diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-05 03:06:25 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-05 03:06:25 -0800 |
| commit | e5484cd705a06c66526c376848afb1db88d8d412 (patch) | |
| tree | f88967fca39c403d59b9364cff925c0bdc91ce2a /old/50555-0.txt | |
| parent | 4328eff03ad3639c5fbe1899a09f6685055ce03d (diff) | |
Diffstat (limited to 'old/50555-0.txt')
| -rw-r--r-- | old/50555-0.txt | 9886 |
1 files changed, 0 insertions, 9886 deletions
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. - |