Add files from ibiblio as of 2025-03-08 19:29:12HEADmain

6 files changed, 17 insertions, 2245 deletions

diff --git a/40841.txt b/40841-0.txt
index 7200687..3b870e2 100644
--- a/40841.txt
+++ b/40841-0.txt
@@ -1,38 +1,4 @@
-The Project Gutenberg EBook of Shakspere & Typography, by William Blades
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Shakspere & Typography
-
-Author: William Blades
-
-Release Date: September 22, 2012 [EBook #40841]
-
-Language: English
-
-Character set encoding: ASCII
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SHAKSPERE & TYPOGRAPHY ***
-
-
-
-
-Produced by Chris Curnow and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive.)
-
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+*** START OF THE PROJECT GUTENBERG EBOOK 40841 ***
 
   SHAKSPERE & TYPOGRAPHY
 
@@ -74,7 +40,7 @@ recreation. The thought that reading it may afford recreation to those
 busied about the making of books, and the comparative scarcity of the only
 edition, are the excuses for reprinting the more interesting portion.
 
-The first chapter (merely a resume of the theories that have been advanced
+The first chapter (merely a resumé of the theories that have been advanced
 by various professions and callings to claim Shakspere for their own) has
 been omitted; likewise the appendix, which is a suggestion that many of
 the obscurities in the text of Shakspere may be cleared up by a study of
@@ -245,7 +211,7 @@ would be the two following works:
 
         _London_, 8vo., 1574.
 
-    _Discursus Cantiones; quae ab argumento sacrae vocantur, quinque et sex
+    _Discursus Cantiones; quæ ab argumento sacræ vocantur, quinque et sex
     partivm. Autoribus Thoma Tallisio et Guilielmo Birdo. Cum Privilegio._
 
         _London_, oblong quarto, 1575.
@@ -267,7 +233,7 @@ Vautrollier's press:
 
         4to., 1575:
 
-    _Institutio Christianae Religionis, Joanne Caluino authore._
+    _Institutio Christianæ Religionis, Joanne Caluino authorè._
 
         8vo., _London_, 1576: and
 
@@ -333,7 +299,7 @@ master's roof
 
         8vo., 1581; and
 
-    _Phrases Linguae Latinae._ 8vo., 1579;
+    _Phrases Linguæ Latinæ._ 8vo., 1579;
 
 the last compiled from the writings of that great Printer, Aldus Manutius.
 
@@ -884,7 +850,7 @@ Sonnet XVII?
 
     My papers yellowed with their age.
 
-Was it, after admiring some beautifully illuminated Horae, that he wrote:
+Was it, after admiring some beautifully illuminated Horæ, that he wrote:
 
     O that record could with a backward look,
       E'en of five hundred courses of the sun;
@@ -1045,7 +1011,7 @@ full.
 [3] This word 'counterfeit' in the sense of 'reprint' or 'duplicate', is
 certainly not used now-a-days by English printers; yet I find this in
 Marahren's Parallel List of technical Typographical terms:--'Counterfeit,
-to, or to Reprint, v., Nachdrucken.--Re-imprimer.' With Bibliographers the
+to, or to Reprint, v., Nachdrucken.--Ré-imprimer.' With Bibliographers the
 word is still retained; _e.g._ 'Lyons counterfeits of the Aldine
 editions.'
 
@@ -1061,361 +1027,4 @@ forward in evidence.
 
 End of Project Gutenberg's Shakspere & Typography, by William Blades
 
-*** END OF THIS PROJECT GUTENBERG EBOOK SHAKSPERE & TYPOGRAPHY ***
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+*** END OF THE PROJECT GUTENBERG EBOOK 40841 ***
diff --git a/40841-8.txt b/40841-8.txt
deleted file mode 100644
index 67a834c..0000000
--- a/40841-8.txt
+++ /dev/null
@@ -1,1421 +0,0 @@
-The Project Gutenberg EBook of Shakspere & Typography, by William Blades
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
-
-
-Title: Shakspere & Typography
-
-Author: William Blades
-
-Release Date: September 22, 2012 [EBook #40841]
-
-Language: English
-
-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SHAKSPERE & TYPOGRAPHY ***
-
-
-
-
-Produced by Chris Curnow and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive.)
-
-
-
-
-
-
-
-
-
-  SHAKSPERE & TYPOGRAPHY
-
-
-  _By William Blades_
-
-  NEW YORK: Edited & Reprinted
-  by _The Winthrop Press_ for _The
-  American Type Founders Company_
-  MD CCC XC VII
-
-
-
-
-_The_ INTRODUCTION
-
-
-In the good old days when printing was better recognized as a mystery than
-as an art, one could call a printer 'a man of letters' without being
-guilty of a pun. Books were for the few then, and the man who would print
-them must be somewhat of a scholar himself.
-
-To-day, amid the whirr of many presses, and the hurrying to and fro of the
-printing office, the printer finds little or no time for literary
-pursuits, despite the fact that printing is, in very truth, the handmaid
-of literature. It is the more admirable, therefore, when a successful
-printer attains to a degree of scholarship--particularly scholarship in
-matters that enlighten and dignify his own handicraft.
-
-Such a printer was _William Blades_. During fifty years of active
-business life he contributed to the history of printing, a goodly number
-of books and a mass of miscellaneous articles. Among these is the most
-complete and authoritative life of Caxton, England's first printer,
-representing an immense amount of study and research.
-
-The book from which the following pages are reprinted is perhaps the least
-familiar of Blades' works, and it evidently was written as a literary
-recreation. The thought that reading it may afford recreation to those
-busied about the making of books, and the comparative scarcity of the only
-edition, are the excuses for reprinting the more interesting portion.
-
-The first chapter (merely a resumé of the theories that have been advanced
-by various professions and callings to claim Shakspere for their own) has
-been omitted; likewise the appendix, which is a suggestion that many of
-the obscurities in the text of Shakspere may be cleared up by a study of
-the typographical errors in the first editions. With these exceptions, the
-work is given here entire, and, it is hoped, in such form as accords with
-the spirit of the author, whose tastes were those of the scholarly
-printer.
-
-  _Editorial Dept.
-  The Winthrop Press,
-  32 Lafayette Place, N. Y.
-  November, 1897_
-
-
-
-
-_The PREFACE_
-
-
-_The First Chapter of this Tractate is designed to show, in a succinct
-manner, the numerous and contradictory theories concerning Shakspere's
-special knowledge, the evidence for which has been created by 'selecting'
-certain words and phrases from the mass of his writings._
-
-_The Second and Third Chapters, erected on a similar basis of 'selection',
-are intended to prove that Shakspere had an intimate and special knowledge
-of Typography._
-
-_Old Printers can still call to mind that period of our history when a
-stalwart Pressman, on his way to work, ran considerable risk in the
-streets of London of being seized by another kind of pressmen, viz., the
-Press-gang, and forced_ nolens volens _into the service of the King. Some
-readers (not Printers) may think that I have exercised over quotations
-from Shakspere's works a similar compulsion, by pressing into my service
-passages whose bearing is by no means in a typographical direction. They
-may even go so far as to strain somewhat the self-accusation of Falstaff
-(Henry IV, iv, 2), and bring against me the charge that_
-
-    _I have misused the King's press most damnably, by printing such
-    evidences._
-
-_I can only reply that if, notwithstanding a careful consideration of the
-proofs here laid before him, the reader should consider my case 'not
-proven', I must submit with all humility to his penetration and judgment._
-
-_At the same time, since my proofs that Shakspere was a Printer are at
-least quite as conclusive as the evidence brought forward by others to
-demonstrate that he was Doctor, Lawyer, Soldier, Sailor, Catholic,
-Atheist, Thief, I would claim as a right that my opponent, having rejected
-my theory that he was a Printer, should be consistent, and at once, reject
-all theories which attribute to him special knowledge, and repose upon the
-simple belief that Shakspere, the Actor and Playwright, was a man of
-surpassing genius, of keen observation, and never-failing memory._
-
-W. B.
-
-
-
-
-I. SHAKSPERE IN THE PRINTING OFFICE
-
-
-In November, 1589, the company acting at the Blackfriars Theatre thought
-it would be advantageous to their interests to send in to the Privy
-Council a memorial, certifying that they had never given cause of
-displeasure by introducing upon the stage 'matters of State or Religion'.
-The actors who signed this memorial styled themselves 'Her Majesty's Poor
-Players', and among them appears the name of William Shakspere. We here
-meet the Poet's name for the first time after he had left his home at
-Stratford-on-Avon, about four years previously. What his employment had
-been in the intervening period is a question which few of his biographers
-have cared to ask, and which not one has answered.
-
-It is usually supposed that immediately upon his arrival in London he
-became in some way associated with the Stage,--but there is no evidence of
-this. On the contrary, we shall give reasons for believing that coming to
-London poor, needy, and in search of employment, he was immediately taken
-into the service of Vautrollier the Printer.
-
-THOMAS VAUTROLLIER, entitled in his patents 'typographus Londinensis, in
-claustro vulgo Blackfriers commorans', was a Frenchman who came to England
-at the commencement of Queen Elizabeth's reign. He was admitted a brother
-of the Stationers' Company in 1564, and commenced business as Printer and
-Publisher in Blackfriars, working in the same premises up to the time of
-his death, which occurred in 1588. His character as a scholar stands high,
-and his workmanship is excellent. He had a privilege, or monopoly, for the
-printing and sale of certain books, as all the chief Printers then had.
-Shortly before his death he married his daughter to Richard Field, who for
-this reason, and because he succeeded to the premises and business of the
-widow, is erroneously supposed by Ames to have served his apprenticeship
-to Vautrollier. But why bring in the name of Richard Field? The reply is
-important. Field was Shakspere's own townsman, and being of about the same
-age and social rank, the boys probably grew up together as playfellows.
-Field's father, Henry Field, was a Tanner at Stratford-on-Avon, and
-Halliwell says 'a friend of Shakspere's family'. Early in 1578 young Field
-came up to London, and at Michaelmas was apprenticed for seven years to
-George Bishop, Printer and Publisher. Being in the same trade as
-Vautrollier, Field would naturally become acquainted with him; and in
-1588, a year after he was out of his time, he married Vautrollier's
-daughter. Here, then, we seem to have a missing link supplied in the chain
-of Shakspere's history. In 1585 Shakspere came up to London in a 'needy'
-state. To whom would he be more likely to apply than to his old playmate
-Richard Field. Field, a young man nearly out of his apprenticeship, on
-terms of intimacy with Vautrollier, could do nothing better than recommend
-him to the father of his future wife. Once introduced we may be sure that
-Shakspere, with his fund of wit and good humour, would always be a welcome
-guest; and that this friendly feeling was maintained between him and the
-Vautrollier-Field families receives confirmation from the fact that
-Richard Field, who succeeded to the shop and business soon after the death
-of his father-in-law, actually put to press the two first printed works of
-the great Poet, the 'Venus and Adonis', 1593, and the 'Lucrece', 1594.
-
-Here then, in Vautrollier's employ, perhaps as a Press-reader, perhaps as
-an Assistant in the shop, perchance as both, we imagine Shakspere to have
-spent about three years upon his first arrival in the metropolis. Placed
-thus in Blackfriars, close to the Theatre, close to the Taverns, close to
-the Inns of Court, and in what was then a fashionable neighbourhood,
-Shakspere enjoyed excellent opportunities of acquiring a knowledge of men
-and manners.
-
-Field did not succeed Vautrollier immediately upon his death. His widow
-endeavoured for some time to carry on the business alone; but for some
-unknown reason the Stationers' Company withheld their license; and after a
-fruitless effort to obtain it, she was succeeded by her son-in-law. These
-business changes would probably be the occasion of which Shakspere eagerly
-availed himself to join the Players at the neighbouring theatre.
-
-The Sonnets, although not printed until 1609, are generally acknowledged
-to be among Shakspere's earliest efforts, and we cannot help imagining
-that Sonnet XXIV was written while in the employment of Vautrollier; or
-at any rate, while the shop, hung round with prints, was fresh in the
-Poet's memory. May be some of their warmth was inspired by the charms of
-the buxom widow herself who was apostrophised by the Poet when wishing her
-
-    To find where your true image _pictured_ lies,
-    Which in my bosom's _shop_ is hanging still,
-    That hath his _windows_ glazed with thine eyes.
-                                _Sonnet_ xxiv.
-
-At any rate, we have here in three lines as many metaphors, and all
-derived from just such employment as we suppose Shakspere at that time to
-have been engaged in.
-
-Then, again, to a Printer's widow, not over young, what more telling than
-the following reference?
-
-    Or what strong hand can hold Time's swift foot back?
-    Or who his spoil of beauty can forbid?
-    O, none, unless this miracle have might,
-    That in _black ink_ my love may still shine bright.
-                                _Sonnet_ lxvi.
-
-Note here, that the jet black ink which everybody admires in old
-manuscripts was much too thick for a running hand, and had long been
-superseded by a writing fluid which, in the 16th century, was far from
-equalling the bright gloss of Printing Ink.
-
-Before turning to the internal evidence supplied by Shakspere's writings
-in support of our theory, let us glance at the list of works printed and
-published by Vautrollier, and see if Shakspere reflected any trace of
-their influence upon his mind.
-
-From Herbert's 'Typographical Antiquities' we find that in the 'Shop'
-would be the two following works:
-
-    _A brief Introduction to Music. Collected by P. Delamote, a Frenchman;
-    Licensed._
-
-        _London_, 8vo., 1574.
-
-    _Discursus Cantiones; quæ ab argumento sacræ vocantur, quinque et sex
-    partivm. Autoribus Thoma Tallisio et Guilielmo Birdo. Cum Privilegio._
-
-        _London_, oblong quarto, 1575.
-
-Delamote's Introduction, as well as the Sacred Songs by Tallis and Bird,
-were Vautrollier's copyright, and we have already seen how intimate an
-acquaintance Shakspere had with music. Might not the above works have been
-the mine from which he obtained his knowledge?
-
-Of religious works, Vautrollier printed and published several, all in
-accordance with the principles of the great Reformation, and the writer
-who argued that from his intimate knowledge of the tenets of Calvin,
-Shakspere must have been himself a Calvinist, would have found sufficient
-explanation of his special knowledge in the following books from
-Vautrollier's press:
-
-    _The Neu Testament, with diversities of Reading and profitable
-    annotations. An epistle by J. Calvin, prefixed._
-
-        4to., 1575:
-
-    _Institutio Christianæ Religionis, Joanne Caluino authorè._
-
-        8vo., _London_, 1576: and
-
-    _The Institution of Christian Religion_ [not in Herbert's Ames]
-    _written in Latine, by Mr. John Calvine, and translated into English
-    by Thomas Norton. Imprinted at London, by Thomas Vautrollier._
-
-        8vo., 1578.
-
-This last contains an Epistle to the Reader by John Calvin, as well as an
-address headed _Typographus Lectori_. Of each of the above works several
-editions were published.
-
-In one of his pedantic speeches Holofernes exclaims:
-
-            Venetia! Venetia!
-            Chi non te vede non ti pretia.
-    Old Mantuan! Old Mantuan! who understandeth thee not, loveth thee not.
-                                _Love's Labour Lost_, iv, 2.
-
-Where did Shakspere learn his Italian, which, although then a court
-language, he quotes but rarely, and in an awkward manner? Surely at
-second-hand, and probably quoting the phrases current at the period, or
-still more probably from conning in his spare moments:
-
-    _An Italian Grammer, written in Latin by M. Scipio Lentulo: and turned
-    into Englishe by Henry Grantham. Typis Tho. Vautrolerij._
-
-        _London_, 16mo., 1578.
-
-This was put to press again in 1587. In Vautrollier's 'shop' he would also
-have often in his hands:
-
-    _Campo di Fior; or else the Flourie field of foure Languages, for the
-    furtherance of the learners of the Latine, French, English, but
-    chiefly of the Italian tongue. Imprinted at London, by Thos.
-    Vautrollier, dwelling in the Black Friers by Ludgate._
-
-        16mo., 1583.
-
-Here, again, we have a very extensive Italian vocabulary upon all common
-subjects quite sufficient for an occasional quotation; as to the plots
-taken from Italian sources, such as 'Romeo and Juliet', it seems to be now
-generally admitted that Shakspere in every instance followed the English
-translations.
-
-But Shakspere knew also a little French, and uses a few colloquial
-sentences here and there. In one play indeed, _Henry V_, iii. 4, there is
-a short scene between the Princess and her attendant, in alternate French
-and English, which reads almost like a page of a Vocabulary. Shakspere's
-knowledge of Latin was apparently about the same in extent; and for the
-uses to which he has applied both tongues, the _Flourie Field of Four
-Languages_, already quoted as the source of his Italian, would be quite
-sufficient. If not, he had the opportunity of consulting under his
-master's roof
-
-    _A Treatise on French Verbs._
-
-        8vo., 1580.
-
-    _A most easie, perfect, and absolute way to learne the Frenche
-    tongue._
-
-        8vo., 1581; and
-
-    _Phrases Linguæ Latinæ._ 8vo., 1579;
-
-the last compiled from the writings of that great Printer, Aldus Manutius.
-
-Some of Shakspere's biographers have maintained that he must have been
-acquainted with Plutarch and other classical writers, because he quotes
-from their works. Dr. Farmer in his masterly essay on the learning of
-Shakspere, has shown that the Poet took all his quotations, even to the
-blunders, from the edition of Plutarch, in English, printed and published
-by Vautrollier, a year or two before we suppose that Shakspere entered
-into his service:
-
-    _Plutarch's Lives, from the French of Amyott, by Sir Tho. North.
-    Licensed._
-
-        Folio, 1579.
-
-Moreover, Vautrollier, who was a good scholar, appears to have had a great
-liking for Ovid. He printed _Ovid's Metamorphoses_, _Ovid's Epistles_, and
-_Ovid's Art of Love_. Now it is a notable fact that although Shakspere,
-unlike contemporary writers who abound in classical allusions, scarcely
-ever mentions a Latin poet, and still more seldom a Greek poet, yet he
-quotes Ovid several times:
-
-    As Ovid, be an outcast quite abjured.
-                                _Taming of the Shrew_, i, 1.
-
-
-    _Tit._ Lucius, what book is that she tosseth so?
-    _Luc._ Grandsire, 'tis Ovid's Metamorphoses.
-                                _Titus_, iv, 1.
-
-
-      I am here with thee and thy goats as the most
-    capricious poet, honest Ovid was among the Goths.
-                                _As You Like It_, iii, 3.
-
-
-    Ovidius Naso was the man.
-                                _Love's Labour Lost_, iv, 2.
-
-Of _Cicero's Oration_ Vautrollier issued several editions, and had the
-privilege 'ad imprimendum solum' granted him; and to this work also, on
-at least two occasions, Shakspere refers:
-
-              Hath read to thee
-    Sweet poetry and Tully's Orator.
-                                _Titus_, iv, 1.
-
-
-    Sweet Tully.
-                                _2 Henry VI_, iv, 1.
-
-The fact to be noted with reference to these classical quotations is this:
-Shakspere quotes those Latin authors, and those only, of which Vautrollier
-had a 'license'; and makes no reference to other and popular writers, such
-as Virgil, Pliny, Aurelius, and Terence, editions of whose works
-Vautrollier was not allowed to issue, but all of which, and especially the
-last, were great favorites in the sixteenth century, as is shown by the
-numerous editions which issued from the presses of Vautrollier's
-fellow-craftsmen.
-
-Among other publications of Vautrollier was an English translation of
-_Ludovico Guicciardini's Description of the Low Countries_, originally
-printed in 1567. In this work is one of the earliest accounts of the
-invention of printing at Haarlem, which is thus described in the Batavia
-of Adrianus Junius, 1575. 'This person [Coster] during his afternoon walk,
-in the vicinity of Haarlem, amused himself with cutting letters out of
-the _bark_ of the beech tree, and with these, the _characters_ being
-inverted as in seals, he printed small sentences.' The idea is cleverly
-adapted by Orlando:
-
-            these trees shall be my _books_,
-    And in their _barks_ my thoughts I'll _character_.
-                                _As You Like It_, iii, 2.
-
-Lastly, it would be an interesting task to compare the Mad Folk of
-Shakspere, most of whom have the melancholy fit, with
-
-    _A Treatise of Melancholie: containing the Causes thereof and Reasons
-    of the Strange Effects it worketh in our Minds and Bodies._
-
-        _London_, 8vo., 1586.
-
-This was printed by Vautrollier, and probably read carefully for press by
-the youthful Poet.
-
-The disinclination of Shakspere to see his plays in print has often been
-noticed by his biographers, and is generally accounted for by the theory
-that reading the plays in print would diminish the desire to hear them at
-the theatre. This is a very unsatisfactory reason, and not so plausible as
-the supposition that, sickened with reading other people's proofs for a
-livelihood, he shrunk from the same task on his own behalf. His
-contemporaries do not appear to have shared in the same typographical
-aversion. The plays of Ben Jonson and Beaumont and Fletcher were all
-printed in the life-time of their authors. Francis Quarles had the
-satisfaction and pride of seeing all his works in printed form, and showed
-his appreciation and knowledge of Typography by the following quaint
-lines, which we quote from the first edition, literatim:
-
-    _On a Printing-house._
-
-    The _world's_ a _Printing-house_: our _words_, our _thoughts_,
-    Our _deeds_, are _Characters_ of sev'rall sizes:
-    Each _Soule_ is a Compos'ter; of whose faults
-    The Levits are Correctors: Heav'n revises;
-    _Death_ is the _common Press_; fro whence, being driven,
-    W' are gathered _Sheet_ by _Sheet_, & bound for _Heaven_.
-                            From _Divine Fancies_, 1632, lib. iv, p. 164.
-
-
-
-
-II. THE TECHNICALITIES OF PRINTING, AS USED BY SHAKSPERE
-
-
-Nature endows no man with knowledge, and although a quick apprehension may
-go far toward making the true lover of Nature a Botanist, Zoologist, or
-Entomologist, and although the society of 'Men of Law', of Doctors, or of
-Musicians may, with the help of a good memory, store a man's mind with
-professional phraseology, yet the _opportunity_ of learning must be there;
-and no argument can be required to prove that, however highly endowed with
-genius or imagination, no one could evolve from his internal consciousness
-the terms, the customs, or the working implements of a trade with which he
-was unacquainted. If, then, we find Shakspere's mind familiar with the
-technicalities of such an art as Printing--an art which, in his day, had
-no such connecting links with the common needs and daily pleasures of the
-people, as now--if we find him using its terms and referring frequently to
-its customs, our claims to call him a Printer stand upon a firmer base
-than those of the Lawyer, the Doctor, the Soldier, or the Divine; and we
-have strong grounds for asking the reader's thoughtful attention to some
-quotations and arguments, which, if not conclusive that Shakspere was a
-Printer, afford indubitable evidence of his having become at some period
-of his career practically acquainted with the details of a Printing
-Office. We propose, then, to carefully examine the works of the Poet for
-any internal evidence of Typographical knowledge which they may afford.
-
-But here, at the outset, we are met by obvious difficulties. Would
-Shakspere, or any poet have made use of trade terms and technical words,
-or have referred to customs peculiar to and known by only a very small
-class of the community in plays addressed to the general public? They
-might have been familiar enough to the mind of the writer, but would
-certainly have sounded very strange in the ears of the public. Shakspere
-was too artistic and too wise to have committed so glaring a blunder. His
-technical terms are used unintentionally, and with the most charming
-unconsciousness. Therefore, when we meet with a word or phrase in common
-use by Printers, it is so amalgamated with the context, that although
-some other form of expression would have been chosen had not Shakspere
-been a Printer, yet the general reader or hearer is not struck by any
-incongruity of language.
-
-What simile could be more natural for a Printer-poet to use or more
-appropriate for the public to hear than this:
-
-    Your mother was most true to wedlock, prince;
-    For she did _print_ your royal father off,
-    Conceiving you.
-                                _Winter's Tale_, v, 1.
-
-Here, surely, the Printer's daily experience of the exact agreement
-between the face of the type and the impression it yields must have
-suggested the image.
-
-Printers in Shakspere's time often had patents granted them by which the
-monopoly of certain works was secured; and unscrupulous printers
-frequently braved all the pains and penalties to which they were liable by
-pirating such editions. It is this carelessness of consequences which is
-glanced at by Mistress Ford when debating with Mistress Page concerning
-the insult put upon them by the heavy old Knight, Sir John Falstaff:
-
-      He cares not what he puts into the Press when he
-    would put us two.
-                                _Merry Wives_, ii, 1.
-
-What printer is there who has put to press a second edition of a book
-working page for page in a smaller type and shorter measure but will
-recognise the Typographer's reminiscences in the following description of
-Leontes' babe by Paulina:
-
-                    Behold, my Lords,
-    Although the _print_ be little, the whole _matter_
-    And _copy_ of the father ...
-    The very _mould_ and _frame_ of hand, nail, finger.
-                                _Winter's Tale_, ii, 3.
-
-Is it conceivable that a sentence of four lines containing five distinct
-typographical words, three of which are especially technical, could have
-proceeded from the brain of one not intimately acquainted with Typography?
-Again, would Costard have so gratuitously used a typographical idea, had
-not the Poet's mind been teeming with them?
-
-    I will do it, sir, in print.
-                                _Love's Labour Lost_, iii, 1.
-
-The deep indentation made on the receiving paper when the strong arm of a
-lusty pressman had pulled the bar with too great vigour is glanced at
-here:
-
-    Think when we talk of horses that you see them
-    _Printing_ their proud hoofs i' the receiving earth.
-                                _Henry V_, Chorus.
-
-The frequency with which the words _print_ or _imprint_ are used is very
-noticeable:
-
-    The story that is _printed_ in her blood.
-                                _Much Ado about Nothing_, iv, 1.
-
-
-    I love a ballad in _print_.
-                                _Winter's Tale_, iv, 4.
-
-
-    She did _print_ your royal father off conceiving you.
-                                _Winter's Tale_, v, 1.
-
-
-    You are but as a _form_ in wax, by him _imprinted_.
-                                _Midsummer-Night's Dream_, i, 1.
-
-
-    His heart ... with your _print impressed_.
-                                _Love's Labour Lost_, ii, 1.
-
-
-    I will do it, sir, in _print_.
-                                _Love's Labour Lost_, iii, 1.
-
-
-    This weak _impress_ of love.
-                                _Two Gentlemen of Verona_, iii, 2.
-
-
-    To _print_ thy sorrows plain.
-                                _Titus Andronicus_, iv, 1.
-
-
-            Sink thy knee i' the earth;
-    Of thy deep duty, more _impression_ show.
-                                _Coriolanus_, v, 3.
-
-
-                        Some more time
-    Must wear the _print_ of his remembrance out.
-                                _Cymbeline_, ii, 3.
-
-
-    The _impressure_.
-                                _Twelfth Night_, ii, 5.
-
-
-    He will _print_ them, out of doubt.
-                                _Merry Wives of Windsor_, ii, 1.
-
-
-    We quarrel in _print_, by the book.
-                                _As You Like It_, v, 4.
-
-
-    Let it _stamp_ wrinkles in her brow.
-                                _Lear_, i, 4.
-
-
-    His sword death's _stamp_.
-                                _Coriolanus_, ii, 2.
-
-Hear how deftly Title-pages are treated:
-
-          _Sim._ Knights,
-    To say you're welcome were superfluous.
-    To place upon the _volume_ of your deeds,
-    As in a _title-page_, your worth of arms,
-    Were more than you expect, or more than's fit.
-                                _Pericles_, ii, 3.
-
-Hear, too, Northumberland, who thus addresses the bearer of fearful news:
-
-    This man's brow, like to a _title-leaf_,
-    Foretells the nature of a tragic _volume_.
-                                _2 Henry IV_, i, 1.
-
-Evidently Shakspere had a good idea of what a Title-page should contain.
-
-From Title to Preface is but a turn of the leaf, and its introductory
-character is thus noticed:
-
-    Is but a _Preface_ of her worthy praise,
-    The chief perfections of that lovely dame.
-                                _1 Henry VI_, v, 5.
-
-We must not forget a well-known passage about the introduction of Printing
-to England, which has caused much discussion. It is where Jack Cade
-accuses Lord Saye:
-
-    Thou hast most traitorously corrupted the youth of the realm in
-    erecting a grammar-school: and whereas, before, our forefathers had no
-    other books but the score and the tally, thou hast caused printing to
-    be used; and, contrary to the king, his crown, and dignity, thou hast
-    built a paper mill.
-
-        _2 Henry VI_, iv, 7.
-
-The early-invented fable of Faustus, and the assistance given him by the
-Devil in the multiplication of the first printed bibles (certainly a most
-short-sighted step on the part of his Satanic Majesty) had got fixed in
-the minds of the populace, and created among the ignorant a prejudice
-against the Printing-press, and it was to this feeling Jack Cade appealed.
-All our Chroniclers place the erection of a Printing-press in England some
-years too early, but no one except Shakspere has put the date so far back
-as 1450, the date of Jack Cade's insurrection: it is simply a blunder; but
-it was the Printing-press and its introduction to this country that was in
-the Author's brain, and the _exact_ date of that event was unknown, being
-probably as difficult to arrive at then as it is now.[1]
-
-We have already noticed in how simple a manner originated that grand
-discovery which, instead of one perishable manuscript, produced numberless
-printed books, and thus enabled mankind to perpetuate for ever the
-knowledge they had gained. The real superiority of the Press over the pen
-was the easy multiplication of copies, and this was the idea in the Poet's
-brain when he wrote:
-
-    She carved thee for her seal and meant thereby
-    Thou shouldst _print more_ nor let that copy die.
-                                _Sonnet_ xi.
-
-Type-founding has in these days arrived at such perfection, that most of
-the blemishes and faults common in Shakspere's time are now unknown. Under
-the old system of hand moulds a type founder was sure when commencing work
-to cast a certain number of imperfect letters, because until the mould by
-use got warmed, the liquid metal solidified too soon, and the body or
-shank of the type was shrunk, and became no inappropriate emblem of an old
-man's limbs whose hose would be
-
-    A world too wide for his shrunk shank.
-                                _As You Like It_, ii, 7.
-
-The names of the various sizes of type in the sixteenth century were few
-compared with our modern list; Canon, Great Primer, Pica, Long Primer, and
-Brevier almost complete the catalogue; and however familiar Shakspere may
-have been with their names, it is difficult to imagine any scene in which
-these technical names could be introduced with propriety. Yet, of one,
-Nonpareil, a new small type first introduced from Holland about 1650, and
-which for its beauty and excellence was much admired, Shakspere seems to
-have conceived a most favorable idea. Prospero, praising his daughter,
-calls her 'a Nonpareil' (_Tempest_, Act iii, Sc. 2); Olivia is the
-'Nonpareil of beauty' (_Twelfth Night_, Act i, Scene 5); and Posthumus
-speaks of Imogen as the 'Nonpareil of her time' (_Cymbeline_, Act ii,
-Scene 5).
-
-The exactitude and precision of everything connected with the arrangement
-of printing from types is curiously hinted at by Touchstone, when
-describing the preciseness of the Courtiers' quarrels:
-
-    We quarrel _in print by the book_.
-                                _As You Like It_, v, 4;
-
-that is, no step was taken except according to acknowledged rules.
-
-It often happens when a book comes to its last sheet that the text runs
-short, and two or three blank or vacant pages remain at the end. In the
-middle of one of these it is usual to place the typographer's imprint.
-What compositor is there who has rejoiced in such _fat_ pages[2] but will
-not at once recognise the following allusion:
-
-    The _vacant_ leaves thy mind's _imprint_ will bear,
-    And of this _book_ this learning mayst thou taste.
-                                _Sonnet_ lxxvii.
-
-People with a grievance write now-a-days to the Newspapers, in hope of
-redress. In Shakspere's time the only method to make wrongs public and to
-show up abuses was by the _Broadside_, in prose or rhyme, passing from
-hand to hand. Many of these have survived to the present day, and are
-treasured up as curious relics of a by-gone age. They were frequently
-libellous and grievously personal, and hence the point of Pistol's remark:
-
-    Fear we broadsides?
-                                _2 Henry IV_, ii, 4.
-
-We must not think here that the naval 'broadside'--a volley of guns from
-the broadside of a ship--is meant. Shakspere does not use the word once in
-that sense, nor was it a conversational word in his time. That Pistol was
-indeed thinking of a printed broad sheet is evident from the whole
-sentence, which, although composed of disjointed exclamations continues
-with the following expressions, both strongly suggestive of the Composing
-room or Reader's closet:
-
-      Come we to full points here? and are etceteras
-    nothing?
-                                  _2 Henry IV_, ii, 4.
-
-'Come we to full points here?' This question is often a puzzler for both
-Compositor and Reader. Indeed, few things cause more disagreements between
-Author and Printer than the very loose ideas held by the former concerning
-punctuation. Some writers, like Dickens in his early days, insist upon
-ornamenting their sentences with little dashes and big dashes, with colons
-where commas should be, and with
-
-    _Points_ that seem impossible.
-                                _Pericles_, v, 1.
-
-In vain does the Printer declare that in altering the Author's unregulated
-punctuation,
-
-    No levelled malice infests one _comma_,
-                                _Timon_, i, 1,
-
-the irate Author exclaims, that he
-
-    Puts the _period_ often from his place,
-                                _Lucrece_, l. 565,
-
-and adds, 'Follow
-
-    My _point_ and period ... ill or well.
-                                _Lear_, iv, 7.
-
-
-    You find not the apostrophes, and so miss the accent.
-                                _Love's Labour Lost_, iv, 2.
-
-
-    Wherefore stand you on nice points?
-                                _3 Henry VI_, iv, 7.
-
-The Printer has no resource but compliance, which, however, unless the
-affront be very severe, will soon
-
-    Stand a comma 'tween their amities,
-                                _Hamlet_, v, 2,
-
-and thus heal the breach, and end all happily with mutual
-
-    Notes of Admiration.
-                                _Winter's Tale_, v, 2.
-
-'And are etceteras nothing?' What a typographical question! and probably
-the only occasion on which so unpoetical a figure has done duty in any
-drama. The &c. makes an insignificant appearance in either MS. or type,
-and yet how often it stands for whole pages of matter. Hence the point of
-the question.
-
-If a book is folio, and two pages of type have been composed, they are
-placed in proper position upon the imposing stone, and enclosed within an
-iron or steel frame called a 'chase', small wedges of hard wood termed
-'coigns' or 'quoins' being driven in at opposite sides to make all tight.
-
-    By the four opposing coigns,
-    Which the world together joins.
-                                _Pericles_, iii, 1.
-
-This is just the description of a forme in folio where two quoins on one
-side are always opposite to two quoins on the other, thus together
-joining and tightening all the separate stamps. In a quaint allegorical
-poem, published anonymously about the year 1700, in which the mystery of
-man's redemption is symbolised by the mystery of Printing, the author
-commences thus:
-
-    Great blest Master Printer, come
-    Into thy Composing-room;
-
-and after 'spiritualising' the successive operations of the workman thus
-touches upon the quoins:
-
-    Let the Quoins be thy sure Election,
-    Which admits of no Rejection;
-    With which our Souls being joined about,
-    Not the least Grace can then fall out.
-
-Here, the idea of joining together by quoins so that nothing shall fall
-out, is just the same as in the couplet quoted from Shakspere.
-
-The tightening of these quoins by means of a wooden-headed mallet,
-
-    (There is no more conceit in him than is in a mallet,
-                                _2 Henry IV_, ii, 4),
-
-is called 'locking up', an exclusively technical term. The expression,
-however, occurs in 'Measure for Measure', IV, 2,
-
-    Fast locked up in sleep,
-
-where the idea conveyed is the same.
-
-The 'Forme' worked off and the metal chase removed, leaving the pages
-'naked', affords the Poet the following simile, which although not
-carrying to the popular ear any typographical meaning, was doubtless
-suggested by Shakspere's former experience of the workshop:
-
-    And he but _naked_ though _locked up_ in steel.
-                                _2 Henry VI_, iii, 2.
-
-The primary idea of 'locking up' had, doubtless, reference to 'armour';
-the secondary to printing, as shown by the use of the word 'naked'.
-
-The forme then went to the Press-room, where considerable ingenuity was
-required to make 'register'; that is, to print one side so exactly upon
-the other, that when the sheet was held up to the light the lines on each
-side would exactly back one another. The accuracy of judgment required for
-this is thus glanced at:
-
-    _Eno._ But let the world rank me in _register_
-           A master-leaver and a fugitive.
-                                _Antony and Cleopatra_, iv, 9.
-
-When the green-eyed Othello takes his wife's hand and exclaims:
-
-    Here's a young and sweating devil,
-                                _Othello_, iii, 4,
-
-we fail at first to catch the idea of the Poet in calling a hand a
-'devil'; but take the word as synonymous with 'messenger', and we see at
-once how the moist plump palm of Desdemona suggested to the intensely
-jealous husband the idea of its having been the lascivious messenger of
-her impure desires. In this sense of 'messenger', the word 'devil' has a
-special fitness; for it is, and always has been among Printers, _and
-Printers only_, another word for 'errand-boy'. In olden times, when speed
-was required, a boy stood at the off-side of the press, and as soon as the
-frisket was raised, whipped the printed sheet off the tympan. When not at
-work, he ran on messages between printer and author, who, on account of
-his inky defilement, dubbed him 'devil'. All Printers' boys go now by the
-same name:
-
-    Old Lucifer, both kind and civil,
-    To ev'ry Printer lends a Devil;
-    But balancing accounts each winter,
-    For ev'ry Devil takes a Printer.
-
-Moxon, in 1683, quotes it as an old trade word, and it was doubtless the
-same in Shakspere's time, a century earlier, as it is now two centuries
-later. But where could Shakspere have picked up the word if not in the
-Printing-office?
-
-Any one accustomed to collate old MSS. must have noticed how very seldom
-the copyist would, in transcribing, add nothing and omit nothing. If what
-the scribe considered a good idea entered his mind while his pen was
-travelling over the page, he was a very modest penman indeed, if he did
-not incorporate it in the text. From this cause, and from genuine
-unintentional blunders, the texts of all the old authors had become
-gradually very corrupt--a source of great trouble to the early Printers.
-With this in his mind Shakspere defines it as one of the qualities of Time
-
-    To blot old books and alter their contents.
-                                _Lucrece_, l. 948.
-
-Many of Vautrollier's publications must have been printed from discolored
-old manuscripts; and these papers Shakspere, if he read 'proof' for his
-employer, would have to study carefully. Does he call this to mind in
-Sonnet XVII?
-
-    My papers yellowed with their age.
-
-Was it, after admiring some beautifully illuminated Horæ, that he wrote:
-
-    O that record could with a backward look,
-      E'en of five hundred courses of the sun;
-    Show me your image in some antique book,
-      Since mind at first in character was done.
-                                _Sonnet_ lix.
-
-Does the Poet refer to its wonderfully burnished gold initials, and the
-red dominical letters which he must often have seen in the printed
-calendars, when he exclaims in tones of admiration:
-
-    My red dominical--my golden letter!
-                                _Love's Labour Lost_, v, 2.
-
-The old calendar had a _golden number_ and a _dominical letter_, but not a
-_golden letter_, which last must refer specifically to the practice of
-gilding important initials. 'Golden Letters' are mentioned in 'King John',
-III, 1, and in 'Pericles', IV, 4, while the red initials, which were
-common to both manuscripts and printed books of the fifteenth century, are
-made by Shakspere the death warrant of the unfortunate Clerk of Chatham,
-against whom is brought the fatal accusation that he
-
-    Has a book in his pocket with red letters in 't.
-                                _2 Henry VI_, iv, 2.
-
-In Shakspere's time, as we have already noticed (p. 41, ante), the press
-laboured under great restrictions. All books with a profitable
-circulation were monopolised by favored stationers or printers who held
-special patents or licenses from the Crown. Thus Reynold Wolfe, in 1543,
-held a monopoly of all books printed in Hebrew, Greek, or Latin. Seres was
-privileged to print all psalters, primers, and prayer books; Denham might
-print the New Testament in Welch; others held grants for scholastic or
-legal books, for almanacs, and even for broadsides, or as the grant says
-'for any piece of paper printed on one side of the sheet only'. In these
-favored books it was customary to place the patent granting the monopoly
-at the end, as a 'caveat' for other printers, and occasionally the phrase
-'Cum privilegio ad imprimendum solum' would appear in a conspicuous part
-of the title. Among the printers in London, who secured such special
-privileges, was Vautrollier, Shakspere's presumed employer. 'In the
-sixteenth year of Elizabeth, 19th June, 1574', says Ames, 'a patent or
-license was granted him which he often printed at the end of the New
-Testament'; this was a monopoly of Beza's New Testament which Vautrollier
-had the privilege 'ad imprimendum solum', for the term of ten years. We
-have already seen the curious connection between the products of
-Vautrollier's press and the writings of Shakspere, and we now plainly
-perceive what was floating in the Poet's brain when he placed the
-following speech in Biondello's mouth, who urges Lucentio to marry Bianca,
-while her father and the pedant are discussing the marriage treaty:
-
-    _Luc._ And what of all this?
-
-    _Bion._ I cannot tell; expect they are busied about a counterfeit[3]
-    assurance: Take your assurance of her _cum privilegio ad imprimendum
-    solum_: to the church;--take the priest, clerk, and some sufficient
-    honest witnesses.
-
-        _Taming of the Shrew_, iv, 4.
-
-These protective privileges, 'ad imprimendum solum', instead of a benefit
-were a great hindrance to the growth of Printing. Many master-printers
-even then felt them to be so, and by all legal and sometimes illegal
-means, tried to procure the abolition of laws which were oppressive and
-restrictive. They saw works of merit die out of memory for want of
-enterprise in the patentee--they saw folly, in the shape of a
-Star-chamber, controlling skill; or as Shakspere himself expresses it,
-
-    Art made tongue-tied by authority,
-    And Folly (doctor-like),[4] controlling skill.
-                                _Sonnet_ lxvi.
-
-Shakspere abounds in kisses of every hue, from shadowy, frozen, and Judas
-kisses, to holy, true, gentle, tender, warm, sweet, loving, dainty, kind,
-soft, long, hard, zealous, burning, and even the unrequited kiss:
-
-    But my kisses bring again
-    Seals of love, but seal'd in vain.
-                                _Measure for Measure_, iii, 1.
-
-The 'burning' kiss might be thought passionate and even durable enough for
-any extremity--yet Shakspere prefers, perhaps from an unconscious
-association of ideas, the durability of which _Printing_ is the emblem
-when he makes the Goddess of Love exclaim:
-
-    Pure lips, sweet seals on my soft lips _imprinted_.
-                                _Venus and Adonis_, l. 511.
-
-The same idea of durability is expressed in the cry of Henry's guilty
-Queen, when parting with Suffolk:
-
-    Oh, could this kiss be _printed_ on thy hand!
-                                _2 Henry VI_, iii, 2.
-
-The idea has been still further developed in the following anonymous
-quatrain:
-
-    A PRINTER'S KISSES.
-
-    _Print_ on my lips another kiss,
-      The picture of my glowing passion.
-    Nay, this wont do--nor this, nor this;
-      But now--Ay, that's a _proof impression_.
-
-Many of Vautrollier's publications went through several editions. In the
-'Merry Wives', II, 1, Mistress Page says:
-
-    These are of the second edition,
-
-and well can we imagine Shakspere handing volumes to a buyer with the same
-remark, or asking some patron with whom he was a favourite:
-
-    Com'st thou with deep premeditated lines,
-    With written pamphlet studiously devised?
-                                _1 Henry VI_, iii, 1.
-
-as the author entered with a roll of 'copy' in his hand.
-
-In the deep mine from which the foregoing quotations have been dug, many
-others would doubtless reward a more careful search. As it is, numerous
-allusions, which, though plain to a printer, would seem too forced to the
-general public, have been passed over. Enough, however, has probably been
-brought forward to justify the belief pourtrayed in the title-page, viz.:
-_That Shakspere must have passed some of his early years in a
-Printing-office._
-
-
-Finis
-
-
-
-
-FOOTNOTES:
-
-[1] _The exact date was probably as difficult to arrive at then as now._
-The arrival of William Caxton in England may, with a certainty of being
-near the truth, be placed in 1475-6, the date 1474 given by most writers
-being a misconception of the language used by Caxton in the Preface to the
-Chess-book. The Art on its first introduction was looked upon suspiciously
-by the people, few of whom could read, its chief patrons being a few of
-the more educated among the nobles and the rich burghers of London.
-Another mistake is to suppose that Caxton printed in Westminster Abbey.
-His printing-office was a tenement to the south-east of the Abbey Church;
-its sign was the 'Red-pale', and Caxton rented it of the Abbot. There is
-evidence to show that Caxton and the Abbot were on distant terms of
-amity--none to show that the Ecclesiastic encouraged or patronised the
-Printer, notwithstanding Dean Stanley's assertions in a sermon lately
-preached by him in Westminster Abbey. The _only_ occasion upon which
-Caxton mentions the Abbot is to this effect--that the Abbot, not being
-able himself to read a passage in old MS., sent it to Caxton, with a
-request that he would translate it. (See _The Life and Typography of
-William Caxton_, by William Blades. 2 vols., 4to. London, 1861-63.)
-
-[2] _Fat Pages._ 'Fat' as a conventional word is not confined to Printers.
-'A _fat_ living' is a phrase not unknown among churchmen, and is used in
-the same sense by the compositor, who charges the master-printer for the
-_fat_ pages, in which no work appears, at the same rate as if they were
-full.
-
-[3] This word 'counterfeit' in the sense of 'reprint' or 'duplicate', is
-certainly not used now-a-days by English printers; yet I find this in
-Marahren's Parallel List of technical Typographical terms:--'Counterfeit,
-to, or to Reprint, v., Nachdrucken.--Ré-imprimer.' With Bibliographers the
-word is still retained; _e.g._ 'Lyons counterfeits of the Aldine
-editions.'
-
-[4] _And Folly (doctor-like) controlling skill._ It is worth noting, that
-in none of the various volumes written to show Shakspere's knowledge of
-medicine and medical men, has the truth of this passage been brought
-forward in evidence.
-
-
-
-
-
-
-End of Project Gutenberg's Shakspere & Typography, by William Blades
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-    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
     <title>
       Shakspere &amp; Typography, by William Blades&mdash;A Project Gutenberg eBook
     </title>
@@ -43,46 +43,7 @@
     </style>
   </head>
 <body>
-
-
-<pre>
-
-The Project Gutenberg EBook of Shakspere & Typography, by William Blades
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org
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-Title: Shakspere & Typography
-
-Author: William Blades
-
-Release Date: September 22, 2012 [EBook #40841]
-
-Language: English
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-Character set encoding: ISO-8859-1
-
-*** START OF THIS PROJECT GUTENBERG EBOOK SHAKSPERE & TYPOGRAPHY ***
-
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-Produced by Chris Curnow and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive.)
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-
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 40841 ***</div>
 
 <p class="figcenter"><img src="images/cover.jpg" alt="" /></p>
 <p>&nbsp;</p><p>&nbsp;</p>
@@ -135,7 +96,7 @@ recreation. The thought<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]
 busied about the making of books, and the comparative scarcity of the only
 edition, are the excuses for reprinting the more interesting portion.</p>
 
-<p>The first chapter (merely a resumé of the theories that have been advanced
+<p>The first chapter (merely a resumé of the theories that have been advanced
 by various professions and callings to claim Shakspere for their own) has
 been omitted; likewise the appendix, which is a suggestion that many of
 the obscurities in the text of Shakspere may be cleared up by a<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> study of
@@ -324,7 +285,7 @@ Licensed.</i></p>
 
 <p><span style="margin-left: 4em;"><i>London</i>, 8vo., 1574.</span></p>
 
-<p><i>Discursus Cantiones; quæ ab argumento sacræ vocantur, quinque et sex
+<p><i>Discursus Cantiones; quæ ab argumento sacræ vocantur, quinque et sex
 partivm. Autoribus Thoma Tallisio et Guilielmo Birdo. Cum Privilegio.</i></p>
 
 <p><span style="margin-left: 4em;"><i>London</i>, oblong quarto, 1575.</span></p></div>
@@ -346,7 +307,7 @@ annotations. An epistle by J. Calvin, prefixed.</i></p>
 
 <p><span style="margin-left: 4em;">4to., 1575:</span></p>
 
-<p><i>Institutio Christianæ Religionis, Joanne Caluino authorè.</i></p>
+<p><i>Institutio Christianæ Religionis, Joanne Caluino authorè.</i></p>
 
 <p><span style="margin-left: 4em;">8vo., <i>London</i>, 1576: and</span></p>
 
@@ -412,7 +373,7 @@ tongue.</i></p>
 
 <p><span style="margin-left: 4em;">8vo., 1581; and</span></p>
 
-<p><i>Phrases Linguæ Latinæ.</i> 8vo., 1579;</p></div>
+<p><i>Phrases Linguæ Latinæ.</i> 8vo., 1579;</p></div>
 
 <p>the last compiled from the writings of that great Printer, Aldus Manutius.</p>
 
@@ -949,7 +910,7 @@ Sonnet XVII?</p>
 
 <p class="poem">My papers yellowed with their age.</p>
 
-<p>Was it, after admiring some beautifully illuminated Horæ, that he wrote:</p>
+<p>Was it, after admiring some beautifully illuminated Horæ, that he wrote:</p>
 
 <p class="poem"><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span>O that record could with a backward look,<br />
 <span style="margin-left: 1em;">E&#8217;en of five hundred courses of the sun;</span><br />
@@ -1110,7 +1071,7 @@ full.</p>
 <p><a name="f3" id="f3" href="#f3.1">[3]</a> This word &#8216;counterfeit&#8217; in the sense of &#8216;reprint&#8217; or &#8216;duplicate&#8217;, is
 certainly not used now-a-days by English printers; yet I find this in
 Marahren&#8217;s Parallel List of technical Typographical terms:&mdash;&#8216;Counterfeit,
-to, or to Reprint, v., Nachdrucken.&mdash;Ré-imprimer.&#8217; With Bibliographers the
+to, or to Reprint, v., Nachdrucken.&mdash;Ré-imprimer.&#8217; With Bibliographers the
 word is still retained; <i>e.g.</i> &#8216;Lyons counterfeits of the Aldine
 editions.&#8217;</p>
 
@@ -1119,383 +1080,6 @@ in none of the various volumes written to show Shakspere&#8217;s knowledge of
 medicine and medical men, has the truth of this passage been brought
 forward in evidence.</p>
 
-
-
-
-
-
-
-
-
-<pre>
-
-
-
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+<div>*** END OF THE PROJECT GUTENBERG EBOOK 40841 ***</div>
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