, and with two -succeeding editions selling at five guineas, he is reputed to have made -a handsome profit on the twenty-two hundred pounds paid for the -copyright.</p> - -<p>The large volumes with their broad margins are handsome specimens -of the excellent typographical work of the Bentleys. They are -embellished with two illustrations in the text, and thirteen engraved -plates. A frontispiece portrait of the author, after the painting by -Kneller, was engraved by T. Bragg, and a smaller portrait used as a -head-piece to the Life is signed <i>R. W. ſculp</i>. This last is a copy of -one of Pepys's book-plates; it has the motto "Mens cujusque is est -Quisque" above the oval frame, and "Sam. Pepys. Car. Et. Iac. -Angl. Regib. A. Secretis Admirali" in two lines below. Another -book-plate used by the Secretary is copied on the title-page. Of the -remaining portraits, one was engraved by John Thomson, while five -were the work of R. Cooper, who also engraved the "View of the -Mole at Tangier" and the "View of Mr. Pepys' Library." The other -plates, including one showing facsimiles of Pepys's short- and long-hand; -two of pedigrees, and a folded map, are signed "Sid<sup>y</sup>. Hall, -Bury Str<sup>t</sup>. Bloomsb<sup>y</sup>."</p> - -<p>Some copies of the book on fine paper, with beautiful impressions -of the plates, are marked in red on the half-title page, "Presentation -Copies."</p> - -<p class="ind1">Quarto</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>1 l., xlii, 498, xlix pp.</i> - Volume II: <i>2 ll., 348, vii, 311 pp. Seven portraits. Six plates.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page175" id="page175"></a>[pg 175]</span></p> - -<h2>JAMES FENIMORE COOPER<br /><br class="b30" /> - -<span class="less2">(1789-1851)</span></h2></div> - -<p class="head"><span class="outdent">76. The Last | Of | The Mohicans;</span> | A Narrative Of | -1757. | By The Author Of "The Pioneers." [Quotation] -In Two Volumes. | Vol. I. | Philadelphia: | H. C. -Carey & I. Lea—Chestnut-Street. | 1826.</p> - -<p><i>The Pioneers</i> was the first of <i>The Leather Stocking Tales</i>. It appeared -in 1823, and was an immediate success; more than 3500 copies -are said to have been sold before noon of the day of publication. -This was reason enough for following the custom of the English -novelists of putting on the title-page, not the name of the author, but -the name of his first success. <i>The Last of the Mohicans</i> appeared -February 4, 1826, and was also a prodigious success.</p> - -<p>The surprising meagerness of bibliographical facts concerning -Cooper's works is, Professor Lounsbury says in his life of the novelist, -characteristic of a reticence and dislike of publicity which extended -to all his dealings. "The size of the editions has never been given to -the public. The sale of 'The Pioneers' on the morning of its publication -has already been noticed, and there are contemporary newspaper -statements to the effect that the first edition of 'The Red -Rover' consisted of five thousand copies, and that this was exhausted -in a few days. But it was only from incidental references of this -kind, which can rarely be relied upon absolutely, that we, at this -late day, are able to give any specific information whatever.</p> - -<p>"He was unquestionably helped in the end, however, by what in -the beginning threatened to be a serious if not insuperable obstacle. -He was unable to get any one concerned in the book trade to assume -the risk of bringing out 'The Spy.' That had to be taken by -the author himself. In the case of this novel, we know positively that -Cooper was not only the owner of the copyright, but of all the -<span class="pagenum"><a name="page176" id="page176"></a>[pg 176]</span> -edition; that he gave directions as to the terms on which the work -was to be furnished to the booksellers, while the publishers, Wiley -& Halsted, had no direct interest in it, and received their reward -by a commission. It is evident that under this arrangement his -profits on the sale were far larger than would usually be the case. -Whether he followed the same method in any of his later productions, -there seems to be no method of ascertaining. Wiley, however, -until his death, continued to be his publisher. 'The Last of the Mohicans' -went into the hands of Carey & Lea of Philadelphia, and this -firm, under various changes of name, continued to bring out the -American edition of his novels until the year 1844."</p> - -<p>Henry Charles Carey, son of Matthew Carey, was as celebrated for -his writings on political economy as for his connection with this publishing -house, which was one of the largest in the country.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>262 pp.</i> Volume II: <i>260 pp.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page177" id="page177"></a>[pg 177]</span></p> - -<h2>WALTER SAVAGE LANDOR<br /><br class="b30" /> - -<span class="less2">(1775—1864)</span></h2></div> - -<p class="head"><span class="outdent">77. Pericles And Aspasia | By </span>| Walter Savage Landor, -Esq. | In Two Volumes. | Vol. I. | London | Saunders -and Otley, Conduit Street. | 1836.</p> - -<p>These volumes were issued in three or more styles of binding: paper-covered -boards, straight-grain dull green cloth, and half roan with -brown glazed paper boards all with paper labels. The publishers' -advertisements, two leaves at the end of Vol. II, are the same with -each style of binding.</p> - -<p>This work was written by Landor during his residence at Fiesole, -but it was published after his return to England. His own choleric -temperament and irascible manner unfitted him for personal dealings -with publishers, as he had found from past experiences, and so the -arrangements for this publication were intrusted to his friend Mr. G. -P. R. James, the novelist, who sold the manuscript to Saunders and -Otley for 100.</p> - -<p>The following unpublished letter of Landor's, belonging to a member -of the Grolier Club, is interesting as referring to this transaction.</p> - -<p class="indq"><span class="sc">"My dear Sir</span>:</p> - -<p>"When I offered my Pericles to MM. Saunders & Otley I did not -suppose there was more than enough for one volume, the size of the -Examination of Shakspeare. They told you it would form two -volumes of that size. Knowing that I had material for thirty pages -more, I said that if they would make the first vol: 300 pp. I would -take care that the second should not fall short of it more than a dozen -pages. Now I have sent them not thirty but a hundred—and they -tell me to-day that there is not remaining, for the second volume, more -than 175 pp. I have, you perceive, already sent above one third more -<span class="pagenum"><a name="page178" id="page178"></a>[pg 178]</span> -than what I calculated the whole at, when you had the kindness to -make the agreement for me.</p> - -<p>"In reply to their letter I have said that, if they will give me fifty -pounds more, I will send one hundred more pages, 50 within three -weeks, 50 more in the three following; and if this does not appear -equitable to them I leave it entirely to you. I shall then have -given them 200 pp. for fifty pounds, when I offered them only 285 for -a hundred. It will be my business to take care that the remainder -shall fall as little short as possible of the preceding. I have furthermore -stipulated for twenty copies. Many of these will take nothing -from the profits, as more than a dozen will be given to people who -certainly would not have bought them, and who are not likely to lend -them.</p> - -<p>"A friend has offered me some pheasants, which I have desired to be -sent to you. I hope they will please the young lion with their plumage. -The first of Feb. I set out for Clifton: an old favorite of mine for -winter and spring. I have requested MM Saunders to favour me with -two (I should be glad of three) copies of the first volume as my friend -Ablett's birthday is on the 31 of this month, and mine on the 30, -and I have three friends to whom it would delight me to give them -before I leave Wales. With best compliments to Mrs. James, believe -me ever,</p> - -<p class="rindent1">"Yrs very sincerely</p> - -<p class="rindent">"<span class="sc">W. S. Landor</span></p> - -<p class="ind">"<span class="sc">Llambedr</span>, Jan. 18 [1836]</p> - -<p>"I have seen the last sheet of Vol. I, but not the short Preface sent -from London.</p> - -<p>"How can you complain of your English. There is hardly a fault -to be found in the 3 volumes. I have read them a second time.</p> - -<p class="ind1a">G. P. R. James, Esq.</p> - -<p class="ind2">"1 Lloyds Buildings</p> - -<p class="ind2a">"Blackheath</p> - -<p class="ind3">"London"</p> - -<p>The work appeared during the early part of 1836, and though it -was received with much praise by his friends, and had many favorable -reviews, the sale dragged. In October of the same year, Landor, -in one of his letters to Forster, refers to an unfavorable review which -<span class="pagenum"><a name="page179" id="page179"></a>[pg 179]</span> -appeared in <i>Blackwood</i>: "... I am not informed how long this -Scotchman has been at work about me, but my publisher has advised -me, that he loses 150. by my <i>Pericles</i>. So that it is probable the -Edinburgh Areopagites have condemned me to a fine in my absence; -for I never can allow any man to be a loser by me, and am trying -to economise to the amount of this indemnity to Saunders and -Otley ..." The money was in fact paid back, and yet, curiously -enough, as Forster relates, Landor not only forgot, three years later, -that he had received a payment for the copyright, but even that he -himself had sent back the money, and was making further remittances -to satisfy the supposed loss. This was stopped by a statement from -Mr. Saunders, to which Landor refers in a letter to Forster: "Never, -in the course of my life, was I so surprised as at the <i>verification</i> of my -account with Saunders; for such it is. Certain I am that no part of -the money was ever spent by me, nor can I possibly bring to mind -either the receiving or the returning of it ..."</p> - -<p>The first American edition of <i>Pericles and Aspasia</i>, in two volumes, -was published by Carey, Philadelphia, 1839, the second English -edition in 1849, and there have been frequent editions since, both in -England and in America.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two Volumes.</i> Volume I: <i>viii, 299 pp.</i> - Volume II: <i>viii, 343 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page180" id="page180"></a>[pg 180]</span></p> - -<h2>CHARLES DICKENS<br /><br class="b30" /> - -<span class="less2">(1812-1870)</span></h2></div> - -<p class="head"><span class="outdent">78. The | Posthumous Papers |</span> Of | The Pickwick Club. | -By Charles Dickens. | With | Forty-three illustrations -by R. Seymour and | Phiz. | London: | Chapman and -Hall, 186, Strand. | MDCCCXXXVII.</p> - -<p>An advertisement in the <i>Times</i> for March 26, 1836, reads:</p> - -<p>"THE PICKWICK PAPERS.—On the 31st of March will be -published, to be continued monthly, price One Shilling, the first number -of the Posthumous Papers of the Pickwick Club, containing a -faithful record of the Perambulations, Perils, Travels, Adventures, and -Sporting Transactions of the Corresponding Members. Edited by -Boz. Each monthly Part embellished with four Illustrations by Seymour. -Chapman & Hall, 186 Strand, and of all booksellers."</p> - -<p>Robert Seymour, a caricaturist, and the illustrator of such works as -<i>The Odd Volume</i>, <i>The Looking Glass</i>, and <i>Humorous Sketches</i>, had been -employed by Chapman and Hall to illustrate a comic publication -called <i>The Squib Annual</i>; and this led him to suggest that he should -make a series of Cockney sporting plates which could be furnished -with letter-press. Hall applied to Dickens, then an unknown newspaper -man, for the text, a "something which should be a vehicle for -certain plates to be executed by Mr. Seymour." Dickens says of this -proposition: "I objected.... My views being deferred to, I thought -of Mr. Pickwick, and wrote the first number; from the proof-sheets -of which Mr. Seymour made his drawing of the Club and his happy -portrait of its founder. I connected Mr. Pickwick with a club, because -of the original suggestion; and I put in Mr. Winkle expressly -for the use of Mr. Seymour."</p> -<p><span class="pagenum"><a name="page181" id="page181"></a>[pg 181]</span></p> - -<p>The work came out in twenty parts (parts nineteen and twenty were -bound together), beginning in April, 1836, and ending with November, -1837. They were covered in light green paper bordered with a design -by Seymour, and engraved by John Jackson, a pupil of Bewick and -Hervey. The title reads, <i>The Posthumous Papers of the Pickwick -Club</i> [<i>Five lines</i>] <i>Edited by "Boz. With Illustrations ..."</i></p> - -<p>The publication of the second number was delayed by the suicide -of Seymour, whose mind gave way from overwork. This sad event -was announced to the public in a note, and an apology was offered for -the reduction of the number of plates from four to three. "When we -state that they comprise Mr. Seymour's last efforts, and that on one of -them, in particular (the embellishment of the Stroller's Tale), he was -engaged up to a late hour of the night preceding his death, we feel -confident that the excuse will be deemed a sufficient one."</p> - -<p>The third and succeeding numbers contained two plates each. -Those in the third part were originally executed by Robert Buss, who -learned to etch in order to produce them. But he gave up the work, -and his plates were replaced in later issues by others by Hablot K. -Browne, or "Phiz," who did the remaining plates. The last or double -part contained three plates and an engraved title-page. With it subscribers -received also the printed title-page, dedication, preface, contents, -Directions to the Binder and Table of Errata.</p> - -<p>In the eighteenth number, dated September 29, 1837, the following -important announcement appears:</p> - -<p>"The subscribers to this work and the trade are respectfully informed -that Nos. XIX. and XX. (with titles, contents, &c.) will be -published together on 1<sup>st</sup> of November; and that the complete volume, -neatly bound in cloth, price one guinea, will be ready for delivery -by the 14<sup>th</sup> of that month, and for which country producers are -requested to send early orders to their respective agents."</p> - -<p>The venture was almost a failure at first, and it was not until the -appearance of Sam Weller, with the fifth number, that the bookbinder, -who had prepared four hundred copies of the first number, -was obliged to increase the supply. From this time on, the demand -grew until the enormous output of forty thousand was reached with -the fifteenth number.</p> - -<p>There are differences in the various accounts of the amount Dickens -was to receive for his work. A letter from the publishers to him mentions -their terms as nine guineas a sheet for each part consisting of a -<span class="pagenum"><a name="page182" id="page182"></a>[pg 182]</span> -sheet and a half; fifteen guineas a number was the sum as stated by -Mr. Edward Chapman to Mr. Forster; and Dickens himself, in a letter -to Miss Hogarth, afterwards his wife, says, fourteen pounds a -month. During publication, he received in checks from the publishers -3000. In 1837 Chapman & Hall agreed that after five -years he should have a share in the copyright, on consideration that -he write a similar book for which he was to receive 3000, besides -having the whole copyright after five years. Forster thinks the -author received, in all, 25,000, while the publishers' profits during -the three years from 1836 to 1839 are said to have amounted to -14,000 on the sale of the work in numbers alone.</p> - -<p>Chapman & Hall issued the book in volume form in 1837, at -twenty-one shillings.</p> - -<p>Mr. Frederic G. Kitton says:</p> - -<p>"There are probably not more than a dozen copies of the first edition -of "Pickwick" in existence. An examination of a number of -impressions presumably of this edition results in the discovery of -slight variations both in plates and text. These are especially noticeable -in the illustrations, for, owing to the enormous demand, the plates -were re-etched directly they showed signs of deterioration in the -printing, and "Phiz," in reproducing his designs, sometimes altered -them slightly. The earliest impressions of the work may be distinguished -by the absence of engraved titles on the plates, and by their -containing the <i>original</i> etchings by Seymour and Buss, not "Phiz's" -<i>replicas</i> of them."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>xiv pp., 1 l., 609 pp. Forty-five plates, including engraved - title-page.</i></p> - -<hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page183" id="page183"></a>[pg 183]</span></p> - -<h2>THOMAS CARLYLE<br /><br class="b30" /> - -<span class="less2">(1795-1881)</span></h2></div> - -<p class="head"><span class="outdent">79. Sartor Resartus. |</span> In Three Books. | Reprinted for -Friends from Fraser's Magazine. | [Quotation] London: -| James Fraser, 215 Regent Street. | M.DCCC.XXXIV.</p> - -<p>Carlyle went up to London with <i>Teufelsdrckh</i> in his satchel, to -find a publisher for it. He put much confidence in the help of his -friend Francis Jeffrey, the lord advocate, who exerted himself chiefly -to establish relations between the author and John Murray.</p> - -<p>Mrs. Carlyle, at home in Craigenputtoch, received the following -letter from her husband, August 11, 1831:</p> - -<p>"... After a time by some movements, I got the company dispersed, -and the Advocate by himself, and began to take counsel with -him about 'Teufelsdrckh.' He thought Murray, in spite of the -Radicalism, would be the better publisher; to him accordingly he -gave me a line, saying that I was a genius and would likely become -eminent;... I directly set off with this to Albemarle Street; found -Murray out; returned afterwards and found him in, gave an outline -of the book, at which the Arimaspian smiled, stated also that I had -nothing else to do here but the getting of it published, and was above -all anxious that his decision should be given soon...."</p> - -<p>On the 22d he wrote again:</p> - -<p>"On Saturday morning I set out for Albemarle Street. Murray, -as usual, was not in; but an answer lay for me—my poor 'Teufelsdrckh,' -wrapped in new paper, with a letter stuck under the packthread. -I took it with a silent fury, and walked off. The letter -said he regretted exceedingly, etc.; all his literary friends were out of -town; he himself occupied with a sick family in the country; that -he had conceived the finest hope, etc. In short, that 'Teufelsdrckh' -<span class="pagenum"><a name="page184" id="page184"></a>[pg 184]</span> -had never been looked into; but that if I would let him keep it for a -month, he would <i>then</i> be able to say a word, and by God's blessing a -favorable one.</p> - -<p>"I walked on through Regent Street and looked in upon James -Fraser, the bookseller. We got to talk about 'Teufelsdrckh,' when, -after much hithering and thithering about the black state of trade, -&c., it turned out that honest James would publish the book for me -on this principle: if I would give <i>him</i> a sum not exceeding 150 l. -sterling! 'I think you had better wait a little,' said an Edinburgh -advocate to me since, when he heard of this proposal. 'Yes,' I answered, -'it is my purpose to wait to the end of eternity for it.' 'But -the public will not buy books.' 'The public has done the wisest -thing it could, and ought never more to buy what they call books.'</p> - -<p>"Spurning at destiny, yet in the mildest terms taking leave of -Fraser, I strode through the street carrying 'Teufelsdrckh' openly in -my hand ... Having rested a little, I set out again to the Longmans, -to hear what they had to say."</p> - -<p>The Longmans, "honest, rugged, punctual-looking people," said -little to the point, however, and then, through Lord Jeffrey's efforts -in his behalf, Murray offered as follows: "The short of it is this: -Murray will print an edition (750 copies) of Dreck on the half-profit -system (that is, I getting <i>nothing</i>, but also giving nothing); -after which the sole copyright of the book is to be mine ..."</p> - -<p>Carlyle then tried Colburn & Bentley, but with his mind made up -"unless they say about 100 l. I will prefer Murray." These negotiations -came to nothing, and back he went to Murray, whose offer -"is not so bad: 750 copies for the task of publishing poor Dreck, -and the rest of him <i>our own</i>." The terms were accepted, the manuscript -was sent to the printer, and a page set up, when Murray repented -his bargain, which had never pleased him, and, having heard -that Carlyle had carried his MS. elsewhere, he seized the opportunity -to send the author a note saying that since he had, unbeknown to him, -carried his book to "the greatest publishers in London, who had declined -to engage in it," he must ask to have it read by some literary -friend, before he could in justice to himself engage in the printing of -it. The upshot was that the manuscript was returned to its author.</p> - -<p>"The printing of 'Teufelsdrckh,'" Carlyle says to his wife, "which -I announced as commencing, and even sent you a specimen of, has -altogether stopped, and Murray's bargain with me has burst into air. -The man behaved like a pig, and was speared, but perhaps without -<span class="pagenum"><a name="page185" id="page185"></a>[pg 185]</span> -art; Jack and I at least laughed that night <i> gorge dploye</i> at the answer -I wrote his base <i>glare</i> of a letter: he has written again in much -politer style, and I shall answer him, as McLeod advised my grandfather's -people, 'sharp but mannerly.' The truth of the matter is now -clear enough; Dreck cannot be disposed of in London at this time. -Whether he lie in my trunk or in a bookseller's coffer seems partly indifferent. -Neither, on the whole, do I know whether it is not better -that we have stopped for the present. Money I was to have none; -author's vanity embarked on that bottom I have almost none; nay, -some time or other that the book can be <i>so</i> disposed of it is certain -enough."</p> - -<p>Nearly two years later, in 1833, the unlucky Dreck was published -"piecemeal," in ten parts of ten pages each, in <i>Fraser's Magazine</i>, beginning -with November and running until August, 1834. With the -shrewdness of his tribe, Fraser, fearing failure, paid only twelve guineas -a sheet for the work, though he had been paying its author twenty -guineas a sheet, five guineas more than he paid to any other contributor. -It turned out, however, that he was wise, for the great essay -was not a success, even in the magazine.</p> - -<p>"'Magazine Fraser' writes that 'Teufelsdrckh' excites the most unqualified -disapprobation—<i> la bonne heure</i>," said Carlyle; and again: -"—Literature still all a mystery; nothing 'paying;' 'Teufelsdrckh' -beyond measure unpopular; an oldest subscriber came into him and -said, 'If there is any more of that d——d stuff, I will,' &c., &c.; on -the other hand an order from America (Boston or Philadelphia) to -send a copy of the magazine '<i>so long</i> as there was anything of Carlyle's -in it.' 'One spake up and the other spake down.'"</p> - -<p>After the work had run its course in the magazine, about fifty copies -were struck off from the types and stitched together for distribution -among friends.</p> - -<p>It remained to the honor of America, to print the book in 1836, -through the energetic efforts of Dr. LeBaron Russell. Emerson furnished -the copy and a preface; and before the end of the year he -was able to announce to Carlyle the sale of the whole edition. -Another edition of over a thousand copies was sold before the first -English edition, "a dingy, ill-managed edition" of a thousand copies, -was published anonymously by Saunders and Otley in 1838.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>1 l., 107 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page186" id="page186"></a>[pg 186]</span></p> - -<h2>RALPH WALDO EMERSON<br /><br class="b30" /> - -<span class="less2">(1803-1882)</span></h2></div> - -<p class="head"><span class="outdent">80. Nature. | [Quotation] Boston:</span> | James Munroe And -Company. | MDCCCXXXVI.</p> - -<p>"My little book is nearly done. Its title is 'Nature.' Its contents -will not exceed in bulk Sampson Reed's 'Growth of the Mind.' My -design is to follow it by another essay, 'Spirit,' and the two shall -make a decent volume." Thus Emerson wrote to his brother William, -from Concord, June 28, 1836.</p> - -<p><i>Nature</i> was, however, published alone in September by Metcalf, -Torry and Ballou of the Cambridge Press. It received little attention -except from "the representatives of orthodox opinion," who -violently attacked it. Only a few hundred copies were sold, and it -was twelve years before a second edition was called for.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>95 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page187" id="page187"></a>[pg 187]</span></p> - -<h2>WILLIAM HICKLING PRESCOTT<br /><br class="b30" /> - -<span class="less2">(1796-1859)</span></h2></div> - -<p class="head"><span class="outdent">81. History | Of The | </span>Conquest Of Peru, | [Three lines] -By | William H. Prescott, | [Two lines] [Quotations] -In Two Volumes. | Volume I. | New York: | Harper -And Brothers, 82 Cliff Street. | MDCCCXLVII.</p> - -<p>George Ticknor, in his life of Prescott, gives the story of the production -of the <i>History</i> in the following words:</p> - -<p>"The composition of the 'Conquest of Peru' was, therefore, finished -within the time he had set for it a year previously, and the work being -put to press without delay, the printing was completed in the latter -part of March, 1847; about two years and nine months from the day -when he first put pen to paper. It made just a thousand pages, exclusive -of the Appendix, and was stereotyped under the careful correction -and supervision of his friend Mr. Folsom of Cambridge.</p> - -<p>"While it was passing through the press, or just as the stereotyping -was fairly begun, he made a contract with the Messrs. Harper to pay -for seven thousand five hundred copies on the day of publication at -the rate of one dollar per copy, to be sold within two years, and to -continue to publish at the same rate afterwards, or to surrender the -contract to the author at his pleasure; terms, I suppose, more liberal -than had ever been offered for a work of grave history on this side of -the Atlantic. In London it was published by Mr. Bentley, who purchased -the copyright for eight hundred pounds, under the kind auspices -of Colonel Aspinwall; again a large sum, as it was already doubtful -whether an exclusive privilege could be legally maintained in Great -Britain by a foreigner."</p> -<p><span class="pagenum"><a name="page188" id="page188"></a>[pg 188]</span></p> - -<p>The demand for the book was large: in five months five thousand -copies were sold in America, and an edition of half that number sold -in England. By January 1, 1860, there had been sold of the American -and English editions together, 16,965 copies. It was translated -into Spanish, French, German, and Dutch.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>xl, 527 pp.</i> Volume II: - <i>xix, 547 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page189" id="page189"></a>[pg 189]</span></p> - -<h2>EDGAR ALLAN POE<br /><br class="b30" /> - -<span class="less2">(1809-1849)</span></h2></div> - -<p class="head"><span class="outdent">82. The Raven | And | </span>Other Poems. | By | Edgar A. Poe. -| New York: | Wiley And Putnam, 161 Broadway. | -1845.</p> - -<p>The poem first appeared in print in the columns of the <i>New York -Evening Mirror</i> for January 29, 1845, where N. P. Willis, its editor, -says in a note: "We are permitted to copy, (in advance of publication,) -from the second number of the <i>American Review</i>, the following -remarkable poem by Edgar Poe." Willis issued the poem again in -the weekly edition of the <i>Mirror</i>, dated February 8, and Charles F. -Briggs, with whom Poe afterward became associated, also published it -in the <i>Broadway Journal</i> of the same date, crediting it to "Edgar A. -Poe." Both of these weeklies seem to have appeared before the -<i>American Review</i> came out. We are not told the reason for Mr. -George H. Colton's editorial courtesy in permitting this advance publication -when the second, or February number of his paper, <i>The American -Review: A Whig Journal Of Politics, Literature, Art And Science</i>, -was so soon to appear. It is a curious circumstance that Willis and -Briggs gave the author's name freely, while Colton's issue, as originally -intended, appeared with the pseudonym of "—— Quarles."</p> - -<p>The poem was an immense success, and was copied far and wide in -all the newspapers of the country. Writing to F. W. Thomas, May 4, -Poe says:</p> - -<p>"'The Raven' has had a great run, Thomas—but I wrote it for -the express purpose of running—just as I did the 'Gold Bug,' you -know. The bird beat the bug, though, all hollow."</p> - -<p>This popularity was the poet's greatest reward, for we learn that -the actual money remuneration was only ten dollars. Poe makes us -<span class="pagenum"><a name="page190" id="page190"></a>[pg 190]</span> -think of the early writers, like Bacon and Browne, whom we have -seen take to printing their books to save them from the errors of the -unlicensed publisher. In a preface to this volume he writes:</p> - -<p>"These trifles are collected and republished chiefly with a view -to their redemption from the many improvements to which they -have been subjected while going at random 'the rounds of the -press.' If what I have written is to circulate at all, I am naturally -anxious that it should circulate as I wrote it...."</p> - -<p>From the original straw-colored paper covers in which it appeared, -about December, we learn that the book was issued as one of a -series, <i>Wiley And Putnam's Library Of American Books. No. VIII.</i>, -and that its price was the unusual sum of thirty-one cents. Among the -other volumes, its companions in the set, were <i>Journal of an African -Cruiser</i>, edited by Nathaniel Hawthorne; <i>Tales</i> of Edgar A. Poe; -<i>Letters from Italy</i>, by J. T. Headley; <i>The Wigwam and the Cabin</i>, by -W. Gilmore Simms; and <i>Big Abel</i>, by Cornelius Mathews.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>4 ll., 91 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page191" id="page191"></a>[pg 191]</span></p> - -<h2>CHARLOTTE BRONT<br /><br class="b30" /> - -<span class="less2">(1816-1855)</span></h2></div> - -<p class="head"><span class="outdent">83. Jane Eyre. | An Autobiography. </span>| Edited By | Currer -Bell. | In Three Volumes. | Vol. I. | London: | Smith, -Elder, And Co., Cornhill. | 1847.</p> - -<p>Under date of August 24, 1847, Miss Bront wrote a letter to Messrs. -Smith, Elder & Co., in which she said: "I now send you per rail a -MS. entitled 'Jane Eyre,' a novel in three volumes, by Currer Bell." -The novel was accepted, was printed and published by October sixteenth, -and on the nineteenth the publishers received the following:</p> - -<p>"Gentlemen,—The six copies of 'Jane Eyre' reached me this -morning. You have given the work every advantage which good -paper, clear type, and a seemly outside can supply;—if it fails, the -fault will be with the author,—you are exempt. I now await the -judgment of the press and the public. I am, Gentlemen, yours respectfully, -C. Bell."</p> - -<p>Their judgment was decisive, and the book was so great a success -that a second edition, dedicated to Thackeray, was issued January 18, -1848.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page192" id="page192"></a>[pg 192]</span></p> - -<h2>HENRY WADSWORTH LONGFELLOW<br /><br class="b30" /> - -<span class="less2">(1807-1882)</span></h2></div> - -<p class="head"><span class="outdent">84. Evangeline, | A | Tale Of Acadie.</span> | By | Henry Wadsworth -Longfellow. | Boston: | William D. Ticknor & -Company. | 1847.</p> - -<p>Writing in his journal under date of October 2, 1847, Longfellow says: -"Why does not Ticknor publish Evangeline? I am going to town to -ask him that very question. And his answer was that he should do so -without further delay." An entry, dated October 30, says, "Evangeline -published." On November 8, he says: "Evangeline goes on -bravely. I have received greater and warmer commendations than -on any previous volume. The public takes more kindly to hexameters -than I could have imagined." On November 13, a third thousand is -recorded, and on April 8 of the following year we learn: "Next week -Ticknor prints the sixth thousand of Evangeline, making one thousand -a month since its publication."</p> - -<p>In 1857 the following entry sums up the successful career of the -poem:</p> - -<p>"Allibone wants to get from the publishers the number of copies of -my book sold up to date, the editions in this country only," and -<i>Evangeline</i> is set down as 35,850 copies.</p> - -<p>The poem was translated into German, Swedish, Danish, Italian, -Portuguese, Spanish, Polish, and French, and was made a school-book -in Italy.</p> - -<p class="ind1">Sextodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>163 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page193" id="page193"></a>[pg 193]</span></p> - -<h2>ELIZABETH BARRETT BROWNING<br /><br class="b30" /> - -<span class="less2">(1806-1861)</span></h2></div> - -<p class="head"><span class="outdent">85. Sonnets. | By | E. B. B. | Reading: </span>| [Not For Publication.] -1847.</p> - -<p>This is the first appearance in print of the <i>Sonnets from the Portuguese</i> -which were not published until 1850, when they were issued under the -title <i>Sonnets from the Portuguese</i>, as a part of the <i>Poems by Elizabeth -Barrett Browning</i>.</p> - -<p>Mr. Browning told the story of the Portuguese Sonnets to Mr. Edmund -Gosse, who printed the account in <i>Critical Kit-Kats</i>, 1896:</p> - -<p>"The Sonnets were intended for her husband's eyes alone; in the -first instance, not even for his ... Fortunately for all those who love -true poetry, Mr. Browning judged rightly of the obligation laid upon -him by the possession of these poems. 'I dared not,' he said, 'reserve -to myself the finest sonnets written in any language since Shakespeare's.' -Accordingly he persuaded his wife to commit the printing of them to -her friend Miss Mitford; and in the course of the year they appeared -in a slender volume entitled 'Sonnets, by E. B. B.,' with the imprint -'Reading, 1847,' and marked 'Not for publication.'"</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>47 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page194" id="page194"></a>[pg 194]</span></p> - -<h2>JAMES RUSSELL LOWELL<br /><br class="b30" /> - -<span class="less2">(1819-1891)</span></h2></div> - -<p class="head"><span class="outdent">86. Melibœus-Hipponax. | The </span>| Biglow Papers, | Edited, | -With An Introduction, Notes, Glossary, | And Copious -Index, | By | Homer Wilbur, A.M., | [Three lines] -[Quotations] Cambridge: | Published By George Nichols. -| 1848.</p> - -<p>Writing to Thomas Hughes on September 13, 1859, Lowell says: -"I tried my first "Biglow Papers" in a newspaper, and found that -it had a great run. So I wrote the others from time to time during -the year which followed, always very rapidly, and sometimes (as -"What Mr. Robinson thinks") at one sitting.</p> - -<p>"When I came to collect them and publish them in a volume, I -conceived my parson-editor with his pedantry and verbosity, his amiable -vanity and superiority to the verses he was editing, as a fitting -artistic background and foil."</p> - -<p>The following extracts from letters show, in detail, the evolution of -the work.</p> - -<p>"You will find a squib of mine in this week's <i>Courier</i>," said he to -Sidney H. Gay, on June 16, 1846, "I wish it to continue anonymous, -for I wish Slavery to think it has as many enemies as possible. If I -may judge from the number of persons who have asked me if I wrote -it, I have struck the old hulk of the Public between wind and -water...." On the last day of December, 1847, he says to C. F. -Briggs:</p> - -<p>"I am going to indulge all my fun in a volume of H. Biglow's -verses which I am preparing, and which I shall edit under the character -of the Rev. Mr. Wilbur ... I am going to include in the volume -an essay of the reverend gentleman on the Yankee dialect, and on -<span class="pagenum"><a name="page195" id="page195"></a>[pg 195]</span> -dialects in general, and on every thing else, and also an attempt at a -complete natural history of the Humbug—which I think I shall write -in Latin. The book will purport to be published at Jaalam (Mr. B's -native place), and will be printed on brownish paper with those little -head and tail-pieces which used to adorn our earlier publications—such -as hives, scrolls, urns, and the like."</p> - -<p>The latter part of 1848 found the poet busily engaged in getting -out the book, and he wrote to Gay in September:</p> - -<p>"This having to do with printers is dreadful business. There was -a Mr. Melville who, I believe, enjoyed it, but, for my part, I am -heartily sick of Typee."</p> - -<p>In October he says:</p> - -<p>"I should have sent you this yesterday, but it was not written, and -I was working like a dog all day, preparing a glossary and an <i>index</i>. -If I ever make another glossary or index—!" ...</p> - -<p>"... Hosea is done with," he says in November, "and will soon -be out. It made fifty pages more than I expected and so took -longer." The volume appeared on the 10th, and on the 25th he -again writes to Gay: "... The first edition of Hosea is nearly exhausted -already."</p> - -<p>The following retrospect, sent to the same friend on February 26, -1849, contains the lesson of experience:</p> - -<p>"There were a great many alterations of spelling made in the plates -of the "Biglow Papers," which added much to the expense. I ought -not to have stereotyped at all. But we are never done with cutting -eye-teeth."</p> - -<p>George Nichols, who published the book, was at one time an owner -of the University Book-store, and, later, one of the proprietors of the -University Press. He was noted for his skill in proof-reading.</p> - -<p>The printing was done by Metcalf and Company, printers to the -University; and the little book came out from their hands innocent -of hives, scrolls, urns, or any other ornament. Something changed -the author's mind, too, regarding <i>Jaalam</i> as the purporting place of -publication.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>12, xxxii, 163 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page196" id="page196"></a>[pg 196]</span></p> - -<h2>WILLIAM MAKEPEACE THACKERAY<br /><br class="b30" /> - -<span class="less2">(1811-1863)</span></h2></div> - -<p class="head"><span class="outdent">87. Vanity Fair. | A Novel without a Hero. </span>| By | William -Makepeace Thackeray. | With Illustrations On Steel -And Wood By The Author. | London: | Bradbury and -Evans, 11, Bouverie Street. | 1848.</p> - -<p>The name of the book, as we see it in the delightful and altogether -characteristic drawing on the engraved title-page, reminds us of what -Miss Kate Perry says in her reminiscences of Thackeray:</p> - -<p>"He told me, some time afterward, that, after ransacking his brain -for a name for his novel, it came upon him unawares, in the middle -of the night, as if a voice had whispered, 'Vanity Fair.' He said, -'I jumped out of bed, and ran three times round my room, uttering -as I went, 'Vanity Fair, Vanity Fair, Vanity Fair.'"</p> - -<p>It has been repeated, more than once, that <i>Vanity Fair</i> was refused -by <i>Colburn's Magazine</i>, and various other publishers, before Bradbury -and Evans undertook it, but Vizetelly, in his <i>Glances Back -Through Seventy Years</i>, thinks that this could not have been the case, -since Thackeray did not finish the story until long after it had been -accepted, and, in fact, was well along in the printer's hands. If refused, -therefore, it was refused before it was finished. "I know perfectly -well that after the publication commenced much of the remainder -of the work was written under pressure for and from the -printer, and not infrequently the first instalment of 'copy' needed to -fill the customary thirty-two pages was penned while the printer's boy -was waiting in the hall at Young Street."</p> - -<p>Vizetelly also gives the following account of the final arrangements -for the publication of the book:</p> -<p><span class="pagenum"><a name="page197" id="page197"></a>[pg 197]</span></p> - -<p>"One afternoon, when he called in Peterborough Court he had a -small brown paper parcel with him, and opened it to show me his two -careful drawings for the page plates to the first number of <i>Vanity -Fair</i>. Tied up with them was the manuscript of the earlier part of -the book, of which he had several times spoken to me, referring to -the quaint character that Chiswick Mall—within a stone's throw of -which I was then living—still retained. His present intention, he -told me, was to see Bradbury & Evans, and offer the work to them ... -In little more than half an hour Thackeray again made his appearance, -and, with a beaming face, gleefully informed me that he had -settled the business. 'Bradbury & Evans,' he said, 'accepted so -readily that I am deuced sorry I didn't ask them for another tenner. -I am certain they would have given it.' He then explained that he -had named fifty guineas per part, including the two sheets of letterpress, -a couple of etchings, and the initials at the commencement of -the chapters. He reckoned the text, I remember, at no more than -five-and-twenty shillings a page, the two etchings at six guineas each, -while as for the few initials at the beginnings of the chapters, he threw -those in."</p> - -<p>Following the plan of Chapman and Hall, who issued Dickens's -works in monthly parts in green covers, and of Charles James Lever's -publishers, who brought him out in pink, Bradbury and Evans published -<i>Vanity Fair</i> in yellow-covered numbers dated January, 1847, to -July, 1848, and costing one shilling a part. The title on these paper -covers ran: <i>Vanity Fair: Pen And Pencil Sketches Of English Society. -By W. M. Thackeray</i> [<i>Two lines</i>] <i>London: Published At The -Punch Office, 85, Fleet Street.</i> [<i>One line</i>] 1847., and there was a -woodcut vignette.</p> - -<p>There are numerous illustrations in the text, and each part has two -plates, etchings, except the last, which has three and the engraved -title-page. The last part as published contained the title-page, dedication, -"Before the Curtain," a preface, table of contents, and list of -plates.</p> - -<p>The earliest issues contain, on page 336, a woodcut of the Marquis -of Steyne, which was afterward suppressed, the type from pages 336 -to 440 being shifted to fill the vacancy. In the first edition, too, the -title at the head of Chapter I is in rustic type.</p> - -<p>At first the novel did not sell well; it was even questioned whether -it might not be best to stop its publication. But later in the year, -<span class="pagenum"><a name="page198" id="page198"></a>[pg 198]</span> -owing to some cause, perhaps the eulogistic mention in Miss Bront's -preface to <i>Jane Eyre</i>, or, perhaps, a favorable review in the <i>Edinburgh -Review</i>, its success became assured.</p> - -<p>Mrs. Carlyle, writing to her husband, says: "Very good indeed, -beats Dickens out of the World."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>xvi, 624 pp. Forty plates, including the engraved title-page.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page199" id="page199"></a>[pg 199]</span></p> - -<h2>THOMAS BABINGTON MACAULAY,<br /><br class="b30" /> - -<span class="less2">FIRST BARON MACAULAY</span><br /><br class="b30" /> - -<span class="less2">(1800-1859)</span></h2></div> - -<p class="head"><span class="outdent">88. The | History Of England | From |</span> The Accession Of -James II. | By | Thomas Babington Macaulay. | Volume -I. | London: | Printed For | Longman, Brown, -Green, And Longmans, | Paternoster-Row. | 1849. -[-1861].</p> - -<p>Trevelyan, in his <i>Life and Letters of Lord Macaulay</i>, tells us there was -no end to the trouble that the author devoted to matters which most -writers are glad to leave to their publishers. "He could not rest until -the lines were level to a hair's breadth, and the punctuation correct to -a comma; until every paragraph concluded with a telling sentence, -and every sentence flowed like water."</p> - -<p>In a footnote he adds this quotation from one of Macaulay's -letters to Mr. Longman, which, while it referred to the edition of -1858, is also indicative of his attitude toward this, the first edition:</p> - -<p>"I have no more corrections to make at present. I am inclined to -hope that the book will be as nearly faultless, as to typographical execution, -as any work of equal extent that is to be found in the world."</p> - -<p>He was apprehensive concerning the success of the book. He writes, -"I have armed myself with all my philosophy for the event of failure," -but his fears were groundless.</p> - -<p>"The people of the United States," says Trevelyan, "were even more -eager than the people of the United Kingdom to read about their common -ancestors; with the advantage that, from the absence of an international -copyright, they were able to read about them for next to nothing. -On the 4th of April, 1849, Messrs. Harper, of New York, wrote -to Macaulay: 'We beg you to accept herewith a copy of our cheap -<span class="pagenum"><a name="page200" id="page200"></a>[pg 200]</span> -edition of your work. There have been three other editions published -by different houses, and another is now in preparation; so there will -be six different editions in the market. We have already sold forty -thousand copies, and we presume that over sixty thousand copies have -been disposed of. Probably, within three months of this time, the sale -will amount to two hundred thousand copies. No work, of any kind, -has ever so completely taken our whole country by storm.' An indirect -compliment to the celebrity of the book was afforded by a -desperate, and almost internecine, controversy which raged throughout -the American newspapers as to whether the Messrs. Harper were -justified in having altered Macaulay's spelling to suit the orthographical -canons laid down in Noah Webster's dictionary."</p> - -<p>This quotation refers to the first volume. The second volume came -out in the same year, but the third and fourth did not appear until -1855. Volume five was edited by Macaulay's sister, Lady Trevelyan, -in 1861. It continued the portion of the History which was fairly -transcribed and revised by the author before his death.</p> - -<p>The posthumous appearance of the last volume reminds us of what -Mr. Alexander B. Grosart says in his life of Spenser, apropos of the -promise on the title-page of the <i>Fairy Queen</i> that the work should be -in twelve books fashioning twelve moral virtues:</p> - -<p>"Than this splendid audacity I know nothing comparable, unless -Lord Macaulay's opening of his <i>History of England</i>, wherein—without -any saving clause, as Thomas Fuller would have said, of 'if the -Lord will'—he pledges himself to write his great Story down to -'memories' of men 'still living.'"</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Five volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page201" id="page201"></a>[pg 201]</span></p> - -<h2>ALFRED TENNYSON,<br /><br class="b30" /> - -<span class="less2">FIRST BARON TENNYSON</span><br /><br class="b30" /> - -<span class="less2">(1809-1892)</span></h2></div> - -<p class="head"><span class="outdent">89. In Memoriam. | London. | </span>Edward Moxon, Dover -Street. | 1850.</p> - -<p>In May of the year 1850, <i>In Memoriam</i> was privately printed for the -use of friends, and soon afterward was published in the present form, -at six shillings. A second and third editions were issued in the same -year. They are alike in all particulars except for the correction of -two literal misprints. Though the book was anonymous, the authorship -was never in doubt.</p> - -<p>A circumstance connected with its publication, though not bibliographical -in its bearing, demands a passing word. "If 'In Memoriam' -were published," Hallam Tennyson says in his life of the laureate, -"Moxon had promised a small yearly royalty on this and on the -other poems, and so my father had decided that he could now -honourably offer my mother a home. Accordingly after ten years of -separation their engagement was renewed ... Moxon now advanced -300—so my uncle Charles told a friend,—at all events 300 -were in my father's bank in his name." With this and their small -incomes combined they decided to marry. The marriage took place -June 13, the month that saw the publication of "In Memoriam."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>vii, 210 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page202" id="page202"></a>[pg 202]</span></p> - -<h2>NATHANIEL HAWTHORNE<br /><br class="b30" /> - -<span class="less2">(1804-1864)</span></h2></div> - -<p class="head"><span class="outdent">90. The | Scarlet Letter,</span> | A Romance. | By | Nathaniel -Hawthorne. | Boston: | Ticknor, Read, And Fields | -MDCCCL.</p> - -<p>James T. Fields, in his little life of Hawthorne, tells of a visit to Salem -to see the author. He goes on to say:</p> - -<p>"... I caught sight of a bureau or set of drawers near where we were -sitting; and immediately it occurred to me that hidden away somewhere -in that article of furniture was a story or stories by the author -of the 'Twice-Told Tales,' and I became so positive of it that I -charged him vehemently with the fact. He seemed surprised, I -thought, but shook his head again; and I rose to take my leave ... -I was hurrying down the stairs when he called after me from the -chamber, asking me to stop a moment. Then quickly stepping into -the entry with a roll of manuscript in his hands, he said: 'How in -Heaven's name did you know the thing was there? As you have -found me out, take what I have written, and tell me, after you get -home and have time to read it, if it is good for anything ...' On -my way up to Boston I read the germ of 'The Scarlet Letter'; before -I slept that night I wrote him a note all aglow with admiration -of the marvellous story he had put into my hands, and told him that -I would come again to Salem the next day and arrange for its publication."</p> - -<p>It was Hawthorne's first intention to make the romance one of a -volume of several short stories, because, as he remarks to Mr. Fields:</p> - -<p>"A hunter loads his gun with a bullet and several buckshot; and, -following his sagacious example, it was my purpose to conjoin the -one long story with half a dozen shorter ones, so that, failing to kill -the public outright with my biggest and heaviest lump of lead, I -<span class="pagenum"><a name="page203" id="page203"></a>[pg 203]</span> -might have other chances with the smaller bits, individually and in -the aggregate." But this plan was finally changed and it was decided -to publish the story alone. There was then some talk about -a title for it. "In this latter event" (the event of publishing alone), -"it appears to me that the only proper title for the book would be -'The Scarlet Letter,' for 'The Custom House' is merely introductory ..." -And so it was decided.</p> - -<p>"If 'The Scarlet Letter' is to be the title," he asked Mr. Fields, -"would it not be well to print it on the title-page in red ink? I am -not quite sure about the good taste of so doing, but it would certainly -be piquant and appropriate, and, I think, attractive to the great gull -whom we are endeavoring to circumvent." The reader might ask -the bibliophile if the red title line, for it was printed in that way, -really did have anything to do with the circumventing which eventually -took place.</p> - -<p>On February 4, 1850, Hawthorne wrote to Horatio Bridges:</p> - -<p>"I finished my book yesterday, one end being in the press in Boston, -while the other was in my head here in Salem; so that, as you -see, the story is at least fourteen miles long."</p> - -<p>The book appeared about March 16. As Mr. George Parsons -Lathrop points out, there seems to have been no expectation of a -very successful sale, in spite of Mr. Fields's enthusiasm; but to the -surprise of all, the whole issue was exhausted in ten days. A second -edition, with a preface dated March 30, was soon published, making, -with the first, a total number of five thousand copies. All these were -printed by Metcalf & Company of Cambridge. The third issue was -entirely reset and electrotyped, and numbered 307 pages.</p> - -<p>The second issue, beside the preface, shows numerous changes, -especially in words. Among these the bookseller's favorite catch-word -"reduplicate" (p. 21, l. 20) was changed to "repudiate." In -late copies of the stereotyped form, this word was changed to "resuscitate."</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>vi, 322 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page204" id="page204"></a>[pg 204]</span></p> - -<h2>HARRIET BEECHER STOWE<br /><br class="b30" /> - -<span class="less2">(1811-1896)</span></h2></div> - -<p class="head"><span class="outdent">91. Uncle Tom's Cabin;</span> | Or, | Life Among The Lowly. | -By | Harriet Beecher Stowe. | [Vignette] Vol. I. | Boston: -| John P. Jewett & Company. | Cleveland, Ohio: | -Jewett, Proctor & Worthington. | 1852.</p> - -<p>The first chapter of <i>Uncle Tom</i> appeared June, 1851, in <i>The National -Era</i> of Washington, a magazine edited by Gamaliel Bailey, and one -of the ablest mediums of opinion of the anti-slavery party. It was -finished in April, 1852. Mrs. Stowe received $300 for her labor.</p> - -<p>The interest which the story awakened led John Punchard Jewett, -a member of the first anti-slavery society in New England, and himself -a frequent contributor to the newspapers on anti-slavery topics, to -offer to bring it out immediately in book form, giving the author ten -per cent. on the sales. The proposition was accepted, and the book -was published March 20, 1852. The very remarkable sale of three -thousand copies the first day was only an earnest of what was to -happen. Over 300,000 copies were sold within the year, and eight -power-presses running day and night could hardly supply the demand.</p> - -<p>There is a vignette on the title-pages signed by the engravers, -<i>Baker-Smith</i>, and each volume contains three unsigned plates, evidently -by the same artist, and engraved by the same hands as the vignette. -The volumes were bound in black with the vignette of the title-page -stamped on the covers, the front impression being in gold.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>312 pp.</i> Volume II: <i>322 - pp. Six plates.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page205" id="page205"></a>[pg 205]</span></p> - -<h2>JOHN RUSKIN<br /><br class="b30" /> - -<span class="less2">(1819-1900)</span></h2></div> - -<p class="head"><span class="outdent">92. The | Stones of Venice.</span> | Volume The First. | The -Foundations. | By John Ruskin, | [Two lines] With -Illustrations Drawn By The Author. | London: | Smith, -Elder And Co., 65. Cornhill. | 1851. [-1853.]</p> - -<p>These fine volumes, printed by Spottiswoode and Shaw, have a particularly -clean and clear type-page, and are excellent in press-work. -It is not the type, however, that demands our especial attention, but -the illustrations with which the work is liberally furnished. These -distinguish it from anything we have hitherto seen in our list of books. -The plates and cuts, made by various processes, mezzo-tinting, lithography, -line engraving and wood-cutting, mark most clearly the advance -in bookmaking which had taken place within the half century. -Hitherto we have had illustrations for their own sakes, or for the -ornamentation of the books they are in, and depending for their -existence solely upon the liberality and intelligence of the publisher; -but here we have illustrations introduced into the book for the sake -of the text, of which they are an integral part. Ruskin's own words -about them, as found in the Preface, are instructive:</p> - -<p>"It was of course inexpedient to reduce drawings of crowded -details to the size of an octavo volume,—I do not say impossible, but -inexpedient; requiring infinite pains on the part of the engraver, with -no result except farther pain to the beholder. And as, on the other -hand, folio books are not easy reading, I determined to separate the -text and the unreduceable plates. I have given, with the principal -text, all the illustrations absolutely necessary to the understanding of -it, and, in the detached work, such additional text as had special reference -to the larger illustrations.</p> - -<p>"A considerable number of these larger plates were at first intended -<span class="pagenum"><a name="page206" id="page206"></a>[pg 206]</span> -to be executed in tinted lithography; but, finding the result unsatisfactory, -I have determined to prepare the principal subjects for mezzotinting,—a -change of method requiring two new drawings to be made -for every subject; one a carefully penned outline for the etcher, and -then a finished drawing upon the etching ...</p> - -<p>"For the illustrations of the body of the work itself, I have used any -kind of engraving which seemed suited to the subjects—line and -mezzotint, on steel, with mixed lithographs and woodcuts, at a considerable -loss of uniformity in the appearance of the volume, but, I -hope, with advantage, in rendering the character of the architecture -it describes."</p> - -<p>"The illustrations to the new book," Collingwood adds, "were a -great advance upon the rough soft-ground etchings of the <i>Seven -Lamps</i>. He secured the services of some of the finest engravers who -ever handled the tools of their art. The English school of engravers -was then in its last and most accomplished period. Photography had -not yet begun to supersede it; and the demand for delicate work in -book illustration had encouraged minuteness and precision of handling -to the last degree. In this excessive refinement there were the -symptoms of decline; but it was most fortunate for Mr. Ruskin that -his drawings could be interpreted by such men as Armytage and -Cousen, Cuff and Le Keux, Boys and Lupton ... The mere fact of -their skill in translating a sketch from a note-book into a gem-like -vignette, encouraged him to ask for more; so that some of the subjects -which became the most elaborate were at first comparatively rough -drawings, and were gradually worked up from successive retouchings -of the proofs by the infinite patience of both parties. In other cases, -working drawings were prepared by Mr. Ruskin, as refined as the plates."</p> - -<p>"Like much else of his work, these plates for 'Stones of Venice' -were in advance of the times. The publishers thought them 'caviare -to the general,' so Mr. J. J. Ruskin told his son; but gave it as his -own belief that 'some dealers in Ruskins and Turners in 1890 will -get great prices for what at present will not sell.'"</p> - -<p>An "Advertisement" in the second volume tells us, "It was originally -intended that this Work should consist of two volumes only; -the subject has extended to three. The second volume, however, will -conclude the account of the ancient architecture of Venice. The -third will embrace the Early, the Roman, and the Grotesque Renaissance; -and an Index...."</p> -<p><span class="pagenum"><a name="page207" id="page207"></a>[pg 207]</span></p> - -<p>The first volume, called <i>The Foundations</i>, and having twenty-one -plates, and the second, called <i>The Sea-Stories</i>, with twenty plates, -each cost two guineas. The third volume, called <i>The Fall</i>, with twelve -plates, cost a guinea and a half. They were bound in cloth, stamped -in gold, with the "Lion of St. Mark" on the back. A few copies of -both volumes one and two were issued in two parts. The first volume -ran into a second edition in 1858, and the second and third -were reissued in 1867.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes. Illustrations. Fifty-three plates.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page208" id="page208"></a>[pg 208]</span></p> - -<h2>ROBERT BROWNING<br /><br class="b30" /> - -<span class="less2">(1812-1889)</span></h2></div> - -<p class="head"><span class="outdent">93. Men And Women. | By </span>| Robert Browning. | In Two -Volumes. | Vol. I. | London: | Chapman And Hall, 193, -Piccadilly. | 1855.</p> - -<p>This was the only edition of <i>Men and Women</i> published separately. -The poems it contained were afterward incorporated in collected -editions; with the exception of <i>In a Balcony</i>, they were distributed -under the respective headings of <i>Dramatic Lyrics</i>, <i>Dramatic Romances</i>, -and <i>Men and Women</i>.</p> - -<p>The book was issued in a green cloth binding, at twelve shillings a -copy.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Two volumes.</i> Volume I: <i>iv, 260 pp.</i> Volume II: - <i>iv, 241 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page209" id="page209"></a>[pg 209]</span></p> - -<h2>JOHN LOTHROP MOTLEY<br /><br class="b30" /> - -<span class="less2">(1814-1877)</span></h2></div> - -<p class="head"><span class="outdent">94. The Rise | Of The | </span>Dutch Republic. | A History. | -By John Lothrop Motley. | In Three Volumes. | Vol. -I. | New York: | Harper & Brothers, | 329 & 331 -Pearl Street. | 1856.</p> - -<p>Motley wrote a letter to his wife, dated at London, May 10, 1854, -in which he says that he has had the matter of copyright looked up, -and finds that the English law will protect him if he publish his book -recently completed, first, by however small an interval, in England. -He then carried the manuscript to Murray, who received him civilly, -and professed interest in his subject, promising an answer in a fortnight. -But the answer, when it came, was unfavorable, and, being of -the mind that "if Murray declines ... I shall doubt very much -whether anybody will accept, because history is very much in his line," -he seems to have tried no farther, but to have arranged with Mr. John -Chapman to publish the <i>Dutch Republic</i> himself.</p> - -<p>Throughout the transaction Motley was very modest and not at all -sanguine for the success of his venture.</p> - -<p>"It cannot take in England," he says to his mother in 1855, "and -moreover the war, Macaulay's new volumes, and Prescott's, will entirely -absorb the public attention." And again to his father, May 13, 1856, -he says:</p> - -<p>"I have heard nothing from Chapman since the book was published, -but I feel sure from the silence that very few copies have been sold. I -shall be surprised if a hundred copies are sold at the end of a year."</p> - -<p>In reality, the book, as Dr. Holmes said, was "a triumph." Seventeen -thousand copies were sold in England alone during the first -year, and in America, where it was issued by the Harpers, just long -enough after the English edition to fulfill all the demands of the -<span class="pagenum"><a name="page210" id="page210"></a>[pg 210]</span> -copyright law, it was equally popular. Mr. Murray afterward asked -to be allowed to publish <i>The History of the United Netherlands</i>, and -expressed his regret "at what he candidly called his mistake in the -first instance." Prescott, Motley's friend and generous rival, wrote -from Boston, April 18, 1856:</p> - -<p>"You have good reason to be pleased with the reception the book -has had from the English press, considering that you had no one -particularly to stand godfather to your bantling, but that it tumbled -into the world almost without the aid of a midwife. Under these -circumstances success is a great triumph...."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page211" id="page211"></a>[pg 211]</span></p> - -<h2>GEORGE ELIOT<br /><br class="b30" /> - -<span class="less2">MARY ANN <i>or</i> MARIAN CROSS</span><br /><br class="b30" /> - -<span class="less2">(1819-1880)</span></h2></div> - -<p class="head"><span class="outdent">95. Adam Bede | By </span>| George Eliot | Author Of | "Scenes -Of Clerical Life" | [Quotation] In Three Volumes | -Vol. I. | William Blackwood And Sons | Edinburgh -And London | MDCCCLIX | The Right of Translation -is reserved.</p> - -<p><i>Scenes from Clerical Life</i> had appeared in the early part of January, -1858, and had proved an unexpected success, but the name of its author, -concealed under a pseudonym, long proved a mystery.</p> - -<p>"The first volume [of Adam Bede]," says Mrs. Cross, "was written -at Richmond, and given to Blackwood in March. He expressed -great admiration of its freshness and vividness, but seemed to hesitate -about putting it in the Magazine, which was the form of publication -he, as well as myself, had previously contemplated. He still -<i>wished</i> to have it for the Magazine, but desired to know the course -of the story. At <i>present</i> he saw nothing to prevent its reception in -'Maga,' but he would like to see more. I am uncertain whether -his doubts rested solely on Hetty's relation to Arthur, or whether they -were also directed towards the treatment of Methodism by the Church. -I refused to tell my story beforehand, on the ground that I would not -have it judged apart from my <i>treatment</i>, which alone determines the -moral quality of art; and ultimately I proposed that the notion of -publication in 'Maga' should be given up, and that the novel should -be published in three volumes at Christmas, if possible. He assented."</p> - -<p>"... When, on October 29, I had written to the end of the love-scene -at the Farm between Adam and Dinah, I sent the MS. to -Blackwood, since the remainder of the third volume could not affect -the judgement passed on what had gone before. He wrote back in -<span class="pagenum"><a name="page212" id="page212"></a>[pg 212]</span> -warm admiration, and offered me, on the part of the firm, 800 for -four years' copyright. I accepted the offer ... The book would -have been published at Christmas, or rather early in December, but -that Bulwer's 'What will he do with it?' was to be published by -Blackwood at that time, and it was thought that this novel might -interfere with mine."</p> - -<p>The book was published the first day of January with the still unpenetrated -pseudonym on the title-page. It cost thirty one shillings -and six pence. The advance subscriptions amounted to 730 copies, -and the following note, written March 16, gives the history of its -success:</p> - -<p>"Blackwood writes to say I am 'a popular author as well as a -great author.' They printed 2,090 of 'Adam Bede,' and have disposed -of more than 1800, so that they are thinking of a second -edition."</p> - -<p>In May, Blackwood proposed to add, at the end of the year, 400 -to the 800 originally given for the copyright. A fourth edition of -5000 volumes was issued in 1859, all of which were sold in a fortnight; -a seventh was printed the same year, and in October Blackwood -felt justified in proposing to pay 800 more at the beginning -of the new year. The sale amounted to 16,000 volumes in one year.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>Three volumes.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page213" id="page213"></a>[pg 213]</span></p> - -<h2>CHARLES ROBERT DARWIN<br /><br class="b30" /> - -<span class="less2">(1809-1882)</span></h2></div> - -<p class="head"><span class="outdent">96. On | The Origin Of Species</span> | [Four lines] By Charles -Darwin, M.A., [Three lines] London: | John Murray, -Albemarle Street. | 1859. | The right of Translation is -reserved.</p> - -<p>The simplicity and honesty of Darwin's character are nowhere more -clearly seen than in his correspondence over the production of this -book, which, from its unorthodoxy, he feared might expose others as -well as himself to censure. For example, he says in a letter of March -28, 1859, to Sir Charles Lyell, the famous geologist, who made the -arrangements for the publication of the work:</p> - -<p>"P.S. Would you advise me to tell Murray that my book is not more -<i>un</i>-orthodox than the subject makes inevitable ... Or had I better -say <i>nothing</i> to Murray, and assume that he cannot object to this much -unorthodoxy, which in fact is not more than any Geological Treatise -which runs slap counter to Genesis."</p> - -<p>Afterward, in a letter to J. D. Hooker, under date of April 2, 1859, -he says:</p> - -<p>"... I wrote to him [Mr. Murray] and gave him the headings of -the chapters, and told him he could not have the MSS. for ten days -or so; and this morning I received a letter, offering me handsome -terms, and agreeing to publish without seeing the MS.! So he is -eager enough; I think I should have been cautious, anyhow, but, -owing to your letter, I told him most <i>explicitly</i> that I accepted his -offer solely on condition that, after he has seen part or all the MS., he -has full power of retracting. You will think me presumptuous, but I -think my book will be popular to a certain extent (enough to ensure -[against] heavy loss) amongst scientific and semiscientific men.... -<span class="pagenum"><a name="page214" id="page214"></a>[pg 214]</span> -Anyhow, Murray ought to be the best judge, and if he chooses to -publish it, I think I may wash my hands of all responsibility...."</p> - -<p>His views on the success of the book are worth recording. To -Murray he writes, April 5, 1859: "It may be conceit, but I believe -the subject will interest the public, and I am sure that the views are -original. If you think otherwise, I must repeat my request that you -will freely reject my work; and though I shall be a little disappointed, -I shall be in no way injured." And again to J. D. Hooker: -"... Please do not say to any one that I thought my book on -Species would be fairly popular, and have a fairly remunerative sale -(which was the height of my ambition), for if it proves a dead failure, -it would make me the more ridiculous."</p> - -<p>After the book went to press he found it necessary to make many -corrections involving no slight extra expense; without waiting for -Murray to complain he took the initiative in setting the matter upon -the proper footing in the following manner, in a letter written June 14, -1859:</p> - -<p>"P.S. I have been looking at the corrections, and considering -them. It seems to me that I shall put you to quite unfair expense. -If you please I should like to enter into some such arrangement as the -following:</p> - -<p>"When work completed, you to allow in the account a fairly -moderately heavy charge for corrections, and all excess over that to -be deducted from my profits, or paid by me individually."</p> - -<p>"... But you are really too generous about the, to me, scandalously -heavy corrections. Are you not acting unfairly towards yourself? -Would it not be better at least to share the 72 8s.? I shall be fully -satisfied, for I had no business to send, though quite unintentionally -and unexpectedly, such badly composed MS. to the printers."</p> - -<p>The first edition, a child, Darwin calls it, in whose appearance he -takes infinite pride and pleasure, was published November 24:</p> - -<p>"It is no doubt the chief work of my life. It was from the first -highly successful. The first small edition of 1250 copies was sold on the -day of publication, and a second edition of 3000 copies soon afterward. -Sixteen thousand copies have now (1876) been sold in England; and -considering how stiff a book it is, this is a large sale. It has been -translated into almost every European tongue, even into such languages -as Spanish, Bohemian, Polish, and Russian. It has also, according to -Miss Bird, been translated into Japanese [a mistake] and is there -<span class="pagenum"><a name="page215" id="page215"></a>[pg 215]</span> -much studied. Even an essay in Hebrew has appeared on it, showing -that the theory is contained in the Old Testament!"</p> - -<p>The second edition of 3000 copies, only a reprint, yet with a few -important corrections, was issued January 7, 1860. An edition of 2500 -copies was issued in the United States, where it enjoyed great popularity. -"I never dreamed," said he, "of my book being so successful -with general readers; I believe I should have laughed at the idea of -sending the sheets to America."</p> - -<p>The sum of 180 was received by the author for the first edition, -and 636 13s., for the second.</p> - -<p class="ind1">Duodecimo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>ix, 502 pp. Folded plate.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page216" id="page216"></a>[pg 216]</span></p> - -<h2>EDWARD FITZGERALD<br /><br class="b30" /> - -<span class="less2">(1809-1883)</span></h2></div> - -<p class="head"><span class="outdent">97. Rubiyt | Of | Omar Khayym,</span> | The Astronomer-Poet -Of Persia. | Translated into English Verse. | -London: | Bernard Quaritch, | Castle Street, Leicester -Square. | 1859.</p> - -<p>Fitzgerald first offered his translation to the editor of <i>Fraser's Magazine</i>, -who returned it after holding it a long time, apparently afraid to -publish it. It was not until years afterward that the poet, having -nearly doubled the number of the verses, issued it himself, anonymously, -inserting in the imprint, without even asking permission, the name of -Bernard Quaritch.</p> - -<p>The little pamphlet in brown paper, with its eleven pages of biography, -and five pages of notes, against sixteen pages of poem, was not -attractive in appearance; and we are told that it was not advertised -in any way except by entry among the Oriental numbers of Quaritch's -catalogue. So it is really not to be greatly wondered at that its sale -was slow, even though the price was set as low as five shillings. Two -hundred copies remaining on his hands, Quaritch, who had consented -to act as bookseller, finally resorted to the expedient of offering them -at half-a-crown, then at a shilling, then at sixpence, until finally they -were cleared out at a penny a volume.</p> - -<p>Those who read it at this price acted as leaven, and nine years -afterward, in 1868, a second edition was called for; a third was published -in 1872, and a fourth in 1879. These were all issued by -Quaritch at his own expense, and all without the translator's name. -Quaritch paid Fitzgerald a small honorarium, which he promptly gave -away in charity.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>xiii, 21 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page217" id="page217"></a>[pg 217]</span></p> - -<h2>JOHN HENRY NEWMAN,<br /><br class="b30" /> - -<span class="less2">CARDINAL</span><br /><br class="b30" /> - -<span class="less2">(1801-1890)</span></h2></div> - -<p class="head"><span class="outdent">98. Apologia Pro Vita Sua: | Being </span>| A Reply to a -Pamphlet | Entitled | "What, Then, Does Dr. Newman -Mean?" [Quotation] By John Henry Newman, -D.D. | London: | Longman, Green, Longman, Roberts, -And Green. | 1864.</p> - -<p>The pamphlet <i>"What, Then, Does Dr. Newman Mean?" A Reply -to a Pamphlet lately published by Dr. Newman. By the Rev. Charles -Kingsley.</i>, was issued in March, 1864. Cardinal Newman's rejoinder -took the form of a series of pamphlets. The first appeared on Thursday, -April 21, and its brown paper cover bore the title given above, -with the additional line, <i>Pt. I. Mr. Kingsley's Method of Disputation</i>. -Thereafter, on successive Thursdays, until June 16, the following -numbers appeared: <i>Pt. II. True Mode Of Meeting Mr. Kingsley.</i> -<i>Pt. III-VI. History Of My Religious Opinions.</i> <i>Pt. VII. General -Answer To Mr. Kingsley.</i> <i>Appendix. Answer in Detail To Mr. -Kingsley's Accusations.</i></p> - -<p>A title-page and "Contents" were issued with the Appendix. Parts -I, II, and III cost a shilling each, Parts IV, V, and VII, two shillings -each, Part VI, and the Appendix, each two shillings sixpence.</p> - -<p>The parts were issued afterward in a cloth binding. In later editions -almost all of Parts I and II, and about half of the Appendix were -omitted, while some new matter was added in the form of notes.</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>iv, 430, 127 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page218" id="page218"></a>[pg 218]</span></p> - -<h2>MATTHEW ARNOLD<br /><br class="b30" /> - -<span class="less2">(1822-1888)</span></h2></div> - -<p class="head"><span class="outdent">99. Essays In Criticism. | By |</span> Matthew Arnold, | Professor -Of Poetry In The University Of Oxford. | London and -Cambridge: Macmillan And Co. | 1865.</p> - -<p>The first edition contained a satirical and not altogether tasteful preface -which, Arnold said in a letter to his mother before the book was -out, "will make you laugh." But later, in a letter to Lady de Rothschild -written February 11, 1865, he says of it: "I had read the -Preface to a brother and sister of mine, and they received it in such -solemn silence that I began to tremble...." The silence of his -friends and the criticism of others produced their effect upon him, -and he writes again, to Lady de Rothschild: "I think if I republish -the book I shall leave out some of the preface and notes, as being too -much of mere temporary matter ..."</p> - -<p>The volume contained nine essays, afterward made ten.</p> - -<p>Professor Saintsbury says, in reviewing the book:</p> - -<p>"I am afraid it must be taken as only too strong a confirmation of -Mr. Arnold's belief as to the indifference of the English people to -criticism that no second edition of the book was called for till four -years were past, no third for ten, and no fourth for nearly twenty."</p> - -<p>We get an intimation of the terms on which the book was published -from the following note to Miss Quillinan, dated March 8, 1865:</p> - -<p>"The book is Macmillan's, not mine, as my Poems were, and I -have had so few copies at my own disposal that they have not even -sufficed to go the round of my own nearest relations, to whom I have -always been accustomed to send what I write."</p> - -<p class="ind1">Octavo.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>xx, 302 pp.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page219" id="page219"></a>[pg 219]</span></p> - -<h2>JOHN GREENLEAF WHITTIER<br /><br class="b30" /> - -<span class="less2">(1807-1892)</span></h2></div> - -<p class="head"><span class="outdent">100. Snow-Bound. | A Winter Idyl. </span>| By | John Greenleaf -Whittier. | [Vignette] Boston: | Ticknor And Fields. | -1866.</p> - -<p>It was at first proposed to publish the poem with illustrations by Felix -Octavius Darley, who so successfully illustrated Cooper, Irving, Longfellow, -Lossing, and many others; but, for some reason, this idea was -abandoned, and illustration of the work was reduced to a vignette -showing "a view of the old farm house in a snow storm, copied from -a photograph ..." It was drawn by Harry Fenn. We might regret -that we are thus the losers of some characteristic work by Darley, -but, on the other hand, we must agree with Whittier, who, when -referring to the proposed illustrations of <i>The Pageant</i>, published later, -said: "I know of no one who could do it, however, so well as Harry -Fenn." The bit of work reproduced here is in its way quite as -worthy of commendation as that drawn by this "Nestor of his guild," -for <i>Ballads of New England</i>, 1869, and so appreciatively reviewed -by Mr. William Dean Howells in <i>The Atlantic</i> for December.</p> - -<p>The poet took an unusual interest in the make-up of his book. -For example, he says of the vignette:</p> - -<p>"In the picture of the old home, the rim of hemlocks, etc., at the foot -of the high hill which rises abruptly to the left, is not seen. They would -make a far better snow picture than the oaks which are in the view."</p> - -<p>His remarks, too, about his portrait are particularly entertaining.</p> - -<p>"I don't know about the portrait. At first thought, it strikes me -that it would be rather out of place at the head of a new venture in -rhyme. I don't want to run the risk of being laughed at. However, -do as thee likes about it. Put thyself in the place of Mrs. -Grundy, and see if it will be safe for any 'counterfeit presentment' to -brave the old lady's criticism."</p> -<p><span class="pagenum"><a name="page220" id="page220"></a>[pg 220]</span></p> - -<p>Mr. Fields evidently dared to add the portrait. It is a steel engraving, -and bears, besides the name, the following inscription: "Engraved -By H. W. Smith. From a Photograph By Hawes." The book is -further embellished by a woodcut head-piece and an initial letter, -representing snow scenes.</p> - -<p>From other letters we learn that Whittier liked the page and type -of the volume, and in this he showed himself a good judge. His -opinion is confirmed by those who see in the book an example worthy -of its publishers, all of whose productions, issued at this period, are -good, while some are beautiful in their simplicity and elegance. When -the matter of paper was brought up, the author said, "Don't put -the poem on tinted or fancy paper, let it be white as the snow it -tells of." Fifty copies were printed on large paper, and were probably -given by the poet only to his friends. These embodied all the corrections -afterward incorporated in the regular editions.</p> - -<p>Whittier's feeling for appropriateness is shown also in the following -quotation:</p> - -<p>"I wish it could come out in season for winter fireside reading—the -very season for it.... I shall dedicate it to my brother, and shall -occupy one page with quotations from Cor. Agrippa, and from Emerson's -'Snow Storm.' ..."</p> - -<p>He changed his mind about the dedication, however, for the book -is inscribed "To the memory of the household it describes."</p> - -<p>Among the errors which crept into the poem, one, the phrase -"Pindus-born Araxes," was afterward corrected to "Pindus-born -Arachthus"; and another,</p> - -<p class="centerb"> -"The wedding <i>knell</i> and dirge of death,"</p> - -<p>held its ground from 1866 until 1893.</p> - -<p>Whittier's share in the profits of <i>Snow-Bound</i>, we are told, amounted -to ten thousand dollars.</p> - -<p class="ind1"><span class="sc">Collation</span>: <i>52 pp. Portrait.</i></p> - - <hr class="medium" /> -<div class="chapter"> -<p><span class="pagenum"><a name="page221" id="page221"></a>[pg 221]</span></p> - -<h2>CORRIGENDA</h2></div> - -<table summary="corrigenda" border="0"> - -<tr> - <th class="center">PAGE</th> - <th class="center">LINE</th> - <th class="left1a">READ</th> -</tr> -<tr> - <td class="right">4 .</td> - <td class="right">7 .</td> - <td class="left1">copies are known</td> -</tr> -<tr> - <td class="right">9 .</td> - <td class="right">2 .</td> - <td class="left1">adminiſtracion</td> -</tr> -<tr> - <td class="right">15 .</td> - <td class="right">4 .</td> - <td class="left1">The | Firſte</td> -</tr> -<tr> - <td class="right">16 .</td> - <td class="right">32 .</td> - <td class="left1">Arber</td> -</tr> -<tr> - <td class="right">25 .</td> - <td class="right">3 .</td> - <td class="left1">authors' names</td> -</tr> -<tr> - <td class="right">25 .</td> - <td class="right">10 .</td> - <td class="left1">youngmans</td> -</tr> -<tr> - <td class="right">33 .</td> - <td class="right">20 .</td> - <td class="left1">Imprented</td> -</tr> -<tr> - <td class="right">34 .</td> - <td class="right">4 .</td> - <td class="left1">diſſwaſion. |</td> -</tr> -<tr> - <td class="right">34 .</td> - <td class="right">6 .</td> - <td class="left1">the | blacke</td> -</tr> -<tr> - <td class="right">40 .</td> - <td class="right">6 .</td> - <td class="left1">omnia: | fiue</td> -</tr> -<tr> - <td class="right">41 .</td> - <td class="right">11 .</td> - <td class="left1">duodecimi</td> -</tr> -<tr> - <td class="right">41 .</td> - <td class="right">23 .</td> - <td class="left1">Odysses</td> -</tr> -<tr> - <td class="rightb1">41 .</td> - <td class="rightb1">24 .</td> - <td class="left1">Mihi q<sup>d</sup> viuo</td> -</tr> -<tr> - <td class="right">41 .</td> - <td class="right">34 .</td> - <td class="left1">end, in some copies,</td> -</tr> -<tr> - <td class="right">45 .</td> - <td class="right">1 .</td> - <td class="left1">are found</td> -</tr> -<tr> - <td class="right">45 .</td> - <td class="right">8 .</td> - <td class="left1">1585</td> -</tr> -<tr> - <td class="right">48 .</td> - <td class="right">18 .</td> - <td class="left1">Maſques</td> -</tr> -<tr> - <td class="right">48 .</td> - <td class="right">30 .</td> - <td class="left1">The second Volume Containing These</td> -</tr> -<tr> - <td class="right">56 .</td> - <td class="right">7 .</td> - <td class="left1">length</td> -</tr> -<tr> - <td class="right">61 .</td> - <td class="right">19 .</td> - <td class="left1">Grosart</td> -</tr> -<tr> - <td class="right">67 .</td> - <td class="right">4 .</td> - <td class="left1">Decem.</td> -</tr> -<tr> - <td class="right">69 .</td> - <td class="right">7 .</td> - <td class="left1">Beaumont</td> -</tr> -<tr> - <td class="right">77 .</td> - <td class="right">5 .</td> - <td class="left1">Dunstan's</td> -</tr> -<tr> - <td class="right">79 .</td> - <td class="right">9 .</td> - <td class="left1">in</td> -</tr> -<tr> - <td class="right">86 .</td> - <td class="right">27 .</td> - <td class="left1">The month of September, 1694</td> -</tr> -<tr> - <td class="right">89 .</td> - <td class="right">8 .</td> - <td class="left1">Theater</td> -</tr> -<tr> - <td class="right">94 .</td> - <td class="right">18 .</td> - <td class="left1">Charles</td> -</tr> -<tr> - <td class="right">121 .</td> - <td class="right">28 .</td> - <td class="left1">1759</td> -</tr> -<tr> - <td class="right">126 .</td> - <td class="right">4 .</td> - <td class="left1">By |</td> -</tr> -<tr> - <td class="right">128 .</td> - <td class="right">6 .</td> - <td class="left1">A. M'Lean</td> -</tr> -<tr> - <td class="right">147 .</td> - <td class="right">6 .</td> - <td class="left1">Intitled</td> -</tr> -</table> - - <hr class="medium" /> - -<div class="chapter"> -<p><span class="pagenum"><a name="page222" id="page222"></a>[pg 222]</span></p><br /> -<p><span class="pagenum"><a name="page223" id="page223"></a>[pg 223]</span></p> - -<h2>INDEX TO AUTHORS AND TITLES</h2></div> -<p><span class="pagenum"><a name="page224" id="page224"></a>[pg 224]</span><br /> -<span class="pagenum"><a name="page225" id="page225"></a>[pg 225]</span></p> - - <hr class="medium" /> -<div class="chapter"> -<h2>INDEX TO AUTHORS AND TITLES<a name="INDEX" id="INDEX"></a></h2></div> - -<p class="center"> -<a href="#A">A</a> | <a href="#B">B</a> | <a href="#C">C</a> | <a href="#D">D</a> | -<a href="#E">E</a> | <a href="#F">F</a> | <a href="#G">G</a> | <a href="#H">H</a> | -<a href="#I">I</a> | <a href="#J">J</a> | <a href="#K">K</a> | <a href="#L">L</a> | -<a href="#M">M</a> | <a href="#N">N</a> | <a href="#O">O</a> | <a href="#P">P</a> | -<a href="#R">R</a> | <a href="#S">S</a> | <a href="#T">T</a> | -<a href="#V">V</a> | <a href="#W">W</a> -</p> - -<ul class="index"> - -<li class="top"><a name="A" id="A"></a>Absalom And Achitophel, <a class="ask" href="#page84">84</a>, <a class="ask" href="#page85">85</a></li> - -<li>Adam Bede, <a class="ask" href="#page211">211</a>, <a class="ask" href="#page212">212</a></li> - -<li>Addison (Joseph). The Spectator, <a class="ask" href="#page94">94-96</a></li> - -<li>Adonais, <a class="ask" href="#page169">169</a>, <a class="ask" href="#page170">170</a></li> - -<li>Analogy (The) Of Religion, <a class="ask" href="#page104">104</a></li> - -<li>Anatomy (The) Of Melancholy, <a class="ask" href="#page51">51</a>, <a class="ask" href="#page52">52</a></li> - -<li>Apologia Pro Vita Sua, <a class="ask" href="#page217">217</a></li> - -<li>Arcadia. The Countesse Of Pembrokes, <a class="ask" href="#page29">29-31</a></li> - -<li>Arnold (Matthew). Essays In Criticism, <a class="ask" href="#page218">218</a></li> - -<li>Austen (Jane). Pride And Prejudice, <a class="ask" href="#page161">161</a>, <a class="ask" href="#page162">162</a></li> - -<li class="top"><a name="B" id="B"></a>B. (E. B.) Sonnets, <a class="ask" href="#page193">193</a></li> - -<li>Bacon (Francis), Baron Verulam. Essaies, <a class="ask" href="#page34">34</a>, <a class="ask" href="#page35">35</a></li> - -<li>Baldwin (William), Thomas Sackville, and Others. A Myrrour For Magiſtrates, <a class="ask" href="#page19">19-21</a></li> - -<li>Beaumont (Francis) and John Fletcher. Comedies And Tragedies, <a class="ask" href="#page69">69-71</a></li> - -<li>Bell (Currer). Jane Eyre. An Autobiography. Edited by, <a class="ask" href="#page191">191</a></li> - -<li>Bible. The Holy, <a class="ask" href="#page44">44-47</a></li> - -<li>Biglow Papers (The), <a class="ask" href="#page194">194</a>, <a class="ask" href="#page195">195</a></li> - -<li>Blackstone (Sir William). Commentaries, <a class="ask" href="#page121">121</a>, <a class="ask" href="#page122">122</a></li> - -<li>Booke (The) of the common praier, <a class="ask" href="#page9">9-11</a></li> - -<li>Boswell (James). The Life Of Samuel Johnson, <a class="ask" href="#page150">150-152</a></li> - -<li>Braybrooke (Richard, Lord). <i>See</i> Pepys (Samuel). Memoirs, <a class="ask" href="#page173">173</a>, <a class="ask" href="#page174">174</a></li> - -<li>Broken Heart (The), <a class="ask" href="#page58">58</a></li> - -<li>Bront (Charlotte). Jane Eyre, <a class="ask" href="#page191">191</a></li> - -<li>Browne (Sir Thomas). Religio Medici, <a class="ask" href="#page65">65</a>, <a class="ask" href="#page66">66</a></li> - -<li>Browning (Elizabeth Barrett). Sonnets, <a class="ask" href="#page193">193</a></li> - -<li>Browning (Robert). Men and Women, <a class="ask" href="#page208">208</a></li> - -<li>Bunyan (John). The Pilgrims Progreſs, <a class="ask" href="#page82">82</a>, <a class="ask" href="#page83">83</a></li> - -<li>Burke (Edmund). Reflections On The Revolution In France, <a class="ask" href="#page146">146</a></li> - -<li>Burns (Robert). Poems, <a class="ask" href="#page141">141</a>, <a class="ask" href="#page142">142</a></li> - -<li>Burton (Robert). The Anatomy Of Melancholy, <a class="ask" href="#page51">51</a>, <a class="ask" href="#page52">52</a></li> - -<li>Butler (Joseph), Bishop of Durham. The Analogy Of Religion, <a class="ask" href="#page104">104</a></li> - -<li>Butler (Samuel), Hudibras. <a class="ask" href="#page77">77</a>, <a class="ask" href="#page78">78</a></li> - -<li>Byron (George Gordon), Sixth Baron. Childe Harold's Pilgrimage, <a class="ask" href="#page157">157-160</a></li> - -<li class="top"><a name="C" id="C"></a>Canterbury Tales (The), <a class="ask" href="#page3">3</a>, <a class="ask" href="#page4">4</a></li> - -<li>Carlyle (Thomas). Sartor Resartus, <a class="ask" href="#page183">183-185</a>.</li> - -<li>Chapman (George). The Whole Works Of Homer, <a class="ask" href="#page40">40-43</a>.</li> - -<li>Chaucer (Geoffrey). The Canterbury Tales, <a class="ask" href="#page3">3</a>, <a class="ask" href="#page4">4</a></li> - -<li>Childe Harold's Pilgrimage, <a class="ask" href="#page157">157-160</a></li> - -<li>Christabel: Kubla Khan ... The Pains Of Sleep, <a class="ask" href="#page163">163</a>, <a class="ask" href="#page164">164</a></li> - -<li>Chronicles of England, Scotlande, and Irelande, <a class="ask" href="#page15">15-18</a></li> - -<li>Clarendon (Edward Hyde, First Earl of). The History Of The Rebellion, <a class="ask" href="#page89">89</a>, <a class="ask" href="#page90">90</a></li> - -<li>Clarissa, <a class="ask" href="#page110">110</a>, <a class="ask" href="#page111">111</a></li> - -<li>Coleridge (Samuel Taylor). Christabel, <a class="ask" href="#page163">163</a>, <a class="ask" href="#page164">164</a></li> - -<li>Coleridge (Samuel Taylor) and William Wordsworth. Lyrical Ballads, <a class="ask" href="#page153">153</a>, <a class="ask" href="#page154">154</a><span class="pagenum"><a name="page226" id="page226"></a>[pg 226]</span></li> - -<li>Collins (William). Odes, <a class="ask" href="#page109">109</a></li> - -<li>Comedies And Tragedies, <a class="ask" href="#page69">69-71</a></li> - -<li>Comedies, Histories, & Tragedies, <a class="ask" href="#page53">53-55</a></li> - -<li>Commentaries On The Laws Of England, <a class="ask" href="#page121">121</a>, <a class="ask" href="#page122">122</a></li> - -<li>Common praier. The booke of the, <a class="ask" href="#page9">9-11</a></li> - -<li>Compleat Angler (The), <a class="ask" href="#page75">75</a>, <a class="ask" href="#page76">76</a></li> - -<li>Confeſſio amantis, <a class="ask" href="#page5">5</a>, <a class="ask" href="#page6">6</a></li> - -<li>Congreve (William). The Way of the World, <a class="ask" href="#page88">88</a></li> - -<li>Conquest Of Peru. History Of The, <a class="ask" href="#page187">187</a>, <a class="ask" href="#page188">188</a></li> - -<li>Cooper (James Fenimore). The Last Of The Mohicans, <a class="ask" href="#page175">175</a>, <a class="ask" href="#page176">176</a></li> - -<li>Countesse Of Pembrokes Arcadia (The), <a class="ask" href="#page29">29-31</a></li> - -<li>Cowper (William). The Task, <a class="ask" href="#page137">137-140</a></li> - -<li>Cross (Mary Ann or Marian). Adam Bede Edited By George Eliot, <a class="ask" href="#page211">211</a>, <a class="ask" href="#page212">212</a></li> - -<li class="top"><a name="D" id="D"></a>D. (J.). Poems by, <a class="ask" href="#page62">62-64</a></li> - -<li>Darwin (Charles Robert). On The Origin Of Species, <a class="ask" href="#page213">213-215</a></li> - -<li>Decline And Fall Of The Roman Empire. The History Of The, <a class="ask" href="#page133">133-135</a></li> - -<li>Defoe (Daniel). The Life And Strange Surprizing Adventures Of Robinson Crusoe, <a class="ask" href="#page97">97</a>, <a class="ask" href="#page98">98</a></li> - -<li>Democritus Iunior. <i>See</i> Burton (Robert).</li> - -<li>Dickens (Charles). The Posthumous Papers Of The Pickwick Club, <a class="ask" href="#page180">180-182</a></li> - -<li>Dictionary (A) Of The English Language, <a class="ask" href="#page117">117</a>, <a class="ask" href="#page118">118</a></li> - -<li>Donne (John). Poems, <a class="ask" href="#page62">62-64</a></li> - -<li>Dorset (Thomas Sackville, First Earl of). <i>See</i> Thomas Sackville</li> - -<li>Dryden (John). Absalom And Achitophel, <a class="ask" href="#page84">84</a>, <a class="ask" href="#page85">85</a></li> - -<li>Dutch Republic. The Rise Of The, <a class="ask" href="#page209">209</a>, <a class="ask" href="#page210">210</a></li> - -<li>Dutchesse of Malfy. The Tragedy Of The, <a class="ask" href="#page56">56</a></li> - -<li class="top"><a name="E" id="E"></a>Elegy (An) Wrote In A Country Church Yard, <a class="ask" href="#page114">114-116</a></li> - -<li>Elia. Essays Which Have Appeared Under That Signature, <a class="ask" href="#page171">171</a>, <a class="ask" href="#page172">172</a></li> - -<li>Emerson (Ralph Waldo). Nature, <a class="ask" href="#page186">186</a></li> - -<li>Essaies, Religious Meditationes, <a class="ask" href="#page34">34</a>, <a class="ask" href="#page35">35</a></li> - -<li>Essay (An) Concerning Humane Understanding, <a class="ask" href="#page86">86</a>, <a class="ask" href="#page87">87</a></li> - -<li>Essay (An) On Man, <a class="ask" href="#page102">102</a>, <a class="ask" href="#page103">103</a></li> - -<li>Essays In Criticism, <a class="ask" href="#page218">218</a></li> - -<li>Euphues, <a class="ask" href="#page26">26-28</a></li> - -<li>Evangeline, <a class="ask" href="#page192">192</a></li> - -<li>Eve Of St. Agnes (The). Lamia, Isabella, <a class="ask" href="#page167">167</a>, <a class="ask" href="#page168">168</a></li> - -<li>Expedition (The) Of Humphry Clinker, <a class="ask" href="#page130">130</a>, <a class="ask" href="#page131">131</a></li> - -<li class="top"><a name="F" id="F"></a>Faerie Queene (The), <a class="ask" href="#page32">32</a>, <a class="ask" href="#page33">33</a></li> - -<li>Famous Tragedy (The) Of The Rich Ievv Of Malta, <a class="ask" href="#page59">59</a></li> - -<li>Federalist (The), <a class="ask" href="#page128">128</a>, <a class="ask" href="#page129">129</a></li> - -<li>Ferrex and Porrex. The Tragidie of, <a class="ask" href="#page24">24</a>, <a class="ask" href="#page25">25</a></li> - -<li>Fielding (Henry). The History Of Tom Jones, <a class="ask" href="#page112">112</a>, <a class="ask" href="#page113">113</a></li> - -<li>Fitzgerald (Edward). Rubiyt Of Omar Khayym, <a class="ask" href="#page216">216</a></li> - -<li>Fletcher (John) and Francis Beaumont. Comedies And Tragedies, <a class="ask" href="#page69">69-71</a></li> - -<li>Ford (John). The Broken Heart, <a class="ask" href="#page58">58</a></li> - -<li>Franklin (Benjamin). Poor Richard improved, <a class="ask" href="#page119">119</a>, <a class="ask" href="#page120">120</a></li> - -<li class="top"><a name="G" id="G"></a>George Eliot. Adam Bede, <a class="ask" href="#page211">211</a>, <a class="ask" href="#page212">212</a></li> - -<li>Gibbon (Edward). The History Of The Decline And Fall Of The Roman Empire, <a class="ask" href="#page133">133-135</a></li> - -<li>Goldsmith (Oliver). The Vicar Of Wakefield, <a class="ask" href="#page123">123-125</a></li> - -<li>Gower (John). Confeſſio amantis, <a class="ask" href="#page5">5</a>, <a class="ask" href="#page6">6</a></li> - -<li>Gray (Thomas). An Elegy Wrote In A Country Church Yard, <a class="ask" href="#page114">114-116</a></li> - -<li>Gulliver (Lemuel). Travels Into Several Remote Nations ... By, <a class="ask" href="#page99">99-101</a></li> - -<li class="top"><a name="H" id="H"></a>Hakluyt (Richard). The Principal Navigations, etc., <a class="ask" href="#page36">36-39</a><span class="pagenum"><a name="page227" id="page227"></a>[pg 227]</span></li> - -<li>Hawthorne (Nathaniel). The Scarlet Letter, <a class="ask" href="#page202">202</a>, <a class="ask" href="#page203">203</a></li> - -<li>Herbert (George). The Temple, <a class="ask" href="#page60">60</a>, <a class="ask" href="#page61">61</a></li> - -<li>Herrick (Robert). Hesperides, <a class="ask" href="#page72">72</a>, <a class="ask" href="#page73">73</a></li> - -<li>Hesperides, <a class="ask" href="#page72">72</a>, <a class="ask" href="#page73">73</a></li> - -<li>History (The) of England, <a class="ask" href="#page199">199</a>, <a class="ask" href="#page200">200</a></li> - -<li>History (A) Of New York ... By Diedrich Knickerbocker, <a class="ask" href="#page155">155</a>, <a class="ask" href="#page156">156</a></li> - -<li>History Of The Conquest Of Peru, <a class="ask" href="#page187">187</a>, <a class="ask" href="#page188">188</a></li> - -<li>History (The) Of The Decline And Fall Of The Roman Empire, <a class="ask" href="#page133">133-135</a></li> - -<li>History (The) Of The Rebellion, <a class="ask" href="#page89">89</a>, <a class="ask" href="#page90">90</a></li> - -<li>History (The) Of Tom Jones, <a class="ask" href="#page112">112</a>, <a class="ask" href="#page113">113</a></li> - -<li>Holinshed (Raphael). Chronicles, <a class="ask" href="#page15">15-18</a></li> - -<li>Holy Bible (The), <a class="ask" href="#page44">44-47</a></li> - -<li>Holy Living. The Rule And Exercises Of, <a class="ask" href="#page74">74</a></li> - -<li>Homer. The Whole Works Of, <a class="ask" href="#page40">40-43</a></li> - -<li>Howard (Henry), Earl of Surrey, and Others. Songes And Sonnettes, <a class="ask" href="#page22">22</a>, <a class="ask" href="#page23">23</a></li> - -<li>Hudibras, <a class="ask" href="#page77">77</a>, <a class="ask" href="#page78">78</a></li> - -<li>Humane Understanding. An Essay Concerning, <a class="ask" href="#page86">86</a>, <a class="ask" href="#page87">87</a></li> - -<li>Humphry Clinker. The Expedition Of, <a class="ask" href="#page130">130</a>, <a class="ask" href="#page131">131</a></li> - -<li>Hyde (Edward), First Earl of Clarendon. The History Of The Rebellion, <a class="ask" href="#page89">89</a>, <a class="ask" href="#page90">90</a></li> - -<li class="top"><a name="I" id="I"></a>In Memoriam, <a class="ask" href="#page201">201</a></li> - -<li>Inquiry (An) Into The Nature and Cauſes Of The Wealth Of Nations, <a class="ask" href="#page132">132</a></li> - -<li>Irving (Washington). A History of New York, <a class="ask" href="#page155">155</a>, <a class="ask" href="#page156">156</a></li> - -<li>Isabella, The Eve Of St. Agnes. Lamia, <a class="ask" href="#page167">167</a>, <a class="ask" href="#page168">168</a></li> - -<li>Ivanhoe, <a class="ask" href="#page165">165</a>, <a class="ask" href="#page166">166</a></li> - -<li class="top"><a name="J" id="J"></a>Jane Eyre. An Autobiography. Edited By Currer Bell, <a class="ask" href="#page191">191</a></li> - -<li>Johnson (Samuel). A Dictionary Of The English Language, <a class="ask" href="#page117">117</a>, <a class="ask" href="#page118">118</a></li> - -<li>Johnson, The Life of Samuel, <a class="ask" href="#page150">150-152</a></li> - -<li>Jonson (Benjamin). The Workes, <a class="ask" href="#page48">48-50</a></li> - -<li class="top"><a name="K" id="K"></a>Keats (John). Lamia, Isabella, The Eve Of St. Agnes, <a class="ask" href="#page167">167</a>, <a class="ask" href="#page168">168</a></li> - -<li>Knickerbocker (Diedrich). A History Of New York ... By, <a class="ask" href="#page155">155</a>, <a class="ask" href="#page156">156</a></li> - -<li>Kubla Khan, A Vision; The Pains Of Sleep. Christabel, <a class="ask" href="#page163">163</a>, <a class="ask" href="#page164">164</a></li> - -<li class="top"><a name="L" id="L"></a>Lamb (Charles). Elia, <a class="ask" href="#page171">171</a>, <a class="ask" href="#page172">172</a></li> - -<li>Lamia, Isabella, The Eve Of St. Agnes, <a class="ask" href="#page167">167</a>, <a class="ask" href="#page168">168</a></li> - -<li>Landor (Walter Savage). Pericles And Aspasia, <a class="ask" href="#page177">177-179</a></li> - -<li>Langland (William). The Vision of Pierce Plowman, <a class="ask" href="#page12">12-14</a></li> - -<li>Last Of The Mohicans (The), <a class="ask" href="#page175">175</a>, <a class="ask" href="#page176">176</a></li> - -<li>Life (The) And Strange Surprizing Adventures Of Robinson Crusoe, <a class="ask" href="#page97">97</a>, <a class="ask" href="#page98">98</a></li> - -<li>Life (The) Of Samuel Johnson, <a class="ask" href="#page150">150-152</a></li> - -<li>Locke (John). An Essay Concerning Humane Understanding, <a class="ask" href="#page86">86</a>, <a class="ask" href="#page87">87</a></li> - -<li>Longfellow (Henry Wadsworth). Evangeline, <a class="ask" href="#page192">192</a></li> - -<li>Lowell (James Russell). The Biglow Papers, <a class="ask" href="#page194">194</a>, <a class="ask" href="#page195">195</a></li> - -<li>Lucubrations (The) Of Isaac Bickerſtaff Eſq., <a class="ask" href="#page91">91-93</a></li> - -<li>Lyly (John). Euphues, <a class="ask" href="#page26">26-28</a></li> - -<li>Lyrical Ballads, With A Few Other Poems, <a class="ask" href="#page153">153</a>, <a class="ask" href="#page154">154</a></li> - -<li class="top"><a name="M" id="M"></a>Macaulay (Thomas Babington), First Baron Macaulay, The History Of England, <a class="ask" href="#page199">199</a>, <a class="ask" href="#page200">200</a></li> - -<li>Malfy. The Tragedy Of The Dutchesse Of, <a class="ask" href="#page56">56</a></li> - -<li>Malory (Sir Thomas). Le Morte Darthur, <a class="ask" href="#page7">7</a>, <a class="ask" href="#page8">8</a></li> - -<li>Marlowe (Christopher). The Famous Tragedy Of The Rich Ievv Of Malta, <a class="ask" href="#page59">59</a><span class="pagenum"><a name="page228" id="page228"></a>[pg 228]</span></li> - -<li>Massinger (John). A New Way To Pay Old Debts, <a class="ask" href="#page57">57</a></li> - -<li>Melibœus-Hipponax. The Biglow Papers, Edited ... By Homer Wilbur, <a class="ask" href="#page194">194</a>, <a class="ask" href="#page195">195</a></li> - -<li>Memoirs Of Samuel Pepys, Esq. F.R.S., <a class="ask" href="#page173">173</a>, <a class="ask" href="#page174">174</a></li> - -<li>Men And Women, <a class="ask" href="#page208">208</a></li> - -<li>Milton (John). Paradiſe loſt, <a class="ask" href="#page79">79-81</a></li> - -<li>Morte Darthur. (Le), <a class="ask" href="#page7">7</a>, <a class="ask" href="#page8">8</a></li> - -<li>Motley (John Lothrop). The Rise Of The Dutch Republic, <a class="ask" href="#page209">209</a>, <a class="ask" href="#page210">210</a></li> - -<li>Myrrour For Magiſtrates (A), <a class="ask" href="#page19">19-21</a></li> - -<li class="top"><a name="N" id="N"></a>Natural History (The) And Antiquities Of Selborne, <a class="ask" href="#page143">143-145</a></li> - -<li>Nature, <a class="ask" href="#page186">186</a></li> - -<li>New Way (A) To Pay Old Debts, <a class="ask" href="#page57">57</a></li> - -<li>Newman (John Henry) Cardinal. Apologia Pro Vita Sua, <a class="ask" href="#page217">217</a></li> - -<li>Norton (Thomas) and Thomas Sackville. The Tragidie of Ferrex and Porrex, <a class="ask" href="#page24">24</a>, <a class="ask" href="#page25">25</a></li> - -<li class="top"><a name="O" id="O"></a>Odes On Several Deſcriptive and Allegoric Subjects, <a class="ask" href="#page109">109</a></li> - -<li>Omar Khayym. Rubiyt Of, <a class="ask" href="#page216">216</a></li> - -<li>On The Origin Of Species, <a class="ask" href="#page213">213-215</a></li> - -<li class="top"><a name="P" id="P"></a>Paine (Thomas). Rights Of Man, <a class="ask" href="#page147">147-149</a></li> - -<li>Pains Of Sleep. Christabel: Kubla Khan ... <a class="ask" href="#page163">163</a>, <a class="ask" href="#page164">164</a></li> - -<li>Paradiſe loſt, <a class="ask" href="#page79">79-81</a></li> - -<li>Pepys (Samuel). Memoirs, <a class="ask" href="#page173">173</a>, <a class="ask" href="#page174">174</a></li> - -<li>Percy (Thomas), Bishop of Dromore. Reliques Of Ancient English Poetry, <a class="ask" href="#page105">105-108</a></li> - -<li>Pericles And Aspasia, <a class="ask" href="#page177">177-179</a></li> - -<li>Pickwick Club. The Posthumous Papers Of The, <a class="ask" href="#page180">180-182</a></li> - -<li>Pierce Plowman. The Vision of, <a class="ask" href="#page12">12-14</a></li> - -<li>Pilgrims Progreſs (The), <a class="ask" href="#page82">82</a>, <a class="ask" href="#page83">83</a></li> - -<li>Poe (Edgar Allan). The Raven, <a class="ask" href="#page189">189</a>, <a class="ask" href="#page190">190</a></li> - -<li>Poems, By J. D., <a class="ask" href="#page62">62-64</a></li> - -<li>Poems, Chiefly In The Scottish Dialect, <a class="ask" href="#page141">141</a>, <a class="ask" href="#page142">142</a></li> - -<li>P=or Richard improved, <a class="ask" href="#page119">119</a>, <a class="ask" href="#page120">120</a></li> - -<li>Pope (Alexander). An Essay On Man, <a class="ask" href="#page102">102</a>, <a class="ask" href="#page103">103</a></li> - -<li>Posthumous Papers (The) Of The Pickwick Club, <a class="ask" href="#page180">180-182</a></li> - -<li>Prescott (William Hinckling). History Of The Conquest of Peru, <a class="ask" href="#page187">187</a>, <a class="ask" href="#page188">188</a></li> - -<li>Pride And Prejudice, <a class="ask" href="#page161">161</a>, <a class="ask" href="#page162">162</a></li> - -<li>Principal Navigations, (The) Voiages, Traffiques And Discoueries of the Engliſh Nation, <a class="ask" href="#page36">36-39</a></li> - -<li class="top"><a name="R" id="R"></a>Raven (The) And Other Poems, <a class="ask" href="#page189">189</a>, <a class="ask" href="#page190">190</a></li> - -<li>Reflections On The Revolution In France, <a class="ask" href="#page146">146</a></li> - -<li>Religio Medici, <a class="ask" href="#page65">65</a>, <a class="ask" href="#page66">66</a></li> - -<li>Reliques Of Ancient English Poetry, <a class="ask" href="#page105">105-108</a></li> - -<li>Revolution In France. Reflections On The, <a class="ask" href="#page146">146</a></li> - -<li>Richardson (Samuel). Clarissa, <a class="ask" href="#page110">110</a>, <a class="ask" href="#page111">111</a></li> - -<li>Rich Ievv Of Malta. The Famous Tragedy Of The, <a class="ask" href="#page59">59</a></li> - -<li>Rights Of Man, <a class="ask" href="#page147">147-149</a></li> - -<li>Rise Of The Dutch Republic, <a class="ask" href="#page209">209</a>, <a class="ask" href="#page210">210</a></li> - -<li>Robinson Crusoe. The Life And Strange Surprizing Adventures Of, <a class="ask" href="#page97">97</a>, <a class="ask" href="#page98">98</a></li> - -<li>Rubiyt of Omar Khayym, <a class="ask" href="#page216">216</a></li> - -<li>Rule And Exercises Of Holy Living, <a class="ask" href="#page74">74</a></li> - -<li>Ruskin (John). The Stones of Venice, <a class="ask" href="#page205">205-207</a></li> - -<li class="top"><a name="S" id="S"></a>Sackville (Thomas), First Earl of Dorset, and Thomas Norton. The Tragidie of Ferrex and Porrex, <a class="ask" href="#page24">24</a>, <a class="ask" href="#page25">25</a></li> - -<li>Sackville (Thomas), First Earl of Dorset, William Baldwin and others. A Myrrour For Magiſtrates, <a class="ask" href="#page19">19-21</a></li> - -<li>Sartor Resartus, <a class="ask" href="#page183">183-185</a></li> - -<li>Scarlet Letter (The), <a class="ask" href="#page202">202</a>, <a class="ask" href="#page203">203</a><span class="pagenum"><a name="page229" id="page229"></a>[pg 229]</span></li> - -<li>School (The) For Scandal, <a class="ask" href="#page136">136</a></li> - -<li>Scott (Sir Walter). Ivanhoe, <a class="ask" href="#page165">165</a>, <a class="ask" href="#page166">166</a></li> - -<li>Selborne. The Natural History And Antiquities Of, <a class="ask" href="#page143">143-145</a></li> - -<li>Sentimental Journey (A), <a class="ask" href="#page126">126</a>, <a class="ask" href="#page127">127</a></li> - -<li>Shakespeare (William). Comedies, Histories, & Tragedies, <a class="ask" href="#page53">53-55</a></li> - -<li>Shelley (Percy Bysshe). Adonais, <a class="ask" href="#page169">169</a>, <a class="ask" href="#page170">170</a></li> - -<li>Sheridan (Richard Brinsley). The School For Scandal, <a class="ask" href="#page136">136</a></li> - -<li>Sidney (Sir Philip). The Countesse Of Pembrokes Arcadia, <a class="ask" href="#page29">29-31</a></li> - -<li>Smith (Adam). An Inquiry Into The Nature and Causes Of The Wealth Of Nations, <a class="ask" href="#page132">132</a></li> - -<li>Smollett (Tobias George). The Expedition Of Humphry Clinker, <a class="ask" href="#page130">130</a>, <a class="ask" href="#page131">131</a></li> - -<li>Snow-Bound, <a class="ask" href="#page219">219</a>, <a class="ask" href="#page220">220</a></li> - -<li>Songes And Sonnettes, <a class="ask" href="#page22">22</a>, <a class="ask" href="#page23">23</a></li> - -<li>Sonnets. By E. B. B., <a class="ask" href="#page193">193</a></li> - -<li>Spectator (The), <a class="ask" href="#page94">94-96</a></li> - -<li>Spenser (Edmund). The Faerie Queene, <a class="ask" href="#page32">32</a>, <a class="ask" href="#page33">33</a></li> - -<li>Steele (Sir Richard). The Tatler, <a class="ask" href="#page91">91-93</a></li> - -<li>Sterne (Laurence). A Sentimental Journey, <a class="ask" href="#page126">126</a>, <a class="ask" href="#page127">127</a></li> - -<li>Stones of Venice (The), <a class="ask" href="#page205">205-207</a></li> - -<li>Stowe (Harriet Beecher). Uncle Tom's Cabin, <a class="ask" href="#page204">204</a></li> - -<li>Surrey (Henry Howard), Earl of. Songes And Sonnettes, <a class="ask" href="#page22">22</a>, <a class="ask" href="#page23">23</a></li> - -<li>Swift (Jonathan). Travels Into Several Remote Nations ... By Lemuel Gulliver, <a class="ask" href="#page99">99-101</a></li> - -<li class="top"><a name="T" id="T"></a>Task (The), <a class="ask" href="#page137">137-140</a></li> - -<li>Tatler (The), <a class="ask" href="#page91">91-93</a></li> - -<li>Taylor (Jeremy). The Rule And Exercises Of Holy Living, <a class="ask" href="#page74">74</a></li> - -<li>Temple (The), <a class="ask" href="#page60">60</a>, <a class="ask" href="#page61">61</a></li> - -<li>Tennyson (Alfred), First Baron Tennyson. In Memoriam, <a class="ask" href="#page201">201</a></li> - -<li>Thackeray (William Makepeace). Vanity Fair, <a class="ask" href="#page196">196-198</a></li> - -<li>Tom Jones. The History Of, <a class="ask" href="#page112">112</a>, <a class="ask" href="#page113">113</a></li> - -<li>Tragedy (The) Of The Dutchesse Of Malfy, <a class="ask" href="#page56">56</a></li> - -<li>Tragedy of The Rich Ievv Of Malta. The Famous, <a class="ask" href="#page59">59</a></li> - -<li>Tragidie (The) of Ferrex and Porrex, <a class="ask" href="#page24">24</a>, <a class="ask" href="#page25">25</a></li> - -<li>Travels Into Several Remote Nations ... By Lemuel Gulliver, <a class="ask" href="#page99">99-101</a></li> - -<li class="top"><a name="U" id="U"></a>Uncle Tom's Cabin, <a class="ask" href="#page204">204</a></li> - -<li class="top"><a name="V" id="V"></a>Vanity Fair, <a class="ask" href="#page196">196-198</a></li> - -<li>Vicar Of Wakefield (The), <a class="ask" href="#page123">123-125</a></li> - -<li>Vision (The) of Pierce Plowman, <a class="ask" href="#page12">12-14</a></li> - -<li class="top"><a name="W" id="W"></a>Waller (Edmund). The Workes, <a class="ask" href="#page67">67</a>, <a class="ask" href="#page68">68</a></li> - -<li>Walton (Izaak). The Compleat Angler, <a class="ask" href="#page75">75</a>, <a class="ask" href="#page76">76</a></li> - -<li>Way of the World (The), <a class="ask" href="#page88">88</a></li> - -<li>Wealth Of Nations. An Inquiry Into The Nature and Cauſes Of The, <a class="ask" href="#page132">132</a></li> - -<li>Webster (John). The Tragedy Of The Dutchesse Of Malfy, <a class="ask" href="#page56">56</a></li> - -<li>White (Gilbert). The Natural History And Antiquities Of Selborne, <a class="ask" href="#page143">143-145</a></li> - -<li>Whittier (John Greenleaf). Snow-Bound, <a class="ask" href="#page219">219</a>, <a class="ask" href="#page220">220</a></li> - -<li>Wilbur (Homer) ... The Biglow Papers, Edited ... by, <a class="ask" href="#page194">194</a>, <a class="ask" href="#page195">195</a></li> - -<li>Wordsworth (William) and Samuel Taylor Coleridge. Lyrical Ballads, <a class="ask" href="#page153">153</a>, <a class="ask" href="#page154">154</a>.</li> -</ul> - -<p><span class="pagenum"><a name="page230" id="page230"></a>[pg 230]</span></p> - - <hr class="medium" /> - -<div class="figcenter" style="width: 250px; margin-top: 3em;;"><img src="images/i_p228-250.png" width="250" height="189" alt="The De Vinne Press Imprimatur" /></div> - -<div class="center"><div class="content1s"> -καὶ μὴν ἀριθμὸν<br /> - -ἔξοχον σοφισμάτων<br /> - -έξεῦρον αύτοῖς<br /> - -γραμμάτών τε συνθέσεις<br /> - -μνήμην θ' ἁπάντων<br /> - -μουσομήτορ' ἐργάτιν<br /><br /> -</div></div> - -<h4>THE DE VINNE PRESS<br /> - -IMPRIMATVR</h4> - - <hr /> - - <div class="tn"> -<h4>Transcriber's Note<a name="end" id="end"></a></h4> - -<p>This book contains many instances of ſ (long s), which have been retained, -though its use is not necessarily consistent.</p> - -<p>Some joining m-dashes (—) have been changed to hyphens (-).</p> - -<p> Page 3: "For I fynde many of the sayd bookes, whyche wry- | ters haue -abrydgyd it and many thynges left out, And in | so[~m]e place haue sette -certayn versys, that he neuer made ne sette | in hys booke,..."</p> - -<p>An image from the book has been used for m-tilde instead of code "& # 771;", -as the code scrambles the text in the Kindle mobile version, -and EPub (mobile) gives it as a square with an X inside.</p> - -<p class="ind">image:</p> -<p class="ind2">"... And in | so<img src="images/003-mtilde-11.png" width="11" height="11" alt="m-tilde" />e place haue sette...."</p> - -<p class="ind">code:</p> -<p class="ind2">"... And in | som̃e place haue sette...."</p> - -<p>Page 16: 'trust' has twice appeared on this page as 'trust', instead of the -expected -'truſt'. It may have been deliberate, and has been retained.</p> - -<p>"thoſe yet whom he left in trust to diſpoſe his things after...."</p> - -<p>"and the rather to anſwere that trust which the deceaſſed repoſed in me,..."</p> - -<p>Page 20: 'fyrst' has been retained.</p> - -<p>"as the fyrst part doth of other mens," ... -... "wurthy wittes to enterpryſe and performe the reſt."</p> - -<p>Sometimes, w was printed as vv (and W as VV). This has also been retained.</p> - -<p>Page 36: 'christopher Barker' is as printed.</p> - -<p>"... christopher Barker, Printer to the Queenes moſt excellent Maieſtie."</p> - -<p>Page 36: Decorative 'A', or SA monogram?</p> - -<p>"... and there are two large pictorial initials at the beginning signed A."</p> - -<p>(also on Page 38)</p> - -<p>Page 42: 'χαρι<i>s</i>ń<i>g</i>ιον' corrected to -'χαριϛήριον' [Greek: Charistrion].</p> - -<p>Page 60: 'Cambridgl' corrected to 'Cambridge'.</p> - -<p>"24. The | Temple. | [Four lines] By M<sup>r.</sup> George Herbert. | [Quotation] -Cambridge | Printed by Thom. Buck, | and Roger Daniel, printers | to -the Univerſitie. | 1633."</p> - -<p>Page 63: 'fory' corrected to 'ſory'</p> - -<p>"I am ſory that I muſt deceive you; but you will not...."</p> - -<p>Page 90: 'MBurg.' and 'MBurghers', with M and B close together - a monogram?</p> - -<p>"... is signed "delin MBurg. ſculp. Univ. Ox.," in the first two volumes, -and "delin MBurghers ſculpt, Univ. Ox. 1704," in the third,..."</p> - -<p>Page 90: "A portrait of Clarendon, occurs as a frontispiece in each of the three -volumes." -... either extraneous comma after 'Clarenden' or missing comma after 'portrait'. -Extraneous comma removed for clarity.</p> - -<p>Page 94: 'ſumum' corrected to 'fumum'</p> - -<p>"Non fumum ex fulgore, ſed ex fumo dare lucem"</p> - -<p>Page 118: "... they received 23s. a week, which he agreed to raise to 2l. 2s., not, it is to be hoped, -out of the 1,575l."</p> - -<p>l. = £ (pound/pounds); so, -"... they received 23 shillings a week, which he agreed to raise to £2. 2s. (2 pounds 2shillings, or 42 shillings), not, it is to be hoped, -out of the £1575 (1,575 pounds)."</p> - -<p>Page 226: 'surprising' corrected to 'surprizing' to match title, and other index -entry</p> - -<p>"Robinson Crusoe. The Life And Strange Surprizing Adventures Of, 97, 98"</p> - -<p>Page 230: Greek transliteration:</p> - -<div class="poem width 21"><div class="stanza"> -<p class="i12">kai mên arithmon</p> -<p class="i12">exochon sophismatôn</p> -<p class="i12">exeuron autois</p> -<p class="i12">grammatôn te syntheseis</p> -<p class="i12">mnêmên th'apantôn</p> -<p class="i12">mousomêtor' ergatin</p> -</div></div> - -<p>Page 230: Translation (from De Vinne Press: https: //printinghistory.org/de-vinne/):</p> - -<p>"and further I discovered for them [i.e., mankind] numeration, -most striking of inventions, and composition, nurse of the arts, -producer of the record of all things." - Prometheus</p> - -<p>Return to <a href="#top">top</a>.</p> - -</div> -<hr /> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Bibliographic Notes on One Hundred -Books Famous in English Literature, by Henry W. Kent - -*** END OF THIS PROJECT GUTENBERG EBOOK BIBLIOGRAPHIC NOTES--100 FAMOUS BOOKS *** - -***** This file should be named 50555-h.htm or 50555-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/5/5/50555/ - -Produced by David Starner, Suzanne Lybarger, Lesley Halamek, -The Internet Archive/American Libraries 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 print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law 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 information page at -www.gutenberg.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. 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 in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, 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 contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright 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: 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. - - - -</pre> - -</body> -</html> - diff --git a/old/50555-h/images/003-mtilde-11.png b/old/50555-h/images/003-mtilde-11.png Binary files differdeleted file mode 100644 index 6f1f114..0000000 --- a/old/50555-h/images/003-mtilde-11.png +++ /dev/null diff --git a/old/50555-h/images/cover.jpg b/old/50555-h/images/cover.jpg Binary files differdeleted file mode 100644 index b8175c3..0000000 --- a/old/50555-h/images/cover.jpg +++ /dev/null diff --git a/old/50555-h/images/dropcapa-100.png b/old/50555-h/images/dropcapa-100.png Binary files differdeleted file mode 100644 index 47e48a9..0000000 --- a/old/50555-h/images/dropcapa-100.png +++ /dev/null diff --git a/old/50555-h/images/i_f007a-1000.png b/old/50555-h/images/i_f007a-1000.png Binary files differdeleted file mode 100644 index 27f8674..0000000 --- a/old/50555-h/images/i_f007a-1000.png +++ /dev/null diff --git a/old/50555-h/images/i_f007a-600.png b/old/50555-h/images/i_f007a-600.png Binary files differdeleted file mode 100644 index d66dcf3..0000000 --- a/old/50555-h/images/i_f007a-600.png +++ /dev/null diff --git a/old/50555-h/images/i_p012-12.png b/old/50555-h/images/i_p012-12.png Binary files differdeleted file mode 100644 index 63a7b9a..0000000 --- a/old/50555-h/images/i_p012-12.png +++ /dev/null diff --git a/old/50555-h/images/i_p012-15.png b/old/50555-h/images/i_p012-15.png Binary files differdeleted file mode 100644 index 884babf..0000000 --- a/old/50555-h/images/i_p012-15.png +++ /dev/null diff --git a/old/50555-h/images/i_p018-5star-15.png b/old/50555-h/images/i_p018-5star-15.png Binary files differdeleted file mode 100644 index 5d69e64..0000000 --- a/old/50555-h/images/i_p018-5star-15.png +++ /dev/null diff --git a/old/50555-h/images/i_p018-grapes-25.png b/old/50555-h/images/i_p018-grapes-25.png Binary files differdeleted file mode 100644 index a9f3dee..0000000 --- a/old/50555-h/images/i_p018-grapes-25.png +++ /dev/null diff --git a/old/50555-h/images/i_p021-17.png b/old/50555-h/images/i_p021-17.png Binary files differdeleted file mode 100644 index e5b5e20..0000000 --- a/old/50555-h/images/i_p021-17.png +++ /dev/null diff --git a/old/50555-h/images/i_p036-18.png b/old/50555-h/images/i_p036-18.png Binary files differdeleted file mode 100644 index 51f353f..0000000 --- a/old/50555-h/images/i_p036-18.png +++ /dev/null diff --git a/old/50555-h/images/i_p038-sa-monogram-20.png b/old/50555-h/images/i_p038-sa-monogram-20.png Binary files differdeleted file mode 100644 index 4e03ae4..0000000 --- a/old/50555-h/images/i_p038-sa-monogram-20.png +++ /dev/null diff --git a/old/50555-h/images/i_p045a-21.png b/old/50555-h/images/i_p045a-21.png Binary files differdeleted file mode 100644 index d4887c9..0000000 --- a/old/50555-h/images/i_p045a-21.png +++ /dev/null diff --git a/old/50555-h/images/i_p045b-20.png b/old/50555-h/images/i_p045b-20.png Binary files differdeleted file mode 100644 index 45ee010..0000000 --- a/old/50555-h/images/i_p045b-20.png +++ /dev/null diff --git a/old/50555-h/images/i_p090-20.png b/old/50555-h/images/i_p090-20.png Binary files differdeleted file mode 100644 index 2708af7..0000000 --- a/old/50555-h/images/i_p090-20.png +++ /dev/null diff --git a/old/50555-h/images/i_p092-15.png b/old/50555-h/images/i_p092-15.png Binary files differdeleted file mode 100644 index 5f7b4bb..0000000 --- a/old/50555-h/images/i_p092-15.png +++ /dev/null diff --git a/old/50555-h/images/i_p228-250.png b/old/50555-h/images/i_p228-250.png Binary files differdeleted file mode 100644 index 6eccece..0000000 --- a/old/50555-h/images/i_p228-250.png +++ /dev/null diff --git a/old/50555-h/images/i_title-1000.png b/old/50555-h/images/i_title-1000.png Binary files differdeleted file mode 100644 index 899124f..0000000 --- a/old/50555-h/images/i_title-1000.png +++ /dev/null diff --git a/old/50555-h/images/i_title-400.png b/old/50555-h/images/i_title-400.png Binary files differdeleted file mode 100644 index 854bb46..0000000 --- a/old/50555-h/images/i_title-400.png +++ /dev/null diff --git a/old/50555-h/images/i_title-scut-100.png b/old/50555-h/images/i_title-scut-100.png Binary files differdeleted file mode 100644 index 3b0d69b..0000000 --- a/old/50555-h/images/i_title-scut-100.png +++ /dev/null diff --git a/old/50555-h/images/i_title-scut-330.png b/old/50555-h/images/i_title-scut-330.png Binary files differdeleted file mode 100644 index d31e8b2..0000000 --- a/old/50555-h/images/i_title-scut-330.png +++ /dev/null |
