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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b224246 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53118 (https://www.gutenberg.org/ebooks/53118) diff --git a/old/53118-0.txt b/old/53118-0.txt deleted file mode 100644 index a2132c8..0000000 --- a/old/53118-0.txt +++ /dev/null @@ -1,9860 +0,0 @@ -Project Gutenberg's Excursions in Victorian Bibliography, by Michael Sadleir - -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: Excursions in Victorian Bibliography - -Author: Michael Sadleir - -Release Date: September 22, 2016 [EBook #53118] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VICTORIAN BIBLIOGRAPHY *** - - - - -Produced by Richard Tonsing, MWS, Adrian Mastronardi and -the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/American -Libraries.) - - - - - - - - - - EXCURSIONS IN - VICTORIAN BIBLIOGRAPHY - - - “If it is true that the Victorian - time was ugly and vulgar, the - excitement of those years between - 1848 and 1890 was something like - that of a religious revival.” - - _The Early Life of Mark Rutherford._ - - - - - ANTHONY TROLLOPE - BENJAMIN DISRAELI - FREDERICK MARRYAT - WILKIE COLLINS - CHARLES READE - G. J. WHYTE MELVILLE - MRS. GASKELL - AND - HERMAN MELVILLE - - - - - EXCURSIONS IN VICTORIAN BIBLIOGRAPHY - - - BY - MICHAEL SADLEIR - - - LONDON - CHAUNDY & COX - 40 MADDOX STREET - MCMXXII - - - - - TO MY - FATHER - - - - - ERRATA - - - P. 24 line 33 for “first” read “second.” - P. 24 line 36 for “Finn” read “Redux.” - P. 29 line 20 for “invented for” read “'presented' in.” - - - - - ADDENDUM. - - - P. 72. The following paragraph should precede “1863/ A - WELCOME, etc.” - - - 1861 - - THE VICTORIA REGIA: A VOLUME OF ORIGINAL CONTRIBUTIONS IN POETRY AND - PROSE. Edited by Adelaide A. Procter. London: Printed and Published - by Emily Faithfull and Co., Victoria Press (for the Employment of - Women), Great Coram Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜). - Pp. x + 349 + (1). No half-title. Red-brown embossed cloth, all - edges gilt, blocked in gold and blind. Red chocolate end-papers. - - NOTE.—Pp. 187 to 214 are occupied by a story by Anthony - Trollope entitled _The Journey to Panama_. This is the first - appearance in book form of a tale afterwards published in - _Lotta Schmidt and other Stories_. - - - - - CONTENTS - - - PAGE - - ADVERTISEMENT 1 - - A NOTE ON THE TERMS USED IN THE BIBLIOGRAPHIES WHICH FOLLOW, 10 - TOGETHER WITH OBSERVATIONS RELATIVE TO VICTORIAN BOOKMAKING AND - RECOMMENDATIONS TO COLLECTORS - - ACKNOWLEDGMENTS 16 - - ANTHONY TROLLOPE: Essay and Bibliography 21 - - FREDERICK MARRYAT: Essay and Bibliography 77 - - BENJAMIN DISRAELI: Essay and Bibliography 107 - - WILKIE COLLINS: Essay and Bibliography 129 - - CHARLES READE: Note and Bibliography 159 - - G. J. WHYTE-MELVILLE: Essay and Bibliography 183 - - ELIZABETH CLEGHORN GASKELL: Bibliography 203 - - HERMAN MELVILLE: Essay and Bibliography 217 - - INDEX OF BOOK TITLES 235 - - - - - EXCURSIONS IN VICTORIAN BIBLIOGRAPHY - - - - - ADVERTISEMENT - - -This book is so essentially an accumulation of notes and so emphatically -wanting in the qualities of completeness and learning proper to genuine -bibliography that I have sought, even on the title-page, to indicate its -limitations. It were indeed presumption to enter the field of -nineteenth-century bibliography, in which already so much fine and -skilful work has been accomplished, with the slight technical equipment -to which I may lay claim. On the other hand, the experience of -collectors conforms oddly to type, and where, in the study of certain -Victorian first editions, I have found perplexity and doubt, others in -the same study will likely find them too. Wherefore my annotations, in -this book set in order and to a certain point rounded off, should help -my fellow-students to a speedier knowledge of points and pitfalls in the -collecting of their favourites than was easily accessible to myself. In -time (maybe in short time) my work will be superseded by investigation -more accomplished, by analysis more detailed. At such time collectors -(and myself among them) will rightly substitute for this volume on their -shelf of bibliographies the later, more comprehensive, handbooks that -shall have taken its place. Meanwhile I dare to hope that the present -work, with all its shortcomings, will find appreciative users, and among -them a few who, realizing the difficulties that even so modest a -compilation has been forced to surmount, will forgive its imperfections -for the sake of its attributes. - - * * * * * - -With the general propriety of book-collecting I am not here concerned. -Men there are to whom all collecting is folly; others to whom every -passion is vile. To the logical asceticism of their private Utopias they -are welcome, provided the lover be left to enjoy his mistress, the -lepidopterist his butterflies, the bibliophile his books. Even the more -subtle critic, who admits the lure of collecting but maintains that the -craze of the first edition is senseless hysteria, shall not tempt me to -dispute. This is a book about first editions, and will be read only by -the initiate. If we be hystericals, we have at least our weakness in -common. Let us therefore shut the door and compare symptoms, for we are -all fools together. - -The superior and the sceptical are now excluded from the privacy of our -imaginary club-house. But a further reservation must be made. Although -it were impractical idealism to demand that the collector transcend in -his collecting every sordid consideration of market and fluctuating -value, it is reasonable to look askance at the mere speculator. From the -scope of this word I exclude, of course, the whole fraternity of -booksellers. They exist frankly for the marketing of books; and who -shall grudge them the profits of their toil? My animadversion is against -the private person to whom rare books are mere scrip, to be bought and -sold by telephone, their very titles meaningless, their contents utterly -unknown. No doubt, if this book is of service at all, it will be of -service incidentally to individuals of the kind described. That it -should be so is unpreventable. But on the general ethics of collecting -the compiler may be allowed the consolation of bearing his trivial -testimony. The private collector who buys what he likes to read merits -such reward as wise buying may earn for him. He, however, who buys by -rote, puts away and resells, is no collector at all, but rather a -trespasser on the preserves of the bookseller, taking advantage of a -noble trade while sharing none of its burdens. - -With this dictum I descend from the august to the particular. -Collecting, collecting books, collecting first editions of books—all -these are postulates. At this point is a parting of the ways. The -frontiers of dispute now lie across our path; for within the bounds of -the realm of first editions are to be found divergent tastes, -conflicting fancies, all the clamour and thrust of an enthusiasm that -grows ever more complex. - -The collecting of first editions is, in its present form, a diversion of -recent growth. Fifty years ago amateurs of books were few in number and, -necessarily, rich in gold, for only the great books of past literature -were regarded as fit material for collection, and great books, though -cheaper then than now, were never to be had for love. But the passage of -time has transformed, in another way than that of mere numbers, the -community of book-collectors. Not only are there nowadays more -collectors and a greater variety of books collected, but there has come -to its own the great principle of _original condition_. This is not so -pale a platitude as to many it will appear. A few book-buyers there have -always been to whom original binding, original end-papers, uncut edges, -incidental advertisements, errata slips, and half-titles have meant -perfection. But they were rare exceptions. To the large majority a first -edition was a book of a certain date without “Second” or “New Edition” -on its title-page. Buyers of this school were indifferent to the -disfigurement of library labels on side or end-paper; gave no thought to -errata slips; but shaved their favourites, fore-edge and tail, dressed -them in uniform calf gilt, affixed a bookplate, and went their way. - -Such collectors as these are still amongst us, but they are now awaking -to the folly of their past. The market—that indisputable witness to -human taste—gives hard but practical proof of their wrongdoing. “Good -and original condition” is nowadays three-quarters of a book's value, -and the fraction, if it alters at all, will with the passage of time -increase rather than decrease. - -Is it too much to hope that the importance of original condition has now -been permanently realized? The change, if it has really been effected, -is in the main a healthy one. Although—for it is undeniable—the craze -for the fine copy has produced its own extremism; although there are -to-day book-lovers who refuse even to open the pages of their books -lest, by such violation, they unsuit them for a mart in which, -conventionally enough, virginity is value; although advance prospectuses -and dust jackets of contemporary publications have scrupulously to be -preserved in order that a “set” be genuinely complete—the desire for a -book _as issued_ does at least argue a consciousness of its individual -personality. Standard authors, be they ancient or modern, can be -purchased in calf by telephone and at so much per yard; but the -obtaining of shelf furniture in original cloth is a matter of much -seeking and of progress measured in fractions of an inch. - -It has seemed well thus to emphasize the importance of “condition” to -the modern book-collector, because “condition” in the case of such -authors as those here examined is their admirer's greatest problem, and -because the few bibliographies that already exist, while listing dates -of publication and in one case at least supplying adequate collation of -the various volumes, do not provide any real description of the -externals of those volumes when in original state. - -This description I have endeavoured to supply. That my work contains -errors of omission I am certain; that it be free from errors of -commission I may hardly dare to hope. But the trouble I have had even to -arrive thus far on the way to completeness encourages belief that some -portion of the donkey work may now be regarded as done for good and all, -and that the trained minds of bibliographers proper may, if they -incline, turn their talent to such refinements of detail as surely -underlie many of the books herein examined. - - * * * * * - -To the collecting of first editions of Victorian novelists I came by the -honourable way of literary liking. Brought up on Jane Austen, Scott, and -Dickens, I read, during my years of flapperdom, Marryat, Trollope, and -Wilkie Collins. Oxford and the audacities of undergraduate curiosity -estranged me from all save the last quarter of the nineteenth century. -While many of my contemporaries made sour sacrifice at the altars of -disillusion, feeding their pessimism on Gissing and Butler, their taste -for paradox on Bernard Shaw, I sought disreputable refuge among fleshly -symbolists. The children of Baudelaire and Poe jostled the faint -offspring of Gaelic legend on my shelves, and, while the voluptuous -pallor of tuberoses shone against blue wall-paper, imagination floated -on the dim tide of decadence. Came reaction as swift and irrational as -were inevitable. From Paris echoed the clash of neo-barbarism, and -before the strident onslaught of the rediscovered primitive the faint -elegance of a pose too exhausted even for sin dissolved in air. They -were great days, those early days of the new brutality. Blues and mauves -gave place to orange checked with black, to vivid greens, to fierce -outrageous reds. From the scented secrecy of lamplit boudoirs the young -intellectual rushed into the wind and sunshine, and he who once made -tired love to Phryne on a couch of silk now clipped the milkmaid grossly -in a ditch. The way of other tastes went taste in letters and in art. -After d'Annunzio, Synge; after Verlaine, Verhaeren; after Pater, Hardy; -after Rops and Carrière, Gauguin and the rest. - -For a while all was well. Cubism, a false interpretation of the -synthetic doctrine of Cézanne, began its brief and rigid reign. Painters -and writers fled naturalism in a search for true reality. Some are still -wandering, drearily absurd, in the desert of their own bleak imaginings. -The rest found reality, truly enough and rapidly enough—in war. - -And now war has passed, leaving a world weary of fact and fever, weary -of striving, weary almost of its own ideals. For long enough yet will -persist turbulent discomfort and the clamour of quacks hawking the -millennium; but at last will be peace, and it is surely a longing for -that peace that has turned men's minds partly to high romance, but more -generally to the manners and genius of a century ago. Those of an older -generation than my own have, perhaps, never betrayed their gentle -Victorian heritage. One may envy and applaud their wisdom. But we -prodigals, returned from our rioting and sick with the husks of a démodé -violence, stoop to any self-abasement, to any denial of our own past -judgment, so we be allowed entry to the quiet courts and ordered -opulence of the age we once affected to despise. Literary enthusiasm -expresses itself in various ways. For my part to love an author is to -collect him, for I can read no borrowed books, and only with difficulty -such as are not first editions. Of the absurdity of this I am cheerfully -aware. We have each one of us our foible, and this is mine. Considered -broadly it is harmless enough, less cruel than killing birds, less -degrading than drink. Naturally, however, it cannot be indulged to more -than limited degree. Shakespeare and Sterne and Keats and Browning I may -own, but in reprint. And so with many another. But to the extent -possible in fact and a little beyond that permissible in money, I have -contrived, from one phase to another, to keep myself fairly supplied -with “reading firsts.” A decadent, I collected Verlaine and Mallarmé, -Rimbaud and the Anglo-Irish nineties; a neo-primitive, I bought Synge -and Verhaeren, Conrad and the chief Georgian poets of the new -simplicity. And so matters progressed, while gradually novels ousted -poetry from my shelves, and, again gradually, from the reading of modern -novels I came once more to Trollope and the writers of his age. - - * * * * * - -It is not until one undertakes seriously the collecting of the -less-known Victorian novelists that one realizes how prime the sport -that their assembling offers, how destitute of guide-posts is the maze -of their work. In the capacity of quarry few authors or groups of -authors can rival those with whom this volume deals. The essence of -collecting is the chase. The buyer of world-famous rarities, of which -the whereabouts is trumpeted abroad, knows nothing of the thrill of that -dusky provincial bookshop, among whose tumbled piles Victorians must -surely lurk. The dapper expert in ingenious moderns with his prefaces, -his cancel-titles, his censored (but disappointing) curiosa, his “works” -and “limiteds,” can set one joy alone against my dozen. He may, if the -gods be kind, on the shelves of bookshops proper find books that were -bought for new, but have not sold and still remain, lacking an entry to -the world of second-hand, still fresh, still offered at the published -price. But in the main his life is one of “inside information”; his ally -in the trade sells books instead of making them; it is the principle of -the turf in terms of Whatman paper and grey Michalet boards. To the -collector of Victorians (exception made, of course, of Dickens's parts, -of _Wuthering Heights_, of _Desperate Remedies_, of other far reputed -treasures) belongs neither the pursuit of “folios” across the world nor -the click of the tape pegging out details of obscure pamphlets. Copies -of three-volume novels by writers of reputation are hard to find at all, -and very hard in anything of condition. Nevertheless, when found, they -are often cheap. And then, when one is bought, there comes the reading -of it. - -And yet at times the collector feels forlorn and without guidance, for -maybe the book he buys is a little known one, of which the very name is -strange. Indeed, the lack of pointers obtrudes harshly, and in a sense -no less literary than bibliographical. Not only is information as to -actual titles scarce and unreliable, but among the great number of these -writers' books the student must perforce read his own way to a sense of -relative quality. At the cost of some hours of tedium and of many -mistaken purchases I have arrived at a general knowledge of what these -novelists wrote, when they wrote it, and what it looked like when it -first appeared. This knowledge is herein set out for the possible -assistance of all and sundry. - -The relative value as literature or as story-telling of their many books -makes more perilous judgment. I am no expert in comparative literature. -I cannot even claim to have read all or nearly all the books that are, -in the pages following, materially dissected. I have preferred therefore -to make no pretence to serious literary criticism, but have contented -myself with indicating at the beginning of each section the general -character of the work of the writer in question, into what groups (if -any) his novels fall, and have called attention here and there to -certain little known or unknown stories that have pleased me and may, -though hardly for that reason, please some of my contemporaries. Where -an author has little attraction for me, I have said so. Books of all -kinds are listed between these covers, and no single being will enjoy -them all. But this is certain: that among them the inquirer, be his -tastes what they may, will find reading to soothe him and to stimulate; -will come to seek in the solidity, whether downright, fantastic, or -lurid, in the quiet charm, in the dexterous sincerity of good Victorian -fiction, a satisfaction of spirit produced by the novels of no other -period of English literature. - -Those who for years have known and pondered these Victorian tales will -smile contemptuously at such pompous revelation of a stale secret. To -them, in scorn of self and lest they lose any of that pleasurable pride -allowable to old initiates who watch a novice at his scourgings, I offer -the apology that is my book. Others, arrogant in knowledge of -Dickensiana, in possession of priceless Borrows, of Jane Austen perfect -in her boards, will turn from this humble chronicle of humble writers -with the bored serenity of a brass hat on his way to conference. To them -I make obeisance, wondering secretly whether great collections were -amassed more joyfully than my little one. Last of all, however, may come -a few, to whom, as to me, Trollope is balm and meat at once, who love -three volumes of a novel for their very spacing and ornate -expansiveness, who find shelves of cloth or labelled triplets more -beautiful than any other shelves, to whom, in short, the collection and -the reading of Victorian first editions is romance and quiet happiness. -To them my book with all its faults will come kindly and joyfully, for -they will welcome in it the voice of one who thinks and loves, as they -do, the plaint of one suffering from the same sweet sickness as -themselves. - - - - - A NOTE ON THE TERMS USED IN THE BIBLIOGRAPHIES WHICH FOLLOW - - TOGETHER WITH OBSERVATIONS RELATIVE TO VICTORIAN BOOKMAKING, -RECOMMENDATIONS TO COLLECTORS, AND AN APPEAL TO THE EXPERIENCE OF OTHER - STUDENTS FOR ASSISTANCE AND CORRECTION - - -(i) I am aware that bibliographers proper designate by means of upright -strokes the alignment of wording on the title-pages of books subject to -their analysis. This mannerism I have eschewed, and for two reasons. In -the first place, a bibliography so displayed baffles the inexpert reader -by a suggestion of mathematical obscurity. Tempted by the desire to -attract a few such readers to a book that, for all its overplus of sinew -and lack of flesh, is in intention a tribute to a group of very human -and consoling writers, I have sought an appearance of readability at the -cost of a small technical sacrifice. The sacrifice _is_ small—and here -lies the second justification of my heterodox technique—because no -variety of any one of the books hereafter listed depends either on the -alignment of title-page wording or (save in a single case to which -attention is specially drawn) on the phrasing, absence or presence of a -note of reservation of foreign or dramatic rights. In short, that which -is required for the identification of a first edition I have given; but -beyond that—nothing. - -(ii) The first editions of almost any author include, in addition to -books written wholly by him, a number of works for some part of which -only he is responsible. These secondary items cannot be neglected by -collectors, for any _book_ in which for the first time is published an -essay, a story, a poem, or what not by one particular writer ranks as a -first edition of that writer. Naturally, however, complete works take -precedence over partial works, and I have grouped at the end of each -section of this book such partial or minor first editions as I have been -able to identify. - -It must be clearly understood that first _magazine_ publication is not -here referred to. The only periodical issue of a book that can rank with -book issue is that in _parts_, according to which the text of a novel -made its appearance in monthly or weekly sections, separately wrappered, -under its own title and unaccompanied by any extraneous matter save -advertisements. Part issues are essential to a collector; on the other -hand, the numbers of magazines in which this story or that made serial -appearance may be ignored. In many cases I have stated where (if -anywhere) novels were serialized, but such information is of general -rather than of collecting interest, save to those whose catholicity of -taste and house-room permit them the luxury of adding sets of magazines -to those of actual books. - -(iii) The terms used to-day to describe sizes in uncut books vary from -those of an earlier period. For example, the terms “Post 8vo” and “12mo” -are now rarely met with, whereas prior to 1880 they were in regular and -common currency. Fearing that the modern buyer or seller of books would -be puzzled by too frequent an encounter with technicalities virtually -obsolete, I have expressed book sizes in terms familiar to present-day -ears and as nearly equivalent to those replaced as makes no matter. The -“8vo” book of the fifties is the “Demy 8vo” of the nineteen-twenties; -“Post 8vo” has become “Extra Crown 8vo”; “12mo” has become “Foolscap -8vo.” The phraseology adopted, being familiar, will give an immediate -general idea of a book's dimensions; the measurement in inches, given in -brackets in all but a handful of cases, will supply to an eighth of an -inch any further detail required. - -(iv) The half-title is something of a bugbear to the collector of -Victorians. Its absence may be fatal; its presence may give pause. As -the nineteenth century progressed, methods of bookmaking became -standardized; but during the first fifty years publishers printed to -paper and their own convenience, regardless of uniformity even between -volumes of the same work. For this reason no certainty exists as to the -possession by any book of a half-title. Usually examination will show -whether, in a book lacking a half-title, the first sheet should rightly -provide one or no. The publisher who found his preliminary matter -adequate, without half-title, for four or eight pages, let it go at -that; if, however, he had two pages of his four or eight to spare, he -used them for half-title and verso. Wherever in the notes that follow I -have satisfied myself that an absence of half-title is correct, I have -drawn attention to that absence; wherever nothing is said, the silence -should be taken to signify that in perfect copies half-titles must -appear. - -(v) In the matter of binding it was the custom from about 1830 to 1850 -to issue many books both in cloth and in paper boards. The old fashion -for boards and labels died hard, and doubtless the trade found it paid -to humour at once the enthusiast for the new cloth and the conservative -lover of ancient ways. The collector who has the choice of a book either -in cloth or in boards (with which must be understood boards, -half-cloth[1]) and lacks either inclination or money to buy the two -should, if condition be equally good, buy the copy in boards. Such a -copy _may be_ of earlier but _cannot_ be of later issue than one in -cloth. Should the book be one of which the two styles were issued -simultaneously the copies will rank equally, although even in such cases -a board copy is preferable, seeing that probably fewer were published -than of those in cloth, and certainly fewer have survived. - -Footnote 1: - - For convenience' sake the word “cloth” is used throughout these - bibliographies to signify woven material used in binding. Technically, - in the transition period between bound books and those fully bound, - half-binding was carried out in “canvas,” cloth proper being of - somewhat later date. - -The phrase “boards (half-cloth) paper labels” is used in these -bibliographies to describe books which may be found _both_ in full-board -_and_ half-cloth styles. The colours of board and canvas vary greatly, -as different tones were often used for books belonging to one edition. - -(vi) It will be noticed that in the majority of cases I give the _month_ -as well as the year of a novel's publication. This, had it been -possible, I would wish to have supplied throughout, for by its help -alone can the vexed question of dated catalogues be properly determined. -Unfortunately, with the disappearance _in toto_ of many publishing -firms, the absorption of others under new names, and the surprising lack -of any complete files of lists and catalogues for the decades in -question, it has been impossible in every case to fix the dates thus -accurately. In determining the various issues of a first edition (for a -publisher does not bind his whole printing at once, but in lots as -required, and often at intervals of years), the date, if any, of the -catalogues of publications generally bound at the end of Victorian -novels is an essential factor. Where I give the month of publication in -the pages that follow, there can be no difficulty in detecting copies -bound up and issued after first publication. Elsewhere buyers can only -be advised to compare the date of title-page with that of catalogue. If -the latter predates or tallies with the former all _may_ be well; if the -catalogue date be later, the book is not a first issue, although still, -so far as the sheets are concerned, a copy of the first edition. In a -few rare cases, where numerous catalogues were printed during the same -year, the earliest date found in any particular first edition of that -year can be established only by experience. It is for this reason that -identity of year between title-page and catalogue _may_ rather than -_must_ indicate a true first issue. - -(vii) Advice as to condition is easily given. - -Never buy a rebound book or one of which the edges have been shaved.[2] - -Footnote 2: - - In this, as always, generalization fails. The vast majority of the - books here listed were first issued _uncut_; there are, however, a - few—and those among the books of later date—that were published cut. - The collector can identify these, if in original binding, by comparing - measurement with that here given. - -Be wary of books in cloth which bear no publisher's imprint on the -spine; a few are right, but the majority are remainder-bound. Only in -the very early days of cloth binding were spines unimprinted. Of course -_labelled_ books, whether in boards or half-cloth, never show -publishers' imprint at the tail of their spines. - -Always examine end-papers. The quality of Victorian end-papers cannot be -obtained to-day, and it is rare that the substitution in one book of an -old end-paper from another is so neatly done as to defy detection. - -Library labels and their horrid traces have no place in a fine copy. If, -however, a buyer inclines to accept ex-library copies pending better -fortune, he should prefer those marked _inside_ front covers to those of -which the actual cloth is disfigured. Should the choice be between a -copy in disfigured cloth and one of which the cloth is clean but the -end-papers renewed to obliterate some previous damage, the wise buyer -will take the first and leave the second. Better a dirty original than a -book neat but doctored. - -Do not reject an otherwise good copy of a book because the case is loose -or the back-stitching perished. Such deterioration is easily and -painlessly repaired. - -In the case of books illustrated with etchings or steel engravings, -compare the date often to be found on the plates with that on the -title-page. These dates should tally, or, if they do not, thought or -examination of prefatory matter should show the reason why. - -Several cases exist of books reissued more than once, but without -printed indication of reissue, in a style identical with that of the -first edition. In such cases the plates, more often than not, bear their -silent witness, and the careful buyer, momentarily uncertain of his -dates, is saved the purchase of a book he does not want. - -(viii) The volumes listed which I have not myself seen and examined are -asterisked and thus expressly noted as catalogued without personal -investigation. As may be imagined, some of the obscurer works of the -authors dealt with are extremely rare, and all my seeking has failed to -discover some of them. In every other case personal handling has -preceded analysis, even although collation may already have existed in -published form. - -(ix) In conclusion I would appeal to any reader of my book who can -emend, develop, or dispute the statements therein contained to send me -forthwith his criticisms and suggestions. To work of this kind can be no -finality. Freak copies, copies containing catalogues of earlier date, -copies in earlier varieties of binding—of such things is the sport of -bibliography composed. No individual can be sure that one particular -issue of any book is the earliest; comparative certainty comes only from -cooperation. Wherever possible I have compared several copies of the -same book, but this was by no means everywhere. Consequently to look -forward to revision and yet more revision is, in the circumstances, a -matter for hope rather than one for shame. - - - - - ACKNOWLEDGMENTS - - -Perhaps the most pleasant element in the compiling of this book has been -the generosity and enthusiasm with which persons able to help have -responded to inquiries. - -Among those who have contributed of their private knowledge facts that -but for them I could never have discovered, Mr. Richard Bentley must -have first place. Unique as an authority on Victorian publishing, Mr. -Bentley not only replied promptly and in detail to my importunate -inquiries, but made suggestions and gave information—often at -considerable personal trouble—which have greatly extended the scope and -utility of my book. - -Other publishers and editors were no less ready to give me access to -such records of the past as were still in their keeping. To Mr. Arthur -Waugh (of Messrs. Chapman and Hall), to Mr. Kelk and to Mr. Barnard (of -Messrs. Longmans, Green), to Mr. Spalding (of Messrs. Chatto and -Windus), to Mr. Herbert Virtue (of Messrs. Virtue and Co.), to Mr. -Farquharson and to Mr. Leonard Huxley (of Messrs. John Murray), to Mr. -Marston (of the “Publishers' Circular”), I tender my best thanks. - -Gratitude must next be expressed to booksellers and owners of books -whose contribution differed in kind but not in degree from that of the -foregoing. Mr. Walter Spencer put his unrivalled stock of Victorian -first editions wholly at my disposal, thus enabling me to examine many -rare items not elsewhere discoverable. He also lent me a series of -autograph letters from which certain details were obtainable. To Messrs. -Bain and Messrs. Maggs I owe opportunities of seeing books necessary to -my list. Mr. Hugh Walpole gave me access to his private collection, and -Mr. Cecil Davis, Mr. J. A. Green, and Mr. Clement Shorter helped to a -clearer understanding of the bibliography of Captain Marryat and of Mrs. -Gaskell. - -Further, I should like to set down my appreciation of the facilities -afforded to me by the authorities of the British Museum and of the -Bodleian Library. Their willingness to shorten in my favour the tedious -process of extracting scattered volumes from their stores and vaults -saved much fatigue and hours of valuable time. - -To my mother, to my wife, and to one of my publishers I owe thanks for -friendly collaboration at points where two heads and four hands had more -than twice the value of half their number. Lastly, and perhaps mostly, I -am indebted, for secretarial assistance and for help in the labour of -research, to Miss Martha Smith, whose accuracy and devotion have halved -my personal toil. - - - - - ANTHONY TROLLOPE - 1815-1882 - - - - - ANTHONY TROLLOPE[3] - - -Trollope's novels, like those of Jane Austen, are of the very essence of -fiction. Whatever they may lack in verbal subtlety, in passion, in -tragedy or in comedy of idea, they never lack that spiritual skeleton -without which no structure of a story-teller's imagining can survive. -Palaces more delicate, more romantic, more brilliant and more terrible -than those of Trollope have been erected and have stood to win the -admiration of posterity; but their splendour and their beauty are due -more to the solid material that upholds their walls and roofs than to -the skill and fancy of their decoration. Other palaces, because they -lacked such invisible but vital solidity, have drawn for an hour the -fickle favour of the crowd and then toppled into dust. It is easy, in -fiction, to create a nine days' wonder, but hard indeed to win the -esteem of ninety years. - -Footnote 3: - - For his consent to the reprinting of this Essay I am grateful to the - Editor of the “Nineteenth Century and After.” - -Trollope has achieved that victory. Oblivion can now never be his, for -he has lived his bad times and survived. As must any artist worth the -name, he suffered eclipse—temporary, indeed, but so severe as at one -time to threaten permanence. He was scorned as dowdy and parochial by -the brilliant metropolitans of a succeeding generation. Only in the -hearts of quiet folk and among readers uninstructed in the genius of -their own time were his books remembered and cherished. - -Until, slowly and slowly, opinion has begun to change. Quality has -outstayed vogue, and the latter comes smirking back to the smiles of a -lover yesterday despised. Indeed, Trollope is in a fair way to become -once again the fashion. For a while he will be honoured by the -enthusiasm of the intellectuals. Then, when they have turned their -volatile benevolence to some other quarter, he will settle firmly in the -respect of the critical. And that will at once be fame and his deserts. - -Any summary analysis of Trollope's individual novels is wellnigh -impossible, in view not only of the bulk of his work but also of its -scope and richness of content. His quality is more intangible and at the -same time more concentrated than that of the other writers treated in -this book. “Of all the needs a book has, the chief need is that it be -readable,” wrote Trollope himself. And again: “The primary object of a -novelist is to please.” Readability has, in these latter days, become a -term of condescension. But that is the fault of a superior age, and for -the ten who use the word contemptuously there are ten thousand who, did -they care to do so, would give it an older and a more honourable -meaning. To them, as always to the large public of novel-readers, -fiction, when it is not costume-romance, mystery-story, or topical -propaganda, is a revelation of their own lives. It is this demand for an -expression of emotions in which the normal reader can share that -Trollope so amazingly satisfies. No précis of plot, no indication of -social setting, of character types, nor of period, can in his case -convey the essence of any particular novel. - -Nevertheless his stories fall into certain specific categories, some of -which form actual series of tales with characters reappearing from -volume to volume, while others, although severally independent and -self-contained, may be classified as belonging to one type of fiction or -to another. - -The best known group of novels is that dealing with the society of the -city of Barchester and of the surrounding neighbourhood. _The Chronicles -of Barsetshire_, as they have been called, are six in number: - - THE WARDEN (1855), - BARCHESTER TOWERS (1857), - DOCTOR THORNE (1858), - FRAMLEY PARSONAGE (1861), - THE SMALL HOUSE AT ALLINGTON (1864), and - THE LAST CHRONICLE OF BARSET (1867). - -Although these famous stories undoubtedly contain much of Trollope's -best work, they do not contain the whole of it. It is a mistake to -suppose that they rank altogether higher than his other books, and one -of the most disastrous results of the disfavour into which his novels -fell after their author's death is that a wealth of really first-rate -material, just because it is included in books of which the late -eighties chose to forget the titles, lies hidden to-day and withdrawn -from the enjoyment of modern readers. - -Cases of such unmerited neglect are encountered immediately and among -the novels of Trollope's second continuous and interconnected series. -The “political” stories, like those of Barsetshire, are six in number: - - CAN YOU FORGIVE HER? (1864), - PHINEAS FINN (1869), - THE EUSTACE DIAMONDS (1873), - PHINEAS REDUX (1874), - THE PRIME MINISTER (1876), and - THE DUKE'S CHILDREN (1880). - -It is truly remarkable to what an extent these admirable tales have -fallen into oblivion. Not only do they introduce many of Trollope's most -masterly characters, but they present, vividly and with knowledge, the -minds and manners of the political aristocracy, the social hangers-on, -the Tadpoles and Tapers of the day. Speaking generally, the social -setting of the political novels is different from that of _The -Chronicles of Barsetshire_. Indeed, it could hardly be otherwise, seeing -that the whole series takes its tone from the personalities of -Plantagenet Palliser and his wife Lady Glencora, who, as the stories -progress and by natural course of inheritance, become the Duke and -Duchess of Omnium and the greatest of English nobility. Trollope's -method is not slavishly to serialize the life story of any individual -character or pair of characters. All the political novels have their own -clearly defined plot. They are, however, all tinged with the compelling -personalities of Lady Glencora and her husband, into which Trollope -threw all that he had of art and enthusiasm. - -_Can You Forgive Her?_ is a long novel, concerned primarily with the -troubles of a motherless girl who breaks an engagement with an -oppressively upright man in order to return to a youthful love affair -with a dissipated and unscrupulous cousin. Mr. Grey, the honourable man, -gets in the end the wife he wants; but Trollope does not hesitate to -show fairly the preference of a high-spirited girl for an adventurous -rascal, and there will be many who, when the book is finished, will -regret—a little ashamedly—that virtue has ultimately triumphed. In the -life story of Lady Glencora _Can You Forgive Her?_ is important, for it -pictures her newly married and literally on the verge of running away -from her shy, proud, inarticulate husband, with a beautiful young -reprobate, whose previous intimacy with her the reader may imagine at -his discretion. The fallibility of Lady Glencora is skilfully contrasted -with that of Alice Vavasor, the heroine of the book; their circumstances -are so similar, and yet the young women react to them so differently! - -_Phineas Finn_ is a tale of political ambition. The hero, by whose name -the book is called, is a poor Irishman who comes to seek his fortune in -Parliament. The ups and downs of his career; Lady Laura Kennedy, who -loves him but from family pressure marries millions; Madame Max Goesler, -the fascinating, mysterious widow who rejects flattering if dubious -proposals from the old Duke of Omnium, combine with a mass of other -material to make a really dramatic story that is continued, and equally -well continued, in _Phineas Redux_. - -Not the least remarkable feature of the second of these two books is the -hero's trial for murder. Trollope has a genius for trial scenes, and to -my mind it is an open question whether that in _Phineas Redux_ is not -finer than its more celebrated predecessors in _The Three Clerks_ and in -_Orley Farm_. - -_The Eustace Diamonds_ turns on the personality of Lizzie Eustace, a -selfish but attractive little woman who keeps possession, in the teeth -of lawyers and of her late husband's relations, of certain priceless -jewels to which she has no right whatever. There are two or three -subplots in the story, all of good quality; but the character of Lizzie -Eustace, who, for all her lying and her insincerity and her cheap -smartness, is seductive and appealing, stands out as the book's -essential achievement. - -_The Prime Minister_ and _The Duke's Children_ are the only two novels -of the political series in which Plantagenet Palliser, now Duke of -Omnium, is admittedly the central figure. The former book is so -constructed as to give prominence to the love affair and unhappy -marriage of Emily Wharton with Ferdinand Lopez, a stock gambler and -commercial adventurer. But although the history of the Lopez ménage is -admirably told, and gives scope for the reintroduction of Lizzie -Eustace, as well as other strange and disreputable people, the story of -the first premiership of the Duke of Omnium is the real story of the -book. By the time he came to the writing of _The Prime Minister_, -Trollope had become deeply interested in presenting in the person of the -Duke his ideal conception of an English aristocrat. No praise can be too -high for the skill with which he implies, but does not describe, the -divergent qualities of ambition possessed by the Duke and by his wife. -Throughout the book she is for ever striving to make him in the eye of -the world the greatest gentleman of the greatest kingdom of all time. -He, on the other hand, sees in his position only duty and responsibility -and disappointment. Not the least of his troubles are his wife's -insistence that the life of a public man is never private, and her -expressed conviction that give and take is the essence of political -compromise and therefore of premiership. - -In the interval between _The Prime Minister_ and _The Duke's Children_ -the Duchess of Omnium dies. The unhappy Duke is left to find, if he may, -in the achievements of his children that completeness and success to -secure which he feels that he has himself so utterly failed. Everything -goes awry. His only daughter gives her love to an unknown and penniless -commoner. His younger son, after ragging through his university career, -resorts disastrously to cards and racing. Finally, his heir—Lord -Silverbridge—stands for Parliament in the opposite interest to that of -his father, and, worse still, turns from the girl the Duke has chosen as -his bride, in order to throw his title and prospects at the feet of the -beautiful daughter of an American savant. The Duke struggles against his -own humanity; slowly and unhappily, as is his way, he adjusts himself to -the changing times; at the last he sacrifices his ideals of nobility to -personal affection. _The Duke's Children_ worthily closes a series of -fine novels. In some ways this last story of the political group is the -best, and it speaks a good deal for the author's power of sustained -imagination that he contrived, over a period of sixteen years, to -maintain the interest and develop the vitality of so complex a -collection of characters. - -The rough classifications of novels in themselves independent may, out -of respect for chronology, begin with the stories of Irish life. _The -Macdermotts of Ballycloran_ (1847), _The Kellys and the O'Kellys_ -(1848), _Castle Richmond_ (1860) and _The Landleaguers_ (1883), are the -four books which belong, properly speaking, to this category. Of course -there are Irish scenes in many other novels, for Trollope lived for -years in Ireland, knew it well and loved it, and was for ever -introducing Irishmen and Irish incidents into his work. The books above -mentioned are, however, wholly and deliberately novels about Ireland. -The first two have the faults of very early work, in that they are -prolix and lack that control of character and material that marks the -experienced novelist. Both, however, are worth reading, and the plot of -_The Kellys_ needs no excuse on the score of inexperience. _Castle -Richmond_, however, is definitely an unsuccessful book. It is packed -with information about the Irish famine, and the story is -over-melodramatic for Trollope's method. One of his most characteristic -qualities as a novelist is his refusal to keep the reader in suspense. -In direct contrast to Wilkie Collins, he goes out of his way to explain, -as he comes to it, each seemingly inexplicable event. It is as though he -scorns to save himself the trouble of characterization by erecting -between himself and the reader a screen of mystery. For this reason, the -secret power exercised by the unsavoury Molletts over Sir Thomas -Fitzgerald is, because it soon ceases to be secret, a weak foundation -upon which to erect a story. _The Landleaguers_, the book left -unfinished by Trollope when he died, is concerned to present the social -condition of Ireland in the early eighties, as was _Castle Richmond_ to -depict that of the famine-ridden forties. And yet what a difference! In -_The Landleaguers_ the novelist presents his picture of politics in his -actual story. There are no passages of blue-book instructionalism, but -it is doubtful whether a more vivid impression of the state of Ireland -at the time can be obtained from any other source. Even if there were no -others among Trollope's old-age novels to disprove the theory, _The -Landleaguers_ alone should put an end to the contention that toward the -end of his life he had lost his cunning or written himself out. - - * * * * * - -It is now necessary to examine that large and heterogeneous collection -of novels which, from one point of view or another, satirize -contemporary life or present some definite aspect of the English social -scene. Let me once more insist that the classification of Trollope's -books here attempted should not be understood too literally. All the -Barchester novels, all the political novels, are in one sense wholly -presentments of society; in the same way many of them contain passages -definitely satirical. But they have other claims to special grouping -which the numerous isolated stories now to be considered do not possess; -and, while satire is mainly incidental to the tales of Barchester and to -those of political life, it is in some at least of Trollope's other -books the principal purpose of the story. - -First, then, the books which may fairly be termed books of social -satire. The earliest in date is _The Bertrams_, which, although the -situations and characters are of the kind which Trollope was to make -essentially his own, is a failure even more complete than _Castle -Richmond_. The central theme is one to which the author more than once -returns. Caroline Waddington rejects George Bertram for reasons of -income and prospects. She marries his successful lawyer friend, only to -find that she has sold herself to a greedy tyrant. The parallel case of -Julia Brabazon and Harry Clavering immediately suggests itself; but -where in _The Claverings_ Trollope achieves an intense humanity, in _The -Bertrams_ he is dully mechanical. He allows the subsidiary plots to -disturb and obscure his main story. When, as frequently, he attempts the -comic in social enjoyment he comes clumsily to grief. The widow's -seaside picnic in _Can you Forgive Her?_ has only to be contrasted with -the excursion from Jerusalem described in _The Bertrams_ to make clear -the difference between successful and unsuccessful satire. And yet there -are points in _The Bertrams_. The close-fisted old man, the disposal of -whose money provides the motive of most of the incident, is drawn with -consistent restraint. There are touches in the description of society at -Littlebath that prepare the reader for the pleasure of _Miss Mackenzie_. -On the whole the book should be read. It is Trollope “off” (or rather -“not yet on to”) his game, but it was published at an important moment -in his career and helps to make clear his subsequent development. - -_Rachel Ray_ (1863) and _Miss Mackenzie_ (1865) may, without any -critical licence, be considered together. Both are bitter satires on -Evangelical Christianity. Trollope inherited from his mother a hatred of -the brimstone school of religious teachers, and in these novels he lets -himself go with considerable effect. The earlier of the two books -contains comparatively few characters, and those of modest social -position. Rachel herself is delightful and gives to the book, despite -its obvious weaknesses of construction, a freshness and charm that is -very pleasing. Mrs. Prime and her horrible clerical admirer are frankly -caricature, but that they should be so is not unnatural, seeing that -they represent the very puritanism that the book is intended to attack. - -In _Miss Mackenzie_ we are given the story of a spinster of thirty-five, -to whom unexpectedly a small fortune is bequeathed. She becomes -immediately the quarry of fortune hunters—shabby social, religious, and -commercial. Some of the best scenes in the story are staged in -Littlebath, where Miss Todd and Miss Baker (who help to retrieve _The -Bertrams_ from disaster) make welcome reappearance. As satire the novel -is more dexterous than _Rachel Ray_, but it lacks the attraction of a -real Trollope heroine, and throughout has a faint tinge of the sordid. -It is interesting to note on page 242 of the second volume a mention of -Lady Glencora Palliser, whom Trollope had 'presented' in _Can you -Forgive Her?_ - -Not until 1875 did Trollope publish another definitely satirical novel. -When he did so, the event marked an important stage in his evolution as -a novelist. Critics had begun to grumble at comedies of manners, which -spoke of the suavity of yesterday rather than of the competitive hustle -of to-day. England was moving step by step along the road to -commercialism. Trollope, with his county and clerical families, his -political aristocrats and comic tuft-hunters, was shrugged aside as out -of date. Such treatment was intolerable, and, with a gesture half -impatient, half appealing, he sent out into the world _The Way We Live -Now_. This long and crowded novel—perhaps, with the exception of _The -Last Chronicle of Barset_, the most abundant of all his books—presents, -in the person of Mr. Melmotte, the financial magnate of alien origin -proper to a truly modern story of English life. Whether the cavillers, -whose complaints spurred Trollope to so violent an effort, admitted, -after reading _The Way We Live Now_, that the old dog could in truth -out-modern the best of them, history does not relate; but undeniably -this book, in which he asserted his vitality and showed that in the -matter of satiric observation he was well abreast of the times, has no -lack of vigour or luxuriant invention. - -That _Mr. Scarborough's Family_ (1883) may reasonably be said to -conclude the list of Trollope's satirical novels is perhaps disputable. -And yet, because its power is mainly ironic, I prefer to mention it here -rather than treat of it as a purely social story. A while ago one -example was quoted of a first-rate book from Trollope's last period. -_Mr. Scarborough's Family_ is another. - -An aged and wealthy cynic suddenly (and, as it turns out, with -deliberate falsehood) makes public the illegitimacy of his eldest son. -With the complications of inheritance, with the changing relations -between old Mr. Scarborough and his two sons, of whom the elder is now -destitute and the latter coldly triumphant in his unexpected good -fortune, is involved an elaborate second plot, centring round the love -story of an amiable young man, whose fortunes depend on the favour of a -peevish and eccentric uncle. Analysis of a tale so full of happening and -character is impossible in a few lines. Sufficient to say that _Mr. -Scarborough's Family_, were it not for the date on its title-page, might -be thought to belong to a much earlier period, not only of Trollope, but -of fiction as a whole, to a period more lavish than subtle, more genial -and full-blooded than detached and sensitive. - -With _The Three Clerks_ (1858) opens the chronology of those novels -which, although partially satirical, are in the main straightforward -stories of English cultivated life. _The Three Clerks_ is one of the few -Trollope novels that has been seriously overrated. In its pages Mr. -Chaffanbrass, the notorious Old Bailey lawyer, makes his first -appearance, but he is infinitely more effective in _Orley Farm_ and in -_Phineas Finn_ than at his first entrance on the Trollope stage. In so -far as _The_ _Three Clerks_ gives a picture of the Civil Service that -the author himself knew, it has documentary value, but as fiction it is -formless and flaccid. Its young women are wholly devoid of that -freshness and frankness that place Trollope, as a creator of femininity, -apart from all other novelists of his generation; its menfolk are either -riotous dummies like those in Smedley's novels, or prigs and villains, -compounded so slavishly by recipe as to have little meaning beyond that -of the conventional types they represent. - -Of _Orley Farm_ (1862) it is unnecessary to speak, the novel being one -of the two or three outside the Barchester series which are still read -to-day. _The Belton Estate_ (1866), on the other hand, badly needs -rehabilitation. Henry James, in a review written when quite a young man, -concluded a long paragraph of hostile criticism with the words: “_The -Belton Estate_ is a stupid book.” One may venture that the obtuseness -was not all on one side. Using a cast of four principal and as few -subsidiary characters, Trollope fills three good volumes with the -matrimonial dilemma of Clara Amedroz, who has to choose between the -uncouth, well-to-do farmer to whom passes her thriftless father's -estate, and the polished, self-seeking Captain Aylmer—in parlance, -though not in fact, also her cousin—who offers her marriage because at -the deathbed of his rich aunt and as part condition of becoming her heir -he swore to do so. _The Belton Estate_ has, to a greater degree than any -other of Trollope's books, that art of concealing art which delights one -type of mind, but by another is dismissed as “stupid.” In a sense it is -the most difficult to appreciate of all the important novels, and, were -an examination in Trollope a thing of practical import, the examining -board would be wise to make this book the test question of their paper. - -_The Claverings_ (1867) and _He Knew He Was Right_ (1869) are very long -books, each of which turns on a theme highly characteristic of the -author. Mention has already been made of Julia Brabazon, heroine of the -former book, who jilts the nobody she loves for a rich invalid peer. The -price she has to pay is counted in full in the pages of _The -Claverings_, which also introduce a number of excellent characters, from -Sir Hugh Clavering, hard, savage, and selfish, to Sophie Gordeloup and -her scoundrelly brother, who play so desperately for the wealth and -person of Lord Ongar's lonely and embittered widow. _He Knew He Was -Right_ describes the steady growth in a husband's mind of unjust -suspicion of his wife's fidelity. As a crescendo of hysterical mistrust, -the book is a fine piece of sustained writing. As a novel, it would be -gloomy and distressing but for an admirable and humorous by-plot laid in -cathedral Exeter. It would, perhaps, be hypercritical and unappreciative -of his adroit handling of incident to blame the author for the very -liberal use of coincidence with which he aids the progress of his story. - -Of the six social novels that remain, one is first-rate, three are very -good second-rate, one is ordinary second-rate and the last frankly bad. -_Is He Popenjoy?_ (1878) may rank with _The Claverings_ as a book -undeservedly excluded from the upper room of every Trollope-lover's -mind. The Dean of Brotherton, son of a jobmaster, father of the heroine -and ultimately grandfather of a marquis, is a Trollope dignitary of the -first water. His daughter is as eminent in the world of heroines as is -her father in that of ecclesiastics. She is gay, loving, whimsical, -courageous, and always natural. Her dour husband with his excessive -sense of duty and inadequate sense of humour; her aristocratic -sisters-in-law, shrouding in ill-nature and good works the emptiness of -their lives and purses; the society siren; the society matchmaker; and -perhaps above all the ill-tempered, dissolute marquis, on the legitimacy -of whose son turns the whole mechanism of the story, are each one of -them fictional characters that only a master could create. - -_Ralph The Heir_ (1871)—the plot of which was pirated by Charles Reade -and dramatized under the title _Shilly Shally_—contains some good -characters and perhaps the best parliamentary election of all those -contrived by its author. The troubles and difficulties of the shy, -ineffective Sir Thomas Underwood, and the determination of Mr. Neefit, -the breeches-maker, to buy up a bankrupt young squire as husband for his -daughter would give distinction to any story. _Lady Anna_ (1874) is a -delicate elaboration of Trollope's favourite motif—projected or (as in -this case) actual misalliance. _The American Senator_ (1877) contains -some excellent hunting and much good general observation. _Ayala's -Angel_ (1881), like _The Belton Estate_ but less pronouncedly, is a book -that must be read to be realized, for it is quiet Trollope and a thing -of shades rather than one of definite, contrasted colours. - -There remains _Marion Fay_ (1882), once again a tale of misalliance. -This is undeniably the worst book that its author ever wrote. Everywhere -but here he contrives to keep either his hero or his heroine (and more -frequently both) sympathetic, sensible, and convincingly normal; but in -_Marion Fay_ he sinks to mawkishness and to a deathbed scene that is -frankly inexcusable. - - * * * * * - -Plenty of novels still remain of this astonishing and untiring writer. -They may, however, be somewhat summarily dismissed. The most interesting -group is that of the short, single-theme stories which succeeded the -publication of _The Way We Live Now_. It is not unreasonable to -attribute to the mood of challenge in which that novel was sent out the -noticeable change in the author's method during the years that followed. -It is as though he had determined to try his hand at the psychological -analysis which was just coming into fashion among novelists. And so we -are given in quick succession six little books, each written round a -single event or describing the reactions of one individual to a definite -set of circumstances. The titles are as follow: - - AN EYE FOR AN EYE (1879), - COUSIN HENRY (1879), - DOCTOR WORTLE'S SCHOOL (1881), - THE FIXED PERIOD (1882), - KEPT IN THE DARK (1882), - AN OLD MAN'S LOVE (1884). - -It so happened that _An Eye for An Eye_ was written before the -publication of _The Way We Live Now_, although not published until some -while after. It is, however, clearly the product (if an unconscious one) -of the same impulse as gave birth to the other books, and its theme—the -struggle in the mind of a young Englishman between pride of family and -desire to fulfil a marriage promise to a girl who has become his -mistress—is a theme of the type peculiar to these six brief stories and -distinctly foreign to Trollope's more bulky and eventful work. - -A further group of five stories may roughly be termed Trollope's -“oversea” novels. The first three—_Nina Balatka_ (1867), _Linda Tressel_ -(1868), and _The Golden Lion of Granpere_ (1872)—were written more or -less intentionally to form a distinct trio. They are semi-romantic -tales, staged respectively in old Prague, in old Nürnberg, and among the -Vosges mountains; pleasant enough, but quite definitely of minor -importance. The first two were published anonymously but achieved little -success, and were later reissued over the author's name. _Harry -Heathcote of Gangoil_ (1874) and _John Caldigate_ (1879) are novels of -Australia, based on the knowledge of that continent which the author -gained when visiting one of his sons who had established himself there. -I understand that as pictures of Australian life they are vivid and -reliable. Be that as it may, the untutored reader, seeking only for -Trollope, will find him abundantly in _Harry Heathcote_, which is an -eventful, almost an adventurous story, and to a very satisfying degree -in the longer book that appeared five years later. - -Of Trollope's various volumes of short stories nothing need here be -said. Of _Sir Harry Hotspur of Humblethwaite_ (1871) there is little -that can be said. Of _The Struggles of Brown, Jones, and Robinson_ -(1870) there is much that had better be left unsaid. One important -full-length novel remains, good in itself and at the same time -remarkable as the only one of the author's tales in which he arms -himself formally as a social crusader. - -_The Vicar of Bullhampton_ (1870) is a novel written in defence of the -“fallen woman.” It is quaint to read Trollope's solemn and tactful -preface, in which he almost apologizes to his public for venturing on -such indelicate ground. Fortunately the book is so feeble as propaganda -that, but for the preface, one would be unaware that it was written with -any special purpose. It can be enjoyed as a good story of village life, -with a delightful parson as central figure and the necessary complement -of charming Trollope ladies, gruff farmers, lonely landowners, and -aggressive Nonconformity. - -This novel, like all Trollope's really good work, impresses the reader -first and foremost with its Englishry. Perhaps it would not be too much -to say that the very greatness of the author himself springs from this -same quality. He is intensely English, with the quiet humour, the shy -sympathy masquerading as indifference, the delicate sense of kindliness -and toleration, the occasional heaviness, the occasional irritability, -that mark a man or a book as English. But if to these qualities he owes -his place in our proud heritage of literature, to them also he owes the -tarrying of due recognition, for they and the natures that possess them -are of all qualities and of all natures the most difficult to impress -upon the sceptical outsider, seeing that their very beauty and -preciousness and power lie in their elusiveness. - - - _BIOGRAPHY_ - - ANTHONY TROLLOPE: HIS WORK, ASSOCIATES AND LITERARY ORIGINALS. By T. - H. S. ESCOTT. London: John Lane, 1913. - -This book will be of interest to the general reader, although it is -rather overloaded with analyses of novel-plots and the arrangement is -not ideal. - -By far the most valuable feature of the volume is the bibliography of -Trollope by Margaret Lavington included at the end. For the help this -careful and documented compilation has given me I wish to make -acknowledgment, although I have throughout worked independently and from -original sources and taken none of the facts hereafter given without -verification. Miss Lavington's descriptions lack certain details -essential to the collector, she makes one or two actual mistakes, but, -within the limits she has laid down for herself, her work is wonderfully -complete and accurate. - - - I.—EDITIONES PRINCIPES - FICTION, BIOGRAPHY, TRAVEL-BOOKS, ESSAYS, ETC. - - - 1847 - - THE MACDERMOTTS OF BALLYCLORAN. By Mr. A. TROLLOPE. London: Thomas - Cautley Newby, Publisher, 72 Mortimer Street, Cavendish Square. - 1847. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. (ii) + 345 + (1). - - Vol. II. pp. (ii) + 382. - - Vol. III. pp. (ii) + 437 + (1). - - No half-titles. Boards, half-cloth, paper label. White end-papers. - Also in dark brown cloth, gilt, blocked in blind. Pale yellow - end-papers. - - NOTE—On the title-page of Vol. III. “Mortimer” should be - spelt “Morimer.” In the same volume, p. 437 is mis-paged - “743.” Copies of the first edition were reissued in 1848 - with title-pages so dated and differently worded, but with - no indication of reprint. On this second title-page the - misprint is corrected. The wording is as follows: - - THE MACDERMOTTS OF BALLYCLORAN: A Historical Romance. By A. TROLLOPE, - Esq., author of _The Kellys and the O'Kellys_. London: T. C. Newby, - 72 Mortimer Street, Cavendish Square. 1848. - - - 1848 - - THE KELLYS AND THE O'KELLYS: Or LANDLORDS AND TENANTS. A Tale of Irish - Life. By A. TROLLOPE, Esq. London: Henry Colburn, Publisher, Great - Marlborough Street. 1848. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (ii) + 298. - - Vol. II. pp. (ii) + 298. - - Vol. III. pp. (ii) + 285 + (1). Publisher's catalogue, 24 pp., - undated, bound in at end. - - No half-titles. Paper boards (half-cloth), paper label. White - end-papers. - - NOTE—This book was published in July, 1848. - - - 1850 - - LA VENDÉE: An Historical Romance. By ANTHONY TROLLOPE, Esq. London: - Henry Colburn, Publisher, Great Marlborough Street. 1850. 3 vols. - Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (iv) + 320. - - Vol. II. pp. (iv) + 330. - - Vol. III. pp. (ii) + 313 + (1). No half-title to this volume. - Publisher's advertisement occupies p. (314). Publisher's catalogue, - 16 pp., undated, bound in at end. - - Paper boards, paper label. White end-papers. - - NOTE—This book was published in June, 1850. - - - 1855 - - THE WARDEN. By ANTHONY TROLLOPE. London: Longman, Brown, Green and - Longmans. 1855. 1 vol. Ex. Cr. 8vo. (4¾ × 7¾). Pp. iv + 336. No - half-title. Publishers' catalogue, 24 pp., dated September, 1854, - bound in at end. Pale brown cloth, gilt, blocked in blind. Brick-red - end-papers printed on inside front and inside back covers with - publishers' advertisements. - - NOTES—(i) This book was published in January, 1855. An - edition of 1,000 copies was printed, of which 600 were sold - during the first eighteen months of publication. The balance - of 400 was bound, very nearly uniform with the first issue, - in 1858 and a catalogue dated with that year inserted at - end. - - (ii) In 1879 Chapman and Hall published, under the series - title _Chronicles of Barsetshire_, Trollope's novels dealing - with the city and district of Barchester. _The Warden_ was - the first volume of this reissue, and was preceded by a - brief introduction by Trollope not previously published. - - - 1857 - - BARCHESTER TOWERS. By ANTHONY TROLLOPE, author of _The Warden_. - London: Longman, Brown, Green, Longmans and Roberts. 1857. 3 vols. - Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 305 + (3). Publishers' advertisements occupy pp. - (307) and (308). Advertisement of _The Warden_ occupies p. (ii). - Half-title to this volume. - - Vol. II. pp. iv + 299 + (1). No half-title. - - Vol. III. pp. iv + 321 + (3). No half-title. Publishers' - advertisements occupy pp. (323) and (324). - - Pale brown cloth, gilt, blocked in blind. Brick-red end-papers - printed with publishers' advertisements. - - NOTE—This book was published in May, 1857. The earliest - issue had end-papers of a much redder brown than those used - for later bindings of the first edition sheets. The latter - can also be identified by the date of a publishers' - catalogue bound in at the end of Vol. I. - - - 1858 - - THE THREE CLERKS: A Novel. By ANTHONY TROLLOPE, author of _Barchester - Towers_ etc. London: Richard Bentley, New Burlington Street. 1858. 3 - vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. iv + 340. - - Vol. II. pp. iv + 322 + (2). - - Vol. III. pp. iv + 334 + (2). - - No half-titles. Paper boards, half cloth, paper label. White - end-papers. Also in dark grey-purple watered cloth, gilt, blocked in - blind, with yellow end-papers. - - NOTES—(i) Although dated 1858, this book was actually - published in December, 1857. - - (ii) I have seen a copy of this book in a binding of the - grey-purple cloth above mentioned, but with paper labels as - employed on the half-cloth edition. - - - 1858 - - DOCTOR THORNE: A Novel. By ANTHONY TROLLOPE, author of _The Three - Clerks_, _Barchester Towers_ etc. London: Chapman and Hall, 193 - Piccadilly. 1858. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. iv + 305 + (3). Publishers' catalogue, 32 pp., dated - April, 1858, bound in at end. - - Vol. II. pp. iv + 323 + (1). - - Vol. III. pp. iv + 340. - - No half-titles. Dark grey-purple cloth, gilt, blocked in blind. Pale - green end-papers. - - NOTE—This book was published in June, 1858. - - - 1859 - - THE BERTRAMS: A Novel. By ANTHONY TROLLOPE, author of _Barchester - Towers_, _Doctor Thorne_ etc. London: Chapman and Hall, 193 - Piccadilly. 1859. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. iv + 335 + (1). - - Vol. II. pp. iv + 344. - - Vol. III. pp. iv + 331 + (1). - - No half-titles. Dark grey-purple cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This novel was published in March, 1859. - - - 1859 - - THE WEST INDIES AND THE SPANISH MAIN. By ANTHONY TROLLOPE, author of - _Barchester Towers_, _Doctor Thorne_, _The Bertrams_ etc. London: - Chapman and Hall, 193 Piccadilly. 1859. 1 vol. Demy 8vo (5½ × 8¾). - Pp. iv + 395 + (1). Publishers' catalogue, 32 pp., dated November, - 1859, bound in at end. No half-title. Coloured map printed - separately facing title. Maroon cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTES—(i) This book was published in October, 1859. - - (ii) It is possible that the earliest copies of all - contained no publishers' catalogue, but I have been unable - to find a copy with a catalogue dated earlier than that - mentioned above. - - - 1860 - - CASTLE RICHMOND: A Novel. By ANTHONY TROLLOPE, author of _Barchester - Towers_, _Doctor Thorne_, _The West Indies and the Spanish Main_ - etc. London: Chapman and Hall, 193 Piccadilly. 1860. 3 vols. Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. vi + 303 + (1). - - Vol. II. pp. (vi) [p. vi is erroneously numbered iv] + 300. - - Vol. III. pp. vi + 289 + (1). Publishers' catalogue, 32 pp., dated - May, 1860, bound in at end. - - Dark grey-purple cloth, gilt, blocked in blind. Yellow end-papers. - - NOTE—This book was published in May, 1860. - - - 1861 - - FRAMLEY PARSONAGE. By ANTHONY TROLLOPE, author of _Barchester Towers_ - etc. etc. With 6 illustrations by J. E. Millais, R.A. London: Smith - Elder and Co., 65 Cornhill. MDCCCLXI. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝). - - Vol. I. pp. (iv) + 333 + (3). - - Vol. II. pp. (iv) + 318 + (2). - - Vol. III. pp. (iv) + 330 + (2). Publishers' catalogue, 14 pp., dated - April, 1861, bound in at end. - - No half-titles. Each volume contains two line-engraved illustrations - printed separately. Grey-purple cloth, blocked in gold and blind. - Yellow end-papers. - - NOTE—This book was published in May, 1861. The story - appeared serially in the “Cornhill.” - - - 1861 - - TALES OF ALL COUNTRIES. By ANTHONY TROLLOPE, author of _Barchester - Towers_, _Doctor Thorne_, _The West Indies and the Spanish Main_. - London: Chapman and Hall, 193 Piccadilly. 1861. 1 vol. Ex. Cr. 8vo - (4¾ × 7¾). Pp. (iv) + 312. Publishers' catalogue, 32 pp., dated - November, 1861, bound in at end. No half-title. Blue embossed cloth, - gilt, blocked in blind. Bright blue end-papers. - - _Contents_: La Mère Bauche—The O'Conors of Castle Conor—John - Bull on the Guadalquivir—Miss Sarah Jack, of Spanish Town, - Jamaica—The Courtship of Susan Bell—Relics of General - Chassé—An Unprotected Female at the Pyramids—The Château of - Prince Polignac. - - NOTE—This book was published in November, 1861. - - - 1862 - - ORLEY FARM. By ANTHONY TROLLOPE, author of _Doctor Thorne_, - _Barchester Towers_, _Framley Parsonage_ etc. With illustrations by - J. E. Millais. London: Chapman and Hall, 193 Piccadilly. 1862. 2 - vols. Demy 8vo (5½ × 8¾). - - Vol. I. pp. viii + 320. Publishers' catalogue, 32 pp., dated - October, 1861, bound in at end. - - Vol. II. pp. viii + 320. - - Each volume contains twenty illustrations. Brown-purple embossed - cloth, blocked in gold and blind. Pale yellow end-papers. - - This story originally appeared in twenty demy 8vo one shilling - parts, dated March (1861) to October (1862), bound in fawn wrappers - printed in blue and red, and containing the illustrations by J. E. - Millais afterwards included in the two-volume edition. Each part - contains two illustrations. - - NOTE—The first volume of this novel was published in book - form on December 3, 1861; the second volume on September 25, - 1862. Both title-pages are, however, dated 1862. - - - ORLEY FARM: PART ISSUE. - - The following advertisement pages, etc., should be found in - a complete set. The advertisements at the front of each - number are headed: “Orley Farm Advertiser.” All wrappers - except front covers are printed with advertisements. - - _Part I: Front_—16 pp., dated March, 1861. _Back_—10 pp., - unnumbered, of which the first two on pink paper. - - _Part II: Front_—8 pp., dated 1861. _Back_—4 pp., - unnumbered, of which the first two on yellow paper. - - _Part III: Front_—8 pp., dated May, 1861. _Back_—2 pp., - unnumbered, on lilac paper. - - _Part IV: Front_—8 pp., dated June, 1861. _Back_—2 pp., - unnumbered, on pale yellow paper. - - _Part V: Front_—8 pp., dated July, 1861. _Back_—4 pp., - unnumbered, of which the first two on lilac paper. - - _Part VI: Front_—Inset slip of yellow paper advertising the - serialization in “Great Expectations” of _A Strange Story_, - by Lytton. 8 pp., dated August, 1861. _Back_—6 pp., - unnumbered, of which the first two on yellow paper, the - third in coloured lithograph, the fifth and sixth on pink - (or green) paper, the fifth being blank and a sample of - cambric frilling being attached to the sixth. - - _Part VII: Front_—8 pp., dated September, 1861. _Back_—4 - pp., unnumbered, of which the first printed in colours, and - the last two a foolscap 8vo leaflet on blue paper - advertising “The Queen.” - - _Part VIII: Front_—8 pp., dated October, 1861. _Back_—2 pp., - unnumbered, on pale yellow paper. - - _Part IX: Front_—8 pp., dated November, 1861. _Back_—nil. - - _Part X: Front_—8 pp., dated December, 1861. _Back_—2 pp., - unnumbered, on yellow paper. [_Note_—This part contains - half-title, title, contents and list of illustrations (in - all 8 pp.) to Volume I.] - - _Part XI: Front_—8 pp., dated January, 1862. _Back_—12 pp., - unnumbered. - - _Part XII: Front_—8 pp., dated February, 1862. _Back_—2 pp., - unnumbered, on pale yellow paper. - - _Part XIII: Front_—Inset slip of yellow paper advertising - the serialization in “All the Year Round” of _No Name_, by - Wilkie Collins. 8 pp., dated March, 1862. _Back_—4 pp. - - _Part XIV: Front_—8 pp., dated April, 1862. _Back_—8 pp., of - which the first two (unnumbered) are on blue paper, the next - four are numbered, and the last two unnumbered. - - _Part XV: Front_—8 pp., dated May, 1862. _Back_—12 pp., of - which 1-4 unnumbered and the rest a publishers' catalogue - paged (1) to 8 and dated April 25, 1862. - - _Part XVI: Front_—8 pp., dated June, 1862. _Back_—10 pp., of - which the first two (unnumbered) are on yellow paper and the - remainder are a publishers' catalogue paged (1)-8 and dated - April 25, 1862. - - _Part XVII: Front_—8 pp., dated July, 1862. _Back_—4 pp. - - _Part XVIII: Front_—8 pp., dated August, 1862. _Back_—6 pp., - unnumbered, of which the first two on green paper. - - _Part XIX: Front_—8 pp., dated September, 1862. _Back_—4 pp. - - _Part XX: Front_—8 pp., dated October, 1862. _Back_—12 pp., - of which the first two unnumbered and on orange paper, the - next two unnumbered, and the remainder a publishers' - catalogue paged (1)-8 and dated September 24, 1862. - [_Note_—This part contains half-title, title, contents and - list of illustrations (in all 8 pp.) to Volume II.] - - - 1862 - - NORTH AMERICA. By ANTHONY TROLLOPE, author of _The West Indies and the - Spanish Main_, _Doctor Thorne_, _Orley Farm_ etc. London: Chapman - and Hall, 193 Piccadilly. 1862. 2 vols. Demy 8vo (5½ × 8¾). - - Vol. I. pp. viii + 467 + (1). Publishers' catalogue, 32 pp., dated - May, 1862, bound in at end. - - Vol. II. pp. viii + 494 +(2). - - In Vol. I. a folding map is inserted facing p. 1. Maroon embossed - cloth, gilt, blocked in blind. Chocolate end-papers. - - NOTE—This book was published in May, 1862. - - - 1863 - - TALES OF ALL COUNTRIES: Second Series. By ANTHONY TROLLOPE. London: - Chapman and Hall, 193 Piccadilly. 1863. 1 vol. Ex. Cr. 8vo (4¾ × - 7¾). Pp. (iv) + 371 + (1). No half-title. Blue embossed cloth, gilt, - blocked in blind. Uniform with _Tales of All Countries_: First - Series. Pale yellow end-papers. - - _Contents_: Aaron Trow—Mrs. General Talboys—The Parson's - Daughter of Oxney Colne—George Walker at Suez—The Mistletoe - Bough—Returning Home—A Ride Across Palestine—The House of - Heine Brothers in Munich—The Man Who Kept His Money in a - Box. - - NOTE—This book was published in February, 1863. - - - 1863 - - RACHEL RAY: A Novel. By ANTHONY TROLLOPE, author of _Barchester - Towers_, _Castle Richmond_, _Orley Farm_ etc. London: Chapman and - Hall, 193 Piccadilly. 1863. 2 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. iv + 319 + (1). - - Vol. II. pp. iv + 310 + (2). - - No half-titles. Maroon cloth, gilt, blocked in blind. Cream - end-papers. - - NOTE—This book was published in October, 1863. - - - 1864 - - THE SMALL HOUSE AT ALLINGTON. By ANTHONY TROLLOPE. With 18 - illustrations by J. E. Millais, R.A. London: Smith Elder and Co., 65 - Cornhill. MDCCCLXIV. 2 vols. Demy 8vo (5½ × 8⅝). - - Vol. I. pp. (iv) + 312. - - Vol. II. pp. (iv) + 316. - - No half-titles. Vol. I. contains ten illustrations, and Vol. II. - eight illustrations. Green embossed cloth, blocked in gold and - blind. Chocolate end-papers, printed with publishers' - advertisements. - - NOTE—This book was published in March, 1864, and completed - its serial run in the “Cornhill” the month following. - - - 1864 - - CAN YOU FORGIVE HER? By ANTHONY TROLLOPE, author of _Orley Farm_, - _Doctor Thorne_, _Framley Parsonage_ etc. With illustrations. - London: Chapman and Hall, 193 Piccadilly. 1864. [1865, Vol. II.] 2 - vols. Demy 8vo (5½ × 8¾). - - Vol. I. pp. (viii) + 320. - - Vol. II. pp. (viii) + 320. - - Vol. I. contains twenty etched illustrations by Phiz, and Vol. II. - twenty illustrations [by a Miss Taylor], all printed separately. Red - embossed cloth, blocked in gold and blind. Yellow end-papers. - - This story originally appeared in twenty demy 8vo one shilling - parts, dated January, 1864, to August, 1865, bound in fawn paper - wrappers printed in blue and red, and containing the illustrations - afterwards included in the two-volume edition. Each part contains - two illustrations. - - NOTE—The first volume of this novel appeared in book form on - October 1, 1864, the second volume in August, 1865. The - title-pages are dated differently. - - - CAN YOU FORGIVE HER?: PART ISSUE. - - The following advertisement pages, etc., should be - found in a complete set. The advertisements at the - front of each number are headed “Can you Forgive Her? - Advertiser.” All wrappers, except front cover, are - printed with advertisements. - - _Part I: Front_—8 pp., dated January, 1864. _Back_—14 pp., - of which the first two unnumbered on buff paper, the next - four printed in blue on white paper, and the remainder a - publishers' catalogue paged 1-8 and dated January 1, 1864. - - _Part II: Front_—4 pp., dated February, 1864. _Back_—2 pp., - unnumbered, on pink paper. - - _Part III: Front_—4 pp., dated March, 1864. _Back_—6 pp. - - _Part IV: Front_—4 pp., dated April, 1864. Between pp. 2 and - 3 an inset slip on green paper advertising the part issue of - Dickens' _Our Mutual Friend_. _Back_—8 pp., of which the - first two on yellow paper and unnumbered, the second two - unnumbered, and the remainder a publishers' catalogue paged - 1-4 and dated April 1st, 1864. - - _Part V: Front_—4 pp., dated May, 1864. _Back_—14 pp., of - which the first four paged 1-4, the next two a reproduction - on green paper of the wrapper of Part I of _Our Mutual - Friend_, and the remainder a publishers' catalogue paged 1-8 - and dated April 30, 1864. - - _Part VI: Front_—4 pp., dated June, 1864, and printed on - buff paper as wrapper. _Back_—14 pp., of which the first - four and the publishers' catalogue the same as in Part V. A - wrapper of _Our Mutual Friend_, this time of Part II, - completes the total. - - _Part VII: Front_—4 pp., dated July, 1864, printed on buff - paper as wrapper. _Back_—2 pp., unnumbered, on yellow paper. - - _Part VIII: Front_—4 pp., dated August, 1864, printed on - buff paper as wrapper. _Back_—4 pp., numbered 1-4. - - _Part IX: Front_—4 pp., dated September, 1864, printed on - buff paper as wrapper. _Back_—Inset slip of yellow paper - announcing the serialization in “All the Year Round” of - _Never Forgotten_, by the author of _Belladonna_. 2 pp., - unnumbered, on yellow paper. - - _Part X: Front_—4 pp., dated September [sic], 1864, printed - on buff paper as wrapper. In later issues “September” - corrected to October. _Back_—8 pp., of which the last four a - publishers' catalogue paged 1-4 and dated October 1, 1864. - [_Note_—This part contains half-title, title, contents and - list of illustrations (in all 8 pp.) to Volume I. It is also - the last part illustrated by Hablot K. Browne.] - - _Part XI: Front_—4 pp., dated November, 1864, and printed on - buff paper as wrapper. _Back_—6 pp., of which 1-4 on lilac - (or blue) paper. [_Note_—Although the illustrator had - already been changed, the wrapper to this part still bears - the name of H. K. Browne.] - - _Part XII: Front_—4 pp., dated December, 1864, printed on - buff paper as wrapper. Inset slip on yellow paper announcing - _Mrs. Lirriper's Legacy_ as Christmas number to “All the - Year Round.” _Back_—8 pp., of which the last four a - publishers' catalogue paged 1-4 and dated November 25. - - _Part XIII: Front_—4 pp., undated and printed on buff paper - as wrapper. _Back_—2 pp., of which the first printed in - lilac. - - _Part XIV: Front_—4 pp., undated and printed on buff paper - as wrapper. _Back_—Inset slip of green paper and 2 pp. - unnumbered, printed on yellow. - - _Part XV: Front_—4 pp., undated and printed on buff paper as - wrapper. _Back_—Inset slip of blue paper and publishers' - catalogue 4 pp., dated February 28, 1865. Inset slip on - white paper advertising the part issue of the _Headless - Horseman_, by Captain Mayne Reid. - - _Part XVI: Front_—4 pp., undated, printed on buff paper as - wrapper. _Back_—Inset slip of yellow paper announcing the - serialization in “All the Year Round” of _Half a Million of - Money_, by Amelia B. Edwards. 6 pp., of which the last four - on pink paper. - - _Part XVII: Front_—4 pp., undated and printed on buff paper - as wrapper. _Back_—Nil. - - _Part XVIII: Front_—4 pp., undated and printed on buff paper - as wrapper. _Back_—Nil. - - _Part XIX: Front_—4 pp., undated and printed on buff paper - as wrapper. _Back_—8 pp., unnumbered, of which the first - four on pale blue paper. - - _Part XX: Front_—4 pp., undated and printed on buff paper as - wrapper. _Back_—Nil. [_Note_—This part contains half-title, - title, contents and list of illustrations (in all 8 pp.) to - Volume II.] - - - 1865 - - MISS MACKENZIE. By ANTHONY TROLLOPE. London: Chapman and Hall, 193 - Piccadilly. 1865. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. vi + 312. - - Vol. II. pp. vi + 313 + (3). Advertisement of works by the same - author occupies p. (315). - - Maroon cloth, gilt, blocked in blind. Yellow end-papers. - - NOTES—(i) This book was published in March, 1865. - - (ii) A binding of dark green cloth is more frequently seen - than that of maroon, but it is fairly certain that the - latter is really the first issue. I have come to this - conclusion after a study of other publications, for binding - which the two types of cloth used for _Miss Mackenzie_ were - employed. Both are patterned cloths, but differently - patterned. That used in maroon for _Miss Mackenzie_ was also - used—differently coloured, of course—for Trollope's _Tales - of All Countries_ (1861); Ainsworth's _Constable of the - Tower_ (1861); Mrs. Gaskell's _Round the Sofa_ (1859) and - _Right at Last_ (1860); Charles Allston Collins' _Cruise - Upon Wheels_ (1862); and Reade's _Love me Little, Love me - Long_ (1859). The pattern of cloth, on the other hand, used - in dark green for _Miss Mackenzie_ reappears on Trollope's - _Belton Estate_ (1866); Ainsworth's _John Law_ (1864); and - Wilkie Collins' _My Miscellanies_ (1863). I think these - facts provide sufficiently conclusive evidence that the - maroon cloth is of an earlier pattern than the dark green. - Publishers were probably inclined, then as now, to use one - type of cloth more than another at certain given dates - (possibly they tended to adopt novelties as produced by - their binders). This is independently suggested by the fact - that in the year 1863 alone an identical pattern of cloth - was used and by various publishers for Ainsworth's _Cardinal - Pole_, for Mrs. Gaskell's _A Dark Night's Work_, for George - Eliot's _Romola_, and for Mrs. Oliphant's _Perpetual - Curate_. - - - 1865 - - HUNTING SKETCHES. By ANTHONY TROLLOPE. Reprinted from the “Pall Mall - Gazette.” London: Chapman and Hall, 193 Piccadilly. 1865. 1 vol. Cr. - 8vo (4⅞ × 7½). Pp. iv + 115 + (1). Publishers' catalogue, 32 pp., - dated May, 1865, bound in at end. No half-title. Red cloth gilt, - blocked in blind. Green-black end-papers. - - _Contents_: The Man who Hunts and Doesn't Like It—The Man - who Hunts and Does Like It—The Lady who Rides to Hounds—The - Hunting Farmer—The Man who Hunts and Never Jumps—The Hunting - Parson—The Master of Hounds—How to Ride to Hounds. - - NOTE—This book was published in May, 1865. - - - 1866 - - THE BELTON ESTATE. By ANTHONY TROLLOPE, author of _Can you Forgive - Her?_, _Orley Farm_, _Framley Parsonage_ etc. etc. London: Chapman - and Hall, 193 Piccadilly. 1866. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. iv + 284. - - Vol. II. pp. iv + 308. - - Vol. III. pp. iv + 276. - - Publishers' catalogue, 24 pp., dated December 1, 1865, bound in at - end. No half-titles. Scarlet embossed cloth, gilt, blocked in blind. - Yellow end-papers. - - NOTE—This book was published in January, 1866. The story - appeared serially in the “Fortnightly Review.” - - - 1866 - - TRAVELLING SKETCHES. By ANTHONY TROLLOPE. Reprinted from the “Pall - Mall Gazette.” London: Chapman and Hall, 193 Piccadilly. 1866. I - vol. Cr. 8vo (4⅞ × 7½). Pp. iv + 112. Publishers' catalogue, 24 pp., - dated February 1, 1866, bound in at end. No half-title. Red cloth, - gilt, blocked in blind. Green-black end-papers. Uniform with - _Hunting Sketches_. - - _Contents_: The Family that Goes Abroad Because it's the - Thing to Do—The Man who Travels Alone—The Unprotected Female - Tourist—The United Englishmen who Travel for Fun—The Art - Tourist—The Tourist in Search of Knowledge—The Alpine Club - Man—Tourists who Don't Like their Travels. - - NOTE—This book was published in February, 1866. - - - 1866 - - CLERGYMEN OF THE CHURCH OF ENGLAND. By ANTHONY TROLLOPE. Reprinted - from the “Pall Mall Gazette.” London: Chapman and Hall, 193 - Piccadilly. 1866. I vol. Cr. 8vo (4⅞ × 7½). Pp. (iv) + 130 + (2). - Publishers' catalogue, 24 pp., dated March 30, 1866, bound in at - end. No half-title. Red cloth, gilt. Green-black end-papers. Uniform - with _Hunting Sketches_ and _Travelling Sketches_. - - _Contents_: The Modern English Archbishop—English Bishops, - Old and New—The Normal Dean of the Present Day—The - Archdeacon—The Parson of the Parish—The Town Incumbent—The - College Fellow who has Taken Orders—The Curate in a Populous - Parish—The Irish Beneficed Clergyman—The Clergyman who - Subscribes for Colenso. - - NOTE—This book was published in April, 1866. - - - 1867 - - NINA BALATKA: THE STORY OF A MAIDEN OF PRAGUE. Wm. Blackwood and Sons, - Edinburgh and London, MDCCCLXVII. 2 vols. Fcap. 8vo (4¼ × 6¾). - - Vol. I. pp. (vi) + 228 + (2). Publishers' advertisements occupy pp. - (229) (230). - - Vol. II. pp. 215 + (I). Publishers' advertisements, 8 pp., undated, - bound in at end. - - The words: “Originally published in 'Blackwood's Magazine'” occupy - verso of half-title in each volume. Red-brown cloth, gilt, blocked - in blind. Chocolate end-papers. - - NOTE—This book was published on February 1, 1867. - - - 1867 - - THE LAST CHRONICLE OF BARSET. By ANTHONY TROLLOPE. With 32 - illustrations by George H. Thomas. London: Smith Elder and Co., 65 - Cornhill. MDCCCLXVII. 2 vols. Demy 8vo (5½ × 8⅝). - - Vol. I. pp. (iv) + 384. - - Vol. II. pp. (iv) + 384. - - No half-titles. Each volume contains sixteen illustrations printed - separately, and line drawings in the text at the beginnings of - several of the chapters. Violet-blue cloth, blocked in gold and - blind. Yellow end-papers. - - This story originally appeared in thirty-two sixpenny demy 8vo parts - dated December 1 (1866) to July 6 (1867), bound in white wrappers - with a design in scarlet and dark blue, and containing the - illustrations afterwards included in the two-volume edition. Each - part contains one illustration. - - NOTES—(i) Vol. I. of the novel in book form was published on - March 16, and Vol. II. on July 6, 1867. - - (ii) The words “With 32 illustrations by George H. Thomas” - occur only on the title-page of Vol. II. - - - THE LAST CHRONICLE OF BARSET: PART ISSUE. - - The following advertisement pages, etc., should be found - in a complete set. Advertisements at the front of each - part are printed on lilac paper, except where otherwise - stated. All wrappers, except front covers, are printed - with advertisements. - - _Part I: Front_—4 pp., unnumbered, on grey paper; 8 pp., - numbered 1-8. _Back_—10 pp., of which the first is printed - in colours and the last four on yellow paper (or green). - - _Part II: Front_—8 pp., numbered 9-16. _Back_—4 pp., of - which the first is printed in colours and the last two on - blue paper (or pink). - - _Part III: Front_—8 pp., numbered 17-24. _Back_—Inset slip - (4 pp.) of Chapman and Hall publications. - - _Part IV: Front_—4 pp., unnumbered, on grey (or lilac) - paper; 4 pp., numbered 25-28. _Back_—Nil. - - _Part V: Front_—4 pp., numbered 29-32. _Back_—2 pp., of - which the second is printed in colours. - - _Part VI: Front_—4 pp., numbered 33-36. _Back_—Inset slip (4 - pp.) on yellow paper. - - _Part VII: Front_—4 pp., numbered 37-40. _Back_—Nil. - - _Part VIII: Front_—Inset slip (4 pp.) of Chapman and Hall - publications (as at back of Part III). 4 pp., numbered - 41-44. _Back_—Nil. - - _Part IX: Front_—4 pp., numbered 45-48. _Back_—Nil. - - _Part X: Front_—4 pp., numbered 49-52. _Back_—4 pp., - unnumbered. - - _Part XI: Front_—Inset slip (4 pp.) of Chapman and Hall - publications (as in Parts III. and VIII.); 4 pp., numbered - 53-56. _Back_—Nil. - - _Part XII: Front_—4 pp., numbered 57-60. _Back_—2 pp., - unnumbered, of which the second printed in colours. - - _Part XIII: Front_—4 pp., numbered 61-64. _Back_—Nil. - - _Part XIV: Front_—4 pp., numbered 65-68. _Back_—Nil. - - _Part XV: Front_—4 pp., numbered 69-72. _Back_—Nil. - - _Part XVI: Front_—4 pp., numbered 73-76; inset slip of lilac - paper announcing the appearance of Vol. I. of _The Last - Chronicle of Barset_ at ten shillings. _Back_—Nil. - [_Note_—This part contains title-page, contents and list of - illustrations (in all 4 pp.) to Vol. I.] - - _Part XVII: Front_—4 pp., numbered 77-80. _Back_—Nil. - - _Part XVIII: Front_—4 pp., numbered 81-84; inset slip of - lilac paper announcing the appearance of Vol. I. of The Last - Chronicle of Barset at ten shillings. _Back_—2 pp., - unnumbered, of which the second printed in colours. - - _Part XIX: Front_—4 pp., numbered 85-88. _Back_—Nil. - - _Part XX: Front_—4 pp., numbered 89-92. _Back_—Nil. - - _Part XXI: Front_—4 pp., numbered 93-96. _Back_—Nil. - - _Part XXII: Front_—4 pp., numbered 97-100. _Back_—Nil. - - _Part XXIII: Front_—4 pp., numbered 101-104. _Back_—Nil. - - _Part XXIV: Front_—4 pp., numbered 105-108. _Back_—Nil. - - _Part XXV: Front_—4 pp., numbered 109-112. _Back_—Nil. - - _Part XXVI: Front_—4 pp., numbered 113-116. _Back_—Inset - slip (4 pp.) advertising the “Charles Dickens Edition” of - Dickens' works. - - _Part XXVII: Front_—4 pp., numbered 117-120. _Back_—Nil. - - _Part XXVIII: Front_—4 pp., numbered 121-124. _Back_—Nil. - - _Part XXIX: Front_—4 pp., numbered 125-128. _Back_—Nil. - - _Part XXX: Front_—4 pp., numbered 129-132. _Back_—Nil. - - _Part XXXI: Front_—4 pp., numbered 133-136. _Back_—Nil. - - _Part XXXII: Front_—4 pp., numbered 137-140; inset slip of - lilac paper announcing the completion of _The Last Chronicle - of Barset_ in 2 volumes at 20s. _Back_—Nil. [_Note_—This - part contains title-page, contents and list of illustrations - (in all 4 pp.) to Vol. II.] - - - 1867 - - THE CLAVERINGS. By ANTHONY TROLLOPE. With 16 illustrations by M. Ellen - Edwards. London: Smith, Elder and Co., 65 Cornhill. MDCCCLXVII. 2 - vols. Demy 8vo (5½ × 8¾). - - Vol. I. pp. (iv) + 313 + (3). Publishers' advertisements occupy pp. - (315) and (316). - - Vol. II. pp. (iv) + 309 + (3). Publishers' advertisements occupy pp. - (311) and (312). - - No half-titles. Each volume contains eight illustrations printed - separately. Bright green cloth, blocked in black and gold. Pale - chocolate end-papers. - - NOTES—(i) This book was published on April 20, 1867. The - story appeared serially in the “Cornhill.” - - (ii) There are two varieties of binding to this book. It is - an open question whether the simpler design with no black on - the sides is earlier or later than that which is more - elaborate. - - - 1867 - - LOTTA SCHMIDT: AND OTHER STORIES. By ANTHONY TROLLOPE. Alexander - Strahan, Publisher, 56 Ludgate Hill, London. 1867. 1 vol. Ex. Cr. - 8vo (4⅞ × 7¾). Pp. (iv) + 403 + (1). Dark red cloth, gilt. - Green-black end-papers. - - There is no list of contents. Titles are as follow: - Lotta Schmidt—The Adventures of Fred Pickering—The Two - Generals—Father Giles of Ballymoy—Malachi's Cove—The - Widow's Mite—The Last Austrian who Left Venice—Miss - Ophelia Gledd—The Journey to Panama. - - NOTE—This book was published in August, 1867. The original - sheets were reissued in 1870, without indication of there - having been an earlier edition. The reissue is cr. 8vo in - size, pp. (vi) + 425 + (1), bears the imprint “Strahan and - Co.,” and is bound in pale maroon cloth. Later still copies, - taken over in sheets by Chapman and Hall and also dated - 1870, were issued in bright green cloth, with chocolate - end-papers, printed with Chapman and Hall advertisements. - - - 1868 - - LINDA TRESSEL. By the author of _Nina Balatka_. Wm. Blackwood and - Sons, Edinburgh and London. MDCCCLXVIII. 2 vols. Fcap. 8vo (4¼ × - 6¾). - - Vol. I. pp. 216. - - Vol. II. pp. 215 + (1). - - The words: “Originally published in 'Blackwood's Magazine'” occupy - verso of half-title in each volume. Red-brown cloth, gilt, blocked - in blind. Chocolate end-papers. Uniform with _Nina Balatka_. - - NOTE—This book was published in May, 1868. - - - 1869 - - PHINEAS FINN, THE IRISH MEMBER. By ANTHONY TROLLOPE. With 20 - illustrations by J. E. Millais, R.A. London: Virtue and Co., 26 Ivy - Lane, Paternoster Row. 1869. 2 vols. Demy 8vo (5½ × 8¾). - - Vol. I. pp. vi + (ii) + 320. - - Vol. II. pp. vi + (ii) + 328. - - No half-titles. Ten illustrations in each volume printed separately. - Bright green cloth, gilt, blocked in blind. Pale yellow end-papers. - It may be noted that the author's name is not given on the spine of - this book. - - NOTE—This book was published in March, 1869. The same novel - still in two volumes and at the same price (25s. net) was - advertised in May, 1869, by Strahan and Co., who were at the - time closely identified with Virtue and Co. Copies with a - Strahan imprint, if such exist, are not of the first issue. - The story appeared serially in “St. Paul's Magazine.” - - - 1869 - - HE KNEW HE WAS RIGHT. By ANTHONY TROLLOPE. With 64 illustrations by - Marcus Stone. Strahan and Co., Publishers, 56 Ludgate Hill, London. - 1869. 2 vols. Demy 8vo (5½ × 8⅝). - - Vol. I. pp. ix + (iii) + 384. - - Vol. II. pp. ix + (iii) + 384. - - Each volume contains sixteen illustrations printed separately and - sixteen line drawings in the text. Green cloth, gilt, blocked in - blind. Pale yellow end-papers. - - This story first appeared in thirty-two demy 8vo sixpenny weekly - parts, dated October 17 (1868) to May 22 (1869), bound in green-grey - paper wrappers, printed in red and black. Each part contains a - full-page line-engraved illustration by Marcus Stone, printed - separately, and one small drawing in the text. Each part, as well as - the title-page, etc., included in Part XXXII. bears the imprint of - Virtue and Co., but the novel, when issued in book form, appeared - over the imprint of Strahan and Co. - - NOTES—(i) Four weeks after the appearance of Part I. (early - in November, 1869) a parallel series of two-shilling - _monthly_ parts was inaugurated, of which the first, - containing the first four weekly parts, was immediately - issued, and the remainder at regular intervals. The earliest - part issue was therefore the weekly one. Margaret Lavington - in her Trollope bibliography, states that the first four - parts were wrappered in one. This observation was probably - made from an examination of a made-up set of parts composed, - as to the first four, of the second issue and, as to the - remainder, of the first (see above). - - (ii) The story appeared in two-volume form in May, 1869. - - - HE KNEW HE WAS RIGHT: PART ISSUE. - - The following advertisement pages, etc., should be found in - a complete set. Advertisements at the front of each part are - printed on greenish blue paper except where otherwise - stated. All wrappers except front covers are printed with - advertisements. - - _Part I: Front_—6 pp. _Back_—4 pp. - - _Parts II to XXIX: Front_—4 pp. _Back_—Nil. - - _Part XXX: Front_—Inset slip of orange paper announcing the - serialization in “S. Paul's” of _The Three Brothers_, by - Mrs. Oliphant. _Back_—Nil. - - _Part XXXI: Front_— Nil. _Back_—Nil. - - _Part XXXII: Front_—Nil. _Back_— Nil. [_Note_— This part - contains half-title, titles, contents and lists of - illustrations (in all 24 pp.) to _both_ volumes of the - novel.] - - - 1869 - - *DID HE STEAL IT? A Comedy in three Acts. By ANTHONY TROLLOPE. Printed - for private circulation. 1869. - - NOTE—This is a dramatization of an episode in _The Last - Chronicle of Barset_, which Trollope prepared by special - request, only to have the play rejected by the commissioning - manager. - - - 1870 - - THE VICAR OF BULLHAMPTON. By ANTHONY TROLLOPE. With 30 illustrations - by H. Woods. London: Bradbury, Evans and Co., Bouverie Street. 1870. - 1 vol. Demy 8vo (5½ × 8¾). Pp. xvi + 481 + (11). Publishers' - advertisements occupy pp. (483) to (492). Brown cloth, blocked in - gold and black. Grey end-papers. - - This story originally appeared in 11/12 demy 8vo monthly parts, dated - July 18, 1869, to May 18, 1870. Parts I. to X. cost one shilling, - and the last double part (XI./XII.) half-a-crown. The parts are - bound in blue-grey paper wrappers, with a design in red and black, - and contain the illustrations afterwards included in the one-volume - edition. Parts I. to X. each contain two full-page illustrations; - Part XI./XII. contains four, of which one is a picture title-page. - - NOTE—The novel was published in volume form in April, 1870. - - - THE VICAR OF BULLHAMPTON: PART ISSUE. - - The following advertisement pages, etc., should be found - in a complete set. The advertisements at the front of - Parts I. to III. are headed “The Vicar of Bullhampton - Advertiser.” All wrappers, except front covers, are - printed with advertisements. - - _Part I: Front_—12 pp., dated July, 1869. _Back_—4 pp., - printed in colours and unnumbered. - - _Part II: Front_—4 pp., dated August, 1869. _Back_—Nil. - - _Part III: Front_—4 pp., dated September, 1869. _Back_—Nil. - - _Parts IV to X_ inclusive contain no advertisement pages. - - _Part XI_ (double number): _Front_ (or back)—10 pp., - publishers' advertisements, unnumbered and undated. - [_Note_—This part contains half-title, title, preface, - contents, list of illustrations and frontispiece to the - complete novel. This preliminary matter is paged (i)-xvi, - despite the fact that frontispiece and title-page (4 pp.) - are printed separately.] - - - 1870 - - AN EDITOR'S TALES. By ANTHONY TROLLOPE. Strahan and Co., Publishers, - 56 Ludgate Hill, London. 1870. 1 vol. Sq. Ex. Cr. 8vo (5⅛ × 7¾). Pp. - (viii) + 375 + (1). Publishers' advertisement occupies p. (376). - Brown cloth, gilt, blocked in black. Chocolate end-papers. - - _Contents_: The Turkish Bath—Mary Gresley—Josephine de - Montmorenci—The Panjandrum—The Spotted Dog—Mrs. Brumby. - - NOTE—This book was published in July, 1870. The stories had - appeared in “St. Paul's Magazine.” - - - 1870 - - THE STRUGGLES OF BROWN, JONES AND ROBINSON: BY ONE OF THE FIRM. Edited - by ANTHONY TROLLOPE, author of _Framley Parsonage_, _The Last - Chronicle of Barset_ etc. etc. Reprinted from the “Cornhill - Magazine.” With four illustrations. London: Smith, Elder and Co., 15 - Waterloo Place. 1870. 1 vol. Cr. 8vo (4⅞ × 7½). Pp. iv + 254 + (2). - Advertisements of works by the same author occupy pp. (255) and - (256). No half-title. Frontispiece and illustrated title-page, in - line engraving and printed separately, precede the printed title. - Brown cloth, blocked in black and gold. Pale yellow end-papers. - - NOTE—This book was published in November, 1870. The story - had appeared serially in the “Cornhill” in the years 1861 - and 1862. Its unpopularity as a serial accounts for the - delay in its book publication. - - - 1870 - - THE COMMENTARIES OF CÆSAR. By ANTHONY TROLLOPE. William Blackwood and - Sons, Edinburgh and London. MDCCCLXX. 1 vol. Fcap. 8vo (4¼ × 6¾). - Pp. (x) [paged as vi] + 182. Publishers' advertisements occupy pp. - (i) to (iv), and a list of volumes in the Series “Ancient Classics - for English Readers” occupies p. (vi), facing title-page. Brown - cloth, gilt, blocked in black. Chocolate end-papers. - - - 1871 - - SIR HARRY HOTSPUR OF HUMBLETHWAITE. By ANTHONY TROLLOPE, author of - _Framley Parsonage_ etc. London: Hurst and Blackett, Publishers, 13 - Great Marlborough Street. 1871. 1 vol. Cr. 8vo (5 × 7½). Pp. vii + - (1) + 323 + (1). Publishers' catalogue, 16 pp., undated but paged, - bound in at end. Scarlet cloth, gilt, blocked in black. Black - end-papers. - - NOTE—Although dated 1871, this book was actually published - in November, 1870. The story appeared serially in - “Macmillan's Magazine.” - - - 1871 - - RALPH THE HEIR. By ANTHONY TROLLOPE, author of _Framley Parsonage_, - _Sir Harry Hotspur_ etc., etc. London: Hurst and Blackett, - Publishers, 13 Great Marlborough Street. 1871. 3 vols. Cr. 8vo (4⅞ × - 7⅜). - - Vol I. pp. (iv) + 342. Advertisement of _Sir Harry Hotspur_ occupies - p. (ii) facing title. - - Vol. II. pp. (iv) + 338. - - Vol. III. pp. (iv) + 347 + (1). - - Publishers' advertisements, 16 pp., printed on text paper and paged, - bound in at end. Brown cloth, gilt, blocked in black. Blue-black - end-papers. - - This story originally appeared in parts, which were issued as - supplements to “St. Paul's Magazine.” The instalments were paged - continuously, but separately from the rest of the magazine. - - Parts I. to XI. were enclosed in fawn paper wrappers printed in - black and red and dated January, 1870, to November, 1870. Parts XII. - to XVIII. were not wrappered at all, but merely stitched in at the - end of the numbers of the magazine with their own pagination. The - series contained eleven full-page line-engraved illustrations by F. - A. Fraser, the last of which appeared in Part XI. - - Apart from that printed on the back wrappers of Parts I. to XI., no - advertisement material was included with the part issue. Title-page - and contents (4 pp.) for the one-volume edition were supplied with - the eighteenth and last instalment. - - Although the real first book edition of the novel (published in - April, 1870) was in three volumes cr. 8vo. as described above, the - type and illustrations of the “St. Paul's” issue were used in a - one-volume demy 8vo (5⅝ × 7⅞) edition (pp. iv + 434—no half-title or - list of illustrations) issued by Strahan and Co. in 1871, after the - story's serial completion. This one-volume edition is bound in green - cloth, gilt, blocked in blind, and has dark yellow or terra-cotta - end-papers. - - NOTE—The three-volume edition was published on April 6, - 1871. I have failed to establish the exact publishing date - of the one-volume edition, but it was in June or July of the - same year. Oddly enough the later issue is rarer than the - earlier, for the sheets were quickly taken over by Routledge - and issued in a different binding in 1872. - - - 1872 - - THE GOLDEN LION OF GRANPERE. By ANTHONY TROLLOPE, author of _Ralph the - Heir_, _Can you Forgive Her?_ etc. London: Tinsley Bros., 18 - Catherine Street, Strand. 1872. 1 vol. Ex. Cr. 8vo (5⅛ × 7¾). Pp. - (iv) + 353 + (9). Publishers' advertisements, paged 1 to 6 and dated - May, 1872, occupy pp. 355 to 363. Red-brown cloth, gilt, blocked in - black. Pale yellow end-papers. - - NOTES—(i) This book was published in May, 1872. The story - appeared serially in “Good Words.” It had been written in - 1867 for “Blackwood's,” but had proved unacceptable. - - (ii) Copies are sometimes found in dark brown cloth, - lettered and blocked less heavily and with lighter boards. - These are probably later in issue. - - - 1873 - - THE EUSTACE DIAMONDS. By ANTHONY TROLLOPE. London: Chapman and Hall, - 193 Piccadilly. 1873. 3 vols. Cr. 8vo (5 × 7¼). - - Vol. I. pp. viii + 354. - - Vol. II. pp. viii + 363 + (1). - - Vol. III. pp. viii + 354. - - Brown salmon cloth, gilt, blocked in black. Yellow end-papers. - - NOTE—Although dated 1873, this book was actually published - in December, 1872. The story appeared serially in the - “Fortnightly Review.” - - - 1873 - - AUSTRALIA AND NEW ZEALAND. By ANTHONY TROLLOPE. London: Chapman and - Hall, 193 Piccadilly. 1873. 2 vols. Demy 8vo (5½ × 8½). - - Vol. I. pp. (viii) [paged as vi] + 533 + (1). - - Vol. II. pp. (viii) + 516. - - Vol. I. contains a coloured map as frontispiece printed on text - paper, and two folding coloured maps mounted on linen at end. Vol. - II. contains folding coloured map mounted on linen facing p. 1; four - folding coloured maps mounted on linen at end. Orange brown cloth, - gilt, blocked in black. Dark green end-papers. - - NOTES—(i) This book was published in March, 1873. - - (ii) The text was later split up and issued in four small - volumes, each dealing with a definite province or provinces - of Australia and New Zealand. These little books have no - importance as “editions,” for they contain no matter not - include in the original two-volume issue. - - - 1874 - - PHINEAS REDUX. By ANTHONY TROLLOPE, author of _Phineas Finn_. With - illustrations engraved on wood. London: Chapman and Hall, 193 - Piccadilly. 1874. 2 vols. Demy 8vo (5½ × 8⅛). - - Vol. I. pp. vi + (ii) + 339 + (1). - - Vol. II. pp. vi + (ii) + 329 + (3). - - Each volume contains twelve illustrations printed separately. Blue - cloth, gilt, blocked in black and gold. Yellow end-papers. - - NOTE—Although dated 1874, this book was actually published - in December, 1873. The story appeared serially in “The - Graphic.” - - - 1874 - - LADY ANNA. By ANTHONY TROLLOPE. London: Chapman and Hall, 193 - Piccadilly. 1874. 2 vols. Cr. 8vo (5 × 7¼). - - Vol. I. pp. viii + 317 + (1). - - Vol. II. pp. viii + 314. - - Red-brown cloth, blocked in black and gold. Yellow end-papers. - - NOTE—This book was published in May, 1874. The story - appeared serially in the “Fortnightly Review.” - - - 1874 - - HARRY HEATHCOTE OF GANGOIL: A Tale of Australian Bush Life. By ANTHONY - TROLLOPE. London: Sampson, Low, Marston, Low and Searle, Crown - Buildings, 188 Fleet Street. 1874. 1 vol. Cr. 8vo (5 × 7½). Pp. (iv) - + 313 + (3). Publishers' catalogue, 48 pp., dated October, 1873, - bound in at end. No half-title. Bright blue cloth, gilt, blocked in - blind. Cream end-papers. - - NOTES—(i) This book was published in October, 1874. The - story appeared serially in “The Graphic.” - - (ii) The sheets of this edition were, in the year of - publication, cut down and issued in a volume measuring 4½ × - 6¾, together with six full-page line-engraved illustrations, - printed separately. This later issue is bound in green or in - violet cloth, blocked in gold and black, and contains at the - end a 40 pp. publishers' catalogue dated October, 1874. - - - 1875 - - THE WAY WE LIVE NOW. By ANTHONY TROLLOPE. With forty illustrations. - London: Chapman and Hall, 193 Piccadilly. 1875. 2 vols. Demy 8vo (5½ - × 8½). - - Vol. I. pp. (viii) + 320. - - Vol. II. pp. (viii) + 319 + (1). - - Each volume contains twenty illustrations printed separately. Bright - green cloth, blocked in gold and black. Dark brown end-papers. - - This story originally appeared in twenty one-shilling demy 8vo - parts, dated February, 1874, to September, 1875, bound in - greenish-blue wrappers printed in black and containing the - illustrations afterwards included in the two-volume edition. Each - part contains two full-page illustrations. - - NOTE—The novel appeared in book form in July, 1875. - - - THE WAY WE LIVE NOW: PART ISSUE. - - The following advertisement pages, etc., should be - found in a complete set. The advertisements at the - front of each number are headed: “The Way We Live Now - Advertiser.” All wrappers, except front covers, are - printed with advertisements. - - _Part I: Front_—8 pp. _Back_—16 pp., paged in fours, of - which the last eight publishers' lists. - - _Parts II to VIII: Front_—4 pp. _Back_—Nil. - - _Part IX: Front_—4 pp. _Back_—4 pp. - - _Parts X to XV: Front_—4 pp. _Back_—Nil. - - _Part XVI: Front_—4 pp. _Back_—Publishers' catalogue, 20 - pp., dated April 10, 1875. - - _Parts XVII to XIX: Front_—4 pp. _Back_—Nil. - - _Part XX: Front_—4 pp. _Back_—Nil. [_Note_—This part - contains half-titles, titles, contents and lists of - illustrations (in all 16 pp.) to both volumes of the novel.] - - - 1876 - - THE PRIME MINISTER. By ANTHONY TROLLOPE. London: Chapman and Hall, 193 - Piccadilly. 1876. 4 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. (iv) [paged as vi] + 337 + (1). - - Vol. II. pp. iv + 342. - - Vol. III. pp. (iv) [paged as vi] + 346. - - Vol. IV. pp. (iv) [paged as vi] + 347 + (1). - - No half-titles. Red-brown cloth, gilt, blocked in black. Cream - end-papers. - - This story originally appeared in eight cr. 8vo five-shilling parts, - dated 1876 (no title-pages in Parts I., III., V., and VII.), bound - in grey paper wrappers, printed in black. Part I. appeared in - November, 1875, and subsequent numbers at intervals of one month. - - NOTES—(i) The novel was published in volume form in May, - 1876. - - (ii) Sets of the parts are sometimes met with, bound - separately in red-brown cloth and lettered on spine only - with the title of the book and the number of the part. I - cannot establish the relative dates of the regular - four-volume cloth issue and of the eight clothbound parts. - - - THE PRIME MINISTER: PART ISSUE. - - Apart from that printed on the wrappers, no advertisement - material was included with the parts of this novel, save - that at front of Part VI was inserted a 4 pp. leaflet (4 × - 6⅜) of Chapman and Hall's Popular Two Shilling novels. Note - should, however, be taken of the incidence of preliminary - matter. - - _Part I_: (iv) + 1-162. The preliminary matter consists of: - Section half-title, reading: PART I., Vol. I. Verso blank. - Title, reading: _The Prime Minister_. By Anthony Trollope. - London: Chapman and Hall, 193, Piccadilly. 1876. Verso - blank. _No_ list of contents. - - _Part II_: (ii) + 163-337 + (1). Preliminary matter: Section - half-title: PART II., Vol. I. Verso blank. - - _Part III_: (vi) [paged as iv] + 1-170. Preliminary matter - consists of: Section half-title, reading: PART III., Vol. - II. Verso blank. Title, as in Part I. Verso blank. Contents - of Vol. II. (2 pp.). - - _Part IV_: (iv) + 171-342. Preliminary matter: 2 pp. blank. - Section half-title: PART IV., Vol. II. Verso blank. - - _Part V_: vi + 1-174. Preliminary matter consists of: - Section half-title, reading: PART V., Vol. III. Verso blank. - Title, as in Parts I. and III. Verso blank. Contents of Vol. - III. (2 pp.). - - _Part VI_: (iv) + 175-346. Preliminary matter: 2 pp. blank. - Section half-title: PART VI. Verso blank. - - _Part VII_: vi + 1-168. Preliminary matter consists of: - Section half-title reading: PART VII., Vol. IV. Verso blank. - Title, as in Parts I., III., and V. Verso blank. Contents of - Vol. IV. (2 pp.). - - _Part VIII_: (ii) + 169-347 + (1). Preliminary matter. - Section half-title: PART VIII. Verso blank. - - It is evident, from a comparison between the foregoing - details and the collation of the four-volume edition - previously described, that the publishers were compelled, to - complete the latter, to print a contents list to Vol. 1. and - to add the words “In four volumes, Vol. 1.,” etc., to the - title-pages. It will be seen that they had so mismanaged the - pagination of the preliminary matter during part issue, that - only one of the four final volumes was correctly paged - throughout. - - - 1877 - - THE AMERICAN SENATOR. By ANTHONY TROLLOPE. London: Chapman and Hall, - 193 Piccadilly. 1877. 3 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. viii + 293 + (1). - - Vol. II. pp. viii + 293 + (1). - - Vol. III. pp. viii + 284. - - Yellow-ochre cloth, gilt, blocked in black. Yellow end-papers. - - NOTES—(i) This book was published in July, 1877. The story - appeared serially in the “Temple Bar Magazine.” - - (ii) There is a remainder binding for this book, but the - blocking is lighter and the sheets are cut to a smaller - size. - - - 1878 - - SOUTH AFRICA. By ANTHONY TROLLOPE. London: Chapman and Hall, 193 - Piccadilly. 1878. 2 vols. Sq. Ex. Cr. 8vo (5¼ × 7⅞). - - Vol. I. pp. vii + (1) + 352. - - Vol. II. pp. vii + (1) + 352. - - Folding map in colours faces p. 1 of Vol. I. Red cloth, gilt, - blocked in blind. Black end-papers. - - NOTE—This book was published in March, 1878. - - - 1878 - - IS HE POPENJOY?: A Novel. By ANTHONY TROLLOPE. London: Chapman and - Hall, 193 Piccadilly. 1878. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. vii + (i) + 301 + (3). Publishers' advertisements occupy - pp. (303) and (304). - - Vol. II. pp. vii + (i) + 297 + (3). Publishers' advertisements - occupy pp. (299) and (300). - - Vol. III. pp. vii + (i) + 319 + (1). - - Red-brown cloth, gilt, blocked in black. Yellow end-papers. - - NOTE—This book was published in April, 1878. The story - appeared serially in “All the Year Round.” - - - 1878 - - HOW THE 'MASTIFFS' WENT TO ICELAND. By ANTHONY TROLLOPE. With - illustrations by Mrs. Hugh Blackburn. London: Virtue and Co. - Limited. 1878. 1 vol. Demy 4to (8⅝ × 11⅛). Pp. (vi) + 46. Bright - blue cloth, blocked in gold. Dark grey end-papers. Coloured map as - frontispiece in lithography; fourteen pencil drawings in - lithography, and two silver print photographs, mounted, throughout - the text. All illustrations printed separately. - - - 1879 - - AN EYE FOR AN EYE. By ANTHONY TROLLOPE. London: Chapman and Hall, 193 - Piccadilly. 1879. 2 vols. Small Cr. 8vo (4⅝ × 7⅛). - - Vol. I. pp. (viii) [paged as vi] + 215 + (1). Publishers' catalogue, - 32 pp., dated December, 1878, printed on text paper, bound in at - end. - - Vol. II. pp. (viii) [paged as vi] + 288. - - Greenish-ochre cloth, blocked in gold and black. Yellow end-papers. - - NOTE—This book was published in January, 1879. It was, - however, written in 1871. - - - 1879 - - THACKERAY. By ANTHONY TROLLOPE. London: Macmillan and Co. 1879. 1 vol. - Cr. 8vo (5 × 7½). Pp. vi + (ii) + 210 + (2). List of volumes in the - “English Men of Letters” Series occupies pp. (211) and (212). A - volume in the “English Men of Letters” Series edited by John Morley. - Buff cloth, paper label. White end-papers. - - NOTES—(i) This book was published in May, 1879. - - (ii) The first issue was bound as described above. Later - issues of the first edition sheets were bound in scarlet or - in yellow-ochre cloth, blocked in black with the Series - design, and had black end-papers. These later copies were - slightly cut, the pages measuring 4⅞ × 7⅛. - - - 1879 - - JOHN CALDIGATE. By ANTHONY TROLLOPE. London: Chapman and Hall. 193 - Piccadilly. 1879. 3 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. vi + 290. - - Vol. II. pp. vi + 296. - - Vol. III. pp. vi + 302 + (2). - - Grey cloth, gilt, blocked in black. Yellow end-papers. - - NOTES—(i) This book was published in June, 1879. The story - appeared serially in “Blackwood's Magazine.” - - (ii) There are two varieties in the lettering and blocking - of the volumes of this novel. In one the words “Vol. I.,” - “Vol. II.,” “Vol. III.” on the spines of the volumes are in - thicker roman capitals than in the other. There are also - slight differences of decorative blocking. Which style is - the earlier I do not know. - - - 1879 - - COUSIN HENRY: A Novel. By ANTHONY TROLLOPE. London: Chapman and Hall, - 193 Piccadilly. 1879. 2 vols. Cr. 8vo (4⅝ × 7⅛). - - Vol. I. pp. viii + 219 + (5). Publishers' advertisements occupy pp. - (221) to (223). - - Vol. II. pp. viii + 222 + (2). - - Light blue cloth, blocked uniform with “An Eye for An Eye” in black - and gold. Pale yellow end-papers. - - NOTE—This book was published in November, 1879. - - - 1880 - - THE DUKE'S CHILDREN: A Novel. By ANTHONY TROLLOPE. London: Chapman and - Hall, Limited 193 Piccadilly. 1880. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. viii + 320. - - Vol. II. pp. viii + 327 + (1). - - Vol. III. pp. viii + 312. - - Publishers' catalogue, 24 pp., undated but paged, bound in at end. - Dark blue-green cloth, gilt, blocked in black. Pink-cream - end-papers. - - NOTE—This book was published in May, 1880. - - - 1880 - - THE LIFE OF CICERO. By ANTHONY TROLLOPE. London: Chapman and Hall - Limited 193 Piccadilly. 1880. 2 vols. Sq. Ex. Cr. 8vo (5⅛ × 7⅞). - - Vol. I. pp. vii + (i) + 419 + (1). - - Vol. II. pp. vii + (i) + 424 + (1). - - Dark red cloth, gilt. Black end-papers. - - - 1881 - - DOCTOR WORTLE'S SCHOOL: A Novel. By ANTHONY TROLLOPE. London: Chapman - and Hall Limited, 193 Piccadilly. 1881. 2 vols. Cr. 8vo (4¾ × 7¼). - - Vol. I. pp. (viii) [paged as vi] + 237 + (3). - - Vol. II. pp. (viii) + 246 + (2). - - Publishers' catalogue, 28 pp., dated November, 1880, printed on text - paper, bound in at end. Grey cloth, blocked in gold and black. Pale - yellow end-papers. - - NOTE—This novel was published in February, 1881. - - - 1881 - - AYALA'S ANGEL. By ANTHONY TROLLOPE, author of _Doctor Thorne_, _The - Prime Minister_, _Orley Farm_ etc. etc. London: Chapman and Hall - (Limited) 11 Henrietta Street Covent Garden. 1881. 3 vols. Cr. 8vo - (4⅞ × 7⅜). - - Vol. I. pp. iv + 280. - - Vol. II. pp. iv + 272. - - Vol. III. pp. iv + 277 + (3). - - No half-titles. Orange cloth, gilt, blocked in black. Blue-black - end-papers. - - NOTE—This novel was published in June, 1881. - - - 1882 - - WHY FRAU FROHMANN RAISED HER PRICES: AND OTHER STORIES. By ANTHONY - TROLLOPE, author of _Framley Parsonage_, _The Small House at - Allington_ etc. etc. London: William Isbister Limited 56 Ludgate - Hill. 1882. 1 vol. Large Cr. 8vo (5¼ × 7¾). Pp. vi + (ii) + 416. - Pale olive-green cloth, gilt, blocked in black. Dark chocolate - end-papers. - - _Contents_: Why Frau Frohmann Raised Her Prices—The Lady of - Launay—Christmas at Thompson Hall—The Telegraph Girl—Alice - Dugdale. - - NOTES—(i) Copies of this book were also issued in two - volumes, but with the same pagination and composed of the - same sheets as the more usual one-volume issue. A new - edition, with a frontispiece, was issued in November, 1882. - - (ii) In 1885, under the title _Thompson Hall_, the third - story in this volume was issued separately by Messrs. - Sampson Low. In some quarters the little book is regarded as - a first edition and highly valued accordingly, but in truth - it is not bibliographically an item of any importance, being - a textual reprint of _Christmas at Thompson Hall_, under a - slightly different title and with the addition of a few - second-rate illustrations. For the benefit of those - interested, the description and collation of the book is as - follows: - - THOMPSON HALL. By ANTHONY TROLLOPE, author of _The Prime Minister_, - _Orley Farm_ etc. etc. With illustrations. London: Sampson Low, - Marston, Searle and Rivington. Crown Buildings, 188 Fleet Street. - 1885. 1 vol. Cr. 8vo (4¾ × 7). Pp. 127 + (1). Publishers' - advertisements occupy pp. (iv) and (128). Eight line-engraved - illustrations printed on text paper. Grey paper boards, printed in - dark blue and brown. White end-papers. - - - 1882 - - LORD PALMERSTON (English Political Leaders). By ANTHONY TROLLOPE. - London: Wm. Isbister Limited 56 Ludgate Hill, 1882. 1 vol. Cr. 8vo - (4¾ × 7¼). Pp. (iv) + 220. No half-title. Smooth red-brown cloth, - lettered in black. Black end-papers. - - NOTE—This book was reissued the following year with - title-page dated 1883 but without any indication of there - having been a previous edition. The later issue is bound in - _grained_ cloth of the same colour as that originally used - and has _white_ end-papers. - - - 1882 - - KEPT IN THE DARK: A Novel. By ANTHONY TROLLOPE. With a frontispiece by - J. E. Millais R.A. London: Chatto and Windus, Piccadilly. 1882. 2 - vols. Short Cr. 8vo (5 × 7). - - Vol. I. pp. (viii) + 253 + (3). - - Vol. II. pp. (viii) + 239 + (1). - - Publishers' catalogue, 32 pp., dated July, 1882, bound in at end. - Grey-green cloth, gilt, blocked in black and red-brown. Blue and - white decorated end-papers. Line-engraved frontispiece to Vol. I. - printed separately. - - NOTE—This book was published in October, 1882. - - - 1882 - - MARION FAY: A Novel. By ANTHONY TROLLOPE, author of _Framley - Parsonage_, _Orley Farm_, _The Way We Live Now_ etc. etc. London: - Chapman and Hall Limited, 11 Henrietta Street. 1882. 3 vols. Cr. 8vo - (4⅞ × 7½). - - Vol. I. pp. viii + 303 + (1). - - Vol. II. pp. viii + 282 + (2). - - Vol. III. pp. viii + 271 + (1). - - Yellow-ochre cloth, gilt, blocked in black. Dark brown or yellow - end-papers. - - - 1882 - - THE FIXED PERIOD: A Novel. By ANTHONY TROLLOPE. Wm. Blackwood and - Sons, Edinburgh and London, MDCCCLXXXII. 2 vols. Small Cr. 8vo (4¾ × - 7). - - Vol. I. pp. (vi) + 200. - - Vol. II. pp. (vi) + 203 + (1). - - The words “Originally published in 'Blackwood's Magazine'” occupy - verso of half-title in each volume. Dark red cloth, gilt. Dark green - end-papers. - - - 1883 - - MR. SCARBOROUGH'S FAMILY. By ANTHONY TROLLOPE. London: Chatto and - Windus, Piccadilly. 1883. 3 vols. Cr. 8vo (4⅞ × 7¼). - - Vol. I. pp. vii + (i) + 308. Publishers' catalogue, 32 pp., dated - March, 1883, bound in at end. - - Vol. II. pp. vii + (i) + 326 + (2). - - Vol. III. pp. vii + (i) + 325 + (3). - - Greenish-blue cloth, gilt, blocked in red-brown. White end-papers. - - NOTE—This novel was published in May, 1883. The story - appeared serially in “All the Year Round.” - - - 1883 - - THE LANDLEAGUERS. By ANTHONY TROLLOPE. London: Chatto and Windus, - Piccadilly. 1883. 3 vols. Cr. 8vo (4⅞ × 7¼). - - Vol. I. pp. vii + (iii) + 280. Note by Henry M. Trollope occupies p. - (ix). - - Vol. II. pp. vii + (i) + 296. - - Vol. III. pp. vii + (i) + 291 + (1). - - Publishers' catalogue, 32 pp., dated October, 1883, bound in at end. - Dark green cloth, gilt, blocked in yellow. White end-papers. - - NOTE—This book was published in October, 1883. - - - 1883 - - AN AUTOBIOGRAPHY. By ANTHONY TROLLOPE. Wm. Blackwood and Sons, - Edinburgh and London. MDCCCLXXXIII. 2 vols. Sq. Ex. Cr. 8vo (5⅛ × - 7⅝). - - Vol. I. pp. xi + (iii) + 259 + (1). - - Vol. II. pp. vi + 227 + (5). Publishers' advertisements paged 1 to 4 - occupy pp. (229) to (232). - - Publishers' catalogue, 24 pp., undated but paged and printed on text - paper, bound in at end. Portrait in photogravure as frontispiece to - Vol. I. Dark red cloth, gilt, blocked and lettered on side in black. - Dark green end-papers. - - NOTE—This book was published in November, 1883. - - - 1884 - - AN OLD MAN'S LOVE. By ANTHONY TROLLOPE. Wm. Blackwood and Sons, - Edinburgh and London. MDCCCLXXXIV. 2 vols. Sm. Cr. 8vo (4¾ × 7). - - Vol. I. pp. (viii) + 226. - - Vol. II. pp. (vi) + 219 + (1). - - Publishers' advertisements, 4 pp., numbered 1-4, and printed on text - paper, bound in at end. Red cloth, gilt, uniform with _The Fixed - Period_. Dark brown end-papers. - - - II.—BOOKS PARTIALLY WRITTEN BY ANTHONY TROLLOPE - - - 1861 - - THE VICTORIA REGIA: A VOLUME OF ORIGINAL CONTRIBUTIONS IN POETRY AND - PROSE. Edited by Adelaide A. Procter. London: Printed and Published - by Emily Faithfull and Co., Victoria Press (for the Employment of - Women), Great Coram Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜). - Pp. x + 349 + (1). No half-title. Red-brown embossed cloth, all - edges gilt, blocked in gold and blind. Red chocolate end-papers. - - - 1863 - - A WELCOME: ORIGINAL CONTRIBUTIONS IN POETRY AND PROSE. London: Emily - Faithfull, Printer and Publisher in Ordinary to Her Majesty, Princes - Street, Hanover Square, and 183A Farringdon Street. 1863. 1 vol. - Imp. 16mo (5½ × 7¾). Pp. vi + (ii) + 291 + (1). Green cloth, full - gilt, blocked in gold. Pale pink end-papers. A story by Anthony - Trollope entitled _Miss Ophelia Gledd_ occupies pp. 239 to 283. This - is the first appearance of a story later included in _Lotta Schmidt - and other Stories_. - - NOTE.--Pp. 187 to 214 are occupied by a story by Anthony - Trollope entitled _The Journey to Panama_. This is the first - appearance in book form of a tale afterwards published in - _Lotta Schmidt and other Stories_. - - - 1868 - - BRITISH SPORTS AND PASTIMES 1868. Edited by ANTHONY TROLLOPE. London: - Virtue and Co., 26 Ivy Lane. New York: Virtue and Yorston. 1868. 1 - vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (vi) + 322. Bright green embossed - cloth, gilt, with title printed both on spine and side. Pale yellow - end-papers. - - _Contents_: On Horse-Racing—On Hunting—On Shooting—On - Fishing—On Yachting—On Rowing—On Alpine Climbing—On Cricket. - Trollope was responsible for the preface (pp. 1-7) and the - Essay “On Hunting” (pp. 70-129). - - NOTES—(i) This book was published in November, 1868. The - contents had appeared in “St. Paul's Magazine.” - - (ii) The sheets of the first edition were later issued - without change of date in a slightly different green - binding, without the title in gold on the side, and bearing - as imprint on spine, Daldy, Isbister and Co. The reissue was - cut down to cr. 8vo, and the end-papers were chocolate - instead of yellow. - - (iii) A still later issue of the book in its reduced format - was bound in bright blue cloth, blocked in gold and black. - This binding bears no imprint on spine, and was probably - carried out by W. H. Smith and Son for a balance of edition - purchased by them. George Eliot's novel _Felix Holt_ was - treated in this way by Smiths some twelve years after - publication, and the binding is very similar to that now - under consideration. - - - _NOTE_ - -It is stated by Margaret Lavington in her appendix to Escott's book that -Trollope “printed but never published” several of his lectures. I have -been unable to trace any privately printed lectures, but feel sure that -Trollope's first bibliographer would not speak of them as she does -without certain knowledge of their existence. The titles mentioned are: - - THE CIVIL SERVICE AS A PROFESSION, - THE WAR IN AMERICA, - ENGLISH PROSE FICTION AS A NATIONAL AMUSEMENT, - THE HIGHER EDUCATION OF WOMEN. - -No dates or other details are given. - -From the same source I borrow a statement that a study of Thackeray by -Trollope, originally printed in the “Cornhill,” was republished as part -of Theodore Taylor's book _Thackeray: The Humourist and Man of Letters_, -which was issued in 1864. It is noticeable that Margaret Lavington -speaks of the publisher of this book as Appleton of New York. A book of -the same title by the same author was issued in the same year by Hotten -of Piccadilly, and it is a fair presumption that the volumes are -identical, but, although I have been carefully through the volume issued -by Hotten, I cannot identify any section as contributed by Trollope. - - - - - FREDERICK MARRYAT - 1792-1849 - - - - - FREDERICK MARRYAT - - -The reputation of Captain Marryat has suffered at the hands of time -somewhat differently from that of many of his contemporaries. -Superficially he has fared better than they, for, if little read except -by boys, he is at least acknowledged as a classic, and there are few -adult novel readers who could not from their own childhood gather -sufficient memories to characterize in summary some of his best known -books. - -Nevertheless, it is arguable that the forgotten author is happier than -he who is accepted but unread. A revival of interest in the books of a -man not already docketed and filed in the appreciation of his age may -develop a new perspective. The body of his work may be exhumed and -permanently lodged in its proper niche of the catacombs of literature. -More hardly shall this befall such a one as Marryat, who is “placed” -already as a writer of sea stories for boys and as an instructor in -adventure for young people. - -Who shall deny that he is all of this? His fame as a novelist of naval -escapade, of risk and makeshift among pirates and barbarians, is fame -deserved. The difficulty for one concerned to reappraise his work lies -in the fact that there is more to him than is here implied. He is the -only writer in the tradition of Fielding and Smollett who can claim -consideration on the same plane as these famous authors. That he is -overtopped by _Tom Jones_ no one will dispute, but that he ranks with -and not after Smollett is a contention that permits of argument. - -The first result of an attempt to classify the books of Captain Marryat -is a realization that two of his finest works are—the one wholly, the -other mainly—unconcerned with ships or seafarers. _Japhet in Search of a -Father_ (1836) is a picturesque tale of vagabondage and social escapade. -_The Pacha of Many Tales_ (1835) is an adaptation of “The Arabian -Nights,” a series of narratives held together by a framework of Oriental -despotism. - -_Japhet_ is partnered by two later novels—_Joseph Rushbrook; or, The -Poacher_ (1841) and _Valerie_ (1849). All three are land as opposed to -sea novels, and the first two show the fertile invention of the author, -his power of describing rogues and fashionable grotesques. But whereas -_Japhet_ is the best book Marryat ever wrote, _The Poacher_ is a little -weary, for it dates from the last period of the writer's life, when -ill-health and money troubles were pressing hardly on a man already -exhausted by a reckless youth; while _Valerie_, the autobiography of a -French girl cast on her own resources in Paris and in London, had better -have been left, as Marryat left it, a fragment cut short by sickness and -by death. - -_The Pacha of Many Tales_ stands quite alone and stands proudly. -Marryat's humour is in this book congenial to the modern reader, while -of fantastic happening few works of fiction can show so rich a store. It -is hard to understand why this admirable parody of the “Thousand and One -Nights” is to-day so little read. Perhaps some enterprising publisher -will extract the story of Huckaback and issue it, grotesquely -illustrated. It should find its market. - -The sea stories proper need little comment. They are eleven in number: - - THE NAVAL OFFICER; or, FRANK MILDMAY (1829), - THE KING'S OWN (1830), - NEWTON FORSTER; or, THE MERCHANT SERVICE (1832), - PETER SIMPLE (1834), - JACOB FAITHFUL (1834), - MR. MIDSHIPMAN EASY (1836), - THE PIRATE. THE THREE CUTTERS (1836), - POOR JACK (1840), - PERCIVAL KEENE (1842), - THE PRIVATEER'S-MAN (1846). - -The first of these titles is pure autobiography and, as the author -himself admitted, lacks most of the essentials of fiction. The story is -of the slightest and most perfunctory, the book being little more than -an account of Marryat's own early adventures at sea. David Hannay, in -his excellent little _Life of Marryat_, remarks acutely on the peculiar -meanness of the hero's character—a meanness that makes an even more -repellant appearance in the last but one of the sea stories—_Percival -Keene_. Seeing that Marryat was writing of himself and that the events -in the life of Frank Mildmay must have been easily recognizable by naval -contemporaries, it is remarkable that he should present his central -figure so unsympathetically, _unless he failed to realize the young -man's shortcomings_. Perhaps in part he saw his mistake, for in the five -novels that followed _The Naval Officer_ he offers the reader more -respectable but more colourless heroes. When the time came for writing -_Percival Keene_, either he had forgotten the warnings of twelve years -before or else he was tired of erecting dummy humanity to placate the -idealism of his readers. - -The constructional weakness of _The Naval Officer_ Marryat took pains to -correct in his succeeding books. _Peter Simple_, _Jacob Faithful_ and -the rest may depend for their vitality and attraction on the excitements -encountered by their heroes while voyaging the seas or fighting in the -wars. Certainly the by-plots are unimportant and conventional. But the -author was careful in them all to give to the _course_ of the heroes' -adventures a real prominence and coherence, so that we read with an -anxiety to know what happens next and are not, as in _The Naval -Officer_, continually brought up by naval “shop” or invited to feel -indignant sympathy with the members of a noble but scurvily treated -service. - -_The Pirate_ and _The Privateer's-Man_ are exciting tales of ocean -brigandage, the latter having in addition an antiquarian interest, for -the first portion of the story is based on the actual life-record of an -old time sea-rover. _Poor Jack_, although told in the first person and -comprising scenes on shipboard and adventurous happenings at sea of a -kind to suggest comparison with _Mr. Midshipman Easy_, has an historical -interest apart from its value as fiction, because it is an account of -Greenwich Hospital, in those days a retreat for wounded seamen. - -Two groups remain among the stories of Frederick Marryat. _Snarleyow_ -(1837) and _The Phantom Ship_ (1839) stand definitely apart from the -rest of the novels. Both tell of Dutch seafaring in the old days and -both introduce a strong element of the weird and the mysterious. That -Marryat should in these books have come under the influence of the -“terror” motive in fiction is surprising and interesting. After reading -_Japhet_ or _Mr. Midshipman Easy_ one would declare that nothing was -farther from the talent of their author than an excursion into the -“horrid.” And yet both _Snarleyow_ and _The Phantom Ship_ are excellent -books, which rank high among Marryat's novels for liveliness and for -characterization and, in addition, merit notice for their fearsomeness. -Of their value as historical documents I am unqualified to speak, but it -may be presumed that before writing them the author studied the lives -and methods of seventeenth and eighteenth century Dutch mariners, for -both books are circumstantially staged and show no desire to shirk -description of contemporary fact. - -Of the stories written definitely for children the best known (and -rightly) is _Masterman Ready_ (1841-1842). It was followed by _The -Travels and Adventures of Monsieur Violet_ (1843); _The Settlers in -Canada_ (1844); _The Mission; or, Scenes in Africa_ (1845); _The -Children of the New Forest_ (1847); and _The Little Savage_ (1848-1849). - -_Monsieur Violet_ is an improbable and tedious tale of Red Indians and -Mormons. The rest—with the exception of _The Children of the New -Forest_, which is a story of Cavaliers and Roundheads—tell in one form -or another the eternal tale of young adventurers in wild countries. - -Marryat loved children and knew how to tell stories that they could like -and understand. This to-day is undisputed. But that he is equally a -novelist for the critical sorely needs reaffirmation. His juvenile -public has been more faithful to him than that of maturer years, and one -can only hope that time will restore him to the affection of the adult. -_Masterman Ready_ is as fresh to-day as when, eighty years ago, it first -appeared; but the freshness is due as much to Marryat as to his youthful -admirers, and that same freshness is no less present in the best of his -other books than it is in this children's classic. Let the modern novel -reader have no fear. In taking up _Japhet_, or _Peter Simple_, or _A -Pacha of Many Tales_, he will take up a fine book and good literature, -and not merely a poker with which to rake among the ashes of his own -vanished childhood. - - - _BIOGRAPHY_ - -Two books have appeared dealing with the life and work of Frederick -Marryat: - - LIFE AND LETTERS OF CAPTAIN MARRYAT. By FLORENCE MARRYAT. 2 vols. - London: Bentley, 1872. - - Like so many loyal and affectionate biographers, Mrs. Ross Church is - too casual a user of dates and too summary an adherent to chronology - to allow to her book great reference value. - - LIFE OF FREDERICK MARRYAT. By DAVID HANNAY. London: Walter Scott. - 1889. - - This is an admirable little book so far as the main text is - concerned. Its bibliography, however, although valuable for the list - given of biographical and critical articles devoted to Marryat, as - well as for facts regarding subsequent editions of Marryat's works, - is very unreliable as an authority on first editions. - - - I.—EDITIONES PRINCIPES - FICTION, ESSAYS, NAVAL TECHNICAL BOOKS - - - 1817 - - A CODE OF SIGNALS FOR THE USE OF VESSELS EMPLOYED IN THE MERCHANT - SERVICE. By CAPTAIN MARRYAT, R.N. Dedicated to the Committee of the - Association of Shipowners of the Port of London. London: J. M. - Richardson, 23 Cornhill. 1817. 1 vol. Royal 8vo (6⅛ × 9¾). No - pagination, the book consisting wholly of tabulated code. - Frontispiece, folding plate, and one full-page plate in colours. - Paper boards, paper label on side only, printed in black. White - end-papers. - - NOTE—I have only been able to consult the sixth edition of - this book as issued revised in 1837 and a seventh edition, - further revised, as issued in 1840; but that it appeared - originally in the same form and over the same imprint is - proved by the retention in the later edition of the author's - original prefatory letter, dedicating his work to the - Association of Shipowners. - - - 1822 - - SUGGESTION FOR THE ABOLITION OF THE PRESENT SYSTEM OF IMPRESSMENT IN - THE NAVAL SERVICE. By CAPTAIN MARRYAT, R.N. (Quotation.) London: - Printed by W. Hughes, Maiden Lane, Covent Garden. Published by J. M. - Richardson, Cornhill and sold by all booksellers. 1822. 1 vol. Demy - 8vo (5½ × 8¾). Pp. (iv) + 64. The half-title serves as front wrapper - and bears the words “Price 2/6d.” No back wrapper, p. 64 being the - outside back page of the pamphlet. - - - 1829 - - THE NAVAL OFFICER: Or SCENES AND ADVENTURES IN THE LIFE OF FRANK - MILDMAY. (Quotation from Don Juan.) London: Henry Colburn, New - Burlington Street. 1829. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (iv) + 297 + (3). Publisher's advertisements occupy pp. - (299) (300). - - Vol. II. pp. (iv) + 310 + (2). Publisher's advertisements occupy pp. - (311) (312). - - Vol. III. pp. (iv) + 270 + (2). - - Paper boards, paper label. White end-papers. - - NOTE—This book was published on March 14, 1829. - - - 1830 - - THE KING'S OWN. By the author of _The Naval Officer_. (Quotation from - Shakespeare's _Pericles_.) London: Henry Colburn and Richard - Bentley, New Burlington Street. 1830. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (iv) + 324. Note of erratum occupies verso of - half-title. - - Vol. II. pp. (iv) + 325 + (1). Note of errata occupies verso of - half-title. - - Vol. III. pp. (iv) + 327 + (5). Note of errata occupies verso of - half-title. Publishers' advertisements, paged (1), 2, 3, (4), occupy - pp. (329) to (332). - - Paper boards, paper label. White end-papers. - - NOTE—This book was published on April 15, 1830. - - - 1832 - - NEWTON FORSTER: Or THE MERCHANT SERVICE. By the author of _The King's - Own_. “Honesty is the best policy.” London: James Cochrane and Co., - 11 Waterloo Place, Pall Mall. 1832. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (iv) + 270 + (2). Publishers' advertisements occupy pp. - (271) (272). - - Vol. II. pp. (iv) + 295 + (1). - - Vol. III. pp. (iv) + 260. Publishers' advertisements occupy pp. - (253) to (260). - - Paper boards, paper label. White end-papers. - - NOTE—Although dated 1832, this book was actually published - in December, 1831. - - - 1834 - - PETER SIMPLE. By the author of _Newton Forster_, _The King's Own_ etc. - London: Saunders and Otley, Conduit Street. 1834. 3 vols. Ex. Cr. - 8vo (4¾ × 7⅞). - - Vol. I. pp. vii + (i) + 328. No half-title. - - Vol. II. pp. viii + 343 + (1). Half-title to this volume. - - Vol. III. pp. viii + 380 + (4). Publishers' advertisements dated - November, 1833, occupy pp. (381) to (384). No half-title. Inserted - in Vol. III. should be a list of errata. - - Paper boards, paper label. White end-papers. - - NOTES—(i) Although dated 1834, this book was actually - published in December, 1833. The story ran serially in the - “Metropolitan Magazine” from June, 1832, to December, 1833. - Marryat edited this magazine from 1832 to 1836. - - (ii) An edition of the book, illustrated by R. W. Buss, was - published by Saunders and Otley, in 1837, in three volumes. - Extra cr. 8vo. Dark green embossed cloth, gilt. Yellow - end-papers. - - - 1834 - - JACOB FAITHFUL. By the author of _Peter Simple_, _The King's Own_ etc. - London: Saunders and Otley, Conduit Street. 1834. 3 vols. Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 304. Advertisement of _Peter Simple_ occupies p. - (ii). No half-title. - - Vol. II. pp. vii + (i) + 301 + (3). Publishers' advertisements - occupy pp. (303) (304). No half-title. - - Vol. III. pp. vii + (i) + 307 + (1). No half-title. - - Paper boards (half cloth), paper label. White end-papers. - - NOTES—(i) This book was published in November or December, - 1834. The story ran serially in the “Metropolitan Magazine” - from September, 1833, to December, 1834. - - (ii) An edition of the book, illustrated by R. W. Buss, was - published by Saunders and Otley in 1837 in three volumes. - Ex. cr. 8vo. Maroon embossed cloth, gilt. Yellow end-papers. - - (iii) It was the intention of the publishers to bring out an - illustrated edition of all Marryat's novels, one novel to - appear each month, beginning on April 1, 1837; but only - _Jacob Faithful_ and _Peter Simple_ were issued, and the - series was abandoned, doubtless because in that year Marryat - quarrelled with Saunders and Otley and found a different - publisher. - - - 1835 - - THE PACHA OF MANY TALES. By the author of _Peter Simple_, _Jacob - Faithful_ etc. London: Saunders and Otley, Conduit Street. 1835. 3 - vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. (iv) + 308 + (4). Publishers' advertisements occupy pp. - (309) to (312). Advertisement of books by the same author occupies - p. (ii) facing title. - - Vol. II. pp. (iv) + 300. - - Vol. III. pp. (iv) + 312. - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published in May, 1835. The stories - appeared intermittently in the “Metropolitan Magazine” - between June, 1831, and May, 1835. - - - 1836 - - THE PIRATE, AND THE THREE CUTTERS. By CAPTAIN MARRYAT, R.N. - Illustrated with twenty splendid engravings from drawings by - Clarkson Stanfield Esq., R.A. London: Published for the Proprietor - by Longman, Rees, Orme, Brown, Green and Longman. 1836. Large Med. - 8vo (5⅞ × 9⅛). Pp. (viii) + 315 + (1). The book contains twenty - full-page illustrations in steel engraving, of which two—an engraved - portrait frontispiece and picture title-page—precede printed title. - Cream paper boards, gilt, lettered on spine in gold THE PIRATE BY - CAPT^{N.} MARRYAT. Yellow end-papers. - - NOTES—(i) Although dated 1836, this book was actually - published in December, 1835. - - (ii) Copies are more frequently met with in maroon cloth, - blocked in gold and lettered on spine MARRYATS PIRATE AND - THE THREE CUTTERS. This cloth binding (of which two styles - at least are extant) is probably not so early in date as the - paper-board binding described above. Definite information is - impossible to obtain, but the evidence of similar - illustrated books of the period (_e.g._, Lytton's _Pilgrims - of the Rhine_) supports the theory here laid down. - - (iii) A large paper edition, imperial 8vo (11 × 7½), was - issued simultaneously, with plates printed on India paper - and bound in green paper boards, half dark-green figured - cloth, cream paper label, the last being lettered in gold: - THE PIRATE BY CAPT^{N.} MARRYAT. White end-papers. Copies of - the large paper edition also exist in maroon cloth, blocked - in gold and blind and lettered on the spine: MARRYATS PIRATE - AND THE THREE CUTTERS. As with the ordinary edition, these - full cloth copies are of later issue than those in boards. - - (iv) In all Longman's first editions the plates bear the - following legend: 'Published Dec^r. 1, 1835 for the - proprietor by Longman and Co., Paternoster Row.' The book - was, however, never issued with a _printed_ title of that - year. That the actual plates were published prior to the - Longman book edition is proved by the fact that I have - myself a set, both before and after “letters,” bearing the - legend: 'London. Published Oct^r. 1835 for the proprietor by - Charles Tilt, 86 Fleet Street.' In every other respect, even - down to the page references, the wording on these early - dated plates is identical with that used for Longman's book - edition. - - (v) A curious feature of this book's publishing history is - its issue in parts, nine years after its appearance in book - form. In 1845 there appeared over the imprint A. Fullarton - and Co., 106 Newgate Street, London; 67 Abbey street, - Dublin; Steads Place, Leith Walk, and 5 Nicholson Street, - Edinburgh, fifteen shilling parts (6 × 9½), bound in buff - paper wrappers printed in red-brown, and illustrated with - steel engravings after Clarkson Stanfield. These engravings - are twenty in number and identical with those in the first - book edition, except that the Longmans imprint has been - substituted on the plates by that of Fullarton, and the - printer's name and the date of issue have been expunged. The - distribution of plates among the fifteen parts is as - follows: Parts I. IV. VI. VIII. X. contain two plates each; - Parts II. III. V. VII. IX. XI. XII. XIII. XIV. and XV. - contain one plate each. Publishers' advertisements occupy - outside back wrappers. No date appears on the parts, but a - title-page (with other preliminary matter) enclosed in Part - XV. is dated MDCCCXLV. - - The text of the book was clearly reset for this part issue, - so there can be no question of a refurbishing of Longman - sheets. It may be noted that, according to the wrappers, the - plates were “engraved under the superintendence of Mr. - Charles Heath.” (This person was responsible for the - principal Books of Beauty, Keepsakes, and similar gift - publications issued in large numbers toward Christmas time - between 1840 and 1850 and distinguished by their beautiful - steel engravings.) - - There being no indication that the plates were re-engraved - for the Fullarton edition, it may be presumed either that - Heath superintended their original production in 1835 but - had not at that time the “selling name” that by 1845 was - his, or that Fullarton, anxious to give to their reissue - something of novelty, paid Heath for a supervisory activity - of a nominal kind in order to have the use of his name on - their wrappers. - - - 1836 - - JAPHET IN SEARCH OF A FATHER. By the author of _Peter Simple_, _Jacob - Faithful_, etc. London: Saunders and Otley, Conduit Street. 1836. 3 - vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. viii + 304. Advertisement of other works by same author - occupies verso of half-title. - - Vol. II. pp. viii + 299 + (1). No half-title. - - Vol. III. pp. viii + 319 + (5). Publishers' advertisements occupy - pp. (321) to (324). No half-title. - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published early in January, 1836. The - story ran serially in the “Metropolitan Magazine” from - October, 1834, to January, 1836. - - - 1836 - - STORIES OF THE SEA. By CAPTAIN MARRYAT, R.N. author of _Peter Simple_, - _Japhet in Search of a Father_ etc. New York: Published by Harper - and Brothers, No. 82 Cliff Street. 1836. 1 vol. Sm. Cr. 8vo (4½ × - 7¼). Pp. (236) [paged as 232 + (2)]. No printed half-title, but 2 - pp. blank precede title and form part of the book, although omitted - from page reckoning. Advertisement to the American edition, dated - January, 1836, occupies p. (3). Figured maroon cloth, paper label. - White end-papers. - - NOTE—This book is the American edition of _The Pirate and - the Three Cutters_. It also contains Marryat's story - _Moonshine_, which originally appeared in _The Keepsake_ and - was not published in book form in England until its - inclusion in _Olla Podrida_ in 1840. - - - 1836 - - MR. MIDSHIPMAN EASY. By the author of _Japhet in Search of a Father_, - _Peter Simple_, _Jacob Faithful_ etc. Saunders and Otley, Conduit - Street. 1836. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. vii + (i) + 291 +(1). Advertisement of author's previous - works occupies verso of half-title. - - Vol. II. pp. vii + (i) + 306 + (2). Publishers' advertisement - occupies verso of half-title, and 2 pp. publishers' advertisements, - dated July, 1836, occupy pp. (307) (308). - - Vol. III. pp. viii + 314 + (2). Publishers' advertisement occupies - verso of half-title and pp. (315) (316). - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published in September, 1836. One - instalment was printed in the “Metropolitan Magazine” in - July, 1836, but serialization was never completed. - - - 1836 - - THE DIARY OF A BLASÉ. By the author of _Jacob Faithful_, _Peter - Simple_ etc. Philadelphia: E. L. Carey and A. Hart. 1836. 1 vol. Ex. - Cr. 8vo (4¾ × 7¾). Pp. 197 + (1). Paper boards, paper label. White - end-papers. - - NOTE—I cannot establish the month of publication of this - book, but twenty-eight chapters of a work entitled _The - Diary of a Blasé_ appeared serially in the “Metropolitan - Magazine” to July, 1836, at which point the narrative was - left incomplete. It made no separate appearance in book form - in England, being included under the title _Diary on the - Continent_ in _Olla Podrida_ (see below—1840). - - - 1837 - - SNARLEYOW or THE DOG FIEND. By the author of _Peter Simple_, _Frank - Mildmay_ etc. London: Henry Colburn, Publisher, 13 Great Marlborough - Street. 1837. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞). - - Vol I. pp. viii + 307 + (5). Publisher's advertisements occupy pp. - (309) to (312). - - Vol. II. pp. vii + (i) + 299 + (1). - - Vol. III. pp. viii + 307 + (1). - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published in June, 1837. The story ran - serially in the “Metropolitan Magazine” from February, 1836, - to July, 1837. Marryat changed his publisher with this - novel, because Saunders and Otley refused to pay an advance - on royalties. - - - 1839 - - THE PHANTOM SHIP. By CAPT. MARRYAT, R.N. Author of _Peter Simple_, - _Jacob Faithful_, _Frank Mildmay_ etc. London: Henry Colburn, - Publisher, Great Marlborough Street. 1839. 3 vols. Ex. Cr. 8vo (4¾ × - 7¾). - - Vol. I. pp. (iv) + 300. - - Vol. II. pp. (ii) + 289 + (1). No half-title. - - Vol. III. pp. (ii) + 266. No half-title. - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published in April, 1839. The story - appeared serially in the “New Monthly Magazine” during 1837. - - - 1839 - - A DIARY IN AMERICA: WITH REMARKS ON ITS INSTITUTIONS. By CAPTAIN - MARRYAT, C.B. Author of _Peter Simple_, _Jacob Faithful_, _Frank - Mildmay_ etc. London: Printed for Longman, Orme, Brown, Green and - Longmans, Paternoster Row. 1839. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. (iv) + 321 + (3). - - Vol. II. pp. (iv) + 319 + (1). - - Vol. III. pp. (iv) + 311 + (1). Note of errata to Vol. I. occupies - p. (312) of Vol. III. - - Paper boards (half cloth), paper label. Also full green grained - cloth, paper label. White end-papers. - - NOTE—This book was published in October, 1839. - - - 1839 - - A DIARY IN AMERICA ETC. PART SECOND. By CAPT. MARRYAT, C.B. Printed - for Longman, Orme, Brown, Green and Longmans, Paternoster Row. 1839. - 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. (iv) + 304. - - Vol. II. pp. (iv) + 293 + (1). - - Vol. III. pp. (iv) + 362. - - Vol. II. contains two folding maps, which precede p. 1. Paper boards - (half cloth), paper label. White end-papers. - - NOTE—This book was published in December, 1839. - - - 1840 - - POOR JACK. By CAPTAIN MARRYAT, C.B. With illustrations by Clarkson - Stanfield, R.A. London: Longman, Orme, Brown, Green and Longmans, - Paternoster Row. 1840. 1 vol. Large Med. 8vo (5⅞ × ¼). Pp. x + 384. - Because the volume is composed of bound-up parts, the half-title is - p. 1 of the story itself and does not precede frontispiece. The book - contains forty-seven wood engravings after Clarkson Stanfield, of - which thirty-six printed separately and eleven in the text. Dark - green cloth, blocked in gold. Yellow end-papers. - - NOTES—(i) This book was published on December 1, 1840. - - (ii) _Poor Jack_ first appeared in twelve monthly shilling - parts (5⅞ × 9), bound in buff paper wrappers, printed in - black. The first was published at the beginning of January, - and the last at the beginning of December, 1840. Each part - (subject to the variations stated below) contained three - full-page wood engravings after Clarkson Stanfield, printed - separately. Eleven small engravings appear throughout the - text. - - Included in Part XII. were title-page and preliminary matter - (x pp.). - - Parts I. to III. were undated; Part IV. was dated April 1; - and each succeeding part was dated similarly with the month - of its appearance. - - Part I. should contain at front or back publishers' - catalogue, 8 pp., dated January 1, 1840, and entitled “Poor - Jack's Advertising Sheet.” Also at back an illustrated - advertisement of _Paul Periwinkle_. - - Part II. should contain at front publishers' 4 pp. list, - dated February, 1840, and a prospectus (8 pp., enclosed in - buff wrappers) of McCulloch's Geographical, Statistical and - Historical Dictionary. - - Parts III. to XI. contained (so far as I can discover) no - advertising matter apart from that printed on the wrappers - themselves. - - Part XII. should contain 2 pp. publishers' advertisements - both at front and back, printed on the buff wrapper paper. - - - NOTES ON THE PLATES. - - (i) No plates were issued with Part IX., but six instead of - three with Part X. A slip should be found inserted in Part - IX. calling attention to the arrangement. My own set shows a - similar happening in the case of Parts VII. and VIII., but - there is no sign of a slip having figured in the former to - explain the absence of illustration. - - (ii) In two cases there are variations in underline between - part and book issue: (_a_) One of the plates included in - Part XI. is entitled “The Euphrosyne in the Downs,” but this - legend is omitted altogether in some copies of the book. - (_b_) Included in Part XII. is a plate entitled “The Prize - at Sheerness.” This underline reads in most copies of the - book “The Prize in The Medway.” Collectors anxious to - possess the actual first issue of the book—_i.e._, that - bound up from actual parts—should examine these two points - in copies they consider purchasing. - - - 1840 - - OLLA PODRIDA. By the author of _Peter Simple_ etc. etc. London: - Longman, Orme, Brown, Green and Longmans, Paternoster Row. 1840. 3 - vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. vi + (ii) + 310. - - Vol. II. pp. (iv) + 362 + (2). - - Vol. III. pp. (iv) + 332. - - Paper boards (half cloth), paper label. White end-papers. Also - issued in ribbed maroon cloth, gilt. Yellow end-papers. - - There is no contents list to Volume I. The complete contents - are: Diary on the Continent—The Monk of Seville (a - play)—S.W. and by W. ¾ W.—Ill-Will (a charade)—The Sky-Blue - Domino—Modern Town Houses—The Way to be Happy—How to Write a - Fashionable Novel—How to Write a Book of Travels—How to - Write a Romance—The Legend of the Bell Rock—Moonshine. - - NOTE—This book was published on December 1, 1840. Of the - contents the “Diary on the Continent” appeared serially in - the “Metropolitan Magazine” (see above, _Diary of a Blasé_, - 1836), and the shorter pieces partly in the same journal, - partly in the “New Monthly,” and one (“Moonshine”) in _The - Keepsake_ (see above, _Stories of the Sea_, 1836). - - - 1841/2 - - MASTERMAN READY OR THE WRECK OF THE PACIFIC. Written for Young People. - By CAPTAIN MARRYAT. London: Longman, Orme, Brown, Green and - Longmans, Paternoster Row. 1841 (Vol. I.), 1842 (Vols. II. and - III.). 3 vols. in all. Fcap. 8vo (4¼ × 6¾). - - Vol. I. pp. viii + 287 + (1). Publishers' catalogue, 16 pp., dated - February, 1841, bound in at end. - - Vol. II. pp. (iv) + 269 + (3). Publishers' catalogue, 16 pp. (maybe - two catalogues each of 16 pp.), dated April, 1842, bound in at end - or, in some cases, after first front end-paper. - - Vol. III. pp. (iv) + 225 + (3). Publishers' catalogue, 30 pp., dated - October, 1842, bound in at end. - - Each volume contains frontispiece (that to Vol. III. is a map) and - several text illustrations, wood engraved and printed on text paper. - Dark green cloth, gilt, blocked in blind. Yellow end-papers. - - NOTES—(i) Vol. I. was published in May, 1841; Vol. II. in - April, 1842; and Vol. III. in December, 1842. - - (ii) Because the book was first planned to occupy one volume - only, there is no indication on Vol. I. of its being the - first of a series. Vols. II. and III., however, are so - described on title-page and on binding. - - (iii) Vol. I. was catalogued on its publication as bound in - “boards.” This indicates that copies were first issued with - paper label and in half cloth, but I have never seen one so - bound. - - - 1841 - - JOSEPH RUSHBROOK: Or THE POACHER. By the author of _Peter Simple_. - London: Longman, Orme, Brown, Green and Co., Paternoster Row. 1841. - 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 275 + (1). - - Vol. II. pp. viii + 293 + (3). - - Vol. III. pp. viii + 269 + (7). Advertisements of works by the same - author occupy pp. (270) to (276). - - Paper boards, half cloth, paper label. White end-papers. - - NOTE—This book was published in June, 1841. The story - appeared serially in “The Era.” - - - 1842 - - PERCIVAL KEENE. By CAPTAIN MARRYAT, author of _Peter Simple_, _Jacob - Faithful_ etc. etc. London: Henry Colburn, Publisher, Great - Marlborough Street. 1842. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. (iv) + 293 + (3). - - Vol. II. pp. (iv) + 279 + (1). - - Vol. III. pp. (iv) + 315 + (1). - - Paper boards, half cloth, paper label. White end-papers. - - NOTE—This book was published in August, 1842. - - - 1843 - - NARRATIVE OF THE TRAVELS AND ADVENTURES OF MONSIEUR VIOLET IN - CALIFORNIA, SONORA AND WESTERN TEXAS. Written by CAPTAIN MARRYAT, - C.B. London: Longman, Brown, Green and Longmans, Paternoster Row. - 1843. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 312. - - Vol. II. pp. (iv) + 318 + (2). - - Vol. III. pp. (iv) + 299 + (1). - - Folding map faces title-page of Vol. I. Paper boards, half cloth, - paper label. White end-papers. - - NOTE—This book was published in October, 1843. - - - 1844 - - THE SETTLERS IN CANADA: Written for Young People. By CAPTAIN MARRYAT. - London: Longman, Brown, Green and Longmans, Paternoster Row. 1844. 2 - vols. Fcap. 8vo (4⅛ × 6¾). - - Vol. I. pp. (iv) + 356. Publishers' catalogue, 32 pp., undated or - dated September, 1844, or earlier, bound in at end. - - Vol. II. pp. (iv) + 374 + (2). - - Each volume contains frontispiece in wood engraving printed on text - paper. Grey-brown cloth, gilt, blocked in blind. Pale yellow - end-papers. - - NOTES—(i) This book was published on September 7, 1844. It - is possible that the earliest issue contained an undated - catalogue, but this can only be established by comparison - between a larger number of copies of the book than I have - contrived to examine, and a careful investigation of the - books listed in any such undated catalogue. - - (ii) I have seen an announcement of this book as in - “boards,” but have never met with copies so bound. - - - 1845 - - THE MISSION: OR SCENES IN AFRICA. Written for Young People. By CAPTAIN - MARRYAT. London: Longman, Brown, Green and Longmans. Paternoster - Row. 1845. 2 vols. Fcap. 8vo (4¼ × 6¾). - - Vol. I. pp. (vi) + 328. Publishers' catalogue, 32 pp. and undated, - bound in at end. - - Vol. II. pp. (iv) + 374 + (2). - - Each volume contains frontispiece in wood engraving, printed on text - paper. Vol. I. contains, following title and also on text paper, a - map. Brown cloth, gilt, blocked in blind. Pale yellow end-papers. - - NOTE—This book was published in June, 1845. - - - 1846 - - THE PRIVATEER'S-MAN: ONE HUNDRED YEARS AGO. By CAPTAIN MARRYAT, R.N. - London: Longman, Brown, Green and Longmans, Paternoster Row. 1846. 2 - vols. Fcap. 8vo (4¼ × 6¾). - - Vol. I. pp. (iv) + 379 + (1). Publishers' catalogue, dated July, - 1846, or earlier, bound in at end. - - Vol. II. pp. (iv) + 361 + (1). - - Grey-green cloth, gilt, blocked in blind. Yellow end-papers. - - NOTE—This book was published in July, 1846. The story - appeared serially in the “New Monthly Magazine,” which - periodical had just been purchased by W. Harrison Ainsworth. - - - [1847] - - THE CHILDREN OF THE NEW FOREST. By CAPTAIN MARRYAT, R.N. London: H. - Hurst, 27 King William Street, Charing Cross. 2 vols. Fcap. 8vo (4¼ - × 6¾). - - Vol. I. pp. (iv) [enclosing inset title-page printed in red and - green] + 288 + (2). - - Vol. II. pp. (iv) [enclosing inset title-page printed in red and - green] + 298 + (4). - - Vol. I. contains eight and Vol. II. four steel-engraved - illustrations by Frank Marryat, printed separately. - - NOTES—(i) This book was the first story in _The Juvenile - Library_. Vol. I. was published in July and Vol. II. in - October, 1847. In all the copies I have been able to examine - pp. (299) to (302) of Vol. II. are occupied by an - announcement of this library and by reviews of _The Children - of the New Forest_ itself. Whether the book, on its actual - first appearance, had these pages blank or otherwise - occupied I do not know, but it is certainly curious to find - press notices of a story in any but subsequent issues of - that story. It should be noted that the pages in question - are not inset, but form the last quarter of a 16 pp. sheet. - - (ii) It is rumoured in some quarters that the book, as - originally issued, was dated on the title-page. I have never - seen a copy so dated. - - - 1848/9 - - THE LITTLE SAVAGE. By CAPTAIN MARRYAT, R.N. In Two Parts. Part I. - First edition. London: H. Hurst, 27 King William Street, Charing - Cross. 1848. Part II. First edition. London: H. Hurst and Co., King - William Street, Charing Cross. 1849. 2 vols. Fcap. 8vo (4¼ × 6¾). - - Part I. pp. (iv) [enclosing inset title-page printed in red and - green] + 298 + (4). Advertisements and reviews paged 1-4 of _The - Juvenile Library_ and _The Children of the New Forest_ occupy pp. - (299) to (302). - - Part II. pp. (iv.) [enclosing inset title-page printed in red and - green] + 280 + (4). Advertisements and reviews of Part I. and of - _The Children of the New Forest_ paged 1-4 occupy pp. (281) to - (284). - - Each volume contains four line engravings printed separately. - Grey-green cloth, blocked in gold. Uniform with _The Children of the - New Forest_. - - NOTES—(i) Part I. was published in December, 1848, and Part - II. in February, 1849. - - (ii) The second edition of Part II. differs from the first - in that there are preliminary pages (viii), of which p. (v) - bears a note by the author's son referring to Captain - Marryat's death. Frontispiece and title-page are, as - previously, inset on different paper, and the latter printed - in red and green. - - (iii) Of Part II. only two chapters were written by Marryat. - - - 1849 - - VALERIE: AN AUTOBIOGRAPHY. By CAPTAIN MARRYAT, R.N. Author of _Peter - Simple_, _Frank Mildmay_ etc. London: Henry Colburn, Publisher, - Great Marlborough Street. 1849. 2 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. (iv) + 312. Publisher's advertisements, 2 pp., printed - on text paper bound in at end. - - Vol. II. pp. (iv) + 287 + (1). Advertisement of _Frank Mildmay_ - occupies p. (288). - - Paper boards, half cloth, paper label. Also grey-green cloth, gilt, - blocked in blind. White end-papers. - - NOTE—This book was published in June, 1849. The story—to the - end of Vol. II., chap. iii.—appeared serially in the “New - Monthly Magazine” during 1846 and 1847. Owing to illness, - Marryat was unable to complete the book, which was finished - by another hand. - - -II.—A BOOK ATTRIBUTED TO MARRYAT, ONE EDITED BY HIM AND OTHERS POSSIBLY - WRITTEN WITH HIS HELP - - - 1836 - - THE FLORAL TELEGRAPH: A New Mode of Communication by floral signals. - With Plates. London: Saunders and Otley, Conduit Street. MDCCCXXXVI. - 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. xv + (i) + 307 + (11). Publishers' - advertisements occupy pp. (309) to (318)—others face title-page. The - book contains six hand-coloured plates, printed separately. - Olive-green cloth, blocked in gold and blind. Yellow end-papers. - - NOTES—(i) This book was published in December, 1836. It was - reissued, probably in 1850, with a cancel title-page - reading: “The Floral Telegraph or Affection's Signals” by - the late Captain Marryatt [_sic_] R.N., author of _Peter - Simple_ etc. London: Saunders and Otley, Conduit Street. The - pagination reads: xv + (i) + 324. Pp. xv + (i) + 189 + (1) - are identical in the two editions, which are probably to - this point composed of the same sheets. The second half of - the book has, however, been reset, altered, and extended. - The illustrations are the same as in the earlier edition, - but they are much more coarsely reproduced and mechanically - coloured. Olive-green cloth, similar to the first edition, - but differently blocked in gold. Yellow end-papers. - - (ii) It is a moot point whether or not Marryat was the - author of this rather foolish little book. That he had, - however, definite connection with it is suggested by the - fact that on its first publication the “Metropolitan - Magazine,” at that time closely identified with Marryat, - devoted to it a three-quarter-page highly laudatory review, - of which, after praising the introduction, the writer said: - “Though no name is found on the title-page, it is evident - that the work is from a practised and popular writer.” - Further, if Marryat were not the author, it is difficult to - understand the publishers' motive in reissuing it - immediately after his death with his name on the title-page. - If he deserves responsibility for the book, the manœuvre is - comprehensible enough, especially on the part of a firm with - whom he had severed relations in 1837, and thus deprived - them of the profitable exploitation of his established - reputation. - - - 1836 - - RATTLIN THE REEFER. Edited by the author of _Peter Simple_. “All hands - reef top-sails—Away, Aloft!” London: Richard Bentley, New Burlington - Street, Successor to Henry Colburn. 1836. 3 vols. Ex. Cr. 8vo (4¾ × - 7¾). - - Vol. I. pp. xii + (ii) + 301 + (3). Note by Marryat stating his - connection with the work occupies p. (iv). Publisher's - advertisements occupy pp. (303) (304). - - Vol. II. pp. viii + 300. No half-title to this volume. - - Vol. III. pp. viii + 344. No half-title to this volume. - - Each volume contains three full-page etched illustrations by A. - Hervieu, of which one is a frontispiece and the other two in the - course of the text. A list of illustrations for the three volumes - occupies p. (xiii) of Vol. I. The illustrations are dated 1836. - Paper boards, paper label. White end-papers. - - NOTE—This book, which was written by Edward Howard (see p. - 100), was published on July 23, 1836. A second edition - appeared on August 5 of the same year. A dramatic version by - J. T. Haines (who also dramatized _Jacob Faithful_) was - issued in February, 1893, as No. 2008 in French's Acting - Editions of British Plays. - - Two-thirds of the story appeared serially in the - “Metropolitan Magazine” under the title, _The Life of a - Sub-Editor_. Reviewing the book in its three-volume form, - Marryat himself explained fully how and to what extent it - had been transformed from a record of autobiographical fact - to a frank experiment in fiction. - - - _NOTE_ - -The six items that follow are, like _Rattlin the Reefer_, the work of -Lieut. the Hon. Edward Granville George Howard, who worked as sub-editor -to Marryat on the “Metropolitan Magazine.” At one time the actual -authorship of Howard's books was ascribed to Marryat himself. This is -now proved to be a mistake. Indeed, apart from the note of -recommendation to _Rattlin the Reefer_ and Marryat's review of that book -in his magazine, there is no printed evidence that he had any share -whatever in the composition of any one of them. On the other hand, he -and Howard were very intimate; the stories of the latter are clearly -influenced by the work of his chief; and Marryat collectors have been in -the habit of regarding Howard's books as desirable adjuncts to a Marryat -collection. For which reasons, and because it is no less probable than -improbable that Marryat, in conversation if not by actual pencraft, -helped to give his sub-editor's books their final shape, I have thought -well to include them in this bibliography. - - - 1837 - - THE OLD COMMODORE. By the author of _Rattlin the Reefer_. “Nestroque!” - London: Richard Bentley, New Burlington Street. 1837. 3 vols. Ex. - Cr. 8vo (4¾ × 7⅝). - - Vol. I. pp. (iv) + 306. - - Vol. II. pp. (iv) + 304. - - Vol. III. pp. iv + 307 + (1). - - Paper boards, paper label. White end-papers. - - NOTES—(i) This book was published on September 16, 1837. - - (ii) The above reckoning was made from a rebound copy from - which clearly flyleaves were missing. - - - 1838 - - OUTWARD BOUND: OR A MERCHANT'S ADVENTURES. By the author of _Rattlin - the Reefer_, _The Old Commodore_ etc. London: Henry Colburn, - Publisher, Great Marlborough Street. 1838. 3 vols. Ex. Cr. 8vo (4¾ × - 7¾). - - Vol. I. pp. (iv) + 299 + (1). No half-title. - - Vol. II. pp. (iv) + 308 + (2). Half-title to this volume. - Publisher's advertisements occupy pp. (309) (310). - - Vol. III. pp. (iv) + 326. Half-title to this volume. - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—This book was published in March, 1838. The story - appeared in part as a serial in the “Metropolitan Magazine” - under the title _Ardent Troughton_. - - - 1839 - - MEMOIRS OF ADMIRAL SIR SIDNEY SMITH, K.C.B. ETC. By the author of - _Rattlin the Reefer_ etc. London: Richard Bentley, New Burlington - Street, Publisher in Ordinary to Her Majesty. 1839. 2 vols. Demy 8vo - (5½ × 9). - - Vol. I pp. vii + (i) + 400. - - Vol. II. pp. vii + (i) + 411 + (5). Publisher's advertisements - occupy pp. (413) to (416). No half-titles. - - Steel-engraved portrait frontispiece to each volume, printed - separately. Pale blue ribbed cloth, gilt, blocked in blind. Yellow - end-papers. - - - 1840 - - JACK ASHORE. By the Author of _Rattlin the Reefer_, _Outward Bound_ - etc. etc. London: Henry Colburn, Publisher, Great Marlborough - Street. 1840. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. xvi + 310. - - Vol. II. pp. viii + 300. - - Vol. III. pp. vii + (i) + 323 + (1). - - Steel-engraved portrait frontispiece to Vol. I. printed separately. - Paper boards, paper label. White end-papers. - - - 1842 - - SIR HENRY MORGAN: THE BUCCANEER. By the author of _Rattlin the - Reefer_, _Outward Bound_, _Jack Ashore_ etc. London: Henry Colburn, - Publisher, Great Marlborough Street. 1842. 3 vols. Ex. Cr. 8vo (4¾ × - 7¾). - - Vol. I. pp. vii + (i) + 295 + (1). - - Vol. II. pp. vi + 307 + (1). - - Vol. III. pp. vii + (i) + 315 + (1). - - There is a portrait frontispiece to Vol. I., lithographed and - printed separately. Paper boards, half cloth, paper label. White - end-papers. - - - 1859 - - TALES FROM BENTLEY. Vol. I. London: Richard Bentley, New Burlington - Street, 1 vol. Pott 8vo (4 × 6¼). Pp. (iv) + 96. Buff paper wrappers - printed in black. Also in boards. _The Marine Coast_, a story by the - author of _Rattlin the Reefer_, occupies pp. 55 to 88. - - NOTE—This first series of _Tales from Bentley_ was published - in September, 1859. - - - _A NOTE ON MARRYAT AS ARTIST_ - -It is well known that Captain Marryat was a painter as well as a writer. -Collectors of his written work will perhaps also be interested to know -of a published book containing in reproduction some of his drawings. In -1825 or 1826 there appeared the following work: - - ILLUSTRATIONS OF THE BURMESE WAR. Both Series. With twenty-four plates - after drawings by Captain Marryat, Thornton and Moore displaying the - Operations of the British Forces. London: Published by Thomas Clay. - (N.D.) The volume measures 20½ × 13¼, is bound in thick grey paper - wrappers lettered in black as above, and contains five engravings of - pictures painted by Stothard and D. Cox after drawings by Captain - Marryat. The name Kingsbury and Co., 6 Leadenhall Street, appears at - the foot of the engravings as their publisher, together with the - date 1825. - - - - - BENJAMIN DISRAELI - 1804-1881 - - - - - BENJAMIN DISRAELI - - -It is easier to blame historians and political critics of the life and -statesmanship of Disraeli for neglecting his novels, than it is oneself -to judge these novels as literature, apart from the huge mass of -incident, ambition, and achievement that went to make up the character -of their extraordinary author. To attempt in a few pages an estimate of -Disraeli as a man of letters were manifestly absurd, seeing that he was -rarely that and nothing else. It were doubly absurd, even if possible, -to treat in summary of the interactions of his political and literary -genius when one of the finest biographies of modern times (and that in -six volumes) has already covered every inch of the ground. The only -purpose, therefore, which these unauthoritative notes may serve is that -of indicating in a few words the development of Disraeli as a novelist -and the respective content of his principal books. - -Although his novels fall into distinct and different groups, they are -all primarily satirical in character. From the moment of the anonymous -but sensational appearance of _Vivian Grey_ to that of the publication -of _Endymion_ which bore on each of its three volumes the name of the -most distinguished statesman of the world, Disraeli held up alike to the -follies and the ideals of his age the mirror of a keen and ruthless -mind. - -But if he gazed on his contemporaries more often from the angle of -satire than from any other, he enclosed in their various frames the -period portraits that are his books. As a very young man—unknown, -ambitious, at once receptive and intensely sensitive—he used as material -for fiction not only the incidents of his own life, but, even more, the -thoughts and aspirations that filled his teeming brain. _Vivian Grey_ -(1826-7), _Contarini Fleming_ (1833), and _Alroy_ (1833) are mainly -interesting as autobiography, and to the use of personal experience as -material for novel-writing he returned in extreme old age when, looking -back from the splendid eminence of his power, he described in the pages -of _Endymion_ the long road that he had travelled from obscurity to -fame. - -_Vivian Grey_ appeared in five volumes, with an interval of a year -between the issue of the first two and that of the last three. But for -the brilliant publicity given to it by Colburn, the book would have -attracted little or no attention. It is a showy, careless pastiche of -the society of the day, a gallery of isolated portraits rather than a -single composition, attractive to the fashionable public of the time for -its thinly veiled presentment of well-known men and women. The reader is -further unpleasantly aware that the author's interest in his book did -not extend much beyond the first of the five volumes. Young men find it -easier to start a book than to finish one, and Disraeli was clearly no -exception to the rule. - -_Contarini Fleming_ and _Alroy_, written after an extended tour in the -East, show, at its most luxuriant and ornate, the author's talent for -heady, rhetorical prose. Like most of his race, Disraeli was more -susceptible to magnificence and to decoration than to severe simplicity, -and throughout his books was prone to an excessive use of epithet and -metaphor. If these two early books show his love of ornament more -shamelessly than those written at a maturer age, they can claim -nevertheless to have received more careful and conscientious working, so -that their embellishments, if too lavish, are at least scrupulously -fashioned. - -Between the publication of the last three volumes of _Vivian Grey_ and -that of the story of _Contarini Fleming_ Disraeli published two works of -fiction which, although in the matter of primary characteristic isolated -from the rest of his work and from each other, contain elements that -constantly reappear in the books of his later life. - -_The Voyage of Captain Popanilla_ (1828) is a satire on English -political and social institutions cast in the form of an inverted -_Gulliver's Travels_ or _Erewhon_. Instead of an Englishman reaching an -imaginary and fantastic land, where he finds conditions that correspond -partly to the prejudices, partly to the ideals, of the author, the hero -of Disraeli's satire is a being from a mythical world, who comes over -the sea to an island that is, in all but name, England as Disraeli saw -it. As an example of pertinacious and aggressive parody _The Voyage of -Captain Popanilla_ is witty and readable enough, but it fatigues, as do -all pastiches of the kind, by its somewhat literal pursuit of -contemporary activity. Disraeli should have limited his prospect of -satire, for the individual beauties of any view are appreciated in -proportion to the smallness of their number. _Popanilla_ is overcrowded, -and the reader's mind tires with the effort to solve the riddle that is -contained in nearly every paragraph. - -_The Young Duke_ (1831) was written to make money. One may go farther -and confess that the author, seeking frankly to profit by the -contemporary popularity of the novel of fashionable life, wrote a tale -of society into which he crammed all that he knew of character and -incident likely to appeal to the mood of the moment. With such -antecedents it is surprising that _The Young Duke_ is not a worse book -than it is. Inevitably it reads artificially, and the young writer had -not the skill entirely to conceal the wilfulness with which the work was -put together. On the other hand, the heroine deserves the attention of -Disraeli students, for she is the direct forerunner of Sybil, and that -part of _The Young Duke_ which depends on her personality is not without -a touch of the four great political novels upon which Disraeli's fame as -a writer must rest. - -It was four years after the publication of _Alroy_ that Disraeli next -appeared as a novelist. He then published, within six months of one -another, two stories that stand markedly apart from the rest of his -work, in that they are wholly without political significance. Even amid -the extravagance of _Contarini Fleming_ and _The Young Duke_ occur -passages that depend for their significance on political movements or -political thought of the time. _Vivian Grey_, being a _roman à clef_ of -high society, and _Popanilla_ being a direct satire of institutions, are -naturally full of what was, even in those days, the author's ruling -interest. But _Henrietta Temple_ (1837) and _Venetia_ (1837) are -romances pure and simple. They may be said also to have no -autobiographical significance, save in so far as the first part of the -earlier book was written under the stimulus of a real love affair. It -must be admitted that _Henrietta Temple_, once it gets beyond the -boundary of Disraeli's own passionate experience, is a tame and careless -book. The interval that passed between the writing of the earlier and -that of the later portion seems to have extinguished his enthusiasm for -the work. Colburn was clamouring for a novel, and Disraeli, as always -hard pressed for money, raked out his incomplete manuscript, furbished -it up, finished it off, and delivered it to the publisher. _Venetia_ has -not this fault of interrupted fashioning. It is, however, in one -reader's opinion at any rate, a very tedious affair—rhetorical, unreal, -and sluggish in movement; but this view is contrary to that held by -many, who consider that the book's portraiture gives it value as -commentary on the life of Byron and other famous people. - -There follows, this time after an interval of seven years, the first of -the four famous political novels that, whether or no they can be said to -have introduced a new genre into English fiction, are undoubtedly the -finest achievements of Disraeli's literary career. _Coningsby_ (1844), -_Sybil_ (1845), and _Tancred_ (1847) are too well known to need -description here. Because, however, their interdependence as parts of a -general scheme in the mind of the author tends to become obscured by -consideration of their respective quality, note may be taken of the fact -that _Coningsby_ is a novel of political views, _Sybil_ one of social -conditions and classes among the people, and _Tancred_ one of religion -as an influence in national life. Of the characters in _Coningsby_ many -reappear in _Tancred_, while Tadpole and Taper, whose names have become -part of English political slang, pull their wires and cadge their jobs -as assiduously in _Sybil_ as in the story that preceded it. It would be -interesting to work out a comparison between Disraeli and Trollope as -political novelists. Probably one would come to the decision that those -of Disraeli are the better political novels and those of Trollope the -better novels of politics. In other words, Disraeli is the cleverer -publicist, but Trollope the finer artist. _Coningsby_ and its fellows -depend very much on contemporary fact and personality for their full -understanding and significance. Surely it is not hyperæsthetic to demand -that literature be its own interpreter? In so far as a work of art -requires outside knowledge for its proper appreciation, to that extent -it falls short from what in art is highest and most perfect. - -The appearance of _Lothair_ in 1870 caused something of a scandal in -serious political circles. The Briton is accustomed to take his -statesmen seriously, but his novelists with frivolity and in the leisure -hour. Wherefore he regarded it as unseemly that the name of an ex-Prime -Minister and of a man whose political career was by no means run should -figure on the title-pages of a three-volume novel. Curiosity conquered -disapproval and, as on an hundred other occasions, a book condemned for -its very existence was purchased and read in tens of thousands. -_Lothair_ is the work of a man who knew everybody and almost everything. -The personal satire, the constructive and destructive fervour of -_Coningsby_, _Sybil_, and _Tancred_ have given place to a greater -gravity and restraint, to an ironic vision more general and less -individual. Taking as his subject the power of the Catholic Church, the -rival power of revolutionary free thought and the indeterminate central -position of the Church of England, Disraeli built up his fourth and most -extensive picture of the England of his time. If we miss the idealist -conviction that gives to some of the passages in _Tancred_ the force of -a splendid sermon, we gain a certainty and a dignity of thought which -were inevitably lacking in the books of the earlier period. We also -continue to enjoy the epigram, the vivid minor portraiture, the -lightning grasp of fact and of every implication of fact, that give to -the political novels of Disraeli their unique flavour and importance. - - - _BIOGRAPHY_ - - THE LIFE OF BENJAMIN DISRAELI, EARL OF BEACONSFIELD. By WILLIAM - FLAVELLE MONYPENNY and GEORGE EARLE BUCKLE. 6 vols. London: John - Murray. 1912-1920. - - - I.—EDITIONES PRINCIPES - FICTION, POETRY, ESSAYS, LETTERS, ETC. - - - 1825 - - AN ENQUIRY INTO THE PLANS, PROGRESS AND POLICY OF AMERICAN MINING - COMPANIES. London: John Murray. MDCCCXXV. 1 vol. Demy 8vo (5¼ × 8½). - Pp. 135 + (1) of which p. (6) is paged vi. Paper boards, paper - label. White end-papers. - - NOTE—These observations were made from a third enlarged - edition published in the first year of issue, and it is - likely that the first edition, although similar in format, - etc., contains fewer pages. - - - 1825 - - LAWYERS AND LEGISLATORS: Or NOTES ON THE AMERICAN MINING COMPANIES. - (Quotation from Hooker.) London: John Murray. MDCCCXXV. 1 vol. Demy - 8vo (5¼ × 8½). Pp. (viii) + 99 + (1). No half-title. Paper boards, - paper label. White end-papers. - - - 1825 - - THE PRESENT STATE OF MEXICO: As detailed in a Report presented to the - General Congress by the Secretary of State for the Home Department - and Foreign Affairs at the Opening of the Session in 1825. With - Notes and a Memoir of Don Lucas Alaman. London: John Murray, - Albemarle Street. MDCCCXXV. 1 vol. Demy 8vo (5¼ × 8½). Pp. 130. - Advertisement of Disraeli's two earlier pamphlets occupies verso of - half-title, facing title-page. Pp. (6) to 55 are occupied by a - Memoir of Don Lucas Alaman, written by Disraeli. Alaman's report - begins on p. 57. Paper boards, paper label. White end-papers. - - - 1826/7 - - VIVIAN GREY. “Why then the world's mine oyster which I with sword will - open.” London: Henry Colburn, New Burlington Street. 1826 (Vols. I. - and II.), 1827 (Vols. III. IV. and V.). 5 vols. Ex. Cr. 8vo (4¾ × - 7⅝). - - Vol. I. pp. (vi) + 266 + (2). - - Vol. II. pp. (iv) + 236 + (4). Publisher's advertisements occupy pp. - (237) to (240). - - Vol. III. pp. (iv) + 333 + (3). Publisher's advertisements occupy - pp. (335) and (336). - - Vol. IV. pp. (iv) + 362. - - Vol. V. pp. (iv) + 324. - - Paper boards, paper label. White end-papers. - - NOTE—Vols. I. and II. of this story were published on April - 22, 1826; Vols. III. IV. and V. on February 23, 1827. - - - 1828 - - THE VOYAGE OF CAPTAIN POPANILLA. By the author of _Vivian Grey_. - “Travellers ne'er did lie though fools at home condemned 'em.” - London: Henry Colburn, New Burlington Street. 1828. 1 vol. Ex. Cr. - 8vo (4⅞ × 7¾). Pp. viii + 243 + (1). Paper boards, paper label. - White end-papers. - - NOTE—This book was published on June 3, 1828. - - - 1831 - - THE YOUNG DUKE: “A moral Tale, though gay.” By the author of _Vivian - Grey_. London: Henry Colburn and Richard Bentley, New Burlington - Street. 1831. 3 vols. Ex. Cr. 8vo (7⅞ × 4¾). - - Vol. I. pp. iv + 300. No half-title. - - Vol. II. pp. (vi) + 269 + (3). Text ends p. 269; note occupies p. - (271). - - Vol. III. pp. (vi) + 265 + (3). Publishers' advertisements occupy - pp. (267) (268). - - Paper boards (half cloth), paper label. White end-papers. - - NOTE—The only copy of this book I have been able to consult - in its original state contained at the end of Vol. I. a - publishers' catalogue, 8 pp., dated April, 1832. Clearly it - did not belong to the first issue, but what date should be - found on a catalogue of the earliest issue, where in the - three volumes such a catalogue should appear, or whether - there should be a catalogue at all, I do not know. - - - 1832 - - ENGLAND AND FRANCE: Or A CURE FOR THE MINISTERIAL GALLOMANIA. - (Quotation from speech by Duke of Wellington.) London: John Murray, - Albemarle Street. 1832. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. viii + - (xii) + 268. Paper boards, paper label. White end-papers. - - NOTES—(i) This book was published in April, 1832. - - (ii) The above observations were made from a rebound cut - copy, and details of measurement are therefore conjectural. - - - 1832 - - CONTARINI FLEMING: A Psychological Autobiography. London: John Murray, - Albemarle Street. MDCCCXXXII. 4 vols. Fcap. 8vo (4¼ × 6¾). - - Vol. I. pp. (iv) + 288. - - Vol. II. pp. (iv) + 247 + (1). - - Vol. III. pp. (iv) + 194 + (2). Publisher's advertisements occupy - pp. (195) (196). - - Vol. IV. pp. (iv) + 230 + (2). - - Paper boards (half cloth), paper label. White end-papers. - - NOTES—(i) This book was published in May, 1832. - - (ii) The sheets of the Murray edition were issued in 1834 by - Edward Moxon, Dover Street, over the name: “D'Israeli The - Younger, author of _Vivian Grey_, _Alroy_ and _Ixion in - Heaven_,” with a new preliminary signature (8 pp.) to Vol. - I. containing a preface in explanation of the author's - action in putting his name to the book. Consequently from - the purist point of view the Moxon edition of 1834 should be - collected as containing fresh matter. It was bound in pale - maroon cloth, with paper label. Yellow end-papers. - - - 1833 - - THE WONDROUS TALE OF ALROY: THE RISE OF ISKANDER. By the author of - _Vivian Grey_, _Contarini Fleming_ etc. London: Saunders and Otley, - Conduit Street. 1833. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. xxv + (iii) + 303 + (1). - - Vol. II. pp. (iv) + 305 + (3). Publishers' advertisements, dated - February, 1833, occupy pp. (307) and (308). - - Vol. III. pp. (iv) + 324 + (4). Advertisements of works by the same - author occupy pp. (325) and (326). - - Paper boards, paper label. White end-papers. - - NOTE—This book was published on March 5, 1833. - - - 1833 - - WHAT IS HE? By the author of _Vivian Grey_. (Extract from a Letter.) - London: James Ridgway, Piccadilly and E. Lloyd, Harley Street, - MDCCCXXXIII. 1 vol. Demy 8vo (5⅜ × 8½). Pp. 16. Half-title serves as - wrapper and bears the words “Price Sixpence.” P. 16 serves as back - wrapper. Advertisements occupy p. (2). - - NOTE—The above notation was made from a copy of the “New - Edition, Revised” of the pamphlet. Since, however, this - first appeared in the same year and over the same imprint, I - have ventured to assume comparative uniformity of size and - appearance. - - - 1834 - - THE REVOLUTIONARY EPICK: THE WORK OF DISRAELI THE YOUNGER. Author of - _The Psychological Romance_. London: Edward Moxon, Dover Street, - MDCCCXXXIV. [The title-page to Vol. II. reads in addition: “Books - II. and III. containing The Plea of Lyridon, the Genius of - Feudalism; and the First Part of the Conquest of Italy.”] 2 vols. - Large Post 4to (8¼ × 10½). - - Vol. I. pp. viii + 89 + (3). - - Vol. II. pp. xi + (i) + (91) to 206. - - Advertisement of _Contarini Fleming_ (differently worded in each - case) faces title in both volumes. Paper boards. Paper label on - sides. White end-papers. - - NOTE—Only fifty copies of this edition were printed. See - preface to the second and revised edition published in 1864, - details of which are given below. - - - 1834 - - THE CRISIS EXAMINED. By DISRAELI THE YOUNGER. London: Saunders and - Otley, Conduit Street. 1834. 1 vol. Demy 8vo (5½ × 8½). Pp. (iv) + - 31 + (1). - - NOTES—(i) This pamphlet was issued in December, 1834. - - (ii) The above observations were made from a rebound copy, - wherefore the style of binding is an assumption, and I - suspect that two or more flyleaves—maybe printed with - advertisements—should be added to the reckoning here set - down. - - - 1835 - - VINDICATION OF THE ENGLISH CONSTITUTION IN A LETTER TO A NOBLE AND - LEARNED LORD. By DISRAELI THE YOUNGER. London: Saunders and Otley, - Conduit Street. 1835. 1 vol. Tall Demy 8vo (5½ × 9). Pp. ix + (i) + - 210 + (2). Publishers' advertisements occupy pp. (211) and (212). A - four-page leaflet of publishers' advertisements should be found - inserted between the front end-papers, and an erratum slip at p. - (v). Paper boards, paper label. White end-papers. - - NOTE—This book was published in January, 1835. - - - 1836 - - THE LETTERS OF RUNNYMEDE. “Neither for shame nor fear this mask he - wore That, like a vizor in the battle-field But shrouds a manly and - a daring brow.” London: John Macrone, St. James's Square. - MDCCCXXXVI. 1 vol. Slim Ex. Cr. 8vo (4¾ × 8¼). Pp. (xxiv) [paged as - ii + (v) + vi-xx + (ii)] + 234 + (6). Publishers' advertisements, 2 - pp., dated August 1, 1836, occupy pp. i and ii. The half-title is - inset on different paper between p. ii. and title-page. Paper - boards, paper label. White end-papers. Also in dark blue embossed - cloth, gilt, yellow end-papers. - - NOTE—This book was published in July or August, 1836. - - - 1837 - - HENRIETTA TEMPLE: A Love Story. By the author of _Vivian Grey_. “Quoth - Sancho, Read it out by all means; for I mightily delight in hearing - of love stories.” London: Henry Colburn, 13 Great Marlborough - Street, MDCCCXXXVII. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝). - - Vol. I. pp. (iv) + 299 + (1). - - Vol. II. pp. (iv) + 309 + (3). Publisher's advertisements occupy pp. - (311) and (312). - - Vol. III. pp. (iv) + 331 + (1). - - Paper boards, half cloth, paper label. White end-papers. - - NOTE—Although dated 1837, this book was actually published - in December, 1836. - - - 1837 - - VENETIA. By the author of _Vivian Grey_ and _Henrietta Temple_. “Is - thy face like thy mother's my fair child?” “The child of love, - though born in bitterness and nurtured in convulsion.” London: Henry - Colburn, Publisher, 13 Great Marlborough Street. MDCCCXXXVII. 3 - vols. Ex. Cr. 8vo (4⅞ × 7⅝). - - Vol. I. pp. (iv) + 346. - - Vol. II. pp. (ii) + 377 + (1). - - Vol. III. pp. (iv) + 324. Publisher's advertisements occupy pp. (i) - and (ii). - - No half-titles. Paper boards, half cloth, paper label. White - end-papers. - - NOTE—This book was published in May, 1837. - - - 1839 - - THE TRAGEDY OF COUNT ALARCOS. By the author of _Vivian Grey_. London: - Henry Colburn, Great Marlborough Street. 1839. 1 vol. Demy 8vo (5½ × - 8½). Pp. vi + (ii) + 108. Errata slip facing p. 1. Paper boards, - paper label. White end-papers. - - NOTE—This book was published in May, 1839. - - - 1844 - - CONINGSBY: Or THE NEW GENERATION. By B. DISRAELI ESQ., M.P., author of - _Contarini Fleming_. London: Henry Colburn, Publisher, Great - Marlborough Street. 1844. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. iv + 319 + (1). - - Vol. II. pp. (ii) + 314. - - Vol. III. pp. (ii) + 354. Advertisements occupy pp. (351) to (354). - - No half-titles. Paper boards, half cloth, paper label. White - end-papers. - - NOTE—This book was published in May, 1844. - - - 1845 - - SYBIL: Or, THE TWO NATIONS. By B. DISRAELI, M.P., author of - _Coningsby_. (Quotation from Latimer.) London: Henry Colburn. - Publisher. Great Marlborough Street. 1845. 3 vols. Ex. Cr. 8vo (4¾ × - 7¾). - - Vol. I. p. viii + 315 + (1). - - Vol. II. pp. (iv) + 324. - - Vol. III. pp. (iv) + 326 + (2). Publisher's advertisements occupy - pp. (327) and (328). - - Paper boards, half cloth, paper label. White end-papers. - - NOTE—This book was published in May, 1845. - - - 1847 - - TANCRED: Or THE NEW CRUSADE. By B. DISRAELI, M.P., author of - _Coningsby_, _Sybil_ etc. London: Henry Colburn, Publisher, Great - Marlborough Street, 1847. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞). - - Vol. I. pp. (ii) + 338. - - Vol. II. pp. (ii) + 340. - - Vol. III. pp. (ii) + 298 + (12). Publisher's advertisements occupy - pp. (299) to (310). - - No half-titles. Paper boards, half cloth, paper label. White - end-papers. - - NOTE—This book was published in March, 1847. - - - 1852 - - LORD GEORGE BENTINCK: A Political Biography. By B. DISRAELI, Member of - Parliament for the County of Buckingham. “He left us the legacy of - heroes; the memory of his great name and the inspiration of his - great example.” London: Colburn and Co., Publishers, Great - Marlborough Street. 1852. 1 vol. Demy 8vo (5¾ × 8¾). Pp. viii + 588. - Publishers' catalogue, 8 pp., and measuring 5 × 8, bound in after p. - 588. This catalogue is followed by a further single sheet (2 pp.) - advertisement, measuring 5 × 8½. Dark olive-brown cloth, gilt, - blocked in blind. Yellow end-papers. - - NOTE—Although dated 1852, this book was actually published - in December, 1851. - - - 1853 - - *IXION IN HEAVEN. THE INFERNAL MARRIAGE. THE VOYAGE OF CAPTAIN - POPANILLA. THE TRAGEDY OF COUNT ALARCOS. By BENJAMIN DISRAELI. - London: David Bryce, 48 Paternoster Row. 1853. 1 vol. Cloth. - - This little book—a volume in a cheap reissue of the novels and - romances of Disraeli—is the first _book_ edition of _Ixion in - Heaven_ and _The Infernal Marriage_, which first appeared in the - “New Monthly” in 1829 and 1830, and had not been reprinted in the - interval. - - - 1864 - - THE REVOLUTIONARY EPICK. By the Right Honorable BENJAMIN DISRAELI. - London: Longman, Green, Longman, Roberts and Green. 1864. 1 vol. - Small Cr. 8vo (4½ × 7⅛). Pp. (xiv) [paged as (ii) + x + (ii)] + 176 - + (2). Preface (in dedication), dated Easter, 1864, occupies pp. - (vii) and (viii). Preface reprinted from the original edition - occupies pp. (ix) to (xii). Brown cloth, gilt. Chocolate end-papers. - - NOTE—The text of this edition differs extensively both in - wording and length from that of 1834. In his preface the - author states that the work was completed in 1837, but, - through press of political duties, he made no arrangement - for its issue before the present date. He also avers that - only fifty copies of the edition of 1834 were printed. - - - 1870 - - LOTHAIR. By the Right Honorable B. DISRAELI. (Quotation from - Terentius.) London: Longmans, Green and Co., 1870. 3 vols. Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. (viii) + 328. Publishers' advertisements, 32 pp., dated - January, 1870, bound in at end. - - Vol. II. pp. (iv) + 321 + (3). - - Vol. III. pp. (iv) + 333 + (7). Publishers' advertisements occupy - pp. (337) to (340). - - Green cloth, gilt, blocked in blind. Chocolate end-papers. - - NOTE—This book was published in May, 1870. - - - 1880 - - ENDYMION. By the author of _Lothair_. “Quicquid agunt Homines.” - London: Longmans, Green and Co. 1880. 3 vols. Ex. Cr. 8vo (4¾ × 7⅝). - - Vol. I. pp. (iv) + 331 + (1). - - Vol. II. pp. (iv) + 337 + (3). - - Vol. III. pp. (iv) + 346 + (2). Publishers' advertisements occupy - pp. (347) and (348). - - Scarlet cloth lettered in silver. Grey and white decorated - end-papers. - - NOTE—There are two styles of blocking for the binding of - this book; that most worked and bearing publishers' imprint - at foot of spine is the earlier. - - - II.—BOOKS PARTIALLY WRITTEN OR EDITED BY BENJAMIN DISRAELI - - - 1825 - - THE LIFE OF PAUL JONES. From original documents in the possession of - John Henry Sherburne Esq., Register of the Navy of the United - States. London: John Murray, Albemarle Street. MDCCCXXV. 1 vol. Ex. - Cr. 8vo (4¾ × 7¾). Pp. xii + 320. Paper boards, paper label. White - end-papers. - - NOTES—(i) With reference to this book Monypenny says: “The - exact relationship of the English book to the American - original is not clear; but the former seems also to have - been written by an American, and the original MS., which has - been preserved, shows that Disraeli's share in it was - limited to the introduction here and there of a word or - phrase where the excision of a passage rendered such - amendment necessary.” In addition to the corrections thus - described Disraeli contributed an anonymous preface to the - book. - - (ii) It is interesting to record here that in 1844 Captain - Marryat was asked to write a life of Paul Jones. He was - interested in the project, but it never materialized. - - - 1826 - - THE STAR CHAMBER. A Weekly Magazine published by William Marsh, 145 - Oxford Street. 9/8 numbers Demy 8vo (5½ × 8¾) were published: No. 1, - April 19, pp. 1 to 20; Nos. 2 and 3 (double number), April 26, pp. - 21 to 58; No. 4, May 3, pp. 59 to 74; No. 5, May 10, pp. 75 to 90; - No. 6, May 17, pp. 91 to 110; No. 7, May 24, pp. 111 to 126; No. 8, - May 31, pp. 127 to 142; No. 9, June 7, pp. 143 to 154. - -After the completion of the 9/8 numbers, a four-page sheet of -preliminary matter was issued, of which p. (i) reads: - - THE STAR CHAMBER. Vol. I. Part 1. April 19 to June 7, 1826. (Quotation - from Cavendish, “Wolsey.”) London: William Marsh, 145 Oxford Street. - Pp. (iii) and (iv) are occupied by contents list. - - NOTES—(i) At one time the responsibility for the whole - contents as well as for the editorship of the “Star Chamber” - was fathered upon Disraeli. Monypenny, however, combats this - theory. He says: “The 'Star Chamber' was founded by a - certain Peter Hall, a friend of Meredith's at Brasenose, - who, through Meredith, had become acquainted with Disraeli. - Disraeli contributed some fables with a political - application under the title of _The Modern Aesop_, and - perhaps other matter. But in later life he expressly denied - ('The Times,' November 3, 1871; the 'Leisure Hour,' November - 4, 1871) having been editor, if indeed there ever was an - editor.” This represents, of course, the most recent and - authoritative opinion on the matter; but it is interesting, - on p. 150 of the catalogue of the Hope collection of - newspapers, etc., in the Bodleian Library at Oxford (1865), - to find reasons given for the suppression by Disraeli of all - copies of the “Star Chamber” upon which he could lay his - hands. The Peter Hall referred to above was the Reverend - Peter Hall, B.A., editor of “The Crypt.” - - (ii) It is because the “Star Chamber” has come to be looked - upon as a Disraeli item that I have included it here, - despite the fact that in so doing I exceed the limit of - these bibliographies, which take no account of magazine - contributions of the authors concerned. - - - 1849-1859 - - THE WORKS OF ISAAC DISRAELI. Edited with Introductions by BENJAMIN - DISRAELI. - -Disraeli started work on a new edition of his father's books in 1847, -but the actual publication was, for various reasons, spread over a -period of ten years. The following are the dates and details in outline -of the first issues of the various titles: - - 1849. CURIOSITIES OF LITERATURE. London: Edward Moxon. 3 vols. Demy - 8vo (5½ × 8¾). Dark green cloth, gilt. Yellow end-papers. Vol. I. - contains “A View of the Life and Writings” of Isaac Disraeli written - by his son and extending to over thirty pages. - - 1851. COMMENTARIES ON THE LIFE AND REIGN OF CHARLES THE FIRST, KING OF - ENGLAND. London: Henry Colburn. 2 vols. Demy 8vo (5½ × 8¾). Dark - green cloth, gilt. Yellow end-papers. Vol. I. contains a brief - preface by Benjamin Disraeli. - - 1859. THE LITERARY CHARACTER Or THE HISTORY OF MEN OF GENIUS; and - LITERARY MISCELLANIES and AN ENQUIRY INTO THE CHARACTER OF JAMES THE - FIRST. 1 vol. Cr. 8vo. - - 1859. THE CALAMITIES AND QUARRELS OF AUTHORS. 1 Vol. Cr. 8vo. - - 1859. AMENITIES OF LITERATURE. 2 vols. Cr. 8vo. - -These last three items were all published in London by Routledge, Warnes -and Routledge, and bound in dark green cloth, with yellow end-papers. -They contain no prefaces by Benjamin Disraeli, who contented himself -with care for the text of his father's work. - - - _NOTE_ - -To a collected edition of his novels issued in 1870 Disraeli wrote an -important preface, characterising the work of his youth from the -viewpoint of a man in his sixties and indicating the considerable -revisions carried out in nearly all the books. - -No attempt has been made to include in the foregoing bibliography the -reports of and selections from the speeches of Disraeli, which—not -surprisingly—were issued in large numbers during his later life. Also -are omitted two volumes of his early letters, published after his death. - - - - - WILKIE COLLINS - 1824-1889 - - - - - WILKIE COLLINS - - -Few novelists have enjoyed greater glory than did Wilkie Collins at the -height of his fame; to few did loss of popularity in later years come -more bitterly. For fame at one time undeniably was his. Not only had he -a large and enthusiastic public; not only were his works translated into -half a dozen languages within a month of their original publication; not -only was he pestered by the editors of two hemispheres for stories and -serials; but also he figured prominently in the professional literary -life of the time, was the intimate friend of Dickens, and a member of -the innermost ring of artistic and intellectual society. Probably to his -intimacy with the chief literary personalities of his time is due the -considerable survival of his reputation. Despite the fact that during -the last period of his life he suffered severe eclipse, and although, -beyond _The Moonstone_ and _The Woman in White_, none of his books are -regularly read to-day, he is a name more familiar to the world than -Trollope, a name more notably literary than Marryat. In the sixties, no -less than in the nineteen-twenties, to belong to the writing set was -two-thirds of reputation. There is no log-rolling so expert, no -admiration so mutual as that existing among members of the various -groups that practise the arts. Whence it has come about that the name of -Wilkie Collins—who as an artist may not be mentioned in the same chapter -as Trollope or Marryat, or even Mrs. Gaskell—is a household word, while -those of his greater fellows sound strangely, as the notes of some -old-fashioned melody. - -I do not seek to imply that Collins' survival is in no way due to the -quality of his work. He won the admiration of his own age and may claim -that of posterity as a superb teller of stories and, in his latter days, -as a pathetic and courageous figure. But apart from his dexterity in the -contriving of plot, apart from a great (if intermittent) talent for the -portrayal of abnormal character, he is inferior as a painter of life to -many writers of his time whose very existence is nowadays forgotten. - -And yet he would, perhaps, himself be content to have it so. That it was -the novelist's primary duty to tell a story was his own creed, and -faithfully he abode by it. He does not reveal to us human nature as does -Trollope; nor, like Disraeli, pique our interest with satiric brilliance -on topics of follies of the day; he has none of Marryat's gay -familiarity with the winds that blow and the sun that shines on the -crossroads of life's pilgrimage; he has no fund of rough but genial -humanity like Reade; he is not tender like Mrs. Gaskell, nor mystic -visionary like Herman Melville; even Whyte Melville, with his stilted -rhetoric and clumsy naïveté, has at times an attractive freshness that -Collins lacks. But if we rid our minds of all thought of him as seeking -to throw on the dark places of existence the light of interpretation, -looking to him rather for entertainment and for excitement, for deft -mystery and for extraordinary coincidence, he will not disappoint us. - -Of his novels the largest category, and that including all the books -(save perhaps two) that bear re-reading nowadays, is that of the -dramatic and mystery stories. - -The first to appear was _After Dark_, published in 1856. To the modern -reader, the unmistakable first appearance of the real Collins in these -excellent tales comes with a pleasurable shock after the mild -bohemianism of the preceding novel, _Hide and Seek_. _After Dark_ -consists of six narratives of varying length and subject, ingeniously -woven together into the pattern of a single story. At their best they -are as good as anything the author ever wrote; even at their worst they -are free from the perfunctory carelessness that mars so much of his -later work. - -_The Dead Secret_ (1857) and _The Queen of Hearts_ (1859) show the -novelist carrying farther his talent for dramatic construction and his -experiments in technique. Both books contain descriptive passages of -sombre power. - -There follow successively the four best books of Collins' career. _The -Woman in White_ (1860), _No Name_ (1862), _Armadale_ (1866), and _The -Moonstone_ (1868) are story-telling as fine as the nineteenth century -can show. But they make evident that, even at his zenith, Collins was no -reader of other men's hearts. He could fashion ingenious puppets to his -will, entangling them in the meshes of his intricate and faultlessly -constructed plots; but neither Count Fosco nor Captain Wragge, neither -Miss Gwilt nor Sergeant Cuff, remains with the reader as a new friend or -as a new enemy. Each is remembered, rather, as a striking and skilfully -designed marionette, jerking through a Collins drama at the bidding of a -delicate mechanism of strings. - -After _The Moonstone_ the decadence began, and, to a point, accountably -enough. In the first place, the author threw himself into the production -of propaganda fiction, with results (as may be seen) praiseworthy but a -little ridiculous. Secondly, he paid the usual price of success and -began to over-write. Whereas between 1850 and 1868 he published eleven -novels and books of tales, between 1870 and his death in 1889 he -published eighteen, in addition to a mass of short stories for -magazines, plays, and other incidental work. Thirdly—although not until -late in the seventies—his health began to fail. With reasons as good as -these for a falling off in Collins' work, it were ungracious to inquire -whether, had he eschewed reform, controlled his pen, and retained his -strength and eyesight, his fiction would have advanced from strength to -strength. Perhaps; perhaps not. Let us return from hypothetical dilemma -to melancholy fact. After _The Moonstone_ the decadence unmistakably -began. - -When next he came before the public with a novel of plot, and left for a -moment the righting of public wrongs, his offering was mechanical -enough. _The Two Destinies_ (1876) is built on a series of coincidences -so incredible, that even Collins' candid claim to search the very -border-line of impossibility for material of which to make a story -cannot reconcile us to their unlikelihood. - -_The Haunted Hotel_ (1879), _Jezebel's Daughter_ (1880), and _I Say No_ -(1884) mark a slight improvement, and can be read with pleasure for the -unfailing ingenuity of their design. _The Evil Genius_ (1886) is in the -nature of a bad relapse, from which the dramatic tales never wholly -recover, although, of the three remaining, _Little Novels_ (1887) and -_The Legacy of Cain_ (1889) are not without flashes of the old skill and -invention. _Blind Love_, finished by Sir Walter Besant and published -posthumously, may perhaps claim immunity from criticism. - -As a novelist of indignation Collins is pathetic rather than -blameworthy. He had the usual fanaticisms of the invalid -intellectual—hatred of athleticism, of sport, of legal injustice, of -religious intrigue, of social insincerity; and his propaganda novels -give expression to his passionate dislikes with a petulant but rather -impressive sincerity. Fortunately for the modern reader of books which -by their very nature are now out of date, Collins did not fail, even in -his tilting at windmills, to regulate his movements with practised -skill. Wherefore all but one of the propaganda novels have -well-contrived plots and continuity of interest, which those will enjoy -who can disentangle the fictional from the instructional in the stories' -purpose. These “indignation novels” are six in number: - - MAN AND WIFE (1870), - THE NEW MAGDALEN (1873), - THE LAW AND THE LADY (1875), - THE FALLEN LEAVES (1879), - THE BLACK ROBE (1871), and - HEART AND SCIENCE (1883). - -That in other books are present elements of reforming zeal I am -aware—for example, the abuse of private asylums figures in _The Woman in -White_ and, as mentioned below, there is a propaganda aspect to _Basil_; -but the six above named have their origin wholly in the author's -loathing of some injustice or some social evil. - -_Man and Wife_ illustrates the cruel working of the marriage laws of the -United Kingdom and, incidentally, voices the author's conviction that -athleticism was at the time rapidly brutalizing the youth of England. -_The Law and the Lady_ ventilates another grievance against legal -injustice in matters sexual. _The New Magdalen_ and _The Fallen Leaves_ -are protests against the outlawry of the prostitute and of the girl who -gives herself, unhallowed by the religious rite, to love. It is strange -that, of two books on the same subject, one (_The New Magdalen_) should -be the best novel of its class and not far below the highest level ever -attained by the author, while the other (_The Fallen Leaves_) should -hold the last place among everything that Collins wrote. _The New -Magdalen_ is a moving and dignified treatment of a very difficult theme; -_The Fallen Leaves_, from its aggressive preface to its sugary, unreal -end, is tragic proof that high motive and technical efficiency may yet -come together and produce only imbecile hysteria. - -_The Black Robe_ is anti-Jesuit; _Heart and Science_ anti-vivisection. -Both are readable, and the latter something more. It may be noted that -Collins himself called _Heart and Science_ his best novel since _Man and -Wife_. Probably opinion to-day would set it above that humourless and -over-appendixed story, but it must rank below _The New Magdalen_ and, -possibly, also below _The Haunted Hotel_. - -The novels that remain may hardly be classified. _Antonina_, the story -of Ancient Rome, with which in 1850, and following a fashion of the day, -he began his novelist's career, is essentially a first book—painstaking, -over-elaborate, and dull. - -It was succeeded by _Mr. Wray's Cash Box_ (1852), a brief and -sentimental tale, mainly interesting for the evidence it provides of -Dickens's influence over the young Collins at the very beginning of -their long friendship. Those who enjoy hearty Christmas jollity, lovable -if ludicrous old age, uncouth fidelity, incompetent villainy, and sweet -simple maidenhood will find _Mr. Wray's Cash Box_ pleasant enough. - -_Basil_ (1852) and _Hide and Seek_ (1854) are novels of contemporary -life, a little sombre, emotionally a little exaggerated. There is a hint -of crusading fervour in _Basil_ (against drunken nurses and hospital -routine), but the motif is not strong enough to class the book as a -propaganda novel. The young author (as many both before and since have -done) found stimulus for these books in the pathetic figure of the -debauched girl; but she receives at his hands treatment little different -from that usually given her by serious neophytes, eager to paint her -tragic isolation for the improvement of the novel-reading public. - -There is in _Hide and Seek_ an element of interest apart from that of -the story itself. Much of the action takes place in a painter's studio, -and Collins has full scope for showing his fondness for art, an -enthusiasm suitable enough in the son and biographer of a distinguished -painter, but somewhat uncommon among novelists of his age. Throughout -his work he makes play with knowledge of contemporary painting, -displaying decided and on the whole admirable taste, often well in -advance of his time. - -_Poor Miss Finch_ (1872) is more a story of contemporary social life -than either a novel of mystery or one of propaganda. It may therefore -appear here as pendant to the two early books just described. The -central figure is a blind girl. In _Hide and Seek_ the author took -credit to himself for introducing a deaf mute, but as the affliction -plays no part in the story one must refrain from joining in the -applause. The blindness of Miss Finch, on the other hand, is the pivot -of her tale, and a very elaborate, improbable, and overcrowded tale it -is. The fact is regrettable. Neatly contrived, related in a series of -narratives from different sources and from different points of view, -based largely on the antagonism of two brothers, and pervaded by the -wise spirit of an elderly governess-companion, this novel is so nearly -an epitome of the methods and tricks of Wilkie Collins, that one could -wish it more thoroughly a success. - -And here, save for scattered volumes of short stories and one or two -brief and unimportant novels, ends the tale of Collins's books. He is a -writer for tired minds, capable—thanks to his perfect control of the -mechanism of incident—of holding the interest without calling on the -emotional reserves of his reader. His influence on the novel of -sensation has been enormous. It is the least of his due that a -generation brought up on the mystery stories of his disciples should -find time to turn over the principal works of the master himself. - - - _BIOGRAPHY_ - -The only biography of Wilkie Collins which has yet been published is an -insignificant German book issued in 1885. - - - EDITIONES PRINCIPES - A.—FICTION, ESSAYS, BIOGRAPHY, ETC., AND ONE BOOK WRITTEN IN - COLLABORATION - - - 1848 - - MEMOIRS OF THE LIFE OF WILLIAM COLLINS, R.A.: WITH SELECTIONS FROM HIS - JOURNALS AND CORRESPONDENCE. By his son, W. WILKIE COLLINS. London: - Longman, Brown, Green and Longmans. MDCCCXLVIII. 2 vols. Ex. Cr. 8vo - (4¾ × 7⅞). - - Vol. I. pp. xii + 348. Publishers' catalogue, 32 pp., dated April - 29, 1848, bound in at end. - - Vol. II. pp. vi + 354. - - No half-titles. Brown-purple (or grey-blue) cloth, gilt, blocked in - blind. Yellow end-papers. Vol. I. contains engraved portrait after - Linnell and engraved title-page after Collins, immediately preceding - printed title. Vol. II. contains engraved title-page after Collins, - immediately preceding printed title. - - NOTE—This book was published in November, 1848. - - - 1850 - - ANTONINA: Or THE FALL OF ROME. A Romance of the Fifth Century. By W. - WILKIE COLLINS, author of _The Life of William Collins, R.A._ - (Quotation from Scuderi.) London: Richard Bentley, New Burlington - Street. MDCCCL. 3 vols. Tall Ex. Cr. 8vo (4⅞ × 8). - - Vol. I. pp. xiv + (ii) + 295 + (1). - - Vol. II. pp. (viii) + 338 + (2). Publisher's advertisements occupy - pp. (323) and (324). - - Vol. III. pp. (viii) + 338 + (2). Publisher's advertisements occupy - pp. (339) and (340). - - Cream embossed cloth, gilt. Yellow end-papers, printed with - publisher's advertisements. - - NOTES—(i) This book was published on February 27, 1850. - - (ii) Copies in paper boards, half cloth and with paper - label, were probably also issued. - - - 1851 - - RAMBLES BEYOND RAILWAYS: Or NOTES IN CORNWALL TAKEN A-FOOT. By W. - WILKIE COLLINS, author of _The Life of William Collins, R.A._, - _Antonina_ etc. With Illustrations by Henry C. Brandling. (Quotation - from _A Winter's Tale_.) London: Richard Bentley, New Burlington - Street, Publisher in Ordinary to Her Majesty. 1851. 1 vol. Sq. Demy - 8vo (5½ × 8¼) pp. (viii) + 304. No half-title. Twelve full-page - illustrations in tinted lithograph, printed separately. Cream-brown - cloth, gilt, blocked in blind. Yellow end-papers, printed with - publisher's advertisements. - - NOTES—(i) This book was published on January 30, 1851. - - (ii) The second edition (January 9, 1852) contained a - frontispiece differently tinted. - - - 1852 - - MR. WRAY'S CASH BOX: Or THE MASK AND THE MYSTERY: A Christmas Sketch. - By W. WILKIE COLLINS, author of _Antonina_ etc. London: Richard - Bentley, New Burlington Street. 1852. 1 vol. Fcap. 8vo (4¼ × 6¾). - Pp. viii + 171 + (5). Publisher's advertisements occupy pp. (173) to - (176). Grey-blue cloth, gilt. Yellow end-papers. Etched frontispiece - by J. E. Millais, dated 1852, and printed separately. - - NOTE—This book was published in January, 1852. - - - 1852 - - BASIL: A Story of Modern Life. By W. WILKIE COLLINS, author of - _Antonina_, _Rambles Beyond Railways_ etc. London: Richard Bentley, - New Burlington Street. 1852. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. 300 pp. (6) to (21) are paged in roman numerals. - Half-title to this volume. - - Vol. II. pp. (iv) + 303 + (1). No half-title. - - Vol. III. pp. (iv) + 301 + (1). No half-title. - - Paper boards, half cloth, paper label, white end-papers. Also in - bright blue embossed cloth, blocked in gold and blind. Brick-red - end-papers. - - NOTE—This book was published on November 16, 1852. An - one-volume edition (1862, magenta cloth, blocked in gold and - blind) contains a dedicatory letter not elsewhere published. - - - 1854 - - HIDE AND SEEK. By W. WILKIE COLLINS, author of _Antonina_, _Basil_ - etc. London: Richard Bentley, New Burlington Street. 1854. 3 vols. - Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 297 + (3). Publisher's advertisements, dated - June, 1854, occupy pp. (299) and (300). - - Vol. II. pp. (iv) + 322 + (2). Publisher's advertisements, dated - June, 1854, occupy pp. (323) and (324). - - Vol. III. pp. (iv) + 332. - - Paper boards (half cloth), paper label. White end-papers. Also in - pale maroon cloth, gilt, blocked in blind, pale yellow end-papers. - - NOTE—This book was published on June 6, 1854. - - - 1856 - - AFTER DARK. By WILKIE COLLINS, author of _Basil_, _Hide and Seek_ etc. - London: Smith, Elder and Co., 65 Cornhill. 1856. 2 vols. Ex. Cr. 8vo - (4⅞ × 7¾). - - Vol. I. pp. viii + 315 + (1). Publishers' catalogue, 16 pp., dated - January, 1856, bound in at end. - - Vol. II. pp. (iv) + 322 + (2). Publishers' advertisement occupies p. - (323). - - Boards, half cloth, paper label. White end-papers. Also in dark - grey-green cloth, gilt, blocked in blind, yellow end-papers. - - _Contents_: Vol. I., A Terribly Strange Bed—A Stolen - Letter—Sister Rose. Vol. II., The Lady of Glenwith - Grange—Gabriel's Marriage—The Yellow Mask. - - NOTE—This book was published in February, 1856. - - - 1857 - - THE DEAD SECRET. By WILKIE COLLINS. London: Bradbury and Evans, 11 - Bouverie Street. 1857. 2 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. viii + 303 + (1). - - Vol. II. pp. (iv) + 331 + (1). No half-title. - - Grey-purple cloth, gilt, blocked in blind. Pale yellow end-papers. - - NOTES—(i) This book was published in June, 1857. - - (ii) Copies in brown cloth, with yellow end-papers, printed - with Chapman and Hall advertisements, are of later issue. - - - 1859 - - A PLOT IN PRIVATE LIFE AND OTHER TALES. By WILKIE COLLINS, author of - _After Dark_, _Hide and Seek_ etc. Leipzig: Bernhard Tauchnitz. - 1859. - - 1 vol. (4½ × 6¼). Pp. (viii) + 294 + (2). Paper wrappers of usual - Tauchnitz style. - - _Contents_: A Plot in Private Life—Mad Monkton—The Black - Cottage—The Family Secret—The Biter Bit. - - - 1859 - - THE QUEEN OF HEARTS. By WILKIE COLLINS, author of _The Dead Secret_, - _After Dark_, etc. etc. London: Hurst and Blackett, Publishers, - Successors to Henry Colburn, 13 Great Marlborough Street. 1859. 3 - vols. Cr. 8vo (4⅞ × 7½). - - Vol. I. pp. iii + (i) + 314. Publishers' catalogue, 16 pp., undated, - bound in at end. - - Vol. II. pp. (ii) + 359 + (1). - - Vol. III. pp. (ii) + 307 + (1). - - No half-titles. Dark grey-green cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This book was published in October, 1859. - - - 1860 - - THE WOMAN IN WHITE. By WILKIE COLLINS. Author of _The Dead Secret_, - _After Dark_ etc. etc. London: Sampson Low, Son and Co., 47 Ludgate - Hill. 1860. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. viii + 316. - - Vol. II. pp. (ii) + 360. - - Vol. III. pp. (ii) + 368. - - No half-titles. Preface to Vol. I., dated August 3, 1860. Violet - embossed cloth, blocked in gold and blind. Pale yellow end-papers. - - NOTES—(i) This book was published in September, 1860. The - first one-volume edition (1861, magenta cloth blocked in - gold and blind) contains a special preface. - - (ii) I am uncertain whether or not the earliest copies of - this novel contained in any one of the three volumes a - publishers' catalogue. The first editions I have seen show a - 16 pp. catalogue at the end of Vol. III., but dated - November, 1860, so that they belong clearly to a subsequent - issue. _The Woman in White_ is a case over which the buyer - should take great care. A so-called “New Edition” was issued - in the year of publication and _with binding identical_ to - that of the first edition, for which reason only the right - advertisement matter can show that a copy is untampered - with. I should welcome information tending to establish - whether a catalogue (and if so where and of what date) - should properly figure in a “right” copy of the novel. - - - 1862 - - NO NAME. By WILKIE COLLINS, author of _The Woman in White_, _The Dead - Secret_, etc. etc. etc. London: Sampson Low, Son and Co., 47 Ludgate - Hill. 1862. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. ix + (1) + 339 + (1). - - Vol. II. pp. (iv) + 363 + (1). - - Vol. III. pp. (iv) + 408. - - Scarlet embossed cloth, blocked in gold and blind. Pale yellow - end-papers. - - NOTE—Although this book is dated 1862, it was not actually - published until January, 1863. - - - 1863 - - MY MISCELLANIES. By WILKIE COLLINS, author of _The Woman in White_, - _No Name_, _The Dead Secret_ etc. etc. etc. London: Sampson Low, Son - and Co., Ludgate Hill. 1863. 2 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. vi + (ii) + 291 + (1). Publishers' catalogue, 16 pp., - printed on text paper, and dated November, 1863, bound in at end. - - Vol. II. pp. (iv) + 300. Publishers' catalogue, 16 pp., printed on - text paper and dated November, 1863, bound in at end. - - Green embossed cloth, gilt. Green-ochre end-papers. - - NOTES—(i) This book was published in November, 1863. - - (ii) Copies in brown cloth gilt are of later issue. - - - 1866 - - ARMADALE. By WILKIE COLLINS. With Twenty Illustrations by George H. - Thomas. London: Smith, Elder and Co., 65 Cornhill. 1866. 2 vols. - Demy 8vo (5½ × 8¾). - - Vol. I. pp. (viii) + 304. - - Vol. II. pp. (iv) + 372. - - No half-titles. Vol. I. contains nine illustrations, Vol. II. - eleven. Red-brown cloth, blocked in gold. Yellow end-papers. - - NOTE—This book was published in June, 1866. The story - appeared serially in the “Cornhill.” - - - 1868 - - THE MOONSTONE: A Romance. By WILKIE COLLINS, author of _The Woman in - White_, _No Name_, _Armadale_, etc. etc. London: Tinsley Brothers, - 18 Catherine Street, Strand. 1868. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. viii + 315 + (1). - - Vol. II. pp. (iv) + 297 + (1). Publishers' advertisements (2 pp.) - inserted before half-title. - - Vol. III. pp. (iv) + 309 + (1). Publishers' advertisements (2 pp.) - inserted before half-title. - - Violet cloth, blocked in gold and blind. Cream end-papers. - - NOTE—This book was published in July, 1868. - - - 1870 - - MAN AND WIFE: A Novel. By WILKIE COLLINS. (Quotation from Bunyan.) - London: F. S. Ellis, 33 King Street, Covent Garden. 1870. 3 vols. - Cr. 8vo (5 × 7½). - - Vol. I. pp. xiv + 356. Publisher's advertisements, 8 pp., bound in - at end. - - Vol. II. pp. vi + 359 + (1). - - Vol. III. pp. vi + 348. - - Maroon cloth, gilt. Black end-papers. - - NOTE—This book was published in June, 1870. - - - 1872 - - POOR MISS FINCH: A Novel. By WILKIE COLLINS, author of _The Woman in - White_, _No Name_, _Man and Wife_, etc. London: Richard Bentley and - Son. 1872. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. ix + (iii) + 314 + (2). Publishers' advertisements - occupy p. (315). - - Vol. II. pp. iv + 316. - - Vol. III. pp. iv + 320. - - No half-titles. Purple-brown cloth, blocked in black. Cream - end-papers. - - NOTES—(i) This book was published on January 26, 1872. The - story appeared serially in “Cassell's Magazine.” - - (ii) Copies in bright blue embossed cloth, gilt, without - imprint on spine, are of a later issue. - - - 1873 - - THE NEW MAGDALEN: A Novel. By WILKIE COLLINS. “Lead us not into - temptation.” London: Richard Bentley and Son. 1873. 2 vols. Cr. 8vo - (5 × 7½). - - Vol. I. pp. vi + 297 + (1). - - Vol. II. pp. iv + 298 + (2). Publishers' advertisement occupies p. - (299). - - No half-titles. Red-brown cloth, blocked in gold and black. Cream - end-papers. - - NOTE—This book was published on May 17, 1873. The story - appeared serially in the “Temple Bar Magazine.” - - - 1873 - - MISS OR MRS.? And Other Stories in Outline. By WILKIE COLLINS. London: - Richard Bentley and Son, New Burlington Street, 1873. 1 vol. Cr. 8vo - (4⅝ × 7⅛). Pp. viii + 325 + (3). Publishers' advertisement occupies - p. (327). - - No half-title. Brown cloth, gilt, blocked in black. Pale yellow - end-papers. - - _Contents_: Miss or Mrs.?—Blow up the Brig!—The Fatal - Cradle. - - NOTE—This book was published on January 17, 1873. The - stories first appeared in “The Graphic” and in “All the Year - Round.” - - - 1874 - - THE FROZEN DEEP: And Other Stories. (READINGS AND WRITINGS IN - AMERICA.) By WILKIE COLLINS. London: Richard Bentley and Son, New - Burlington Street. 1874. 2 vols. Small Cr. 8vo (4¾ × 7). - - Vol. I. pp. viii + 248. - - Vol. II. pp. vi + 282 + (2). Publishers' advertisements occupy pp. - (283) and (284). - - Blue cloth, gilt, blocked in black. Pale yellow end-papers. - - _Contents_: Vol. I., The Frozen Deep—The Dream Woman. Vol. - II., John Jago's Ghost; or The Dead Alive. - - NOTES—(i) This book was published on November 2, 1874. The - title story appeared serially in the “Temple Bar Magazine”; - the remainder were first published in “Household Words” and - in the “Home Journal.” - - (ii) Copies in brown cloth, with yellow end-papers, printed - with Chapman and Hall advertisements, are of later issue. - - - 1875 - - THE LAW AND THE LADY: A Novel. By WILKIE COLLINS. London: Chatto and - Windus, Piccadilly. 1875. 3 vols. Cr. 8vo (4⅞ × 7⅜). - - Vol. I. pp. vi + (ii) + 246 + (2). Publishers' catalogue, 40 pp., - dated December, 1874, bound in at end. - - Vol. II. pp. iv + 269 + (3). Advertisement of author's previous - works occupies p. (271). - - Vol. III. pp. iv + 341 + (3). Advertisement of author's previous - works occupies p. (343). - - No half-titles. Dark green cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This book was published in February, 1875. - - - 1876 - - THE TWO DESTINIES: A Romance. By WILKIE COLLINS. London: Chatto and - Windus, Piccadilly. 1876. 2 vols. Cr. 8vo (4⅞ × 7⅜). - - Vol. I. pp. (viii) + 311 + (1). - - Vol. II. pp. iv + 301 + (3). No half-title. Publishers' catalogue, - 32 pp., dated April, 1876, bound in at end. - - Bright green cloth, gilt, blocked in black. Cream end-papers. - - NOTES—(i) This book was published in September, 1876. - - (ii) I have seen a copy bound in _brown_ cloth, blocked and - lettered identically to those in bright green, and - containing a publishers' catalogue dated _September_, 1876. - Whether the brown binding is necessarily later than the - green, or whether one variety is a trial binding and the - other that finally adopted, I do not know. - - - 1878 - - A SHOCKING STORY. By WILKIE COLLINS. Author of _Man and Wife_, _Woman - in White_ etc. New York: A. J. Barnes and Company, 111 and 113 - William Street. 1 vol. (4½ × 6½). Pp. (ii) plus 57 + (3). This - pamphlet is not wrappered, but pp. (i) and (60) form outside covers. - Both are plain without printing of any sort. - - NOTES—(i) The date 1878 appears under the note of copyright - on verso of title. - - (ii) This story was issued in the November number of the - “International Review,” an American periodical published by - Barnes and Co., who brought out the pamphlet described - above. In Great Britain the tale appeared in the “Belgravia - Annual” (December, 1878), published by Chatto and Windus, - but was not reissued in other than periodical form. - - - 1879 - - THE HAUNTED HOTEL: A Mystery of Modern Venice, to which is added MY - LADY'S MONEY. By WILKIE COLLINS. With six illustrations by Arthur - Hopkins. London: Chatto and Windus, Piccadilly. 1879. 2 vols. Demy - 8vo (5½ × 8¼). - - Vol. I. pp. viii + (ii) + 230 + (2). Publishers' catalogue, 40 pp., - dated October, 1878, bound in at end. - - Vol. II. pp. (viii) + 259 + (1). - - Vol. I. contains five illustrations and Vol. II. one illustration, - line engraved and printed separately. Dark brown cloth, gilt, - blocked in white. Blue-black end-papers. - - NOTES—(i) This book, although dated 1879, was actually - published in November, 1878. - - (ii) _My Lady's Money_ was issued by Tauchnitz in 1879, - together with _The Ghost's Touch_, a story I cannot trace to - have appeared in book form in Great Britain. - - - 1879 - - A ROGUE'S LIFE: FROM HIS BIRTH TO HIS MARRIAGE. By WILKIE COLLINS. - London: Richard Bentley and Son, Publishers in Ordinary to Her - Majesty the Queen. 1879. 1 vol. Cr. 8vo (4¾ × 6⅞). Pp. iv + 188. No - half-title. Red cloth gilt, blocked in black. Black end-papers. - - NOTE—This book was published on April 7, 1879. It is the - first edition in book form of a tale issued periodically in - the early fifties in “Household Words.” The text was - slightly revised by the author before publication. - - - 1879 - - THE FALLEN LEAVES. By WILKIE COLLINS. First Series. London: Chatto and - Windus, Piccadilly. 1879. 3 vols. Cr. 8vo (4⅞ × 7⅜). - - Vol. I. pp. (viii) + 275 + (1). - - Vol. II. pp. (iv) + 269 + (3). Publishers' advertisements, 40 pp., - dated May, 1879, bound in at end. - - Vol. III. pp. (iv) + 295 + (1). - - Olive-brown cloth, gilt, blocked in black. Black and grey-blue - decorated end-papers. - - NOTE—This book was published in July, 1879. - - - 1880 - - JEZEBEL'S DAUGHTER. By WILKIE COLLINS. London: Chatto and Windus, - Piccadilly. 1880. 3 vols. Cr. 8vo (4⅞ × 7⅜). - - Vol. I. pp. viii + 282 + (2). Publishers' catalogue, 32 pp., dated - February, 1880, bound in at end. - - Vol. II. pp. (iv) + 281 + (3). - - Vol. III. pp. (iv) + 296. - - Pale buff cloth, gilt, blocked in black. Dark green and white - decorated end-papers. - - NOTE—This book was published in March, 1880. - - - 1880 - - CONSIDERATIONS ON THE COPYRIGHT QUESTION ADDRESSED TO AN AMERICAN - FRIEND. By WILKIE COLLINS. London: Trübner and Co., Ludgate Hill. - 1880. 1 vol. Cr. 4to (6¾ × 9¼). Pp. 12 + (4). This pamphlet is not - wrappered, pp. (1) and (16) forming outside covers. P. (1) is - lettered as above, and serves both as front wrapper and title-page. - - - 1881 - - THE BLACK ROBE. By WILKIE COLLINS. London: Chatto and Windus, - Piccadilly. 1881. 3 vols. Cr. 8vo (4¾ × 7⅜). - - Vol. I. pp. vi + 320. - - Vol. II. pp. vi + 296. - - Vol. III. pp. vi + 266 + (6). Publishers' advertisements occupy pp. - (267) to (272). Publishers' catalogue, 32 pp., dated March, 1881, - bound in at end. - - Black cloth, gilt, blocked in white. Blue and white decorated - end-papers. - - NOTE—This book was published in April, 1881. - - - 1883 - - HEART AND SCIENCE: A Story of the Present Time. By WILKIE COLLINS. - London: Chatto and Windus, Piccadilly. 1883. 3 vols. Cr. 8vo (4⅞ × - 7¼). - - Vol. I. pp. xvi + 294 + (2). - - Vol. II. pp. (iv) + 293 + (3). - - Vol. III. pp. (iv) + 302 + (2). Publishers' catalogue, 32 pp., dated - March, 1883, bound in at end. - - Grey-blue cloth, gilt, blocked in chocolate. Pale green and white - decorated end-papers. - - NOTE—This book was published in April, 1883. - - - 1884 - - I SAY NO. By WILKIE COLLINS. London: Chatto and Windus, Piccadilly. - 1884. 3 vols. Cr. 8vo (4⅞ × 7¼). - - Vol. I. pp. (viii) + 295 + (1). Publishers' catalogue, 32 pp., dated - March, 1884, bound in at end. - - Vol. II. pp. (viii) + 296. - - Vol. III. pp. (viii) + 324. - - Slate-blue cloth, gilt, blocked in magenta. Pale green and white - decorated end-papers. - - NOTE—This book was published in October, 1884. - - - 1886 - - THE EVIL GENIUS: A Domestic Story. By WILKIE COLLINS. London. Chatto - and Windus, Piccadilly. 1886. 3 vols. Cr. 8vo (4⅞ × 7¼). - - Vol. I. pp. viii + 284. - - Vol. II. pp. vi + 304. - - Vol. III. pp. vi + 265 + (1). Publishers' catalogue, 32 pp., dated - May, 1886, bound in at end. - - Dark grey-green cloth, gilt, blocked in black. Grey and white - decorated end-papers. - - NOTE—This book was published in September, 1886. - - - 1886 - - THE GUILTY RIVER. By WILKIE COLLINS, author of _The Woman in White_, - _Armadale_, _The Evil Genius_ etc. Arrowsmith's Christmas Annual, - 1886. Bristol: J. W. Arrowsmith, 11 Quay Street. London: Simpkin, - Marshall and Co., 4 Stationers' Hall Court. Price 1s. 1 vol. Fcap. - 8vo (4½ × 6½). Pp. (viii) + 188 + (12). No half-title. - Advertisements occupy pp. (i) to (vi), p. (vii) is title-page, p. - (viii) is occupied by advertisements, as also pp. (189) to (200). - Buff paper wrappers, printed in dark blue, black and yellow. - Advertisements occupy back outside wrapper and spine, which is not - printed with title of story. - - NOTE—The wording given above is that of wrapper, not of - title-page, because there exist several varieties of the - book (all of later date), which can most easily be - identified by the discrepancies between their wrappers and - that of the first issue. - - - 1887 - - LITTLE NOVELS. By WILKIE COLLINS. London: Chatto and Windus, - Piccadilly. 1887. 3 vols. Cr. 8vo (4¾ × 7⅛). - - Vol. I. pp. (vi) + 319 + (1). - - Vol. II. pp. (vi) + 331 + (1). - - Vol. III. pp. (viii) + 303 + (1). Publishers' catalogue, 32 pp., - dated April, 1887, bound in at end. - - Bright blue cloth, gilt, blocked in red. Grey and white decorated - end-papers. - - _Contents_: Vol. I., Mrs. Zant and the Ghost—Miss Morris and - the Stranger—Mr. Cosway and the Landlady—Mr. Medhurst and - the Princess—Mr. Lismore and the Widow. - - Vol. II., Miss Jeromette and the Clergyman—Miss Minor and - the Groom—Mr. Lepel and the Housekeeper—Mr. Captain and the - Nymph—Mr. Marmaduke and the Minister. - - Vol. III., Mr. Percy and the Prophet—Miss Bertha and the - Yankee—Miss Dulane and My Lord—Mr. Policeman and the Cook. - - NOTE—This book was published in May, 1887. - - - 1889 - - THE LEGACY OF CAIN. By WILKIE COLLINS. London: Chatto and Windus, - Piccadilly. 1889. 3 vols. Cr. 8vo (4¾ × 7). - - Vol. I. pp. viii + 289 + (1). - - Vol. II. pp. vi + 263 + (1). - - Vol. III. pp. vi + 281 + (1). Publishers' catalogue, 32 pp., dated - October, 1888, bound in at end. - - Blue cloth, gilt, blocked in red and black. Pale grey and white - decorated end-papers. - - NOTE—Although dated 1889, this book was actually published - in November, 1888. - - - 1890 - - BLIND LOVE. By WILKIE COLLINS. With a Preface by Walter Besant, and - Illustrations by A. Forestier. London: Chatto and Windus. - Piccadilly. 1890. 3 vols. Cr. 8vo (4¾ × 7⅛). - - Vol. I. pp. x + (ii) + 302 + (2). - - Vol. II. pp. vi + (ii) + 303 + (i). Publishers' catalogue, 32 pp., - dated October, 1889, bound in at end. - - Vol. III. pp. vi + (ii) + 316. - - Blue cloth, gilt, blocked in black. Pale grey and white decorated - end-papers. - - NOTE—This book was published in January, 1890. - - - 1890 - - THE LAZY TOUR OF TWO IDLE APPRENTICES. NO THOROUGHFARE. THE PERILS OF - CERTAIN ENGLISH PRISONERS. By CHARLES DICKENS and WILKIE COLLINS. - With Illustrations. London: Chapman and Hall, Limited. 1890. 1 vol. - Ex. Cr. 8vo (5¼ × 7⅞). Pp. vi + (ii) + 327 + (1). Dark green cloth, - gilt, blocked in black. Black end-papers. Eight full-page - illustrations in line, printed separately. - - NOTE—Of the stories here published in book form for the - first time _No Thoroughfare_ first appeared as the Extra - Christmas Number to “All the Year Round” for 1867 (1 vol. 6⅝ - × 9¾, pp. 48, bright blue paper wrappers, printed in black) - and _The Perils of Certain English Prisoners_ as the - “Christmas Story for 1857” in “Household Words” (1 vol., 5⅝ - × 8⅞, pp. 36, buff paper wrappers printed in violet, red and - green). - - - B.—PLAYS, WRITTEN ALONE AND IN COLLABORATION - - - 1861 - - A MESSAGE FROM THE SEA: A Drama in Three Acts. By CHARLES DICKENS and - WILKIE COLLINS. London: Published by G. Halsworth, at the office of - “All the Year Round,” Wellington Street, Strand. 1861. 1 vol. Cr. - 8vo (4½ × 7¼). Pp. 68. Buff paper wrappers, printed in black. - - NOTE—The story upon which this play is based appeared as the - Extra Christmas Number to “All the Year Round” for 1860 (1 - vol., 6½ × 9¾, pp. 48, bright blue paper wrappers, printed - in black). - - - 1863 - - NO NAME: A Drama in Five Acts. Founded on, and adapted from, the story - so entitled. By WILKIE COLLINS Esq. London: Published by G. - Halsworth, at the office of “All the Year Round.” 1863. 1 vol. Cr. - 8vo (4½ × 7¼). 60 pp. Pink paper wrappers, printed in black. - - NOTE—This play was also issued in De Witt's Acting Series - (No. 104), published by Robert M. de Witt, New York, in pale - yellow wrappers printed in black. The pamphlet is undated. - - - 1866 - - ARMADALE: A Drama in Three Acts. (Altered from the novel of _Armadale_ - for performance on the stage.) By WILKIE COLLINS. London: Published - for the author by Smith, Elder and Co., 65 Cornhill. 1866. 1 vol. - Cr. 8vo. Pp. 76. Pink paper wrappers, printed in black. - - - 1866 - - THE FROZEN DEEP: A Drama in Three Acts. By WILKIE COLLINS. (Not - published.) 1866. 1 vol. Fcap. 8vo (4 × 6½). Pp. 46 + (2). Buff - paper wrappers, printed in black. - - - 1867 - - NO THOROUGHFARE: A Drama in Five Acts. (Altered from the Christmas - story, for performance on the stage.) By CHARLES DICKENS and WILKIE - COLLINS. London: Published at the Office of “All the Year Round,” 26 - Wellington Street. 1867. 1 vol. Cr. 8vo (4⅞ × 7¼). Pp. 89 + (1). - Buff paper wrappers, printed in black. - - NOTES—(i) Another issue was made of this play under the same - date and with identical format and title-page, except for - the addition, beneath the imprint, of the words: Entered at - Stationers' Hall. This issue consists, however, only of pp. - 78 + (2), and the text of the play is different from Act - IV., Scene III., to the end. - - (ii) The story upon which this play is based appeared as the - Extra Christmas Number to “All the Year Round” for 1867 (see - above, _The Lazy Tour of Two Idle Apprentices_, 1890, note). - - (iii) Collectors will be interested to note, as an item - in Collinsiana, an American dramatic version of _No - Thoroughfare_ which appeared as No. 348 in French's - Library of Standard Drama. This version is entitled: - - IDENTITY OR NO THOROUGHFARE by Louis Lequel. Dramatized from - the Christmas Story of Charles Dickens and Wilkie Collins. - New York: Samuel French, Publisher, 122 Nassau Street. - - 1 vol. (4½ × 7½). Pp. 44. Yellow paper wrappers, printed in - black. - - The booklet is undated, save for the statement that the play - was entered in the Clerk's Office of the District Court of - the United States for the Southern District of New York in - 1867. The wrapper bears French's London as well as his New - York imprint. - - - 1869 - - BLACK AND WHITE: A Love Story in Three Acts. By WILKIE COLLINS and - CHARLES FLETCHER. London: Printed by C. Whiting, Beaufort House, - Strand. 1869. 1 vol. Slim Cr. 8vo (4¾ × 7½). Pp. 56. White paper - wrappers, the first page of which serves as title and is printed as - above. - - - 1870 - - NO NAME: A Drama in Four Acts. (Altered from the novel for performance - on the stage.) By WILKIE COLLINS. London: Published by the author, - 90 Gloucester Place, Portman Square. 1870. 1 vol. Sm. Cr. 8vo (4½ × - 7¼). Pp. 160, of which pp. (1) to (4) are unnumbered. The rest of - the book, being printed on one side of the paper only, is paged (5) - to 82. Buff paper wrappers, printed in black. - - NOTE—This is a different text from that published in 1863. - - - 1871 - - THE WOMAN IN WHITE: A Drama in Prologue and Four Acts. (Altered from - the novel for performance on the stage.) By WILKIE COLLINS. London. - Published by the author, 90 Gloucester Place, Portman Square. 1871. - 1 vol. Sm. Cr. 8vo (4½ × 7¼). Pp. (172), of which pp. (1) to (4) are - unnumbered. The rest of the book, being printed on one side of the - paper only, is paged (5) to 88. Buff paper wrappers, printed in - black, uniform with _No Name_. - - - 1873 - - THE DREAM WOMAN: A Mystery in Four Narratives and Two Parts. By WILKIE - COLLINS. Altered and enlarged for reading in public from the - original story published in the collection called _The Queen of - Hearts_. Boston: Privately printed for the author. 1873. 1 vol. - Short Med. 4to (9 × 11⅛). Pp. 110, of which pp. (1) to (3) are - unnumbered. The rest of the book, being printed on one side of the - paper only, is paged 5 to 55. No half-title. Grey paper wrappers; - quarter grey-purple cloth. The wrappers are plain, without printing - of any sort. - - - 1873 - - THE NEW MAGDALEN: A Dramatic Story in a Prologue and Three Acts. By - WILKIE COLLINS. (Represented for the first time in London at the - Olympic Theatre, May 19, 1873.) London: Published by the author, 90 - Gloucester Place, Portman Square. 1873. 1 vol. Sm. Cr. 8vo (4⅜ × - 7⅛). Pp. 158, of which pp. (1) to (4) are unnumbered. The rest of - the book, being printed on one side of the paper only, is paged 5 to - 81. Buff paper wrappers, printed in black, uniform with _No Name_. - - - 1875 - - MISS GWILT: A Drama in Five Acts. (Altered from the novel _Armadale_.) - By WILKIE COLLINS, printed for performance at the Theatre only, not - published. 1 vol. Demy 8vo (5¼ × 8½). Pp. 104. Pp. 1 and 104 act as - outside wrappers. - - - 1877 - - THE MOONSTONE: A Dramatic Story in Three Acts. (Altered from the novel - for performance on the stage.) By WILKIE COLLINS. (This play is not - published. It is privately printed for the convenience of the - author.) Charles Dickens and Evans, Crystal Palace Press. 1877. 1 - vol. Cr. 8vo (4¾ × 7⅛). Pp. 176, of which (1) to (4) are unnumbered. - The rest of the book, being printed on one side of the paper only, - is paged (5) to 88. Paper wrappers, printed in black. - - - - - CHARLES READE - 1814-1884 - - - - - CHARLES READE - - -If no judgment is here attempted of the work of Charles Reade, it is -because he refuses to be “placed,” in the opinion of the present writer. -At times he is so fine, so resilient, so impressive; at others, the -dullest of pamphleteers, a cramped Meredith in style, a very waxwork -among sensationalists. Fortunately certain aspects of his powerful but -clumsy mind have of late been admirably presented. The “London Mercury” -for June, 1921 (Vol. IV., No. 20), contained an article by E. W. Hornung -which all interested would do well to read. In the matter of biography -proper students may be referred (but without confidence) to: - - CHARLES READE: DRAMATIST, NOVELIST, JOURNALIST. A memoir compiled - chiefly from his literary remains by CHARLES L. READE and the Rev. - COMPTON READE. 2 vols. London: Chapman and Hall Ltd., 1887. - -This pious work is too rhapsodical to possess more than personal -interest. - - CHARLES READE AS I KNEW HIM. By JOHN COLEMAN. London: Treherne and Co. - 1903. - -Reference is made below to the useful list of plays which concludes this -otherwise rather chaotic book. - - - I.—EDITIONES PRINCIPES - A.—FICTION, ESSAYS, ETC. - - - 1853 - - PEG WOFFINGTON: A Novel. By CHARLES READE. London: Richard Bentley, - New Burlington Street. 1853. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (iv) - + 331 + (1). No half-title. Paper boards (half cloth), paper label. - White end-papers. Also maroon cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This book, although dated 1853, was actually published - on December 17, 1852. The first edition was of 500 copies. - - - 1853 - - CHRISTIE JOHNSTONE: A Novel. By CHARLES READE Esq., author of _Peg - Woffington_. London: Richard Bentley, New Burlington Street. 1853. 1 - vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (iv) + 334 + (2). A note occupies p. - (335). Paper boards (half cloth), paper label. White end-papers. - Also in maroon cloth, gilt, blocked in blind. Yellow end-papers. - - NOTE—This book was published on August 25, 1853. The first - edition was of 500 copies. - - - 1856 - - IT IS NEVER TOO LATE TO MEND: A Matter of Fact Romance. By CHARLES - READE, author of _Christie Johnstone_, _Peg Woffington_ etc. London: - Richard Bentley, New Burlington Street. 1856. 3 vols. Slim Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. (iv) + 395 + (1). - - Vol. II. pp. (ii) + 349 + (1). - - Vol. III. pp. (ii) + 344. - - Paper boards, half cloth, paper label. White end-papers. Also pale - maroon cloth, gilt, blocked in blind. Yellow end-papers. - - NOTES—(i) This book was published on August 1, 1856. The - story is based on the play _Gold_ (see below, p. 171). - - (ii) Reade replied to certain charges brought against the - novel in a pamphlet, but I cannot determine the details of - its title and appearance. - - - 1857 - - THE COURSE OF TRUE LOVE NEVER DID RUN SMOOTH. By CHARLES READE, author - of _It Is Never Too Late to Mend_, _Peg Woffington_ and _Christie - Johnstone_. London: Richard Bentley, New Burlington Street. 1857. 1 - vol. Cr. 8vo (5 × 7½). Pp. (ii) + 269 + (3). No half-title. Blue - cloth, blocked in gold. Yellow end-papers. Also in pink picture - boards. - - NOTE—This book was published on September 28, 1857. The - cloth and boards editions were simultaneous. - - - 1857 - - WHITE LIES: A Story. By CHARLES READE. London: Trübner and Co., 60 - Paternoster Row. 1857. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. v + (i) + 300. - - Vol. II. pp. (ii) + 237 + (1). - - Vol. III. pp. (ii) + 231 + (1). - - No half-titles. Dark green cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This book was published in December, 1857. The story, - which appeared serially in the “London Journal,” was based - on Reade's play _The Double Marriage_, itself an adaptation - from the French (see below, p. 174). - - - 1857 - - *THE BOX TUNNEL. By CHARLES READE. Boston, U.S.A. - - NOTE—This short story, published in “Bentley's Miscellany” - in November, 1853, was only issued in book form in America. - - - 1858 - - CREAM. By CHARLES READE, author of _White Lies_ etc. Contains JACK OF - ALL TRADES: A Matter of Fact Romance and THE AUTOBIOGRAPHY OF A - THIEF. London: Trübner and Co., 60 Paternoster Row. 1858. 1 vol. Ex. - Cr. 8vo (4¾ × 7⅝). Pp. 270. Bright blue embossed cloth, gilt. - Red-chocolate end-papers. - - NOTE—This book was published in March, 1858. - - - 1859 - - LOVE ME LITTLE LOVE ME LONG. By CHARLES READE, author of _It is Never - Too Late To Mend_, _White Lies_ etc. London: Trübner and Co., 60 - Paternoster Row. 1859. 2 vols. Cr. 8vo (4¾ × 7½). - - Vol. I. pp. (viii) + 390 + (2). - - Vol. II. pp. 358 + (2). - - Green embossed cloth, gilt. Pale yellow end-papers. - - NOTE—This book was published in April, 1859. - - - 1860 - - THE EIGHTH COMMANDMENT. By CHARLES READE. London: Trübner and Co., 60 - Paternoster Row. 1860. 1 vol. Demy 8vo (5⅝ × 8¾). Pp. (iv) + 379 + - (1). Dark purple-brown embossed cloth, gilt. Chocolate end-papers. - - NOTE—This book was published in July, 1860, at the author's - own expense. Written in assault of those who had infringed - Reade's rights in _Poverty and Pride_ (see below, p. 172), - it proved too contentious for publishers' tastes. - - - 1861 - - THE CLOISTER AND THE HEARTH: A Tale of the Middle Ages. By CHARLES - READE, author of _It Is Never Too Late To Mend_, _Christie - Johnstone_, _Peg Woffington_ etc. London: Trübner and Co., 60 - Paternoster Row. 1861. 4 vols. Small Cr. 8vo (4½ × 7¼). - - Vol. I. pp. (iv) + 360. - - Vol. II. pp. (ii) + 384. - - Vol. III. pp. (ii) + 328. - - Vol. IV. pp. (ii) + 435 + (1). - - No half-titles. Grey-green cloth, gilt. Pale yellow end-papers. - - NOTE—This book was published in October, 1861. - - - 1863 - - HARD CASH: A Matter of Fact Romance. By CHARLES READE. London: Sampson - Low, Son and Marston, 14 Ludgate Hill. 1863. 3 vols. Ex. Cr. 8vo (4⅞ - × 7¾). - - Vol. I. pp. (iv) + 356. - - Vol. II. pp. (ii) + 365 + (1). - - Vol. III. pp. (ii) + 369 + (5). Publishers' announcements, dated - December 10, 1863, occupy pages (371) to (374). - - No half-titles. Grey-green cloth, blocked in gold. Pale yellow - end-papers. - - NOTE—This book was published on December 15, 1863. The story - appeared serially in “All the Year Round,” for which - magazine it had been commissioned by Dickens. - - - 1867 - - GRIFFITH GAUNT: Or JEALOUSY. By CHARLES READE. London: Chapman and - Hall, 193 Piccadilly. 1867. 3 vols. Ex. Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. (iv) + 302. - - Vol. II. pp. (iv) + 318. - - Vol. III. pp. (iv) + 328. Publishers' catalogue, 16 pp., dated - October, 1866, bound in at end. - - Violet cloth, gilt, blocked in gold and blind. Pale yellow - end-papers. - - NOTE—Although dated 1867, this book was actually published - in October, 1866. The story appeared serially in the - “Argosy.” - - - 1868 - - FOUL PLAY. By CHARLES READE and DION BOUCICAULT. London: Bradbury - Evans and Co., 11 Bouverie Street. 1868. 3 vols. Cr. 8vo (4⅞ × 7½). - - Vol. I. pp. (vi) + 277 + (1). - - Vol. II. pp. (iv) + 278. - - Vol. III. pp. (iv) + 261 + (1). - - Red cloth, gilt. Cream end-papers. - - NOTE—This book was published in November or December, 1868. - The story ran serially in “Once a Week” from January of the - same year. In 1881 F. C. Burnand published a parody of the - novel under the title: _Chikkin Hazard: A Novel by Charles - Readit and Dion Bounceycore_. This parody appeared in “Our - Novel Shilling Series,” published by Bradbury, Agnew and - Co., of which the other volumes are pastiches of novels by - Ouida, Victor Hugo, Hawley Smart, and Rhoda Broughton. - - - 1870 - - PUT YOURSELF IN HIS PLACE. By CHARLES READE, author of _It Is Never - Too Late to Mend_, _Hard Cash_, _Foul Play_, etc. etc. (Quotation - from Horace.) London: Smith Elder and Co., 15 Waterloo Place. 1870. - 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. (iv) + 317 + (1). - - Vol. II. pp. (iv) + 318 + (2). - - Vol. III. pp. (iv) + 332. - - Green cloth, gilt, blocked in black. Chocolate end-papers. - - NOTE—This book was published in June, 1870. The story - appeared serially in the “Cornhill.” - - - 1871 - - A TERRIBLE TEMPTATION: A Story of the Day. By CHARLES READE. London: - Chapman and Hall, 193 Piccadilly. 1871. 3 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. (iv) + 303 + (1). - - Vol. II. pp. (iv) + 310 + (2). - - Vol. III. pp. (iv) + 300. - - Purple cloth, gilt, blocked in gold and blind. Yellow end-papers. - - NOTE—This book was published in August, 1871. The story - appeared serially in “Cassell's Magazine.” - - - 1873 - - A SIMPLETON: A Story of the Day. By CHARLES READE. London: Chapman and - Hall, 193 Piccadilly. 1873. 3 vols. Cr. 8vo (4⅞ × 7⅜). - - Vol. I. pp. ix + (i) + 272. - - Vol. II. pp. (iv) + 267 + (1). - - Vol. III. pp. (iv) + 305 + (1). - - Maroon cloth, blocked in gold and blind. Yellow end-papers. - - NOTES—(i) This book was published in August, 1873. The story - appeared serially in “London Society.” - - (ii) Copies in blue cloth, gilt, are of later issue. - - - 1874 - - A HERO AND A MARTYR: A True and Accurate Account of the Heroic feats - and sad Calamity of James Lambert. By CHARLES READE (2 Albert - Terrace, Knightsbridge). London: Samuel French, 89 Strand, - Publisher. 1874. 1 vol. Royal 8vo (6¼ × 9⅝). Pp. (viii) + 40. Orange - or green paper wrappers, printed in black. Publisher's - advertisements occupy inside front, and inside and outside back - wrappers. Wood-engraved frontispiece printed on text paper. - - - 1875 - - TRADE MALICE: A Personal Narrative, and THE WANDERING HEIR: A Matter - of Fact Romance. By CHARLES READE. London: Samuel French, 89 Strand, - 1875. 1 vol. Cr. 8vo (5 × 7½). Pp. (viii) + 279 + (1). Publishers' - advertisements occupy pp. (vi) to (viii). Green cloth, gilt. Yellow - end-papers. - - NOTE—This book was published in April, 1875. _The Wandering - Heir_ was first printed in the “Graphic.” - - - 1877 - - A WOMAN HATER. By CHARLES READE, D.C.L. William Blackwood and Sons, - Edinburgh and London, MDCCCLXXVII. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. (iv) + 280. - - Vol. II. pp. (iv) + 285 + (3). Publishers' advertisements occupy pp. - (287) and (288). - - Vol. III. pp. (iv) + 282 + (2). Publishers' advertisements occupy - pp. (283) and (284). - - The words “Originally published in 'Blackwood's Magazine'” occupy - verso of half-title in each volume. Bright blue cloth, gilt, blocked - in black. Dark brown end-papers. - - NOTE—This book was published in June, 1877. When serialized - the story was anonymous. - - - 1877 - - *GOLDEN CROWNS: Sunday Stories. By CHARLES READE, D.C.L. Manchester: - Tubbs and Brooke. 1 vol. 18mo. - - NOTE—This publication was of a kind known as an “18mo - packet.” It consisted of a number of loose sheets enclosed - in a paper wrapper, designed either to gum or to tuck in, - but wholly detached from its contents. Never having seen a - copy of the packet in question, I cannot do more than - conjecture that the loose sheets bore each a brief moral - tale, which a devout parent could administer Sunday by - Sunday to the deserving young. - - - 1883 - - READIANA: Comments on Current Events. By CHARLES READE, D.C.L. with a - steel-plate portrait. London: Chatto and Windus, Piccadilly. 1883. 1 - vol. Cr. 8vo (5 × 7½). Pp. vi + 329 + (1). Frontispiece and - title-page, printed together but not on text paper, are inset - between pp. (ii) and (iii). Publishers' catalogue, 32 pp., dated - July, 1882, bound in at end. Publishers' advertisement occupies p. - (ii). Red cloth, gilt, blocked in black, uniform with the cheap - edition of Reade's novels published just previously to this book's - appearance. Brown-purple and white decorated end-papers. Engraved - portrait frontispiece printed on same paper as title. Line engraving - on title-page. - - NOTE—Although this book is dated 1883, it was actually - published in October, 1882. - - - 1884 - - SINGLE HEART AND DOUBLE FACE: A Matter of Fact Romance: By CHARLES - READE, D.C.L. London. Chatto and Windus, Piccadilly. 1884. 1 vol. - Cr. 8vo (4⅞ × 7⅜). Pp. (iv) + 240. Publishers' catalogue, 32 pp., - dated December, 1883, bound in at end. Fawn cloth gilt, blocked in - red and blue. Pale green and white decorated end-papers. - - NOTE—This book was published in July, 1884. The story - appeared serially in “Harper's Magazine.” - - - 1884 - - GOOD STORIES OF MAN AND OTHER ANIMALS. By CHARLES READE, D.C.L. - Illustrations by E. A. Abbey, Percy Macquoid and Joseph Nash. - London: Chatto and Windus, Piccadilly. 1884. 1 vol. Cr. 8vo (5 × - 7½). Pp. (ii) + 287 + (1). Frontispiece and title-page, printed - together but not on text paper, are inset before p. (i), pp. (i) and - (ii) forming a single leaf pasted to back of title. No half-title. - Publishers' catalogue, 32 pp., dated October, 1884, bound in at end. - Four illustrations in line, of which one is the frontispiece; all - printed separately. Red cloth, gilt, blocked in black. Uniform with - _Readiana_. Green and white decorated end-papers. - - NOTE—This book was published in October, 1884. - - - 1884 - - THE JILT: And Other Stories. By CHARLES READE, D.C.L. Four - Illustrations by Joseph Nash. London: Chatto and Windus, Piccadilly. - 1884. 1 vol. Cr. 8vo (5 × 7½). Pp. (ii) + 282 + (2). Frontispiece - and title-page, printed together but not on text paper, are inset - before p. (i), pp. (i) and (ii) forming a single leaf pasted to back - of title. No half-title. Publishers' catalogue, 32 pp., dated - September, 1884, bound in at end. Four full-page illustrations in - line, of which one is the frontispiece; all printed separately. Line - engraving on title. Red cloth, gilt, blocked in black. Uniform with - _Readiana_. Green and white decorated end-papers. - - NOTE—This book was published in October, 1884. - - - 1884 - - A PERILOUS SECRET. By CHARLES READE, author of _Hard Cash_, _Put - Yourself in His Place_, _It Is Never Too Late To Mend_, _Griffith - Gaunt_ etc. London: Richard Bentley and Son, New Burlington Street, - Publishers in Ordinary to Her Majesty the Queen. 1884. 2 vols. Cr. - 8vo (5 × 7½). - - Vol. I. pp. (iv) + 296. - - Vol. II. pp. (iv) + 312. - - Red flowered cloth, gilt. Green and white decorated end-papers. - - NOTE—Although this book is dated 1884, it was not actually - published until March 10, 1885. The story appeared serially - in the “Temple Bar Magazine.” - - - 1888 - - BIBLE CHARACTERS: By CHARLES READE, D.C.L., author of _It Is Never Too - Late To Mend_ etc. London: Chatto and Windus, Piccadilly. 1888. 1 - vol. Fcap. 8vo (4⅛ × 6½). Pp. (vi) + 106. Publishers' catalogue, 32 - pp., dated September, 1888, bound in at end. Dark red paper - wrappers, gilt. Black end-papers. - - NOTE—This book was published in September, 1888. - - - 1910 - - A GOOD FIGHT. By CHARLES READE. Original version of _The Cloister and - The Hearth_, with an introduction by ANDREW LANG. London: Henry - Frowde. 1910. Fcap. 8vo (4½ × 6¾). Pp. (xii) + 208. Fifteen - illustrations after Charles Keene printed on text paper. Dark - olive-green cloth, blocked in gold. White end-papers. - - NOTE—This is the first edition in book form of a story which - appeared in 1859 in “Once a Week.” Reade afterwards expanded - his idea into _The Cloister and the Hearth_. - - - EDITIONES PRINCIPES (_Continued_) - B.—PLAYS: ORIGINAL, TRANSLATED, AND WRITTEN IN COLLABORATION - - - [1834 or 1835] - - *PEREGRINE PICKLE. - - NOTE—Reade has himself left a statement that while at Oxford - he printed at his own cost a few copies of this dramatic - version of Smollett's famous novel. - - - [1851] - - THE LADIES' BATTLE: Or UN DUEL EN AMOUR. A Comedy in Three Acts. - Hailes Lacy, Wellington Street, Strand, London. 1 vol. Fcap. 8vo (4¼ - × 7¼). Pp. 35 + (1). Note on p. (3) initialled “C.R.” Salmon-pink - paper wrappers printed in black, uniform with the other volumes in - Lacy's Acting Edition, of which this is No. 47. - - - [1851] - - ANGELO: A Tragedy in Four Acts. Adapted to the English Stage by the - author of _The Ladies' Battle_, _Peregrine Pickle_ etc. London: - Hailes Lacy, Wellington Street, Strand. 1 vol. Fcap. 8vo (4¼ × 7¼). - Pp. 24. Salmon-pink paper wrappers, printed in black, uniform with - the other volumes in Lacy's Acting Editions, of which this is No. - 57. - - - [1852] - - THE LOST HUSBAND: A Drama in Four Acts. Written and Adapted from the - French by the author of _The Ladies' Battle_. London: Thomas Hailes - Lacy, Wellington Street, Strand. 1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 36. - Salmon-pink paper wrappers, printed in black, uniform with the other - volumes in Lacy's Acting Editions, of which this is No. 86. - - NOTE—This play is based on a French drama, _Les Dames de la - Halle_. - - - [1853] - - GOLD: A Drama in Five Acts. By CHARLES READE, one of the authors of - _Masks and Faces_ etc. Thomas Hailes Lacy, Wellington Street, - Strand, London. 1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 48. Salmon-pink - paper wrappers, printed in black, uniform with the other volumes in - Lacy's Acting Edition, of which this is No. 152. - - - [1854] - - THE COURIER OF LYONS: Or THE ATTACK UPON THE MAIL: A Drama in Four - Acts. Translated from the French of MM. Moreau, Siraudin and - Delacourt. Thomas Hailes Lacy, Wellington Street, Strand. 1 vol. - Fcap. 8vo (4¼ × 7¼). Pp. 43 + (1). Advertisements occupy p. (44). - Salmon-pink paper wrappers, printed in black, uniform with the other - volumes in Lacy's Acting Edition, of which this is No. 220. - - - 1854 - - MASKS AND FACES: Or BEFORE AND BEHIND THE CURTAIN: A Comedy in Two - Acts. By TOM TAYLOR and CHARLES READE. London: Richard Bentley, New - Burlington Street. 1854. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 71 - + (1). Mustard-yellow paper wrappers, printed in black as - title-page. - - - 1854 - - TWO LOVES AND A LIFE: A Drama in Four Acts. By TOM TAYLOR and CHARLES - READE. Produced at the Theatre Royal, Adelphi, April 1854. London: - Richard Bentley, New Burlington Street. 1854. 1 vol. Fcap. 8vo (4¼ × - 6¾). Pp. (viii) + 85 + (3). Mustard-yellow paper wrappers, printed - in black as title-page. - - - 1854 - - THE KING'S RIVAL: A Drama in Five Acts. By TOM TAYLOR and CHARLES - READE, authors of _Masks and Faces_, _Two Loves and a Life_ etc. - etc. First produced at the Theatre Royal, St. James's, October 4, - 1854. London: Richard Bentley, New Burlington Street. 1854. 1 vol. - Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 72. Mustard-yellow paper wrappers, - printed in black as title-page. - - NOTES—(i) The three preceding items were also issued as one - volume bound in maroon cloth, blocked in gold and blind, and - lettered on the spine “Dramas by Tom Taylor and Charles - Reade,” and with pale yellow end-papers. The sheets used - were those of the original pamphlet issue, the separate - title-pages and half-titles being preserved, but the sheets - being cut to measure 4⅛ × 6⅝. - - (ii) In their original separate form _Masks and Faces_ and - _Two Loves and a Life_ were published on July 1, and _The - King's Rival_ on October 17, 1854. - - - 1857 - - POVERTY AND PRIDE: A Drama in Five Acts By CHARLES READE. Being the - authorised English version of _Les Pauvres de Paris_, drama by - Messrs. Edouard Brisebarre and Eugène Nus. London: Richard Bentley, - New Burlington Street. 1856. 1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 64. - Paper wrappers. - - NOTE—This book was published on August 12, 1857. - - - 1857 - - THE HYPOCHONDRIAC. Adapted to the English stage from the _Malade - Imaginaire_ of Molière. By CHARLES READE. London: William Clowes and - Sons, 14 Charing Cross. And Ticknor and Fields, Boston, U.S. 1857. 1 - vol. Fcap. 8vo (4¼ × 7⅛). Pp. 59 + (1). Light brown paper wrappers, - printed in black; wording as title-page. - - NOTE—This play was later acted under the title _The Robust - Invalid_ (June, 1870). I do not know whether a printed text - exists with this title. - - - 1859 - - LE FAUBOURG SAINT-GERMAIN. Pièce en deux Actes. Ecrite en Français par - CHARLES READE. Paris. Typographie: Morris et Comp. Rue Amelot 64. - 1859. 1 vol. Cr. 8vo (5⅛ × 7⅜). Pp. 69 + (3). Pale blue paper - wrappers, printed in black; wording as title-page. - - - [?1867] - - DORA: A Pastoral Poem in Three Acts. With New Scenic Effect and - Appropriate Music. Founded on Mr. Tennyson's poem and written by - CHARLES READE. London: Printed by W. Clowes and Sons, Stamford - Street and Charing Cross. 1 vol. Cr. 8vo (4¾ × 7⅜). Pp. 53 + (3). - Yellow paper wrappers, printed in black with the single word “Dora” - enclosed in decorative frame. - - NOTES—(i) This play was reissued about 1872 or 1873 by - Williams and Strahan, 7 Lawrence Lane, Cheapside, in a - fifty-page pamphlet measuring 4⅛ × 7⅛ and wrappered in buff - paper, printed merely with the word “Dora” in black. The - text shows slight variations from that of the first issue. - - (ii) The date of the first of the above issues is doubtful. - _Dora_ was written in 1863 or 1864, but evidence is wanting - to show whether it was then printed, or not until its first - production in 1867. It was revived in the early nineties. - - - [?1867] - - THE DOUBLE MARRIAGE: A Drama in Five Acts. By AUGUSTE MAQUET and - CHARLES READE. London: Printed by W. Clowes and Sons, Stamford - Street and Charing Cross, 1 vol. Cr. 8vo (4¾ × 7½). Pp. (iv) + 80. - Yellow paper wrappers, printed in black, with play title only - enclosed in decorative frame. This pamphlet is uniform in style with - _Dora_. - - NOTE—This play is based on _Le Château Grantier_ by Maquet. - The date of printing is conjectural, being that of its first - production. Reade's novel _White Lies_ (see above, p. 161) - is a fictional version of the same plot. - - - [?1869] - - KATE PEYTON: Or JEALOUSY. 1 vol. Fcap. 8vo (4¼ × 7⅛). Pp. 84. Pink - paper wrappers, printed with play title only. - - NOTES—(i) This booklet bears no printer's name, date, or - other mark of identification. The text differs slightly from - that issued in 1883 and described below. - - (ii) The date is purely conjectural. Coleman mentions no - play of this title, but speaks of _Griffith Gaunt_ as having - been produced in 1868 or 1869. The above item being a - dramatic version of _Griffith Gaunt_, I am inclined to think - that this is the play referred to, and have accordingly - dated it as having been printed about the time of the first - production. - - - [?1872 or 1873] - - IT'S NEVER TOO LATE TO MEND. Drama in Five Acts. By CHARLES READE. - Author of _Gold_; _Rachel the Reaper_; _Ladies' Battle_; _Nobs and - Snobs_; _The Lost Husband_; _The Double Marriage_; _Kate Peyton_; - _Foul Play_; _Put Yourself in His Place_; _The Wandering Heir_; - _Shilly Shally_; _The Courier of Lyons_; etc. etc. And one of the - authors of _Masks and Faces_; _Two Loves and a Life_; _The First - Printer_; _The King's Rival_. London: Printed by Williams and - Strahan, 7 Lawrence Lane, Cheapside. 1 vol. Fcap. 8vo (4¼ × 7) Pp. - 97 + (1). Buff paper wrappers, printed in black with the play title - only. - - NOTES—(i) This play was reissued in 1890 in a pamphlet - printed for private circulation by W. Spearing, 1, Great - Queen Street, W.C. The booklet measures 5½ × 8½; contains - pp. 148—of which (1) to (4) are regular prelims., (5) to - (146) are printed alternately and paged (5) to 76, and (147) - and (148) are blank—and is bound in grey paper wrappers, - printed in black. The text of this second version shows - considerable variation from that of the first, and the play - is in four acts instead of five. - - (ii) The date at the head of this item is conjectural. - Reade's first original dramatization of _It's Never Too Late - to Mend_ was written by 1864 and produced in 1865. Coleman - speaks in that year of receiving from Laura Seymour a - “yellow covered book” of the text of the play, and this - book, if printed, was the real first edition. But I cannot - prove the existence of a printed text at that date, and - prefer to give first place to the pamphlet here described, - although, because of the other plays mentioned on the - title-page, it cannot be of earlier date than 1872. - - (iii) In July, 1860, a dramatization of Reade's novel had - been issued in Lacy's Acting Edition. Reade was rightly - furious at the unauthorized issue of this version, and - hastened to prepare one of his own. For the benefit of those - interested I append details of the pirate booklet. - - - [1860-July] - - NEVER TOO LATE TO MEND. A Drama of Real Life in Four Acts, founded on - MR. CHARLES READE'S Popular Novel. By COLIN HAZLEWOOD, author of - _The Return of the Wanderer_, _Jenny Foster_, _Trials of Poverty_, - _Going to Chobham_, etc. etc. Thomas Hailes Lacy, 89 Strand - (opposite Southampton Street, Covent Garden Market), London. 1 vol. - Fcap. 8vo (4¼ × 7¼). Pp. 65 + (1). List of plays occupies p. (66). - Salmon-pink paper wrappers, printed in black, uniform with the other - volumes in Lacy's Acting Editions. This volume is unnumbered. - - - [1877] - - THE LADIES' BATTLE: Or UN DUEL EN AMOUR: A Comedy in Three Acts. By - CHARLES READE Esq., author of _Gold_, _Art_, _The Lost Husband_, - _The Foster Sisters_, and one of the authors of _Masks and_ _Faces_, - _Two Loves and a Life_, _King's Rival_ etc. etc. London: Samuel - French, Publisher, 89 Strand. New York: Samuel French and Son, - Publishers, 122 Nassau Street. 1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 41 + - (3). Advertisements occupy pp. (43) and (44). Salmon-pink paper - wrappers, printed in black, uniform with the other volumes in - French's (late Lacy's) Acting Editions, of which this is No. 1609. - - NOTE—This is a revised version of the play originally - published in 1851 (see above, p. 170). - - - 1878 - - THE WELL BORN WORKMAN: Or A MAN OF THE DAY. By CHARLES READE, author - of _Never Too Late to Mend_, _Foul Play_ etc. London: Printed for - Williams and Strahan, 74 New Cut, Lambeth. 1878. 1 vol. Fcap. 8vo - (4¼ × 6⅞). Pp. 82 + (2). Buff paper wrappers, printed in black, with - the title and sub-title of the play. - - - 1883 - - FOUL PLAY. Drama in a Prologue and Five Acts. By CHARLES READE. - London. 1883. Printed by J. C. Durant, Clement's House, Clement's - Inn Passage, Strand, W.C. But not published. 1 vol. Demy 8vo (5½ × - 8½). Pp. 72. Grey paper wrappers, printed in black as title-page. - - NOTE—This play was written in collaboration with Boucicault - and produced early in 1868. It was attacked on the ground - that it was pirated from a French drama: _La Portefeuille - Rouge_. Reade hotly denied that he had read or even heard of - this French play, and Coleman considers the denial to have - been genuine enough. He is, however, less certain that - Boucicault was not familiar with the supposed French - original. _Foul Play_, as first acted, was later revived - under different titles—_The Scuttled Ship_ and _Our Seaman_. - Perhaps the text described above and bearing Reade's name - only is a different version from that produced with - Boucicault. Of the text in collaboration I can trace no - printed issue. - - - 1883 - - KATE PEYTON: Or JEALOUSY: A Drama, in a prologue and Four Acts. By - CHARLES READE. London: 1883. Printed by J. C. Durant, Clement's - House, Clement's Inn Passage, Strand, W.C. 1 vol. Demy 8vo (5½ × - 8½). Pp. 76. Grey paper wrappers, printed as title-page. - - - 1883 - - LOVE AND MONEY: An Original Drama in a Prologue and Four Acts. By - CHARLES READE and HENRY PETTITT. London. 1883. Printed by J. C. - Durant, Clement's House, Clement's Inn Passage, Strand, W.C. But not - published. 1 vol. Small Cr. 8vo (4¾ × 7). Pp. 53 + (3). Grey paper - wrappers printed in black. - - NOTE—There being no title-page to this pamphlet, the - lettering given above is that of the wrapper. - - - 1883 - - THE COUNTESS AND THE DANCER: Or HIGH LIFE IN VIENNA. A Comedy Drama in - Four Acts. Altered from a masterpiece of VICTORIEN SARDOU by CHARLES - READE. London: 1883. 1 vol. Demy 8vo (5½ × 8⅜). Pp. vi + 60. Grey - paper wrappers, printed in black; wording as title-page. - - - NOTE - -The bibliography of Reade's plays is obscure and confusing. I have -listed in the foregoing pages only those of the printed issue of which I -have found certain evidence. He is known, however, to have written many -more, some at least of which were probably printed privately. Wherefore -it seems desirable here to supply such particulars as can be found of -the writing and acting of Reade's other plays. The facts are taken -mainly from Coleman's book, which contains as an appendix a good list of -titles and dates of production. Unfortunately the book itself is so -confusingly put together that text and appendix are far from -complementary and at times even in conflict. - - - A. EARLY UNACTED PLAYS, WRITTEN BEFORE 1851. - - THE WAY THINGS TURN. - - THE DANGEROUS PATH. - - THE LOST SISTERS. - - MARGUERITE. - - LUCREZIA BORGIA. - - A LADY'S OATH. - - CHRISTIE JOHNSTONE - - (The novel of the same name was built, long after, on the ruins of - this unacceptable play). - - - B. ACTED PLAYS, WITH DATES OF FIRST PRODUCTION AND OTHER AVAILABLE - DETAILS. - -THE VILLAGE TALE (produced 1852) - - (Based on _Claudie_, by George Sand. Revived in 1872 under the title - _Rachel the Reaper_). - -ART (produced 1852) - - (An adaptation of _Tiridate_ and later christened _Nance Oldfield_). - -NOBS AND SNOBS (produced 1854) - - (Revived in 1865 under the title _Honour before Titles_). - -THE FIRST PRINTER (produced 1854). - -FREE LABOUR (produced 1870) - - (A dramatic version of the novel _Put Yourself in his Place_). - -SHILLY SHALLY (produced 1872) - - (An unauthorized dramatization of Anthony Trollope's novel _Ralph - the Heir_. Reade's action in appropriating the story was deeply - resented by Trollope). - -THE WANDERING HEIR (produced 1872 or 1873) - - (A dramatic version of the story of the same name). - -JEALOUSY (produced 1875) - - (An adaptation of Sardou's comedy _Andrée_, and not to be confused - with Reade's dramatizations of his own novel _Griffith Gaunt_). - -RACHEL THE REAPER (produced 1876) - - (See above: _A Village Tale_). - -JOAN (produced 1876) - - (Dramatized, without permission, from _That Lass o' Lowries_, by - Mrs. Hodgson Burnett). - -DRINK (produced 1879) - - (Adapted from _L'Assommoir_ by Emile Zola). - -SINGLE HEART AND DOUBLE FACE (produced 1882) - - (A dramatic version of the story of the same name). - - - - - GEORGE JOHN WHYTE-MELVILLE - 1821-1878 - - - - - G. J. WHYTE-MELVILLE - - -Although as an authority on matters sporting Whyte-Melville stands -alone, it is yet impossible, with the best will in the world and with -all the respect due to his personal chivalry and courage, to regard him -in the rôle of novelist as anything but absurd. - -His books, where they deal with the science and the joys of hunting, -have the vivid appeal that only delighted conviction can give; but as -fiction, as readings of life adequately expressed in English prose, they -are negligible and often ludicrous. - -Whyte-Melville, the sportsman, is a figure of dignity and inspiration; -Whyte-Melville, the social novelist, is Ouida in breeches. That the -breeches are of perfect cut may not disguise the conventional swagger of -the legs they cover. The ways trodden by this author in his search for -character and incident are the exclusive ways of Victorian landlordism. -Their pavements are thronged with fair ladies and brave gentlemen, while -in the roadway crowd the lower orders—some mildly criminal, some a -little comic, but the majority joyous in their privilege to serve the -brilliant purpose of their betters. The antics of these humble creatures -are watched with kindly patronage by those to whom wealth and pleasure -are a normal birthright. Conversing among themselves, heartily but with -elegance, the Guardsmen and squirelings of the fashionable clubs find -time to exchange gracious greeting with their poorer neighbours, whose -uncouth speech strikes quaintly pleasant on their cultured ears. An -instruction is given; half a sovereign changes hands; a cap is dutifully -touched. God willed that of His creatures some be rich and others poor; -let the former bear themselves honourably and remember (when not -otherwise engaged) the duties of their station; let the latter be happy -in the lot to which Providence has called them. - -But genial condescension to his dependants is not the only or even the -main business of the Whyte-Melville gentleman. His life has two -absorbing interests—horses and ladies. To a point these interests merge. -With identical _expertise_ he takes the points of a fine girl and of a -blood mare. The former in her drawing-room, the latter in her stable, -await in gleaming beauty his appreciative caress. At their point of -ultimate usefulness, however, femininity and horseflesh part company. -The latter is the hero's ally, the former his quarry in the chase; and -while his adventures on horseback are told with the zest and knowledge -of real authority, his exploits in lady-killing have the tedious -unreality of a tale only half imagined and not a quarter lived. - -It is for the falseness of his emotional writing that Whyte-Melville -challenges comparison with Ouida. And, the comparison made, one is bound -to concede victory to the latter. Both deal in the passions of the nobly -born; but while the woman has at least the courage of bad taste, the -man, fettered by good form, achieves no taste at all. Whyte-Melville's -novels, like _Hamlet_, are full of quotations. He is the father of -novelette; the wellspring of cliché. His lovely ladies are not women nor -his gallants men: they are the dummies of suburban melodrama, -exquisitely gowned, faultlessly tailored, mouthing the phrases of -drawing-room passionates, but, even as dummies, failing to achieve that -semblance of gilded sin that is their only purpose. - -Nevertheless, despite their ineptitude, the books of Whyte-Melville -compel a curious and obscure respect. Respect for what it were hard to -say, for his written word is his own deadliest accuser. Sentences might -be chosen almost at random from the novels of social life that would -prove his possession of every fault possible to a novelist and to a -writer of prose. And yet, through the screen of their fatuity, one has -glimpses of the personality of the author himself—a personality at which -one may make mock, but only with affection. This country gentleman -turned novelist was an upright, guileless creature, hard riding, -generous hearted, as unconscious of his innate snobbery as of his -natural modesty, conventional because unaware of any world or school of -thought beyond the narrow limits of his own. His pictures of England are -as dull and as unreal as the pretty garden scenes in water-colour -produced by county ladies to this day; but both the painter of these -lifeless pictures and the comfortable amateurs responsible for horrid -views of moorland and herbaceous border command a sort of wistful -admiration. There is something so clean and easy and contented in the -mentality from which these books and drawings spring that, if only it -were not so stupid, so impenetrable to variety of idea, its passing -might well be looked on with regret. Whyte-Melville's qualities, like -those of the type he represents, are more obscure than his defects. The -class of country gentleman to which he personally belonged is rapidly -disappearing; when it is gone we shall wonder a little perplexedly why -we miss it. It was so easy to ridicule, so pathetically a target for -mockery and persecution. In our greater wisdom we have shot it to -pieces, riddling its obtuse selfishness, its bland complacency, with the -bullets of reforming zeal. But something fine will have perished with -it, something indefinable but leaving a sense of gap, to remind us that -destruction is never quite the discriminating triumph that iconoclasts -claim for it in advance. - -This, then, is one contemporary view of Whyte-Melville's novels, whose -only demonstrable virtue is their sportsmanship. One may quote from -_Market Harborough_, from _Riding Recollections_, even from the social -stories, passages of speed and exhilaration, passages of unaffected -wisdom and perception, descriptive of the hunting that, next to honour, -he loved best of all that life could offer. In opposition may be printed -page after page of stilted rhetoric, mawkish humour, the falsest of -sentiment, the most wanton elaboration of noun and adjective. But after -all quotation is done and a balance struck, there will still remain the -elusive quality that gave character to the class from which the author -came, an essence of breeding and tradition that no phrasing can -crystallize, that vanishes in the moment of its expression. For this -spiritual quality Whyte-Melville is admirable; for his literary faults -he is unreadable. Such, in a nutshell, is the judgment of one reader who -cannot excuse a book stupidity and pretentiousness for the sake of -isolated passages of hunting lore, but seeks to appreciate in the -character of a social generation that is fading fast, a distinction that -to all seeming will fade with it. - -There are, however, readers of other kinds, and for their sake and -because among our grandmothers and our aunts the stories of -Whyte-Melville were avidly admired, a summary classification of his -books shall be attempted. - -He began as a writer of autobiographies, of the part-fashionable, -part-sporting, part-knockabout kind, the tradition of which came down -from the eighteenth century, through Frederick Marryat, to a dozen -writers of the hard-drinking, riotous forties. _Digby Grand_ (1853) and -_Tilbury Nogo_ (1854) are essentially novels of this type, while in -_Kate Coventry_ (1856) the author merely adapts the recipe to the needs -of a girl heroine. _The Interpreter_ (1858) strikes a note of its own, -for the scenes in the Crimea and in Turkey were drawn from the writer's -experience and give a convincing picture of the period and its -happenings. Apart from them, however, the book is an ordinary -first-person record of the social wanderings of a young Englishman of -family. - -Between the second and the third of the books above mentioned had -appeared _General Bounce_ (1855), a transitional novel, not wholly apart -from those that preceded it, but halfway to a place among the stories of -contemporary love-making and sport, of which the author was to produce a -lengthy list. These novels of English society contain much of the most -repellent of Whyte-Melville's work, although many have refreshing -interludes of hunting and scenes on the racecourse or in the stable that -will endear them to specialists in the genre, if they cannot reconcile -others to the artificial tedium of the love stories and the clumsy -contriving of the plots. Here are the titles of the social novels: - - GENERAL BOUNCE (1855), - GOOD FOR NOTHING (1861), - THE BROOKES OF BRIDLEMERE (1864), - THE WHITE ROSE (1868), - M OR N (1869), - CONTRABAND (1871), - SATANELLA (1872), - UNCLE JOHN (1874), - ROY'S WIFE (1878), - BLACK BUT COMELY (1879). - -Next in numerical importance are the costume novels, beloved of an -earlier generation, but to the critical modern reader the poorest of -poor stuff, so compact of Wardour Street, of hollow sentiment, and of -forced, démodé attitude as to be intolerable. - -HOLMBY HOUSE (1860) - - (A tale of the Civil War with a strong bias in favour of the - Cavalier party), - -THE QUEEN'S MARIES (1862) - - (A romantic tribute to Mary, Queen of Scots), - -THE GLADIATORS (1863) - - (A novel of Rome and Judæa at the time of Christ), - -CERISE (1866) - - (An eighteenth-century tale), - -SARCHEDON (1871) - - (A novel centring round the figure of Semiramis), - -SISTER LOUISE (1876) - - (A novel of seventeenth-century France), - -ROSINE (1877) - - (A novel of the French Revolution). - -There remain two books of purely sporting significance, and -_Katerfelto_. - -_Market Harborough_ (1861), the pride of the Pytchley, is hardly a -novel. It is a string of hunting and horse-dealing episodes into which -Whyte-Melville threw all that he had of science and of enthusiasm. -_Riding Recollections_ (1878) are what their name implies. It is not for -any but the expert to criticize these books, which are held in some -quarters to be essential textbooks to a hunting education. _Katerfelto_ -(1875) will also escape comment here, but for a different reason. Among -my childhood memories this Exmoor tale glows adored, uncriticized. How -will it read to-day? To put it to the test frightens me. I dare not open -it. - - - EDITIONES PRINCIPES - FICTION, POETRY, ESSAYS - - - 1850 - - HORACE: ODES, EPODES AND CARMEN SÆCULARE Translated into English verse - by G. J. WHYTE MELVILLE Esq., late Coldstream Guards. London: - Simpkin, Marshall and Co., Stationers Hall Court. 1850. 1 vol. Demy - 8vo (5½ × 8½). Pp. (viii) + 120. Dark green cloth, blocked in gold - and blind. Yellow end-papers. - - - 1853 - - DIGBY GRAND: An Autobiography. By G. J. WHYTE MELVILLE. London: John - W. Parker and Son, West Strand. 1853. 2 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. (viii) + 303 + (1). - - Vol. II. pp. iv + 312 + (4). No half-title. Publishers' - advertisements, paged 1-4, occupy pp. (313) to (316). - - Red cloth, gilt. Yellow end-papers. - - NOTE—This book was published in February, 1853. The story - appeared serially in “Fraser's Magazine.” - - - 1854 - - TILBURY NOGO: Or PASSAGES IN THE LIFE OF AN UNSUCCESSFUL MAN. By the - author of _Digby Grand_. London: Chapman and Hall, 193 Piccadilly. - 1854. 2 vols. Ex. Cr. 8vo (4⅞ × 8¾). - - Vol. I. pp. iv + 310 + (2). - - Vol. II. pp. (ii) + 348. - - No half-titles. Brown cloth, gilt. Yellow end-papers. - - NOTE—This book was published in June, 1854. The story - appeared serially in “The Sporting Magazine.” - - - 1855 - - GENERAL BOUNCE: Or THE LADY AND THE LOCUSTS. By G. J. WHYTE MELVILLE. - London: John W. Parker and Son, West Strand. 1855. 2 vols. Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. viii + 296 + (4). Advertisement of _Digby Grand_ - occupies verso of half-title. Publishers' advertisements, numbered 1 - to 4, occupy pp. (297) to (300). - - Vol. II. pp. iv + 278 + (2). No half-title. Publishers' - advertisements occupy pp. (279) to (280). - - Pale brown cloth, gilt. Pale brick end-papers. - - NOTE—Although dated 1855 this book was actually published in - December, 1854. The story appeared serially in “Fraser's - Magazine.” - - - 1856 - - KATE COVENTRY: An Autobiography. Edited by G. J. WHYTE MELVILLE, - author of _Digby Grand_. Originally published in “Fraser's - Magazine.” London: John W. Parker and Son, West Strand. 1856. 1 vol. - Ex. Cr. 8vo (4⅞ × 7¾). Advertisement of books by the same author - occupies p. (323) and publishers' list p. (324). Scarlet ribbed - cloth, gilt, blocked in black. Chalk-blue end-papers. - - NOTE—This book was published in October, 1856. - - - [1857] - - THE ARAB'S RIDE TO CAIRO: A Legend of the Desert. By G. J. WHYTE - MELVILLE. Illustrated and Illuminated by Mrs. Wolfe Murray. Seton & - Mackenzie, Edinburgh. Houlston & Stoneman, London. 1 vol. Fcap. 4to - (6⅞ × 8¼). Pp. 14. Red cloth, full gilt, blocked in gold, or green - morocco, full gilt, tooled in gold and black. Yellow end-papers. - - NOTES—(i) This volume was published in January, 1857. - - (ii) It is hardly a book in the ordinary sense, consisting, - as it does, of 14 pp. of stout card printed on one side - only. Each page is printed in three or more colours, vaguely - after the style of an illuminated MS. Pseudo-gothic - lettering is used throughout, and the whole volume is - typical of the Victorian table book at its most ornate. - - - 1858 - - THE INTERPRETER: A Tale of the War. By G. J. WHYTE MELVILLE, Author of - _Digby Grand_, _General Bounce_ etc. etc. Originally published in - “Fraser's Magazine.” London: John Parker and Son, West Strand. 1858. - 1 vol. Ex. Cr. 8vo (4¾ × 7⅝). Pp. iv + 431 + (1). No half-title. - Publishers' catalogue, 8 pp., bound in at end. Red cloth, gilt, - blocked in black, uniform with _Kate Coventry_. Chocolate - end-papers. - - NOTE—This book was published in January, 1858. - - - 1860 - - HOLMBY HOUSE: A Tale of Old Northants. By G. J. WHYTE MELVILLE. Author - of _Digby Grand_, _The Interpreter_ etc. Originally published in - “Fraser's Magazine.” London: John Parker and Son, West Strand, 1860. - 2 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. (viii) + 325 + (3). Pp. (i) and (ii) precede - frontispiece and form technically a half-title, but p. (i) is not - printed as such. Publishers' advertisements occupy pp. (327) and - (328). - - Vol. II. pp. (iv) + 344 + (4). No half-title. Publishers' - advertisements, numbered 1 to 4, occupy pp. (345) to (348). - - Frontispiece in coloured lithograph to Vol. I., printed separately. - Red-brown cloth, gilt. Chocolate end-papers. - - NOTE—This book was published in March, 1860. - - - 1861 - - MARKET HARBOROUGH: Or HOW MR. SAWYER WENT TO THE SHIRES. London: - Chapman and Hall, 193 Piccadilly. 1861. 1 vol. Cr. 8vo (4¾ × 7½). - Pp. viii + 312. Olive-green cloth, gilt. Yellow end-papers. - - NOTE—This book was published in April, 1861. - - - 1861 - - GOOD FOR NOTHING: Or ALL DOWN HILL. By G. J. WHYTE MELVILLE. Author of - _Digby Grand_, _The Interpreter_, _Holmby House_ etc. Originally - published in “Fraser's Magazine.” London: Parker, Son and Bourn, - West Strand. 1861. 2 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. (iv) + 298 + (2). Publishers' advertisements occupy p. - (299). - - Vol. II. pp. (iv) + 265 + (3). Publishers' advertisements occupy pp. - (267) and (268). - - No half-titles. Maroon cloth, gilt. Chocolate end-papers. - - NOTE—This book was published in December, 1861. - - - 1862 - - MARKET HARBOROUGH: Or HOW MR. SAWYER WENT TO THE SHIRES. 4th Edition. - INSIDE THE BAR: Or SKETCHES AT SOAKINGTON. By the author of _Digby - Grand_ etc. London: Chapman and Hall, 193 Piccadilly. 1862. 1 vol. - Cr. 8vo (4¾ × 7½). Pp. iv + 393 + (3). Buff cloth, printed, in red - and black. White end-papers, of which the first inside front is - printed with publishers' advertisements. - - NOTE—This volume is the first edition of _Inside the Bar_. - It was published in April, 1862. - - - 1862 - - THE QUEEN'S MARIES: A Romance of Holyrood. By G. J. WHYTE MELVILLE, - Author of _Digby Grand_, _The Interpreter_, _Holmby House_, _Good - for Nothing_ etc. London: Parker, Son and Bourn, West Strand. 1862. - 2 vols. Cr. 8vo (4¾ × 7⅜). - - Vol. I. pp. (iv) + 304. - - Vol. II. pp. (iv) + 254 + (2). Publishers' advertisements occupy p. - (255), and 8 pp. advertisements, printed on text paper but numbered - 1 to 8, are bound in at end. - - No half-titles, but in Vol. II. 2 pp. blank precede title. Violet - cloth, gilt. Chocolate end-papers. - - NOTE—This book was published in July, 1862. - - - 1863 - - THE GLADIATORS: A Tale of Rome and Judæa. By G. J. WHYTE MELVILLE, - author of _Digby Grand_, _The Interpreter_, _Holmby House_, _The - Queen's Maries_ etc. London: Longman, Green, Longman, Roberts and - Green. 1863. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. iv + 324. - - Vol. II. pp. iv + 305 + (1). - - Vol. III. pp. iv + 291 + (1). - - No half-titles. Red embossed cloth, gilt, blocked in gold and blind. - Pale chocolate end-papers. - - NOTE—This book was announced for publication by Parker in - November, 1863. In January, 1864, it appeared over Longmans' - imprint, but dated 1863. Whether any copies are in existence - with a Parker imprint I do not know; if so they are the real - first edition. - - - 1864 - - THE BROOKES OF BRIDLEMERE. By G. J. WHYTE MELVILLE. Author of _The - Gladiators_, _Digby Grant_ (sic), _The Interpreter_, _Holmby House_, - _The Queen's Maries_ etc. London: Chapman and Hall, 193 Piccadilly. - 1864. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. (iv) + 293 + (3). - - Vol. II. pp. (iv) + 307 + (1). - - Vol. III. pp. (iv) + 293 + (3). Publishers' catalogue, 36 pp., and - dated October, 1864, bound in at end. - - No half-titles. Red cloth, gilt. Pale yellow end-papers. - - NOTE—This book was published on October 29, 1864. - - - 1866 - - CERISE: A Tale of the Last Century. By G. J. WHYTE MELVILLE, author of - _The Gladiators_, _Digby Grand_, _The Brookes of Bridlemere_ etc. - London: Chapman and Hall, 193 Piccadilly. 1866. 3 vols. Ex. Cr. 8vo - (4¾ × 7¾). - - Vol. I. pp. iv + 309 + (3). - - Vol. II. pp. iv + 301+ (3). - - Vol. III. pp. iv + 318 + (2). - - No half-titles. Magenta cloth, gilt, blocked in blind. Pale cream - end-papers. - - NOTES—(i) This book was published in April, 1866. - - (ii) _Cerise_ was rapidly reprinted, and it is curious to - report that copies of the _third_ edition exist with - publishers' catalogue at the end of Vol. III. dated March, - 1866—_i.e._, prior to the book's _first_ publication. The - first edition contained no catalogue. - - - 1868 - - THE WHITE ROSE. By G. J. WHYTE MELVILLE, author of _Cerise_, _The - Gladiators_, _Brookes of Bridlemere_ etc. London: Chapman and Hall, - 193 Piccadilly. 3 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. vii + (i) + 262 + (2). - - Vol. II. pp. vii + (i) + 263 + (1). - - Vol. III. pp. vii + (i) + 252. - - Red-purple cloth, gilt, blocked in blind. Pale yellow end-papers. - - NOTE—This book was published in February, 1868. - - - 1869 - - BONES AND I: Or THE SKELETON AT HOME. By G. J. WHYTE MELVILLE. Author - of _The Gladiators_, _Cerise_, _Digby Grand_ etc. London: Chapman - and Hall, 193 Piccadilly. 1869. 1 vol. Cr. 8vo (4¾ × 7⅜). Pp. iv + - 287 + (1). No half-title. Brown cloth, gilt. Pale yellow end-papers. - - NOTE—This book was published in June, 1869. - - - 1869 - - SONGS AND VERSES. By G. J. WHYTE-MELVILLE. London: Chapman and Hall, - 193 Piccadilly. 1869. 1 vol. Cr. 8vo (5 × 7½). Pp. vii + (i) + 136. - Errata slip inserted at p. 1. Dark red cloth, gilt, blocked in - black. Pale yellow end-papers. - - NOTES—(i) This book was published in September, 1869. - - (ii) The author revised and added to the poems in this book - on several occasions after its original publication. - Strictly speaking, any new edition which contains even one - fresh poem may rank as a first edition, and collectors of - Whyte-Melville, who are also purists, may therefore be - advised not to pass over any one of the first six or seven - editions of _Songs and Verses_ without satisfying themselves - that no fresh matter distinguishes it from its predecessors. - - - 1869 - - M. OR N. “SIMILIA SIMILIBUS CURANTUR.” By G. J. WHYTE-MELVILLE. Author - of _Digby Grand_, _Cerise_, _The Gladiators_ etc. London: Chapman - and Hall, 193 Piccadilly. 1869. 2 vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. vi + 312 + (2). - - Vol. II. pp. vi + 313 + (3). Publishers' advertisements occupy pp. - (315) (316). - - Light brown (or brown) embossed cloth, gilt, blocked in blind. Pale - yellow end-papers. - - NOTE—This book was published on October 15, 1869. I do not - know which shade of binding is the earlier. - - - 1871 - - CONTRABAND: Or A LOSING HAZARD. By G. J. WHYTE-MELVILLE. Author of - _Digby Grand_, _Cerise_, _The White Rose_ etc. London: Chapman and - Hall, 193 Piccadilly. 1871. 2 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. vi + 307 + (1). - - Vol. II. pp. vi + 281 + (1). - - Bright blue cloth, blocked in gold and blind. Yellow end-papers. - - NOTE—Although this book is dated 1871, it was actually - published in December, 1870. - - - 1871 - - SARCHEDON: A Legend of the Great Queen. By G. J. WHYTE MELVILLE. - Author of _The Gladiators_, _Holmby House_, etc. London: Chapman and - Hall, 193 Piccadilly. 1871. 3 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. (viii) + 289 + (1). - - Vol. II. pp. (vi) + 270. - - Vol. III. pp. (vi) + 251 + (1). - - Bright blue cloth, gilt, blocked in black. Pale chocolate - end-papers. - - NOTE—This book was published in July, 1871. - - - 1872 - - SATANELLA: A Story of Punchestown. By G. J. WHYTE-MELVILLE. London: - Chapman and Hall, 193 Piccadilly. 1872. 2 vols. Sm. Cr. 8vo (5 × - 7¼). - - Vol. I. pp. vii + (i) + 260. - - Vol. II. pp. vii + (i) + 267 + (1). - - Lithographed frontispiece to each volume printed separately and one - other similar illustration in vol. ii. Red (or maroon) cloth, - blocked in black and gold. Pale yellow end-papers. - - NOTE—This book was published in June, 1872. I do not know - which shade of binding is the earlier. - - - 1873 - - THE TRUE CROSS: A Legend of the Church. By G. J. WHYTE-MELVILLE. - Author of _The Gladiators_, _Sarchedon_ etc. London: Chapman and - Hall, 193 Piccadilly. 1873. 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (iv) + 241 - + (1). Publishers' catalogue, 32 pp., dated January, 1873, bound in - at end. Green (or chocolate) cloth, blocked in black and gold. Pale - yellow end-papers. - - NOTES—(i) This book was published in March, 1873. - - (ii) Copies in red-brown cloth, gilt, without decorative - blocking, are of later issue, although they sometimes - contain a catalogue of the original date. Which shade of the - original binding is the earlier, I do not know. - - - 1874 - - UNCLE JOHN: A Novel. By G. J. WHYTE-MELVILLE. Author of _Market - Harborough_, _The Gladiators_, _Kate Coventry_, _Satanella_ etc. - etc. London: Chapman and Hall, 193 Piccadilly. 1874. 3 vols. Cr. 8vo - (5 × 7⅜). - - Vol. I. pp. (viii) + 267 + (1). - - Vol. II. pp. (viii) + 236. - - Vol. III. pp. (viii) + 218 + (2). - - Green cloth, blocked in black and gold. Pale yellow end-papers. - - NOTE—This book was published in August, 1874. - - - 1875 - - KATERFELTO: A Story of Exmoor. By G. J. WHYTE-MELVILLE, author of - _Digby Grand_, _Cerise_, _Uncle John_ etc. With Illustrations by - Colonel Hope Crealocke, C.B. London: Chapman and Hall, 193 - Piccadilly. 1875. 1 vol. Demy 8vo (5⅝ × 8⅝). Pp. (iv) + 291 + (1). - No half-title. Publishers' catalogue, 34 pp., dated November, 1874, - bound in at end. Twelve illustrations in lithograph, printed - separately. Dark red cloth, blocked in gold. Pale yellow end-papers. - - NOTE—Although dated 1875, this book was actually published - in December, 1874. - - - 1876 - - SISTER LOUISE: Or THE STORY OF A WOMAN'S REPENTANCE. By G. J. - WHYTE-MELVILLE, Author of _Digby Grand_, _The Gladiators_, - _Katerfelto_. With Illustrations by Miriam Kerns. London: Chapman - and Hall, 193 Piccadilly. 1876. 1 vol. Demy 8vo (5⅜ × 8⅝). Pp. xii + - 268. Publishers' catalogue, 32 pp., dated December, 1875, bound in - at end. Eight illustrations, roughly lithographed. Green cloth, - gilt, blocked in black. Chocolate end-papers. - - NOTES—(i) Although dated 1876, this book was actually - published in December, 1875. - - (ii) Copies without catalogue and with yellow end-papers are - probably of a subsequent issue. - - - 1877 - - ROSINE. By J. G. [_sic_] WHYTE-MELVILLE, Author of _Cerise_, - _Katerfelto_ etc. etc. With illustrations by Miriam Kerns. London: - Chapman and Hall, 193 Piccadilly, 1877. 1 vol. Demy 8vo (5¾ × 8⅝). - Pp. (vi) + 266. Publishers' catalogue, 36 pp., dated December, 1876, - bound in at end. Eight illustrations. Magenta cloth, gilt, blocked - in black. Very dark green end-papers. - - NOTES—(i) Although dated 1877, this book was actually - published in December, 1876. - - (ii) Copies in maroon cloth, gilt, blocked in black but - without other decoration on side save a simple rectangular - frame are of later issue. - - - 1878 - - RIDING RECOLLECTIONS. By G. J. WHYTE-MELVILLE. With Illustrations by - Edgar Giberne. London: Chapman and Hall, 193 Piccadilly. 1878. 1 - vol. Ex. Cr. 8vo (5¼ × 7⅞). Pp. xii + 251 + (1). Publishers' - catalogue, 32 pp., dated November, 1877, bound in at end. Eight - illustrations, being photographs from drawings pasted on to thin - card. Dark brickish-red cloth, blocked in black and gold. Yellow - end-papers. - - NOTE—This book was published in April, 1878. - - - 1878 - - ROY'S WIFE: A Novel. By G. J. WHYTE-MELVILLE. London: Chapman and - Hall, 193 Piccadilly. 1878. 2 vols. Cr. 8vo (5 × 7⅜). - - Vol. I. pp. vi + 299 + (1). - - Vol. II. pp. vi + 310. - - Olive-brown cloth, gilt, blocked in black. Cream end-papers. - - NOTE—This book was published in July, 1878. - - - 1879 - - BLACK BUT COMELY: Or THE ADVENTURES OF JANE LEE. By G. J. - WHYTE-MELVILLE. London: Chapman and Hall, 193 Piccadilly. 1879. 3 - vols. Cr. 8vo (5 × 7½). - - Vol. I. pp. viii + 303 + (i). - - Vol. II. pp. viii + 304. - - Vol. III. pp. viii + 292 + (4). Publishers' advertisements occupy - pp. (293) to (296). Publishers' catalogue, 32 pp., dated December, - 1878, bound in at end. - - A four-page slip of publishers' advertisements should be found - inserted between the front end-papers of Vol. I. This slip predates - the catalogue in Vol. III. Blue-grey cloth, gilt, blocked in black. - Yellow end-papers. - - NOTE—This book was published in January, 1879. - - - [?1879 or 1880] - - THE BONES AT ROTHWELL: A Lecture delivered by the late Captain WHYTE - MELVILLE, being an account of the remarkable bone cavern beneath - Rothwell Church. Price 1d. Rothwell, printed by Ed. Chamberlain, 3 - Market Place. (Quotation from Gray's _Elegy_ heads title-page and - wrapper.) 1 vol. Cr. 8vo. 16 pp. White paper wrappers, printed in - black. Outside back wrapper occupied by printer's advertisements. - - NOTE—This is the text of a lecture delivered by - Whyte-Melville on January 3, 1862, to the Moulton Religious - and Useful Knowledge Society, and printed in the - “Northampton Mercury” for January 11 of the same year. When - first the pamphlet above described was issued I cannot be - certain, but R. B. Wallis, in a booklet published in 1888, - and entitled _All About the Rothwell Bones_, speaks of the - lecture as obtainable in pamphlet form from Chamberlan of - Rothwell. Certainly, therefore, the publication predates - 1888, and I have ventured above on the date of the year - following Whyte-Melville's death because it seems possible - that the lecture was first issued in pamphlet form to - combine the interest in the Rothwell Bones with that likely - to be created in Whyte-Melville by his decease. The - clumsiness with which Whyte-Melville is spoken of as “the - late,” but at the same time given the rank of “Captain” - instead of that of “Major,” implies a hasty reprint from the - file of the “Northampton Mercury,” by someone aware of his - death but careless of the military rank to which he finally - attained. - - The colour of the paper wrapper varies with different - issues. In addition to a white copy, as above described, I - have seen one in a pale yellow cover. - - - - - ELIZABETH CLEGHORN GASKELL - 1810-1865 - - - - - MRS. GASKELL - - - _BIOGRAPHY AND CRITICAL REMINISCENCE_ - - MRS. GASKELL: HAUNTS, HOMES AND STORIES. By ESTHER A. CHADWICK. - London. 1910. - - MRS. GASKELL. By the same. London. 1913. - - MRS. GASKELL. By A. E. BAYLEY. (Women Novelists of Queen Victoria's - Reign.) London. 1897. - - MRS. GASKELL AND KNUTSFORD. By G. A. PAYNE. London. 1906. - - - _BIBLIOGRAPHY_ - -Much valuable bibliographical information is contained in two little -books by Mr. John Albert Green of the Manchester Reference Library: - - A BIBLIOGRAPHICAL GUIDE TO THE GASKELL COLLECTION IN THE MOSS-SIDE - LIBRARY. Manchester. 1911. - - CATALOGUE of an Exhibition of Books and Autographs illustrating the - Life and Work of Mrs. E. C. Gaskell. Manchester. 1911. - -Students may also be referred to: - - GASKELL BIBLIOGRAPHY. A list of the writings of Mrs. E. C. Gaskell and - of the Rev. William Gaskell. By Wm. E. A. and Ernest Axon. - Manchester. 1895. - - - I.—EDITIONES PRINCIPES - FICTION, BIOGRAPHY, ETC. - - - 1848 - - MARY BARTON: A Tale of Manchester Life. (Quotation from Carlyle.) - London: Chapman and Hall, 186 Strand. MDCCCXLVIII. 2 vols. Ex. Cr. - 8vo (4⅞ × 7¾). - - Vol. I. pp. (x) [paged as viii] + 317 + (3). The place of half-title - and verso is taken by a publishers' advertisement, 2 pp., listing: - “Chapman and Hall's Series of Original Works in Fiction, Biography, - and General Literature.” - - Vol. II. pp. (ii) + 312. - - No half-titles. Ribbed mulberry cloth, gilt, blocked in blind. - Yellow end-papers. - - NOTE—This book was published in October, 1848. - - - [1850] - - LIBBIE MARSH'S THREE ERAS: A Lancashire Tale. London: Hamilton Adams - and Co. 1 vol. 16mo. Pp. 72. Paper wrappers printed with title of - story. - - NOTE—This story first appeared in 1847, in Vol. I. of - “Howitt's Journal,” over the pseudonym “Cotton Mather - Mills.” It was issued by Chapman and Hall over the author's - name in 1855 as a fourpenny pamphlet of twenty-four pages. - - - 1850 - - *THE SEXTON'S HERO AND CHRISTMAS STORMS AND SUNSHINE. Contributed by - the authoress of _Mary Barton_. For the benefit of the Macclesfield - Public Baths and Washhouses. Manchester: Johnson, Rawson and Co. - 1850. 1 vol. Cr. 8vo. Pp. 28. Paper wrappers. - - NOTE—These stories first appeared in 1847 and 1848 in Vols. - II. and III. of “Howitt's Journal,” over the pseudonym - “Cotton Mather Mills.” They were reissued under one cover by - Chapman and Hall in 1855 over the author's name. - - - 1850 - - *LIZZIE LEIGH: A Domestic Tale from “Household Words.” By CHARLES - DICKENS. New York. Dewitt and Davenport. 1850. 1 vol. 12mo. Buff - paper wrappers printed in black with wording as above. - - NOTE—This pamphlet was a pirated edition of a story - published anonymously in “Household Words” and rashly - assumed by the pirates to have been written by Dickens. It - made a further appearance the next year in _The Irving - Offering_ (New York, 1851), still over Dickens' name. - - - 1850 - - THE MOORLAND COTTAGE. By the author of _Mary Barton_. With - illustrations by Birket Foster. London: Chapman and Hall, 193 - Piccadilly. 1850. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 182 + - (2). Advertisement of _Mary Barton_ occupies p. (183). Line-engraved - frontispiece and picture title-page precede printed title-page. - Other line-engraved illustrations here and there in the text. Maroon - cloth, full gilt, blocked in gold and blind. Pale yellow end-papers. - - NOTE—This book was published in December, 1850. - - - 1853 - - RUTH: A Novel. By the author of _Mary Barton_ (Quotation from Phineas - Fletcher.) London: Chapman and Hall, 193 Piccadilly. 1853. 3 vols. - Ex. Cr. 8vo (4¾ × 7⅞). - - Vol. I. pp. (ii) + 298. Publishers' advertisements, 36 pp., dated - 1853, bound in at end. - - Vol. II. pp. (ii) + 328. - - Vol. III. pp. (ii) + 311 + (1). - - No half-titles. Dull purple cloth, gilt, blocked in blind. Yellow - end-papers, of which those at front of Vols. I. and II. are printed - with publishers' advertisements. - - NOTE—This book was published in January, 1853. - - - 1853 - - CRANFORD. By the author of _Mary Barton_, _Ruth_ etc. London: Chapman - and Hall, 193 Piccadilly. 1853. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. iv + - 324. No half-title. Olive-green embossed cloth, blocked in gold and - blind. Yellow end-papers. - - - 1854 - - *TWO LECTURES ON LANCASHIRE DIALECT. By the author of _Mary Barton_. - London: Chapman and Hall, 193 Piccadilly. Fcap. 8vo (4¼ × 6¾). Paper - wrappers. - - - 1855 - - LIZZIE LEIGH AND OTHER TALES. By the Author of _Mary Barton_, _Ruth_ - etc. Cheap Edition. London: Chapman and Hall, 193 Piccadilly. 1855. - 1 vol. Sm. Cr. 8vo (4½ × 7). Pp. (viii) + 304. Yellow paper boards. - - _Contents_: The Well of Pen Morfa—The Heart of John - Middleton—Disappearances—The Old Nurse's Story—Traits - and Stories of the Huguenots—Moreton Hall—My French - Master—The Squire's Story—Company Manners—Mr. Harrison's - Confessions—Libbie Marsh's Three Eras—The Sexton's - Hero—Christmas Storms and Sunshine—Hand and Heart—Bessie's - Troubles at Home. - - This is the first edition of all the above stories, with the - exception of _Lizzie Leigh_, _Libbie Marsh's Three Eras_, - _The Sexton's_ _Hero_, _Christmas Storms and Sunshine_, - _Hand and Heart_, and _Bessie's Troubles at Home_. - - NOTES—(i) This book was published in September, 1855. It is - a volume in Chapman and Hall's Select Library of Fiction, - published at two shillings. - - (ii) It may be of interest to enthusiasts to know that - _Lizzie Leigh_ was adapted for the stage by W. R. Waldron - and published in May, 1872, as No. 1393 in Lacy's Acting - Editions of British Plays. Mrs. Gaskell must be absolved - from all responsibility for this dramatization. - - - 1855 - - NORTH AND SOUTH. By the author of _Mary Barton_, _Ruth_, _Cranford_ - etc. London: Chapman and Hall, 193 Piccadilly. 1855. 2 vols. Ex. Cr. - 8vo (4¾ × 7¾). - - Vol. I. pp. (viii) + 320. Advertisement of previous works by the - same author occupies p. (i), preceding half-title. Publishers' - advertisements, 4 pp., bound in at end. - - Vol. II. pp. (iv) + 361 + (1). Dark brown cloth, gilt, blocked in - blind. Yellow end-papers. - - NOTE—This book was published in March, 1855. - - - 1855 - - *HAND AND HEART and BESSIE'S TROUBLES AT HOME. By the author of _Mary - Barton_. London: Chapman and Hall, 193 Piccadilly. 1855. Fcap. 8vo - (4¼ × 6¾). Paper wrappers. - - - 1857 - - THE LIFE OF CHARLOTTE BRONTË, AUTHOR OF _Jane Eyre_, _Shirley_, - _Villette_ ETC. By E. C. Gaskell, author of _Mary Barton_, _Ruth_ - etc. (Quotation from _Aurora Leigh_.) London: Smith Elder and Co., - 65 Cornhill. 1857. 2 vols. Ex. Cr. 8vo (4⅞ × 8). - - Vol. I. pp. viii + 352. - - Vol. II. pp. viii + 327 + (1). Publishers' catalogue, 16 pp., dated - March, 1857, bound in at end. - - Three illustrations in steel engraving—two in Vol. I., one in Vol. - II.—all printed separately. Dark brown cloth, gilt, blocked in - blind. Yellow end-papers. - - NOTE—This book was published in April, 1857. - - - 1859 - - ROUND THE SOFA. By the author of _Mary Barton_, _Life of Charlotte - Brontë_ etc. etc. London: Sampson Low Son and Co., 47 Ludgate Hill. - 1859. 2 vols. Ex. Cr. 8vo (4⅞ × 7⅞). - - Vol. I. pp. (iv) + 340. Publishers' advertisement slip, printed on - yellow paper, should be found inserted between the front end-papers. - - Vol. II. pp. (iv) + 297 + (1). Publishers' catalogue, 12 pp., - printed on text paper and dated March, 1859, bound in at end. - - No half-titles. Scarlet embossed cloth, gilt, blocked in blind. - Yellow end-papers. - - _Contents_: Vol. I., Round the Sofa—My Lady Ludlow. Vol. - II., The Accursed Race—The Doom of the Griffiths—Half a - Life-time Ago—The Poor Clare—The Half-Brothers. - - NOTES—(i) This book was published in March, 1859. - - (ii) It should be observed that only Vol. II. contains a - list of contents, the corresponding page (iv) in Vol. I. - being occupied by an author's note. - - - 1860 - - RIGHT AT LAST: And Other Tales. By the author of _Mary Barton_, _Life - of Charlotte Brontë_, _Round the Sofa_ etc. etc. London: Sampson Low - Son and Co., 47 Ludgate Hill. 1860. 1 vol. Ex. Cr. 8vo (4⅞ × 7¾). - Pp. (vi) + 318. No half-title. Scarlet embossed cloth, gilt, uniform - with _Round the Sofa_. Yellow end-papers. - - _Contents_: Right at Last—The Manchester Marriage—Lois the - Witch—The Crooked Branch. - - NOTE—This book was published on May 10, 1860. - - - 1861 - - LOIS THE WITCH AND OTHER TALES. By E. C. GASKELL, author of _Mary - Barton_, _The Life of Charlotte Brontë_. Copyright edition. Leipzig: - Bernhard Tauchnitz. 1 vol. (4½ × 6¼). Pp. (viii) + 338 + (2). Usual - Tauchnitz paper wrappers. - - _Contents_: Lois the Witch, The Grey Woman, The Doom of the - Griffiths, The Half-Brothers, The Crooked Branch. - - NOTE—This is a first edition of _The Grey Woman_. - - - 1863 - - SYLVIA'S LOVERS. By Mrs. GASKELL, author of _The Life of Charlotte - Brontë_, _Mary Barton_, _Ruth_, _North and South_ etc. (Quotation - from Tennyson.) London: Smith, Elder and Co., 65 Cornhill. - MDCCCLXIII. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝). - - Vol. I. pp. (viii) + 310 + (2). - - Vol. II. pp. (iv) + 294. No half-title. - - Vol. III. pp. (iv) + 284 + (4). No half-title. Advertisement of _The - Life of Charlotte Brontë_ occupies pp. (285) to (288). - - Magenta cloth, gilt, blocked in blind. Greenish-buff end-papers. - - NOTE—This book was published in March, 1863. - - - 1863 - - A DARK NIGHT'S WORK. By Mrs. GASKELL, author of _Sylvia's Lovers_, - _Life of Charlotte Brontë_, _Mary Barton_, _Ruth_ etc. etc. London: - Smith Elder and Co., 65 Cornhill. MDCCCLXIII. 1 vol. Slim Cr. 8vo - (4½ × 7⅝). Pp. (iv) + 299 + (1). Brown cloth, gilt, blocked in - blind. Cream end-papers. - - NOTE—This book was published in May, 1863. - - - 1865 - - THE GREY WOMAN: And Other Tales. By Mrs. GASKELL, Author of _Mary - Barton_, _North and South_, _Sylvia's Lovers_, _Cousin Phillis_, - _Cranford_ etc. Illustrated Edition. London: Smith, Elder and Co., - 65 Cornhill. MDCCCLXV. 1 vol. Cr. 8vo (5 × 7½). Pp. (iv) + 280. No - half-title. Wood-engraved frontispiece and picture title-page - precede printed title. Two illustrations in course of the text, wood - engraved and printed separately. Red embossed cloth, gilt, blocked - in blind. Yellow end-papers. - - _Contents_: The Grey Woman—Curious if True—Six Weeks - at Heppenheim—Libbie Marsh's Three Eras—Christmas - Storms and Sunshine—Hand and Heart—Bessie's Troubles - at Home—Disappearances. - - NOTE—This book was published in October, 1865. It is a first - edition of _Curious if True_ and _Six Weeks at Heppenheim_. - - - 1865 - - COUSIN PHILLIS: And Other Tales. By Mrs. GASKELL, author of _Mary - Barton_, _North and South_, _Sylvia's Lovers_, _Cranford_ etc. - London: Smith, Elder and Co., 65 Cornhill. MDCCCLXV. 1 vol. Cr. 8vo - (5 × 7½). Pp. (iv) + 286 + (2). Publishers' advertisements occupy - pp. (287) and (288). No half-title. Wood-engraved frontispiece and - picture title-page, printed separately, precede printed title. Two - illustrations in the course of the text, wood engraved and printed - separately. Red embossed cloth, blocked in gold and blind. Uniform - with _The Grey Woman_. Cream end-papers. - - _Contents_: Cousin Phillis—Company Manners—Mr. Harrison's - Confessions—The Sexton's Hero. - - NOTES—(i) This book was published in December, 1865. - - (ii) It is a first edition of _Cousin Phillis_, which story - appeared serially in the “Cornhill.” - - - 1866 - - WIVES AND DAUGHTERS: An Everyday Story. By Mrs. GASKELL. With 18 - illustrations by George du Maurier. London: Smith, Elder and Co., 65 - Cornhill. 1866. 2 vols. Demy 8vo (5½ × 8⅝). - - Vol. I. pp. (iv) + 336. - - Vol. II. pp. (iv) + 332. - - No half-titles. Ten illustrations in Vol. I. and eight in Vol. II., - all wood engraved and printed separately. Maroon cloth, blocked in - gold. Pale yellow end-papers. - - NOTE—This book was published in February, 1866. The story - appeared serially in the “Cornhill.” - - - _NOTE_ - -The Knutsford edition of Mrs. Gaskell's works (Smith, Elder and Co., -1906, 8 vols.), edited by A. W. Ward, contained in Vols. I., III., VI., -and VII. material not previously issued in book form. Further additional -matter (notably a chapter of _Cranford_) was published by Clement -Shorter in the edition of Mrs. Gaskell's works edited by him for The -World's Classics. The same authority published an edition of _The Life -of Charlotte Brontë_ in 1900 (Smith, Elder) with many valuable notes. He -has also issued a privately printed edition of Mrs. Gaskell's Letters on -Charlotte Brontë, but this booklet, in accordance with the plan of the -present volume, is not herein specifically listed. Full details of the -various appearances of Gaskell miscellanea (with the exception of that -last mentioned above) will be found in J. A. Green's Bibliographical -Guide to the Gaskell Collection, referred to on p. 203. - - - II.—BOOKS PARTIALLY WRITTEN, ATTRIBUTED TO, OR EDITED BY MRS GASKELL. - - - 1840 - - VISITS TO REMARKABLE PLACES: Old Halls, Battle Fields, and Scenes - illustrative of striking passages in English History and Poetry. By - WILLIAM HOWITT, author of _The Rural Life of England_, _Boy's - Country-Book_ etc. Illustrated by Samuel Williams. London: Longman, - Orme, Brown, Green and Longmans. MDCCCXL. 1 vol. Med. 8vo (5¾ × 9). - Pp. vii + (i) + 526. No half-title. Wood-engraved vignette on - title-page and numerous other illustrations. Pp. 130 to 146 are - occupied by an account of Clopton Hall, written by Mrs. Gaskell. - Fawn cloth, blocked in gold. - - - 1853 - - *THE SICKNESS AND HEALTH OF THE PEOPLE OF BLAEBURN. By the author of - _Mary Barton_. Boston. 1853. 1 vol. 12mo. Paper wrappers. - - NOTE—This is a reprint (unauthorized) of a story that - appeared anonymously in Vol. I. of “Household Words.” The - attribution to Mrs. Gaskell is a mistake, Harriet Martineau - being the real author of the tale. - - - 1857 - - MABEL VAUGHAN. By the author of The _Lamplighter_. Edited, by - arrangement with the author, by Mrs. GASKELL, author of _Mary - Barton_. London: Sampson Low, Son and Co., 47 Ludgate Hill. 1857. 1 - vol. Fcap. 8vo (4¼ × 6¾). Pp. viii + 459 + (1). Publishers' - catalogue, 12 pp., paged but undated, bound in at end. Line-engraved - frontispiece, printed separately. Dark green cloth, blocked in gold - and blind. Pale yellow end-papers. Also issued simultaneously in - boards. - - NOTE—This book was published in September, 1857. - - - 1862 - - GARIBALDI AT CAPRERA. By COLONEL VECCHI. Translated from the Italian. - With Preface by Mrs. GASKELL. Cambridge: Macmillan and Co., and 23 - Henrietta Street, Covent Garden. London. 1862. 1 vol. Fcap. 8vo (4¼ - × 6⅝). Pp. xi + (i) + 130 + (2). Publishers' advertisement occupies - p. (131). Publishers' catalogue, 16 pp., undated, bound in at end. - Frontispiece in tinted lithograph, showing Garibaldi's house. - Scarlet cloth, blocked in gold. Chocolate end-papers. - - NOTE—This book was published in February or March, 1862. - - - - - HERMAN MELVILLE - 1819-1891 - - - - - HERMAN MELVILLE - - -At intervals during the last forty years, Herman Melville has been -discovered by intellectuals, belauded, a little read, and once more -forgotten. It is typical of the man and of his perverse withdrawal from -the lettered world, that even before his death he was the subject of -spasmodic battues by appreciative readers, who sought to startle into -activity their idol's reputation by methods suited to the enlivenment of -an author long dead and hidden by the undergrowth of time. - -The latest and the most thorough stimulation to which the repute of -Melville has been subjected is now at full stretch. Whatever its -critical shortcomings, this concerted attempt to write a new name on the -roll of nineteenth-century genius bids fair to achieve one important -triumph—the immortalization of _Moby Dick_ and, consequentially, of the -man who wrote it. - -A very minor result of the same Melville boom is his inclusion in this -book. Save in the matter of date, he has little in common with the other -writers here treated. They are of Victorianism Victorian; he, if he -belongs to any period or to any genealogy, is of the ageless, race-less -family of the lonely giants. That his fellows between these covers are -all lesser novelists than he, I am unprepared to admit. Trollope excels -him in humour, wisdom and depth of understanding; he must rank, as -master of technique, below all save Whyte-Melville and perhaps Disraeli. -But he has a quality of grandeur, a majesty of isolation that they lack, -and his very inchoate bitterness of spirit transcends by its -datelessness their well-rounded friendliness and their complacent wit. - -If that were not enough, he differs from them also in the very texture -and subject of his work. His mysticism, for all its yearning and its -gloom, is of a spiritual quality far rarer than that of their -materialism, for all its vivacity and its aspiration. Between him and -Reade is a certain soul resemblance, but the advantage in this is -Melville's. He directly influenced the Englishman,[4] and beside his -remote immensity Reade, even at his most massive and his most -contentious, seems but a dwarf, roaring disgruntlement against the walls -of Grub Street. - -Footnote 4: - - There is in existence the copy of _Moby Dick_ in which Reade made - extensive notes and excisions, maybe with the idea of issuing an - abbreviated version. Readers of _Love Me Little, Love Me Long_ will - immediately detect the influence of Melville's great book on the - whaling narrative related by Frank Dodd to Mr. Fountain and to his - lovely niece. - -Melville's books are the strange mirror of a strange life. The young -writer, famous at thirty, who yet lives out a diminuendo of appreciation -to an old age of disappointed poverty, is no unfamiliar figure. One -thinks immediately of William Harrison Ainsworth, from the foppish -eminence of his early twenties to the last sad years in a Tonbridge -villa, when he laboured at the regular production of three-volume -fiction—one novel a year at seventy-five pounds the time—alone amid the -memories of vanished splendour. But the man who as a youth wins -reputation in letters and passes, of deliberate purpose, maturity and -age in other, non-literary, pursuits is a scarcer type, of which -Melville is an unusual example. - -Born in 1819, he published _Typee_ at the age of twenty-seven, _Moby -Dick_ five years later, and _The Piazza Tales_ in 1856. From then until -his death, in 1891, he wrote little, and, to the even greater detriment -of his fame, withdrew entirely from the society of writers, hiding his -name and his very existence behind the screen of an obstinate reserve. - -I have no intention here either of summarizing the life or of passing -judgment on the works of Herman Melville. The former is related in -detail by Professor Raymond Weaver, whose large biography is of so -recent date that any shorter presentment of the facts must merely be a -précis of the information therein contained. The respective merits of -the outstanding books are already (and will remain for long enough) the -sport of literary publicists, to whose views and counter-views I refer -the curious. One feature, nevertheless, of contemporary opinion -challenges to protest my amateur temerity. Apart from _Moby Dick_, the -neo-Melvillian has little beyond patronizing approval for the books of -his hero; _Typee_ (1846) and _Omoo_ (1847) are interesting records of -travel, remarkable mainly for the early date of their appearance and as -forerunners of the South Sea School in letters and in painting. _Mardi_ -(1849), _Redburn_ (1849), and _White Jacket_ (1850) claim respect as -autobiography and for passages that reveal their author's genius -struggling toward a more complete expression. These are the rising steps -to the crowning summit of Melville's work. There, unique and peerless, -stands _Moby Dick_; beyond it the terraces fall away again, and even -more steeply than they rose. - -Is this opinion a just one? I am a little uncertain. With no desire to -denigrate _Moby Dick_ or to deny it the first place in _importance_ -among Melville's books, I would venture that his genius is more -perfectly and skilfully revealed in a volume of stories belonging to the -so-called decadence. _The Piazza Tales_ are liable to be dismissed by -the critic of to-day with kindly condescension as “the best of the later -work,” a judgment as misleading as it is easily explained. In some -degree the worship of _Moby Dick_ and the comparative neglect of the -other work are inevitable corollaries to the Melville boom at its -present stage. During the first period of any new æsthetic wonder, the -peculiar transcends the normal in the imagination of disciples. Let the -case of Melville be paralleled with that of Tintoretto's pupil, Greco. -When first set in the revival of interest in this painter's work, he was -most admired when most bizarre. He won favour for the contrast he -presented to his immediate forerunners and his contemporaries. The name -of Greco stood for certain mannerisms in colour and composition, and, -the more a Greco picture revealed those mannerisms, the better a Greco -it was judged to be. Already, from the hand of time, this formula of -appreciation is suffering adjustment, but Melville is to-day precisely -at the point where yesterday Greco stood. Like the master of Toledo, he -has peculiar and noticeable tricks of matter and of style. Because _Moby -Dick_ is of these tricks more redolent than the author's other books, it -tickles the palate of contemporary enthusiasm more thoroughly than do -they. - -Such preference is by its very nature tenacious. _Moby Dick_, for all -that it is unmistakably Melville, is far from flawless. What if Melville -recognized its weaknesses? What if he deplored those very -characteristics that are to-day lauded as his priceless individuality -and chief claim to fame? With all its vastness and its wonder, the epic -story of Ahab and the great white whale displays the faults of its -author as strikingly as it reveals his talents. In years to come, when -the glamour of oddity has paled a little, it will be admitted that the -book labours under a sad weight of intolerable prolixity. Nor is this -prolixity implicit in the greatness of Melville's writing. This is -proved by the two chief stories in _The Piazza Tales_. _Benito Cereno_ -and _The Encatadas_ hold in the small compass of their beauty the -essence of their author's supreme artistry. They are profound and lovely -and tenderly robust, but they are never tedious and never wilful. Surely -it were generous to admit that Melville sought to improve on _Moby Dick_ -and that, in the matter of technical control, he succeeded? These two -stories cannot as literary achievement compare with their vast and -teeming predecessor. That is natural. But they may not be ignored as the -last glimmer of a dying lamp. They mark the highest technical level of -their author's work, and, had not within a year or two of their -appearance the darkness of self-distrust descended on him, might well -have proved a revelation of something yet to come from the brain of -Herman Melville, something destined—but for the treacherous inhibition -of human frailty—to excel in power everything to which that brain had -previously given birth. - - - _BIOGRAPHY_ - - HERMAN MELVILLE, MARINER AND MYSTIC. By RAYMOND M. WEAVER. New York. - Doran. 1921. London: Humphrey Milford. 1922. - - This long and careful book is based on the papers and information of - the Melville family and represents the sum of present-day knowledge - of Melville's life and ideas. - - - _NOTE_ - -Collectors should observe the fact that it was the custom of American -publishers in the fifties and sixties to bind one edition in cloths of -various colours for the purposes of window display. Consequently -Melville's first American editions are met with in a variety of -colourings which, in the matter of date of issue, rank equally. - - - I.—EDITIONES PRINCIPES - FICTION, POETRY, TRAVEL - - - 1846 - - *TYPEE: A Peep at Polynesian Life during a Four Months Residence in A - Valley of the Marquesas with notices of the French Occupation of - Tahiti and the Provisional Cession of the Sandwich Islands to Lord - Paulet. By HERMAN MELVILLE. Part One. (Part Two.) New York. Wiley - and Putnam, London: John Murray, Albemarle Street. 1846. 2 vols. Sm. - Cr. 8vo (5 × 7¼). - - Vol. I. pp.[5] Vol. II. pp.[5] - -Footnote 5: - - That the pagination of these volumes must be omitted is a - misfortune that was unpreventable. A detailed description of the - books was sent me from America, but the slip on which the actual - pagination was set out did not arrive. - - The half-titles to both volumes read: Wiley and Putnam's Library of - American Books: Typee: A Peep at Polynesian Life. On the verso of - half-title to Vol. I. is a list of books of travel; on that to Vol. - II. the titles in the Library of American Books. Vol. I. contains a - map. Dark green cloth, gilt. Fawn end-papers. - - - 1846 - - NARRATIVE OF A FOUR MONTHS RESIDENCE AMONG THE NATIVES OF A VALLEY OF - THE MARQUESAS ISLANDS: Or A PEEP AT POLYNESIAN LIFE. By HERMAN - MELVILLE. London: John Murray, Albemarle Street, 1846. 1 vol. Sm. - Cr. 8vo (4¾ × 7). Pp. xvi + (ii) + 285 + (1). Publisher's - advertisements, 16 pp., dated March, 1846, bound in at end. A sketch - map of the Marquesas Islands on page (xviii) faces page (1). Red - cloth, gilt, blocked in blind. White end-papers. - - NOTE—A volume in Murray's “Colonial and Home Library” (No. - 15). Subsequently named _Typee_. The lettering on the spine - reads: Colonial and Home Library Vol XV Melvilles Marquesas - Islands Murray. - - - 1847 - - *TYPEE: A Peep at Polynesian Life during a Four Months Residence in A - Valley of the Marquesas. Revised Edition with a Sequel. By HERMAN - MELVILLE. New York: Wiley and Putnam. London: John Murray, Albemarle - Street. 1847. 1 vol. Sm. Cr. 8vo (5 × 7¼). Pp[6]. Of this book pp. - 291-307 are occupied by the sequel to _Typee_ entitled _The Story of - Toby_, and not previously published. Map faces title-page. - -Footnote 6: - - See footnote to previous page. - - - 1847 - - TYPEE: Or A NARRATIVE OF A FOUR MONTHS RESIDENCE AMONG THE NATIVES OF - A VALLEY OF THE MARQUESAS ISLANDS: Or A PEEP AT POLYNESIAN LIFE. By - HERMAN MELVILLE. London: John Murray, Albemarle Street. 1847. 1 vol. - Sm. Cr. 8vo (4¾ × 7). Pp. xvi + 301 + (1). Pp. 287-301 are occupied - by _The Story of Toby_, a sequel to _Typee_ not previously - published. Publisher's advertisement precedes half-title proper, - occupying reverse of a series half-title of “The Home and Colonial - (_sic_) Library,” these two pages being inset on other than text - paper. Publisher's catalogue, Fcap. 8vo, 16 pp., dated March, 1847, - bound in at end. Red cloth, gilt, uniform with preceding item. - Yellow end-papers. - - NOTE—The lettering on the spine is identical with that of - the 1846 issue. - - - 1847 - - OMOO: A Narrative of Adventures in the South Seas. By HERMAN MELVILLE, - author of _Typee_. New York: Harper and Brothers, Publishers. - London: John Murray. 1847. 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (408). The - pagination of this volume is very confusing. Pp. (1)-(16) are paged - xv + (i). Pp. 17-389 are so paged, p. (390) is unpaged, pp. - (391)-(399) are paged (xv) to xxiii, p. (400) is unpaged, and pp. - (401)-(408) are paged (1) to 8. Title-page printed in red and black, - half-title in red. Line-engraved map printed separately facing - title. Blue cloth, blocked in gold and blind. White end-papers. - - NOTE—As an example of the varieties to be met with among - American publications of this date, I append a collation of - this same book, made by a friend from a copy seen in the - United States. The variation of binding and end-papers is - unimportant (see note on p. 220). - - - 1847 - - *OMOO: A Narrative of Adventures in the South Seas. By HERMAN - MELVILLE, author of _Typee_. New York: Harper and Brothers, - Publishers. London: John Murray, 1847. 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. - 398, of which (1)-(9) are unpaged, (10)-(17) are paged in roman - numerals, 18-389 in arabic numerals, while pp. (390)-(398) are - occupied by publishers' advertisements. Publishers' catalogue, 16 - pp., bound in at end. Title-page printed in red and black, - half-title in red. Line-engraved map facing title-page. Brown cloth, - blocked in gold. Marbled end-papers. - - - 1847 - - OMOO: A Narrative of Adventures in the South Seas, being a sequel to - the _Residence in the Marquesas Islands_. By HERMAN MELVILLE, author - of _Typee_. London: John Murray, Albemarle Street. 1847. 1 vol. Sm. - Cr. 8vo (4¾ × 7). Pp. xiii + (i) + 321 +(1). Line-engraved map - printed on text paper facing title-page. Red cloth, gilt, uniform - with preceding item. Pale yellow end-papers. - - NOTES—(i) The lettering on the spine reads: Adventures in - the South Seas Murray. - - (ii) A volume in Murray's “Colonial and Home Library” (No. - 22). The Preface is dated New York, January 28, 1847. - - (iii) Contemporary announcements of Murray's “Colonial and - Home Library” speak of an issue of this book in _two parts_, - “_sewed_,” and numbered respectively 43 and 44 of the - series. I have never seen such wrappered issues, but, to - judge by their numbering in the Library, they postdate the - edition above described. - - - 1849 - - MARDI AND A VOYAGE THITHER. By HERMAN MELVILLE, author of _Typee_ and - _Omoo_. London: Richard Bentley, New Burlington Street. 1849. 3 - vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. x + 336 + (2). - - Vol. II. pp. x + 335 + (3). - - Vol. III. pp. viii + 348. - - Titles printed in two colours. Pale apple-green cloth, gilt, blocked - in blind. Blue and white decorated end-papers, printed with - publisher's advertisements. - - NOTE—This book was published on March 16, 1849. The English - edition predates the American one. 1,000 copies were - printed. - - - 1849 - - MARDI: AND A VOYAGE THITHER. By HERMAN MELVILLE. New York: Harper and - Bros. Publishers, 82 Cliff Street. 1849. 2 vols. Ex. Cr. 8vo (4⅞ × - 7⅜). - - Vol. 1. pp. (376). The paging is very irregular. Pp. (1) to (6) are - blank and unpaged; p. (7) is title-page; p. (8) bears note of the - book's official registration; p. (9) bears dedication; p. (10) is - blank; p. (11) bears preface dated New York, January, 1849; p. (12) - is blank; p. (13) is half-title; p. (14) is blank; pp. (15) to (18) - are occupied by List of Contents paged (ix) to xii; pp. (19) to - (371) are paged (13) to 365; pp. (372) to (376) are blank and - unpaged. Pp. (1) (2) and (375) (376) are pasted down to front and - back inside end-papers. - - Vol. II. pp. (408), of which pp. (1)-(6) are blank and unpaged; p. - (7) is title-page; p. (8) bears note of the book's official - registration; p. (9) is half-title; p. (10) is blank; pp. (11)-(14) - are occupied by List of Contents paged (ix) to xii; pp. (15) to - (393) are paged (9) to 387; p. (394) is blank and unpaged; pp. - (395)-(402) are occupied by publishers' advertisements paged (1) to - 8; pp. (403)-(408) are blank and unpaged. Pp. (1) (2) and (407) - (408) are pasted down to front and back inside end-papers. - - It should be noted that in each volume the printed half-title - follows the title-page. - - Dark green cloth, blocked in gold and blind. Yellow end-papers. - - - 1849 - - REDBURN: HIS FIRST VOYAGE. Being the Sailor boy confessions and - reminiscences of the son of a gentleman in the Merchant Service. By - HERMAN MELVILLE. Author of _Typee_, _Mardi_ etc. London: Richard - Bentley, New Burlington Street, 1849. 2 vols. Ex. Cr. 8vo (4⅞ × 7¾). - - Vol. I. pp. viii + 316. No half-title. - - Vol II. pp. viii + 314. - - Dark blue cloth, gilt, blocked in blind, white end-papers patterned - in blue and printed with publisher's advertisements. - - NOTES—(i) This book was published on September 29, 1849. The - English edition predates the American one. 750 copies were - printed. - - (ii) I have seen a copy of this edition bearing on the case - the name of T. C. Newby as publisher, but with the Bentley - title-page. This was probably a “remainder” copy, for Newby - frequently bought sheets of books that had not sold when - originally published, and issued them at a cheaper price - wholly or partially over his imprint. - - - 1849 - - REDBURN: HIS FIRST VOYAGE. Being the sailor boy confessions and - reminiscences of the son of a gentleman in the Merchant Service. By - HERMAN MELVILLE, Author of _Typee_, _Mardi_. New York: Harper and - Bros., Publishers, 82 Cliff Street. 1849. 1 vol. Cr. 8vo (4⅞ × 7½). - Pp. (420). The numbering of pages is very erratic. Pp. (1)-(6) are - blank and unpaged; p. (7) is title-page; p. (8) bears note of the - book's official registration; p. (9) bears dedication; p. (10) is - blank; pp. (11)-(17) are occupied by List of Contents paged (v)-xi; - p. (12) is blank; pp. (13) to 390 are so paged; pp. (391)-(394) are - unpaged and occupied by advertisements of other works by Melville; - pp. (395)-(406) form a publishers' list, dated October, 1849, and - paged (1) to 14; pp. (407) and (408) are occupied by publishers' - advertisements, undated, but paged (1) and 2; pp. (409)-(412) are - blank; pp. (413) and (414) are pasted down to inside back end-paper. - No printed half-title. Purple-brown cloth, gilt, blocked in blind. - Yellow end-papers. - - NOTE—Copies of the first edition are found with fewer - advertisement pages at the end. These may well, in view of - the irregular nature of American bookmaking at that period, - be contemporary in issue with those more extensively - furnished, but the collector will naturally prefer a copy as - complete as possible. - - - 1850 - - WHITE JACKET: Or THE WORLD IN A MAN OF WAR. By HERMAN MELVILLE. - London: Richard Bentley, New Burlington Street, 1850. 2 vols. Ex. - Cr. 8vo (4¾ × 7¾). - - Vol. I. pp. vi + 322. - - Vol. II. pp. iv + 315 + (1). - - No half-titles. Pale blue cloth, gilt, blocked in blind. Yellow - end-papers, printed with publisher's advertisements. - - NOTES—(i) This book was published on January 23, 1850. The - English edition predates the American one. 1,000 copies were - printed. - - (ii) Vol. I. pp. iii and iv contain a preface dated October, - 1849, and different in content from the note on p. iv of the - American edition, dated March, 1850. - - - 1850 - - WHITE JACKET: Or THE WORLD IN A MAN OF WAR. By HERMAN MELVILLE. Author - of _Typee_, _Omoo_, _Mardi_ and _Redburn_. New York: Harper and - Bros., Publishers, 82 Cliff Street. London: Richard Bentley. 1850. 1 - vol. Cr. 8vo (4⅞ × 7½). Pp. (484). Here again the paging is - irregular. Of the preliminary matter pp. (1)-(6) are blank; p. (7) - is title-page; p. (8) bears note of the book's official - registration; p. (9) bears quotation from Fuller's _Good - Sea-Captain_; p. (10) bears author's note, dated New York, March, - 1850; pp. (11)-(13) are occupied by List of Contents and are paged - in roman numerals, (v) to vii; p. (14) is blank; pp. (15) to (471) - are paged (9) to 465; p. (472) is blank; pp. (473)-(476) are unpaged - and occupied by advertisements of other works by Melville; pp. (477) - (478) are also unpaged and occupied by publishers' advertisements; - pp. (479)-(484) are blank and unpaged. No printed half-title. Dark - brown or blue-grey cloth, gilt, blocked in blind. Yellow end-papers. - - NOTE—The varieties of binding are of simultaneous date. - - - 1851 - - THE WHALE. By HERMAN MELVILLE, author of _Typee_, _Omoo_, _Redburn_, - _Mardi_, _White Jacket_. (Quotation from _Paradise Lost_.) London: - Richard Bentley, New Burlington Street. 1851. 3 vols. Ex. Cr. 8vo - (4¾ × 7¾). - - Vol. I. pp. viii + 312. - - Vol. II. pp. iv + 303 + (1). - - Vol. III. pp. iv + 328. - - Quarter cream cloth blocked in gold; bright blue embossed cloth - sides, blocked in blind. Pale yellow end-papers. - - NOTES—(i) This book was published on October 18, 1851. The - English edition predates the American one. 500 copies were - printed. - - (ii) Vol. I. only has half-title, on which the story is - described as _The Whale or Moby Dick_. - - - 1851 - - MOBY DICK: Or THE WHALE. By HERMAN MELVILLE, Author of _Typee_, - _Omoo_, _Redburn_, _Mardi_, _White-Jacket_. New York: Harper and - Bros. Publishers. London: Richard Bentley. 1851. 1 vol. Cr. 8vo (4⅞ - × 7⅜). Pp. (xxx) [paged as xxiii + (i)] + 634 + (12). Epilogue - occupies p. (635). Publishers' advertisements, 6 pp., occupy pp. - (637)-(642). Pp. (i) (ii) and (647) (648) are pasted down to front - and back inside end-papers. No printed half-title. Slate-blue or - scarlet cloth, gilt. Orange end-papers. - - NOTES—(i) The varieties of binding are of simultaneous date. - - (ii) This book was expurgated for publication in England, - the American text containing thirty-five passages not - included in Bentley's edition (see previous item). - - - 1852 - - PIERRE: Or THE AMBIGUITIES. By HERMAN MELVILLE. New York: Harper and - Bros., Publishers, 329 and 331 Pearl Street, Franklin Square. 1852. - 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (xii) [paged as viii] + 495 + (6). Pp. - (i) (ii) and (501) (502) are pasted down to front and back inside - end-papers. No printed half-title. Dark grey cloth, gilt, blocked in - blind. Dark grey end-papers. - - - 1852 - - PIERRE: Or THE AMBIGUITIES. By HERMAN MELVILLE. London: Sampson Low - Son and Co., 47 Ludgate Hill. 1852. 1 vol. Cr. 8vo (5 × 7½). Pp. - viii + 495 + (i). No half-title. Blue embossed cloth, gilt, blocked - in blind. Pale yellow end-papers. - - NOTES—(i) This book was published in November, 1852. - - (ii) This English edition consists of American printed - sheets with cancel title. It is as scarce as, if not scarcer - than, the American edition, the bulk of which was destroyed - by fire. - - - 1855 - - ISRAEL POTTER: HIS FIFTY YEARS OF EXILE. By HERMAN MELVILLE. Author of - _Typee_, _Omoo_ etc. New York: G. P. Putnam and Co., 10 Park Place. - 1855. 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (280) [paged as (2) + 276 + - (2)]. No printed half-title. Purple-brown cloth, gilt, blocked in - blind. Yellow end-papers. - - NOTE—On the case, this book is entitled “Fifty Years Exile.” - A pirated edition, under the title _The Refugee_, was - published in Philadelphia in [1865]. - - - 1855 - - ISRAEL POTTER: HIS FIFTY YEARS OF EXILE. By HERMAN MELVILLE, author of - _Typee_, _Omoo_ etc. London: G. Routledge and Co., Farringdon - Street. 1855. 1 vol. Fcap. 8vo (4 × 6½). Pp. 174. Bright yellow - paper wrappers printed in black. The outside back wrapper is - occupied by publishers' advertisements. Also issued simultaneously - in cloth. - - NOTE—This book was published in April, 1855. - - - 1856 - - THE PIAZZA TALES. By HERMAN MELVILLE, author of _Typee_, _Omoo_, etc. - etc. New York: Dix and Edwards, 321 Broadway. London: Sampson Low, - Son and Co. 1856. 1 vol. Cr. 8vo (4¾ × 7⅛). Pp. (vi) + 431 + (11). - No printed half-title. Publishers' advertisements, unpaged and - undated, occupy pp. (433)-(439). Purple-brown cloth, blocked in gold - and blind. Grey-blue end-papers. - - _Contents_: The Piazza—Bartleby—Benito Cereno—The - Lightning-Rod Man—The Encantadas; or Enchanted Islands—The - Bell-Tower. - - NOTES—(i) This book was published in May or June, 1856. - - (ii) It is doubtful whether copies of this book were ever - actually issued in England, despite the fact that Sampson - Low and Co. advertised the book at 9s. in June, 1856. At the - most, copies may exist with an English cancel title, but - even this is improbable in view of the joint imprint on the - New York edition. It will be noted that when previously Low - imported Melville sheets (_cf._ _Pierre_, 1852) they - inserted their own title-page and bound the book differently - for English issue, but in that case their name was not - printed on the American edition. - - (iii) Copies of the first American edition exist, with pale - yellow end-papers. These are thinner in quality than the - grey-blue ones above mentioned, and not chalk surfaced to - the extent usual with American tinted papers of the period. - Indeed, they have more the appearance of English than of - American end-papers, but it is difficult to believe that - Sampson Low and Co. could have imported sheets and cases - from America, merely carrying out in this country the - process of binding. - - - 1857 - - THE CONFIDENCE MAN: HIS MASQUERADE. By HERMAN MELVILLE, Author of _The - Piazza Tales_, _Omoo_ etc. etc. New York: Dix Edwards and Co., 321 - Broadway. 1857. 1 vol. Cr. 8vo (4⅞ × 7½). Pp. (x) [paged as vi] + - 394 + (4). No printed half-title. Purple-brown cloth, gilt, blocked - in blind. Dark green end-papers. - - - 1857 - - THE CONFIDENCE MAN: HIS MASQUERADE. By HERMAN MELVILLE, author of _The - Piazza Tales_, _Omoo_, _Typee_ etc. etc. Authorized edition. London: - Longman, Brown, Green, Longmans and Roberts. 1857. 1 vol. Fcap. 8vo - (4¼ × 6¾). Pp. vi + 354. No half-title. Publishers' catalogue, 24 - pp., dated September, 1855 [_sic_], bound in at end. Yellow-brown - cloth, gilt, blocked in blind. Brick-red end-papers, partially - printed with publishers' advertisements. - - NOTE—This book was published in April, 1857. - - - 1866 - - BATTLEPIECES AND ASPECTS OF THE WAR. By HERMAN MELVILLE. New York: - Harper and Bros., Publishers, Franklin Square. 1866. 1 vol. Cr. 8vo - (4¾ × 7⅜). Pp. (298), of which pp. (i)-(6) are blank and unpaged; p. - (7) is title-page; p. (8) bears note of the book's official - registration; p. (9) bears dedication; p. (10) is blank; p. (11) - bears Author's Note; p. (12) is blank; pp. (13)-(16) are occupied by - List of Contents paged (vii)-x; pp. (17) to (278) are paged (11) to - 272; pp. (279)-(284) are blank and unpaged. No printed half-title. - Brown or violet cloth, gilt. Chocolate end-papers. - - NOTE—There was no English edition of this book. - - - 1876 - - CLAREL: A Poem and a Pilgrimage in the Holy Land. By HERMAN MELVILLE. - In four parts. I. Jerusalem. II. The Wilderness. III. Mar Saba. IV. - Bethlehem. New York: G. P. Putnam's Sons, No. 182 Fifth Avenue, - 1876. 2 vols. Sq. 16mo (6⅞ × 5⅛). - - Vol. I. pp. (304), of which pp. (8) and (9) are paged ii and iii, - pp. (10) and (11) unpaged, and pp. (12)-(304) are paged 8 to 300. - - Vol. II. pp. (312). In this volume the paging is even more erratic; - pp. (i)-(5) are unnumbered, p. (6) is numbered iv, pp. (7), (8), and - (9) are unnumbered, pp. (10) to (309) are numbered 304 to 571, pp. - (310) to (312) are unnumbered. - - Bright green cloth, gilt. Chocolate end-papers. - - NOTE—This book was published in July, 1876. There was no - English edition. - - - 1888 - - JOHN MARR AND OTHER SAILORS, WITH SOME SEA PIECES. New York: De Vinne - Press. 1888. 1 vol. Fcap. 8vo (4½ × 6¾). Pp. (iv) + 103 + (1). Cream - paper wrappers printed in black. - - NOTE—Only twenty-five copies of this edition were printed. - - - 1891 - - *TIMOLEON etc. New York: Canton Press. 1891. 1 vol. (4½ × 7). Pp. - (72), of which (1)-(5) are unnumbered, (6) is paged in roman - numerals, pp. 7-70 in arabic numerals, and (71) and (72) unnumbered. - Buff paper wrappers, printed in black. - - NOTE—Only twenty-five copies of this edition were printed. - - - II.—BOOKS PARTIALLY WRITTEN - BY HERMAN MELVILLE - -There are only two items that it is possible to list under this heading, -and to each one of them Melville's contribution is so slight as to make -unnecessary their detailed collation. P. 30 of the _Memorial to James -Fenimore Cooper_, published in one volume by Putnam, New York, in 1852, -bears a letter from Melville in praise of Cooper addressed to the -Committee organizing the Cooper celebration. Pp. 399 and 400 of _The -History of Pittsfield, Massachusetts from 1800 to 1876_, by J. E. A. -Smith, and published in Springfield by C. W. Bryan and Co., 1876, bear -an account of Major Thomas Melville written by Herman Melville, but not -nominally attributed to him. - - - - - INDEX OF BOOK-TITLES - - - AFTER DARK (Collins), 130, 139 - - AMERICAN SENATOR, The (Trollope), 33, 64 - - ANGELO (Reade), _Play_, 170 - - ANTONINA (Collins), 136 - - ARAB'S RIDE TO CAIRO, The (Whyte-Melville), 191 - - ARMADALE (Collins), _Novel_, 131, 142 - - ARMADALE (Collins), _Play_, 152 - - ART (Reade), _Play_, 178 - - AUSTRALIA AND NEW ZEALAND (Trollope), 60 - - AUTOBIOGRAPHY, An (Trollope), 71 - - AYALA'S ANGEL (Trollope), 33, 68 - - - BARCHESTER TOWERS (Trollope), 22, 39 - - BASIL (Collins), 134, 138 - - BATTLEPIECES AND ASPECTS OF THE WAR (Herman Melville), 232 - - BELTON ESTATE, The (Trollope), 31, 33, 49 - - BERTRAMS, The (Trollope), 28, 29, 40 - - BESSIE'S TROUBLES AT HOME (Gaskell), 207, 210 - - BIBLE CHARACTERS (Reade), 169 - - BLACK AND WHITE (Collins), _Play_, 153 - - BLACK BUT COMELY (Whyte-Melville), 187, 199 - - BLACK ROBE, The (Collins), 132, 133, 148 - - BLIND LOVE (Collins), 132, 151 - - BONES AND I (Whyte-Melville), 195 - - BONES AT ROTHWELL, The (Whyte-Melville), 200 - - BOX TUNNEL, The (Reade), 162 - - BRITISH SPORTS AND PASTIMES (Trollope), 72 - - BROOKES OF BRIDLEMERE, The (Whyte-Melville), 187, 194 - - - CAN YOU FORGIVE HER? (Trollope), 23, 24, 28, 29, 45 - - CASTLE RICHMOND (Trollope), 26, 28, 41 - - CERISE (Whyte-Melville), 187, 194 - - CHILDREN OF THE NEW FOREST, The (Marryat), 80, 95 - - CHRISTIE JOHNSTONE (Reade), _Novel_, 160 - - CHRISTIE JOHNSTONE (Reade), _Play_, 178 - - CHRISTMAS STORMS AND SUNSHINE (Gaskell), 204, 206, 210 - - CLAREL (Herman Melville), 232 - - CLAVERINGS, The (Trollope), 28, 31, 32, 52 - - CLERGYMEN OF THE CHURCH OF ENGLAND (Trollope), 49 - - CLOISTER AND THE HEARTH, The (Reade), 163 - - CODE OF SIGNALS FOR THE USE OF VESSELS EMPLOYED IN THE MERCHANT - SERVICE, A (Marryat), 82 - - COMMENTARIES OF CÆSAR, The (Trollope), 57 - - CONFIDENCE MAN, The (Herman Melville), 231, 232 - - CONINGSBY (Disraeli), 110, 111, 119 - - CONSIDERATIONS ON THE COPYRIGHT QUESTION (Collins), 147 - - CONTARINI FLEMING (Disraeli), 107, 108, 109, 115 - - CONTRABAND (Whyte-Melville), 187, 196 - - COUNTESS AND THE DANCER, The (Reade), _Play_, 177 - - COURIER OF LYONS, The (Reade), _Play_, 171 - - COURSE OF TRUE LOVE NEVER DID RUN SMOOTH, The (Reade), 161 - - COUSIN HENRY (Trollope), 33, 66 - - COUSIN PHILLIS (Gaskell), 210 - - CRANFORD (Gaskell), 206 - - CREAM (Reade), 162 - - CRISIS EXAMINED, The (Disraeli), 117 - - - DANGEROUS PATH, The (Reade), _Play_, 178 - - DARK NIGHT'S WORK (Gaskell), 209 - - DEAD SECRET, The (Collins), 130, 139 - - DIARY IN AMERICA, A (Marryat). Part 1, 89; part 2, 90 - - DIARY OF A BLASÉ, The (Marryat), 88 - - DID HE STEAL IT? (Trollope), _Play_, 55 - - DIGBY GRAND (Whyte-Melville), 186, 189 - - DOCTOR THORNE (Trollope), 22, 40 - - DOCTOR WORTLE'S SCHOOL (Trollope), 33, 67 - - DORA (Reade), _Play_, 173 - - DOUBLE MARRIAGE, The (Reade), _Play_, 174 - - DREAM WOMAN, The (Collins), _Play_, 154 - - DRINK (Reade), _Play_, 179 - - DUKE'S CHILDREN, The (Trollope), 23, 25, 26, 67 - - - EDITOR'S TALES, An (Trollope), 56 - - EIGHTH COMMANDMENT, The (Reade), 162 - - ENDYMION (Disraeli), 107, 108, 122 - - ENGLAND AND FRANCE (Disraeli), 115 - - ENQUIRY INTO THE PLANS, PROGRESS AND POLICY OF AMERICAN MINING - COMPANIES, An (Disraeli), 113 - - EUSTACE DIAMONDS, The (Trollope), 23, 24, 60 - - EVIL GENIUS, The (Collins), 132, 149 - - EYE FOR AN EYE, An (Trollope), 33, 34, 65 - - - FALLEN LEAVES, The (Collins), 132, 133, 147 - - FIRST PRINTER, The (Reade), _Play_, 178 - - FIXED PERIOD, The (Trollope), 34, 70 - - FLORAL TELEGRAPH, The (Marryat), 98 - - FOUL PLAY (Reade), _Novel_, 164 - - FOUL PLAY (Reade), _Play_, 176 - - FRAMLEY PARSONAGE (Trollope), 22, 41 - - FREE LABOUR (Reade), _Play_, 178 - - FROZEN DEEP, The (Collins), _Story_, 144 - - FROZEN DEEP, The (Collins), _Play_, 153 - - - GARIBALDI AT CAPRERA (Gaskell), 213 - - GENERAL BOUNCE (Whyte-Melville), 186, 187, 190 - - GLADIATORS, The (Whyte-Melville), 187, 193 - - GOLD (Reade), _Play_, 170 - - GOLDEN CROWNS (Reade), 166 - - GOLDEN LION OF GRANPERE, The (Trollope), 34, 59 - - GOOD FIGHT, A (Reade), 169 - - GOOD FOR NOTHING (Whyte-Melville), 187, 192 - - GOOD STORIES OF MAN AND OTHER ANIMALS (Reade), 167 - - GREY WOMAN, The (Gaskell), 209, 210 - - GRIFFITH GAUNT (Reade), _Novel_, 163 - - GUILTY RIVER, The (Collins), 149 - - - HAND AND HEART (Gaskell), 207, 210 - - HARD CASH (Reade), 163 - - HARRY HEATHCOTE OF GANGOIL (Trollope), 34, 61 - - HAUNTED HOTEL, The (Collins), 132, 133, 146 - - HEART AND SCIENCE (Collins), 132, 133, 148 - - HE KNEW HE WAS RIGHT (Trollope), 31, 32, 54 - - HENRIETTA TEMPLE (Disraeli), 110, 118 - - HERO AND A MARTYR, A (Reade), 165 - - HIDE AND SEEK (Collins), 130, 134, 138 - - HOLMBY HOUSE (Whyte-Melville), 187, 191 - - HORACE (Whyte-Melville), 189 - - HOW THE 'MASTIFFS' WENT TO ICELAND (Trollope), 65 - - HUNTING SKETCHES (Trollope), 48 - - HYPOCHONDRIAC, The (Reade), _Play_, 173 - - - ILLUSTRATIONS OF THE BURMESE WAR (Marryat), 103 - - INFERNAL MARRIAGE, The (Disraeli), 121 - - INSIDE THE BAR (Whyte-Melville), 193 - - INTERPRETER, The (Whyte-Melville), 191 - - I SAY NO (Collins), 132, 148 - - IS HE POPENJOY? (Trollope), 32, 64 - - ISRAEL POTTER (Herman Melville), 230 - - IT IS NEVER TOO LATE TO MEND (Reade), _Novel_, 160 - - IT'S NEVER TOO LATE TO MEND (Reade), _Play_, 174 - - IXION IN HEAVEN (Disraeli), 121 - - - JACK ASHORE (Howard), 101 - - JACOB FAITHFUL (Marryat), 78, 79, 84, 85 - - JAPHET IN SEARCH OF A FATHER (Marryat), 77, 78, 81, 87 - - JEALOUSY (Reade), _Play_, 179 - - JEZEBEL'S DAUGHTER (Collins), 132, 147 - - JILT, The (Reade), 168 - - JOAN (Reade), _Play_, 179 - - JOHN CALDIGATE (Trollope), 34, 66 - - JOHN MARR AND OTHER SAILORS (Herman Melville), 233 - - JOSEPH RUSHBROOK (Marryat), 78, 93 - - - KATE COVENTRY (Whyte-Melville), 186, 191 - - KATE PEYTON (Reade), _Play_, 174, 177 - - KATERFELTO (Whyte-Melville), 188, 197 - - KELLYS AND THE O'KELLYS, The (Trollope), 26, 37 - - KEPT IN THE DARK (Trollope), 34, 69 - - KING'S OWN, The (Marryat), 78, 83 - - KINGS' RIVAL, The (Reade), _Play_, 172 - - - LADIES' BATTLE, The (Reade), _Play_, 170, 175 - - LADY ANNA (Trollope), 33, 61 - - LADY'S OATH, A (Reade), _Play_, 178 - - LANDLEAGUERS, The (Trollope), 26, 70 - - LAST CHRONICLE OF BARSET, The (Trollope), 22, 29, 50 - - LA VENDÉE (Trollope), 38 - - LAW AND THE LADY, The (Collins), 132, 133, 144 - - LAWYERS AND LEGISLATORS (Disraeli), 113 - - LAZY TOUR OF TWO IDLE APPRENTICES, The (Collins), 151 - - LE FAUBOURG SAINT-GERMAIN (Reade), _Play_, 173 - - LEGACY OF CAIN, The (Collins), 132, 150 - - LETTERS OF RUNNYMEDE, The (Disraeli), 118 - - LIBBIE MARSH'S THREE ERAS (Gaskell), 204, 206, 210 - - LIFE OF CHARLOTTE BRONTË (Gaskell), 207 - - LIFE OF CICERO, The (Trollope), 67 - - LIFE OF PAUL JONES, The (Disraeli), 123 - - LINDA TRESSEL (Trollope), 35, 53 - - LITTLE NOVELS (Collins), 132, 150 - - LITTLE SAVAGE, The (Marryat), 80, 96 - - LIZZIE LEIGH (Gaskell), 205, 206 - - LOIS THE WITCH (Gaskell), 208, 209 - - LORD GEORGE BENTINCK (Disraeli), 120 - - LORD PALMERSTON (Trollope), 69 - - LOST HUSBAND, The (Reade), _Play_, 170 - - LOST SISTERS, The (Reade), _Play_, 178 - - LOTHAIR (Disraeli), 111, 122 - - LOTTA SCHMIDT (Trollope), 53 - - LOVE ME LITTLE LOVE ME LONG (Reade), 162 - - LOVE AND MONEY (Reade), _Play_, 177 - - LUCREZIA BORGIA (Reade), _Play_, 178 - - - MABEL VAUGHAN (Gaskell), 212 - - MACDERMOTTS OF BALLYCLORAN, The (Trollope), 26, 37 - - MAN AND WIFE (Collins), 132, 133, 142 - - MARDI AND A VOYAGE THITHER (Herman Melville), 219, 225 - - MARGUERITE (Reade), _Play_, 178 - - MARINE COAST, The (Howard), 102 - - MARION FAY (Trollope), 33, 69 - - MARKET HARBOROUGH (Whyte-Melville), 185, 188, 192 - - MARY BARTON (Gaskell), 204 - - MASKS AND FACES (Reade), _Play_, 171 - - MASTERMAN READY (Marryat), 80, 81, 92 - - MEMOIRS OF ADMIRAL SIR SIDNEY SMITH (Howard), 101 - - MEMOIRS OF THE LIFE OF WILLIAM COLLINS (Collins), 136 - - MESSAGE FROM THE SEA, A (Collins), _Play_, 152 - - MISS GWILT (Collins), _Play_, 155 - - MISSION, The (Marryat), 80, 94 - - MISS MACKENZIE (Trollope), 28, 29, 47 - - MISS OR MRS.? (Collins), 144 - - MOBY DICK (Herman Melville), 218, 219, 220, 229 - - MOONSTONE, The (Collins), _Novel_, 129, 131, 142 - - MOONSTONE, The (Collins), _Play_, 155 - - MOORLAND COTTAGE, The (Gaskell), 205 - - M. OR N. (Whyte-Melville), 187, 195 - - MR. MIDSHIPMAN EASY (Marryat), 78, 80, 88 - - MR. SCARBOROUGH'S FAMILY (Trollope), 30, 70 - - MR. WRAY'S CASH BOX (Collins), 133, 134, 137 - - MY MISCELLANIES (Collins), 141 - - - NARRATIVE OF A FOUR MONTHS' RESIDENCE AMONG THE NATIVES OF A VALLEY OF - THE MARQUESAS ISLANDS (Herman Melville), 222, 223 - - NARRATIVE OF THE TRAVELS AND ADVENTURES OF MONSIEUR VIOLET IN - CALIFORNIA, etc. (Marryat), 80, 93 - - NAVAL OFFICER, The (Marryat), 78, 79, 83 - - NEVER TOO LATE TO MEND (Hazlewood), _Play_, 175 - - NEW MAGDALEN, The (Collins), _Novel_, 132, 133, 143 - - NEW MAGDALEN, The (Collins), _Play_, 155 - - NEWTON FORSTER (Marryat), 78, 83 - - NINA BALATKA (Trollope), 34, 50 - - NOBS AND SNOBS (Reade), _Play_, 178 - - NO NAME (Collins), _Novel_, 131, 141 - - NO NAME (Collins), _Play_, 152, 154 - - NORTH AMERICA (Trollope), 44 - - NORTH AND SOUTH (Gaskell), 207 - - NO THOROUGHFARE (Collins), _Story_, 151 - - NO THOROUGHFARE (Collins), _Play_, 153 - - - OLD COMMODORE, The (Howard), 100 - - OLD MAN'S LOVE, An (Trollope), 34, 71 - - OLLA PODRIDA (Marryat), 91 - - OMOO (Herman Melville), 219, 224 - - ORLEY FARM (Trollope), 24, 30, 31, 42 - - OUTWARD BOUND (Howard), 101 - - - PACHA OF MANY TALES, The (Marryat), 78, 81, 85 - - PEG WOFFINGTON (Reade), 160 - - PERCIVAL KEENE (Marryat), 78, 79, 93 - - PEREGRINE PICKLE (Reade), _Play_, 170 - - PERILOUS SECRET, A (Reade), 168 - - PERILS OF CERTAIN ENGLISH PRISONERS (Collins), 151 - - PETER SIMPLE (Marryat), 78, 79, 81, 84, 85 - - PHANTOM SHIP, The (Marryat), 80, 89 - - PHINEAS FINN (Trollope), 23, 24, 30, 54 - - PHINEAS REDUX (Trollope), 23, 24, 60 - - PIAZZA TALES, The (Herman Melville), 218, 219, 220, 231 - - PIERRE (Herman Melville), 229, 230 - - PIRATE, AND THE THREE CUTTERS, The (Marryat), 78, 79, 85 - - PLOT IN PRIVATE LIFE, A (Collins), 140 - - POOR JACK (Marryat), 78, 79, 90 - - POOR MISS FINCH (Collins), 134, 143 - - POVERTY AND PRIDE (Reade), _Play_, 172 - - PRESENT STATE OF MEXICO, The (Disraeli), 113 - - PRIME MINISTER, The (Trollope), 23, 25, 62 - - PRIVATEER'S-MAN, The (Marryat), 78, 79, 95 - - PUT YOURSELF IN HIS PLACE (Reade), 164 - - - QUEEN OF HEARTS, The (Collins), 130, 140 - - QUEEN'S MARIES, The (Whyte-Melville), 187, 193 - - - RACHEL RAY (Trollope), 28, 29, 44 - - RACHEL THE REAPER (Reade), _Play_, 179 - - RALPH THE HEIR (Trollope), 32, 58 - - RAMBLES BEYOND RAILWAYS (Collins), 137 - - RATTLIN THE REEFER (Marryat/Howard), 99 - - READIANA (Reade), 167 - - REDBURN (Herman Melville), 219, 226, 227 - - REVOLUTIONARY EPICK, The (Disraeli), 117, 121 - - RIDING RECOLLECTIONS (Whyte-Melville), 185, 188, 199 - - RIGHT AT LAST (Gaskell), 208 - - ROGUE'S LIFE, A (Collins), 146 - - ROSINE (Whyte-Melville), 187, 198 - - ROUND THE SOFA (Gaskell), 208 - - ROY'S WIFE (Whyte-Melville), 187, 199 - - RUTH (Gaskell), 205 - - - SARCHEDON (Whyte-Melville), 187, 196 - - SATANELLA (Whyte-Melville), 187, 196 - - SETTLERS IN CANADA, The (Marryat), 80, 94 - - SEXTON'S HERO, The (Gaskell), 204, 206, 210 - - SHILLY SHALLY (Reade), _Play_, 32, 179 - - SHOCKING STORY, A (Collins), 145 - - SICKNESS AND HEALTH OF THE PEOPLE OF BLAEBURN (wrongly attributed to - Gaskell), 212 - - SIMPLETON, A (Reade), 165 - - SINGLE HEART AND DOUBLE FACE (Reade), _Novel_, 167 - - SINGLE HEART AND DOUBLE FACE (Reade), _Play_, 179 - - SIR HARRY HOTSPUR OF HUMBLETHWAITE (Trollope), 34, 58 - - SIR HENRY MORGAN (Howard), 102 - - SISTER LOUISE (Whyte-Melville), 187, 198 - - SMALL HOUSE AT ALLINGTON, The (Trollope), 22, 45 - - SNARLEYOW (Marryat), 80, 88 - - SONGS AND VERSES (Whyte-Melville), 195 - - SOUTH AFRICA (Trollope), 64 - - STAR CHAMBER, The (Disraeli), 123 - - STORIES OF THE SEA (Marryat), 87 - - STORY OF TOBY, The (Herman Melville), 223 - - STRUGGLES OF BROWN, JONES AND ROBINSON, The (Trollope), 34, 57 - - SUGGESTION FOR THE ABOLITION OF THE PRESENT SYSTEM OF IMPRESSMENT IN - THE NAVAL SERVICE (Marryat), 82 - - SYBIL (Disraeli), 110, 111, 120 - - SYLVIA'S LOVERS (Gaskell), 209 - - - TALES OF ALL COUNTRIES (Trollope). First series, 41; second series, 44 - - TANCRED (Disraeli), 110, 111, 120 - - TERRIBLE TEMPTATION, A (Reade), 165 - - THACKERAY (Trollope), 65 - - THOMPSON HALL (Trollope), 68 - - THREE CLERKS, The (Trollope), 24, 30, 39 - - TILBURY NOGO (Whyte-Melville), 186, 189 - - TIMOLEON (Herman Melville), 233 - - TRADE MALICE (Reade), 166 - - TRAGEDY OF COUNT ALARCOS, The (Disraeli), 119, 121 - - TRAVELLING SKETCHES (Trollope), 49 - - TRUE CROSS, The (Whyte-Melville), 197 - - TWO DESTINIES, The (Collins), 131, 144 - - TWO LECTURES ON LANCASHIRE DIALECT (Gaskell), 206 - - TWO LOVES AND A LIFE (Reade), _Play_, 172 - - TYPEE (Herman Melville), 218, 219, 222, 223 - - - UNCLE JOHN (Whyte-Melville), 187, 197 - - - VALERIE (Marryat), 78, 96 - - VENETIA (Disraeli), 110, 119 - - VICAR OF BULLHAMPTON, The (Trollope), 35, 55 - - VILLAGE TALE, The (Reade), _Play_, 178 - - VINDICATION OF THE ENGLISH CONSTITUTION IN A LETTER TO A NOBLE AND - LEARNED LORD (Disraeli), 117 - - VISITS TO REMARKABLE PLACES (Howitt Gaskell), 212 - - VIVIAN GREY (Disraeli), 107, 108, 110, 114 - - VOYAGE OF CAPTAIN POPANILLA, The (Disraeli), 108, 109, 110, 114, 121 - - - WANDERING HEIR, The (Reade), _Story_, 166 - - WANDERING HEIR (Reade), _Play_, 179 - - WARDEN, The (Trollope), 22, 38 - - WAY THINGS TURN, The (Reade), _Play_, 178 - - WAY WE LIVE NOW, The (Trollope), 29, 33, 34, 62 - - WELCOME, A (Trollope), 72 - - WELL BORN WORKMAN, The (Reade), 176 - - WEST INDIES AND THE SPANISH MAIN, The (Trollope), 40 - - WHALE, The (Herman Melville), 228, 229 - - WHAT IS HE? (Disraeli), 116 - - WHITE JACKET (Herman Melville), 219, 227, 228 - - WHITE LIES (Reade), 161 - - WHITE ROSE, The (Whyte-Melville), 187, 194 - - WHY FRAU FROHMANN RAISED HER PRICES (Trollope), 68 - - WIVES AND DAUGHTERS (Gaskell), 211 - - WOMAN HATER, A (Reade), 166 - - WOMAN IN WHITE, The (Collins), _Novel_, 129, 131, 132, 140 - - WOMAN IN WHITE, The (Collins), _Play_, 154 - - WONDROUS TALE OF ALROY, The (Disraeli), 108, 116 - - WORKS OF ISAAC DISRAELI, Ed. B. Disraeli, 124 - - - YOUNG DUKE, The (Disraeli), 109, 114 - - PRINTED IN GREAT BRITAIN BY BILLING AND SONS, LIMITED, GUILDFORD AND - ESHER. - - - - - TRANSCRIBER'S NOTES - - - 1. Made corrections indicated in Errata and Addendum. - 2. Silently corrected typographical errors. - 3. Retained anachronistic and non-standard spellings as printed. - 4. Enclosed italics font in _underscores_. - 5. 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margin: .75em auto; - } - </style> - </head> - <body> - - -<pre> - -Project Gutenberg's Excursions in Victorian Bibliography, by Michael Sadleir - -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: Excursions in Victorian Bibliography - -Author: Michael Sadleir - -Release Date: September 22, 2016 [EBook #53118] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK VICTORIAN BIBLIOGRAPHY *** - - - - -Produced by Richard Tonsing, MWS, Adrian Mastronardi and -the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/American -Libraries.) - - - - - - -</pre> - - -<div class='tnotes covernote'> - -<p class='c000'><strong>Transcriber's Note:</strong></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='ph1'> - -<div class='lg-container-l c001'> - <div class='linegroup'> - <div class='group'> - <div class='line'>EXCURSIONS IN</div> - <div class='line'>VICTORIAN BIBLIOGRAPHY</div> - </div> - </div> -</div> - -</div> - -<p class='c002'>“If it is true that the Victorian time was ugly -and vulgar, the excitement of those years -between 1848 and 1890 was something like -that of a religious revival.”</p> - -<div class='lg-container-r c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><cite>The Early Life of Mark Rutherford.</cite></div> - </div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>ANTHONY TROLLOPE</div> - <div>BENJAMIN DISRAELI</div> - <div>FREDERICK MARRYAT</div> - <div>WILKIE COLLINS</div> - <div>CHARLES READE</div> - <div>G. J. WHYTE MELVILLE</div> - <div>MRS. GASKELL</div> - <div>AND</div> - <div>HERMAN MELVILLE</div> - </div> -</div> - -<div> - <h1 class='c004'>EXCURSIONS IN VICTORIAN BIBLIOGRAPHY</h1> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div><span class='xlarge'>BY</span></div> - <div><span class='xlarge'>MICHAEL SADLEIR</span></div> - <div class='c005'>LONDON</div> - <div><span class='xlarge'>CHAUNDY & COX</span></div> - <div>40 MADDOX STREET</div> - <div>MCMXXII</div> - </div> -</div> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div><span class='large'>TO MY</span></div> - <div>FATHER</div> - </div> -</div> - -<div class='chapter'> - <h2 id='ERRATA' class='c006'>ERRATA</h2> -</div> - -<p class='c007'>P. <a href='#first'>24</a> line 33 for “first” read “second.”<br /> -P. <a href='#Finn'>24</a> line 36 for “Finn” read “Redux.”<br /> -P. <a href='#invented'>29</a> line 20 for “invented for” read “'presented' in.”</p> - -<div class='chapter'> - <h2 id='ADDENDUM' class='c006'>ADDENDUM.</h2> -</div> - -<p class='c007'>P. <a href='#Page_72'>72</a>. The following paragraph should precede “1863/ A -WELCOME, etc.”</p> -<div> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div><span class='large'>1861</span></div> - </div> -</div> - -<p class='c008'>THE VICTORIA REGIA: <span class='sc'>A Volume of Original -Contributions in Poetry and Prose</span>. Edited by -Adelaide A. Procter. London: Printed and Published -by Emily Faithfull and Co., Victoria Press -(for the Employment of Women), Great Coram -Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜). -Pp. x + 349 + (1). No half-title. Red-brown embossed -cloth, all edges gilt, blocked in gold and blind. Red -chocolate end-papers.</p> - -<p class='c009'>NOTE.—Pp. <a href='#Page_187'>187</a> to 214 are occupied by a story by Anthony Trollope -entitled <cite>The Journey to Panama</cite>. This is the first appearance in book -form of a tale afterwards published in <cite>Lotta Schmidt and other Stories</cite>.</p> - -</div> - -<div class='chapter'> - <span class='pageno' id='Page_vii'>vii</span> - <h2 class='c006'>CONTENTS</h2> -</div> - -<table class='table0' summary='CONTENTS'> - <tr> - <td class='c010'> </td> - <td class='c011'>PAGE</td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Advertisement</span></td> - <td class='c011'><a href='#Page_1'>1</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>A Note on the Terms used in the Bibliographies which follow, together with Observations relative to Victorian Bookmaking and Recommendations to Collectors</span></td> - <td class='c011'><a href='#Page_10'>10</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Acknowledgments</span></td> - <td class='c011'><a href='#Page_16'>16</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Anthony Trollope</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_21'>21</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Frederick Marryat</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_77'>77</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Benjamin Disraeli</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_107'>107</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Wilkie Collins</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_129'>129</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Charles Reade</span>: Note and Bibliography</td> - <td class='c011'><a href='#Page_159'>159</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>G. J. Whyte-Melville</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_183'>183</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Elizabeth Cleghorn Gaskell</span>: Bibliography</td> - <td class='c011'><a href='#Page_203'>203</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Herman Melville</span>: Essay and Bibliography</td> - <td class='c011'><a href='#Page_217'>217</a></td> - </tr> - <tr><td> </td></tr> - <tr> - <td class='c010'><span class='sc'>Index of Book Titles</span></td> - <td class='c011'><a href='#Page_235'>235</a></td> - </tr> -</table> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div><span class='xxlarge'>EXCURSIONS IN VICTORIAN BIBLIOGRAPHY</span></div> - </div> -</div> - -<div class='chapter'> - <span class='pageno' id='Page_1'>1</span> - <h2 class='c006'>ADVERTISEMENT</h2> -</div> - -<p class='c012'>This book is so essentially an accumulation of notes and -so emphatically wanting in the qualities of completeness -and learning proper to genuine bibliography that I have -sought, even on the title-page, to indicate its limitations. -It were indeed presumption to enter the field of nineteenth-century -bibliography, in which already so much -fine and skilful work has been accomplished, with the -slight technical equipment to which I may lay claim. -On the other hand, the experience of collectors conforms -oddly to type, and where, in the study of certain Victorian -first editions, I have found perplexity and doubt, -others in the same study will likely find them too. -Wherefore my annotations, in this book set in order and -to a certain point rounded off, should help my fellow-students -to a speedier knowledge of points and pitfalls -in the collecting of their favourites than was easily -accessible to myself. In time (maybe in short time) my -work will be superseded by investigation more accomplished, -by analysis more detailed. At such time -collectors (and myself among them) will rightly substitute -for this volume on their shelf of bibliographies the -later, more comprehensive, handbooks that shall have -taken its place. Meanwhile I dare to hope that the -present work, with all its shortcomings, will find appreciative -users, and among them a few who, realizing the -difficulties that even so modest a compilation has been -<span class='pageno' id='Page_2'>2</span>forced to surmount, will forgive its imperfections for the -sake of its attributes.</p> - -<hr class='c013' /> - -<p class='c000'>With the general propriety of book-collecting I am not -here concerned. Men there are to whom all collecting is -folly; others to whom every passion is vile. To the -logical asceticism of their private Utopias they are welcome, -provided the lover be left to enjoy his mistress, -the lepidopterist his butterflies, the bibliophile his books. -Even the more subtle critic, who admits the lure of collecting -but maintains that the craze of the first edition -is senseless hysteria, shall not tempt me to dispute. -This is a book about first editions, and will be read only -by the initiate. If we be hystericals, we have at least -our weakness in common. Let us therefore shut the -door and compare symptoms, for we are all fools -together.</p> - -<p class='c000'>The superior and the sceptical are now excluded from -the privacy of our imaginary club-house. But a further -reservation must be made. Although it were impractical -idealism to demand that the collector transcend in -his collecting every sordid consideration of market and -fluctuating value, it is reasonable to look askance at the -mere speculator. From the scope of this word I exclude, -of course, the whole fraternity of booksellers. -They exist frankly for the marketing of books; and who -shall grudge them the profits of their toil? My animadversion -is against the private person to whom rare -books are mere scrip, to be bought and sold by telephone, -their very titles meaningless, their contents utterly unknown. -No doubt, if this book is of service at all, it -will be of service incidentally to individuals of the kind -described. That it should be so is unpreventable. But -on the general ethics of collecting the compiler may be -allowed the consolation of bearing his trivial testimony. -The private collector who buys what he likes to read -merits such reward as wise buying may earn for him. -He, however, who buys by rote, puts away and resells, -<span class='pageno' id='Page_3'>3</span>is no collector at all, but rather a trespasser on the preserves -of the bookseller, taking advantage of a noble -trade while sharing none of its burdens.</p> - -<p class='c000'>With this dictum I descend from the august to the -particular. Collecting, collecting books, collecting first -editions of books—all these are postulates. At this -point is a parting of the ways. The frontiers of dispute -now lie across our path; for within the bounds of the -realm of first editions are to be found divergent tastes, -conflicting fancies, all the clamour and thrust of an -enthusiasm that grows ever more complex.</p> - -<p class='c000'>The collecting of first editions is, in its present form, -a diversion of recent growth. Fifty years ago amateurs -of books were few in number and, necessarily, rich in -gold, for only the great books of past literature were -regarded as fit material for collection, and great books, -though cheaper then than now, were never to be had for -love. But the passage of time has transformed, in -another way than that of mere numbers, the community -of book-collectors. Not only are there nowadays more -collectors and a greater variety of books collected, but -there has come to its own the great principle of <em>original -condition</em>. This is not so pale a platitude as to many it -will appear. A few book-buyers there have always been -to whom original binding, original end-papers, uncut -edges, incidental advertisements, errata slips, and half-titles -have meant perfection. But they were rare exceptions. -To the large majority a first edition was a book of -a certain date without “Second” or “New Edition” on -its title-page. Buyers of this school were indifferent -to the disfigurement of library labels on side or end-paper; -gave no thought to errata slips; but shaved their -favourites, fore-edge and tail, dressed them in uniform -calf gilt, affixed a bookplate, and went their way.</p> - -<p class='c000'>Such collectors as these are still amongst us, but -they are now awaking to the folly of their past. The -market—that indisputable witness to human taste—gives -hard but practical proof of their wrongdoing. “Good -and original condition” is nowadays three-quarters of a -<span class='pageno' id='Page_4'>4</span>book's value, and the fraction, if it alters at all, will with -the passage of time increase rather than decrease.</p> - -<p class='c000'>Is it too much to hope that the importance of original -condition has now been permanently realized? The -change, if it has really been effected, is in the main a -healthy one. Although—for it is undeniable—the craze -for the fine copy has produced its own extremism; -although there are to-day book-lovers who refuse even to -open the pages of their books lest, by such violation, -they unsuit them for a mart in which, conventionally -enough, virginity is value; although advance prospectuses -and dust jackets of contemporary publications have -scrupulously to be preserved in order that a “set” be -genuinely complete—the desire for a book <em>as issued</em> does -at least argue a consciousness of its individual personality. -Standard authors, be they ancient or modern, -can be purchased in calf by telephone and at so much per -yard; but the obtaining of shelf furniture in original -cloth is a matter of much seeking and of progress -measured in fractions of an inch.</p> - -<p class='c000'>It has seemed well thus to emphasize the importance -of “condition” to the modern book-collector, because -“condition” in the case of such authors as those here -examined is their admirer's greatest problem, and because -the few bibliographies that already exist, while -listing dates of publication and in one case at least -supplying adequate collation of the various volumes, do -not provide any real description of the externals of those -volumes when in original state.</p> - -<p class='c000'>This description I have endeavoured to supply. That -my work contains errors of omission I am certain; that -it be free from errors of commission I may hardly dare -to hope. But the trouble I have had even to arrive thus -far on the way to completeness encourages belief that -some portion of the donkey work may now be regarded -as done for good and all, and that the trained minds of -bibliographers proper may, if they incline, turn their -talent to such refinements of detail as surely underlie -many of the books herein examined.</p> - -<hr class='c013' /> - -<p class='c000'><span class='pageno' id='Page_5'>5</span>To the collecting of first editions of Victorian novelists -I came by the honourable way of literary liking. -Brought up on Jane Austen, Scott, and Dickens, I read, -during my years of flapperdom, Marryat, Trollope, and -Wilkie Collins. Oxford and the audacities of undergraduate -curiosity estranged me from all save the last -quarter of the nineteenth century. While many of my -contemporaries made sour sacrifice at the altars of disillusion, -feeding their pessimism on Gissing and Butler, -their taste for paradox on Bernard Shaw, I sought disreputable -refuge among fleshly symbolists. The children -of Baudelaire and Poe jostled the faint offspring of -Gaelic legend on my shelves, and, while the voluptuous -pallor of tuberoses shone against blue wall-paper, -imagination floated on the dim tide of decadence. Came -reaction as swift and irrational as were inevitable. -From Paris echoed the clash of neo-barbarism, and -before the strident onslaught of the rediscovered primitive -the faint elegance of a pose too exhausted even for -sin dissolved in air. They were great days, those early -days of the new brutality. Blues and mauves gave place -to orange checked with black, to vivid greens, to fierce -outrageous reds. From the scented secrecy of lamplit -boudoirs the young intellectual rushed into the wind and -sunshine, and he who once made tired love to Phryne on -a couch of silk now clipped the milkmaid grossly in a -ditch. The way of other tastes went taste in letters and -in art. After d'Annunzio, Synge; after Verlaine, Verhaeren; -after Pater, Hardy; after Rops and Carrière, -Gauguin and the rest.</p> - -<p class='c000'>For a while all was well. Cubism, a false interpretation -of the synthetic doctrine of Cézanne, began its brief -and rigid reign. Painters and writers fled naturalism in -a search for true reality. Some are still wandering, -drearily absurd, in the desert of their own bleak imaginings. -The rest found reality, truly enough and rapidly -enough—in war.</p> - -<p class='c000'>And now war has passed, leaving a world weary of -fact and fever, weary of striving, weary almost of its own -<span class='pageno' id='Page_6'>6</span>ideals. For long enough yet will persist turbulent discomfort -and the clamour of quacks hawking the millennium; -but at last will be peace, and it is surely a -longing for that peace that has turned men's minds -partly to high romance, but more generally to the manners -and genius of a century ago. Those of an older -generation than my own have, perhaps, never betrayed -their gentle Victorian heritage. One may envy and -applaud their wisdom. But we prodigals, returned from -our rioting and sick with the husks of a <span lang="fr" xml:lang="fr">démodé</span> violence, -stoop to any self-abasement, to any denial of our own -past judgment, so we be allowed entry to the quiet courts -and ordered opulence of the age we once affected to -despise. Literary enthusiasm expresses itself in various -ways. For my part to love an author is to collect him, -for I can read no borrowed books, and only with difficulty -such as are not first editions. Of the absurdity of -this I am cheerfully aware. We have each one of us our -foible, and this is mine. Considered broadly it is harmless -enough, less cruel than killing birds, less degrading -than drink. Naturally, however, it cannot be indulged -to more than limited degree. Shakespeare and Sterne -and Keats and Browning I may own, but in reprint. -And so with many another. But to the extent possible in -fact and a little beyond that permissible in money, I have -contrived, from one phase to another, to keep myself -fairly supplied with “reading firsts.” A decadent, I -collected Verlaine and Mallarmé, Rimbaud and the -Anglo-Irish nineties; a neo-primitive, I bought Synge -and Verhaeren, Conrad and the chief Georgian poets of -the new simplicity. And so matters progressed, while -gradually novels ousted poetry from my shelves, and, -again gradually, from the reading of modern novels I -came once more to Trollope and the writers of his age.</p> - -<hr class='c013' /> - -<p class='c000'>It is not until one undertakes seriously the collecting -of the less-known Victorian novelists that one realizes -how prime the sport that their assembling offers, how -<span class='pageno' id='Page_7'>7</span>destitute of guide-posts is the maze of their work. In -the capacity of quarry few authors or groups of authors -can rival those with whom this volume deals. The -essence of collecting is the chase. The buyer of world-famous -rarities, of which the whereabouts is trumpeted -abroad, knows nothing of the thrill of that dusky provincial -bookshop, among whose tumbled piles Victorians -must surely lurk. The dapper expert in ingenious -moderns with his prefaces, his cancel-titles, his censored -(but disappointing) curiosa, his “works” and -“limiteds,” can set one joy alone against my dozen. He -may, if the gods be kind, on the shelves of bookshops -proper find books that were bought for new, but have not -sold and still remain, lacking an entry to the world of -second-hand, still fresh, still offered at the published -price. But in the main his life is one of “inside information”; -his ally in the trade sells books instead of -making them; it is the principle of the turf in terms of -Whatman paper and grey Michalet boards. To the -collector of Victorians (exception made, of course, of -Dickens's parts, of <cite>Wuthering Heights</cite>, of <cite>Desperate -Remedies</cite>, of other far reputed treasures) belongs neither -the pursuit of “folios” across the world nor the click -of the tape pegging out details of obscure pamphlets. -Copies of three-volume novels by writers of reputation -are hard to find at all, and very hard in anything of condition. -Nevertheless, when found, they are often cheap. -And then, when one is bought, there comes the reading -of it.</p> - -<p class='c000'>And yet at times the collector feels forlorn and without -guidance, for maybe the book he buys is a little -known one, of which the very name is strange. Indeed, -the lack of pointers obtrudes harshly, and in a sense no -less literary than bibliographical. Not only is information -as to actual titles scarce and unreliable, but among the -great number of these writers' books the student must -perforce read his own way to a sense of relative quality. -At the cost of some hours of tedium and of many mistaken -purchases I have arrived at a general knowledge -<span class='pageno' id='Page_8'>8</span>of what these novelists wrote, when they wrote it, and -what it looked like when it first appeared. This knowledge -is herein set out for the possible assistance of all -and sundry.</p> - -<p class='c000'>The relative value as literature or as story-telling of -their many books makes more perilous judgment. I am -no expert in comparative literature. I cannot even claim -to have read all or nearly all the books that are, in the -pages following, materially dissected. I have preferred -therefore to make no pretence to serious literary criticism, -but have contented myself with indicating at the beginning -of each section the general character of the work -of the writer in question, into what groups (if any) his -novels fall, and have called attention here and there to -certain little known or unknown stories that have pleased -me and may, though hardly for that reason, please some -of my contemporaries. Where an author has little -attraction for me, I have said so. Books of all kinds are -listed between these covers, and no single being will -enjoy them all. But this is certain: that among them -the inquirer, be his tastes what they may, will find reading -to soothe him and to stimulate; will come to seek in -the solidity, whether downright, fantastic, or lurid, in -the quiet charm, in the dexterous sincerity of good Victorian -fiction, a satisfaction of spirit produced by the -novels of no other period of English literature.</p> - -<p class='c000'>Those who for years have known and pondered these -Victorian tales will smile contemptuously at such pompous -revelation of a stale secret. To them, in scorn of -self and lest they lose any of that pleasurable pride -allowable to old initiates who watch a novice at his -scourgings, I offer the apology that is my book. Others, -arrogant in knowledge of Dickensiana, in possession of -priceless Borrows, of Jane Austen perfect in her boards, -will turn from this humble chronicle of humble writers -with the bored serenity of a brass hat on his way to conference. -To them I make obeisance, wondering secretly -whether great collections were amassed more joyfully -than my little one. Last of all, however, may come a -<span class='pageno' id='Page_9'>9</span>few, to whom, as to me, Trollope is balm and meat at -once, who love three volumes of a novel for their very -spacing and ornate expansiveness, who find shelves of -cloth or labelled triplets more beautiful than any other -shelves, to whom, in short, the collection and the reading -of Victorian first editions is romance and quiet happiness. -To them my book with all its faults will come -kindly and joyfully, for they will welcome in it the voice -of one who thinks and loves, as they do, the plaint of -one suffering from the same sweet sickness as themselves.</p> - -<div class='chapter'> - <span class='pageno' id='Page_10'>10</span> - <h2 class='c006'>A NOTE ON THE TERMS USED IN THE BIBLIOGRAPHIES WHICH FOLLOW<br /> <br /> <span class='large'>TOGETHER WITH OBSERVATIONS RELATIVE TO VICTORIAN BOOKMAKING, RECOMMENDATIONS TO COLLECTORS, AND AN APPEAL TO THE EXPERIENCE OF OTHER STUDENTS FOR ASSISTANCE AND CORRECTION</span></h2> -</div> - -<p class='c012'>(i) I am aware that bibliographers proper designate by -means of upright strokes the alignment of wording on -the title-pages of books subject to their analysis. This -mannerism I have eschewed, and for two reasons. In -the first place, a bibliography so displayed baffles the -inexpert reader by a suggestion of mathematical -obscurity. Tempted by the desire to attract a few such -readers to a book that, for all its overplus of sinew and -lack of flesh, is in intention a tribute to a group of very -human and consoling writers, I have sought an appearance -of readability at the cost of a small technical sacrifice. -The sacrifice <em>is</em> small—and here lies the second -justification of my heterodox technique—because no -variety of any one of the books hereafter listed depends -either on the alignment of title-page wording or (save in -a single case to which attention is specially drawn) on -the phrasing, absence or presence of a note of reservation -of foreign or dramatic rights. In short, that which is -required for the identification of a first edition I have -given; but beyond that—nothing.</p> - -<p class='c000'>(ii) The first editions of almost any author include, in -addition to books written wholly by him, a number of -works for some part of which only he is responsible. -These secondary items cannot be neglected by collectors, -for any <em>book</em> in which for the first time is published an -<span class='pageno' id='Page_11'>11</span>essay, a story, a poem, or what not by one particular -writer ranks as a first edition of that writer. Naturally, -however, complete works take precedence over partial -works, and I have grouped at the end of each section of -this book such partial or minor first editions as I have -been able to identify.</p> - -<p class='c000'>It must be clearly understood that first <em>magazine</em> publication -is not here referred to. The only periodical issue -of a book that can rank with book issue is that in -<em>parts</em>, according to which the text of a novel made its -appearance in monthly or weekly sections, separately -wrappered, under its own title and unaccompanied by -any extraneous matter save advertisements. Part issues -are essential to a collector; on the other hand, the numbers -of magazines in which this story or that made serial -appearance may be ignored. In many cases I have -stated where (if anywhere) novels were serialized, but -such information is of general rather than of collecting -interest, save to those whose catholicity of taste and -house-room permit them the luxury of adding sets of -magazines to those of actual books.</p> - -<p class='c000'>(iii) The terms used to-day to describe sizes in -uncut books vary from those of an earlier period. For -example, the terms “Post 8vo” and “12mo” are now -rarely met with, whereas prior to 1880 they were in -regular and common currency. Fearing that the modern -buyer or seller of books would be puzzled by too frequent -an encounter with technicalities virtually obsolete, -I have expressed book sizes in terms familiar to present-day -ears and as nearly equivalent to those replaced as -makes no matter. The “8vo” book of the fifties is the -“Demy 8vo” of the nineteen-twenties; “Post 8vo” has -become “Extra Crown 8vo”; “12mo” has become -“Foolscap 8vo.” The phraseology adopted, being -familiar, will give an immediate general idea of a book's -dimensions; the measurement in inches, given in -brackets in all but a handful of cases, will supply to an -eighth of an inch any further detail required.</p> - -<p class='c000'>(iv) The half-title is something of a bugbear to the -<span class='pageno' id='Page_12'>12</span>collector of Victorians. Its absence may be fatal; its -presence may give pause. As the nineteenth century -progressed, methods of bookmaking became standardized; -but during the first fifty years publishers printed to -paper and their own convenience, regardless of uniformity -even between volumes of the same work. For -this reason no certainty exists as to the possession by -any book of a half-title. Usually examination will show -whether, in a book lacking a half-title, the first sheet -should rightly provide one or no. The publisher who -found his preliminary matter adequate, without half-title, -for four or eight pages, let it go at that; if, however, -he had two pages of his four or eight to spare, he -used them for half-title and verso. Wherever in the -notes that follow I have satisfied myself that an absence -of half-title is correct, I have drawn attention to that -absence; wherever nothing is said, the silence should be -taken to signify that in perfect copies half-titles must -appear.</p> - -<p class='c000'>(v) In the matter of binding it was the custom from -about 1830 to 1850 to issue many books both in cloth and -in paper boards. The old fashion for boards and labels -died hard, and doubtless the trade found it paid to -humour at once the enthusiast for the new cloth and the -conservative lover of ancient ways. The collector who -has the choice of a book either in cloth or in boards (with -which must be understood boards, half-cloth<a id='r1' /><a href='#f1' class='c014'><sup>[1]</sup></a>) and lacks -either inclination or money to buy the two should, if -condition be equally good, buy the copy in boards. -Such a copy <em>may be</em> of earlier but <em>cannot</em> be of later issue -than one in cloth. Should the book be one of which the -two styles were issued simultaneously the copies will rank -equally, although even in such cases a board copy is -preferable, seeing that probably fewer were published -than of those in cloth, and certainly fewer have survived.</p> - -<div class='footnote' id='f1'> -<p class='c000'><span class='label'><a href='#r1'>1</a>. </span>For convenience' sake the word “cloth” is used throughout -these bibliographies to signify woven material used in binding. -Technically, in the transition period between bound books and -those fully bound, half-binding was carried out in “canvas,” cloth -proper being of somewhat later date.</p> -</div> - -<p class='c000'><span class='pageno' id='Page_13'>13</span>The phrase “boards (half-cloth) paper labels” is used -in these bibliographies to describe books which may be -found <em>both</em> in full-board <em>and</em> half-cloth styles. The -colours of board and canvas vary greatly, as different -tones were often used for books belonging to one edition.</p> - -<p class='c000'>(vi) It will be noticed that in the majority of cases I -give the <em>month</em> as well as the year of a novel's publication. -This, had it been possible, I would wish to -have supplied throughout, for by its help alone can the -vexed question of dated catalogues be properly determined. -Unfortunately, with the disappearance <i><span lang="la" xml:lang="la">in toto</span></i> -of many publishing firms, the absorption of others under -new names, and the surprising lack of any complete files -of lists and catalogues for the decades in question, it has -been impossible in every case to fix the dates thus -accurately. In determining the various issues of a first -edition (for a publisher does not bind his whole printing -at once, but in lots as required, and often at intervals of -years), the date, if any, of the catalogues of publications -generally bound at the end of Victorian novels is an -essential factor. Where I give the month of publication -in the pages that follow, there can be no difficulty in -detecting copies bound up and issued after first publication. -Elsewhere buyers can only be advised to compare -the date of title-page with that of catalogue. If the latter -predates or tallies with the former all <em>may</em> be well; if the -catalogue date be later, the book is not a first issue, -although still, so far as the sheets are concerned, a copy -of the first edition. In a few rare cases, where numerous -catalogues were printed during the same year, the -earliest date found in any particular first edition of that -year can be established only by experience. It is for this -reason that identity of year between title-page and catalogue -<em>may</em> rather than <em>must</em> indicate a true first issue.</p> - -<p class='c000'>(vii) Advice as to condition is easily given.</p> - -<p class='c000'>Never buy a rebound book or one of which the edges -have been shaved.<a id='r2' /><a href='#f2' class='c014'><sup>[2]</sup></a></p> - -<div class='footnote' id='f2'> -<p class='c000'><span class='label'><a href='#r2'>2</a>. </span>In this, as always, generalization fails. The vast majority of -the books here listed were first issued <em>uncut</em>; there are, however, a -few—and those among the books of later date—that were published -cut. The collector can identify these, if in original binding, -by comparing measurement with that here given.</p> -</div> - -<p class='c000'><span class='pageno' id='Page_14'>14</span>Be wary of books in cloth which bear no publisher's -imprint on the spine; a few are right, but the majority -are remainder-bound. Only in the very early days of -cloth binding were spines unimprinted. Of course -<em>labelled</em> books, whether in boards or half-cloth, never -show publishers' imprint at the tail of their spines.</p> - -<p class='c000'>Always examine end-papers. The quality of Victorian -end-papers cannot be obtained to-day, and it is -rare that the substitution in one book of an old end-paper -from another is so neatly done as to defy detection.</p> - -<p class='c000'>Library labels and their horrid traces have no place in -a fine copy. If, however, a buyer inclines to accept -ex-library copies pending better fortune, he should prefer -those marked <em>inside</em> front covers to those of which the -actual cloth is disfigured. Should the choice be between -a copy in disfigured cloth and one of which the cloth is -clean but the end-papers renewed to obliterate some previous -damage, the wise buyer will take the first and -leave the second. Better a dirty original than a book -neat but doctored.</p> - -<p class='c000'>Do not reject an otherwise good copy of a book because -the case is loose or the back-stitching perished. Such -deterioration is easily and painlessly repaired.</p> - -<p class='c000'>In the case of books illustrated with etchings or steel -engravings, compare the date often to be found on the -plates with that on the title-page. These dates should -tally, or, if they do not, thought or examination of -prefatory matter should show the reason why.</p> - -<p class='c000'>Several cases exist of books reissued more than once, -but without printed indication of reissue, in a style -identical with that of the first edition. In such cases the -plates, more often than not, bear their silent witness, and -the careful buyer, momentarily uncertain of his dates, is -saved the purchase of a book he does not want.</p> - -<p class='c000'>(viii) The volumes listed which I have not myself -seen and examined are asterisked<a id='asterisked'></a> and thus expressly -<span class='pageno' id='Page_15'>15</span>noted as catalogued without personal investigation. As -may be imagined, some of the obscurer works of the -authors dealt with are extremely rare, and all my seeking -has failed to discover some of them. In every other -case personal handling has preceded analysis, even -although collation may already have existed in published -form.</p> - -<p class='c000'>(ix) In conclusion I would appeal to any reader of my -book who can emend, develop, or dispute the statements -therein contained to send me forthwith his criticisms and -suggestions. To work of this kind can be no finality. -Freak copies, copies containing catalogues of earlier -date, copies in earlier varieties of binding—of such things -is the sport of bibliography composed. No individual -can be sure that one particular issue of any book is the -earliest; comparative certainty comes only from cooperation. -Wherever possible I have compared several -copies of the same book, but this was by no means everywhere. -Consequently to look forward to revision and -yet more revision is, in the circumstances, a matter for -hope rather than one for shame.</p> - -<div class='chapter'> - <span class='pageno' id='Page_16'>16</span> - <h2 class='c006'>ACKNOWLEDGMENTS</h2> -</div> - -<p class='c012'>Perhaps the most pleasant element in the compiling of -this book has been the generosity and enthusiasm with -which persons able to help have responded to inquiries.</p> - -<p class='c000'>Among those who have contributed of their private -knowledge facts that but for them I could never have -discovered, Mr. Richard Bentley must have first place. -Unique as an authority on Victorian publishing, Mr. -Bentley not only replied promptly and in detail to my -importunate inquiries, but made suggestions and gave -information—often at considerable personal trouble—which -have greatly extended the scope and utility of my -book.</p> - -<p class='c000'>Other publishers and editors were no less ready to give -me access to such records of the past as were still in their -keeping. To Mr. Arthur Waugh (of Messrs. Chapman -and Hall), to Mr. Kelk and to Mr. Barnard (of Messrs. -Longmans, Green), to Mr. Spalding (of Messrs. Chatto -and Windus), to Mr. Herbert Virtue (of Messrs. Virtue -and Co.), to Mr. Farquharson and to Mr. Leonard -Huxley (of Messrs. John Murray), to Mr. Marston (of -the “Publishers' Circular”), I tender my best thanks.</p> - -<p class='c000'>Gratitude must next be expressed to booksellers and -owners of books whose contribution differed in kind but -not in degree from that of the foregoing. Mr. Walter -Spencer put his unrivalled stock of Victorian first editions -wholly at my disposal, thus enabling me to examine -many rare items not elsewhere discoverable. He also -lent me a series of autograph letters from which certain -details were obtainable. To Messrs. Bain and Messrs. -Maggs I owe opportunities of seeing books necessary to -my list. Mr. Hugh Walpole gave me access to his -private collection, and Mr. Cecil Davis, Mr. J. A. Green, -<span class='pageno' id='Page_17'>17</span>and Mr. Clement Shorter helped to a clearer understanding -of the bibliography of Captain Marryat and of -Mrs. Gaskell.</p> - -<p class='c000'>Further, I should like to set down my appreciation of -the facilities afforded to me by the authorities of the -British Museum and of the Bodleian Library. Their -willingness to shorten in my favour the tedious process -of extracting scattered volumes from their stores and -vaults saved much fatigue and hours of valuable time.</p> - -<p class='c000'>To my mother, to my wife, and to one of my publishers -I owe thanks for friendly collaboration at points where -two heads and four hands had more than twice the value -of half their number. Lastly, and perhaps mostly, I am -indebted, for secretarial assistance and for help in the -labour of research, to Miss Martha Smith, whose accuracy -and devotion have halved my personal toil.</p> - -<div class='chapter'> - <span class='pageno' id='Page_19'>19</span> - <h2 class='c006'>ANTHONY TROLLOPE<br /> <span class='large'>1815-1882</span></h2> -</div> - -<div><span class='pageno' id='Page_21'>21</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>ANTHONY TROLLOPE<a id='r3' /><a href='#f3' class='c014'><sup>[3]</sup></a></div> - </div> -</div> - -</div> - -<p class='c012'>Trollope's novels, like those of Jane Austen, are of the -very essence of fiction. Whatever they may lack in -verbal subtlety, in passion, in tragedy or in comedy of -idea, they never lack that spiritual skeleton without -which no structure of a story-teller's imagining can -survive. Palaces more delicate, more romantic, more -brilliant and more terrible than those of Trollope have -been erected and have stood to win the admiration of -posterity; but their splendour and their beauty are due -more to the solid material that upholds their walls and -roofs than to the skill and fancy of their decoration. -Other palaces, because they lacked such invisible but -vital solidity, have drawn for an hour the fickle favour -of the crowd and then toppled into dust. It is easy, in -fiction, to create a nine days' wonder, but hard indeed -to win the esteem of ninety years.</p> - -<div class='footnote' id='f3'> -<p class='c000'><span class='label'><a href='#r3'>3</a>. </span>For his consent to the reprinting of this Essay I am grateful -to the Editor of the “Nineteenth Century and After.”</p> -</div> - -<p class='c000'>Trollope has achieved that victory. Oblivion can now -never be his, for he has lived his bad times and survived. -As must any artist worth the name, he suffered eclipse—temporary, -indeed, but so severe as at one time to -threaten permanence. He was scorned as dowdy and -parochial by the brilliant metropolitans of a succeeding -generation. Only in the hearts of quiet folk and among -readers uninstructed in the genius of their own time were -his books remembered and cherished.</p> - -<p class='c000'>Until, slowly and slowly, opinion has begun to -change. Quality has outstayed vogue, and the latter -comes smirking back to the smiles of a lover yesterday -despised. Indeed, Trollope is in a fair way to become -once again the fashion. For a while he will be honoured -by the enthusiasm of the intellectuals. Then, when they -have turned their volatile benevolence to some other -<span class='pageno' id='Page_22'>22</span>quarter, he will settle firmly in the respect of the critical. -And that will at once be fame and his deserts.</p> - -<p class='c000'>Any summary analysis of Trollope's individual novels -is wellnigh impossible, in view not only of the bulk of -his work but also of its scope and richness of content. -His quality is more intangible and at the same time more -concentrated than that of the other writers treated in this -book. “Of all the needs a book has, the chief need is that -it be readable,” wrote Trollope himself. And again: -“The primary object of a novelist is to please.” Readability -has, in these latter days, become a term of condescension. -But that is the fault of a superior age, and -for the ten who use the word contemptuously there are -ten thousand who, did they care to do so, would give it -an older and a more honourable meaning. To them, as -always to the large public of novel-readers, fiction, when -it is not costume-romance, mystery-story, or topical -propaganda, is a revelation of their own lives. It is this -demand for an expression of emotions in which the -normal reader can share that Trollope so amazingly -satisfies. No précis of plot, no indication of social -setting, of character types, nor of period, can in his case -convey the essence of any particular novel.</p> - -<p class='c000'>Nevertheless his stories fall into certain specific categories, -some of which form actual series of tales with -characters reappearing from volume to volume, while -others, although severally independent and self-contained, -may be classified as belonging to one type of -fiction or to another.</p> - -<p class='c000'>The best known group of novels is that dealing with -the society of the city of Barchester and of the surrounding -neighbourhood. <cite>The Chronicles of Barsetshire</cite>, as -they have been called, are six in number:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>The Warden</span> (1855),</div> - <div class='line'><span class='sc'>Barchester Towers</span> (1857),</div> - <div class='line'><span class='sc'>Doctor Thorne</span> (1858),</div> - <div class='line'><span class='sc'>Framley Parsonage</span> (1861),</div> - <div class='line'><span class='sc'>The Small House at Allington</span> (1864), and</div> - <div class='line'><span class='sc'>The Last Chronicle of Barset</span> (1867).</div> - </div> - </div> -</div> - -<p class='c000'><span class='pageno' id='Page_23'>23</span>Although these famous stories undoubtedly contain -much of Trollope's best work, they do not contain the -whole of it. It is a mistake to suppose that they rank -altogether higher than his other books, and one of the -most disastrous results of the disfavour into which his -novels fell after their author's death is that a wealth of -really first-rate material, just because it is included in -books of which the late eighties chose to forget the titles, -lies hidden to-day and withdrawn from the enjoyment of -modern readers.</p> - -<p class='c000'>Cases of such unmerited neglect are encountered immediately -and among the novels of Trollope's second -continuous and interconnected series. The “political” -stories, like those of Barsetshire, are six in number:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Can You Forgive Her?</span> (1864),</div> - <div class='line'><span class='sc'>Phineas Finn</span> (1869),</div> - <div class='line'><span class='sc'>The Eustace Diamonds</span> (1873),</div> - <div class='line'><span class='sc'>Phineas Redux</span> (1874),</div> - <div class='line'><span class='sc'>The Prime Minister</span> (1876), and</div> - <div class='line'><span class='sc'>The Duke's Children</span> (1880).</div> - </div> - </div> -</div> - -<p class='c000'>It is truly remarkable to what an extent these admirable -tales have fallen into oblivion. Not only do they -introduce many of Trollope's most masterly characters, -but they present, vividly and with knowledge, the minds -and manners of the political aristocracy, the social -hangers-on, the Tadpoles and Tapers of the day. Speaking -generally, the social setting of the political novels is -different from that of <cite>The Chronicles of Barsetshire</cite>. Indeed, -it could hardly be otherwise, seeing that the whole -series takes its tone from the personalities of Plantagenet -Palliser and his wife Lady Glencora, who, as the stories -progress and by natural course of inheritance, become -the Duke and Duchess of Omnium and the greatest of -English nobility. Trollope's method is not slavishly to -serialize the life story of any individual character or pair -of characters. All the political novels have their own -clearly defined plot. They are, however, all tinged with -the compelling personalities of Lady Glencora and her -<span class='pageno' id='Page_24'>24</span>husband, into which Trollope threw all that he had of -art and enthusiasm.</p> - -<p class='c000'><cite>Can You Forgive Her?</cite> is a long novel, concerned -primarily with the troubles of a motherless girl who -breaks an engagement with an oppressively upright man -in order to return to a youthful love affair with a -dissipated and unscrupulous cousin. Mr. Grey, the -honourable man, gets in the end the wife he wants; but -Trollope does not hesitate to show fairly the preference -of a high-spirited girl for an adventurous rascal, and -there will be many who, when the book is finished, will -regret—a little ashamedly—that virtue has ultimately -triumphed. In the life story of Lady Glencora <cite>Can You -Forgive Her?</cite> is important, for it pictures her newly -married and literally on the verge of running away from -her shy, proud, inarticulate husband, with a beautiful -young reprobate, whose previous intimacy with her the -reader may imagine at his discretion. The fallibility of -Lady Glencora is skilfully contrasted with that of Alice -Vavasor, the heroine of the book; their circumstances are -so similar, and yet the young women react to them so -differently!</p> - -<p class='c000'><cite>Phineas Finn</cite> is a tale of political ambition. The -hero, by whose name the book is called, is a poor Irishman -who comes to seek his fortune in Parliament. The -ups and downs of his career; Lady Laura Kennedy, who -loves him but from family pressure marries millions; -Madame Max Goesler, the fascinating, mysterious widow -who rejects flattering if dubious proposals from the old -Duke of Omnium, combine with a mass of other material -to make a really dramatic story that is continued, and -equally well continued, in <cite>Phineas Redux</cite>.</p> - -<p class='c000'>Not the least remarkable feature of the second<a id='first'></a> of these -two books is the hero's trial for murder. Trollope has a -genius for trial scenes, and to my mind it is an open -question whether that in <cite>Phineas Redux<a id='Finn'></a></cite> is not finer than -its more celebrated predecessors in <cite>The Three Clerks</cite> -and in <cite>Orley Farm</cite>.</p> - -<p class='c000'><cite>The Eustace Diamonds</cite> turns on the personality of -<span class='pageno' id='Page_25'>25</span>Lizzie Eustace, a selfish but attractive little woman who -keeps possession, in the teeth of lawyers and of her late -husband's relations, of certain priceless jewels to which -she has no right whatever. There are two or three subplots -in the story, all of good quality; but the character -of Lizzie Eustace, who, for all her lying and her insincerity -and her cheap smartness, is seductive and appealing, -stands out as the book's essential achievement.</p> - -<p class='c000'><cite>The Prime Minister</cite> and <cite>The Duke's Children</cite> are the -only two novels of the political series in which Plantagenet -Palliser, now Duke of Omnium, is admittedly the -central figure. The former book is so constructed as to -give prominence to the love affair and unhappy marriage -of Emily Wharton with Ferdinand Lopez, a stock -gambler and commercial adventurer. But although the -history of the Lopez <span lang="fr" xml:lang="fr">ménage</span> is admirably told, and gives -scope for the reintroduction of Lizzie Eustace, as well as -other strange and disreputable people, the story of the -first premiership of the Duke of Omnium is the real story -of the book. By the time he came to the writing of <cite>The -Prime Minister</cite>, Trollope had become deeply interested -in presenting in the person of the Duke his ideal conception -of an English aristocrat. No praise can be too high -for the skill with which he implies, but does not describe, -the divergent qualities of ambition possessed by the -Duke and by his wife. Throughout the book she is for -ever striving to make him in the eye of the world the -greatest gentleman of the greatest kingdom of all time. -He, on the other hand, sees in his position only duty and -responsibility and disappointment. Not the least of his -troubles are his wife's insistence that the life of a public -man is never private, and her expressed conviction that -give and take is the essence of political compromise and -therefore of premiership.</p> - -<p class='c000'>In the interval between <cite>The Prime Minister</cite> and <cite>The -Duke's Children</cite> the Duchess of Omnium dies. The -unhappy Duke is left to find, if he may, in the achievements -of his children that completeness and success to -secure which he feels that he has himself so utterly failed. -<span class='pageno' id='Page_26'>26</span>Everything goes awry. His only daughter gives her -love to an unknown and penniless commoner. His -younger son, after ragging through his university career, -resorts disastrously to cards and racing. Finally, his -heir—Lord Silverbridge—stands for Parliament in the -opposite interest to that of his father, and, worse still, -turns from the girl the Duke has chosen as his bride, in -order to throw his title and prospects at the feet of the -beautiful daughter of an American savant. The Duke -struggles against his own humanity; slowly and unhappily, -as is his way, he adjusts himself to the changing -times; at the last he sacrifices his ideals of nobility to -personal affection. <cite>The Duke's Children</cite> worthily closes -a series of fine novels. In some ways this last story of -the political group is the best, and it speaks a good deal -for the author's power of sustained imagination that he -contrived, over a period of sixteen years, to maintain the -interest and develop the vitality of so complex a collection -of characters.</p> - -<p class='c000'>The rough classifications of novels in themselves independent -may, out of respect for chronology, begin with -the stories of Irish life. <cite>The Macdermotts of Ballycloran</cite> -(1847), <cite>The Kellys and the O'Kellys</cite> (1848), <cite>Castle -Richmond</cite> (1860) and <cite>The Landleaguers</cite> (1883), are the -four books which belong, properly speaking, to this -category. Of course there are Irish scenes in many -other novels, for Trollope lived for years in Ireland, -knew it well and loved it, and was for ever introducing -Irishmen and Irish incidents into his work. The books -above mentioned are, however, wholly and deliberately -novels about Ireland. The first two have the faults of -very early work, in that they are prolix and lack that -control of character and material that marks the experienced -novelist. Both, however, are worth reading, and -the plot of <cite>The Kellys</cite> needs no excuse on the score of -inexperience. <cite>Castle Richmond</cite>, however, is definitely -an unsuccessful book. It is packed with information -about the Irish famine, and the story is over-melodramatic -for Trollope's method. One of his most characteristic -<span class='pageno' id='Page_27'>27</span>qualities as a novelist is his refusal to keep the -reader in suspense. In direct contrast to Wilkie Collins, -he goes out of his way to explain, as he comes to it, each -seemingly inexplicable event. It is as though he scorns -to save himself the trouble of characterization by erecting -between himself and the reader a screen of mystery. -For this reason, the secret power exercised by the unsavoury -Molletts over Sir Thomas Fitzgerald is, because -it soon ceases to be secret, a weak foundation upon -which to erect a story. <cite>The Landleaguers</cite>, the book left -unfinished by Trollope when he died, is concerned to -present the social condition of Ireland in the early -eighties, as was <cite>Castle Richmond</cite> to depict that of the -famine-ridden forties. And yet what a difference! In -<cite>The Landleaguers</cite> the novelist presents his picture of -politics in his actual story. There are no passages of -blue-book instructionalism, but it is doubtful whether a -more vivid impression of the state of Ireland at the time -can be obtained from any other source. Even if there -were no others among Trollope's old-age novels to disprove -the theory, <cite>The Landleaguers</cite> alone should put -an end to the contention that toward the end of his life -he had lost his cunning or written himself out.</p> - -<hr class='c013' /> - -<p class='c000'>It is now necessary to examine that large and heterogeneous -collection of novels which, from one point of -view or another, satirize contemporary life or present -some definite aspect of the English social scene. Let me -once more insist that the classification of Trollope's -books here attempted should not be understood too -literally. All the Barchester novels, all the political -novels, are in one sense wholly presentments of society; -in the same way many of them contain passages definitely -satirical. But they have other claims to special -grouping which the numerous isolated stories now to be -considered do not possess; and, while satire is mainly -incidental to the tales of Barchester and to those of -political life, it is in some at least of Trollope's other -books the principal purpose of the story.</p> - -<p class='c000'><span class='pageno' id='Page_28'>28</span>First, then, the books which may fairly be termed -books of social satire. The earliest in date is <cite>The -Bertrams</cite>, which, although the situations and characters -are of the kind which Trollope was to make -essentially his own, is a failure even more complete than -<cite>Castle Richmond</cite>. The central theme is one to which -the author more than once returns. Caroline Waddington -rejects George Bertram for reasons of income and -prospects. She marries his successful lawyer friend, -only to find that she has sold herself to a greedy tyrant. -The parallel case of Julia Brabazon and Harry Clavering -immediately suggests itself; but where in <cite>The Claverings</cite> -Trollope achieves an intense humanity, in <cite>The -Bertrams</cite> he is dully mechanical. He allows the subsidiary -plots to disturb and obscure his main story. -When, as frequently, he attempts the comic in social -enjoyment he comes clumsily to grief. The widow's -seaside picnic in <cite>Can you Forgive Her?</cite> has only to be -contrasted with the excursion from Jerusalem described -in <cite>The Bertrams</cite> to make clear the difference between -successful and unsuccessful satire. And yet there are -points in <cite>The Bertrams</cite>. The close-fisted old man, the -disposal of whose money provides the motive of most -of the incident, is drawn with consistent restraint. -There are touches in the description of society at Littlebath -that prepare the reader for the pleasure of <cite>Miss -Mackenzie</cite>. On the whole the book should be read. It -is Trollope “off” (or rather “not yet on to”) his game, -but it was published at an important moment in his -career and helps to make clear his subsequent development.</p> - -<p class='c000'><cite>Rachel Ray</cite> (1863) and <cite>Miss Mackenzie</cite> (1865) may, -without any critical licence, be considered together. -Both are bitter satires on Evangelical Christianity. -Trollope inherited from his mother a hatred of the -brimstone school of religious teachers, and in these -novels he lets himself go with considerable effect. The -earlier of the two books contains comparatively few -characters, and those of modest social position. Rachel -<span class='pageno' id='Page_29'>29</span>herself is delightful and gives to the book, despite its -obvious weaknesses of construction, a freshness and -charm that is very pleasing. Mrs. Prime and her -horrible clerical admirer are frankly caricature, but that -they should be so is not unnatural, seeing that they -represent the very puritanism that the book is intended -to attack.</p> - -<p class='c000'>In <cite>Miss Mackenzie</cite> we are given the story of a spinster -of thirty-five, to whom unexpectedly a small fortune -is bequeathed. She becomes immediately the quarry of -fortune hunters—shabby social, religious, and commercial. -Some of the best scenes in the story are staged in -Littlebath, where Miss Todd and Miss Baker (who help -to retrieve <cite>The Bertrams</cite> from disaster) make welcome -reappearance. As satire the novel is more dexterous -than <cite>Rachel Ray</cite>, but it lacks the attraction of a real -Trollope heroine, and throughout has a faint tinge of -the sordid. It is interesting to note on page 242 of the -second volume a mention of Lady Glencora Palliser, -whom Trollope had 'presented' in<a id='invented'></a> <cite>Can you Forgive Her?</cite></p> - -<p class='c000'>Not until 1875 did Trollope publish another definitely -satirical novel. When he did so, the event marked an -important stage in his evolution as a novelist. Critics -had begun to grumble at comedies of manners, which -spoke of the suavity of yesterday rather than of the competitive -hustle of to-day. England was moving step by -step along the road to commercialism. Trollope, with -his county and clerical families, his political aristocrats -and comic tuft-hunters, was shrugged aside as out of -date. Such treatment was intolerable, and, with a -gesture half impatient, half appealing, he sent out into -the world <cite>The Way We Live Now</cite>. This long and -crowded novel—perhaps, with the exception of <cite>The Last -Chronicle of Barset</cite>, the most abundant of all his books—presents, -in the person of Mr. Melmotte, the financial -magnate of alien origin proper to a truly modern story -of English life. Whether the cavillers, whose complaints -spurred Trollope to so violent an effort, admitted, -after reading <cite>The Way We Live Now</cite>, that the old dog -<span class='pageno' id='Page_30'>30</span>could in truth out-modern the best of them, history does -not relate; but undeniably this book, in which he -asserted his vitality and showed that in the matter of -satiric observation he was well abreast of the times, has -no lack of vigour or luxuriant invention.</p> - -<p class='c000'>That <cite>Mr. Scarborough's Family</cite> (1883) may reasonably -be said to conclude the list of Trollope's satirical -novels is perhaps disputable. And yet, because its -power is mainly ironic, I prefer to mention it here rather -than treat of it as a purely social story. A while ago -one example was quoted of a first-rate book from -Trollope's last period. <cite>Mr. Scarborough's Family</cite> is -another.</p> - -<p class='c000'>An aged and wealthy cynic suddenly (and, as it turns -out, with deliberate falsehood) makes public the illegitimacy -of his eldest son. With the complications of -inheritance, with the changing relations between old -Mr. Scarborough and his two sons, of whom the elder is -now destitute and the latter coldly triumphant in his -unexpected good fortune, is involved an elaborate second -plot, centring round the love story of an amiable young -man, whose fortunes depend on the favour of a peevish -and eccentric uncle. Analysis of a tale so full of -happening and character is impossible in a few lines. -Sufficient to say that <cite>Mr. Scarborough's Family</cite>, were -it not for the date on its title-page, might be thought to -belong to a much earlier period, not only of Trollope, -but of fiction as a whole, to a period more lavish than -subtle, more genial and full-blooded than detached and -sensitive.</p> - -<p class='c000'>With <cite>The Three Clerks</cite> (1858) opens the chronology -of those novels which, although partially satirical, are -in the main straightforward stories of English cultivated -life. <cite>The Three Clerks</cite> is one of the few Trollope -novels that has been seriously overrated. In its pages -Mr. Chaffanbrass, the notorious Old Bailey lawyer, -makes his first appearance, but he is infinitely more -effective in <cite>Orley Farm</cite> and in <cite>Phineas Finn</cite> than at his -first entrance on the Trollope stage. In so far as <cite>The</cite> -<span class='pageno' id='Page_31'>31</span><cite>Three Clerks</cite> gives a picture of the Civil Service that the -author himself knew, it has documentary value, but as -fiction it is formless and flaccid. Its young women are -wholly devoid of that freshness and frankness that place -Trollope, as a creator of femininity, apart from all other -novelists of his generation; its menfolk are either riotous -dummies like those in Smedley's novels, or prigs and -villains, compounded so slavishly by recipe as to have -little meaning beyond that of the conventional types -they represent.</p> - -<p class='c000'>Of <cite>Orley Farm</cite> (1862) it is unnecessary to speak, the -novel being one of the two or three outside the Barchester -series which are still read to-day. <cite>The Belton -Estate</cite> (1866), on the other hand, badly needs rehabilitation. -Henry James, in a review written when quite a -young man, concluded a long paragraph of hostile -criticism with the words: “<cite>The Belton Estate</cite> is a stupid -book.” One may venture that the obtuseness was not -all on one side. Using a cast of four principal and as -few subsidiary characters, Trollope fills three good -volumes with the matrimonial dilemma of Clara Amedroz, -who has to choose between the uncouth, well-to-do -farmer to whom passes her thriftless father's estate, and -the polished, self-seeking Captain Aylmer—in parlance, -though not in fact, also her cousin—who offers her marriage -because at the deathbed of his rich aunt and as part -condition of becoming her heir he swore to do so. <cite>The -Belton Estate</cite> has, to a greater degree than any other -of Trollope's books, that art of concealing art which -delights one type of mind, but by another is dismissed -as “stupid.” In a sense it is the most difficult to -appreciate of all the important novels, and, were an -examination in Trollope a thing of practical import, the -examining board would be wise to make this book the -test question of their paper.</p> - -<p class='c000'><cite>The Claverings</cite> (1867) and <cite>He Knew He Was Right</cite> -(1869) are very long books, each of which turns on a -theme highly characteristic of the author. Mention has -already been made of Julia Brabazon, heroine of the -<span class='pageno' id='Page_32'>32</span>former book, who jilts the nobody she loves for a rich -invalid peer. The price she has to pay is counted in -full in the pages of <cite>The Claverings</cite>, which also introduce -a number of excellent characters, from Sir Hugh -Clavering, hard, savage, and selfish, to Sophie Gordeloup -and her scoundrelly brother, who play so desperately -for the wealth and person of Lord Ongar's lonely and -embittered widow. <cite>He Knew He Was Right</cite> describes -the steady growth in a husband's mind of unjust suspicion -of his wife's fidelity. As a crescendo of hysterical -mistrust, the book is a fine piece of sustained -writing. As a novel, it would be gloomy and distressing -but for an admirable and humorous by-plot laid -in cathedral Exeter. It would, perhaps, be hypercritical -and unappreciative of his adroit handling of incident to -blame the author for the very liberal use of coincidence -with which he aids the progress of his story.</p> - -<p class='c000'>Of the six social novels that remain, one is first-rate, -three are very good second-rate, one is ordinary second-rate -and the last frankly bad. <cite>Is He Popenjoy?</cite> (1878) -may rank with <cite>The Claverings</cite> as a book undeservedly -excluded from the upper room of every Trollope-lover's -mind. The Dean of Brotherton, son of a jobmaster, -father of the heroine and ultimately grandfather of a -marquis, is a Trollope dignitary of the first water. His -daughter is as eminent in the world of heroines as is -her father in that of ecclesiastics. She is gay, loving, -whimsical, courageous, and always natural. Her dour -husband with his excessive sense of duty and inadequate -sense of humour; her aristocratic sisters-in-law, shrouding -in ill-nature and good works the emptiness of their -lives and purses; the society siren; the society matchmaker; -and perhaps above all the ill-tempered, dissolute -marquis, on the legitimacy of whose son turns the whole -mechanism of the story, are each one of them fictional -characters that only a master could create.</p> - -<p class='c000'><cite>Ralph The Heir</cite> (1871)—the plot of which was pirated -by Charles Reade and dramatized under the title <cite>Shilly -Shally</cite>—contains some good characters and perhaps the -<span class='pageno' id='Page_33'>33</span>best parliamentary election of all those contrived by its -author. The troubles and difficulties of the shy, ineffective -Sir Thomas Underwood, and the determination of -Mr. Neefit, the breeches-maker, to buy up a bankrupt -young squire as husband for his daughter would give -distinction to any story. <cite>Lady Anna</cite> (1874) is a delicate -elaboration of Trollope's favourite motif—projected or -(as in this case) actual misalliance. <cite>The American -Senator</cite> (1877) contains some excellent hunting and -much good general observation. <cite>Ayala's Angel</cite> (1881), -like <cite>The Belton Estate</cite> but less pronouncedly, is a book -that must be read to be realized, for it is quiet Trollope -and a thing of shades rather than one of definite, contrasted -colours.</p> - -<p class='c000'>There remains <cite>Marion Fay</cite> (1882), once again a tale -of misalliance. This is undeniably the worst book that -its author ever wrote. Everywhere but here he contrives -to keep either his hero or his heroine (and more frequently -both) sympathetic, sensible, and convincingly -normal; but in <cite>Marion Fay</cite> he sinks to mawkishness and -to a deathbed scene that is frankly inexcusable.</p> - -<hr class='c013' /> - -<p class='c000'>Plenty of novels still remain of this astonishing and -untiring writer. They may, however, be somewhat -summarily dismissed. The most interesting group is -that of the short, single-theme stories which succeeded -the publication of <cite>The Way We Live Now</cite>. It is not -unreasonable to attribute to the mood of challenge in -which that novel was sent out the noticeable change in -the author's method during the years that followed. It -is as though he had determined to try his hand at the -psychological analysis which was just coming into -fashion among novelists. And so we are given in quick -succession six little books, each written round a single -event or describing the reactions of one individual to a -definite set of circumstances. The titles are as follow:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>An Eye for An Eye</span> (1879),</div> - <div class='line'><span class='sc'>Cousin Henry</span> (1879),</div> - <div class='line'><span class='sc'>Doctor Wortle's School</span> (1881),</div> - <div class='line'><span class='pageno' id='Page_34'>34</span><span class='sc'>The Fixed Period</span> (1882),</div> - <div class='line'><span class='sc'>Kept in the Dark</span> (1882),</div> - <div class='line'><span class='sc'>An Old Man's Love</span> (1884).</div> - </div> - </div> -</div> - -<p class='c000'>It so happened that <cite>An Eye for An Eye</cite> was written -before the publication of <cite>The Way We Live Now</cite>, -although not published until some while after. It is, -however, clearly the product (if an unconscious one) of -the same impulse as gave birth to the other books, and -its theme—the struggle in the mind of a young Englishman -between pride of family and desire to fulfil a marriage -promise to a girl who has become his mistress—is -a theme of the type peculiar to these six brief stories -and distinctly foreign to Trollope's more bulky and -eventful work.</p> - -<p class='c000'>A further group of five stories may roughly be termed -Trollope's “oversea” novels. The first three—<cite>Nina -Balatka</cite> (1867), <cite>Linda Tressel</cite> (1868), and <cite>The Golden -Lion of Granpere</cite> (1872)—were written more or less -intentionally to form a distinct trio. They are semi-romantic -tales, staged respectively in old Prague, in old -Nürnberg, and among the Vosges mountains; pleasant -enough, but quite definitely of minor importance. The -first two were published anonymously but achieved -little success, and were later reissued over the author's -name. <cite>Harry Heathcote of Gangoil</cite> (1874) and <cite>John -Caldigate</cite> (1879) are novels of Australia, based on the -knowledge of that continent which the author gained -when visiting one of his sons who had established himself -there. I understand that as pictures of Australian -life they are vivid and reliable. Be that as it may, the -untutored reader, seeking only for Trollope, will find -him abundantly in <cite>Harry Heathcote</cite>, which is an -eventful, almost an adventurous story, and to a very -satisfying degree in the longer book that appeared five -years later.</p> - -<p class='c000'>Of Trollope's various volumes of short stories nothing -need here be said. Of <cite>Sir Harry Hotspur of Humblethwaite</cite> -(1871) there is little that can be said. Of <cite>The -Struggles of Brown, Jones, and Robinson</cite> (1870) there -<span class='pageno' id='Page_35'>35</span>is much that had better be left unsaid. One important -full-length novel remains, good in itself and at the same -time remarkable as the only one of the author's tales in -which he arms himself formally as a social crusader.</p> - -<p class='c000'><cite>The Vicar of Bullhampton</cite> (1870) is a novel written in -defence of the “fallen woman.” It is quaint to read -Trollope's solemn and tactful preface, in which he -almost apologizes to his public for venturing on such -indelicate ground. Fortunately the book is so feeble as -propaganda that, but for the preface, one would be -unaware that it was written with any special purpose. -It can be enjoyed as a good story of village life, with a -delightful parson as central figure and the necessary -complement of charming Trollope ladies, gruff farmers, -lonely landowners, and aggressive Nonconformity.</p> - -<p class='c000'>This novel, like all Trollope's really good work, impresses -the reader first and foremost with its Englishry. -Perhaps it would not be too much to say that the very -greatness of the author himself springs from this same -quality. He is intensely English, with the quiet -humour, the shy sympathy masquerading as indifference, -the delicate sense of kindliness and toleration, -the occasional heaviness, the occasional irritability, that -mark a man or a book as English. But if to these -qualities he owes his place in our proud heritage of -literature, to them also he owes the tarrying of due recognition, -for they and the natures that possess them are -of all qualities and of all natures the most difficult to -impress upon the sceptical outsider, seeing that their -very beauty and preciousness and power lie in their -elusiveness.</p> - -<h3 class='c015'><i>BIOGRAPHY</i></h3> - -<p class='c016'>ANTHONY TROLLOPE: <span class='sc'>His Work, Associates -and Literary Originals</span>. By <span class='sc'>T. H. S. Escott</span>. -London: John Lane, 1913.</p> - -<p class='c000'>This book will be of interest to the general reader, -although it is rather overloaded with analyses of novel-plots -and the arrangement is not ideal.</p> - -<p class='c000'><span class='pageno' id='Page_36'>36</span>By far the most valuable feature of the volume is the -bibliography of Trollope by Margaret Lavington included -at the end. For the help this careful and -documented compilation has given me I wish to make -acknowledgment, although I have throughout worked -independently and from original sources and taken none -of the facts hereafter given without verification. Miss -Lavington's descriptions lack certain details essential to -the collector, she makes one or two actual mistakes, but, -within the limits she has laid down for herself, her work -is wonderfully complete and accurate.</p> - -<div> - <span class='pageno' id='Page_37'>37</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> FICTION, BIOGRAPHY, TRAVEL-BOOKS, ESSAYS, ETC.</h3> -</div> - -<h4 class='c017'>1847</h4> - -<p class='c016'>THE MACDERMOTTS OF BALLYCLORAN. By -Mr. <span class='sc'>A. Trollope</span>. London: Thomas Cautley -Newby, Publisher, 72 Mortimer Street, Cavendish -Square. 1847. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (ii) + 345 + (1).</p> - -<p class='c018'>Vol. II. pp. (ii) + 382.</p> - -<p class='c018'>Vol. III. pp. (ii) + 437 + (1).</p> - -<p class='c018'>No half-titles. Boards, half-cloth, paper label. -White end-papers. Also in dark brown cloth, gilt, -blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—On the title-page of Vol. III. “Mortimer” should be -spelt “Morimer.” In the same volume, p. 437 is mis-paged “743.” -Copies of the first edition were reissued in 1848 with title-pages -so dated and differently worded, but with no indication of reprint. -On this second title-page the misprint is corrected. The wording -is as follows:</p> - -<p class='c008'>THE MACDERMOTTS OF BALLYCLORAN: A Historical -Romance. By <span class='sc'>A. Trollope</span>, Esq., author of <cite>The Kellys and -the O'Kellys</cite>. London: T. C. Newby, 72 Mortimer Street, -Cavendish Square. 1848.</p> - -<h4 class='c017'>1848</h4> - -<p class='c016'>THE KELLYS AND THE O'KELLYS: Or <span class='sc'>Landlords -and Tenants</span>. A Tale of Irish Life. By -<span class='sc'>A. Trollope</span>, Esq. London: Henry Colburn, -Publisher, Great Marlborough Street. 1848. 3 vols. -Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (ii) + 298.</p> - -<p class='c018'>Vol. II. pp. (ii) + 298.</p> - -<p class='c018'><span class='pageno' id='Page_38'>38</span>Vol. III. pp. (ii) + 285 + (1). Publisher's catalogue, -24 pp., undated, bound in at end.</p> - -<p class='c018'>No half-titles. Paper boards (half-cloth), paper -label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1848.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'>LA VENDÉE: An Historical Romance. By <span class='sc'>Anthony -Trollope</span>, Esq. London: Henry Colburn, Publisher, -Great Marlborough Street. 1850. 3 vols. -Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (iv) + 320.</p> - -<p class='c018'>Vol. II. pp. (iv) + 330.</p> - -<p class='c018'>Vol. III. pp. (ii) + 313 + (1). No half-title to this -volume. Publisher's advertisement occupies p. (314). -Publisher's catalogue, 16 pp., undated, bound in at -end.</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1850.</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>THE WARDEN. By <span class='sc'>Anthony Trollope</span>. London: -Longman, Brown, Green and Longmans. 1855. -1 vol. Ex. Cr. 8vo. (4¾ × 7¾). Pp. iv + 336. No -half-title. Publishers' catalogue, 24 pp., dated -September, 1854, bound in at end. Pale brown -cloth, gilt, blocked in blind. Brick-red end-papers -printed on inside front and inside back covers with -publishers' advertisements.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in January, 1855. An -edition of 1,000 copies was printed, of which 600 were sold during -the first eighteen months of publication. The balance of 400 was -bound, very nearly uniform with the first issue, in 1858 and a -catalogue dated with that year inserted at end.</p> - -<p class='c009'>(ii) In 1879 Chapman and Hall published, under the series title -<cite>Chronicles of Barsetshire</cite>, Trollope's novels dealing with the city -and district of Barchester. <cite>The Warden</cite> was the first volume of -this reissue, and was preceded by a brief introduction by Trollope -not previously published.</p> - -<div> - <span class='pageno' id='Page_39'>39</span> - <h4 class='c017'>1857</h4> -</div> - -<p class='c016'>BARCHESTER TOWERS. By <span class='sc'>Anthony Trollope</span>, -author of <cite>The Warden</cite>. London: Longman, -Brown, Green, Longmans and Roberts. 1857. -3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 305 + (3). Publishers' advertisements -occupy pp. (307) and (308). Advertisement -of <cite>The Warden</cite> occupies p. (ii). Half-title to -this volume.</p> - -<p class='c018'>Vol. II. pp. iv + 299 + (1). No half-title.</p> - -<p class='c018'>Vol. III. pp. iv + 321 + (3). No half-title. Publishers' -advertisements occupy pp. (323) and (324).</p> - -<p class='c018'>Pale brown cloth, gilt, blocked in blind. Brick-red -end-papers printed with publishers' advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1857. The earliest -issue had end-papers of a much redder brown than those used for -later bindings of the first edition sheets. The latter can also be -identified by the date of a publishers' catalogue bound in at the -end of Vol. I.</p> - -<h4 class='c017'>1858</h4> - -<p class='c016'>THE THREE CLERKS: A Novel. By <span class='sc'>Anthony -Trollope</span>, author of <cite>Barchester Towers</cite> etc. London: -Richard Bentley, New Burlington Street. -1858. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 340.</p> - -<p class='c018'>Vol. II. pp. iv + 322 + (2).</p> - -<p class='c018'>Vol. III. pp. iv + 334 + (2).</p> - -<p class='c018'>No half-titles. Paper boards, half cloth, paper -label. White end-papers. Also in dark grey-purple -watered cloth, gilt, blocked in blind, with -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Although dated 1858, this book was actually published -in December, 1857.</p> - -<p class='c009'>(ii) I have seen a copy of this book in a binding of the grey-purple -cloth above mentioned, but with paper labels as employed on -the half-cloth edition.</p> - -<div> - <span class='pageno' id='Page_40'>40</span> - <h4 class='c017'>1858</h4> -</div> - -<p class='c016'>DOCTOR THORNE: A Novel. By <span class='sc'>Anthony -Trollope</span>, author of <cite>The Three Clerks</cite>, <cite>Barchester -Towers</cite> etc. London: Chapman and Hall, -193 Piccadilly. 1858. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 305 + (3). Publishers' catalogue, -32 pp., dated April, 1858, bound in at end.</p> - -<p class='c018'>Vol. II. pp. iv + 323 + (1).</p> - -<p class='c018'>Vol. III. pp. iv + 340.</p> - -<p class='c018'>No half-titles. Dark grey-purple cloth, gilt, -blocked in blind. Pale green end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1858.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>THE BERTRAMS: A Novel. By <span class='sc'>Anthony Trollope</span>, -author of <cite>Barchester Towers</cite>, <cite>Doctor Thorne</cite> -etc. London: Chapman and Hall, 193 Piccadilly. -1859. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 335 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 344.</p> - -<p class='c018'>Vol. III. pp. iv + 331 + (1).</p> - -<p class='c018'>No half-titles. Dark grey-purple cloth, gilt, -blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This novel was published in March, 1859.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>THE WEST INDIES AND THE SPANISH MAIN. -By <span class='sc'>Anthony Trollope</span>, author of <cite>Barchester -Towers</cite>, <cite>Doctor Thorne</cite>, <cite>The Bertrams</cite> etc. London: -Chapman and Hall, 193 Piccadilly. 1859. -1 vol. Demy 8vo (5½ × 8¾). Pp. iv + 395 + (1). -Publishers' catalogue, 32 pp., dated November, 1859, -bound in at end. No half-title. Coloured map -printed separately facing title. Maroon cloth, gilt, -blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in October, 1859.</p> - -<p class='c009'>(ii) It is possible that the earliest copies of all contained no -publishers' catalogue, but I have been unable to find a copy with a -catalogue dated earlier than that mentioned above.</p> - -<div> - <span class='pageno' id='Page_41'>41</span> - <h4 class='c017'>1860</h4> -</div> - -<p class='c016'>CASTLE RICHMOND: A Novel. By <span class='sc'>Anthony -Trollope</span>, author of <cite>Barchester Towers</cite>, <cite>Doctor -Thorne</cite>, <cite>The West Indies and the Spanish Main</cite> -etc. London: Chapman and Hall, 193 Piccadilly. -1860. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vi + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. (vi) [p. vi is erroneously numbered -iv] + 300.</p> - -<p class='c018'>Vol. III. pp. vi + 289 + (1). Publishers' catalogue, -32 pp., dated May, 1860, bound in at end.</p> - -<p class='c018'>Dark grey-purple cloth, gilt, blocked in blind. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1860.</p> - -<h4 class='c017'>1861</h4> - -<p class='c016'>FRAMLEY PARSONAGE. By <span class='sc'>Anthony Trollope</span>, -author of <cite>Barchester Towers</cite> etc. etc. With 6 -illustrations by J. E. Millais, R.A. London: -Smith Elder and Co., 65 Cornhill. <span class='fss'>MDCCCLXI.</span> -3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 333 + (3).</p> - -<p class='c018'>Vol. II. pp. (iv) + 318 + (2).</p> - -<p class='c018'>Vol. III. pp. (iv) + 330 + (2). Publishers' catalogue, -14 pp., dated April, 1861, bound in at end.</p> - -<p class='c018'>No half-titles. Each volume contains two line-engraved -illustrations printed separately. Grey-purple -cloth, blocked in gold and blind. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1861. The story -appeared serially in the “Cornhill.”</p> - -<h4 class='c017'>1861</h4> - -<p class='c016'>TALES OF ALL COUNTRIES. By <span class='sc'>Anthony -Trollope</span>, author of <cite>Barchester Towers</cite>, <cite>Doctor -Thorne</cite>, <cite>The West Indies and the Spanish Main</cite>. -London: Chapman and Hall, 193 Piccadilly. 1861. -<span class='pageno' id='Page_42'>42</span>1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (iv) + 312. Publishers' -catalogue, 32 pp., dated November, 1861, -bound in at end. No half-title. Blue embossed -cloth, gilt, blocked in blind. Bright blue end-papers.</p> - -<p class='c009'><em>Contents</em>: La Mère Bauche—The O'Conors of Castle Conor—John -Bull on the Guadalquivir—Miss Sarah Jack, of Spanish Town, -Jamaica—The Courtship of Susan Bell—Relics of General Chassé—An -Unprotected Female at the Pyramids—The Château of Prince -Polignac.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November, 1861.</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>ORLEY FARM. By <span class='sc'>Anthony Trollope</span>, author of -<cite>Doctor Thorne</cite>, <cite>Barchester Towers</cite>, <cite>Framley Parsonage</cite> -etc. With illustrations by J. E. Millais. -London: Chapman and Hall, 193 Piccadilly. 1862. -2 vols. Demy 8vo (5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. viii + 320. Publishers' catalogue, -32 pp., dated October, 1861, bound in at end.</p> - -<p class='c018'>Vol. II. pp. viii + 320.</p> - -<p class='c018'>Each volume contains twenty illustrations. -Brown-purple embossed cloth, blocked in gold and -blind. Pale yellow end-papers.</p> - -<p class='c018'>This story originally appeared in twenty demy -8vo one shilling parts, dated March (1861) to October -(1862), bound in fawn wrappers printed in blue -and red, and containing the illustrations by J. E. -Millais afterwards included in the two-volume -edition. Each part contains two illustrations.</p> - -<p class='c009'><span class='sc'>Note</span>—The first volume of this novel was published in book form on -December 3, 1861; the second volume on September 25, 1862. Both -title-pages are, however, dated 1862.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>ORLEY FARM: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>The following advertisement pages, etc., should be found in a -complete set. The advertisements at the front of each number are -headed: “Orley Farm Advertiser.” All wrappers except front -covers are printed with advertisements.</p> - -<p class='c009'><span class='pageno' id='Page_43'>43</span><em>Part I: Front</em>—16 pp., dated March, 1861. <cite>Back</cite>—10 pp., -unnumbered, of which the first two on pink paper.</p> - -<p class='c009'><em>Part II: Front</em>—8 pp., dated 1861. <cite>Back</cite>—4 pp., unnumbered, -of which the first two on yellow paper.</p> - -<p class='c009'><em>Part III: Front</em>—8 pp., dated May, 1861. <cite>Back</cite>—2 pp., -unnumbered, on lilac paper.</p> - -<p class='c009'><em>Part IV: Front</em>—8 pp., dated June, 1861. <cite>Back</cite>—2 pp., -unnumbered, on pale yellow paper.</p> - -<p class='c009'><em>Part V: Front</em>—8 pp., dated July, 1861. <cite>Back</cite>—4 pp., -unnumbered, of which the first two on lilac paper.</p> - -<p class='c009'><em>Part VI: Front</em>—Inset slip of yellow paper advertising the -serialization in “Great Expectations” of <cite>A Strange Story</cite>, by -Lytton. 8 pp., dated August, 1861. <cite>Back</cite>—6 pp., unnumbered, -of which the first two on yellow paper, the third in coloured lithograph, -the fifth and sixth on pink (or green) paper, the fifth being -blank and a sample of cambric frilling being attached to the sixth.</p> - -<p class='c009'><em>Part VII: Front</em>—8 pp., dated September, 1861. <cite>Back</cite>—4 pp., -unnumbered, of which the first printed in colours, and the last -two a foolscap 8vo leaflet on blue paper advertising “The Queen.”</p> - -<p class='c009'><em>Part VIII: Front</em>—8 pp., dated October, 1861. <cite>Back</cite>—2 pp., -unnumbered, on pale yellow paper.</p> - -<p class='c009'><em>Part IX: Front</em>—8 pp., dated November, 1861. <cite>Back</cite>—nil.</p> - -<p class='c009'><em>Part X: Front</em>—8 pp., dated December, 1861. <cite>Back</cite>—2 pp., -unnumbered, on yellow paper. [<cite>Note</cite>—This part contains half-title, -title, contents and list of illustrations (in all 8 pp.) to Volume I.]</p> - -<p class='c009'><em>Part XI: Front</em>—8 pp., dated January, 1862. <cite>Back</cite>—12 pp., -unnumbered.</p> - -<p class='c009'><em>Part XII: Front</em>—8 pp., dated February, 1862. <cite>Back</cite>—2 pp., -unnumbered, on pale yellow paper.</p> - -<p class='c009'><em>Part XIII: Front</em>—Inset slip of yellow paper advertising the -serialization in “All the Year Round” of <cite>No Name</cite>, by Wilkie -Collins. 8 pp., dated March, 1862. <cite>Back</cite>—4 pp.</p> - -<p class='c009'><em>Part XIV: Front</em>—8 pp., dated April, 1862. <cite>Back</cite>—8 pp., of -which the first two (unnumbered) are on blue paper, the next four -are numbered, and the last two unnumbered.</p> - -<p class='c009'><em>Part XV: Front</em>—8 pp., dated May, 1862. <cite>Back</cite>—12 pp., of -which 1-4 unnumbered and the rest a publishers' catalogue paged -(1) to 8 and dated April 25, 1862.</p> - -<p class='c009'><em>Part XVI: Front</em>—8 pp., dated June, 1862. <cite>Back</cite>—10 pp., of -which the first two (unnumbered) are on yellow paper and the -remainder are a publishers' catalogue paged (1)-8 and dated -April 25, 1862.</p> - -<p class='c009'><em>Part XVII: Front</em>—8 pp., dated July, 1862. <cite>Back</cite>—4 pp.</p> - -<p class='c009'><em>Part XVIII: Front</em>—8 pp., dated August, 1862. <cite>Back</cite>—6 pp., -unnumbered, of which the first two on green paper.</p> - -<p class='c009'><em>Part XIX: Front</em>—8 pp., dated September, 1862. <cite>Back</cite>—4 pp.</p> - -<p class='c009'><span class='pageno' id='Page_44'>44</span><em>Part XX: Front</em>—8 pp., dated October, 1862. <cite>Back</cite>—12 pp., -of which the first two unnumbered and on orange paper, the next -two unnumbered, and the remainder a publishers' catalogue -paged (1)-8 and dated September 24, 1862. [<cite>Note</cite>—This part contains -half-title, title, contents and list of illustrations (in all 8 pp.) -to Volume II.]</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>NORTH AMERICA. By <span class='sc'>Anthony Trollope</span>, author -of <cite>The West Indies and the Spanish Main</cite>, <cite>Doctor -Thorne</cite>, <cite>Orley Farm</cite> etc. London: Chapman and -Hall, 193 Piccadilly. 1862. 2 vols. Demy 8vo -(5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. viii + 467 + (1). Publishers' catalogue, -32 pp., dated May, 1862, bound in at end.</p> - -<p class='c018'>Vol. II. pp. viii + 494 +(2).</p> - -<p class='c018'>In Vol. I. a folding map is inserted facing p. 1. -Maroon embossed cloth, gilt, blocked in blind. -Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1862.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>TALES OF ALL COUNTRIES: Second Series. By -<span class='sc'>Anthony Trollope</span>. London: Chapman and Hall, -193 Piccadilly. 1863. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). -Pp. (iv) + 371 + (1). No half-title. Blue embossed -cloth, gilt, blocked in blind. Uniform with <cite>Tales -of All Countries</cite>: First Series. Pale yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: Aaron Trow—Mrs. General Talboys—The Parson's -Daughter of Oxney Colne—George Walker at Suez—The Mistletoe -Bough—Returning Home—A Ride Across Palestine—The House -of Heine Brothers in Munich—The Man Who Kept His Money in -a Box.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1863.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>RACHEL RAY: A Novel. By <span class='sc'>Anthony Trollope</span>, -author of <cite>Barchester Towers</cite>, <cite>Castle Richmond</cite>, -<cite>Orley Farm</cite> etc. London: Chapman and Hall, -193 Piccadilly. 1863. 2 vols. Ex. Cr. 8vo -(4¾ × 7¾).</p> - -<p class='c018'><span class='pageno' id='Page_45'>45</span>Vol. I. pp. iv + 319 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 310 + (2).</p> - -<p class='c018'>No half-titles. Maroon cloth, gilt, blocked in -blind. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1863.</p> - -<h4 class='c017'>1864</h4> - -<p class='c016'>THE SMALL HOUSE AT ALLINGTON. By -<span class='sc'>Anthony Trollope</span>. With 18 illustrations by J. E. -Millais, R.A. London: Smith Elder and Co., -65 Cornhill. <span class='fss'>MDCCCLXIV.</span> 2 vols. Demy 8vo -(5½ × 8⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 312.</p> - -<p class='c018'>Vol. II. pp. (iv) + 316.</p> - -<p class='c018'>No half-titles. Vol. I. contains ten illustrations, -and Vol. II. eight illustrations. Green embossed -cloth, blocked in gold and blind. Chocolate end-papers, -printed with publishers' advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1864, and completed -its serial run in the “Cornhill” the month following.</p> - -<h4 class='c017'>1864</h4> - -<p class='c016'>CAN YOU FORGIVE HER? By <span class='sc'>Anthony Trollope</span>, -author of <cite>Orley Farm</cite>, <cite>Doctor Thorne</cite>, -<cite>Framley Parsonage</cite> etc. With illustrations. London: -Chapman and Hall, 193 Piccadilly. 1864. -[1865, Vol. II.] 2 vols. Demy 8vo (5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. (viii) + 320.</p> - -<p class='c018'>Vol. II. pp. (viii) + 320.</p> - -<p class='c018'>Vol. I. contains twenty etched illustrations by -Phiz, and Vol. II. twenty illustrations [by a Miss -Taylor], all printed separately. Red embossed cloth, -blocked in gold and blind. Yellow end-papers.</p> - -<p class='c018'>This story originally appeared in twenty demy 8vo -one shilling parts, dated January, 1864, to August, -1865, bound in fawn paper wrappers printed in blue -<span class='pageno' id='Page_46'>46</span>and red, and containing the illustrations afterwards -included in the two-volume edition. Each part contains -two illustrations.</p> - -<p class='c009'><span class='sc'>Note</span>—The first volume of this novel appeared in book form on -October 1, 1864, the second volume in August, 1865. The title-pages -are dated differently.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>CAN YOU FORGIVE HER?: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>The following advertisement pages, etc., should be found in a -complete set. The advertisements at the front of each number are -headed “Can you Forgive Her? Advertiser.” All wrappers, -except front cover, are printed with advertisements.</p> - -<p class='c009'><em>Part I: Front</em>—8 pp., dated January, 1864. <cite>Back</cite>—14 pp., of -which the first two unnumbered on buff paper, the next four -printed in blue on white paper, and the remainder a publishers' -catalogue paged 1-8 and dated January 1, 1864.</p> - -<p class='c009'><em>Part II: Front</em>—4 pp., dated February, 1864. <cite>Back</cite>—2 pp., -unnumbered, on pink paper.</p> - -<p class='c009'><em>Part III: Front</em>—4 pp., dated March, 1864. <cite>Back</cite>—6 pp.</p> - -<p class='c009'><em>Part IV: Front</em>—4 pp., dated April, 1864. Between pp. 2 and -3 an inset slip on green paper advertising the part issue of Dickens' -<cite>Our Mutual Friend</cite>. <cite>Back</cite>—8 pp., of which the first two on yellow -paper and unnumbered, the second two unnumbered, and the remainder -a publishers' catalogue paged 1-4 and dated April 1st, 1864.</p> - -<p class='c009'><em>Part V: Front</em>—4 pp., dated May, 1864. <cite>Back</cite>—14 pp., of which -the first four paged 1-4, the next two a reproduction on green -paper of the wrapper of Part I of <cite>Our Mutual Friend</cite>, and the -remainder a publishers' catalogue paged 1-8 and dated April 30, 1864.</p> - -<p class='c009'><em>Part VI: Front</em>—4 pp., dated June, 1864, and printed on buff -paper as wrapper. <cite>Back</cite>—14 pp., of which the first four and the -publishers' catalogue the same as in Part V. A wrapper of <cite>Our -Mutual Friend</cite>, this time of Part II, completes the total.</p> - -<p class='c009'><em>Part VII: Front</em>—4 pp., dated July, 1864, printed on buff -paper as wrapper. <cite>Back</cite>—2 pp., unnumbered, on yellow paper.</p> - -<p class='c009'><em>Part VIII: Front</em>—4 pp., dated August, 1864, printed on buff -paper as wrapper. <cite>Back</cite>—4 pp., numbered 1-4.</p> - -<p class='c009'><em>Part IX: Front</em>—4 pp., dated September, 1864, printed on buff -paper as wrapper. <cite>Back</cite>—Inset slip of yellow paper announcing -the serialization in “All the Year Round” of <cite>Never Forgotten</cite>, by -the author of <cite>Belladonna</cite>. 2 pp., unnumbered, on yellow paper.</p> - -<p class='c009'><em>Part X: Front</em>—4 pp., dated September [sic], 1864, printed on -buff paper as wrapper. In later issues “September” corrected to -October. <cite>Back</cite>—8 pp., of which the last four a publishers' catalogue -<span class='pageno' id='Page_47'>47</span>paged 1-4 and dated October 1, 1864. [<cite>Note</cite>—This part contains -half-title, title, contents and list of illustrations (in all 8 pp.) -to Volume I. It is also the last part illustrated by Hablot K. -Browne.]</p> - -<p class='c009'><em>Part XI: Front</em>—4 pp., dated November, 1864, and printed on -buff paper as wrapper. <cite>Back</cite>—6 pp., of which 1-4 on lilac (or -blue) paper. [<cite>Note</cite>—Although the illustrator had already been -changed, the wrapper to this part still bears the name of H. K. -Browne.]</p> - -<p class='c009'><em>Part XII: Front</em>—4 pp., dated December, 1864, printed on buff -paper as wrapper. Inset slip on yellow paper announcing <cite>Mrs. -Lirriper's Legacy</cite> as Christmas number to “All the Year Round.” -<cite>Back</cite>—8 pp., of which the last four a publishers' catalogue paged -1-4 and dated November 25.</p> - -<p class='c009'><em>Part XIII: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—2 pp., of which the first printed in lilac.</p> - -<p class='c009'><em>Part XIV: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—Inset slip of green paper and 2 pp. unnumbered, -printed on yellow.</p> - -<p class='c009'><em>Part XV: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—Inset slip of blue paper and publishers' catalogue -4 pp., dated February 28, 1865. Inset slip on white paper advertising -the part issue of the <cite>Headless Horseman</cite>, by Captain Mayne Reid.</p> - -<p class='c009'><em>Part XVI: Front</em>—4 pp., undated, printed on buff paper as -wrapper. <cite>Back</cite>—Inset slip of yellow paper announcing the -serialization in “All the Year Round” of <cite>Half a Million of Money</cite>, -by Amelia B. Edwards. 6 pp., of which the last four on pink -paper.</p> - -<p class='c009'><em>Part XVII: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XVIII: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XIX: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—8 pp., unnumbered, of which the first four on -pale blue paper.</p> - -<p class='c009'><em>Part XX: Front</em>—4 pp., undated and printed on buff paper as -wrapper. <cite>Back</cite>—Nil. [<cite>Note</cite>—This part contains half-title, title, -contents and list of illustrations (in all 8 pp.) to Volume II.]</p> - -<h4 class='c017'>1865</h4> - -<p class='c016'>MISS MACKENZIE. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. 1865. -Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vi + 312.</p> - -<p class='c018'><span class='pageno' id='Page_48'>48</span>Vol. II. pp. vi + 313 + (3). Advertisement of works -by the same author occupies p. (315).</p> - -<p class='c018'>Maroon cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in March, 1865.</p> - -<p class='c009'>(ii) A binding of dark green cloth is more frequently seen than -that of maroon, but it is fairly certain that the latter is really the -first issue. I have come to this conclusion after a study of other -publications, for binding which the two types of cloth used for <cite>Miss -Mackenzie</cite> were employed. Both are patterned cloths, but differently -patterned. That used in maroon for <cite>Miss Mackenzie</cite> was also -used—differently coloured, of course—for Trollope's <cite>Tales of All -Countries</cite> (1861); Ainsworth's <cite>Constable of the Tower</cite> (1861); -Mrs. Gaskell's <cite>Round the Sofa</cite> (1859) and <cite>Right at Last</cite> (1860); -Charles Allston Collins' <cite>Cruise Upon Wheels</cite> (1862); and Reade's -<cite>Love me Little, Love me Long</cite> (1859). The pattern of cloth, on the -other hand, used in dark green for <cite>Miss Mackenzie</cite> reappears on -Trollope's <cite>Belton Estate</cite> (1866); Ainsworth's <cite>John Law</cite> (1864); and -Wilkie Collins' <cite>My Miscellanies</cite> (1863). I think these facts provide -sufficiently conclusive evidence that the maroon cloth is of an earlier -pattern than the dark green. Publishers were probably inclined, -then as now, to use one type of cloth more than another at certain -given dates (possibly they tended to adopt novelties as produced by -their binders). This is independently suggested by the fact that in -the year 1863 alone an identical pattern of cloth was used and by -various publishers for Ainsworth's <cite>Cardinal Pole</cite>, for Mrs. Gaskell's -<cite>A Dark Night's Work</cite>, for George Eliot's <cite>Romola</cite>, and for Mrs. -Oliphant's <cite>Perpetual Curate</cite>.</p> - -<h4 class='c017'>1865</h4> - -<p class='c016'>HUNTING SKETCHES. By <span class='sc'>Anthony Trollope</span>. -Reprinted from the “Pall Mall Gazette.” London: -Chapman and Hall, 193 Piccadilly. 1865. 1 vol. -Cr. 8vo (4⅞ × 7½). Pp. iv + 115 + (1). Publishers' -catalogue, 32 pp., dated May, 1865, bound in at end. -No half-title. Red cloth gilt, blocked in blind. -Green-black end-papers.</p> - -<p class='c009'><em>Contents</em>: The Man who Hunts and Doesn't Like It—The Man -who Hunts and Does Like It—The Lady who Rides to Hounds—The -Hunting Farmer—The Man who Hunts and Never Jumps—The -Hunting Parson—The Master of Hounds—How to Ride to -Hounds.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1865.</p> - -<div> - <span class='pageno' id='Page_49'>49</span> - <h4 class='c017'>1866</h4> -</div> - -<p class='c016'>THE BELTON ESTATE. By <span class='sc'>Anthony Trollope</span>, -author of <cite>Can you Forgive Her?</cite>, <cite>Orley Farm</cite>, -<cite>Framley Parsonage</cite> etc. etc. London: Chapman -and Hall, 193 Piccadilly. 1866. 3 vols. Ex. Cr. -8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 284.</p> - -<p class='c018'>Vol. II. pp. iv + 308.</p> - -<p class='c018'>Vol. III. pp. iv + 276.</p> - -<p class='c018'>Publishers' catalogue, 24 pp., dated December 1, -1865, bound in at end. No half-titles. Scarlet embossed -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1866. The story -appeared serially in the “Fortnightly Review.”</p> - -<h4 class='c017'>1866</h4> - -<p class='c016'>TRAVELLING SKETCHES. By <span class='sc'>Anthony Trollope</span>. -Reprinted from the “Pall Mall Gazette.” -London: Chapman and Hall, 193 Piccadilly. 1866. -I vol. Cr. 8vo (4⅞ × 7½). Pp. iv + 112. Publishers' -catalogue, 24 pp., dated February 1, 1866, bound in -at end. No half-title. Red cloth, gilt, blocked in -blind. Green-black end-papers. Uniform with -<cite>Hunting Sketches</cite>.</p> - -<p class='c009'><em>Contents</em>: The Family that Goes Abroad Because it's the Thing -to Do—The Man who Travels Alone—The Unprotected Female -Tourist—The United Englishmen who Travel for Fun—The Art -Tourist—The Tourist in Search of Knowledge—The Alpine Club -Man—Tourists who Don't Like their Travels.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1866.</p> - -<h4 class='c017'>1866</h4> - -<p class='c016'>CLERGYMEN OF THE CHURCH OF ENGLAND. -By <span class='sc'>Anthony Trollope</span>. Reprinted from the “Pall -Mall Gazette.” London: Chapman and Hall, 193 -Piccadilly. 1866. I vol. Cr. 8vo (4⅞ × 7½). Pp. -(iv) + 130 + (2). Publishers' catalogue, 24 pp., dated -<span class='pageno' id='Page_50'>50</span>March 30, 1866, bound in at end. No half-title. -Red cloth, gilt. Green-black end-papers. Uniform -with <cite>Hunting Sketches</cite> and <cite>Travelling Sketches</cite>.</p> - -<p class='c009'><em>Contents</em>: The Modern English Archbishop—English Bishops, -Old and New—The Normal Dean of the Present Day—The Archdeacon—The -Parson of the Parish—The Town Incumbent—The -College Fellow who has Taken Orders—The Curate in a Populous -Parish—The Irish Beneficed Clergyman—The Clergyman who Subscribes -for Colenso.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1866.</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>NINA BALATKA: <span class='sc'>The Story of a Maiden of -Prague</span>. Wm. Blackwood and Sons, Edinburgh -and London, <span class='fss'>MDCCCLXVII</span>. 2 vols. Fcap. 8vo -(4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (vi) + 228 + (2). Publishers' advertisements -occupy pp. (229) (230).</p> - -<p class='c018'>Vol. II. pp. 215 + (I). Publishers' advertisements, -8 pp., undated, bound in at end.</p> - -<p class='c018'>The words: “Originally published in 'Blackwood's -Magazine'” occupy verso of half-title in each -volume. Red-brown cloth, gilt, blocked in blind. -Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on February 1, 1867.</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>THE LAST CHRONICLE OF BARSET. By -<span class='sc'>Anthony Trollope</span>. With 32 illustrations by -George H. Thomas. London: Smith Elder and -Co., 65 Cornhill. <span class='fss'>MDCCCLXVII.</span> 2 vols. Demy 8vo -(5½ × 8⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 384.</p> - -<p class='c018'>Vol. II. pp. (iv) + 384.</p> - -<p class='c018'>No half-titles. Each volume contains sixteen -illustrations printed separately, and line drawings in -the text at the beginnings of several of the chapters. -<span class='pageno' id='Page_51'>51</span>Violet-blue cloth, blocked in gold and blind. Yellow -end-papers.</p> - -<p class='c018'>This story originally appeared in thirty-two sixpenny -demy 8vo parts dated December 1 (1866) to -July 6 (1867), bound in white wrappers with a design -in scarlet and dark blue, and containing the illustrations -afterwards included in the two-volume edition. -Each part contains one illustration.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Vol. I. of the novel in book form was published on -March 16, and Vol. II. on July 6, 1867.</p> - -<p class='c009'>(ii) The words “With 32 illustrations by George H. Thomas” -occur only on the title-page of Vol. II.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>THE LAST CHRONICLE OF BARSET: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>The following advertisement pages, etc., should be found in a -complete set. Advertisements at the front of each part are printed -on lilac paper, except where otherwise stated. All wrappers, except -front covers, are printed with advertisements.</p> - -<p class='c009'><em>Part I: Front</em>—4 pp., unnumbered, on grey paper; 8 pp., numbered -1-8. <cite>Back</cite>—10 pp., of which the first is printed in colours and -the last four on yellow paper (or green).</p> - -<p class='c009'><em>Part II: Front</em>—8 pp., numbered 9-16. <cite>Back</cite>—4 pp., of which -the first is printed in colours and the last two on blue paper (or pink).</p> - -<p class='c009'><em>Part III: Front</em>—8 pp., numbered 17-24. <cite>Back</cite>—Inset slip -(4 pp.) of Chapman and Hall publications.</p> - -<p class='c009'><em>Part IV: Front</em>—4 pp., unnumbered, on grey (or lilac) paper; -4 pp., numbered 25-28. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part V: Front</em>—4 pp., numbered 29-32. <cite>Back</cite>—2 pp., of which -the second is printed in colours.</p> - -<p class='c009'><em>Part VI: Front</em>—4 pp., numbered 33-36. <cite>Back</cite>—Inset slip -(4 pp.) on yellow paper.</p> - -<p class='c009'><em>Part VII: Front</em>—4 pp., numbered 37-40. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part VIII: Front</em>—Inset slip (4 pp.) of Chapman and Hall -publications (as at back of Part III). 4 pp., numbered 41-44. -<cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part IX: Front</em>—4 pp., numbered 45-48. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part X: Front</em>—4 pp., numbered 49-52. <cite>Back</cite>—4 pp., -unnumbered.</p> - -<p class='c009'><em>Part XI: Front</em>—Inset slip (4 pp.) of Chapman and Hall publications -(as in Parts III. and VIII.); 4 pp., numbered 53-56. -<cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XII: Front</em>—4 pp., numbered 57-60. <cite>Back</cite>—2 pp., unnumbered, -of which the second printed in colours.</p> - -<p class='c009'><span class='pageno' id='Page_52'>52</span><em>Part XIII: Front</em>—4 pp., numbered 61-64. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XIV: Front</em>—4 pp., numbered 65-68. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XV: Front</em>—4 pp., numbered 69-72. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XVI: Front</em>—4 pp., numbered 73-76; inset slip of lilac -paper announcing the appearance of Vol. I. of <cite>The Last Chronicle -of Barset</cite> at ten shillings. <cite>Back</cite>—Nil. [<cite>Note</cite>—This part contains -title-page, contents and list of illustrations (in all 4 pp.) to Vol. I.]</p> - -<p class='c009'><em>Part XVII: Front</em>—4 pp., numbered 77-80. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XVIII: Front</em>—4 pp., numbered 81-84; inset slip of lilac -paper announcing the appearance of Vol. I. of The Last Chronicle -of Barset at ten shillings. <cite>Back</cite>—2 pp., unnumbered, of which the -second printed in colours.</p> - -<p class='c009'><em>Part XIX: Front</em>—4 pp., numbered 85-88. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XX: Front</em>—4 pp., numbered 89-92. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXI: Front</em>—4 pp., numbered 93-96. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXII: Front</em>—4 pp., numbered 97-100. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXIII: Front</em>—4 pp., numbered 101-104. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXIV: Front</em>—4 pp., numbered 105-108. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXV: Front</em>—4 pp., numbered 109-112. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXVI: Front</em>—4 pp., numbered 113-116. <cite>Back</cite>—Inset slip -(4 pp.) advertising the “Charles Dickens Edition” of Dickens' -works.</p> - -<p class='c009'><em>Part XXVII: Front</em>—4 pp., numbered 117-120. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXVIII: Front</em>—4 pp., numbered 121-124. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXIX: Front</em>—4 pp., numbered 125-128. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXX: Front</em>—4 pp., numbered 129-132. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXXI: Front</em>—4 pp., numbered 133-136. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXXII: Front</em>—4 pp., numbered 137-140; inset slip of -lilac paper announcing the completion of <cite>The Last Chronicle of -Barset</cite> in 2 volumes at 20s. <cite>Back</cite>—Nil. [<cite>Note</cite>—This part contains -title-page, contents and list of illustrations (in all 4 pp.) to -Vol. II.]</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>THE CLAVERINGS. By <span class='sc'>Anthony Trollope</span>. With -16 illustrations by M. Ellen Edwards. London: -Smith, Elder and Co., 65 Cornhill. <span class='fss'>MDCCCLXVII.</span> -2 vols. Demy 8vo (5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 313 + (3). Publishers' advertisements -occupy pp. (315) and (316).</p> - -<p class='c018'>Vol. II. pp. (iv) + 309 + (3). Publishers' advertisements -occupy pp. (311) and (312).</p> - -<p class='c018'>No half-titles. Each volume contains eight illustrations -printed separately. Bright green cloth, -<span class='pageno' id='Page_53'>53</span>blocked in black and gold. Pale chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on April 20, 1867. The -story appeared serially in the “Cornhill.”</p> - -<p class='c009'>(ii) There are two varieties of binding to this book. It is an -open question whether the simpler design with no black on the sides -is earlier or later than that which is more elaborate.</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>LOTTA SCHMIDT: AND OTHER STORIES. By -<span class='sc'>Anthony Trollope</span>. Alexander Strahan, Publisher, -56 Ludgate Hill, London. 1867. 1 vol. Ex. Cr. -8vo (4⅞ × 7¾). Pp. (iv) + 403 + (1). Dark red cloth, -gilt. Green-black end-papers.</p> - -<p class='c009'>There is no list of contents. Titles are as follow: Lotta Schmidt—The -Adventures of Fred Pickering—The Two Generals—Father -Giles of Ballymoy—Malachi's Cove—The Widow's Mite—The Last -Austrian who Left Venice—Miss Ophelia Gledd—The Journey to -Panama.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in August, 1867. The original -sheets were reissued in 1870, without indication of there having -been an earlier edition. The reissue is cr. 8vo in size, pp. (vi) + 425 -+ (1), bears the imprint “Strahan and Co.,” and is bound in pale -maroon cloth. Later still copies, taken over in sheets by Chapman -and Hall and also dated 1870, were issued in bright green cloth, -with chocolate end-papers, printed with Chapman and Hall -advertisements.</p> - -<h4 class='c017'>1868</h4> - -<p class='c016'>LINDA TRESSEL. By the author of <cite>Nina Balatka</cite>. -Wm. Blackwood and Sons, Edinburgh and London. -<span class='fss'>MDCCCLXVIII.</span> 2 vols. Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. 216.</p> - -<p class='c018'>Vol. II. pp. 215 + (1).</p> - -<p class='c018'>The words: “Originally published in 'Blackwood's -Magazine'” occupy verso of half-title in each -volume. Red-brown cloth, gilt, blocked in blind. -Chocolate end-papers. Uniform with <cite>Nina Balatka</cite>.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1868.</p> - -<div> - <span class='pageno' id='Page_54'>54</span> - <h4 class='c017'>1869</h4> -</div> - -<p class='c016'>PHINEAS FINN, THE IRISH MEMBER. By -<span class='sc'>Anthony Trollope</span>. With 20 illustrations by J. E. -Millais, R.A. London: Virtue and Co., 26 Ivy -Lane, Paternoster Row. 1869. 2 vols. Demy 8vo -(5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. vi + (ii) + 320.</p> - -<p class='c018'>Vol. II. pp. vi + (ii) + 328.</p> - -<p class='c018'>No half-titles. Ten illustrations in each volume -printed separately. Bright green cloth, gilt, blocked -in blind. Pale yellow end-papers. It may be noted -that the author's name is not given on the spine of -this book.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1869. The same novel -still in two volumes and at the same price (25s. net) was advertised -in May, 1869, by Strahan and Co., who were at the time closely -identified with Virtue and Co. Copies with a Strahan imprint, if -such exist, are not of the first issue. The story appeared serially -in “St. Paul's Magazine.”</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'>HE KNEW HE WAS RIGHT. By <span class='sc'>Anthony Trollope</span>. -With 64 illustrations by Marcus Stone. -Strahan and Co., Publishers, 56 Ludgate Hill, London. -1869. 2 vols. Demy 8vo (5½ × 8⅝).</p> - -<p class='c018'>Vol. I. pp. ix + (iii) + 384.</p> - -<p class='c018'>Vol. II. pp. ix + (iii) + 384.</p> - -<p class='c018'>Each volume contains sixteen illustrations printed -separately and sixteen line drawings in the text. -Green cloth, gilt, blocked in blind. Pale yellow -end-papers.</p> - -<p class='c018'>This story first appeared in thirty-two demy 8vo -sixpenny weekly parts, dated October 17 (1868) to -May 22 (1869), bound in green-grey paper wrappers, -printed in red and black. Each part contains a full-page -line-engraved illustration by Marcus Stone, -printed separately, and one small drawing in the -text. Each part, as well as the title-page, etc., included -<span class='pageno' id='Page_55'>55</span>in Part XXXII. bears the imprint of Virtue -and Co., but the novel, when issued in book form, -appeared over the imprint of Strahan and Co.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Four weeks after the appearance of Part I. (early in -November, 1869) a parallel series of two-shilling <em>monthly</em> parts was -inaugurated, of which the first, containing the first four weekly -parts, was immediately issued, and the remainder at regular -intervals. The earliest part issue was therefore the weekly one. -Margaret Lavington in her Trollope bibliography, states that the -first four parts were wrappered in one. This observation was -probably made from an examination of a made-up set of parts -composed, as to the first four, of the second issue and, as to the -remainder, of the first (see above).</p> - -<p class='c009'>(ii) The story appeared in two-volume form in May, 1869.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>HE KNEW HE WAS RIGHT: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>The following advertisement pages, etc., should be found in a -complete set. Advertisements at the front of each part are printed -on greenish blue paper except where otherwise stated. All wrappers -except front covers are printed with advertisements.</p> - -<p class='c009'><em>Part I: Front</em>—6 pp. <cite>Back</cite>—4 pp.</p> - -<p class='c009'><em>Parts II to XXIX: Front</em>—4 pp. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXX: Front</em>—Inset slip of orange paper announcing the -serialization in “S. Paul's” of <cite>The Three Brothers</cite>, by Mrs. -Oliphant. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXXI: Front</em>— Nil. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XXXII: Front</em>—Nil. <cite>Back</cite>— Nil. [<cite>Note</cite>— This part contains -half-title, titles, contents and lists of illustrations (in all 24 pp.) -to <em>both</em> volumes of the novel.]</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'><a href='#asterisked'>*</a>DID HE STEAL IT? A Comedy in three Acts. By -<span class='sc'>Anthony Trollope</span>. Printed for private circulation. -1869.</p> - -<p class='c009'><span class='sc'>Note</span>—This is a dramatization of an episode in <cite>The Last -Chronicle of Barset</cite>, which Trollope prepared by special request, -only to have the play rejected by the commissioning manager.</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>THE VICAR OF BULLHAMPTON. By <span class='sc'>Anthony -Trollope</span>. With 30 illustrations by H. Woods. -London: Bradbury, Evans and Co., Bouverie -<span class='pageno' id='Page_56'>56</span>Street. 1870. 1 vol. Demy 8vo (5½ × 8¾). -Pp. xvi + 481 + (11). Publishers' advertisements -occupy pp. (483) to (492). Brown cloth, blocked in -gold and black. Grey end-papers.</p> - -<p class='c008'>This story originally appeared in 11/12 demy 8vo -monthly parts, dated July 18, 1869, to May 18, 1870. -Parts I. to X. cost one shilling, and the last double -part (XI./XII.) half-a-crown. The parts are bound -in blue-grey paper wrappers, with a design in red -and black, and contain the illustrations afterwards -included in the one-volume edition. Parts I. to -X. each contain two full-page illustrations; Part -XI./XII. contains four, of which one is a picture -title-page.</p> - -<p class='c019'><span class='sc'>Note</span>—The novel was published in volume form in April, 1870.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>THE VICAR OF BULLHAMPTON: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c019'>The following advertisement pages, etc., should be found in a -complete set. The advertisements at the front of Parts I. to III. -are headed “The Vicar of Bullhampton Advertiser.” All wrappers, -except front covers, are printed with advertisements.</p> - -<p class='c019'><em>Part I: Front</em>—12 pp., dated July, 1869. <cite>Back</cite>—4 pp., printed -in colours and unnumbered.</p> - -<p class='c019'><em>Part II: Front</em>—4 pp., dated August, 1869. <cite>Back</cite>—Nil.</p> - -<p class='c019'><em>Part III: Front</em>—4 pp., dated September, 1869. <cite>Back</cite>—Nil.</p> - -<p class='c019'><em>Parts IV to X</em> inclusive contain no advertisement pages.</p> - -<p class='c019'><em>Part XI</em> (double number): <cite>Front</cite> (or back)—10 pp., publishers' -advertisements, unnumbered and undated. [<cite>Note</cite>—This part contains -half-title, title, preface, contents, list of illustrations and -frontispiece to the complete novel. This preliminary matter is -paged (i)-xvi, despite the fact that frontispiece and title-page -(4 pp.) are printed separately.]</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>AN EDITOR'S TALES. By <span class='sc'>Anthony Trollope</span>. -Strahan and Co., Publishers, 56 Ludgate Hill, London. -1870. 1 vol. Sq. Ex. Cr. 8vo (5⅛ × 7¾). -Pp. (viii) + 375 + (1). Publishers' advertisement occupies -p. (376). Brown cloth, gilt, blocked in black. -Chocolate end-papers.</p> - -<p class='c009'><span class='pageno' id='Page_57'>57</span><em>Contents</em>: The Turkish Bath—Mary Gresley—Josephine -de Montmorenci—The Panjandrum—The Spotted Dog—Mrs. -Brumby.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1870. The stories had -appeared in “St. Paul's Magazine.”</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>THE STRUGGLES OF BROWN, JONES AND -ROBINSON: BY ONE OF THE FIRM. Edited -by <span class='sc'>Anthony Trollope</span>, author of <cite>Framley Parsonage</cite>, -<cite>The Last Chronicle of Barset</cite> etc. etc. -Reprinted from the “Cornhill Magazine.” With -four illustrations. London: Smith, Elder and -Co., 15 Waterloo Place. 1870. 1 vol. Cr. 8vo -(4⅞ × 7½). Pp. iv + 254 + (2). Advertisements of -works by the same author occupy pp. (255) and -(256). No half-title. Frontispiece and illustrated -title-page, in line engraving and printed separately, -precede the printed title. Brown cloth, blocked in -black and gold. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November, 1870. The story -had appeared serially in the “Cornhill” in the years 1861 and 1862. -Its unpopularity as a serial accounts for the delay in its book -publication.</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>THE COMMENTARIES OF CÆSAR. By <span class='sc'>Anthony -Trollope</span>. William Blackwood and Sons, -Edinburgh and London. <span class='fss'>MDCCCLXX.</span> 1 vol. Fcap. -8vo (4¼ × 6¾). Pp. (x) [paged as vi] + 182. Publishers' -advertisements occupy pp. (i) to (iv), and a -list of volumes in the Series “Ancient Classics for -English Readers” occupies p. (vi), facing title-page. -Brown cloth, gilt, blocked in black. Chocolate -end-papers.</p> - -<div> - <span class='pageno' id='Page_58'>58</span> - <h4 class='c017'>1871</h4> -</div> - -<p class='c016'>SIR HARRY HOTSPUR OF HUMBLETHWAITE. -By <span class='sc'>Anthony Trollope</span>, author of <cite>Framley Parsonage</cite> -etc. London: Hurst and Blackett, Publishers, -13 Great Marlborough Street. 1871. 1 vol. -Cr. 8vo (5 × 7½). Pp. vii + (1) + 323 + (1). Publishers' -catalogue, 16 pp., undated but paged, bound -in at end. Scarlet cloth, gilt, blocked in black. -Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1871, this book was actually published in -November, 1870. The story appeared serially in “Macmillan's -Magazine.”</p> - -<h4 class='c017'>1871</h4> - -<p class='c016'>RALPH THE HEIR. By <span class='sc'>Anthony Trollope</span>, author -of <cite>Framley Parsonage</cite>, <cite>Sir Harry Hotspur</cite> etc., -etc. London: Hurst and Blackett, Publishers, -13 Great Marlborough Street. 1871. 3 vols. Cr. -8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol I. pp. (iv) + 342. Advertisement of <cite>Sir Harry -Hotspur</cite> occupies p. (ii) facing title.</p> - -<p class='c018'>Vol. II. pp. (iv) + 338.</p> - -<p class='c018'>Vol. III. pp. (iv) + 347 + (1).</p> - -<p class='c018'>Publishers' advertisements, 16 pp., printed on -text paper and paged, bound in at end. Brown -cloth, gilt, blocked in black. Blue-black end-papers.</p> - -<p class='c018'>This story originally appeared in parts, which -were issued as supplements to “St. Paul's Magazine.” -The instalments were paged continuously, -but separately from the rest of the magazine.</p> - -<p class='c018'>Parts I. to XI. were enclosed in fawn paper -wrappers printed in black and red and dated -January, 1870, to November, 1870. Parts XII. to -XVIII. were not wrappered at all, but merely -stitched in at the end of the numbers of the magazine -with their own pagination. The series contained -<span class='pageno' id='Page_59'>59</span>eleven full-page line-engraved illustrations by F. A. -Fraser, the last of which appeared in Part XI.</p> - -<p class='c018'>Apart from that printed on the back wrappers -of Parts I. to XI., no advertisement material was -included with the part issue. Title-page and contents -(4 pp.) for the one-volume edition were supplied -with the eighteenth and last instalment.</p> - -<p class='c018'>Although the real first book edition of the novel -(published in April, 1870) was in three volumes -cr. 8vo. as described above, the type and illustrations -of the “St. Paul's” issue were used in a one-volume -demy 8vo (5⅝ × 7⅞) edition (pp. iv + 434—no -half-title or list of illustrations) issued by Strahan -and Co. in 1871, after the story's serial completion. -This one-volume edition is bound in green cloth, -gilt, blocked in blind, and has dark yellow or terra-cotta -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—The three-volume edition was published on April 6, 1871. -I have failed to establish the exact publishing date of the one-volume -edition, but it was in June or July of the same year. Oddly -enough the later issue is rarer than the earlier, for the sheets were -quickly taken over by Routledge and issued in a different binding -in 1872.</p> - -<h4 class='c017'>1872</h4> - -<p class='c016'>THE GOLDEN LION OF GRANPERE. By <span class='sc'>Anthony -Trollope</span>, author of <cite>Ralph the Heir</cite>, <cite>Can -you Forgive Her?</cite> etc. London: Tinsley Bros., -18 Catherine Street, Strand. 1872. 1 vol. Ex. -Cr. 8vo (5⅛ × 7¾). Pp. (iv) + 353 + (9). Publishers' -advertisements, paged 1 to 6 and dated May, 1872, -occupy pp. 355 to 363. Red-brown cloth, gilt, -blocked in black. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in May, 1872. The story -appeared serially in “Good Words.” It had been written in 1867 -for “Blackwood's,” but had proved unacceptable.</p> - -<p class='c009'>(ii) Copies are sometimes found in dark brown cloth, lettered and -blocked less heavily and with lighter boards. These are probably -later in issue.</p> - -<div> - <span class='pageno' id='Page_60'>60</span> - <h4 class='c017'>1873</h4> -</div> - -<p class='c016'>THE EUSTACE DIAMONDS. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. -1873. 3 vols. Cr. 8vo (5 × 7¼).</p> - -<p class='c018'>Vol. I. pp. viii + 354.</p> - -<p class='c018'>Vol. II. pp. viii + 363 + (1).</p> - -<p class='c018'>Vol. III. pp. viii + 354.</p> - -<p class='c018'>Brown salmon cloth, gilt, blocked in black. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1873, this book was actually published in -December, 1872. The story appeared serially in the “Fortnightly -Review.”</p> - -<h4 class='c017'>1873</h4> - -<p class='c016'>AUSTRALIA AND NEW ZEALAND. By <span class='sc'>Anthony -Trollope</span>. London: Chapman and Hall, 193 Piccadilly. -1873. 2 vols. Demy 8vo (5½ × 8½).</p> - -<p class='c018'>Vol. I. pp. (viii) [paged as vi] + 533 + (1).</p> - -<p class='c018'>Vol. II. pp. (viii) + 516.</p> - -<p class='c018'>Vol. I. contains a coloured map as frontispiece -printed on text paper, and two folding coloured -maps mounted on linen at end. Vol. II. contains -folding coloured map mounted on linen facing p. 1; -four folding coloured maps mounted on linen at -end. Orange brown cloth, gilt, blocked in black. -Dark green end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in March, 1873.</p> - -<p class='c009'>(ii) The text was later split up and issued in four small volumes, -each dealing with a definite province or provinces of Australia and -New Zealand. These little books have no importance as “editions,” -for they contain no matter not include in the original two-volume -issue.</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>PHINEAS REDUX. By <span class='sc'>Anthony Trollope</span>, author -of <cite>Phineas Finn</cite>. With illustrations engraved on -wood. London: Chapman and Hall, 193 Piccadilly. -1874. 2 vols. Demy 8vo (5½ × 8⅛).</p> - -<p class='c018'><span class='pageno' id='Page_61'>61</span>Vol. I. pp. vi + (ii) + 339 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + (ii) + 329 + (3).</p> - -<p class='c018'>Each volume contains twelve illustrations printed -separately. Blue cloth, gilt, blocked in black and -gold. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1874, this book was actually published in -December, 1873. The story appeared serially in “The Graphic.”</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>LADY ANNA. By <span class='sc'>Anthony Trollope</span>. London: -Chapman and Hall, 193 Piccadilly. 1874. 2 vols. -Cr. 8vo (5 × 7¼).</p> - -<p class='c018'>Vol. I. pp. viii + 317 + (1).</p> - -<p class='c018'>Vol. II. pp. viii + 314.</p> - -<p class='c018'>Red-brown cloth, blocked in black and gold. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1874. The story -appeared serially in the “Fortnightly Review.”</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>HARRY HEATHCOTE OF GANGOIL: A Tale of -Australian Bush Life. By <span class='sc'>Anthony Trollope</span>. -London: Sampson, Low, Marston, Low and Searle, -Crown Buildings, 188 Fleet Street. 1874. 1 vol. -Cr. 8vo (5 × 7½). Pp. (iv) + 313 + (3). Publishers' -catalogue, 48 pp., dated October, 1873, bound in -at end. No half-title. Bright blue cloth, gilt, -blocked in blind. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in October, 1874. The -story appeared serially in “The Graphic.”</p> - -<p class='c009'>(ii) The sheets of this edition were, in the year of publication, cut -down and issued in a volume measuring 4½ × 6¾, together with six -full-page line-engraved illustrations, printed separately. This later -issue is bound in green or in violet cloth, blocked in gold and black, -and contains at the end a 40 pp. publishers' catalogue dated -October, 1874.</p> - -<div> - <span class='pageno' id='Page_62'>62</span> - <h4 class='c017'>1875</h4> -</div> - -<p class='c016'>THE WAY WE LIVE NOW. By <span class='sc'>Anthony Trollope</span>. -With forty illustrations. London: Chapman -and Hall, 193 Piccadilly. 1875. 2 vols. Demy -8vo (5½ × 8½).</p> - -<p class='c018'>Vol. I. pp. (viii) + 320.</p> - -<p class='c018'>Vol. II. pp. (viii) + 319 + (1).</p> - -<p class='c018'>Each volume contains twenty illustrations printed -separately. Bright green cloth, blocked in gold -and black. Dark brown end-papers.</p> - -<p class='c018'>This story originally appeared in twenty one-shilling -demy 8vo parts, dated February, 1874, to -September, 1875, bound in greenish-blue wrappers -printed in black and containing the illustrations -afterwards included in the two-volume edition. Each -part contains two full-page illustrations.</p> - -<p class='c009'><span class='sc'>Note</span>—The novel appeared in book form in July, 1875.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>THE WAY WE LIVE NOW: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>The following advertisement pages, etc., should be found in a -complete set. The advertisements at the front of each number are -headed: “The Way We Live Now Advertiser.” All wrappers, -except front covers, are printed with advertisements.</p> - -<p class='c009'><em>Part I: Front</em>—8 pp. <cite>Back</cite>—16 pp., paged in fours, of which -the last eight publishers' lists.</p> - -<p class='c009'><em>Parts II to VIII: Front</em>—4 pp. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part IX: Front</em>—4 pp. <cite>Back</cite>—4 pp.</p> - -<p class='c009'><em>Parts X to XV: Front</em>—4 pp. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XVI: Front</em>—4 pp. <cite>Back</cite>—Publishers' catalogue, 20 pp., -dated April 10, 1875.</p> - -<p class='c009'><em>Parts XVII to XIX: Front</em>—4 pp. <cite>Back</cite>—Nil.</p> - -<p class='c009'><em>Part XX: Front</em>—4 pp. <cite>Back</cite>—Nil. [<cite>Note</cite>—This part contains -half-titles, titles, contents and lists of illustrations (in all 16 pp.) to -both volumes of the novel.]</p> - -<h4 class='c017'>1876</h4> - -<p class='c016'>THE PRIME MINISTER. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. 1876. -4 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'><span class='pageno' id='Page_63'>63</span>Vol. I. pp. (iv) [paged as vi] + 337 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 342.</p> - -<p class='c018'>Vol. III. pp. (iv) [paged as vi] + 346.</p> - -<p class='c018'>Vol. IV. pp. (iv) [paged as vi] + 347 + (1).</p> - -<p class='c018'>No half-titles. Red-brown cloth, gilt, blocked in -black. Cream end-papers.</p> - -<p class='c018'>This story originally appeared in eight cr. 8vo -five-shilling parts, dated 1876 (no title-pages in -Parts I., III., V., and VII.), bound in grey paper -wrappers, printed in black. Part I. appeared in -November, 1875, and subsequent numbers at intervals -of one month.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) The novel was published in volume form in May, 1876.</p> - -<p class='c009'>(ii) Sets of the parts are sometimes met with, bound separately -in red-brown cloth and lettered on spine only with the title of the -book and the number of the part. I cannot establish the relative -dates of the regular four-volume cloth issue and of the eight clothbound -parts.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div>THE PRIME MINISTER: <span class='sc'>Part Issue</span>.</div> - </div> -</div> - -<p class='c009'>Apart from that printed on the wrappers, no advertisement -material was included with the parts of this novel, save that at -front of Part VI was inserted a 4 pp. leaflet (4 × 6⅜) of Chapman -and Hall's Popular Two Shilling novels. Note should, however, -be taken of the incidence of preliminary matter.</p> - -<p class='c009'><em>Part I</em>: (iv) + 1-162. The preliminary matter consists of: Section -half-title, reading: PART I., Vol. I. Verso blank. Title, reading: -<cite>The Prime Minister</cite>. By Anthony Trollope. London: Chapman -and Hall, 193, Piccadilly. 1876. Verso blank. <cite>No</cite> list of contents.</p> - -<p class='c009'><em>Part II</em>: (ii) + 163-337 + (1). Preliminary matter: Section half-title: -PART II., Vol. I. Verso blank.</p> - -<p class='c009'><em>Part III</em>: (vi) [paged as iv] + 1-170. Preliminary matter consists -of: Section half-title, reading: PART III., Vol. II. Verso blank. -Title, as in Part I. Verso blank. Contents of Vol. II. (2 pp.).</p> - -<p class='c009'><em>Part IV</em>: (iv) + 171-342. Preliminary matter: 2 pp. blank. Section -half-title: PART IV., Vol. II. Verso blank.</p> - -<p class='c009'><em>Part V</em>: vi + 1-174. Preliminary matter consists of: Section -half-title, reading: PART V., Vol. III. Verso blank. Title, as -in Parts I. and III. Verso blank. Contents of Vol. III. (2 pp.).</p> - -<p class='c009'><em>Part VI</em>: (iv) + 175-346. Preliminary matter: 2 pp. blank. -Section half-title: PART VI. Verso blank.</p> - -<p class='c009'><em>Part VII</em>: vi + 1-168. Preliminary matter consists of: Section -half-title reading: PART VII., Vol. IV. Verso blank. Title, as -in Parts I., III., and V. Verso blank. Contents of Vol. IV. (2 pp.).</p> - -<p class='c009'><span class='pageno' id='Page_64'>64</span><em>Part VIII</em>: (ii) + 169-347 + (1). Preliminary matter. Section -half-title: PART VIII. Verso blank.</p> - -<p class='c009'>It is evident, from a comparison between the foregoing details and -the collation of the four-volume edition previously described, that -the publishers were compelled, to complete the latter, to print a -contents list to Vol. 1. and to add the words “In four volumes, -Vol. 1.,” etc., to the title-pages. It will be seen that they had so -mismanaged the pagination of the preliminary matter during part -issue, that only one of the four final volumes was correctly paged -throughout.</p> - -<h4 class='c017'>1877</h4> - -<p class='c016'>THE AMERICAN SENATOR. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. -1877. 3 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. viii + 293 + (1).</p> - -<p class='c018'>Vol. II. pp. viii + 293 + (1).</p> - -<p class='c018'>Vol. III. pp. viii + 284.</p> - -<p class='c018'>Yellow-ochre cloth, gilt, blocked in black. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in July, 1877. The story -appeared serially in the “Temple Bar Magazine.”</p> - -<p class='c009'>(ii) There is a remainder binding for this book, but the blocking is -lighter and the sheets are cut to a smaller size.</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>SOUTH AFRICA. By <span class='sc'>Anthony Trollope</span>. London: -Chapman and Hall, 193 Piccadilly. 1878. -2 vols. Sq. Ex. Cr. 8vo (5¼ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. vii + (1) + 352.</p> - -<p class='c018'>Vol. II. pp. vii + (1) + 352.</p> - -<p class='c018'>Folding map in colours faces p. 1 of Vol. I. Red -cloth, gilt, blocked in blind. Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1878.</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>IS HE POPENJOY?: A Novel. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. -1878. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 301 + (3). Publishers' advertisements -occupy pp. (303) and (304).</p> - -<p class='c018'><span class='pageno' id='Page_65'>65</span>Vol. II. pp. vii + (i) + 297 + (3). Publishers' advertisements -occupy pp. (299) and (300).</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 319 + (1).</p> - -<p class='c018'>Red-brown cloth, gilt, blocked in black. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1878. The story appeared -serially in “All the Year Round.”</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>HOW THE 'MASTIFFS' WENT TO ICELAND. -By <span class='sc'>Anthony Trollope</span>. With illustrations by -Mrs. Hugh Blackburn. London: Virtue and Co. -Limited. 1878. 1 vol. Demy 4to (8⅝ × 11⅛). Pp. -(vi) + 46. Bright blue cloth, blocked in gold. Dark -grey end-papers. Coloured map as frontispiece in -lithography; fourteen pencil drawings in lithography, -and two silver print photographs, mounted, -throughout the text. All illustrations printed -separately.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>AN EYE FOR AN EYE. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. 1879. -2 vols. Small Cr. 8vo (4⅝ × 7⅛).</p> - -<p class='c018'>Vol. I. pp. (viii) [paged as vi] + 215 + (1). Publishers' -catalogue, 32 pp., dated December, 1878, -printed on text paper, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (viii) [paged as vi] + 288.</p> - -<p class='c018'>Greenish-ochre cloth, blocked in gold and black. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1879. It was, however, -written in 1871.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>THACKERAY. By <span class='sc'>Anthony Trollope</span>. London: -Macmillan and Co. 1879. 1 vol. Cr. 8vo (5 × 7½). -Pp. vi + (ii) + 210 + (2). List of volumes in the -“English Men of Letters” Series occupies pp. (211) -<span class='pageno' id='Page_66'>66</span>and (212). A volume in the “English Men of -Letters” Series edited by John Morley. Buff cloth, -paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in May, 1879.</p> - -<p class='c009'>(ii) The first issue was bound as described above. Later issues -of the first edition sheets were bound in scarlet or in yellow-ochre -cloth, blocked in black with the Series design, and had black end-papers. -These later copies were slightly cut, the pages measuring -4⅞ × 7⅛.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>JOHN CALDIGATE. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall. 193 Piccadilly. -1879. 3 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. vi + 290.</p> - -<p class='c018'>Vol. II. pp. vi + 296.</p> - -<p class='c018'>Vol. III. pp. vi + 302 + (2).</p> - -<p class='c018'>Grey cloth, gilt, blocked in black. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in June, 1879. The story -appeared serially in “Blackwood's Magazine.”</p> - -<p class='c009'>(ii) There are two varieties in the lettering and blocking of the -volumes of this novel. In one the words “Vol. I.,” “Vol. II.,” -“Vol. III.” on the spines of the volumes are in thicker roman -capitals than in the other. There are also slight differences of -decorative blocking. Which style is the earlier I do not know.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>COUSIN HENRY: A Novel. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall, 193 Piccadilly. 1879. -2 vols. Cr. 8vo (4⅝ × 7⅛).</p> - -<p class='c018'>Vol. I. pp. viii + 219 + (5). Publishers' advertisements -occupy pp. (221) to (223).</p> - -<p class='c018'>Vol. II. pp. viii + 222 + (2).</p> - -<p class='c018'>Light blue cloth, blocked uniform with “An Eye -for An Eye” in black and gold. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November, 1879.</p> - -<div> - <span class='pageno' id='Page_67'>67</span> - <h4 class='c017'>1880</h4> -</div> - -<p class='c016'>THE DUKE'S CHILDREN: A Novel. By <span class='sc'>Anthony -Trollope</span>. London: Chapman and Hall, Limited -193 Piccadilly. 1880. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. viii + 320.</p> - -<p class='c018'>Vol. II. pp. viii + 327 + (1).</p> - -<p class='c018'>Vol. III. pp. viii + 312.</p> - -<p class='c018'>Publishers' catalogue, 24 pp., undated but paged, -bound in at end. Dark blue-green cloth, gilt, -blocked in black. Pink-cream end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1880.</p> - -<h4 class='c017'>1880</h4> - -<p class='c016'>THE LIFE OF CICERO. By <span class='sc'>Anthony Trollope</span>. -London: Chapman and Hall Limited 193 Piccadilly. -1880. 2 vols. Sq. Ex. Cr. 8vo (5⅛ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 419 + (1).</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 424 + (1).</p> - -<p class='c018'>Dark red cloth, gilt. Black end-papers.</p> - -<h4 class='c017'>1881</h4> - -<p class='c016'>DOCTOR WORTLE'S SCHOOL: A Novel. By -<span class='sc'>Anthony Trollope</span>. London: Chapman and Hall -Limited, 193 Piccadilly. 1881. 2 vols. Cr. 8vo -(4¾ × 7¼).</p> - -<p class='c018'>Vol. I. pp. (viii) [paged as vi] + 237 + (3).</p> - -<p class='c018'>Vol. II. pp. (viii) + 246 + (2).</p> - -<p class='c018'>Publishers' catalogue, 28 pp., dated November, -1880, printed on text paper, bound in at end. Grey -cloth, blocked in gold and black. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This novel was published in February, 1881.</p> - -<div> - <span class='pageno' id='Page_68'>68</span> - <h4 class='c017'>1881</h4> -</div> - -<p class='c016'>AYALA'S ANGEL. By <span class='sc'>Anthony Trollope</span>, author -of <cite>Doctor Thorne</cite>, <cite>The Prime Minister</cite>, <cite>Orley Farm</cite> -etc. etc. London: Chapman and Hall (Limited) 11 -Henrietta Street Covent Garden. 1881. 3 vols. -Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. iv + 280.</p> - -<p class='c018'>Vol. II. pp. iv + 272.</p> - -<p class='c018'>Vol. III. pp. iv + 277 + (3).</p> - -<p class='c018'>No half-titles. Orange cloth, gilt, blocked in -black. Blue-black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This novel was published in June, 1881.</p> - -<h4 class='c017'>1882</h4> - -<p class='c016'>WHY FRAU FROHMANN RAISED HER -PRICES: AND OTHER STORIES. By -<span class='sc'>Anthony Trollope</span>, author of <cite>Framley Parsonage</cite>, -<cite>The Small House at Allington</cite> etc. etc. London: -William Isbister Limited 56 Ludgate Hill. 1882. -1 vol. Large Cr. 8vo (5¼ × 7¾). Pp. vi + (ii) + 416. -Pale olive-green cloth, gilt, blocked in black. Dark -chocolate end-papers.</p> - -<p class='c009'><em>Contents</em>: Why Frau Frohmann Raised Her Prices—The Lady -of Launay—Christmas at Thompson Hall—The Telegraph Girl—Alice -Dugdale.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Copies of this book were also issued in two volumes, -but with the same pagination and composed of the same sheets as -the more usual one-volume issue. A new edition, with a frontispiece, -was issued in November, 1882.</p> - -<p class='c009'>(ii) In 1885, under the title <cite>Thompson Hall</cite>, the third story in this -volume was issued separately by Messrs. Sampson Low. In some -quarters the little book is regarded as a first edition and highly -valued accordingly, but in truth it is not bibliographically an item -of any importance, being a textual reprint of <cite>Christmas at Thompson -Hall</cite>, under a slightly different title and with the addition of a few -second-rate illustrations. For the benefit of those interested, the -description and collation of the book is as follows:</p> - -<p class='c008'>THOMPSON HALL. By <span class='sc'>Anthony Trollope</span>, author of <cite>The -Prime Minister</cite>, <cite>Orley Farm</cite> etc. etc. With illustrations. -<span class='pageno' id='Page_69'>69</span>London: Sampson Low, Marston, Searle and Rivington. -Crown Buildings, 188 Fleet Street. 1885. 1 vol. Cr. 8vo -(4¾ × 7). Pp. 127 + (1). Publishers' advertisements occupy -pp. (iv) and (128). Eight line-engraved illustrations printed on -text paper. Grey paper boards, printed in dark blue and -brown. White end-papers.</p> - -<h4 class='c017'>1882</h4> - -<p class='c016'>LORD PALMERSTON (English Political Leaders). -By <span class='sc'>Anthony Trollope</span>. London: Wm. Isbister -Limited 56 Ludgate Hill, 1882. 1 vol. Cr. 8vo -(4¾ × 7¼). Pp. (iv) + 220. No half-title. Smooth -red-brown cloth, lettered in black. Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was reissued the following year with title-page -dated 1883 but without any indication of there having been a -previous edition. The later issue is bound in <em>grained</em> cloth of the -same colour as that originally used and has <em>white</em> end-papers.</p> - -<h4 class='c017'>1882</h4> - -<p class='c016'>KEPT IN THE DARK: A Novel. By <span class='sc'>Anthony -Trollope</span>. With a frontispiece by J. E. Millais -R.A. London: Chatto and Windus, Piccadilly. -1882. 2 vols. Short Cr. 8vo (5 × 7).</p> - -<p class='c018'>Vol. I. pp. (viii) + 253 + (3).</p> - -<p class='c018'>Vol. II. pp. (viii) + 239 + (1).</p> - -<p class='c018'>Publishers' catalogue, 32 pp., dated July, 1882, -bound in at end. Grey-green cloth, gilt, blocked in -black and red-brown. Blue and white decorated -end-papers. Line-engraved frontispiece to Vol. I. -printed separately.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1882.</p> - -<h4 class='c017'>1882</h4> - -<p class='c016'>MARION FAY: A Novel. By <span class='sc'>Anthony Trollope</span>, -author of <cite>Framley Parsonage</cite>, <cite>Orley Farm</cite>, <cite>The -Way We Live Now</cite> etc. etc. London: Chapman -and Hall Limited, 11 Henrietta Street. 1882. 3 vols. -Cr. 8vo (4⅞ × 7½).</p> - -<p class='c018'><span class='pageno' id='Page_70'>70</span>Vol. I. pp. viii + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. viii + 282 + (2).</p> - -<p class='c018'>Vol. III. pp. viii + 271 + (1).</p> - -<p class='c018'>Yellow-ochre cloth, gilt, blocked in black. Dark -brown or yellow end-papers.</p> - -<h4 class='c017'>1882</h4> - -<p class='c016'>THE FIXED PERIOD: A Novel. By <span class='sc'>Anthony -Trollope</span>. Wm. Blackwood and Sons, Edinburgh -and London, <span class='fss'>MDCCCLXXXII</span>. 2 vols. Small Cr. 8vo -(4¾ × 7).</p> - -<p class='c018'>Vol. I. pp. (vi) + 200.</p> - -<p class='c018'>Vol. II. pp. (vi) + 203 + (1).</p> - -<p class='c018'>The words “Originally published in 'Blackwood's -Magazine'” occupy verso of half-title in -each volume. Dark red cloth, gilt. Dark green -end-papers.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>MR. SCARBOROUGH'S FAMILY. By <span class='sc'>Anthony -Trollope</span>. London: Chatto and Windus, Piccadilly. -1883. 3 vols. Cr. 8vo (4⅞ × 7¼).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 308. Publishers' catalogue, -32 pp., dated March, 1883, bound in at end.</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 326 + (2).</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 325 + (3).</p> - -<p class='c018'>Greenish-blue cloth, gilt, blocked in red-brown. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This novel was published in May, 1883. The story -appeared serially in “All the Year Round.”</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>THE LANDLEAGUERS. By <span class='sc'>Anthony Trollope</span>. -London: Chatto and Windus, Piccadilly. 1883. -3 vols. Cr. 8vo (4⅞ × 7¼).</p> - -<p class='c018'>Vol. I. pp. vii + (iii) + 280. Note by Henry M. -Trollope occupies p. (ix).</p> - -<p class='c018'><span class='pageno' id='Page_71'>71</span>Vol. II. pp. vii + (i) + 296.</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 291 + (1).</p> - -<p class='c018'>Publishers' catalogue, 32 pp., dated October, -1883, bound in at end. Dark green cloth, gilt, -blocked in yellow. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1883.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>AN AUTOBIOGRAPHY. By <span class='sc'>Anthony Trollope</span>. -Wm. Blackwood and Sons, Edinburgh and London. -<span class='fss'>MDCCCLXXXIII</span>. 2 vols. Sq. Ex. Cr. 8vo (5⅛ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. xi + (iii) + 259 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + 227 + (5). Publishers' advertisements -paged 1 to 4 occupy pp. (229) to (232).</p> - -<p class='c018'>Publishers' catalogue, 24 pp., undated but paged -and printed on text paper, bound in at end. Portrait -in photogravure as frontispiece to Vol. I. Dark -red cloth, gilt, blocked and lettered on side in black. -Dark green end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November, 1883.</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>AN OLD MAN'S LOVE. By <span class='sc'>Anthony Trollope</span>. -Wm. Blackwood and Sons, Edinburgh and London. -<span class='fss'>MDCCCLXXXIV</span>. 2 vols. Sm. Cr. 8vo (4¾ × 7).</p> - -<p class='c018'>Vol. I. pp. (viii) + 226.</p> - -<p class='c018'>Vol. II. pp. (vi) + 219 + (1).</p> - -<p class='c018'>Publishers' advertisements, 4 pp., numbered 1-4, -and printed on text paper, bound in at end. Red -cloth, gilt, uniform with <cite>The Fixed Period</cite>. Dark -brown end-papers.</p> - -<div> - <span class='pageno' id='Page_72'>72</span> - <h3 class='c015'>II.—BOOKS PARTIALLY WRITTEN BY ANTHONY TROLLOPE</h3> -</div> - -<h4 class='c017'>1861</h4> - -<p class='c016'>THE VICTORIA REGIA: <span class='sc'>A Volume of Original -Contributions in Poetry and Prose</span>. Edited by -Adelaide A. Procter. London: Printed and Published -by Emily Faithfull and Co., Victoria Press -(for the Employment of Women), Great Coram -Street, W.C. 1861. 1 vol. Royal 8vo (6¼ × 9⅜). -Pp. x + 349 + (1). No half-title. Red-brown embossed -cloth, all edges gilt, blocked in gold and blind. Red -chocolate end-papers.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>A WELCOME: <span class='sc'>Original Contributions in Poetry -and Prose.</span> London: Emily Faithfull, Printer and -Publisher in Ordinary to Her Majesty, Princes -Street, Hanover Square, and 183<span class='fss'>A</span> Farringdon -Street. 1863. 1 vol. Imp. 16mo (5½ × 7¾). Pp. -vi + (ii) + 291 + (1). Green cloth, full gilt, blocked in -gold. Pale pink end-papers. A story by Anthony -Trollope entitled <cite>Miss Ophelia Gledd</cite> occupies -pp. 239 to 283. This is the first appearance of a story -later included in <cite>Lotta Schmidt and other Stories</cite>.</p> - -<p class='c009'>NOTE.--Pp. 187 to 214 are occupied by a story by Anthony Trollope -entitled <cite>The Journey to Panama</cite>. This is the first appearance in book -form of a tale afterwards published in <cite>Lotta Schmidt and other Stories</cite>.</p> - -<h4 class='c017'>1868</h4> - -<p class='c016'>BRITISH SPORTS AND PASTIMES 1868. Edited -by <span class='sc'>Anthony Trollope</span>. London: Virtue and Co., -26 Ivy Lane. New York: Virtue and Yorston. -1868. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (vi) + 322. -Bright green embossed cloth, gilt, with title printed -both on spine and side. Pale yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: On Horse-Racing—On Hunting—On Shooting—On -Fishing—On Yachting—On Rowing—On Alpine Climbing—On -Cricket. Trollope was responsible for the preface (pp. 1-7) and the -Essay “On Hunting” (pp. 70-129).</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in November, 1868. The -contents had appeared in “St. Paul's Magazine.”</p> - -<p class='c009'>(ii) The sheets of the first edition were later issued without change -of date in a slightly different green binding, without the title in gold -on the side, and bearing as imprint on spine, Daldy, Isbister and Co. -The reissue was cut down to cr. 8vo, and the end-papers were -chocolate instead of yellow.</p> - -<p class='c009'><span class='pageno' id='Page_73'>73</span>(iii) A still later issue of the book in its reduced format was -bound in bright blue cloth, blocked in gold and black. This binding -bears no imprint on spine, and was probably carried out by -W. H. Smith and Son for a balance of edition purchased by them. -George Eliot's novel <cite>Felix Holt</cite> was treated in this way by Smiths -some twelve years after publication, and the binding is very similar -to that now under consideration.</p> - -<h3 class='c015'><i>NOTE</i></h3> - -<p class='c020'>It is stated by Margaret Lavington in her appendix to -Escott's book that Trollope “printed but never published” -several of his lectures. I have been unable to -trace any privately printed lectures, but feel sure that -Trollope's first bibliographer would not speak of them -as she does without certain knowledge of their existence. -The titles mentioned are:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>The Civil Service as a Profession</span>,</div> - <div class='line'><span class='sc'>The War in America</span>,</div> - <div class='line'><span class='sc'>English Prose Fiction as a National Amusement</span>,</div> - <div class='line'><span class='sc'>The Higher Education of Women</span>.</div> - </div> - </div> -</div> - -<p class='c000'>No dates or other details are given.</p> - -<p class='c000'>From the same source I borrow a statement that a -study of Thackeray by Trollope, originally printed in -the “Cornhill,” was republished as part of Theodore -Taylor's book <cite>Thackeray: The Humourist and Man of -Letters</cite>, which was issued in 1864. It is noticeable that -Margaret Lavington speaks of the publisher of this book -as Appleton of New York. A book of the same title by -the same author was issued in the same year by Hotten -of Piccadilly, and it is a fair presumption that the -volumes are identical, but, although I have been carefully -through the volume issued by Hotten, I cannot identify -any section as contributed by Trollope.</p> - -<div class='chapter'> - <span class='pageno' id='Page_75'>75</span> - <h2 class='c006'>FREDERICK MARRYAT<br /> <span class='large'>1792-1849</span></h2> -</div> - -<div><span class='pageno' id='Page_77'>77</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>FREDERICK MARRYAT</div> - </div> -</div> - -</div> -<p class='c012'>The reputation of Captain Marryat has suffered at the -hands of time somewhat differently from that of many -of his contemporaries. Superficially he has fared better -than they, for, if little read except by boys, he is at least -acknowledged as a classic, and there are few adult novel -readers who could not from their own childhood gather -sufficient memories to characterize in summary some of -his best known books.</p> - -<p class='c000'>Nevertheless, it is arguable that the forgotten author -is happier than he who is accepted but unread. A -revival of interest in the books of a man not already -docketed and filed in the appreciation of his age may -develop a new perspective. The body of his work may -be exhumed and permanently lodged in its proper niche -of the catacombs of literature. More hardly shall this -befall such a one as Marryat, who is “placed” already -as a writer of sea stories for boys and as an instructor -in adventure for young people.</p> - -<p class='c000'>Who shall deny that he is all of this? His fame as -a novelist of naval escapade, of risk and makeshift -among pirates and barbarians, is fame deserved. The -difficulty for one concerned to reappraise his work lies in -the fact that there is more to him than is here implied. -He is the only writer in the tradition of Fielding and -Smollett who can claim consideration on the same plane -as these famous authors. That he is overtopped by <cite>Tom -Jones</cite> no one will dispute, but that he ranks with and not -after Smollett is a contention that permits of argument.</p> - -<p class='c000'>The first result of an attempt to classify the books of -Captain Marryat is a realization that two of his finest -works are—the one wholly, the other mainly—unconcerned -with ships or seafarers. <cite>Japhet in Search of a -Father</cite> (1836) is a picturesque tale of vagabondage and -<span class='pageno' id='Page_78'>78</span>social escapade. <cite>The Pacha of Many Tales</cite> (1835) is an -adaptation of “The Arabian Nights,” a series of narratives -held together by a framework of Oriental despotism.</p> - -<p class='c000'><cite>Japhet</cite> is partnered by two later novels—<cite>Joseph Rushbrook; -or, The Poacher</cite> (1841) and <cite>Valerie</cite> (1849). All -three are land as opposed to sea novels, and the first two -show the fertile invention of the author, his power of -describing rogues and fashionable grotesques. But -whereas <cite>Japhet</cite> is the best book Marryat ever wrote, <cite>The -Poacher</cite> is a little weary, for it dates from the last period -of the writer's life, when ill-health and money troubles -were pressing hardly on a man already exhausted by a -reckless youth; while <cite>Valerie</cite>, the autobiography of a -French girl cast on her own resources in Paris and in -London, had better have been left, as Marryat left it, a -fragment cut short by sickness and by death.</p> - -<p class='c000'><cite>The Pacha of Many Tales</cite> stands quite alone and -stands proudly. Marryat's humour is in this book congenial -to the modern reader, while of fantastic happening -few works of fiction can show so rich a store. It is -hard to understand why this admirable parody of the -“Thousand and One Nights” is to-day so little read. -Perhaps some enterprising publisher will extract the -story of Huckaback and issue it, grotesquely illustrated. -It should find its market.</p> - -<p class='c000'>The sea stories proper need little comment. They are -eleven in number:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>The Naval Officer</span>; or, <span class='sc'>Frank Mildmay</span> (1829),</div> - <div class='line'><span class='sc'>The King's Own</span> (1830),</div> - <div class='line'><span class='sc'>Newton Forster</span>; or, <span class='sc'>The Merchant Service</span> (1832),</div> - <div class='line'><span class='sc'>Peter Simple</span> (1834),</div> - <div class='line'><span class='sc'>Jacob Faithful</span> (1834),</div> - <div class='line'><span class='sc'>Mr. Midshipman Easy</span> (1836),</div> - <div class='line'><span class='sc'>The Pirate. The Three Cutters</span> (1836),</div> - <div class='line'><span class='sc'>Poor Jack</span> (1840),</div> - <div class='line'><span class='sc'>Percival Keene</span> (1842),</div> - <div class='line'><span class='sc'>The Privateer's-Man</span> (1846).</div> - </div> - </div> -</div> - -<p class='c000'><span class='pageno' id='Page_79'>79</span>The first of these titles is pure autobiography and, as -the author himself admitted, lacks most of the essentials -of fiction. The story is of the slightest and most perfunctory, -the book being little more than an account of -Marryat's own early adventures at sea. David Hannay, -in his excellent little <cite>Life of Marryat</cite>, remarks acutely -on the peculiar meanness of the hero's character—a -meanness that makes an even more repellant appearance -in the last but one of the sea stories—<cite>Percival Keene</cite>. -Seeing that Marryat was writing of himself and that the -events in the life of Frank Mildmay must have been -easily recognizable by naval contemporaries, it is remarkable -that he should present his central figure so unsympathetically, -<em>unless he failed to realize the young man's -shortcomings</em>. Perhaps in part he saw his mistake, for -in the five novels that followed <cite>The Naval Officer</cite> he -offers the reader more respectable but more colourless -heroes. When the time came for writing <cite>Percival -Keene</cite>, either he had forgotten the warnings of twelve -years before or else he was tired of erecting dummy -humanity to placate the idealism of his readers.</p> - -<p class='c000'>The constructional weakness of <cite>The Naval Officer</cite> -Marryat took pains to correct in his succeeding books. -<cite>Peter Simple</cite>, <cite>Jacob Faithful</cite> and the rest may depend -for their vitality and attraction on the excitements -encountered by their heroes while voyaging the seas or -fighting in the wars. Certainly the by-plots are unimportant -and conventional. But the author was careful -in them all to give to the <em>course</em> of the heroes' adventures -a real prominence and coherence, so that we read with -an anxiety to know what happens next and are not, as in -<cite>The Naval Officer</cite>, continually brought up by naval -“shop” or invited to feel indignant sympathy with the -members of a noble but scurvily treated service.</p> - -<p class='c000'><cite>The Pirate</cite> and <cite>The Privateer's-Man</cite> are exciting tales -of ocean brigandage, the latter having in addition an -antiquarian interest, for the first portion of the story is -based on the actual life-record of an old time sea-rover. -<cite>Poor Jack</cite>, although told in the first person and comprising -<span class='pageno' id='Page_80'>80</span>scenes on shipboard and adventurous happenings at -sea of a kind to suggest comparison with <cite>Mr. Midshipman -Easy</cite>, has an historical interest apart from its -value as fiction, because it is an account of Greenwich -Hospital, in those days a retreat for wounded seamen.</p> - -<p class='c000'>Two groups remain among the stories of Frederick -Marryat. <cite>Snarleyow</cite> (1837) and <cite>The Phantom Ship</cite> -(1839) stand definitely apart from the rest of the novels. -Both tell of Dutch seafaring in the old days and both -introduce a strong element of the weird and the mysterious. -That Marryat should in these books have come -under the influence of the “terror” motive in fiction is -surprising and interesting. After reading <cite>Japhet</cite> or -<cite>Mr. Midshipman Easy</cite> one would declare that nothing -was farther from the talent of their author than an excursion -into the “horrid.” And yet both <cite>Snarleyow</cite> and -<cite>The Phantom Ship</cite> are excellent books, which rank high -among Marryat's novels for liveliness and for characterization -and, in addition, merit notice for their fearsomeness. -Of their value as historical documents I am -unqualified to speak, but it may be presumed that before -writing them the author studied the lives and methods -of seventeenth and eighteenth century Dutch mariners, -for both books are circumstantially staged and show no -desire to shirk description of contemporary fact.</p> - -<p class='c000'>Of the stories written definitely for children the best -known (and rightly) is <cite>Masterman Ready</cite> (1841-1842). -It was followed by <cite>The Travels and Adventures of -Monsieur Violet</cite> (1843); <cite>The Settlers in Canada</cite> (1844); -<cite>The Mission; or, Scenes in Africa</cite> (1845); <cite>The Children -of the New Forest</cite> (1847); and <cite>The Little Savage</cite> -(1848-1849).</p> - -<p class='c000'><cite>Monsieur Violet</cite> is an improbable and tedious tale of -Red Indians and Mormons. The rest—with the exception -of <cite>The Children of the New Forest</cite>, which is a story -of Cavaliers and Roundheads—tell in one form or another -the eternal tale of young adventurers in wild countries.</p> - -<p class='c000'>Marryat loved children and knew how to tell stories -that they could like and understand. This to-day is -<span class='pageno' id='Page_81'>81</span>undisputed. But that he is equally a novelist for the -critical sorely needs reaffirmation. His juvenile public -has been more faithful to him than that of maturer years, -and one can only hope that time will restore him to the -affection of the adult. <cite>Masterman Ready</cite> is as fresh -to-day as when, eighty years ago, it first appeared; but -the freshness is due as much to Marryat as to his youthful -admirers, and that same freshness is no less present -in the best of his other books than it is in this children's -classic. Let the modern novel reader have no fear. In -taking up <cite>Japhet</cite>, or <cite>Peter Simple</cite>, or <cite>A Pacha of Many -Tales</cite>, he will take up a fine book and good literature, -and not merely a poker with which to rake among the -ashes of his own vanished childhood.</p> - -<h3 class='c015'><i>BIOGRAPHY</i></h3> - -<p class='c020'>Two books have appeared dealing with the life and -work of Frederick Marryat:</p> - -<p class='c008'>LIFE AND LETTERS OF CAPTAIN MARRYAT. -By <span class='sc'>Florence Marryat</span>. 2 vols. London: Bentley, -1872.</p> - -<p class='c018'>Like so many loyal and affectionate biographers, -Mrs. Ross Church is too casual a user of dates and -too summary an adherent to chronology to allow to -her book great reference value.</p> - -<p class='c008'>LIFE OF FREDERICK MARRYAT. By <span class='sc'>David -Hannay</span>. London: Walter Scott. 1889.</p> - -<p class='c018'>This is an admirable little book so far as the main -text is concerned. Its bibliography, however, although -valuable for the list given of biographical -and critical articles devoted to Marryat, as well as -for facts regarding subsequent editions of Marryat's -works, is very unreliable as an authority on first -editions.</p> - -<div> - <span class='pageno' id='Page_82'>82</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> FICTION, ESSAYS, NAVAL TECHNICAL BOOKS</h3> -</div> - -<h4 class='c017'>1817</h4> - -<p class='c016'>A CODE OF SIGNALS FOR THE USE OF -VESSELS EMPLOYED IN THE MERCHANT -SERVICE. By <span class='sc'>Captain Marryat</span>, R.N. Dedicated -to the Committee of the Association of Shipowners -of the Port of London. London: J. M. -Richardson, 23 Cornhill. 1817. 1 vol. Royal 8vo -(6⅛ × 9¾). No pagination, the book consisting -wholly of tabulated code. Frontispiece, folding -plate, and one full-page plate in colours. Paper -boards, paper label on side only, printed in black. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—I have only been able to consult the sixth edition of this -book as issued revised in 1837 and a seventh edition, further revised, -as issued in 1840; but that it appeared originally in the same form -and over the same imprint is proved by the retention in the later -edition of the author's original prefatory letter, dedicating his work -to the Association of Shipowners.</p> - -<h4 class='c017'>1822</h4> - -<p class='c016'>SUGGESTION FOR THE ABOLITION OF THE -PRESENT SYSTEM OF IMPRESSMENT IN -THE NAVAL SERVICE. By <span class='sc'>Captain Marryat</span>, -R.N. (Quotation.) London: Printed by W. -Hughes, Maiden Lane, Covent Garden. Published -by J. M. Richardson, Cornhill and sold by all -booksellers. 1822. 1 vol. Demy 8vo (5½ × 8¾). -Pp. (iv) + 64. The half-title serves as front wrapper -and bears the words “Price 2/6d.” No back -wrapper, p. 64 being the outside back page of the -pamphlet.</p> - -<div> - <span class='pageno' id='Page_83'>83</span> - <h4 class='c017'>1829</h4> -</div> - -<p class='c016'>THE NAVAL OFFICER: Or <span class='sc'>Scenes and Adventures -in the Life of Frank Mildmay.</span> (Quotation -from Don Juan.) London: Henry Colburn, New -Burlington Street. 1829. 3 vols. Ex. Cr. 8vo -(4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (iv) + 297 + (3). Publisher's advertisements -occupy pp. (299) (300).</p> - -<p class='c018'>Vol. II. pp. (iv) + 310 + (2). Publisher's advertisements -occupy pp. (311) (312).</p> - -<p class='c018'>Vol. III. pp. (iv) + 270 + (2).</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on March 14, 1829.</p> - -<h4 class='c017'>1830</h4> - -<p class='c016'>THE KING'S OWN. By the author of <cite>The Naval -Officer</cite>. (Quotation from Shakespeare's <cite>Pericles</cite>.) -London: Henry Colburn and Richard Bentley, -New Burlington Street. 1830. 3 vols. Ex. Cr. -8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (iv) + 324. Note of erratum occupies -verso of half-title.</p> - -<p class='c018'>Vol. II. pp. (iv) + 325 + (1). Note of errata occupies -verso of half-title.</p> - -<p class='c018'>Vol. III. pp. (iv) + 327 + (5). Note of errata -occupies verso of half-title. Publishers' advertisements, -paged (1), 2, 3, (4), occupy pp. (329) to (332).</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on April 15, 1830.</p> - -<h4 class='c017'>1832</h4> - -<p class='c016'>NEWTON FORSTER: Or <span class='sc'>The Merchant Service.</span> -By the author of <cite>The King's Own</cite>. “Honesty is -the best policy.” London: James Cochrane and -Co., 11 Waterloo Place, Pall Mall. 1832. 3 vols. -Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (iv) + 270 + (2). Publishers' advertisements -occupy pp. (271) (272).</p> - -<p class='c018'><span class='pageno' id='Page_84'>84</span>Vol. II. pp. (iv) + 295 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 260. Publishers' advertisements -occupy pp. (253) to (260).</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1832, this book was actually published in -December, 1831.</p> - -<h4 class='c017'>1834</h4> - -<p class='c016'>PETER SIMPLE. By the author of <cite>Newton Forster</cite>, -<cite>The King's Own</cite> etc. London: Saunders and Otley, -Conduit Street. 1834. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 328. No half-title.</p> - -<p class='c018'>Vol. II. pp. viii + 343 + (1). Half-title to this volume.</p> - -<p class='c018'>Vol. III. pp. viii + 380 + (4). Publishers' advertisements -dated November, 1833, occupy pp. (381) -to (384). No half-title. Inserted in Vol. III. should -be a list of errata.</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Although dated 1834, this book was actually published -in December, 1833. The story ran serially in the “Metropolitan -Magazine” from June, 1832, to December, 1833. Marryat -edited this magazine from 1832 to 1836.</p> - -<p class='c009'>(ii) An edition of the book, illustrated by R. W. Buss, was -published by Saunders and Otley, in 1837, in three volumes. Extra -cr. 8vo. Dark green embossed cloth, gilt. Yellow end-papers.</p> - -<h4 class='c017'>1834</h4> - -<p class='c016'>JACOB FAITHFUL. By the author of <cite>Peter Simple</cite>, -<cite>The King's Own</cite> etc. London: Saunders and Otley, -Conduit Street. 1834. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 304. Advertisement of <cite>Peter -Simple</cite> occupies p. (ii). No half-title.</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 301 + (3). Publishers' advertisements -occupy pp. (303) (304). No half-title.</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 307 + (1). No half-title.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in November or December, -1834. The story ran serially in the “Metropolitan Magazine” -from September, 1833, to December, 1834.</p> - -<p class='c009'><span class='pageno' id='Page_85'>85</span>(ii) An edition of the book, illustrated by R. W. Buss, was -published by Saunders and Otley in 1837 in three volumes. Ex. -cr. 8vo. Maroon embossed cloth, gilt. Yellow end-papers.</p> - -<p class='c009'>(iii) It was the intention of the publishers to bring out an illustrated -edition of all Marryat's novels, one novel to appear each month, -beginning on April 1, 1837; but only <cite>Jacob Faithful</cite> and <cite>Peter -Simple</cite> were issued, and the series was abandoned, doubtless -because in that year Marryat quarrelled with Saunders and Otley -and found a different publisher.</p> - -<h4 class='c017'>1835</h4> - -<p class='c016'>THE PACHA OF MANY TALES. By the author -of <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite> etc. London: -Saunders and Otley, Conduit Street. 1835. 3 vols. -Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 308 + (4). Publishers' advertisements -occupy pp. (309) to (312). Advertisement of -books by the same author occupies p. (ii) facing title.</p> - -<p class='c018'>Vol. II. pp. (iv) + 300.</p> - -<p class='c018'>Vol. III. pp. (iv) + 312.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1835. The stories -appeared intermittently in the “Metropolitan Magazine” between -June, 1831, and May, 1835.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>THE PIRATE, AND THE THREE CUTTERS. By -<span class='sc'>Captain Marryat</span>, R.N. Illustrated with twenty -splendid engravings from drawings by Clarkson -Stanfield Esq., R.A. London: Published for the -Proprietor by Longman, Rees, Orme, Brown, -Green and Longman. 1836. Large Med. 8vo -(5⅞ × 9⅛). Pp. (viii) + 315 + (1). The book contains -twenty full-page illustrations in steel engraving, of -which two—an engraved portrait frontispiece and -picture title-page—precede printed title. Cream -paper boards, gilt, lettered on spine in gold <span class='sc'>The -Pirate by Capt<sup>n.</sup> Marryat</span>. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Although dated 1836, this book was actually published -in December, 1835.</p> - -<p class='c009'>(ii) Copies are more frequently met with in maroon cloth, blocked -<span class='pageno' id='Page_86'>86</span>in gold and lettered on spine <span class='sc'>Marryats Pirate and the Three -Cutters</span>. This cloth binding (of which two styles at least are -extant) is probably not so early in date as the paper-board binding -described above. Definite information is impossible to obtain, but -the evidence of similar illustrated books of the period (<i><span lang="la" xml:lang="la">e.g.</span></i>, Lytton's -<cite>Pilgrims of the Rhine</cite>) supports the theory here laid down.</p> - -<p class='c009'>(iii) A large paper edition, imperial 8vo (11 × 7½), was issued -simultaneously, with plates printed on India paper and bound in -green paper boards, half dark-green figured cloth, cream paper -label, the last being lettered in gold: <span class='sc'>The Pirate by Capt<sup>n.</sup> -Marryat</span>. White end-papers. Copies of the large paper edition -also exist in maroon cloth, blocked in gold and blind and lettered -on the spine: <span class='sc'>Marryats Pirate and the Three Cutters</span>. As -with the ordinary edition, these full cloth copies are of later issue -than those in boards.</p> - -<p class='c009'>(iv) In all Longman's first editions the plates bear the following -legend: 'Published Dec<sup>r</sup>. 1, 1835 for the proprietor by Longman -and Co., Paternoster Row.' The book was, however, never -issued with a <em>printed</em> title of that year. That the actual plates -were published prior to the Longman book edition is proved by -the fact that I have myself a set, both before and after “letters,” -bearing the legend: 'London. Published Oct<sup>r</sup>. 1835 for the proprietor -by Charles Tilt, 86 Fleet Street.' In every other respect, -even down to the page references, the wording on these early dated -plates is identical with that used for Longman's book edition.</p> - -<p class='c009'>(v) A curious feature of this book's publishing history is its issue -in parts, nine years after its appearance in book form. In 1845 -there appeared over the imprint A. Fullarton and Co., 106 Newgate -Street, London; 67 Abbey street, Dublin; Steads Place, Leith -Walk, and 5 Nicholson Street, Edinburgh, fifteen shilling parts -(6 × 9½), bound in buff paper wrappers printed in red-brown, and -illustrated with steel engravings after Clarkson Stanfield. These -engravings are twenty in number and identical with those in the -first book edition, except that the Longmans imprint has been -substituted on the plates by that of Fullarton, and the printer's -name and the date of issue have been expunged. The distribution -of plates among the fifteen parts is as follows: Parts I. IV. VI. -VIII. X. contain two plates each; Parts II. III. V. VII. IX. -XI. XII. XIII. XIV. and XV. contain one plate each. Publishers' -advertisements occupy outside back wrappers. No date -appears on the parts, but a title-page (with other preliminary -matter) enclosed in Part XV. is dated <span class='fss'>MDCCCXLV</span>.</p> - -<p class='c009'>The text of the book was clearly reset for this part issue, so -there can be no question of a refurbishing of Longman sheets. -It may be noted that, according to the wrappers, the plates were -“engraved under the superintendence of Mr. Charles Heath.” -<span class='pageno' id='Page_87'>87</span>(This person was responsible for the principal Books of Beauty, -Keepsakes, and similar gift publications issued in large numbers -toward Christmas time between 1840 and 1850 and distinguished -by their beautiful steel engravings.)</p> - -<p class='c009'>There being no indication that the plates were re-engraved for -the Fullarton edition, it may be presumed either that Heath superintended -their original production in 1835 but had not at that time -the “selling name” that by 1845 was his, or that Fullarton, -anxious to give to their reissue something of novelty, paid Heath -for a supervisory activity of a nominal kind in order to have the -use of his name on their wrappers.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>JAPHET IN SEARCH OF A FATHER. By the -author of <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite>, etc. -London: Saunders and Otley, Conduit Street. 1836. -3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. viii + 304. Advertisement of other -works by same author occupies verso of half-title.</p> - -<p class='c018'>Vol. II. pp. viii + 299 + (1). No half-title.</p> - -<p class='c018'>Vol. III. pp. viii + 319 + (5). Publishers' advertisements -occupy pp. (321) to (324). No half-title.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published early in January, 1836. The -story ran serially in the “Metropolitan Magazine” from October, -1834, to January, 1836.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>STORIES OF THE SEA. By <span class='sc'>Captain Marryat</span>, R.N. -author of <cite>Peter Simple</cite>, <cite>Japhet in Search of a Father</cite> -etc. New York: Published by Harper and Brothers, -No. 82 Cliff Street. 1836. 1 vol. Sm. Cr. 8vo -(4½ × 7¼). Pp. (236) [paged as 232 + (2)]. No printed -half-title, but 2 pp. blank precede title and form -part of the book, although omitted from page reckoning. -Advertisement to the American edition, dated -January, 1836, occupies p. (3). Figured maroon -cloth, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book is the American edition of <cite>The Pirate and the -Three Cutters</cite>. It also contains Marryat's story <cite>Moonshine</cite>, which -originally appeared in <cite>The Keepsake</cite> and was not published in book -form in England until its inclusion in <cite>Olla Podrida</cite> in 1840.</p> - -<div> - <span class='pageno' id='Page_88'>88</span> - <h4 class='c017'>1836</h4> -</div> - -<p class='c016'>MR. MIDSHIPMAN EASY. By the author of <cite>Japhet -in Search of a Father</cite>, <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite> -etc. Saunders and Otley, Conduit Street. 1836. -3 vols. Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 291 +(1). Advertisement of -author's previous works occupies verso of half-title.</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 306 + (2). Publishers' -advertisement occupies verso of half-title, and 2 pp. -publishers' advertisements, dated July, 1836, occupy -pp. (307) (308).</p> - -<p class='c018'>Vol. III. pp. viii + 314 + (2). Publishers' advertisement -occupies verso of half-title and pp. (315) -(316).</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in September, 1836. One -instalment was printed in the “Metropolitan Magazine” in July, -1836, but serialization was never completed.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>THE DIARY OF A BLASÉ. By the author of <cite>Jacob -Faithful</cite>, <cite>Peter Simple</cite> etc. Philadelphia: E. L. -Carey and A. Hart. 1836. 1 vol. Ex. Cr. 8vo -(4¾ × 7¾). Pp. 197 + (1). Paper boards, paper label. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—I cannot establish the month of publication of this book, -but twenty-eight chapters of a work entitled <cite>The Diary of a Blasé</cite> -appeared serially in the “Metropolitan Magazine” to July, 1836, -at which point the narrative was left incomplete. It made no -separate appearance in book form in England, being included under -the title <cite>Diary on the Continent</cite> in <cite>Olla Podrida</cite> (see below—1840).</p> - -<h4 class='c017'>1837</h4> - -<p class='c016'>SNARLEYOW or <span class='sc'>The Dog Fiend</span>. By the author -of <cite>Peter Simple</cite>, <cite>Frank Mildmay</cite> etc. London: -Henry Colburn, Publisher, 13 Great Marlborough -Street. 1837. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞).</p> - -<p class='c008'><span class='pageno' id='Page_89'>89</span>Vol I. pp. viii + 307 + (5). Publisher's advertisements -occupy pp. (309) to (312).</p> - -<p class='c008'>Vol. II. pp. vii + (i) + 299 + (1).</p> - -<p class='c008'>Vol. III. pp. viii + 307 + (1).</p> - -<p class='c008'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1837. The story ran -serially in the “Metropolitan Magazine” from February, 1836, to -July, 1837. Marryat changed his publisher with this novel, -because Saunders and Otley refused to pay an advance on royalties.</p> - -<h4 class='c017'>1839</h4> - -<p class='c016'>THE PHANTOM SHIP. By <span class='sc'>Capt. Marryat</span>, R.N. -Author of <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite>, <cite>Frank Mildmay</cite> -etc. London: Henry Colburn, Publisher, -Great Marlborough Street. 1839. 3 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 300.</p> - -<p class='c018'>Vol. II. pp. (ii) + 289 + (1). No half-title.</p> - -<p class='c018'>Vol. III. pp. (ii) + 266. No half-title.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1839. The story -appeared serially in the “New Monthly Magazine” during 1837.</p> - -<h4 class='c017'>1839</h4> - -<p class='c016'>A DIARY IN AMERICA: <span class='sc'>With Remarks on its -Institutions</span>. By <span class='sc'>Captain Marryat</span>, C.B. Author -of <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite>, <cite>Frank Mildmay</cite> etc. -London: Printed for Longman, Orme, Brown, -Green and Longmans, Paternoster Row. 1839. -3 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 321 + (3).</p> - -<p class='c018'>Vol. II. pp. (iv) + 319 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 311 + (1). Note of errata to -Vol. I. occupies p. (312) of Vol. III.</p> - -<p class='c018'>Paper boards (half cloth), paper label. Also full -green grained cloth, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1839.</p> - -<div> - <span class='pageno' id='Page_90'>90</span> - <h4 class='c017'>1839</h4> -</div> - -<p class='c016'>A DIARY IN AMERICA <span class='sc'>etc. Part Second.</span> By -<span class='sc'>Capt. Marryat</span>, C.B. Printed for Longman, Orme, -Brown, Green and Longmans, Paternoster Row. -1839. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 304.</p> - -<p class='c018'>Vol. II. pp. (iv) + 293 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 362.</p> - -<p class='c018'>Vol. II. contains two folding maps, which precede -p. 1. Paper boards (half cloth), paper label. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in December, 1839.</p> - -<h4 class='c017'>1840</h4> - -<p class='c016'>POOR JACK. By <span class='sc'>Captain Marryat</span>, C.B. With -illustrations by Clarkson Stanfield, R.A. London: -Longman, Orme, Brown, Green and Longmans, -Paternoster Row. 1840. 1 vol. Large Med. 8vo -(5⅞ × ¼). Pp. x + 384. Because the volume is composed -of bound-up parts, the half-title is p. 1 of the -story itself and does not precede frontispiece. The -book contains forty-seven wood engravings after -Clarkson Stanfield, of which thirty-six printed -separately and eleven in the text. Dark green cloth, -blocked in gold. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on December 1, 1840.</p> - -<p class='c009'>(ii) <cite>Poor Jack</cite> first appeared in twelve monthly shilling parts -(5⅞ × 9), bound in buff paper wrappers, printed in black. The first -was published at the beginning of January, and the last at the -beginning of December, 1840. Each part (subject to the variations -stated below) contained three full-page wood engravings after -Clarkson Stanfield, printed separately. Eleven small engravings -appear throughout the text.</p> - -<p class='c009'>Included in Part XII. were title-page and preliminary matter -(x pp.).</p> - -<p class='c009'>Parts I. to III. were undated; Part IV. was dated April 1; and -each succeeding part was dated similarly with the month of its -appearance.</p> - -<p class='c009'><span class='pageno' id='Page_91'>91</span>Part I. should contain at front or back publishers' catalogue, -8 pp., dated January 1, 1840, and entitled “Poor Jack's Advertising -Sheet.” Also at back an illustrated advertisement of <cite>Paul -Periwinkle</cite>.</p> - -<p class='c009'>Part II. should contain at front publishers' 4 pp. list, dated -February, 1840, and a prospectus (8 pp., enclosed in buff wrappers) -of McCulloch's Geographical, Statistical and Historical Dictionary.</p> - -<p class='c009'>Parts III. to XI. contained (so far as I can discover) no advertising -matter apart from that printed on the wrappers themselves.</p> - -<p class='c009'>Part XII. should contain 2 pp. publishers' advertisements both at -front and back, printed on the buff wrapper paper.</p> - -<div class='nf-center-c1'> -<div class='nf-center c005'> - <div><span class='sc'>Notes on the Plates.</span></div> - </div> -</div> - -<p class='c009'>(i) No plates were issued with Part IX., but six instead of three -with Part X. A slip should be found inserted in Part IX. calling -attention to the arrangement. My own set shows a similar -happening in the case of Parts VII. and VIII., but there is no sign -of a slip having figured in the former to explain the absence of -illustration.</p> - -<p class='c009'>(ii) In two cases there are variations in underline between part -and book issue: (<em>a</em>) One of the plates included in Part XI. is -entitled “The Euphrosyne in the Downs,” but this legend is -omitted altogether in some copies of the book. (<em>b</em>) Included in -Part XII. is a plate entitled “The Prize at Sheerness.” This -underline reads in most copies of the book “The Prize in The -Medway.” Collectors anxious to possess the actual first issue of -the book—<em>i.e.</em>, that bound up from actual parts—should examine -these two points in copies they consider purchasing.</p> - -<h4 class='c017'>1840</h4> - -<p class='c016'>OLLA PODRIDA. By the author of <cite>Peter Simple</cite> etc. -etc. London: Longman, Orme, Brown, Green and -Longmans, Paternoster Row. 1840. 3 vols. Ex. -Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vi + (ii) + 310.</p> - -<p class='c018'>Vol. II. pp. (iv) + 362 + (2).</p> - -<p class='c018'>Vol. III. pp. (iv) + 332.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers. Also issued in ribbed maroon cloth, -gilt. Yellow end-papers.</p> - -<p class='c009'>There is no contents list to Volume I. The complete contents -are: Diary on the Continent—The Monk of Seville (a play)—S.W. -<span class='pageno' id='Page_92'>92</span>and by W. ¾ W.—Ill-Will (a charade)—The Sky-Blue Domino—Modern -Town Houses—The Way to be Happy—How to Write a -Fashionable Novel—How to Write a Book of Travels—How to -Write a Romance—The Legend of the Bell Rock—Moonshine.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on December 1, 1840. Of the -contents the “Diary on the Continent” appeared serially in the -“Metropolitan Magazine” (see above, <cite>Diary of a Blasé</cite>, 1836), -and the shorter pieces partly in the same journal, partly in the -“New Monthly,” and one (“Moonshine”) in <cite>The Keepsake</cite> (see -above, <cite>Stories of the Sea</cite>, 1836).</p> - -<h4 class='c017'>1841/2</h4> - -<p class='c016'>MASTERMAN READY <span class='sc'>or The Wreck of the -Pacific</span>. Written for Young People. By <span class='sc'>Captain -Marryat</span>. London: Longman, Orme, Brown, -Green and Longmans, Paternoster Row. 1841 -(Vol. I.), 1842 (Vols. II. and III.). 3 vols. in all. -Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. viii + 287 + (1). Publishers' catalogue, -16 pp., dated February, 1841, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 269 + (3). Publishers' catalogue, -16 pp. (maybe two catalogues each of 16 pp.), dated -April, 1842, bound in at end or, in some cases, after -first front end-paper.</p> - -<p class='c018'>Vol. III. pp. (iv) + 225 + (3). Publishers' catalogue, -30 pp., dated October, 1842, bound in at end.</p> - -<p class='c018'>Each volume contains frontispiece (that to Vol. III. -is a map) and several text illustrations, wood -engraved and printed on text paper. Dark green -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Vol. I. was published in May, 1841; Vol. II. in April, -1842; and Vol. III. in December, 1842.</p> - -<p class='c009'>(ii) Because the book was first planned to occupy one volume -only, there is no indication on Vol. I. of its being the first of a -series. Vols. II. and III., however, are so described on title-page -and on binding.</p> - -<p class='c009'>(iii) Vol. I. was catalogued on its publication as bound in -“boards.” This indicates that copies were first issued with paper -label and in half cloth, but I have never seen one so bound.</p> - -<div> - <span class='pageno' id='Page_93'>93</span> - <h4 class='c017'>1841</h4> -</div> - -<p class='c016'>JOSEPH RUSHBROOK: Or <span class='sc'>The Poacher</span>. By the -author of <cite>Peter Simple</cite>. London: Longman, Orme, -Brown, Green and Co., Paternoster Row. 1841. -3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 275 + (1).</p> - -<p class='c018'>Vol. II. pp. viii + 293 + (3).</p> - -<p class='c018'>Vol. III. pp. viii + 269 + (7). Advertisements of -works by the same author occupy pp. (270) to (276).</p> - -<p class='c018'>Paper boards, half cloth, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1841. The story -appeared serially in “The Era.”</p> - -<h4 class='c017'>1842</h4> - -<p class='c016'>PERCIVAL KEENE. By <span class='sc'>Captain Marryat</span>, author -of <cite>Peter Simple</cite>, <cite>Jacob Faithful</cite> etc. etc. London: -Henry Colburn, Publisher, Great Marlborough -Street. 1842. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 293 + (3).</p> - -<p class='c018'>Vol. II. pp. (iv) + 279 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 315 + (1).</p> - -<p class='c018'>Paper boards, half cloth, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in August, 1842.</p> - -<h4 class='c017'>1843</h4> - -<p class='c016'>NARRATIVE OF THE TRAVELS AND ADVENTURES -OF MONSIEUR VIOLET IN CALIFORNIA, -SONORA AND WESTERN TEXAS. -Written by <span class='sc'>Captain Marryat</span>, C.B. London: -Longman, Brown, Green and Longmans, Paternoster -Row. 1843. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 312.</p> - -<p class='c018'>Vol. II. pp. (iv) + 318 + (2).</p> - -<p class='c018'>Vol. III. pp. (iv) + 299 + (1).</p> - -<p class='c018'><span class='pageno' id='Page_94'>94</span>Folding map faces title-page of Vol. I. Paper -boards, half cloth, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1843.</p> - -<h4 class='c017'>1844</h4> - -<p class='c016'>THE SETTLERS IN CANADA: Written for -Young People. By <span class='sc'>Captain Marryat</span>. London: -Longman, Brown, Green and Longmans, Paternoster -Row. 1844. 2 vols. Fcap. 8vo (4⅛ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 356. Publishers' catalogue, -32 pp., undated or dated September, 1844, or earlier, -bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 374 + (2).</p> - -<p class='c018'>Each volume contains frontispiece in wood engraving -printed on text paper. Grey-brown cloth, -gilt, blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on September 7, 1844. It is -possible that the earliest issue contained an undated catalogue, but -this can only be established by comparison between a larger number -of copies of the book than I have contrived to examine, and a -careful investigation of the books listed in any such undated -catalogue.</p> - -<p class='c009'>(ii) I have seen an announcement of this book as in “boards,” -but have never met with copies so bound.</p> - -<h4 class='c017'>1845</h4> - -<p class='c016'>THE MISSION: <span class='sc'>Or Scenes in Africa</span>. Written for -Young People. By <span class='sc'>Captain Marryat</span>. London: -Longman, Brown, Green and Longmans. Paternoster -Row. 1845. 2 vols. Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (vi) + 328. Publishers' catalogue, -32 pp. and undated, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 374 + (2).</p> - -<p class='c018'>Each volume contains frontispiece in wood engraving, -printed on text paper. Vol. I. contains, following -title and also on text paper, a map. Brown -cloth, gilt, blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1845.</p> - -<div> - <span class='pageno' id='Page_95'>95</span> - <h4 class='c017'>1846</h4> -</div> - -<p class='c016'>THE PRIVATEER'S-MAN: <span class='sc'>One Hundred Years -Ago</span>. By <span class='sc'>Captain Marryat</span>, R.N. London: -Longman, Brown, Green and Longmans, Paternoster -Row. 1846. 2 vols. Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 379 + (1). Publishers' catalogue, -dated July, 1846, or earlier, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 361 + (1).</p> - -<p class='c018'>Grey-green cloth, gilt, blocked in blind. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1846. The story appeared -serially in the “New Monthly Magazine,” which periodical -had just been purchased by W. Harrison Ainsworth.</p> - -<h4 class='c017'>[1847]</h4> - -<p class='c016'>THE CHILDREN OF THE NEW FOREST. By -<span class='sc'>Captain Marryat</span>, R.N. London: H. Hurst, 27 -King William Street, Charing Cross. 2 vols. -Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (iv) [enclosing inset title-page printed -in red and green] + 288 + (2).</p> - -<p class='c018'>Vol. II. pp. (iv) [enclosing inset title-page printed -in red and green] + 298 + (4).</p> - -<p class='c018'>Vol. I. contains eight and Vol. II. four steel-engraved -illustrations by Frank Marryat, printed -separately.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was the first story in <cite>The Juvenile Library</cite>. -Vol. I. was published in July and Vol. II. in October, 1847. -In all the copies I have been able to examine pp. (299) to (302) of -Vol. II. are occupied by an announcement of this library and by -reviews of <cite>The Children of the New Forest</cite> itself. Whether the -book, on its actual first appearance, had these pages blank or -otherwise occupied I do not know, but it is certainly curious to find -press notices of a story in any but subsequent issues of that story. -It should be noted that the pages in question are not inset, but -form the last quarter of a 16 pp. sheet.</p> - -<p class='c009'>(ii) It is rumoured in some quarters that the book, as originally -issued, was dated on the title-page. I have never seen a copy so -dated.</p> - -<div> - <span class='pageno' id='Page_96'>96</span> - <h4 class='c017'>1848/9</h4> -</div> - -<p class='c016'>THE LITTLE SAVAGE. By <span class='sc'>Captain Marryat</span>, R.N. -In Two Parts. Part I. First edition. London: -H. Hurst, 27 King William Street, Charing Cross. -1848. Part II. First edition. London: H. Hurst -and Co., King William Street, Charing Cross. -1849. 2 vols. Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Part I. pp. (iv) [enclosing inset title-page printed -in red and green] + 298 + (4). Advertisements and -reviews paged 1-4 of <cite>The Juvenile Library</cite> and <cite>The -Children of the New Forest</cite> occupy pp. (299) to (302).</p> - -<p class='c018'>Part II. pp. (iv.) [enclosing inset title-page -printed in red and green] + 280 + (4). Advertisements -and reviews of Part I. and of <cite>The Children of -the New Forest</cite> paged 1-4 occupy pp. (281) to (284).</p> - -<p class='c018'>Each volume contains four line engravings printed -separately. Grey-green cloth, blocked in gold. -Uniform with <cite>The Children of the New Forest</cite>.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Part I. was published in December, 1848, and Part II. -in February, 1849.</p> - -<p class='c009'>(ii) The second edition of Part II. differs from the first in that -there are preliminary pages (viii), of which p. (v) bears a note by -the author's son referring to Captain Marryat's death. Frontispiece -and title-page are, as previously, inset on different paper, and -the latter printed in red and green.</p> - -<p class='c009'>(iii) Of Part II. only two chapters were written by Marryat.</p> - -<h4 class='c017'>1849</h4> - -<p class='c016'>VALERIE: <span class='sc'>An Autobiography</span>. By <span class='sc'>Captain Marryat</span>, -R.N. Author of <cite>Peter Simple</cite>, <cite>Frank Mildmay</cite> etc. -London: Henry Colburn, Publisher, Great Marlborough -Street. 1849. 2 vols. Ex. Cr. 8vo -(4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 312. Publisher's advertisements, -2 pp., printed on text paper bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 287 + (1). Advertisement of -<cite>Frank Mildmay</cite> occupies p. (288).</p> - -<p class='c018'><span class='pageno' id='Page_97'>97</span>Paper boards, half cloth, paper label. Also grey-green -cloth, gilt, blocked in blind. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1849. The story—to the -end of Vol. II., chap. iii.—appeared serially in the “New Monthly -Magazine” during 1846 and 1847. Owing to illness, Marryat was -unable to complete the book, which was finished by another hand.</p> - -<div> - <span class='pageno' id='Page_98'>98</span> - <h3 class='c015'>II.—A BOOK ATTRIBUTED TO MARRYAT, ONE EDITED BY HIM AND OTHERS POSSIBLY WRITTEN WITH HIS HELP</h3> -</div> - -<h4 class='c017'>1836</h4> - -<p class='c016'>THE FLORAL TELEGRAPH: A New Mode of -Communication by floral signals. With Plates. -London: Saunders and Otley, Conduit Street. -<span class='fss'>MDCCCXXXVI</span>. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. xv + -(i) + 307 + (11). Publishers' advertisements occupy -pp. (309) to (318)—others face title-page. The book -contains six hand-coloured plates, printed separately. -Olive-green cloth, blocked in gold and blind. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in December, 1836. It was -reissued, probably in 1850, with a cancel title-page reading: “The -Floral Telegraph or Affection's Signals” by the late Captain -Marryatt [<i><span lang="la" xml:lang="la">sic</span></i>] R.N., author of <cite>Peter Simple</cite> etc. London: -Saunders and Otley, Conduit Street. The pagination reads: xv + -(i) + 324. Pp. xv + (i) + 189 + (1) are identical in the two editions, -which are probably to this point composed of the same sheets. -The second half of the book has, however, been reset, altered, and -extended. The illustrations are the same as in the earlier edition, -but they are much more coarsely reproduced and mechanically -coloured. Olive-green cloth, similar to the first edition, but -differently blocked in gold. Yellow end-papers.</p> - -<p class='c009'>(ii) It is a moot point whether or not Marryat was the author of -this rather foolish little book. That he had, however, definite -connection with it is suggested by the fact that on its first -publication the “Metropolitan Magazine,” at that time closely -identified with Marryat, devoted to it a three-quarter-page highly -laudatory review, of which, after praising the introduction, the -<span class='pageno' id='Page_99'>99</span>writer said: “Though no name is found on the title-page, it is -evident that the work is from a practised and popular writer.” -Further, if Marryat were not the author, it is difficult to understand -the publishers' motive in reissuing it immediately after his death -with his name on the title-page. If he deserves responsibility for -the book, the manœuvre is comprehensible enough, especially on -the part of a firm with whom he had severed relations in 1837, -and thus deprived them of the profitable exploitation of his established -reputation.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>RATTLIN THE REEFER. Edited by the author of -<cite>Peter Simple</cite>. “All hands reef top-sails—Away, -Aloft!” London: Richard Bentley, New Burlington -Street, Successor to Henry Colburn. 1836. -3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. xii + (ii) + 301 + (3). Note by Marryat -stating his connection with the work occupies p. (iv). -Publisher's advertisements occupy pp. (303) (304).</p> - -<p class='c018'>Vol. II. pp. viii + 300. No half-title to this -volume.</p> - -<p class='c018'>Vol. III. pp. viii + 344. No half-title to this -volume.</p> - -<p class='c018'>Each volume contains three full-page etched illustrations -by A. Hervieu, of which one is a frontispiece -and the other two in the course of the text. A -list of illustrations for the three volumes occupies -p. (xiii) of Vol. I. The illustrations are dated 1836. -Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book, which was written by Edward Howard (see -p. 100), was published on July 23, 1836. A second edition -appeared on August 5 of the same year. A dramatic version by -J. T. Haines (who also dramatized <cite>Jacob Faithful</cite>) was issued in -February, 1893, as No. 2008 in French's Acting Editions of British -Plays.</p> - -<p class='c009'>Two-thirds of the story appeared serially in the “Metropolitan -Magazine” under the title, <cite>The Life of a Sub-Editor</cite>. Reviewing -the book in its three-volume form, Marryat himself explained fully -how and to what extent it had been transformed from a record -of autobiographical fact to a frank experiment in fiction.</p> - -<div> - <span class='pageno' id='Page_100'>100</span> - <h3 class='c015'><i>NOTE</i></h3> -</div> - -<p class='c020'>The six items that follow are, like <cite>Rattlin the Reefer</cite>, -the work of Lieut. the Hon. Edward Granville George -Howard, who worked as sub-editor to Marryat on the -“Metropolitan Magazine.” At one time the actual -authorship of Howard's books was ascribed to Marryat -himself. This is now proved to be a mistake. Indeed, -apart from the note of recommendation to <cite>Rattlin the -Reefer</cite> and Marryat's review of that book in his magazine, -there is no printed evidence that he had any share -whatever in the composition of any one of them. On -the other hand, he and Howard were very intimate; the -stories of the latter are clearly influenced by the work of -his chief; and Marryat collectors have been in the habit -of regarding Howard's books as desirable adjuncts to a -Marryat collection. For which reasons, and because it -is no less probable than improbable that Marryat, in -conversation if not by actual pencraft, helped to give his -sub-editor's books their final shape, I have thought well -to include them in this bibliography.</p> - -<h4 class='c017'>1837</h4> - -<p class='c016'>THE OLD COMMODORE. By the author of <cite>Rattlin -the Reefer</cite>. “Nestroque!” London: Richard -Bentley, New Burlington Street. 1837. 3 vols. -Ex. Cr. 8vo (4¾ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 306.</p> - -<p class='c018'>Vol. II. pp. (iv) + 304.</p> - -<p class='c018'>Vol. III. pp. iv + 307 + (1).</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on September 16, 1837.</p> - -<p class='c009'>(ii) The above reckoning was made from a rebound copy from -which clearly flyleaves were missing.</p> - -<div> - <span class='pageno' id='Page_101'>101</span> - <h4 class='c017'>1838</h4> -</div> - -<p class='c016'>OUTWARD BOUND: <span class='sc'>Or A Merchant's Adventures</span>. -By the author of <cite>Rattlin the Reefer</cite>, <cite>The -Old Commodore</cite> etc. London: Henry Colburn, -Publisher, Great Marlborough Street. 1838. 3 -vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 299 + (1). No half-title.</p> - -<p class='c018'>Vol. II. pp. (iv) + 308 + (2). Half-title to this -volume. Publisher's advertisements occupy pp. -(309) (310).</p> - -<p class='c018'>Vol. III. pp. (iv) + 326. Half-title to this volume.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1838. The story -appeared in part as a serial in the “Metropolitan Magazine” under -the title <cite>Ardent Troughton</cite>.</p> - -<h4 class='c017'>1839</h4> - -<p class='c016'>MEMOIRS OF ADMIRAL SIR SIDNEY SMITH, -K.C.B. <span class='fss'>ETC.</span> By the author of <cite>Rattlin the Reefer</cite> -etc. London: Richard Bentley, New Burlington -Street, Publisher in Ordinary to Her Majesty. -1839. 2 vols. Demy 8vo (5½ × 9).</p> - -<p class='c018'>Vol. I pp. vii + (i) + 400.</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 411 + (5). Publisher's advertisements -occupy pp. (413) to (416). No half-titles.</p> - -<p class='c018'>Steel-engraved portrait frontispiece to each -volume, printed separately. Pale blue ribbed cloth, -gilt, blocked in blind. Yellow end-papers.</p> - -<h4 class='c017'>1840</h4> - -<p class='c016'>JACK ASHORE. By the Author of <cite>Rattlin the -Reefer</cite>, <cite>Outward Bound</cite> etc. etc. London: Henry -Colburn, Publisher, Great Marlborough Street. -1840. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'><span class='pageno' id='Page_102'>102</span>Vol. I. pp. xvi + 310.</p> - -<p class='c018'>Vol. II. pp. viii + 300.</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 323 + (1).</p> - -<p class='c018'>Steel-engraved portrait frontispiece to Vol. I. -printed separately. Paper boards, paper label. -White end-papers.</p> - -<h4 class='c017'>1842</h4> - -<p class='c016'>SIR HENRY MORGAN: <span class='sc'>The Buccaneer</span>. By the -author of <cite>Rattlin the Reefer</cite>, <cite>Outward Bound</cite>, <cite>Jack -Ashore</cite> etc. London: Henry Colburn, Publisher, -Great Marlborough Street. 1842. 3 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 295 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + 307 + (1).</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 315 + (1).</p> - -<p class='c018'>There is a portrait frontispiece to Vol. I., lithographed -and printed separately. Paper boards, -half cloth, paper label. White end-papers.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>TALES FROM BENTLEY. Vol. I. London: -Richard Bentley, New Burlington Street, 1 vol. -Pott 8vo (4 × 6¼). Pp. (iv) + 96. Buff paper -wrappers printed in black. Also in boards. <cite>The -Marine Coast</cite>, a story by the author of <cite>Rattlin the -Reefer</cite>, occupies pp. 55 to 88.</p> - -<p class='c009'><span class='sc'>Note</span>—This first series of <cite>Tales from Bentley</cite> was published in -September, 1859.</p> - -<h3 class='c015'><i>A NOTE ON MARRYAT AS ARTIST</i></h3> - -<p class='c020'>It is well known that Captain Marryat was a painter -as well as a writer. Collectors of his written work will -perhaps also be interested to know of a published book -containing in reproduction some of his drawings. In -1825 or 1826 there appeared the following work:</p> - -<p class='c008'><span class='pageno' id='Page_103'>103</span>ILLUSTRATIONS OF THE BURMESE WAR. -Both Series. With twenty-four plates after drawings -by Captain Marryat, Thornton and Moore displaying -the Operations of the British Forces. London: -Published by Thomas Clay. (N.D.) The volume -measures 20½ × 13¼, is bound in thick grey paper -wrappers lettered in black as above, and contains -five engravings of pictures painted by Stothard and -D. Cox after drawings by Captain Marryat. The -name Kingsbury and Co., 6 Leadenhall Street, -appears at the foot of the engravings as their publisher, -together with the date 1825.</p> - -<div class='chapter'> - <span class='pageno' id='Page_105'>105</span> - <h2 class='c006'>BENJAMIN DISRAELI<br /> <span class='large'>1804-1881</span></h2> -</div> - -<div><span class='pageno' id='Page_107'>107</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>BENJAMIN DISRAELI</div> - </div> -</div> - -</div> -<p class='c012'>It is easier to blame historians and political critics of the -life and statesmanship of Disraeli for neglecting his -novels, than it is oneself to judge these novels as literature, -apart from the huge mass of incident, ambition, and -achievement that went to make up the character of their -extraordinary author. To attempt in a few pages an -estimate of Disraeli as a man of letters were manifestly -absurd, seeing that he was rarely that and nothing else. -It were doubly absurd, even if possible, to treat in summary -of the interactions of his political and literary -genius when one of the finest biographies of modern -times (and that in six volumes) has already covered every -inch of the ground. The only purpose, therefore, which -these unauthoritative notes may serve is that of indicating -in a few words the development of Disraeli as a -novelist and the respective content of his principal books.</p> - -<p class='c000'>Although his novels fall into distinct and different -groups, they are all primarily satirical in character. -From the moment of the anonymous but sensational -appearance of <cite>Vivian Grey</cite> to that of the publication of -<cite>Endymion</cite> which bore on each of its three volumes the -name of the most distinguished statesman of the world, -Disraeli held up alike to the follies and the ideals of his -age the mirror of a keen and ruthless mind.</p> - -<p class='c000'>But if he gazed on his contemporaries more often from -the angle of satire than from any other, he enclosed in -their various frames the period portraits that are his -books. As a very young man—unknown, ambitious, at -once receptive and intensely sensitive—he used as material -for fiction not only the incidents of his own life, but, -even more, the thoughts and aspirations that filled his -teeming brain. <cite>Vivian Grey</cite> (1826-7), <cite>Contarini Fleming</cite> -<span class='pageno' id='Page_108'>108</span>(1833), and <cite>Alroy</cite> (1833) are mainly interesting as autobiography, -and to the use of personal experience as -material for novel-writing he returned in extreme old -age when, looking back from the splendid eminence of -his power, he described in the pages of <cite>Endymion</cite> the -long road that he had travelled from obscurity to fame.</p> - -<p class='c000'><cite>Vivian Grey</cite> appeared in five volumes, with an interval -of a year between the issue of the first two and that -of the last three. But for the brilliant publicity given -to it by Colburn, the book would have attracted little or -no attention. It is a showy, careless pastiche of the -society of the day, a gallery of isolated portraits rather -than a single composition, attractive to the fashionable -public of the time for its thinly veiled presentment of -well-known men and women. The reader is further -unpleasantly aware that the author's interest in his book -did not extend much beyond the first of the five volumes. -Young men find it easier to start a book than to finish -one, and Disraeli was clearly no exception to the rule.</p> - -<p class='c000'><cite>Contarini Fleming</cite> and <cite>Alroy</cite>, written after an extended -tour in the East, show, at its most luxuriant and -ornate, the author's talent for heady, rhetorical prose. -Like most of his race, Disraeli was more susceptible to -magnificence and to decoration than to severe simplicity, -and throughout his books was prone to an excessive use -of epithet and metaphor. If these two early books show -his love of ornament more shamelessly than those -written at a maturer age, they can claim nevertheless to -have received more careful and conscientious working, -so that their embellishments, if too lavish, are at least -scrupulously fashioned.</p> - -<p class='c000'>Between the publication of the last three volumes of -<cite>Vivian Grey</cite> and that of the story of <cite>Contarini Fleming</cite> -Disraeli published two works of fiction which, although -in the matter of primary characteristic isolated from the -rest of his work and from each other, contain elements -that constantly reappear in the books of his later life.</p> - -<p class='c000'><cite>The Voyage of Captain Popanilla</cite> (1828) is a satire on -English political and social institutions cast in the form -<span class='pageno' id='Page_109'>109</span>of an inverted <cite>Gulliver's Travels</cite> or <cite>Erewhon</cite>. Instead -of an Englishman reaching an imaginary and fantastic -land, where he finds conditions that correspond partly -to the prejudices, partly to the ideals, of the author, the -hero of Disraeli's satire is a being from a mythical world, -who comes over the sea to an island that is, in all but -name, England as Disraeli saw it. As an example of -pertinacious and aggressive parody <cite>The Voyage of -Captain Popanilla</cite> is witty and readable enough, but it -fatigues, as do all pastiches of the kind, by its somewhat -literal pursuit of contemporary activity. Disraeli should -have limited his prospect of satire, for the individual -beauties of any view are appreciated in proportion to the -smallness of their number. <cite>Popanilla</cite> is overcrowded, -and the reader's mind tires with the effort to solve the -riddle that is contained in nearly every paragraph.</p> - -<p class='c000'><cite>The Young Duke</cite> (1831) was written to make money. -One may go farther and confess that the author, seeking -frankly to profit by the contemporary popularity of the -novel of fashionable life, wrote a tale of society into -which he crammed all that he knew of character and -incident likely to appeal to the mood of the moment. -With such antecedents it is surprising that <cite>The Young -Duke</cite> is not a worse book than it is. Inevitably it reads -artificially, and the young writer had not the skill entirely -to conceal the wilfulness with which the work was -put together. On the other hand, the heroine deserves -the attention of Disraeli students, for she is the direct -forerunner of Sybil, and that part of <cite>The Young Duke</cite> -which depends on her personality is not without a touch -of the four great political novels upon which Disraeli's -fame as a writer must rest.</p> - -<p class='c000'>It was four years after the publication of <cite>Alroy</cite> that -Disraeli next appeared as a novelist. He then published, -within six months of one another, two stories that stand -markedly apart from the rest of his work, in that they -are wholly without political significance. Even amid -the extravagance of <cite>Contarini Fleming</cite> and <cite>The Young -Duke</cite> occur passages that depend for their significance -<span class='pageno' id='Page_110'>110</span>on political movements or political thought of the time. -<cite>Vivian Grey</cite>, being a <i><span lang="fr" xml:lang="fr">roman à clef</span></i> of high society, and -<cite>Popanilla</cite> being a direct satire of institutions, are -naturally full of what was, even in those days, the -author's ruling interest. But <cite>Henrietta Temple</cite> (1837) -and <cite>Venetia</cite> (1837) are romances pure and simple. They -may be said also to have no autobiographical significance, -save in so far as the first part of the earlier book -was written under the stimulus of a real love affair. It -must be admitted that <cite>Henrietta Temple</cite>, once it gets -beyond the boundary of Disraeli's own passionate experience, -is a tame and careless book. The interval -that passed between the writing of the earlier and that -of the later portion seems to have extinguished his -enthusiasm for the work. Colburn was clamouring for -a novel, and Disraeli, as always hard pressed for money, -raked out his incomplete manuscript, furbished it up, -finished it off, and delivered it to the publisher. <cite>Venetia</cite> -has not this fault of interrupted fashioning. It is, however, -in one reader's opinion at any rate, a very tedious -affair—rhetorical, unreal, and sluggish in movement; -but this view is contrary to that held by many, who consider -that the book's portraiture gives it value as commentary -on the life of Byron and other famous people.</p> - -<p class='c000'>There follows, this time after an interval of seven -years, the first of the four famous political novels that, -whether or no they can be said to have introduced a new -genre into English fiction, are undoubtedly the finest -achievements of Disraeli's literary career. <cite>Coningsby</cite> -(1844), <cite>Sybil</cite> (1845), and <cite>Tancred</cite> (1847) are too well -known to need description here. Because, however, -their interdependence as parts of a general scheme in -the mind of the author tends to become obscured by consideration -of their respective quality, note may be taken -of the fact that <cite>Coningsby</cite> is a novel of political views, -<cite>Sybil</cite> one of social conditions and classes among the -people, and <cite>Tancred</cite> one of religion as an influence in -national life. Of the characters in <cite>Coningsby</cite> many -reappear in <cite>Tancred</cite>, while Tadpole and Taper, whose -<span class='pageno' id='Page_111'>111</span>names have become part of English political slang, pull -their wires and cadge their jobs as assiduously in <cite>Sybil</cite> -as in the story that preceded it. It would be interesting to -work out a comparison between Disraeli and Trollope -as political novelists. Probably one would come to the -decision that those of Disraeli are the better political -novels and those of Trollope the better novels of politics. -In other words, Disraeli is the cleverer publicist, but -Trollope the finer artist. <cite>Coningsby</cite> and its fellows -depend very much on contemporary fact and personality -for their full understanding and significance. Surely it -is not hyperæsthetic to demand that literature be its own -interpreter? In so far as a work of art requires outside -knowledge for its proper appreciation, to that extent it -falls short from what in art is highest and most perfect.</p> - -<p class='c000'>The appearance of <cite>Lothair</cite> in 1870 caused something -of a scandal in serious political circles. The Briton is -accustomed to take his statesmen seriously, but his -novelists with frivolity and in the leisure hour. Wherefore -he regarded it as unseemly that the name of an -ex-Prime Minister and of a man whose political career -was by no means run should figure on the title-pages of -a three-volume novel. Curiosity conquered disapproval -and, as on an hundred other occasions, a book condemned -for its very existence was purchased and read in -tens of thousands. <cite>Lothair</cite> is the work of a man who -knew everybody and almost everything. The personal -satire, the constructive and destructive fervour of -<cite>Coningsby</cite>, <cite>Sybil</cite>, and <cite>Tancred</cite> have given place to a -greater gravity and restraint, to an ironic vision more -general and less individual. Taking as his subject the -power of the Catholic Church, the rival power of revolutionary -free thought and the indeterminate central position -of the Church of England, Disraeli built up his -fourth and most extensive picture of the England of his -time. If we miss the idealist conviction that gives to -some of the passages in <cite>Tancred</cite> the force of a splendid -sermon, we gain a certainty and a dignity of thought -which were inevitably lacking in the books of the earlier -<span class='pageno' id='Page_112'>112</span>period. We also continue to enjoy the epigram, the -vivid minor portraiture, the lightning grasp of fact and -of every implication of fact, that give to the political -novels of Disraeli their unique flavour and importance.</p> - -<h3 class='c015'><i>BIOGRAPHY</i></h3> - -<p class='c016'>THE LIFE OF BENJAMIN DISRAELI, EARL OF -BEACONSFIELD. By <span class='sc'>William Flavelle Monypenny</span> -and <span class='sc'>George Earle Buckle</span>. 6 vols. London: -John Murray. 1912-1920.</p> - -<div> - <span class='pageno' id='Page_113'>113</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> FICTION, POETRY, ESSAYS, LETTERS, ETC.</h3> -</div> - -<h4 class='c017'>1825</h4> - -<p class='c016'>AN ENQUIRY INTO THE PLANS, PROGRESS -AND POLICY OF AMERICAN MINING COMPANIES. -London: John Murray. <span class='fss'>MDCCCXXV.</span> -1 vol. Demy 8vo (5¼ × 8½). Pp. 135 + (1) of which -p. (6) is paged vi. Paper boards, paper label. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—These observations were made from a third enlarged -edition published in the first year of issue, and it is likely that the -first edition, although similar in format, etc., contains fewer pages.</p> - -<h4 class='c017'>1825</h4> - -<p class='c016'>LAWYERS AND LEGISLATORS: Or <span class='sc'>Notes on -the American Mining Companies</span>. (Quotation -from Hooker.) London: John Murray. <span class='fss'>MDCCCXXV.</span> -1 vol. Demy 8vo (5¼ × 8½). Pp. (viii) + 99 + (1). -No half-title. Paper boards, paper label. White -end-papers.</p> - -<h4 class='c017'>1825</h4> - -<p class='c016'>THE PRESENT STATE OF MEXICO: As detailed -in a Report presented to the General Congress by -the Secretary of State for the Home Department and -Foreign Affairs at the Opening of the Session in -1825. With Notes and a Memoir of Don Lucas -Alaman. London: John Murray, Albemarle Street. -<span class='fss'>MDCCCXXV.</span> 1 vol. Demy 8vo (5¼ × 8½). Pp. 130. -Advertisement of Disraeli's two earlier pamphlets -occupies verso of half-title, facing title-page. Pp. (6) -to 55 are occupied by a Memoir of Don Lucas -<span class='pageno' id='Page_114'>114</span>Alaman, written by Disraeli. Alaman's report -begins on p. 57. Paper boards, paper label. White -end-papers.</p> - -<h4 class='c017'>1826/7</h4> - -<p class='c016'>VIVIAN GREY. “Why then the world's mine oyster -which I with sword will open.” London: Henry -Colburn, New Burlington Street. 1826 (Vols. I. -and II.), 1827 (Vols. III. IV. and V.). 5 vols. -Ex. Cr. 8vo (4¾ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (vi) + 266 + (2).</p> - -<p class='c018'>Vol. II. pp. (iv) + 236 + (4). Publisher's advertisements -occupy pp. (237) to (240).</p> - -<p class='c018'>Vol. III. pp. (iv) + 333 + (3). Publisher's advertisements -occupy pp. (335) and (336).</p> - -<p class='c018'>Vol. IV. pp. (iv) + 362.</p> - -<p class='c018'>Vol. V. pp. (iv) + 324.</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Vols. I. and II. of this story were published on April 22, -1826; Vols. III. IV. and V. on February 23, 1827.</p> - -<h4 class='c017'>1828</h4> - -<p class='c016'>THE VOYAGE OF CAPTAIN POPANILLA. By -the author of <cite>Vivian Grey</cite>. “Travellers ne'er did -lie though fools at home condemned 'em.” London: -Henry Colburn, New Burlington Street. -1828. 1 vol. Ex. Cr. 8vo (4⅞ × 7¾). Pp. viii + -243 + (1). Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on June 3, 1828.</p> - -<h4 class='c017'>1831</h4> - -<p class='c016'>THE YOUNG DUKE: “A moral Tale, though gay.” -By the author of <cite>Vivian Grey</cite>. London: Henry -Colburn and Richard Bentley, New Burlington -Street. 1831. 3 vols. Ex. Cr. 8vo (7⅞ × 4¾).</p> - -<p class='c018'><span class='pageno' id='Page_115'>115</span>Vol. I. pp. iv + 300. No half-title.</p> - -<p class='c018'>Vol. II. pp. (vi) + 269 + (3). Text ends p. 269; -note occupies p. (271).</p> - -<p class='c018'>Vol. III. pp. (vi) + 265 + (3). Publishers' advertisements -occupy pp. (267) (268).</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—The only copy of this book I have been able to consult in -its original state contained at the end of Vol. I. a publishers' catalogue, -8 pp., dated April, 1832. Clearly it did not belong to the -first issue, but what date should be found on a catalogue of the -earliest issue, where in the three volumes such a catalogue should -appear, or whether there should be a catalogue at all, I do not -know.</p> - -<h4 class='c017'>1832</h4> - -<p class='c016'>ENGLAND AND FRANCE: Or <span class='sc'>A Cure for the -Ministerial Gallomania</span>. (Quotation from speech -by Duke of Wellington.) London: John Murray, -Albemarle Street. 1832. 1 vol. Ex. Cr. 8vo -(4¾ × 7¾). Pp. viii + (xii) + 268. Paper boards, paper -label. White end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in April, 1832.</p> - -<p class='c009'>(ii) The above observations were made from a rebound cut copy, -and details of measurement are therefore conjectural.</p> - -<h4 class='c017'>1832</h4> - -<p class='c016'>CONTARINI FLEMING: A Psychological Autobiography. -London: John Murray, Albemarle Street. -<span class='fss'>MDCCCXXXII</span>. 4 vols. Fcap. 8vo (4¼ × 6¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 288.</p> - -<p class='c018'>Vol. II. pp. (iv) + 247 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 194 + (2). Publisher's advertisements -occupy pp. (195) (196).</p> - -<p class='c018'>Vol. IV. pp. (iv) + 230 + (2).</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in May, 1832.</p> - -<p class='c009'><span class='pageno' id='Page_116'>116</span>(ii) The sheets of the Murray edition were issued in 1834 by -Edward Moxon, Dover Street, over the name: “D'Israeli The -Younger, author of <cite>Vivian Grey</cite>, <cite>Alroy</cite> and <cite>Ixion in Heaven</cite>,” -with a new preliminary signature (8 pp.) to Vol. I. containing a -preface in explanation of the author's action in putting his name -to the book. Consequently from the purist point of view the -Moxon edition of 1834 should be collected as containing fresh -matter. It was bound in pale maroon cloth, with paper label. -Yellow end-papers.</p> - -<h4 class='c017'>1833</h4> - -<p class='c016'>THE WONDROUS TALE OF ALROY: <span class='sc'>The Rise -of Iskander</span>. By the author of <cite>Vivian Grey</cite>, <cite>Contarini -Fleming</cite> etc. London: Saunders and Otley, -Conduit Street. 1833. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. xxv + (iii) + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 305 + (3). Publishers' advertisements, -dated February, 1833, occupy pp. (307) and -(308).</p> - -<p class='c018'>Vol. III. pp. (iv) + 324 + (4). Advertisements of -works by the same author occupy pp. (325) and (326).</p> - -<p class='c018'>Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on March 5, 1833.</p> - -<h4 class='c017'>1833</h4> - -<p class='c016'>WHAT IS HE? By the author of <cite>Vivian Grey</cite>. (Extract -from a Letter.) London: James Ridgway, -Piccadilly and E. Lloyd, Harley Street, <span class='fss'>MDCCCXXXIII</span>. -1 vol. Demy 8vo (5⅜ × 8½). Pp. 16. Half-title -serves as wrapper and bears the words “Price Sixpence.” -P. 16 serves as back wrapper. Advertisements -occupy p. (2).</p> - -<p class='c009'><span class='sc'>Note</span>—The above notation was made from a copy of the “New -Edition, Revised” of the pamphlet. Since, however, this first -appeared in the same year and over the same imprint, I have -ventured to assume comparative uniformity of size and appearance.</p> - -<div> - <span class='pageno' id='Page_117'>117</span> - <h4 class='c017'>1834</h4> -</div> - -<p class='c016'>THE REVOLUTIONARY EPICK: <span class='sc'>The Work of -Disraeli the Younger</span>. Author of <cite>The Psychological -Romance</cite>. London: Edward Moxon, Dover -Street, <span class='fss'>MDCCCXXXIV</span>. [The title-page to Vol. II. -reads in addition: “Books II. and III. containing -The Plea of Lyridon, the Genius of Feudalism; -and the First Part of the Conquest of Italy.”] -2 vols. Large Post 4to (8¼ × 10½).</p> - -<p class='c018'>Vol. I. pp. viii + 89 + (3).</p> - -<p class='c018'>Vol. II. pp. xi + (i) + (91) to 206.</p> - -<p class='c018'>Advertisement of <cite>Contarini Fleming</cite> (differently -worded in each case) faces title in both volumes. -Paper boards. Paper label on sides. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Only fifty copies of this edition were printed. See preface -to the second and revised edition published in 1864, details of -which are given below.</p> - -<h4 class='c017'>1834</h4> - -<p class='c016'>THE CRISIS EXAMINED. By <span class='sc'>Disraeli the -Younger</span>. London: Saunders and Otley, Conduit -Street. 1834. 1 vol. Demy 8vo (5½ × 8½). -Pp. (iv) + 31 + (1).</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This pamphlet was issued in December, 1834.</p> - -<p class='c009'>(ii) The above observations were made from a rebound copy, -wherefore the style of binding is an assumption, and I suspect -that two or more flyleaves—maybe printed with advertisements—should -be added to the reckoning here set down.</p> - -<h4 class='c017'>1835</h4> - -<p class='c016'>VINDICATION OF THE ENGLISH CONSTITUTION -IN A LETTER TO A NOBLE AND -LEARNED LORD. By <span class='sc'>Disraeli the Younger</span>. -London: Saunders and Otley, Conduit Street. -1835. 1 vol. Tall Demy 8vo (5½ × 9). Pp. ix + -(i) + 210 + (2). Publishers' advertisements occupy -<span class='pageno' id='Page_118'>118</span>pp. (211) and (212). A four-page leaflet of publishers' -advertisements should be found inserted -between the front end-papers, and an erratum slip -at p. (v). Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1835.</p> - -<h4 class='c017'>1836</h4> - -<p class='c016'>THE LETTERS OF RUNNYMEDE. “Neither for -shame nor fear this mask he wore That, like a vizor -in the battle-field But shrouds a manly and a daring -brow.” London: John Macrone, St. James's Square. -<span class='fss'>MDCCCXXXVI</span>. 1 vol. Slim Ex. Cr. 8vo (4¾ × 8¼). -Pp. (xxiv) [paged as ii + (v) + vi-xx + (ii)] + 234 -+ (6). Publishers' advertisements, 2 pp., dated -August 1, 1836, occupy pp. i and ii. The half-title -is inset on different paper between p. ii. -and title-page. Paper boards, paper label. White -end-papers. Also in dark blue embossed cloth, gilt, -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July or August, 1836.</p> - -<h4 class='c017'>1837</h4> - -<p class='c016'>HENRIETTA TEMPLE: A Love Story. By the -author of <cite>Vivian Grey</cite>. “Quoth Sancho, Read it -out by all means; for I mightily delight in hearing -of love stories.” London: Henry Colburn, 13 Great -Marlborough Street, <span class='fss'>MDCCCXXXVII</span>. 3 vols. Ex. -Cr. 8vo (4⅞ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 299 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 309 + (3). Publisher's advertisements -occupy pp. (311) and (312).</p> - -<p class='c018'>Vol. III. pp. (iv) + 331 + (1).</p> - -<p class='c018'>Paper boards, half cloth, paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1837, this book was actually published in -December, 1836.</p> - -<div> - <span class='pageno' id='Page_119'>119</span> - <h4 class='c017'>1837</h4> -</div> - -<p class='c016'>VENETIA. By the author of <cite>Vivian Grey</cite> and <cite>Henrietta -Temple</cite>. “Is thy face like thy mother's my -fair child?” “The child of love, though born in -bitterness and nurtured in convulsion.” London: -Henry Colburn, Publisher, 13 Great Marlborough -Street. <span class='fss'>MDCCCXXXVII</span>. 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 346.</p> - -<p class='c018'>Vol. II. pp. (ii) + 377 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 324. Publisher's advertisements -occupy pp. (i) and (ii).</p> - -<p class='c018'>No half-titles. Paper boards, half cloth, paper -label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1837.</p> - -<h4 class='c017'>1839</h4> - -<p class='c016'>THE TRAGEDY OF COUNT ALARCOS. By the -author of <cite>Vivian Grey</cite>. London: Henry Colburn, -Great Marlborough Street. 1839. 1 vol. Demy -8vo (5½ × 8½). Pp. vi + (ii) + 108. Errata slip facing -p. 1. Paper boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1839.</p> - -<h4 class='c017'>1844</h4> - -<p class='c016'>CONINGSBY: Or <span class='sc'>The New Generation</span>. By <span class='sc'>B. -Disraeli Esq.</span>, M.P., author of <cite>Contarini Fleming</cite>. -London: Henry Colburn, Publisher, Great Marlborough -Street. 1844. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 319 + (1).</p> - -<p class='c018'>Vol. II. pp. (ii) + 314.</p> - -<p class='c018'>Vol. III. pp. (ii) + 354. Advertisements occupy -pp. (351) to (354).</p> - -<p class='c018'>No half-titles. Paper boards, half cloth, paper -label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1844.</p> - -<div> - <span class='pageno' id='Page_120'>120</span> - <h4 class='c017'>1845</h4> -</div> - -<p class='c016'>SYBIL: Or, <span class='sc'>The Two Nations</span>. By <span class='sc'>B. Disraeli</span>, -M.P., author of <cite>Coningsby</cite>. (Quotation from -Latimer.) London: Henry Colburn. Publisher. -Great Marlborough Street. 1845. 3 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. p. viii + 315 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 324.</p> - -<p class='c018'>Vol. III. pp. (iv) + 326 + (2). Publisher's advertisements -occupy pp. (327) and (328).</p> - -<p class='c018'>Paper boards, half cloth, paper label. White -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1845.</p> - -<h4 class='c017'>1847</h4> - -<p class='c016'>TANCRED: Or <span class='sc'>The New Crusade</span>. By <span class='sc'>B. Disraeli</span>, -M.P., author of <cite>Coningsby</cite>, <cite>Sybil</cite> etc. London: -Henry Colburn, Publisher, Great Marlborough -Street, 1847. 3 vols. Ex. Cr. 8vo (4¾ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (ii) + 338.</p> - -<p class='c018'>Vol. II. pp. (ii) + 340.</p> - -<p class='c018'>Vol. III. pp. (ii) + 298 + (12). Publisher's advertisements -occupy pp. (299) to (310).</p> - -<p class='c018'>No half-titles. Paper boards, half cloth, paper -label. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1847.</p> - -<h4 class='c017'>1852</h4> - -<p class='c016'>LORD GEORGE BENTINCK: A Political Biography. -By <span class='sc'>B. Disraeli</span>, Member of Parliament -for the County of Buckingham. “He left us the -legacy of heroes; the memory of his great name -and the inspiration of his great example.” London: -Colburn and Co., Publishers, Great Marlborough -Street. 1852. 1 vol. Demy 8vo (5¾ × 8¾). -<span class='pageno' id='Page_121'>121</span>Pp. viii + 588. Publishers' catalogue, 8 pp., and -measuring 5 × 8, bound in after p. 588. This catalogue -is followed by a further single sheet (2 pp.) -advertisement, measuring 5 × 8½. Dark olive-brown -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1852, this book was actually published in -December, 1851.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'><a href='#asterisked'>*</a>IXION IN HEAVEN. THE INFERNAL MARRIAGE. -THE VOYAGE OF CAPTAIN -POPANILLA. THE TRAGEDY OF COUNT -ALARCOS. By <span class='sc'>Benjamin Disraeli</span>. London: -David Bryce, 48 Paternoster Row. 1853. 1 vol. -Cloth.</p> - -<p class='c018'>This little book—a volume in a cheap reissue of -the novels and romances of Disraeli—is the first -<em>book</em> edition of <cite>Ixion in Heaven</cite> and <cite>The Infernal -Marriage</cite>, which first appeared in the “New -Monthly” in 1829 and 1830, and had not been reprinted -in the interval.</p> - -<h4 class='c017'>1864</h4> - -<p class='c016'>THE REVOLUTIONARY EPICK. By the Right -Honorable <span class='sc'>Benjamin Disraeli</span>. London: Longman, -Green, Longman, Roberts and Green. 1864. -1 vol. Small Cr. 8vo (4½ × 7⅛). Pp. (xiv) [paged as -(ii) + x + (ii)] + 176 + (2). Preface (in dedication), dated -Easter, 1864, occupies pp. (vii) and (viii). Preface -reprinted from the original edition occupies pp. (ix) -to (xii). Brown cloth, gilt. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—The text of this edition differs extensively both in wording -and length from that of 1834. In his preface the author states -that the work was completed in 1837, but, through press of -political duties, he made no arrangement for its issue before the -present date. He also avers that only fifty copies of the edition -of 1834 were printed.</p> - -<div> - <span class='pageno' id='Page_122'>122</span> - <h4 class='c017'>1870</h4> -</div> - -<p class='c016'>LOTHAIR. By the Right Honorable <span class='sc'>B. Disraeli</span>. -(Quotation from Terentius.) London: Longmans, -Green and Co., 1870. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (viii) + 328. Publishers' advertisements, -32 pp., dated January, 1870, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 321 + (3).</p> - -<p class='c018'>Vol. III. pp. (iv) + 333 + (7). Publishers' advertisements -occupy pp. (337) to (340).</p> - -<p class='c018'>Green cloth, gilt, blocked in blind. Chocolate -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1870.</p> - -<h4 class='c017'>1880</h4> - -<p class='c016'>ENDYMION. By the author of <cite>Lothair</cite>. “<span lang="la" xml:lang="la">Quicquid -agunt Homines.</span>” London: Longmans, Green and -Co. 1880. 3 vols. Ex. Cr. 8vo (4¾ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 331 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 337 + (3).</p> - -<p class='c018'>Vol. III. pp. (iv) + 346 + (2). Publishers' advertisements -occupy pp. (347) and (348).</p> - -<p class='c018'>Scarlet cloth lettered in silver. Grey and white -decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—There are two styles of blocking for the binding of this -book; that most worked and bearing publishers' imprint at foot -of spine is the earlier.</p> - -<div> - <span class='pageno' id='Page_123'>123</span> - <h3 class='c015'>II.—BOOKS PARTIALLY WRITTEN OR EDITED BY BENJAMIN DISRAELI</h3> -</div> - -<h4 class='c017'>1825</h4> - -<p class='c016'>THE LIFE OF PAUL JONES. From original documents -in the possession of John Henry Sherburne -Esq., Register of the Navy of the United States. -London: John Murray, Albemarle Street. <span class='fss'>MDCCCXXV.</span> -1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. xii + 320. Paper -boards, paper label. White end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) With reference to this book Monypenny says: “The -exact relationship of the English book to the American original is -not clear; but the former seems also to have been written by an -American, and the original MS., which has been preserved, shows -that Disraeli's share in it was limited to the introduction here -and there of a word or phrase where the excision of a passage rendered -such amendment necessary.” In addition to the corrections -thus described Disraeli contributed an anonymous preface to the -book.</p> - -<p class='c009'>(ii) It is interesting to record here that in 1844 Captain Marryat -was asked to write a life of Paul Jones. He was interested in the -project, but it never materialized.</p> - -<h4 class='c017'>1826</h4> - -<p class='c016'>THE STAR CHAMBER. A Weekly Magazine published -by William Marsh, 145 Oxford Street. 9/8 -numbers Demy 8vo (5½ × 8¾) were published: -No. 1, April 19, pp. 1 to 20; Nos. 2 and 3 (double -number), April 26, pp. 21 to 58; No. 4, May 3, -pp. 59 to 74; No. 5, May 10, pp. 75 to 90; No. 6, -May 17, pp. 91 to 110; No. 7, May 24, pp. 111 to -126; No. 8, May 31, pp. 127 to 142; No. 9, June 7, -pp. 143 to 154.</p> - -<p class='c000'><span class='pageno' id='Page_124'>124</span>After the completion of the 9/8 numbers, a four-page -sheet of preliminary matter was issued, of which p. (i) -reads:</p> - -<p class='c008'>THE STAR CHAMBER. Vol. I. Part 1. April 19 -to June 7, 1826. (Quotation from Cavendish, -“Wolsey.”) London: William Marsh, 145 Oxford -Street. Pp. (iii) and (iv) are occupied by contents -list.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) At one time the responsibility for the whole contents -as well as for the editorship of the “Star Chamber” was fathered -upon Disraeli. Monypenny, however, combats this theory. He -says: “The 'Star Chamber' was founded by a certain Peter Hall, -a friend of Meredith's at Brasenose, who, through Meredith, had -become acquainted with Disraeli. Disraeli contributed some -fables with a political application under the title of <cite>The Modern -Aesop</cite>, and perhaps other matter. But in later life he expressly -denied ('The Times,' November 3, 1871; the 'Leisure Hour,' -November 4, 1871) having been editor, if indeed there ever was an -editor.” This represents, of course, the most recent and authoritative -opinion on the matter; but it is interesting, on p. 150 of the -catalogue of the Hope collection of newspapers, etc., in the -Bodleian Library at Oxford (1865), to find reasons given for the -suppression by Disraeli of all copies of the “Star Chamber” upon -which he could lay his hands. The Peter Hall referred to above -was the Reverend Peter Hall, B.A., editor of “The Crypt.”</p> - -<p class='c009'>(ii) It is because the “Star Chamber” has come to be looked -upon as a Disraeli item that I have included it here, despite the -fact that in so doing I exceed the limit of these bibliographies, -which take no account of magazine contributions of the authors -concerned.</p> - -<h4 class='c017'>1849-1859</h4> - -<p class='c016'>THE WORKS OF ISAAC DISRAELI. Edited with -Introductions by <span class='sc'>Benjamin Disraeli</span>.</p> - -<p class='c000'>Disraeli started work on a new edition of his father's -books in 1847, but the actual publication was, for various -reasons, spread over a period of ten years. The following -are the dates and details in outline of the first issues -of the various titles:</p> - -<p class='c008'>1849. CURIOSITIES OF LITERATURE. London: -Edward Moxon. 3 vols. Demy 8vo (5½ × 8¾). -Dark green cloth, gilt. Yellow end-papers. Vol. I. -<span class='pageno' id='Page_125'>125</span>contains “A View of the Life and Writings” of -Isaac Disraeli written by his son and extending to -over thirty pages.</p> - -<p class='c008'>1851. COMMENTARIES ON THE LIFE AND -REIGN OF CHARLES THE FIRST, KING OF -ENGLAND. London: Henry Colburn. 2 vols. -Demy 8vo (5½ × 8¾). Dark green cloth, gilt. Yellow -end-papers. Vol. I. contains a brief preface by -Benjamin Disraeli.</p> - -<p class='c008'>1859. THE LITERARY CHARACTER Or <span class='sc'>The -History of Men of Genius</span>; and LITERARY -MISCELLANIES and AN ENQUIRY INTO -THE CHARACTER OF JAMES THE FIRST. -1 vol. Cr. 8vo.</p> - -<p class='c008'>1859. THE CALAMITIES AND QUARRELS OF -AUTHORS. 1 Vol. Cr. 8vo.</p> - -<p class='c008'>1859. AMENITIES OF LITERATURE. 2 vols. -Cr. 8vo.</p> - -<p class='c000'>These last three items were all published in London -by Routledge, Warnes and Routledge, and bound in -dark green cloth, with yellow end-papers. They contain -no prefaces by Benjamin Disraeli, who contented himself -with care for the text of his father's work.</p> - -<h3 class='c015'><i>NOTE</i></h3> - -<p class='c020'>To a collected edition of his novels issued in 1870 -Disraeli wrote an important preface, characterising the -work of his youth from the viewpoint of a man in his -sixties and indicating the considerable revisions carried -out in nearly all the books.</p> - -<p class='c000'>No attempt has been made to include in the foregoing -bibliography the reports of and selections from the -speeches of Disraeli, which—not surprisingly—were -issued in large numbers during his later life. Also are -omitted two volumes of his early letters, published after -his death.</p> - -<div class='chapter'> - <span class='pageno' id='Page_127'>127</span> - <h2 class='c006'>WILKIE COLLINS<br /> <span class='large'>1824-1889</span></h2> -</div> - -<div><span class='pageno' id='Page_129'>129</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>WILKIE COLLINS</div> - </div> -</div> - -</div> -<p class='c012'>Few novelists have enjoyed greater glory than did -Wilkie Collins at the height of his fame; to few did loss -of popularity in later years come more bitterly. For -fame at one time undeniably was his. Not only had he -a large and enthusiastic public; not only were his works -translated into half a dozen languages within a month -of their original publication; not only was he pestered -by the editors of two hemispheres for stories and serials; -but also he figured prominently in the professional -literary life of the time, was the intimate friend of -Dickens, and a member of the innermost ring of artistic -and intellectual society. Probably to his intimacy with -the chief literary personalities of his time is due the considerable -survival of his reputation. Despite the fact -that during the last period of his life he suffered severe -eclipse, and although, beyond <cite>The Moonstone</cite> and <cite>The -Woman in White</cite>, none of his books are regularly read -to-day, he is a name more familiar to the world than -Trollope, a name more notably literary than Marryat. -In the sixties, no less than in the nineteen-twenties, to -belong to the writing set was two-thirds of reputation. -There is no log-rolling so expert, no admiration so -mutual as that existing among members of the various -groups that practise the arts. Whence it has come about -that the name of Wilkie Collins—who as an artist may -not be mentioned in the same chapter as Trollope -or Marryat, or even Mrs. Gaskell—is a household word, -while those of his greater fellows sound strangely, as the -notes of some old-fashioned melody.</p> - -<p class='c000'>I do not seek to imply that Collins' survival is in no -way due to the quality of his work. He won the admiration -of his own age and may claim that of posterity as -a superb teller of stories and, in his latter days, as a -<span class='pageno' id='Page_130'>130</span>pathetic and courageous figure. But apart from his -dexterity in the contriving of plot, apart from a great (if -intermittent) talent for the portrayal of abnormal character, -he is inferior as a painter of life to many writers -of his time whose very existence is nowadays forgotten.</p> - -<p class='c000'>And yet he would, perhaps, himself be content to have -it so. That it was the novelist's primary duty to tell a -story was his own creed, and faithfully he abode by it. -He does not reveal to us human nature as does Trollope; -nor, like Disraeli, pique our interest with satiric brilliance -on topics of follies of the day; he has none of -Marryat's gay familiarity with the winds that blow and -the sun that shines on the crossroads of life's pilgrimage; -he has no fund of rough but genial humanity like Reade; -he is not tender like Mrs. Gaskell, nor mystic visionary -like Herman Melville; even Whyte Melville, with his -stilted rhetoric and clumsy <span lang="fr" xml:lang="fr">naïveté</span>, has at times an attractive -freshness that Collins lacks. But if we rid our -minds of all thought of him as seeking to throw on the -dark places of existence the light of interpretation, looking -to him rather for entertainment and for excitement, -for deft mystery and for extraordinary coincidence, he -will not disappoint us.</p> - -<p class='c000'>Of his novels the largest category, and that including -all the books (save perhaps two) that bear re-reading -nowadays, is that of the dramatic and mystery stories.</p> - -<p class='c000'>The first to appear was <cite>After Dark</cite>, published in 1856. -To the modern reader, the unmistakable first appearance -of the real Collins in these excellent tales comes with a -pleasurable shock after the mild bohemianism of the -preceding novel, <cite>Hide and Seek</cite>. <cite>After Dark</cite> consists -of six narratives of varying length and subject, ingeniously -woven together into the pattern of a single story. -At their best they are as good as anything the author -ever wrote; even at their worst they are free from the -perfunctory carelessness that mars so much of his later -work.</p> - -<p class='c000'><cite>The Dead Secret</cite> (1857) and <cite>The Queen of Hearts</cite> -(1859) show the novelist carrying farther his talent for -<span class='pageno' id='Page_131'>131</span>dramatic construction and his experiments in technique. -Both books contain descriptive passages of sombre -power.</p> - -<p class='c000'>There follow successively the four best books of Collins' -career. <cite>The Woman in White</cite> (1860), <cite>No Name</cite> -(1862), <cite>Armadale</cite> (1866), and <cite>The Moonstone</cite> (1868) are -story-telling as fine as the nineteenth century can show. -But they make evident that, even at his zenith, Collins -was no reader of other men's hearts. He could fashion -ingenious puppets to his will, entangling them in the -meshes of his intricate and faultlessly constructed plots; -but neither Count Fosco nor Captain Wragge, neither -Miss Gwilt nor Sergeant Cuff, remains with the reader -as a new friend or as a new enemy. Each is remembered, -rather, as a striking and skilfully designed -marionette, jerking through a Collins drama at the -bidding of a delicate mechanism of strings.</p> - -<p class='c000'>After <cite>The Moonstone</cite> the decadence began, and, to a -point, accountably enough. In the first place, the -author threw himself into the production of propaganda -fiction, with results (as may be seen) praiseworthy but a -little ridiculous. Secondly, he paid the usual price of -success and began to over-write. Whereas between -1850 and 1868 he published eleven novels and books of -tales, between 1870 and his death in 1889 he published -eighteen, in addition to a mass of short stories for magazines, -plays, and other incidental work. Thirdly—although -not until late in the seventies—his health began -to fail. With reasons as good as these for a falling off -in Collins' work, it were ungracious to inquire whether, -had he eschewed reform, controlled his pen, and retained -his strength and eyesight, his fiction would have -advanced from strength to strength. Perhaps; perhaps -not. Let us return from hypothetical dilemma to -melancholy fact. After <cite>The Moonstone</cite> the decadence -unmistakably began.</p> - -<p class='c000'>When next he came before the public with a novel of -plot, and left for a moment the righting of public wrongs, -his offering was mechanical enough. <cite>The Two Destinies</cite> -<span class='pageno' id='Page_132'>132</span>(1876) is built on a series of coincidences so incredible, -that even Collins' candid claim to search the very -border-line of impossibility for material of which to make -a story cannot reconcile us to their unlikelihood.</p> - -<p class='c000'><cite>The Haunted Hotel</cite> (1879), <cite>Jezebel's Daughter</cite> (1880), -and <cite>I Say No</cite> (1884) mark a slight improvement, and -can be read with pleasure for the unfailing ingenuity of -their design. <cite>The Evil Genius</cite> (1886) is in the nature -of a bad relapse, from which the dramatic tales never -wholly recover, although, of the three remaining, <cite>Little -Novels</cite> (1887) and <cite>The Legacy of Cain</cite> (1889) are not -without flashes of the old skill and invention. <cite>Blind -Love</cite>, finished by Sir Walter Besant and published posthumously, -may perhaps claim immunity from criticism.</p> - -<p class='c000'>As a novelist of indignation Collins is pathetic rather -than blameworthy. He had the usual fanaticisms of the -invalid intellectual—hatred of athleticism, of sport, of -legal injustice, of religious intrigue, of social insincerity; -and his propaganda novels give expression to his passionate -dislikes with a petulant but rather impressive -sincerity. Fortunately for the modern reader of books -which by their very nature are now out of date, Collins -did not fail, even in his tilting at windmills, to regulate -his movements with practised skill. Wherefore all but -one of the propaganda novels have well-contrived plots -and continuity of interest, which those will enjoy who -can disentangle the fictional from the instructional in -the stories' purpose. These “indignation novels” are -six in number:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>Man and Wife</span> (1870),</div> - <div class='line'><span class='sc'>The New Magdalen</span> (1873),</div> - <div class='line'><span class='sc'>The Law and the Lady</span> (1875),</div> - <div class='line'><span class='sc'>The Fallen Leaves</span> (1879),</div> - <div class='line'><span class='sc'>The Black Robe</span> (1871), and</div> - <div class='line'><span class='sc'>Heart and Science</span> (1883).</div> - </div> - </div> -</div> - -<p class='c000'>That in other books are present elements of reforming -zeal I am aware—for example, the abuse of private -asylums figures in <cite>The Woman in White</cite> and, as mentioned -<span class='pageno' id='Page_133'>133</span>below, there is a propaganda aspect to <cite>Basil</cite>; but -the six above named have their origin wholly in the -author's loathing of some injustice or some social evil.</p> - -<p class='c000'><cite>Man and Wife</cite> illustrates the cruel working of the -marriage laws of the United Kingdom and, incidentally, -voices the author's conviction that athleticism was at the -time rapidly brutalizing the youth of England. <cite>The -Law and the Lady</cite> ventilates another grievance against -legal injustice in matters sexual. <cite>The New Magdalen</cite> -and <cite>The Fallen Leaves</cite> are protests against the outlawry -of the prostitute and of the girl who gives herself, unhallowed -by the religious rite, to love. It is strange -that, of two books on the same subject, one (<cite>The New -Magdalen</cite>) should be the best novel of its class and not -far below the highest level ever attained by the author, -while the other (<cite>The Fallen Leaves</cite>) should hold the last -place among everything that Collins wrote. <cite>The New -Magdalen</cite> is a moving and dignified treatment of a very -difficult theme; <cite>The Fallen Leaves</cite>, from its aggressive -preface to its sugary, unreal end, is tragic proof that -high motive and technical efficiency may yet come -together and produce only imbecile hysteria.</p> - -<p class='c000'><cite>The Black Robe</cite> is anti-Jesuit; <cite>Heart and Science</cite> -anti-vivisection. Both are readable, and the latter something -more. It may be noted that Collins himself called -<cite>Heart and Science</cite> his best novel since <cite>Man and Wife</cite>. -Probably opinion to-day would set it above that humourless -and over-appendixed story, but it must rank below -<cite>The New Magdalen</cite> and, possibly, also below <cite>The -Haunted Hotel</cite>.</p> - -<p class='c000'>The novels that remain may hardly be classified. -<cite>Antonina</cite>, the story of Ancient Rome, with which in 1850, -and following a fashion of the day, he began his -novelist's career, is essentially a first book—painstaking, -over-elaborate, and dull.</p> - -<p class='c000'>It was succeeded by <cite>Mr. Wray's Cash Box</cite> (1852), a -brief and sentimental tale, mainly interesting for the -evidence it provides of Dickens's influence over the -young Collins at the very beginning of their long friendship. -<span class='pageno' id='Page_134'>134</span>Those who enjoy hearty Christmas jollity, lovable -if ludicrous old age, uncouth fidelity, incompetent villainy, -and sweet simple maidenhood will find <cite>Mr. Wray's -Cash Box</cite> pleasant enough.</p> - -<p class='c000'><cite>Basil</cite> (1852) and <cite>Hide and Seek</cite> (1854) are novels of -contemporary life, a little sombre, emotionally a little -exaggerated. There is a hint of crusading fervour in -<cite>Basil</cite> (against drunken nurses and hospital routine), but -the motif is not strong enough to class the book as a -propaganda novel. The young author (as many both -before and since have done) found stimulus for these -books in the pathetic figure of the debauched girl; but -she receives at his hands treatment little different from -that usually given her by serious neophytes, eager to -paint her tragic isolation for the improvement of the -novel-reading public.</p> - -<p class='c000'>There is in <cite>Hide and Seek</cite> an element of interest apart -from that of the story itself. Much of the action takes -place in a painter's studio, and Collins has full scope -for showing his fondness for art, an enthusiasm suitable -enough in the son and biographer of a distinguished -painter, but somewhat uncommon among novelists of -his age. Throughout his work he makes play with -knowledge of contemporary painting, displaying decided -and on the whole admirable taste, often well in advance -of his time.</p> - -<p class='c000'><cite>Poor Miss Finch</cite> (1872) is more a story of contemporary -social life than either a novel of mystery or one of propaganda. -It may therefore appear here as pendant to the -two early books just described. The central figure is a -blind girl. In <cite>Hide and Seek</cite> the author took credit to -himself for introducing a deaf mute, but as the affliction -plays no part in the story one must refrain from joining -in the applause. The blindness of Miss Finch, on the -other hand, is the pivot of her tale, and a very elaborate, -improbable, and overcrowded tale it is. The fact is -regrettable. Neatly contrived, related in a series of -narratives from different sources and from different points -of view, based largely on the antagonism of two brothers, -<span class='pageno' id='Page_135'>135</span>and pervaded by the wise spirit of an elderly governess-companion, -this novel is so nearly an epitome of the -methods and tricks of Wilkie Collins, that one could -wish it more thoroughly a success.</p> - -<p class='c000'>And here, save for scattered volumes of short stories -and one or two brief and unimportant novels, ends the -tale of Collins's books. He is a writer for tired minds, -capable—thanks to his perfect control of the mechanism -of incident—of holding the interest without calling on the -emotional reserves of his reader. His influence on the -novel of sensation has been enormous. It is the least -of his due that a generation brought up on the mystery -stories of his disciples should find time to turn over the -principal works of the master himself.</p> - -<h3 class='c015'><i>BIOGRAPHY</i></h3> - -<p class='c020'>The only biography of Wilkie Collins which has yet -been published is an insignificant German book issued -in 1885.</p> - -<div> - <span class='pageno' id='Page_136'>136</span> - <h3 class='c015'>EDITIONES PRINCIPES<br /> A.—FICTION, ESSAYS, BIOGRAPHY, ETC., AND ONE BOOK WRITTEN IN COLLABORATION</h3> -</div> - -<h4 class='c017'>1848</h4> - -<p class='c016'>MEMOIRS OF THE LIFE OF WILLIAM -COLLINS, R.A.: <span class='sc'>With Selections from his -Journals and Correspondence</span>. By his son, <span class='sc'>W. -Wilkie Collins</span>. London: Longman, Brown, -Green and Longmans. <span class='fss'>MDCCCXLVIII.</span> 2 vols. Ex. -Cr. 8vo (4¾ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. xii + 348. Publishers' catalogue, -32 pp., dated April 29, 1848, bound in at end.</p> - -<p class='c018'>Vol. II. pp. vi + 354.</p> - -<p class='c018'>No half-titles. Brown-purple (or grey-blue) -cloth, gilt, blocked in blind. Yellow end-papers. -Vol. I. contains engraved portrait after Linnell and -engraved title-page after Collins, immediately preceding -printed title. Vol. II. contains engraved -title-page after Collins, immediately preceding -printed title.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November, 1848.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'>ANTONINA: Or <span class='sc'>The Fall of Rome</span>. A Romance of -the Fifth Century. By <span class='sc'>W. Wilkie Collins</span>, -author of <cite>The Life of William Collins, R.A.</cite> -(Quotation from Scuderi.) London: Richard -Bentley, New Burlington Street. <span class='fss'>MDCCCL.</span> 3 vols. -Tall Ex. Cr. 8vo (4⅞ × 8).</p> - -<p class='c018'>Vol. I. pp. xiv + (ii) + 295 + (1).</p> - -<p class='c018'>Vol. II. pp. (viii) + 338 + (2). Publisher's advertisements -occupy pp. (323) and (324).</p> - -<p class='c018'><span class='pageno' id='Page_137'>137</span>Vol. III. pp. (viii) + 338 + (2). Publisher's advertisements -occupy pp. (339) and (340).</p> - -<p class='c018'>Cream embossed cloth, gilt. Yellow end-papers, -printed with publisher's advertisements.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on February 27, 1850.</p> - -<p class='c009'>(ii) Copies in paper boards, half cloth and with paper label, were -probably also issued.</p> - -<h4 class='c017'>1851</h4> - -<p class='c016'>RAMBLES BEYOND RAILWAYS: Or <span class='sc'>Notes in -Cornwall Taken A-Foot</span>. By <span class='sc'>W. Wilkie -Collins</span>, author of <cite>The Life of William Collins, -R.A.</cite>, <cite>Antonina</cite> etc. With Illustrations by Henry -C. Brandling. (Quotation from <cite>A Winter's Tale</cite>.) -London: Richard Bentley, New Burlington Street, -Publisher in Ordinary to Her Majesty. 1851. -1 vol. Sq. Demy 8vo (5½ × 8¼) pp. (viii) + 304. No -half-title. Twelve full-page illustrations in tinted -lithograph, printed separately. Cream-brown cloth, -gilt, blocked in blind. Yellow end-papers, printed -with publisher's advertisements.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on January 30, 1851.</p> - -<p class='c009'>(ii) The second edition (January 9, 1852) contained a frontispiece -differently tinted.</p> - -<h4 class='c017'>1852</h4> - -<p class='c016'>MR. WRAY'S CASH BOX: Or <span class='sc'>The Mask and the -Mystery</span>: A Christmas Sketch. By <span class='sc'>W. Wilkie -Collins</span>, author of <cite>Antonina</cite> etc. London: Richard -Bentley, New Burlington Street. 1852. 1 vol. -Fcap. 8vo (4¼ × 6¾). Pp. viii + 171 + (5). Publisher's -advertisements occupy pp. (173) to (176). -Grey-blue cloth, gilt. Yellow end-papers. Etched -frontispiece by J. E. Millais, dated 1852, and printed -separately.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1852.</p> - -<div> - <span class='pageno' id='Page_138'>138</span> - <h4 class='c017'>1852</h4> -</div> - -<p class='c016'>BASIL: A Story of Modern Life. By <span class='sc'>W. Wilkie -Collins</span>, author of <cite>Antonina</cite>, <cite>Rambles Beyond -Railways</cite> etc. London: Richard Bentley, New -Burlington Street. 1852. 3 vols. Ex. Cr. 8vo -(4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. 300 pp. (6) to (21) are paged in roman -numerals. Half-title to this volume.</p> - -<p class='c018'>Vol. II. pp. (iv) + 303 + (1). No half-title.</p> - -<p class='c018'>Vol. III. pp. (iv) + 301 + (1). No half-title.</p> - -<p class='c018'>Paper boards, half cloth, paper label, white end-papers. -Also in bright blue embossed cloth, blocked -in gold and blind. Brick-red end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on November 16, 1852. An one-volume -edition (1862, magenta cloth, blocked in gold and blind) -contains a dedicatory letter not elsewhere published.</p> - -<h4 class='c017'>1854</h4> - -<p class='c016'>HIDE AND SEEK. By <span class='sc'>W. Wilkie Collins</span>, author -of <cite>Antonina</cite>, <cite>Basil</cite> etc. London: Richard Bentley, -New Burlington Street. 1854. 3 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 297 + (3). Publisher's advertisements, -dated June, 1854, occupy pp. (299) and (300).</p> - -<p class='c018'>Vol. II. pp. (iv) + 322 + (2). Publisher's advertisements, -dated June, 1854, occupy pp. (323) and -(324).</p> - -<p class='c018'>Vol. III. pp. (iv) + 332.</p> - -<p class='c018'>Paper boards (half cloth), paper label. White -end-papers. Also in pale maroon cloth, gilt, blocked -in blind, pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on June 6, 1854.</p> - -<div> - <span class='pageno' id='Page_139'>139</span> - <h4 class='c017'>1856</h4> -</div> - -<p class='c016'>AFTER DARK. By <span class='sc'>Wilkie Collins</span>, author of -<cite>Basil</cite>, <cite>Hide and Seek</cite> etc. London: Smith, Elder -and Co., 65 Cornhill. 1856. 2 vols. Ex. Cr. -8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 315 + (1). Publishers' catalogue, -16 pp., dated January, 1856, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 322 + (2). Publishers' advertisement -occupies p. (323).</p> - -<p class='c018'>Boards, half cloth, paper label. White end-papers. -Also in dark grey-green cloth, gilt, blocked -in blind, yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: Vol. I., A Terribly Strange Bed—A Stolen Letter—Sister -Rose. Vol. II., The Lady of Glenwith Grange—Gabriel's -Marriage—The Yellow Mask.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1856.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>THE DEAD SECRET. By <span class='sc'>Wilkie Collins</span>. -London: Bradbury and Evans, 11 Bouverie Street. -1857. 2 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 331 + (1). No half-title.</p> - -<p class='c018'>Grey-purple cloth, gilt, blocked in blind. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in June, 1857.</p> - -<p class='c009'>(ii) Copies in brown cloth, with yellow end-papers, printed with -Chapman and Hall advertisements, are of later issue.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>A PLOT IN PRIVATE LIFE AND OTHER TALES. -By <span class='sc'>Wilkie Collins</span>, author of <cite>After Dark</cite>, <cite>Hide -and Seek</cite> etc. Leipzig: Bernhard Tauchnitz. 1859.</p> - -<p class='c018'><span class='pageno' id='Page_140'>140</span>1 vol. (4½ × 6¼). Pp. (viii) + 294 + (2). Paper -wrappers of usual Tauchnitz style.</p> - -<p class='c009'><em>Contents</em>: A Plot in Private Life—Mad Monkton—The Black -Cottage—The Family Secret—The Biter Bit.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>THE QUEEN OF HEARTS. By <span class='sc'>Wilkie Collins</span>, -author of <cite>The Dead Secret</cite>, <cite>After Dark</cite>, etc. etc. -London: Hurst and Blackett, Publishers, Successors -to Henry Colburn, 13 Great Marlborough -Street. 1859. 3 vols. Cr. 8vo (4⅞ × 7½).</p> - -<p class='c018'>Vol. I. pp. iii + (i) + 314. Publishers' catalogue, -16 pp., undated, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (ii) + 359 + (1).</p> - -<p class='c018'>Vol. III. pp. (ii) + 307 + (1).</p> - -<p class='c018'>No half-titles. Dark grey-green cloth, gilt, blocked -in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1859.</p> - -<h4 class='c017'>1860</h4> - -<p class='c016'>THE WOMAN IN WHITE. By <span class='sc'>Wilkie Collins</span>. -Author of <cite>The Dead Secret</cite>, <cite>After Dark</cite> etc. etc. -London: Sampson Low, Son and Co., 47 Ludgate -Hill. 1860. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 316.</p> - -<p class='c018'>Vol. II. pp. (ii) + 360.</p> - -<p class='c018'>Vol. III. pp. (ii) + 368.</p> - -<p class='c018'>No half-titles. Preface to Vol. I., dated August 3, -1860. Violet embossed cloth, blocked in gold and -blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in September, 1860. The -first one-volume edition (1861, magenta cloth blocked in gold and -blind) contains a special preface.</p> - -<p class='c009'>(ii) I am uncertain whether or not the earliest copies of this -novel contained in any one of the three volumes a publishers' -catalogue. The first editions I have seen show a 16 pp. catalogue -at the end of Vol. III., but dated November, 1860, so that they -<span class='pageno' id='Page_141'>141</span>belong clearly to a subsequent issue. <cite>The Woman in White</cite> is a -case over which the buyer should take great care. A so-called -“New Edition” was issued in the year of publication and <em>with -binding identical</em> to that of the first edition, for which reason only -the right advertisement matter can show that a copy is untampered -with. I should welcome information tending to establish whether -a catalogue (and if so where and of what date) should properly -figure in a “right” copy of the novel.</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>NO NAME. By <span class='sc'>Wilkie Collins</span>, author of <cite>The -Woman in White</cite>, <cite>The Dead Secret</cite>, etc. etc. etc. -London: Sampson Low, Son and Co., 47 Ludgate -Hill. 1862. 3 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. ix + (1) + 339 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 363 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 408.</p> - -<p class='c018'>Scarlet embossed cloth, blocked in gold and blind. -Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although this book is dated 1862, it was not actually -published until January, 1863.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>MY MISCELLANIES. By <span class='sc'>Wilkie Collins</span>, author -of <cite>The Woman in White</cite>, <cite>No Name</cite>, <cite>The Dead -Secret</cite> etc. etc. etc. London: Sampson Low, Son -and Co., Ludgate Hill. 1863. 2 vols. Ex. Cr. -8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vi + (ii) + 291 + (1). Publishers' catalogue, -16 pp., printed on text paper, and dated -November, 1863, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 300. Publishers' catalogue, -16 pp., printed on text paper and dated November, -1863, bound in at end.</p> - -<p class='c018'>Green embossed cloth, gilt. Green-ochre end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in November, 1863.</p> - -<p class='c009'>(ii) Copies in brown cloth gilt are of later issue.</p> - -<div> - <span class='pageno' id='Page_142'>142</span> - <h4 class='c017'>1866</h4> -</div> - -<p class='c016'>ARMADALE. By <span class='sc'>Wilkie Collins</span>. With Twenty -Illustrations by George H. Thomas. London: -Smith, Elder and Co., 65 Cornhill. 1866. 2 vols. -Demy 8vo (5½ × 8¾).</p> - -<p class='c018'>Vol. I. pp. (viii) + 304.</p> - -<p class='c018'>Vol. II. pp. (iv) + 372.</p> - -<p class='c018'>No half-titles. Vol. I. contains nine illustrations, -Vol. II. eleven. Red-brown cloth, blocked in gold. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1866. The story appeared -serially in the “Cornhill.”</p> - -<h4 class='c017'>1868</h4> - -<p class='c016'>THE MOONSTONE: A Romance. By <span class='sc'>Wilkie -Collins</span>, author of <cite>The Woman in White</cite>, <cite>No -Name</cite>, <cite>Armadale</cite>, etc. etc. London: Tinsley Brothers, -18 Catherine Street, Strand. 1868. 3 vols. -Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. viii + 315 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 297 + (1). Publishers' advertisements -(2 pp.) inserted before half-title.</p> - -<p class='c018'>Vol. III. pp. (iv) + 309 + (1). Publishers' advertisements -(2 pp.) inserted before half-title.</p> - -<p class='c018'>Violet cloth, blocked in gold and blind. Cream -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1868.</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>MAN AND WIFE: A Novel. By <span class='sc'>Wilkie Collins</span>. -(Quotation from Bunyan.) London: F. S. Ellis, -33 King Street, Covent Garden. 1870. 3 vols. -Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. xiv + 356. Publisher's advertisements, -8 pp., bound in at end.</p> - -<p class='c018'><span class='pageno' id='Page_143'>143</span>Vol. II. pp. vi + 359 + (1).</p> - -<p class='c018'>Vol. III. pp. vi + 348.</p> - -<p class='c018'>Maroon cloth, gilt. Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1870.</p> - -<h4 class='c017'>1872</h4> - -<p class='c016'>POOR MISS FINCH: A Novel. By <span class='sc'>Wilkie Collins</span>, -author of <cite>The Woman in White</cite>, <cite>No Name</cite>, <cite>Man -and Wife</cite>, etc. London: Richard Bentley and -Son. 1872. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. ix + (iii) + 314 + (2). Publishers' advertisements -occupy p. (315).</p> - -<p class='c018'>Vol. II. pp. iv + 316.</p> - -<p class='c018'>Vol. III. pp. iv + 320.</p> - -<p class='c018'>No half-titles. Purple-brown cloth, blocked in -black. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on January 26, 1872. The -story appeared serially in “Cassell's Magazine.”</p> - -<p class='c009'>(ii) Copies in bright blue embossed cloth, gilt, without imprint -on spine, are of a later issue.</p> - -<h4 class='c017'>1873</h4> - -<p class='c016'>THE NEW MAGDALEN: A Novel. By <span class='sc'>Wilkie -Collins</span>. “Lead us not into temptation.” London: -Richard Bentley and Son. 1873. 2 vols. Cr. 8vo -(5 × 7½).</p> - -<p class='c018'>Vol. I. pp. vi + 297 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 298 + (2). Publishers' advertisement -occupies p. (299).</p> - -<p class='c018'>No half-titles. Red-brown cloth, blocked in gold -and black. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on May 17, 1873. The story -appeared serially in the “Temple Bar Magazine.”</p> - -<div> - <span class='pageno' id='Page_144'>144</span> - <h4 class='c017'>1873</h4> -</div> - -<p class='c016'>MISS OR MRS.? And Other Stories in Outline. By -<span class='sc'>Wilkie Collins</span>. London: Richard Bentley and -Son, New Burlington Street, 1873. 1 vol. Cr. 8vo -(4⅝ × 7⅛). Pp. viii + 325 + (3). Publishers' advertisement -occupies p. (327).</p> - -<p class='c018'>No half-title. Brown cloth, gilt, blocked in black. -Pale yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: Miss or Mrs.?—Blow up the Brig!—The Fatal Cradle.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on January 17, 1873. The -stories first appeared in “The Graphic” and in “All the Year -Round.”</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>THE FROZEN DEEP: And Other Stories. (<span class='sc'>Readings -and Writings in America.</span>) By <span class='sc'>Wilkie -Collins</span>. London: Richard Bentley and Son, New -Burlington Street. 1874. 2 vols. Small Cr. 8vo -(4¾ × 7).</p> - -<p class='c018'>Vol. I. pp. viii + 248.</p> - -<p class='c018'>Vol. II. pp. vi + 282 + (2). Publishers' advertisements -occupy pp. (283) and (284).</p> - -<p class='c018'>Blue cloth, gilt, blocked in black. Pale yellow -end-papers.</p> - -<p class='c009'><em>Contents</em>: Vol. I., The Frozen Deep—The Dream Woman. -Vol. II., John Jago's Ghost; or The Dead Alive.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on November 2, 1874. The -title story appeared serially in the “Temple Bar Magazine”; the -remainder were first published in “Household Words” and in the -“Home Journal.”</p> - -<p class='c009'>(ii) Copies in brown cloth, with yellow end-papers, printed with -Chapman and Hall advertisements, are of later issue.</p> - -<h4 class='c017'>1875</h4> - -<p class='c016'>THE LAW AND THE LADY: A Novel. By -<span class='sc'>Wilkie Collins</span>. London: Chatto and Windus, -Piccadilly. 1875. 3 vols. Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'><span class='pageno' id='Page_145'>145</span>Vol. I. pp. vi + (ii) + 246 + (2). Publishers' catalogue, -40 pp., dated December, 1874, bound in at -end.</p> - -<p class='c018'>Vol. II. pp. iv + 269 + (3). Advertisement of -author's previous works occupies p. (271).</p> - -<p class='c018'>Vol. III. pp. iv + 341 + (3). Advertisement of -author's previous works occupies p. (343).</p> - -<p class='c018'>No half-titles. Dark green cloth, gilt, blocked -in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1875.</p> - -<h4 class='c017'>1876</h4> - -<p class='c016'>THE TWO DESTINIES: A Romance. By <span class='sc'>Wilkie -Collins</span>. London: Chatto and Windus, Piccadilly. -1876. 2 vols. Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (viii) + 311 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 301 + (3). No half-title. Publishers' -catalogue, 32 pp., dated April, 1876, bound -in at end.</p> - -<p class='c018'>Bright green cloth, gilt, blocked in black. Cream -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in September, 1876.</p> - -<p class='c009'>(ii) I have seen a copy bound in <em>brown</em> cloth, blocked and lettered -identically to those in bright green, and containing a publishers' -catalogue dated <cite>September</cite>, 1876. Whether the brown binding is -necessarily later than the green, or whether one variety is a trial -binding and the other that finally adopted, I do not know.</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>A SHOCKING STORY. By <span class='sc'>Wilkie Collins</span>. -Author of <cite>Man and Wife</cite>, <cite>Woman in White</cite> etc. -New York: A. J. Barnes and Company, 111 and 113 -William Street. 1 vol. (4½ × 6½). Pp. (ii) plus 57 + (3). -This pamphlet is not wrappered, but pp. (i) and (60) -form outside covers. Both are plain without printing -of any sort.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) The date 1878 appears under the note of copyright on -verso of title.</p> - -<p class='c009'><span class='pageno' id='Page_146'>146</span>(ii) This story was issued in the November number of the -“International Review,” an American periodical published by -Barnes and Co., who brought out the pamphlet described above. -In Great Britain the tale appeared in the “Belgravia Annual” -(December, 1878), published by Chatto and Windus, but was not -reissued in other than periodical form.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>THE HAUNTED HOTEL: A Mystery of Modern -Venice, to which is added <span class='sc'>My Lady's Money</span>. By -<span class='sc'>Wilkie Collins</span>. With six illustrations by Arthur -Hopkins. London: Chatto and Windus, Piccadilly. -1879. 2 vols. Demy 8vo (5½ × 8¼).</p> - -<p class='c018'>Vol. I. pp. viii + (ii) + 230 + (2). Publishers' catalogue, -40 pp., dated October, 1878, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (viii) + 259 + (1).</p> - -<p class='c018'>Vol. I. contains five illustrations and Vol. II. one -illustration, line engraved and printed separately. -Dark brown cloth, gilt, blocked in white. Blue-black -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book, although dated 1879, was actually -published in November, 1878.</p> - -<p class='c009'>(ii) <cite>My Lady's Money</cite> was issued by Tauchnitz in 1879, together -with <cite>The Ghost's Touch</cite>, a story I cannot trace to have appeared -in book form in Great Britain.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>A ROGUE'S LIFE: <span class='sc'>From his Birth to his Marriage</span>. -By <span class='sc'>Wilkie Collins</span>. London: Richard -Bentley and Son, Publishers in Ordinary to Her -Majesty the Queen. 1879. 1 vol. Cr. 8vo -(4¾ × 6⅞). Pp. iv + 188. No half-title. Red cloth -gilt, blocked in black. Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on April 7, 1879. It is the first -edition in book form of a tale issued periodically in the early fifties -in “Household Words.” The text was slightly revised by the -author before publication.</p> - -<div> - <span class='pageno' id='Page_147'>147</span> - <h4 class='c017'>1879</h4> -</div> - -<p class='c016'>THE FALLEN LEAVES. By <span class='sc'>Wilkie Collins</span>. -First Series. London: Chatto and Windus, Piccadilly. -1879. 3 vols. Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (viii) + 275 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 269 + (3). Publishers' advertisements, -40 pp., dated May, 1879, bound in at end.</p> - -<p class='c018'>Vol. III. pp. (iv) + 295 + (1).</p> - -<p class='c018'>Olive-brown cloth, gilt, blocked in black. Black -and grey-blue decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1879.</p> - -<h4 class='c017'>1880</h4> - -<p class='c016'>JEZEBEL'S DAUGHTER. By <span class='sc'>Wilkie Collins</span>. -London: Chatto and Windus, Piccadilly. 1880. -3 vols. Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. viii + 282 + (2). Publishers' catalogue, -32 pp., dated February, 1880, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 281 + (3).</p> - -<p class='c018'>Vol. III. pp. (iv) + 296.</p> - -<p class='c018'>Pale buff cloth, gilt, blocked in black. Dark -green and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1880.</p> - -<h4 class='c017'>1880</h4> - -<p class='c016'>CONSIDERATIONS ON THE COPYRIGHT -QUESTION ADDRESSED TO AN AMERICAN -FRIEND. By <span class='sc'>Wilkie Collins</span>. London: Trübner -and Co., Ludgate Hill. 1880. 1 vol. Cr. 4to -(6¾ × 9¼). Pp. 12 + (4). This pamphlet is not wrappered, -pp. (1) and (16) forming outside covers. P. (1) -is lettered as above, and serves both as front wrapper -and title-page.</p> - -<div> - <span class='pageno' id='Page_148'>148</span> - <h4 class='c017'>1881</h4> -</div> - -<p class='c016'>THE BLACK ROBE. By <span class='sc'>Wilkie Collins</span>. London: -Chatto and Windus, Piccadilly. 1881. 3 vols. -Cr. 8vo (4¾ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. vi + 320.</p> - -<p class='c018'>Vol. II. pp. vi + 296.</p> - -<p class='c018'>Vol. III. pp. vi + 266 + (6). Publishers' advertisements -occupy pp. (267) to (272). Publishers' -catalogue, 32 pp., dated March, 1881, bound in at -end.</p> - -<p class='c018'>Black cloth, gilt, blocked in white. Blue and -white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1881.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>HEART AND SCIENCE: A Story of the Present -Time. By <span class='sc'>Wilkie Collins</span>. London: Chatto -and Windus, Piccadilly. 1883. 3 vols. Cr. 8vo -(4⅞ × 7¼).</p> - -<p class='c018'>Vol. I. pp. xvi + 294 + (2).</p> - -<p class='c018'>Vol. II. pp. (iv) + 293 + (3).</p> - -<p class='c018'>Vol. III. pp. (iv) + 302 + (2). Publishers' catalogue, -32 pp., dated March, 1883, bound in at end.</p> - -<p class='c018'>Grey-blue cloth, gilt, blocked in chocolate. Pale -green and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1883.</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>I SAY NO. By <span class='sc'>Wilkie Collins</span>. London: Chatto -and Windus, Piccadilly. 1884. 3 vols. Cr. 8vo -(4⅞ × 7¼).</p> - -<p class='c018'>Vol. I. pp. (viii) + 295 + (1). Publishers' catalogue, -32 pp., dated March, 1884, bound in at end.</p> - -<p class='c018'><span class='pageno' id='Page_149'>149</span>Vol. II. pp. (viii) + 296.</p> - -<p class='c018'>Vol. III. pp. (viii) + 324.</p> - -<p class='c018'>Slate-blue cloth, gilt, blocked in magenta. Pale -green and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1884.</p> - -<h4 class='c017'>1886</h4> - -<p class='c016'>THE EVIL GENIUS: A Domestic Story. By <span class='sc'>Wilkie -Collins</span>. London. Chatto and Windus, Piccadilly. -1886. 3 vols. Cr. 8vo (4⅞ × 7¼).</p> - -<p class='c018'>Vol. I. pp. viii + 284.</p> - -<p class='c018'>Vol. II. pp. vi + 304.</p> - -<p class='c018'>Vol. III. pp. vi + 265 + (1). Publishers' catalogue, -32 pp., dated May, 1886, bound in at end.</p> - -<p class='c018'>Dark grey-green cloth, gilt, blocked in black. -Grey and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in September, 1886.</p> - -<h4 class='c017'>1886</h4> - -<p class='c016'>THE GUILTY RIVER. By <span class='sc'>Wilkie Collins</span>, author -of <cite>The Woman in White</cite>, <cite>Armadale</cite>, <cite>The Evil -Genius</cite> etc. Arrowsmith's Christmas Annual, 1886. -Bristol: J. W. Arrowsmith, 11 Quay Street. -London: Simpkin, Marshall and Co., 4 Stationers' -Hall Court. Price 1s. 1 vol. Fcap. 8vo (4½ × 6½). -Pp. (viii) + 188 + (12). No half-title. Advertisements -occupy pp. (i) to (vi), p. (vii) is title-page, -p. (viii) is occupied by advertisements, as also -pp. (189) to (200). Buff paper wrappers, printed in -dark blue, black and yellow. Advertisements -occupy back outside wrapper and spine, which is -not printed with title of story.</p> - -<p class='c009'><span class='sc'>Note</span>—The wording given above is that of wrapper, not of -title-page, because there exist several varieties of the book (all -of later date), which can most easily be identified by the discrepancies -between their wrappers and that of the first issue.</p> - -<div> - <span class='pageno' id='Page_150'>150</span> - <h4 class='c017'>1887</h4> -</div> - -<p class='c016'>LITTLE NOVELS. By <span class='sc'>Wilkie Collins</span>. London: -Chatto and Windus, Piccadilly. 1887. 3 vols. -Cr. 8vo (4¾ × 7⅛).</p> - -<p class='c018'>Vol. I. pp. (vi) + 319 + (1).</p> - -<p class='c018'>Vol. II. pp. (vi) + 331 + (1).</p> - -<p class='c018'>Vol. III. pp. (viii) + 303 + (1). Publishers' catalogue, -32 pp., dated April, 1887, bound in at end.</p> - -<p class='c018'>Bright blue cloth, gilt, blocked in red. Grey and -white decorated end-papers.</p> - -<p class='c009'><em>Contents</em>: Vol. I., Mrs. Zant and the Ghost—Miss Morris and -the Stranger—Mr. Cosway and the Landlady—Mr. Medhurst and -the Princess—Mr. Lismore and the Widow.</p> - -<p class='c009'>Vol. II., Miss Jeromette and the Clergyman—Miss Minor and -the Groom—Mr. Lepel and the Housekeeper—Mr. Captain and -the Nymph—Mr. Marmaduke and the Minister.</p> - -<p class='c009'>Vol. III., Mr. Percy and the Prophet—Miss Bertha and the -Yankee—Miss Dulane and My Lord—Mr. Policeman and the -Cook.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1887.</p> - -<h4 class='c017'>1889</h4> - -<p class='c016'>THE LEGACY OF CAIN. By <span class='sc'>Wilkie Collins</span>. -London: Chatto and Windus, Piccadilly. 1889. -3 vols. Cr. 8vo (4¾ × 7).</p> - -<p class='c018'>Vol. I. pp. viii + 289 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + 263 + (1).</p> - -<p class='c018'>Vol. III. pp. vi + 281 + (1). Publishers' catalogue, -32 pp., dated October, 1888, bound in at end.</p> - -<p class='c018'>Blue cloth, gilt, blocked in red and black. Pale -grey and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1889, this book was actually published in -November, 1888.</p> - -<div> - <span class='pageno' id='Page_151'>151</span> - <h4 class='c017'>1890</h4> -</div> - -<p class='c016'>BLIND LOVE. By <span class='sc'>Wilkie Collins</span>. With a Preface -by Walter Besant, and Illustrations by A. -Forestier. London: Chatto and Windus. Piccadilly. -1890. 3 vols. Cr. 8vo (4¾ × 7⅛).</p> - -<p class='c018'>Vol. I. pp. x + (ii) + 302 + (2).</p> - -<p class='c018'>Vol. II. pp. vi + (ii) + 303 + (i). Publishers' catalogue, -32 pp., dated October, 1889, bound in at end.</p> - -<p class='c018'>Vol. III. pp. vi + (ii) + 316.</p> - -<p class='c018'>Blue cloth, gilt, blocked in black. Pale grey and -white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1890.</p> - -<h4 class='c017'>1890</h4> - -<p class='c016'>THE LAZY TOUR OF TWO IDLE APPRENTICES. -NO THOROUGHFARE. THE PERILS -OF CERTAIN ENGLISH PRISONERS. By -<span class='sc'>Charles Dickens</span> and <span class='sc'>Wilkie Collins</span>. With -Illustrations. London: Chapman and Hall, -Limited. 1890. 1 vol. Ex. Cr. 8vo (5¼ × 7⅞). Pp. vi + -(ii) + 327 + (1). Dark green cloth, gilt, blocked in -black. Black end-papers. Eight full-page illustrations -in line, printed separately.</p> - -<p class='c009'><span class='sc'>Note</span>—Of the stories here published in book form for the first -time <cite>No Thoroughfare</cite> first appeared as the Extra Christmas -Number to “All the Year Round” for 1867 (1 vol. 6⅝ × 9¾, pp. 48, -bright blue paper wrappers, printed in black) and <cite>The Perils of -Certain English Prisoners</cite> as the “Christmas Story for 1857” in -“Household Words” (1 vol., 5⅝ × 8⅞, pp. 36, buff paper wrappers -printed in violet, red and green).</p> - -<div> - <span class='pageno' id='Page_152'>152</span> - <h3 class='c015'>B.—PLAYS, WRITTEN ALONE AND IN COLLABORATION</h3> -</div> - -<h4 class='c017'>1861</h4> - -<p class='c016'>A MESSAGE FROM THE SEA: A Drama in Three -Acts. By <span class='sc'>Charles Dickens</span> and <span class='sc'>Wilkie Collins</span>. -London: Published by G. Halsworth, at the office -of “All the Year Round,” Wellington Street, -Strand. 1861. 1 vol. Cr. 8vo (4½ × 7¼). Pp. 68. -Buff paper wrappers, printed in black.</p> - -<p class='c009'><span class='sc'>Note</span>—The story upon which this play is based appeared as the -Extra Christmas Number to “All the Year Round” for 1860 -(1 vol., 6½ × 9¾, pp. 48, bright blue paper wrappers, printed in -black).</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>NO NAME: A Drama in Five Acts. Founded on, and -adapted from, the story so entitled. By <span class='sc'>Wilkie -Collins</span> Esq. London: Published by G. Halsworth, -at the office of “All the Year Round.” 1863. -1 vol. Cr. 8vo (4½ × 7¼). 60 pp. Pink paper -wrappers, printed in black.</p> - -<p class='c009'><span class='sc'>Note</span>—This play was also issued in De Witt's Acting Series -(No. 104), published by Robert M. de Witt, New York, in pale -yellow wrappers printed in black. The pamphlet is undated.</p> - -<h4 class='c017'>1866</h4> - -<p class='c016'>ARMADALE: A Drama in Three Acts. (Altered from -the novel of <cite>Armadale</cite> for performance on the stage.) -By <span class='sc'>Wilkie Collins</span>. London: Published for the -author by Smith, Elder and Co., 65 Cornhill. 1866. -1 vol. Cr. 8vo. Pp. 76. Pink paper wrappers, -printed in black.</p> - -<div> - <span class='pageno' id='Page_153'>153</span> - <h4 class='c017'>1866</h4> -</div> - -<p class='c016'>THE FROZEN DEEP: A Drama in Three Acts. By -<span class='sc'>Wilkie Collins</span>. (Not published.) 1866. 1 vol. -Fcap. 8vo (4 × 6½). Pp. 46 + (2). Buff paper -wrappers, printed in black.</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>NO THOROUGHFARE: A Drama in Five Acts. -(Altered from the Christmas story, for performance -on the stage.) By <span class='sc'>Charles Dickens</span> and <span class='sc'>Wilkie -Collins</span>. London: Published at the Office of “All -the Year Round,” 26 Wellington Street. 1867. -1 vol. Cr. 8vo (4⅞ × 7¼). Pp. 89 + (1). Buff paper -wrappers, printed in black.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Another issue was made of this play under the same -date and with identical format and title-page, except for the addition, -beneath the imprint, of the words: Entered at Stationers' -Hall. This issue consists, however, only of pp. 78 + (2), and the -text of the play is different from Act IV., Scene III., to the end.</p> - -<p class='c009'>(ii) The story upon which this play is based appeared as the -Extra Christmas Number to “All the Year Round” for 1867 (see -above, <cite>The Lazy Tour of Two Idle Apprentices</cite>, 1890, note).</p> - -<p class='c009'>(iii) Collectors will be interested to note, as an item in Collinsiana, -an American dramatic version of <cite>No Thoroughfare</cite> which appeared -as No. 348 in French's Library of Standard Drama. This version -is entitled:</p> - -<p class='c009'><span class='sc'>Identity or No Thoroughfare</span> by Louis Lequel. Dramatized -from the Christmas Story of Charles Dickens and Wilkie Collins. -New York: Samuel French, Publisher, 122 Nassau Street.</p> - -<p class='c009'>1 vol. (4½ × 7½). Pp. 44. Yellow paper wrappers, printed in black.</p> - -<p class='c009'>The booklet is undated, save for the statement that the play was -entered in the Clerk's Office of the District Court of the United -States for the Southern District of New York in 1867. The -wrapper bears French's London as well as his New York imprint.</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'>BLACK AND WHITE: A Love Story in Three Acts. -By <span class='sc'>Wilkie Collins</span> and <span class='sc'>Charles Fletcher</span>. -London: Printed by C. Whiting, Beaufort House, -Strand. 1869. 1 vol. Slim Cr. 8vo (4¾ × 7½). -Pp. 56. White paper wrappers, the first page of -which serves as title and is printed as above.</p> - -<div> - <span class='pageno' id='Page_154'>154</span> - <h4 class='c017'>1870</h4> -</div> - -<p class='c016'>NO NAME: A Drama in Four Acts. (Altered from -the novel for performance on the stage.) By <span class='sc'>Wilkie -Collins</span>. London: Published by the author, 90 -Gloucester Place, Portman Square. 1870. 1 vol. -Sm. Cr. 8vo (4½ × 7¼). Pp. 160, of which pp. (1) to -(4) are unnumbered. The rest of the book, being -printed on one side of the paper only, is paged (5) -to 82. Buff paper wrappers, printed in black.</p> - -<p class='c009'><span class='sc'>Note</span>—This is a different text from that published in 1863.</p> - -<h4 class='c017'>1871</h4> - -<p class='c016'>THE WOMAN IN WHITE: A Drama in Prologue -and Four Acts. (Altered from the novel for performance -on the stage.) By <span class='sc'>Wilkie Collins</span>. -London. Published by the author, 90 Gloucester -Place, Portman Square. 1871. 1 vol. Sm. Cr. -8vo (4½ × 7¼). Pp. (172), of which pp. (1) to (4) are -unnumbered. The rest of the book, being printed -on one side of the paper only, is paged (5) to 88. -Buff paper wrappers, printed in black, uniform with -<cite>No Name</cite>.</p> - -<h4 class='c017'>1873</h4> - -<p class='c016'>THE DREAM WOMAN: A Mystery in Four Narratives -and Two Parts. By <span class='sc'>Wilkie Collins</span>. Altered -and enlarged for reading in public from the original -story published in the collection called <cite>The Queen -of Hearts</cite>. Boston: Privately printed for the author. -1873. 1 vol. Short Med. 4to (9 × 11⅛). Pp. 110, -of which pp. (1) to (3) are unnumbered. The rest -of the book, being printed on one side of the paper -only, is paged 5 to 55. No half-title. Grey paper -wrappers; quarter grey-purple cloth. The wrappers -are plain, without printing of any sort.</p> - -<div> - <span class='pageno' id='Page_155'>155</span> - <h4 class='c017'>1873</h4> -</div> - -<p class='c016'>THE NEW MAGDALEN: A Dramatic Story in a Prologue -and Three Acts. By <span class='sc'>Wilkie Collins</span>. -(Represented for the first time in London at the -Olympic Theatre, May 19, 1873.) London: Published -by the author, 90 Gloucester Place, Portman -Square. 1873. 1 vol. Sm. Cr. 8vo (4⅜ × 7⅛). -Pp. 158, of which pp. (1) to (4) are unnumbered. -The rest of the book, being printed on one side of -the paper only, is paged 5 to 81. Buff paper -wrappers, printed in black, uniform with <cite>No Name</cite>.</p> - -<h4 class='c017'>1875</h4> - -<p class='c016'>MISS GWILT: A Drama in Five Acts. (Altered from -the novel <cite>Armadale</cite>.) By <span class='sc'>Wilkie Collins</span>, printed -for performance at the Theatre only, not published. -1 vol. Demy 8vo (5¼ × 8½). Pp. 104. Pp. 1 and -104 act as outside wrappers.</p> - -<h4 class='c017'>1877</h4> - -<p class='c016'>THE MOONSTONE: A Dramatic Story in Three Acts. -(Altered from the novel for performance on the -stage.) By <span class='sc'>Wilkie Collins</span>. (This play is not published. -It is privately printed for the convenience -of the author.) Charles Dickens and Evans, Crystal -Palace Press. 1877. 1 vol. Cr. 8vo (4¾ × 7⅛). -Pp. 176, of which (1) to (4) are unnumbered. The -rest of the book, being printed on one side of the -paper only, is paged (5) to 88. Paper wrappers, -printed in black.</p> - -<div class='chapter'> - <span class='pageno' id='Page_157'>157</span> - <h2 class='c006'>CHARLES READE<br /> <span class='large'>1814-1884</span></h2> -</div> - -<div><span class='pageno' id='Page_159'>159</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>CHARLES READE</div> - </div> -</div> - -</div> -<p class='c012'>If no judgment is here attempted of the work of Charles -Reade, it is because he refuses to be “placed,” in the -opinion of the present writer. At times he is so fine, so -resilient, so impressive; at others, the dullest of pamphleteers, -a cramped Meredith in style, a very waxwork -among sensationalists. Fortunately certain aspects of -his powerful but clumsy mind have of late been admirably -presented. The “London Mercury” for June, -1921 (Vol. IV., No. 20), contained an article by E. W. -Hornung which all interested would do well to read. In -the matter of biography proper students may be referred -(but without confidence) to:</p> - -<p class='c008'>CHARLES READE: DRAMATIST, NOVELIST, -JOURNALIST. A memoir compiled chiefly from -his literary remains by <span class='sc'>Charles L. Reade</span> and the -Rev. <span class='sc'>Compton Reade</span>. 2 vols. London: Chapman -and Hall Ltd., 1887.</p> - -<p class='c000'>This pious work is too rhapsodical to possess more -than personal interest.</p> - -<p class='c008'>CHARLES READE AS I KNEW HIM. By <span class='sc'>John -Coleman</span>. London: Treherne and Co. 1903.</p> - -<p class='c000'>Reference is made below to the useful list of plays -which concludes this otherwise rather chaotic book.</p> - -<div> - <span class='pageno' id='Page_160'>160</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> A.—FICTION, ESSAYS, ETC.</h3> -</div> - -<h4 class='c017'>1853</h4> - -<p class='c016'>PEG WOFFINGTON: A Novel. By <span class='sc'>Charles Reade</span>. -London: Richard Bentley, New Burlington Street. -1853. 1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (iv) + -331 + (1). No half-title. Paper boards (half cloth), -paper label. White end-papers. Also maroon -cloth, gilt, blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book, although dated 1853, was actually published -on December 17, 1852. The first edition was of 500 copies.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'>CHRISTIE JOHNSTONE: A Novel. By <span class='sc'>Charles -Reade</span> Esq., author of <cite>Peg Woffington</cite>. London: -Richard Bentley, New Burlington Street. 1853. -1 vol. Ex. Cr. 8vo (4¾ × 7¾). Pp. (iv) + 334 + (2). -A note occupies p. (335). Paper boards (half cloth), -paper label. White end-papers. Also in maroon -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on August 25, 1853. The first -edition was of 500 copies.</p> - -<h4 class='c017'>1856</h4> - -<p class='c016'>IT IS NEVER TOO LATE TO MEND: A Matter of -Fact Romance. By <span class='sc'>Charles Reade</span>, author of -<cite>Christie Johnstone</cite>, <cite>Peg Woffington</cite> etc. London: -Richard Bentley, New Burlington Street. 1856. -3 vols. Slim Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'><span class='pageno' id='Page_161'>161</span>Vol. I. pp. (iv) + 395 + (1).</p> - -<p class='c018'>Vol. II. pp. (ii) + 349 + (1).</p> - -<p class='c018'>Vol. III. pp. (ii) + 344.</p> - -<p class='c018'>Paper boards, half cloth, paper label. White -end-papers. Also pale maroon cloth, gilt, blocked -in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on August 1, 1856. The -story is based on the play <cite>Gold</cite> (see below, p. 171).</p> - -<p class='c009'>(ii) Reade replied to certain charges brought against the novel -in a pamphlet, but I cannot determine the details of its title and -appearance.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>THE COURSE OF TRUE LOVE NEVER DID -RUN SMOOTH. By <span class='sc'>Charles Reade</span>, author of -<cite>It Is Never Too Late to Mend</cite>, <cite>Peg Woffington</cite> and -<cite>Christie Johnstone</cite>. London: Richard Bentley, -New Burlington Street. 1857. 1 vol. Cr. 8vo -(5 × 7½). Pp. (ii) + 269 + (3). No half-title. Blue -cloth, blocked in gold. Yellow end-papers. Also -in pink picture boards.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on September 28, 1857. The -cloth and boards editions were simultaneous.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>WHITE LIES: A Story. By <span class='sc'>Charles Reade</span>. London: -Trübner and Co., 60 Paternoster Row. 1857. -3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. v + (i) + 300.</p> - -<p class='c018'>Vol. II. pp. (ii) + 237 + (1).</p> - -<p class='c018'>Vol. III. pp. (ii) + 231 + (1).</p> - -<p class='c018'>No half-titles. Dark green cloth, gilt, blocked in -blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in December, 1857. The story, -which appeared serially in the “London Journal,” was based on -Reade's play <cite>The Double Marriage</cite>, itself an adaptation from the -French (see below, p. 174).</p> - -<div> - <span class='pageno' id='Page_162'>162</span> - <h4 class='c017'>1857</h4> -</div> - -<p class='c016'><a href='#asterisked'>*</a>THE BOX TUNNEL. By <span class='sc'>Charles Reade</span>. Boston, -U.S.A.</p> - -<p class='c009'><span class='sc'>Note</span>—This short story, published in “Bentley's Miscellany” -in November, 1853, was only issued in book form in America.</p> - -<h4 class='c017'>1858</h4> - -<p class='c016'>CREAM. By <span class='sc'>Charles Reade</span>, author of <cite>White Lies</cite> -etc. Contains <span class='sc'>Jack of All Trades</span>: A Matter of -Fact Romance and <span class='sc'>The Autobiography of a -Thief</span>. London: Trübner and Co., 60 Paternoster -Row. 1858. 1 vol. Ex. Cr. 8vo (4¾ × 7⅝). Pp. 270. -Bright blue embossed cloth, gilt. Red-chocolate -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1858.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>LOVE ME LITTLE LOVE ME LONG. By <span class='sc'>Charles -Reade</span>, author of <cite>It is Never Too Late To Mend</cite>, -<cite>White Lies</cite> etc. London: Trübner and Co., 60 -Paternoster Row. 1859. 2 vols. Cr. 8vo (4¾ × 7½).</p> - -<p class='c018'>Vol. I. pp. (viii) + 390 + (2).</p> - -<p class='c018'>Vol. II. pp. 358 + (2).</p> - -<p class='c018'>Green embossed cloth, gilt. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1859.</p> - -<h4 class='c017'>1860</h4> - -<p class='c016'>THE EIGHTH COMMANDMENT. By <span class='sc'>Charles -Reade</span>. London: Trübner and Co., 60 Paternoster -Row. 1860. 1 vol. Demy 8vo (5⅝ × 8¾). -Pp. (iv) + 379 + (1). Dark purple-brown embossed -cloth, gilt. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1860, at the author's -own expense. Written in assault of those who had infringed -Reade's rights in <cite>Poverty and Pride</cite> (see below, p. 172), it proved -too contentious for publishers' tastes.</p> - -<div> - <span class='pageno' id='Page_163'>163</span> - <h4 class='c017'>1861</h4> -</div> - -<p class='c016'>THE CLOISTER AND THE HEARTH: A Tale of -the Middle Ages. By <span class='sc'>Charles Reade</span>, author of -<cite>It Is Never Too Late To Mend</cite>, <cite>Christie Johnstone</cite>, -<cite>Peg Woffington</cite> etc. London: Trübner and Co., -60 Paternoster Row. 1861. 4 vols. Small Cr. -8vo (4½ × 7¼).</p> - -<p class='c018'>Vol. I. pp. (iv) + 360.</p> - -<p class='c018'>Vol. II. pp. (ii) + 384.</p> - -<p class='c018'>Vol. III. pp. (ii) + 328.</p> - -<p class='c018'>Vol. IV. pp. (ii) + 435 + (1).</p> - -<p class='c018'>No half-titles. Grey-green cloth, gilt. Pale yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1861.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>HARD CASH: A Matter of Fact Romance. By -<span class='sc'>Charles Reade</span>. London: Sampson Low, Son -and Marston, 14 Ludgate Hill. 1863. 3 vols. -Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 356.</p> - -<p class='c018'>Vol. II. pp. (ii) + 365 + (1).</p> - -<p class='c018'>Vol. III. pp. (ii) + 369 + (5). Publishers' announcements, -dated December 10, 1863, occupy -pages (371) to (374).</p> - -<p class='c018'>No half-titles. Grey-green cloth, blocked in gold. -Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on December 15, 1863. The -story appeared serially in “All the Year Round,” for which magazine -it had been commissioned by Dickens.</p> - -<h4 class='c017'>1867</h4> - -<p class='c016'>GRIFFITH GAUNT: Or <span class='sc'>Jealousy</span>. By <span class='sc'>Charles -Reade</span>. London: Chapman and Hall, 193 Piccadilly. -1867. 3 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 302.</p> - -<p class='c018'>Vol. II. pp. (iv) + 318.</p> - -<p class='c018'><span class='pageno' id='Page_164'>164</span>Vol. III. pp. (iv) + 328. Publishers' catalogue, -16 pp., dated October, 1866, bound in at end.</p> - -<p class='c018'>Violet cloth, gilt, blocked in gold and blind. -Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1867, this book was actually published -in October, 1866. The story appeared serially in the “Argosy.”</p> - -<h4 class='c017'>1868</h4> - -<p class='c016'>FOUL PLAY. By <span class='sc'>Charles Reade</span> and <span class='sc'>Dion -Boucicault</span>. London: Bradbury Evans and Co., -11 Bouverie Street. 1868. 3 vols. Cr. 8vo (4⅞ × 7½).</p> - -<p class='c018'>Vol. I. pp. (vi) + 277 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 278.</p> - -<p class='c018'>Vol. III. pp. (iv) + 261 + (1).</p> - -<p class='c018'>Red cloth, gilt. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in November or December, 1868. -The story ran serially in “Once a Week” from January of the -same year. In 1881 F. C. Burnand published a parody of the -novel under the title: <cite>Chikkin Hazard: A Novel by Charles Readit -and Dion Bounceycore</cite>. This parody appeared in “Our Novel -Shilling Series,” published by Bradbury, Agnew and Co., of which -the other volumes are pastiches of novels by Ouida, Victor Hugo, -Hawley Smart, and Rhoda Broughton.</p> - -<h4 class='c017'>1870</h4> - -<p class='c016'>PUT YOURSELF IN HIS PLACE. By <span class='sc'>Charles -Reade</span>, author of <cite>It Is Never Too Late to Mend</cite>, -<cite>Hard Cash</cite>, <cite>Foul Play</cite>, etc. etc. (Quotation from -Horace.) London: Smith Elder and Co., 15 -Waterloo Place. 1870. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. (iv) + 317 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 318 + (2).</p> - -<p class='c018'>Vol. III. pp. (iv) + 332.</p> - -<p class='c018'>Green cloth, gilt, blocked in black. Chocolate -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1870. The story -appeared serially in the “Cornhill.”</p> - -<div> - <span class='pageno' id='Page_165'>165</span> - <h4 class='c017'>1871</h4> -</div> - -<p class='c016'>A TERRIBLE TEMPTATION: A Story of the Day. -By <span class='sc'>Charles Reade</span>. London: Chapman and Hall, -193 Piccadilly. 1871. 3 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (iv) + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. (iv) + 310 + (2).</p> - -<p class='c018'>Vol. III. pp. (iv) + 300.</p> - -<p class='c018'>Purple cloth, gilt, blocked in gold and blind. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in August, 1871. The story -appeared serially in “Cassell's Magazine.”</p> - -<h4 class='c017'>1873</h4> - -<p class='c016'>A SIMPLETON: A Story of the Day. By <span class='sc'>Charles -Reade</span>. London: Chapman and Hall, 193 Piccadilly. -1873. 3 vols. Cr. 8vo (4⅞ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. ix + (i) + 272.</p> - -<p class='c018'>Vol. II. pp. (iv) + 267 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 305 + (1).</p> - -<p class='c018'>Maroon cloth, blocked in gold and blind. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in August, 1873. The story -appeared serially in “London Society.”</p> - -<p class='c009'>(ii) Copies in blue cloth, gilt, are of later issue.</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>A HERO AND A MARTYR: A True and Accurate -Account of the Heroic feats and sad Calamity of -James Lambert. By <span class='sc'>Charles Reade</span> (2 Albert -Terrace, Knightsbridge). London: Samuel French, -89 Strand, Publisher. 1874. 1 vol. Royal 8vo -(6¼ × 9⅝). Pp. (viii) + 40. Orange or green paper -wrappers, printed in black. Publisher's advertisements -occupy inside front, and inside and outside -back wrappers. Wood-engraved frontispiece printed -on text paper.</p> - -<div> - <span class='pageno' id='Page_166'>166</span> - <h4 class='c017'>1875</h4> -</div> - -<p class='c016'>TRADE MALICE: A Personal Narrative, and THE -WANDERING HEIR: A Matter of Fact Romance. -By <span class='sc'>Charles Reade</span>. London: Samuel -French, 89 Strand, 1875. 1 vol. Cr. 8vo (5 × 7½). -Pp. (viii) + 279 + (1). Publishers' advertisements -occupy pp. (vi) to (viii). Green cloth, gilt. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1875. <cite>The Wandering -Heir</cite> was first printed in the “Graphic.”</p> - -<h4 class='c017'>1877</h4> - -<p class='c016'>A WOMAN HATER. By <span class='sc'>Charles Reade</span>, D.C.L. -William Blackwood and Sons, Edinburgh and London, -<span class='fss'>MDCCCLXXVII.</span> 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. (iv) + 280.</p> - -<p class='c018'>Vol. II. pp. (iv) + 285 + (3). Publishers' advertisements -occupy pp. (287) and (288).</p> - -<p class='c018'>Vol. III. pp. (iv) + 282 + (2). Publishers' advertisements -occupy pp. (283) and (284).</p> - -<p class='c018'>The words “Originally published in 'Blackwood's -Magazine'” occupy verso of half-title in -each volume. Bright blue cloth, gilt, blocked in -black. Dark brown end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1877. When serialized -the story was anonymous.</p> - -<h4 class='c017'>1877</h4> - -<p class='c016'><a href='#asterisked'>*</a>GOLDEN CROWNS: Sunday Stories. By <span class='sc'>Charles -Reade</span>, D.C.L. Manchester: Tubbs and Brooke. -1 vol. 18mo.</p> - -<p class='c009'><span class='sc'>Note</span>—This publication was of a kind known as an “18mo -packet.” It consisted of a number of loose sheets enclosed in a -paper wrapper, designed either to gum or to tuck in, but wholly -detached from its contents. Never having seen a copy of the -packet in question, I cannot do more than conjecture that the -loose sheets bore each a brief moral tale, which a devout parent -could administer Sunday by Sunday to the deserving young.</p> - -<div> - <span class='pageno' id='Page_167'>167</span> - <h4 class='c017'>1883</h4> -</div> - -<p class='c016'>READIANA: Comments on Current Events. By -<span class='sc'>Charles Reade</span>, D.C.L. with a steel-plate portrait. -London: Chatto and Windus, Piccadilly. 1883. -1 vol. Cr. 8vo (5 × 7½). Pp. vi + 329 + (1). Frontispiece -and title-page, printed together but not on text -paper, are inset between pp. (ii) and (iii). Publishers' -catalogue, 32 pp., dated July, 1882, bound -in at end. Publishers' advertisement occupies -p. (ii). Red cloth, gilt, blocked in black, uniform -with the cheap edition of Reade's novels published -just previously to this book's appearance. Brown-purple -and white decorated end-papers. Engraved -portrait frontispiece printed on same paper as title. -Line engraving on title-page.</p> - -<p class='c009'><span class='sc'>Note</span>—Although this book is dated 1883, it was actually published -in October, 1882.</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>SINGLE HEART AND DOUBLE FACE: A Matter -of Fact Romance: By <span class='sc'>Charles Reade</span>, D.C.L. -London. Chatto and Windus, Piccadilly. 1884. -1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (iv) + 240. Publishers' -catalogue, 32 pp., dated December, 1883, bound in -at end. Fawn cloth gilt, blocked in red and blue. -Pale green and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1884. The story appeared -serially in “Harper's Magazine.”</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>GOOD STORIES OF MAN AND OTHER -ANIMALS. By <span class='sc'>Charles Reade</span>, D.C.L. Illustrations -by E. A. Abbey, Percy Macquoid and -Joseph Nash. London: Chatto and Windus, Piccadilly. -1884. 1 vol. Cr. 8vo (5 × 7½). Pp. (ii) + -287 + (1). Frontispiece and title-page, printed together -but not on text paper, are inset before p. (i), -pp. (i) and (ii) forming a single leaf pasted to back -<span class='pageno' id='Page_168'>168</span>of title. No half-title. Publishers' catalogue, -32 pp., dated October, 1884, bound in at end. Four -illustrations in line, of which one is the frontispiece; -all printed separately. Red cloth, gilt, blocked in -black. Uniform with <cite>Readiana</cite>. Green and white -decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1884.</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>THE JILT: And Other Stories. By <span class='sc'>Charles Reade</span>, -D.C.L. Four Illustrations by Joseph Nash. London: -Chatto and Windus, Piccadilly. 1884. 1 vol. -Cr. 8vo (5 × 7½). Pp. (ii) + 282 + (2). Frontispiece -and title-page, printed together but not on text -paper, are inset before p. (i), pp. (i) and (ii) forming -a single leaf pasted to back of title. No half-title. -Publishers' catalogue, 32 pp., dated September, -1884, bound in at end. Four full-page illustrations -in line, of which one is the frontispiece; all printed -separately. Line engraving on title. Red cloth, -gilt, blocked in black. Uniform with <cite>Readiana</cite>. -Green and white decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1884.</p> - -<h4 class='c017'>1884</h4> - -<p class='c016'>A PERILOUS SECRET. By <span class='sc'>Charles Reade</span>, author -of <cite>Hard Cash</cite>, <cite>Put Yourself in His Place</cite>, <cite>It Is -Never Too Late To Mend</cite>, <cite>Griffith Gaunt</cite> etc. London: -Richard Bentley and Son, New Burlington -Street, Publishers in Ordinary to Her Majesty the -Queen. 1884. 2 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. (iv) + 296.</p> - -<p class='c018'>Vol. II. pp. (iv) + 312.</p> - -<p class='c018'>Red flowered cloth, gilt. Green and white -decorated end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although this book is dated 1884, it was not actually -published until March 10, 1885. The story appeared serially in -the “Temple Bar Magazine.”</p> - -<div> - <span class='pageno' id='Page_169'>169</span> - <h4 class='c017'>1888</h4> -</div> - -<p class='c016'>BIBLE CHARACTERS: By <span class='sc'>Charles Reade</span>, D.C.L., -author of <cite>It Is Never Too Late To Mend</cite> etc. London: -Chatto and Windus, Piccadilly. 1888. 1 vol. -Fcap. 8vo (4⅛ × 6½). Pp. (vi) + 106. Publishers' -catalogue, 32 pp., dated September, 1888, bound in -at end. Dark red paper wrappers, gilt. Black end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in September, 1888.</p> - -<h4 class='c017'>1910</h4> - -<p class='c016'>A GOOD FIGHT. By <span class='sc'>Charles Reade</span>. Original -version of <cite>The Cloister and The Hearth</cite>, with an -introduction by <span class='sc'>Andrew Lang</span>. London: Henry -Frowde. 1910. Fcap. 8vo (4½ × 6¾). Pp. (xii) + 208. -Fifteen illustrations after Charles Keene printed on -text paper. Dark olive-green cloth, blocked in gold. -White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This is the first edition in book form of a story which -appeared in 1859 in “Once a Week.” Reade afterwards expanded -his idea into <cite>The Cloister and the Hearth</cite>.</p> - -<div> - <span class='pageno' id='Page_170'>170</span> - <h3 class='c015'>EDITIONES PRINCIPES (<cite>Continued</cite>)<br /> B.—PLAYS: ORIGINAL, TRANSLATED, AND WRITTEN IN COLLABORATION</h3> -</div> - -<h4 class='c017'>[1834 or 1835]</h4> - -<p class='c016'><a href='#asterisked'>*</a>PEREGRINE PICKLE.</p> - -<p class='c009'><span class='sc'>Note</span>—Reade has himself left a statement that while at Oxford -he printed at his own cost a few copies of this dramatic version of -Smollett's famous novel.</p> - -<h4 class='c017'>[1851]</h4> - -<p class='c016'>THE LADIES' BATTLE: Or <span class='sc'>Un Duel en Amour</span>. -A Comedy in Three Acts. Hailes Lacy, Wellington -Street, Strand, London. 1 vol. Fcap. -8vo (4¼ × 7¼). Pp. 35 + (1). Note on p. (3) initialled -“C.R.” Salmon-pink paper wrappers printed in -black, uniform with the other volumes in Lacy's -Acting Edition, of which this is No. 47.</p> - -<h4 class='c017'>[1851]</h4> - -<p class='c016'>ANGELO: A Tragedy in Four Acts. Adapted to the -English Stage by the author of <cite>The Ladies' Battle</cite>, -<cite>Peregrine Pickle</cite> etc. London: Hailes Lacy, -Wellington Street, Strand. 1 vol. Fcap. 8vo -(4¼ × 7¼). Pp. 24. Salmon-pink paper wrappers, -printed in black, uniform with the other volumes in -Lacy's Acting Editions, of which this is No. 57.</p> - -<h4 class='c017'>[1852]</h4> - -<p class='c016'>THE LOST HUSBAND: A Drama in Four Acts. -Written and Adapted from the French by the author -of <cite>The Ladies' Battle</cite>. London: Thomas Hailes -<span class='pageno' id='Page_171'>171</span>Lacy, Wellington Street, Strand. 1 vol. Fcap. -8vo (4¼ × 7¼). Pp. 36. Salmon-pink paper wrappers, -printed in black, uniform with the other -volumes in Lacy's Acting Editions, of which this is -No. 86.</p> - -<p class='c009'><span class='sc'>Note</span>—This play is based on a French drama, <cite>Les Dames de la -Halle</cite>.</p> - -<h4 class='c017'>[1853]</h4> - -<p class='c016'>GOLD: A Drama in Five Acts. By <span class='sc'>Charles Reade</span>, -one of the authors of <cite>Masks and Faces</cite> etc. Thomas -Hailes Lacy, Wellington Street, Strand, London. -1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 48. Salmon-pink -paper wrappers, printed in black, uniform with the -other volumes in Lacy's Acting Edition, of which -this is No. 152.</p> - -<h4 class='c017'>[1854]</h4> - -<p class='c016'>THE COURIER OF LYONS: Or <span class='sc'>The Attack upon -the Mail</span>: A Drama in Four Acts. Translated -from the French of MM. Moreau, Siraudin and -Delacourt. Thomas Hailes Lacy, Wellington -Street, Strand. 1 vol. Fcap. 8vo (4¼ × 7¼). -Pp. 43 + (1). Advertisements occupy p. (44). Salmon-pink -paper wrappers, printed in black, uniform -with the other volumes in Lacy's Acting Edition, of -which this is No. 220.</p> - -<h4 class='c017'>1854</h4> - -<p class='c016'>MASKS AND FACES: Or <span class='sc'>Before and Behind the -Curtain</span>: A Comedy in Two Acts. By <span class='sc'>Tom -Taylor</span> and <span class='sc'>Charles Reade</span>. London: Richard -Bentley, New Burlington Street. 1854. 1 vol. -Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 71 + (1). Mustard-yellow -paper wrappers, printed in black as title-page.</p> - -<div> - <span class='pageno' id='Page_172'>172</span> - <h4 class='c017'>1854</h4> -</div> - -<p class='c016'>TWO LOVES AND A LIFE: A Drama in Four Acts. -By <span class='sc'>Tom Taylor</span> and <span class='sc'>Charles Reade</span>. Produced at -the Theatre Royal, Adelphi, April 1854. London: -Richard Bentley, New Burlington Street. 1854. -1 vol. Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 85 + (3). -Mustard-yellow paper wrappers, printed in black as -title-page.</p> - -<h4 class='c017'>1854</h4> - -<p class='c016'>THE KING'S RIVAL: A Drama in Five Acts. By -<span class='sc'>Tom Taylor</span> and <span class='sc'>Charles Reade</span>, authors of <cite>Masks -and Faces</cite>, <cite>Two Loves and a Life</cite> etc. etc. First -produced at the Theatre Royal, St. James's, October -4, 1854. London: Richard Bentley, New Burlington -Street. 1854. 1 vol. Fcap. 8vo (4¼ × 6¾). -Pp. (viii) + 72. Mustard-yellow paper wrappers, -printed in black as title-page.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) The three preceding items were also issued as one -volume bound in maroon cloth, blocked in gold and blind, and -lettered on the spine “Dramas by Tom Taylor and Charles -Reade,” and with pale yellow end-papers. The sheets used were -those of the original pamphlet issue, the separate title-pages and -half-titles being preserved, but the sheets being cut to measure -4⅛ × 6⅝.</p> - -<p class='c009'>(ii) In their original separate form <cite>Masks and Faces</cite> and <cite>Two -Loves and a Life</cite> were published on July 1, and <cite>The King's Rival</cite> -on October 17, 1854.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>POVERTY AND PRIDE: A Drama in Five Acts -By <span class='sc'>Charles Reade</span>. Being the authorised English -version of <cite>Les Pauvres de Paris</cite>, drama by Messrs. -Edouard Brisebarre and Eugène Nus. London: -Richard Bentley, New Burlington Street. 1856. -1 vol. Fcap. 8vo (4¼ × 7¼). Pp. 64. Paper -wrappers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on August 12, 1857.</p> - -<div> - <span class='pageno' id='Page_173'>173</span> - <h4 class='c017'>1857</h4> -</div> - -<p class='c016'>THE HYPOCHONDRIAC. Adapted to the English -stage from the <cite>Malade Imaginaire</cite> of Molière. By -<span class='sc'>Charles Reade</span>. London: William Clowes and -Sons, 14 Charing Cross. And Ticknor and Fields, -Boston, U.S. 1857. 1 vol. Fcap. 8vo (4¼ × 7⅛). -Pp. 59 + (1). Light brown paper wrappers, printed -in black; wording as title-page.</p> - -<p class='c009'><span class='sc'>Note</span>—This play was later acted under the title <cite>The Robust -Invalid</cite> (June, 1870). I do not know whether a printed text exists -with this title.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>LE FAUBOURG SAINT-GERMAIN. <span lang="fr" xml:lang="fr">Pièce en deux -Actes. Ecrite en Français par</span> <span class='sc'>Charles Reade</span>. -Paris. <span lang="fr" xml:lang="fr">Typographie</span>: Morris et Comp. Rue -Amelot 64. 1859. 1 vol. Cr. 8vo (5⅛ × 7⅜). -Pp. 69 + (3). Pale blue paper wrappers, printed in -black; wording as title-page.</p> - -<h4 class='c017'>[?1867]</h4> - -<p class='c016'>DORA: A Pastoral Poem in Three Acts. With New -Scenic Effect and Appropriate Music. Founded on -Mr. Tennyson's poem and written by <span class='sc'>Charles -Reade</span>. London: Printed by W. Clowes and Sons, -Stamford Street and Charing Cross. 1 vol. Cr. -8vo (4¾ × 7⅜). Pp. 53 + (3). Yellow paper wrappers, -printed in black with the single word “Dora” -enclosed in decorative frame.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This play was reissued about 1872 or 1873 by Williams -and Strahan, 7 Lawrence Lane, Cheapside, in a fifty-page -pamphlet measuring 4⅛ × 7⅛ and wrappered in buff paper, printed -merely with the word “Dora” in black. The text shows slight -variations from that of the first issue.</p> - -<p class='c009'>(ii) The date of the first of the above issues is doubtful. <cite>Dora</cite> -was written in 1863 or 1864, but evidence is wanting to show -whether it was then printed, or not until its first production in -1867. It was revived in the early nineties.</p> - -<div> - <span class='pageno' id='Page_174'>174</span> - <h4 class='c017'>[?1867]</h4> -</div> - -<p class='c016'>THE DOUBLE MARRIAGE: A Drama in Five Acts. -By <span class='sc'>Auguste Maquet</span> and <span class='sc'>Charles Reade</span>. London: -Printed by W. Clowes and Sons, Stamford -Street and Charing Cross, 1 vol. Cr. 8vo (4¾ × 7½). -Pp. (iv) + 80. Yellow paper wrappers, printed in -black, with play title only enclosed in decorative -frame. This pamphlet is uniform in style with -<cite>Dora</cite>.</p> - -<p class='c009'><span class='sc'>Note</span>—This play is based on <cite>Le Château Grantier</cite> by Maquet. -The date of printing is conjectural, being that of its first production. -Reade's novel <cite>White Lies</cite> (see above, p. 161) is a fictional -version of the same plot.</p> - -<h4 class='c017'>[?1869]</h4> - -<p class='c016'>KATE PEYTON: Or <span class='sc'>Jealousy</span>. 1 vol. Fcap. 8vo -(4¼ × 7⅛). Pp. 84. Pink paper wrappers, printed -with play title only.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This booklet bears no printer's name, date, or other -mark of identification. The text differs slightly from that issued -in 1883 and described below.</p> - -<p class='c009'>(ii) The date is purely conjectural. Coleman mentions no play -of this title, but speaks of <cite>Griffith Gaunt</cite> as having been produced -in 1868 or 1869. The above item being a dramatic version of -<cite>Griffith Gaunt</cite>, I am inclined to think that this is the play referred -to, and have accordingly dated it as having been printed about the -time of the first production.</p> - -<h4 class='c017'>[?1872 or 1873]</h4> - -<p class='c016'>IT'S NEVER TOO LATE TO MEND. Drama in -Five Acts. By <span class='sc'>Charles Reade</span>. Author of <cite>Gold</cite>; -<cite>Rachel the Reaper</cite>; <cite>Ladies' Battle</cite>; <cite>Nobs and -Snobs</cite>; <cite>The Lost Husband</cite>; <cite>The Double Marriage</cite>; -<cite>Kate Peyton</cite>; <cite>Foul Play</cite>; <cite>Put Yourself in His -Place</cite>; <cite>The Wandering Heir</cite>; <cite>Shilly Shally</cite>; <cite>The -Courier of Lyons</cite>; etc. etc. And one of the authors -of <cite>Masks and Faces</cite>; <cite>Two Loves and a Life</cite>; <cite>The -First Printer</cite>; <cite>The King's Rival</cite>. London: Printed -<span class='pageno' id='Page_175'>175</span>by Williams and Strahan, 7 Lawrence Lane, Cheapside. -1 vol. Fcap. 8vo (4¼ × 7) Pp. 97 + (1). -Buff paper wrappers, printed in black with the play -title only.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This play was reissued in 1890 in a pamphlet printed -for private circulation by W. Spearing, 1, Great Queen Street, -W.C. The booklet measures 5½ × 8½; contains pp. 148—of which -(1) to (4) are regular prelims., (5) to (146) are printed alternately -and paged (5) to 76, and (147) and (148) are blank—and is bound in -grey paper wrappers, printed in black. The text of this second -version shows considerable variation from that of the first, and -the play is in four acts instead of five.</p> - -<p class='c009'>(ii) The date at the head of this item is conjectural. Reade's -first original dramatization of <cite>It's Never Too Late to Mend</cite> was -written by 1864 and produced in 1865. Coleman speaks in that -year of receiving from Laura Seymour a “yellow covered book” -of the text of the play, and this book, if printed, was the real first -edition. But I cannot prove the existence of a printed text at -that date, and prefer to give first place to the pamphlet here -described, although, because of the other plays mentioned on the -title-page, it cannot be of earlier date than 1872.</p> - -<p class='c009'>(iii) In July, 1860, a dramatization of Reade's novel had been -issued in Lacy's Acting Edition. Reade was rightly furious at the -unauthorized issue of this version, and hastened to prepare one -of his own. For the benefit of those interested I append details -of the pirate booklet.</p> - -<h4 class='c017'>[1860-July]</h4> - -<p class='c016'>NEVER TOO LATE TO MEND. A Drama of Real Life in Four -Acts, founded on <span class='sc'>Mr. Charles Reade's</span> Popular Novel. By -<span class='sc'>Colin Hazlewood</span>, author of <cite>The Return of the Wanderer</cite>, -<cite>Jenny Foster</cite>, <cite>Trials of Poverty</cite>, <cite>Going to Chobham</cite>, etc. etc. -Thomas Hailes Lacy, 89 Strand (opposite Southampton Street, -Covent Garden Market), London. 1 vol. Fcap. 8vo (4¼ × 7¼). -Pp. 65 + (1). List of plays occupies p. (66). Salmon-pink paper -wrappers, printed in black, uniform with the other volumes in -Lacy's Acting Editions. This volume is unnumbered.</p> - -<h4 class='c017'>[1877]</h4> - -<p class='c016'>THE LADIES' BATTLE: Or <span class='sc'>Un Duel en Amour</span>: -A Comedy in Three Acts. By <span class='sc'>Charles Reade</span> -Esq., author of <cite>Gold</cite>, <cite>Art</cite>, <cite>The Lost Husband</cite>, <cite>The -Foster Sisters</cite>, and one of the authors of <cite>Masks and</cite> -<span class='pageno' id='Page_176'>176</span><cite>Faces</cite>, <cite>Two Loves and a Life</cite>, <cite>King's Rival</cite> etc. etc. -London: Samuel French, Publisher, 89 Strand. -New York: Samuel French and Son, Publishers, -122 Nassau Street. 1 vol. Fcap. 8vo (4¼ × 7¼). -Pp. 41 + (3). Advertisements occupy pp. (43) and -(44). Salmon-pink paper wrappers, printed in -black, uniform with the other volumes in French's -(late Lacy's) Acting Editions, of which this is -No. 1609.</p> - -<p class='c009'><span class='sc'>Note</span>—This is a revised version of the play originally published -in 1851 (see above, p. 170).</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>THE WELL BORN WORKMAN: Or <span class='sc'>A Man of the -Day</span>. By <span class='sc'>Charles Reade</span>, author of <cite>Never Too -Late to Mend</cite>, <cite>Foul Play</cite> etc. London: Printed for -Williams and Strahan, 74 New Cut, Lambeth. -1878. 1 vol. Fcap. 8vo (4¼ × 6⅞). Pp. 82 + (2). -Buff paper wrappers, printed in black, with the title -and sub-title of the play.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>FOUL PLAY. Drama in a Prologue and Five Acts. -By <span class='sc'>Charles Reade</span>. London. 1883. Printed by -J. C. Durant, Clement's House, Clement's Inn Passage, -Strand, W.C. But not published. 1 vol. -Demy 8vo (5½ × 8½). Pp. 72. Grey paper wrappers, -printed in black as title-page.</p> - -<p class='c009'><span class='sc'>Note</span>—This play was written in collaboration with Boucicault -and produced early in 1868. It was attacked on the ground -that it was pirated from a French drama: <cite>La Portefeuille Rouge</cite>. -Reade hotly denied that he had read or even heard of this French -play, and Coleman considers the denial to have been genuine -enough. He is, however, less certain that Boucicault was not -familiar with the supposed French original. <cite>Foul Play</cite>, as first -acted, was later revived under different titles—<cite>The Scuttled Ship</cite> -and <cite>Our Seaman</cite>. Perhaps the text described above and bearing -Reade's name only is a different version from that produced with -Boucicault. Of the text in collaboration I can trace no printed -issue.</p> - -<div> - <span class='pageno' id='Page_177'>177</span> - <h4 class='c017'>1883</h4> -</div> - -<p class='c016'>KATE PEYTON: Or <span class='sc'>Jealousy</span>: A Drama, in a prologue -and Four Acts. By <span class='sc'>Charles Reade</span>. London: -1883. Printed by J. C. Durant, Clement's -House, Clement's Inn Passage, Strand, W.C. -1 vol. Demy 8vo (5½ × 8½). Pp. 76. Grey paper -wrappers, printed as title-page.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>LOVE AND MONEY: An Original Drama in a Prologue -and Four Acts. By <span class='sc'>Charles Reade</span> and -<span class='sc'>Henry Pettitt</span>. London. 1883. Printed by J. C. -Durant, Clement's House, Clement's Inn Passage, -Strand, W.C. But not published. 1 vol. Small -Cr. 8vo (4¾ × 7). Pp. 53 + (3). Grey paper wrappers -printed in black.</p> - -<p class='c009'><span class='sc'>Note</span>—There being no title-page to this pamphlet, the lettering -given above is that of the wrapper.</p> - -<h4 class='c017'>1883</h4> - -<p class='c016'>THE COUNTESS AND THE DANCER: Or <span class='sc'>High -Life in Vienna</span>. A Comedy Drama in Four Acts. -Altered from a masterpiece of <span class='sc'>Victorien Sardou</span> by -<span class='sc'>Charles Reade</span>. London: 1883. 1 vol. Demy -8vo (5½ × 8⅜). Pp. vi + 60. Grey paper wrappers, -printed in black; wording as title-page.</p> - -<h3 class='c015'>NOTE</h3> - -<p class='c020'>The bibliography of Reade's plays is obscure and confusing. -I have listed in the foregoing pages only those of -the printed issue of which I have found certain evidence. -He is known, however, to have written many more, -some at least of which were probably printed privately. -<span class='pageno' id='Page_178'>178</span>Wherefore it seems desirable here to supply such particulars -as can be found of the writing and acting of -Reade's other plays. The facts are taken mainly from -Coleman's book, which contains as an appendix a good -list of titles and dates of production. Unfortunately the -book itself is so confusingly put together that text and -appendix are far from complementary and at times even -in conflict.</p> - -<h4 class='c017'>A. <span class='sc'>Early Unacted Plays, written before 1851.</span></h4> - -<p class='c016'><span class='sc'>The Way Things Turn.</span></p> - -<p class='c008'><span class='sc'>The Dangerous Path.</span></p> - -<p class='c008'><span class='sc'>The Lost Sisters.</span></p> - -<p class='c008'><span class='sc'>Marguerite.</span></p> - -<p class='c008'><span class='sc'>Lucrezia Borgia.</span></p> - -<p class='c008'><span class='sc'>A Lady's Oath.</span></p> - -<p class='c008'><span class='sc'>Christie Johnstone</span></p> - -<p class='c018'>(The novel of the same name was built, long after, -on the ruins of this unacceptable play).</p> - -<h4 class='c017'>B. <span class='sc'>Acted Plays, with Dates of First Production and other Available Details.</span></h4> - -<p class='c020'><span class='sc'>The Village Tale</span> (produced 1852)</p> - -<p class='c018'>(Based on <cite>Claudie</cite>, by George Sand. Revived in -1872 under the title <cite>Rachel the Reaper</cite>).</p> - -<p class='c000'><span class='sc'>Art</span> (produced 1852)</p> - -<p class='c018'>(An adaptation of <cite>Tiridate</cite> and later christened -<cite>Nance Oldfield</cite>).</p> - -<p class='c000'><span class='sc'>Nobs and Snobs</span> (produced 1854)</p> - -<p class='c018'>(Revived in 1865 under the title <cite>Honour before -Titles</cite>).</p> - -<p class='c000'><span class='sc'>The First Printer</span> (produced 1854).</p> - -<p class='c000'><span class='sc'>Free Labour</span> (produced 1870)</p> - -<p class='c018'>(A dramatic version of the novel <cite>Put Yourself in his -Place</cite>).</p> - -<p class='c000'><span class='pageno' id='Page_179'>179</span><span class='sc'>Shilly Shally</span> (produced 1872)</p> - -<p class='c018'>(An unauthorized dramatization of Anthony Trollope's -novel <cite>Ralph the Heir</cite>. Reade's action in -appropriating the story was deeply resented by -Trollope).</p> - -<p class='c000'><span class='sc'>The Wandering Heir</span> (produced 1872 or 1873)</p> - -<p class='c018'>(A dramatic version of the story of the same name).</p> - -<p class='c000'><span class='sc'>Jealousy</span> (produced 1875)</p> - -<p class='c018'>(An adaptation of Sardou's comedy <cite>Andrée</cite>, and -not to be confused with Reade's dramatizations of -his own novel <cite>Griffith Gaunt</cite>).</p> - -<p class='c000'><span class='sc'>Rachel the Reaper</span> (produced 1876)</p> - -<p class='c018'>(See above: <cite>A Village Tale</cite>).</p> - -<p class='c000'><span class='sc'>Joan</span> (produced 1876)</p> - -<p class='c018'>(Dramatized, without permission, from <cite>That Lass o' -Lowries</cite>, by Mrs. Hodgson Burnett).</p> - -<p class='c000'><span class='sc'>Drink</span> (produced 1879)</p> - -<p class='c018'>(Adapted from <cite>L'Assommoir</cite> by Emile Zola).</p> - -<p class='c000'><span class='sc'>Single Heart and Double Face</span> (produced 1882)</p> - -<p class='c018'>(A dramatic version of the story of the same name).</p> - -<div class='chapter'> - <span class='pageno' id='Page_181'>181</span> - <h2 class='c006'>GEORGE JOHN WHYTE-MELVILLE<br /> <span class='large'>1821-1878</span></h2> -</div> - -<div><span class='pageno' id='Page_183'>183</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>G. J. WHYTE-MELVILLE</div> - </div> -</div> - -</div> -<p class='c012'>Although as an authority on matters sporting Whyte-Melville -stands alone, it is yet impossible, with the best -will in the world and with all the respect due to his personal -chivalry and courage, to regard him in the <span lang="fr" xml:lang="fr">rôle</span> of -novelist as anything but absurd.</p> - -<p class='c000'>His books, where they deal with the science and the -joys of hunting, have the vivid appeal that only delighted -conviction can give; but as fiction, as readings -of life adequately expressed in English prose, they are -negligible and often ludicrous.</p> - -<p class='c000'>Whyte-Melville, the sportsman, is a figure of dignity -and inspiration; Whyte-Melville, the social novelist, is -Ouida in breeches. That the breeches are of perfect cut -may not disguise the conventional swagger of the legs -they cover. The ways trodden by this author in his -search for character and incident are the exclusive ways -of Victorian landlordism. Their pavements are thronged -with fair ladies and brave gentlemen, while in the roadway -crowd the lower orders—some mildly criminal, some -a little comic, but the majority joyous in their privilege -to serve the brilliant purpose of their betters. The -antics of these humble creatures are watched with kindly -patronage by those to whom wealth and pleasure are a -normal birthright. Conversing among themselves, -heartily but with elegance, the Guardsmen and squirelings -of the fashionable clubs find time to exchange -gracious greeting with their poorer neighbours, whose -uncouth speech strikes quaintly pleasant on their cultured -ears. An instruction is given; half a sovereign changes -hands; a cap is dutifully touched. God willed that of -His creatures some be rich and others poor; let the -former bear themselves honourably and remember (when -not otherwise engaged) the duties of their station; let -<span class='pageno' id='Page_184'>184</span>the latter be happy in the lot to which Providence has -called them.</p> - -<p class='c000'>But genial condescension to his dependants is not the -only or even the main business of the Whyte-Melville -gentleman. His life has two absorbing interests—horses -and ladies. To a point these interests merge. With -identical <em>expertise</em> he takes the points of a fine girl and -of a blood mare. The former in her drawing-room, the -latter in her stable, await in gleaming beauty his appreciative -caress. At their point of ultimate usefulness, -however, femininity and horseflesh part company. The -latter is the hero's ally, the former his quarry in the -chase; and while his adventures on horseback are told -with the zest and knowledge of real authority, his exploits -in lady-killing have the tedious unreality of a tale -only half imagined and not a quarter lived.</p> - -<p class='c000'>It is for the falseness of his emotional writing that -Whyte-Melville challenges comparison with Ouida. -And, the comparison made, one is bound to concede victory -to the latter. Both deal in the passions of the nobly -born; but while the woman has at least the courage of -bad taste, the man, fettered by good form, achieves no -taste at all. Whyte-Melville's novels, like <cite>Hamlet</cite>, are -full of quotations. He is the father of novelette; the -wellspring of <span lang="fr" xml:lang="fr">cliché</span>. His lovely ladies are not women -nor his gallants men: they are the dummies of suburban -melodrama, exquisitely gowned, faultlessly tailored, -mouthing the phrases of drawing-room passionates, -but, even as dummies, failing to achieve that semblance -of gilded sin that is their only purpose.</p> - -<p class='c000'>Nevertheless, despite their ineptitude, the books of -Whyte-Melville compel a curious and obscure respect. -Respect for what it were hard to say, for his written word -is his own deadliest accuser. Sentences might be chosen -almost at random from the novels of social life that would -prove his possession of every fault possible to a novelist -and to a writer of prose. And yet, through the screen of -their fatuity, one has glimpses of the personality of the -author himself—a personality at which one may make -<span class='pageno' id='Page_185'>185</span>mock, but only with affection. This country gentleman -turned novelist was an upright, guileless creature, hard -riding, generous hearted, as unconscious of his innate -snobbery as of his natural modesty, conventional because -unaware of any world or school of thought beyond -the narrow limits of his own. His pictures of England -are as dull and as unreal as the pretty garden scenes in -water-colour produced by county ladies to this day; but -both the painter of these lifeless pictures and the comfortable -amateurs responsible for horrid views of moorland -and herbaceous border command a sort of wistful -admiration. There is something so clean and easy and -contented in the mentality from which these books and -drawings spring that, if only it were not so stupid, so -impenetrable to variety of idea, its passing might well -be looked on with regret. Whyte-Melville's qualities, -like those of the type he represents, are more obscure -than his defects. The class of country gentleman to -which he personally belonged is rapidly disappearing; -when it is gone we shall wonder a little perplexedly why -we miss it. It was so easy to ridicule, so pathetically a -target for mockery and persecution. In our greater -wisdom we have shot it to pieces, riddling its obtuse -selfishness, its bland complacency, with the bullets of -reforming zeal. But something fine will have perished -with it, something indefinable but leaving a sense of gap, -to remind us that destruction is never quite the discriminating -triumph that iconoclasts claim for it in -advance.</p> - -<p class='c000'>This, then, is one contemporary view of Whyte-Melville's -novels, whose only demonstrable virtue is -their sportsmanship. One may quote from <cite>Market -Harborough</cite>, from <cite>Riding Recollections</cite>, even from the -social stories, passages of speed and exhilaration, passages -of unaffected wisdom and perception, descriptive -of the hunting that, next to honour, he loved best of all -that life could offer. In opposition may be printed page -after page of stilted rhetoric, mawkish humour, the -falsest of sentiment, the most wanton elaboration of noun -<span class='pageno' id='Page_186'>186</span>and adjective. But after all quotation is done and a -balance struck, there will still remain the elusive quality -that gave character to the class from which the author -came, an essence of breeding and tradition that no phrasing -can crystallize, that vanishes in the moment of its -expression. For this spiritual quality Whyte-Melville -is admirable; for his literary faults he is unreadable. -Such, in a nutshell, is the judgment of one reader who -cannot excuse a book stupidity and pretentiousness for -the sake of isolated passages of hunting lore, but seeks -to appreciate in the character of a social generation that -is fading fast, a distinction that to all seeming will fade -with it.</p> - -<p class='c000'>There are, however, readers of other kinds, and for -their sake and because among our grandmothers and -our aunts the stories of Whyte-Melville were avidly -admired, a summary classification of his books shall be -attempted.</p> - -<p class='c000'>He began as a writer of autobiographies, of the part-fashionable, -part-sporting, part-knockabout kind, the -tradition of which came down from the eighteenth century, -through Frederick Marryat, to a dozen writers of -the hard-drinking, riotous forties. <cite>Digby Grand</cite> (1853) -and <cite>Tilbury Nogo</cite> (1854) are essentially novels of this -type, while in <cite>Kate Coventry</cite> (1856) the author merely -adapts the recipe to the needs of a girl heroine. <cite>The -Interpreter</cite> (1858) strikes a note of its own, for the scenes -in the Crimea and in Turkey were drawn from the -writer's experience and give a convincing picture of the -period and its happenings. Apart from them, however, -the book is an ordinary first-person record of the social -wanderings of a young Englishman of family.</p> - -<p class='c000'>Between the second and the third of the books above -mentioned had appeared <cite>General Bounce</cite> (1855), a -transitional novel, not wholly apart from those that preceded -it, but halfway to a place among the stories of -contemporary love-making and sport, of which the -author was to produce a lengthy list. These novels of -English society contain much of the most repellent of -<span class='pageno' id='Page_187'>187</span>Whyte-Melville's work, although many have refreshing -interludes of hunting and scenes on the racecourse or in -the stable that will endear them to specialists in the -genre, if they cannot reconcile others to the artificial -tedium of the love stories and the clumsy contriving of -the plots. Here are the titles of the social novels:</p> - -<div class='lg-container-b'> - <div class='linegroup'> - <div class='group'> - <div class='line'><span class='sc'>General Bounce</span> (1855),</div> - <div class='line'><span class='sc'>Good for Nothing</span> (1861),</div> - <div class='line'><span class='sc'>The Brookes of Bridlemere</span> (1864),</div> - <div class='line'><span class='sc'>The White Rose</span> (1868),</div> - <div class='line'><span class='sc'>M or N</span> (1869),</div> - <div class='line'><span class='sc'>Contraband</span> (1871),</div> - <div class='line'><span class='sc'>Satanella</span> (1872),</div> - <div class='line'><span class='sc'>Uncle John</span> (1874),</div> - <div class='line'><span class='sc'>Roy's Wife</span> (1878),</div> - <div class='line'><span class='sc'>Black but Comely</span> (1879).</div> - </div> - </div> -</div> - -<p class='c000'>Next in numerical importance are the costume novels, -beloved of an earlier generation, but to the critical -modern reader the poorest of poor stuff, so compact of -Wardour Street, of hollow sentiment, and of forced, -<span lang="fr" xml:lang="fr">démodé</span> attitude as to be intolerable.</p> - -<p class='c000'><span class='sc'>Holmby House</span> (1860)</p> - -<p class='c018'>(A tale of the Civil War with a strong bias in favour -of the Cavalier party),</p> - -<p class='c000'><span class='sc'>The Queen's Maries</span> (1862)</p> - -<p class='c018'>(A romantic tribute to Mary, Queen of Scots),</p> - -<p class='c000'><span class='sc'>The Gladiators</span> (1863)</p> - -<p class='c018'>(A novel of Rome and Judæa at the time of Christ),</p> - -<p class='c000'><span class='sc'>Cerise</span> (1866)</p> - -<p class='c018'>(An eighteenth-century tale),</p> - -<p class='c000'><span class='sc'>Sarchedon</span> (1871)</p> - -<p class='c018'>(A novel centring round the figure of Semiramis),</p> - -<p class='c000'><span class='sc'>Sister Louise</span> (1876)</p> - -<p class='c018'>(A novel of seventeenth-century France),</p> - -<p class='c000'><span class='sc'>Rosine</span> (1877)</p> - -<p class='c018'>(A novel of the French Revolution).</p> - -<p class='c000'><span class='pageno' id='Page_188'>188</span>There remain two books of purely sporting significance, -and <cite>Katerfelto</cite>.</p> - -<p class='c000'><cite>Market Harborough</cite> (1861), the pride of the Pytchley, -is hardly a novel. It is a string of hunting and horse-dealing -episodes into which Whyte-Melville threw all -that he had of science and of enthusiasm. <cite>Riding -Recollections</cite> (1878) are what their name implies. It is -not for any but the expert to criticize these books, which -are held in some quarters to be essential textbooks to a -hunting education. <cite>Katerfelto</cite> (1875) will also escape -comment here, but for a different reason. Among my -childhood memories this Exmoor tale glows adored, -uncriticized. How will it read to-day? To put it to -the test frightens me. I dare not open it.</p> - -<div> - <span class='pageno' id='Page_189'>189</span> - <h3 class='c015'>EDITIONES PRINCIPES<br /> FICTION, POETRY, ESSAYS</h3> -</div> - -<h4 class='c017'>1850</h4> - -<p class='c016'>HORACE: <span class='sc'>Odes, Epodes and Carmen Sæculare</span> -Translated into English verse by <span class='sc'>G. J. Whyte -Melville</span> Esq., late Coldstream Guards. London: -Simpkin, Marshall and Co., Stationers Hall Court. -1850. 1 vol. Demy 8vo (5½ × 8½). Pp. (viii) + 120. -Dark green cloth, blocked in gold and blind. Yellow -end-papers.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'>DIGBY GRAND: An Autobiography. By <span class='sc'>G. J. -Whyte Melville</span>. London: John W. Parker and -Son, West Strand. 1853. 2 vols. Ex. Cr. 8vo -(4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (viii) + 303 + (1).</p> - -<p class='c018'>Vol. II. pp. iv + 312 + (4). No half-title. Publishers' -advertisements, paged 1-4, occupy pp. (313) to (316).</p> - -<p class='c018'>Red cloth, gilt. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1853. The story -appeared serially in “Fraser's Magazine.”</p> - -<h4 class='c017'>1854</h4> - -<p class='c016'>TILBURY NOGO: Or <span class='sc'>Passages in the Life of an -Unsuccessful Man</span>. By the author of <cite>Digby -Grand</cite>. London: Chapman and Hall, 193 Piccadilly. -1854. 2 vols. Ex. Cr. 8vo (4⅞ × 8¾).</p> - -<p class='c018'><span class='pageno' id='Page_190'>190</span>Vol. I. pp. iv + 310 + (2).</p> - -<p class='c018'>Vol. II. pp. (ii) + 348.</p> - -<p class='c018'>No half-titles. Brown cloth, gilt. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1854. The story appeared -serially in “The Sporting Magazine.”</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>GENERAL BOUNCE: Or <span class='sc'>The Lady and The -Locusts</span>. By <span class='sc'>G. J. Whyte Melville</span>. London: -John W. Parker and Son, West Strand. 1855. -2 vols. Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 296 + (4). Advertisement of -<cite>Digby Grand</cite> occupies verso of half-title. Publishers' -advertisements, numbered 1 to 4, occupy -pp. (297) to (300).</p> - -<p class='c018'>Vol. II. pp. iv + 278 + (2). No half-title. Publishers' -advertisements occupy pp. (279) to (280).</p> - -<p class='c018'>Pale brown cloth, gilt. Pale brick end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1855 this book was actually published -in December, 1854. The story appeared serially in “Fraser's -Magazine.”</p> - -<h4 class='c017'>1856</h4> - -<p class='c016'>KATE COVENTRY: An Autobiography. Edited by -<span class='sc'>G. J. Whyte Melville</span>, author of <cite>Digby Grand</cite>. -Originally published in “Fraser's Magazine.” -London: John W. Parker and Son, West Strand. -1856. 1 vol. Ex. Cr. 8vo (4⅞ × 7¾). Advertisement -of books by the same author occupies p. (323) -and publishers' list p. (324). Scarlet ribbed cloth, -gilt, blocked in black. Chalk-blue end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1856.</p> - -<div> - <span class='pageno' id='Page_191'>191</span> - <h4 class='c017'>[1857]</h4> -</div> - -<p class='c016'>THE ARAB'S RIDE TO CAIRO: A Legend of the -Desert. By <span class='sc'>G. J. Whyte Melville</span>. Illustrated -and Illuminated by Mrs. Wolfe Murray. Seton & -Mackenzie, Edinburgh. Houlston & Stoneman, -London. 1 vol. Fcap. 4to (6⅞ × 8¼). Pp. 14. Red -cloth, full gilt, blocked in gold, or green morocco, -full gilt, tooled in gold and black. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This volume was published in January, 1857.</p> - -<p class='c009'>(ii) It is hardly a book in the ordinary sense, consisting, as it -does, of 14 pp. of stout card printed on one side only. Each page -is printed in three or more colours, vaguely after the style of an -illuminated MS. Pseudo-gothic lettering is used throughout, and -the whole volume is typical of the Victorian table book at its most -ornate.</p> - -<h4 class='c017'>1858</h4> - -<p class='c016'>THE INTERPRETER: A Tale of the War. By -<span class='sc'>G. J. Whyte Melville</span>, Author of <cite>Digby Grand</cite>, -<cite>General Bounce</cite> etc. etc. Originally published in -“Fraser's Magazine.” London: John Parker and -Son, West Strand. 1858. 1 vol. Ex. Cr. 8vo -(4¾ × 7⅝). Pp. iv + 431 + (1). No half-title. Publishers' -catalogue, 8 pp., bound in at end. Red -cloth, gilt, blocked in black, uniform with <cite>Kate -Coventry</cite>. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1858.</p> - -<h4 class='c017'>1860</h4> - -<p class='c016'>HOLMBY HOUSE: A Tale of Old Northants. By -<span class='sc'>G. J. Whyte Melville</span>. Author of <cite>Digby Grand</cite>, -<cite>The Interpreter</cite> etc. Originally published in -“Fraser's Magazine.” London: John Parker and -Son, West Strand, 1860. 2 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. (viii) + 325 + (3). Pp. (i) and (ii) precede -frontispiece and form technically a half-title, but -p. (i) is not printed as such. Publishers' advertisements -occupy pp. (327) and (328).</p> - -<p class='c018'><span class='pageno' id='Page_192'>192</span>Vol. II. pp. (iv) + 344 + (4). No half-title. Publishers' -advertisements, numbered 1 to 4, occupy -pp. (345) to (348).</p> - -<p class='c018'>Frontispiece in coloured lithograph to Vol. I., -printed separately. Red-brown cloth, gilt. Chocolate -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1860.</p> - -<h4 class='c017'>1861</h4> - -<p class='c016'>MARKET HARBOROUGH: Or <span class='sc'>How Mr. Sawyer -went to the Shires</span>. London: Chapman and -Hall, 193 Piccadilly. 1861. 1 vol. Cr. 8vo (4¾ × 7½). -Pp. viii + 312. Olive-green cloth, gilt. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1861.</p> - -<h4 class='c017'>1861</h4> - -<p class='c016'>GOOD FOR NOTHING: Or <span class='sc'>All Down Hill</span>. By -<span class='sc'>G. J. Whyte Melville</span>. Author of <cite>Digby Grand</cite>, -<cite>The Interpreter</cite>, <cite>Holmby House</cite> etc. Originally -published in “Fraser's Magazine.” London: -Parker, Son and Bourn, West Strand. 1861. -2 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (iv) + 298 + (2). Publishers' advertisements -occupy p. (299).</p> - -<p class='c018'>Vol. II. pp. (iv) + 265 + (3). Publishers' advertisements -occupy pp. (267) and (268).</p> - -<p class='c018'>No half-titles. Maroon cloth, gilt. Chocolate -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in December, 1861.</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>MARKET HARBOROUGH: Or <span class='sc'>How Mr. Sawyer -Went to the Shires</span>. 4th Edition. INSIDE -THE BAR: Or <span class='sc'>Sketches at Soakington</span>. By -the author of <cite>Digby Grand</cite> etc. London: Chapman -and Hall, 193 Piccadilly. 1862. 1 vol. Cr. -<span class='pageno' id='Page_193'>193</span>8vo (4¾ × 7½). Pp. iv + 393 + (3). Buff cloth, printed, -in red and black. White end-papers, of which the -first inside front is printed with publishers' advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This volume is the first edition of <cite>Inside the Bar</cite>. It was -published in April, 1862.</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>THE QUEEN'S MARIES: A Romance of Holyrood. -By <span class='sc'>G. J. Whyte Melville</span>, Author of <cite>Digby -Grand</cite>, <cite>The Interpreter</cite>, <cite>Holmby House</cite>, <cite>Good for -Nothing</cite> etc. London: Parker, Son and Bourn, -West Strand. 1862. 2 vols. Cr. 8vo (4¾ × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (iv) + 304.</p> - -<p class='c018'>Vol. II. pp. (iv) + 254 + (2). Publishers' advertisements -occupy p. (255), and 8 pp. advertisements, -printed on text paper but numbered 1 to 8, are -bound in at end.</p> - -<p class='c018'>No half-titles, but in Vol. II. 2 pp. blank precede -title. Violet cloth, gilt. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1862.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>THE GLADIATORS: A Tale of Rome and Judæa. -By <span class='sc'>G. J. Whyte Melville</span>, author of <cite>Digby Grand</cite>, -<cite>The Interpreter</cite>, <cite>Holmby House</cite>, <cite>The Queen's -Maries</cite> etc. London: Longman, Green, Longman, -Roberts and Green. 1863. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. iv + 324.</p> - -<p class='c018'>Vol. II. pp. iv + 305 + (1).</p> - -<p class='c018'>Vol. III. pp. iv + 291 + (1).</p> - -<p class='c018'>No half-titles. Red embossed cloth, gilt, blocked -in gold and blind. Pale chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was announced for publication by Parker in -November, 1863. In January, 1864, it appeared over Longmans' -imprint, but dated 1863. Whether any copies are in existence with -a Parker imprint I do not know; if so they are the real first -edition.</p> - -<div> - <span class='pageno' id='Page_194'>194</span> - <h4 class='c017'>1864</h4> -</div> - -<p class='c016'>THE BROOKES OF BRIDLEMERE. By <span class='sc'>G. J. -Whyte Melville</span>. Author of <cite>The Gladiators</cite>, -<cite>Digby Grant</cite> (sic), <cite>The Interpreter</cite>, <cite>Holmby House</cite>, -<cite>The Queen's Maries</cite> etc. London: Chapman and -Hall, 193 Piccadilly. 1864. 3 vols. Ex. Cr. 8vo -(4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (iv) + 293 + (3).</p> - -<p class='c018'>Vol. II. pp. (iv) + 307 + (1).</p> - -<p class='c018'>Vol. III. pp. (iv) + 293 + (3). Publishers' catalogue, -36 pp., and dated October, 1864, bound in -at end.</p> - -<p class='c018'>No half-titles. Red cloth, gilt. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on October 29, 1864.</p> - -<h4 class='c017'>1866</h4> - -<p class='c016'>CERISE: A Tale of the Last Century. By <span class='sc'>G. J. Whyte -Melville</span>, author of <cite>The Gladiators</cite>, <cite>Digby Grand</cite>, -<cite>The Brookes of Bridlemere</cite> etc. London: Chapman -and Hall, 193 Piccadilly. 1866. 3 vols. Ex. -Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. iv + 309 + (3).</p> - -<p class='c018'>Vol. II. pp. iv + 301+ (3).</p> - -<p class='c018'>Vol. III. pp. iv + 318 + (2).</p> - -<p class='c018'>No half-titles. Magenta cloth, gilt, blocked in -blind. Pale cream end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in April, 1866.</p> - -<p class='c009'>(ii) <cite>Cerise</cite> was rapidly reprinted, and it is curious to report that -copies of the <em>third</em> edition exist with publishers' catalogue at the -end of Vol. III. dated March, 1866—<em>i.e.</em>, prior to the book's <em>first</em> -publication. The first edition contained no catalogue.</p> - -<h4 class='c017'>1868</h4> - -<p class='c016'>THE WHITE ROSE. By <span class='sc'>G. J. Whyte Melville</span>, -author of <cite>Cerise</cite>, <cite>The Gladiators</cite>, <cite>Brookes of -Bridlemere</cite> etc. London: Chapman and Hall, 193 -Piccadilly. 3 vols. Cr. 8vo (5 × 7½).</p> - -<p class='c018'><span class='pageno' id='Page_195'>195</span>Vol. I. pp. vii + (i) + 262 + (2).</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 263 + (1).</p> - -<p class='c018'>Vol. III. pp. vii + (i) + 252.</p> - -<p class='c018'>Red-purple cloth, gilt, blocked in blind. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1868.</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'>BONES AND I: Or <span class='sc'>The Skeleton at Home</span>. By -<span class='sc'>G. J. Whyte Melville</span>. Author of <cite>The Gladiators</cite>, -<cite>Cerise</cite>, <cite>Digby Grand</cite> etc. London: Chapman and -Hall, 193 Piccadilly. 1869. 1 vol. Cr. 8vo -(4¾ × 7⅜). Pp. iv + 287 + (1). No half-title. Brown -cloth, gilt. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1869.</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'>SONGS AND VERSES. By <span class='sc'>G. J. Whyte-Melville</span>. -London: Chapman and Hall, 193 Piccadilly. 1869. -1 vol. Cr. 8vo (5 × 7½). Pp. vii + (i) + 136. Errata -slip inserted at p. 1. Dark red cloth, gilt, blocked -in black. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in September, 1869.</p> - -<p class='c009'>(ii) The author revised and added to the poems in this book on -several occasions after its original publication. Strictly speaking, -any new edition which contains even one fresh poem may rank as -a first edition, and collectors of Whyte-Melville, who are also -purists, may therefore be advised not to pass over any one of the -first six or seven editions of <cite>Songs and Verses</cite> without satisfying -themselves that no fresh matter distinguishes it from its -predecessors.</p> - -<h4 class='c017'>1869</h4> - -<p class='c016'>M. OR N. “<span class='sc'><span lang="la" xml:lang="la">Similia Similibus Curantur.</span></span>” By <span class='sc'>G. J. -Whyte-Melville</span>. Author of <cite>Digby Grand</cite>, -<cite>Cerise</cite>, <cite>The Gladiators</cite> etc. London: Chapman -and Hall, 193 Piccadilly. 1869. 2 vols. Cr. 8vo -(5 × 7½).</p> - -<p class='c018'><span class='pageno' id='Page_196'>196</span>Vol. I. pp. vi + 312 + (2).</p> - -<p class='c018'>Vol. II. pp. vi + 313 + (3). Publishers' advertisements -occupy pp. (315) (316).</p> - -<p class='c018'>Light brown (or brown) embossed cloth, gilt, -blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on October 15, 1869. I do not -know which shade of binding is the earlier.</p> - -<h4 class='c017'>1871</h4> - -<p class='c016'>CONTRABAND: Or <span class='sc'>A Losing Hazard</span>. By <span class='sc'>G. J. -Whyte-Melville</span>. Author of <cite>Digby Grand</cite>, -<cite>Cerise</cite>, <cite>The White Rose</cite> etc. London: Chapman -and Hall, 193 Piccadilly. 1871. 2 vols. Cr. 8vo -(5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. vi + 307 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + 281 + (1).</p> - -<p class='c018'>Bright blue cloth, blocked in gold and blind. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although this book is dated 1871, it was actually -published in December, 1870.</p> - -<h4 class='c017'>1871</h4> - -<p class='c016'>SARCHEDON: A Legend of the Great Queen. By -<span class='sc'>G. J. Whyte Melville</span>. Author of <cite>The Gladiators</cite>, -<cite>Holmby House</cite>, etc. London: Chapman and Hall, -193 Piccadilly. 1871. 3 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (viii) + 289 + (1).</p> - -<p class='c018'>Vol. II. pp. (vi) + 270.</p> - -<p class='c018'>Vol. III. pp. (vi) + 251 + (1).</p> - -<p class='c018'>Bright blue cloth, gilt, blocked in black. Pale -chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1871.</p> - -<h4 class='c017'>1872</h4> - -<p class='c016'>SATANELLA: A Story of Punchestown. By <span class='sc'>G. J. -Whyte-Melville</span>. London: Chapman and Hall, -193 Piccadilly. 1872. 2 vols. Sm. Cr. 8vo (5 × 7¼).</p> - -<p class='c018'>Vol. I. pp. vii + (i) + 260.</p> - -<p class='c018'>Vol. II. pp. vii + (i) + 267 + (1).</p> - -<p class='c018'><span class='pageno' id='Page_197'>197</span>Lithographed frontispiece to each volume printed -separately and one other similar illustration in vol. ii. -Red (or maroon) cloth, blocked in black and gold. -Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in June, 1872. I do not know -which shade of binding is the earlier.</p> - -<h4 class='c017'>1873</h4> - -<p class='c016'>THE TRUE CROSS: A Legend of the Church. By -<span class='sc'>G. J. Whyte-Melville</span>. Author of <cite>The Gladiators</cite>, -<cite>Sarchedon</cite> etc. London: Chapman and Hall, -193 Piccadilly. 1873. 1 vol. Cr. 8vo (4⅞ × 7⅜). -Pp. (iv) + 241 + (1). Publishers' catalogue, 32 pp., -dated January, 1873, bound in at end. Green (or -chocolate) cloth, blocked in black and gold. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in March, 1873.</p> - -<p class='c009'>(ii) Copies in red-brown cloth, gilt, without decorative blocking, -are of later issue, although they sometimes contain a catalogue of -the original date. Which shade of the original binding is the -earlier, I do not know.</p> - -<h4 class='c017'>1874</h4> - -<p class='c016'>UNCLE JOHN: A Novel. By <span class='sc'>G. J. Whyte-Melville</span>. -Author of <cite>Market Harborough</cite>, <cite>The Gladiators</cite>, -<cite>Kate Coventry</cite>, <cite>Satanella</cite> etc. etc. London: -Chapman and Hall, 193 Piccadilly. 1874. 3 vols. -Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. (viii) + 267 + (1).</p> - -<p class='c018'>Vol. II. pp. (viii) + 236.</p> - -<p class='c018'>Vol. III. pp. (viii) + 218 + (2).</p> - -<p class='c018'>Green cloth, blocked in black and gold. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in August, 1874.</p> - -<h4 class='c017'>1875</h4> - -<p class='c016'>KATERFELTO: A Story of Exmoor. By <span class='sc'>G. J. -Whyte-Melville</span>, author of <cite>Digby Grand</cite>, <cite>Cerise</cite>, -<cite>Uncle John</cite> etc. With Illustrations by Colonel -<span class='pageno' id='Page_198'>198</span>Hope Crealocke, C.B. London: Chapman and -Hall, 193 Piccadilly. 1875. 1 vol. Demy 8vo -(5⅝ × 8⅝). Pp. (iv) + 291 + (1). No half-title. Publishers' -catalogue, 34 pp., dated November, 1874, -bound in at end. Twelve illustrations in lithograph, -printed separately. Dark red cloth, blocked -in gold. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Although dated 1875, this book was actually published -in December, 1874.</p> - -<h4 class='c017'>1876</h4> - -<p class='c016'>SISTER LOUISE: Or <span class='sc'>The Story of a Woman's -Repentance</span>. By <span class='sc'>G. J. Whyte-Melville</span>, Author -of <cite>Digby Grand</cite>, <cite>The Gladiators</cite>, <cite>Katerfelto</cite>. With -Illustrations by Miriam Kerns. London: Chapman -and Hall, 193 Piccadilly. 1876. 1 vol. -Demy 8vo (5⅜ × 8⅝). Pp. xii + 268. Publishers' -catalogue, 32 pp., dated December, 1875, bound in -at end. Eight illustrations, roughly lithographed. -Green cloth, gilt, blocked in black. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Although dated 1876, this book was actually published -in December, 1875.</p> - -<p class='c009'>(ii) Copies without catalogue and with yellow end-papers are -probably of a subsequent issue.</p> - -<h4 class='c017'>1877</h4> - -<p class='c016'>ROSINE. By J. G. [<i><span lang="la" xml:lang="la">sic</span></i>] <span class='sc'>Whyte-Melville</span>, Author -of <cite>Cerise</cite>, <cite>Katerfelto</cite> etc. etc. With illustrations by -Miriam Kerns. London: Chapman and Hall, 193 -Piccadilly, 1877. 1 vol. Demy 8vo (5¾ × 8⅝). -Pp. (vi) + 266. Publishers' catalogue, 36 pp., dated -December, 1876, bound in at end. Eight illustrations. -Magenta cloth, gilt, blocked in black. Very -dark green end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) Although dated 1877, this book was actually published -in December, 1876.</p> - -<p class='c009'>(ii) Copies in maroon cloth, gilt, blocked in black but without -other decoration on side save a simple rectangular frame are of -later issue.</p> - -<div> - <span class='pageno' id='Page_199'>199</span> - <h4 class='c017'>1878</h4> -</div> - -<p class='c016'>RIDING RECOLLECTIONS. By <span class='sc'>G. J. Whyte-Melville</span>. -With Illustrations by Edgar Giberne. -London: Chapman and Hall, 193 Piccadilly. 1878. -1 vol. Ex. Cr. 8vo (5¼ × 7⅞). Pp. xii + 251 + (1). -Publishers' catalogue, 32 pp., dated November, -1877, bound in at end. Eight illustrations, being -photographs from drawings pasted on to thin card. -Dark brickish-red cloth, blocked in black and gold. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1878.</p> - -<h4 class='c017'>1878</h4> - -<p class='c016'>ROY'S WIFE: A Novel. By <span class='sc'>G. J. Whyte-Melville</span>. -London: Chapman and Hall, 193 Piccadilly. 1878. -2 vols. Cr. 8vo (5 × 7⅜).</p> - -<p class='c018'>Vol. I. pp. vi + 299 + (1).</p> - -<p class='c018'>Vol. II. pp. vi + 310.</p> - -<p class='c018'>Olive-brown cloth, gilt, blocked in black. Cream -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1878.</p> - -<h4 class='c017'>1879</h4> - -<p class='c016'>BLACK BUT COMELY: Or <span class='sc'>The Adventures of -Jane Lee</span>. By <span class='sc'>G. J. Whyte-Melville</span>. London: -Chapman and Hall, 193 Piccadilly. 1879. 3 vols. -Cr. 8vo (5 × 7½).</p> - -<p class='c018'>Vol. I. pp. viii + 303 + (i).</p> - -<p class='c018'>Vol. II. pp. viii + 304.</p> - -<p class='c018'>Vol. III. pp. viii + 292 + (4). Publishers' advertisements -occupy pp. (293) to (296). Publishers' -catalogue, 32 pp., dated December, 1878, bound in -at end.</p> - -<p class='c018'>A four-page slip of publishers' advertisements -should be found inserted between the front end-papers -<span class='pageno' id='Page_200'>200</span>of Vol. I. This slip predates the catalogue -in Vol. III. Blue-grey cloth, gilt, blocked in black. -Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1879.</p> - -<h4 class='c017'>[?1879 or 1880]</h4> - -<p class='c016'>THE BONES AT ROTHWELL: A Lecture delivered -by the late Captain <span class='sc'>Whyte Melville</span>, being an -account of the remarkable bone cavern beneath -Rothwell Church. Price 1d. Rothwell, printed -by Ed. Chamberlain, 3 Market Place. (Quotation -from Gray's <cite>Elegy</cite> heads title-page and wrapper.) -1 vol. Cr. 8vo. 16 pp. White paper wrappers, -printed in black. Outside back wrapper occupied -by printer's advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This is the text of a lecture delivered by Whyte-Melville -on January 3, 1862, to the Moulton Religious and Useful Knowledge -Society, and printed in the “Northampton Mercury” for -January 11 of the same year. When first the pamphlet above -described was issued I cannot be certain, but R. B. Wallis, in a -booklet published in 1888, and entitled <cite>All About the Rothwell -Bones</cite>, speaks of the lecture as obtainable in pamphlet form from -Chamberlan of Rothwell. Certainly, therefore, the publication -predates 1888, and I have ventured above on the date of the year -following Whyte-Melville's death because it seems possible that the -lecture was first issued in pamphlet form to combine the interest -in the Rothwell Bones with that likely to be created in Whyte-Melville -by his decease. The clumsiness with which Whyte-Melville -is spoken of as “the late,” but at the same time given the -rank of “Captain” instead of that of “Major,” implies a hasty -reprint from the file of the “Northampton Mercury,” by someone -aware of his death but careless of the military rank to which he -finally attained.</p> - -<p class='c009'>The colour of the paper wrapper varies with different issues. -In addition to a white copy, as above described, I have seen one -in a pale yellow cover.</p> - -<div class='chapter'> - <span class='pageno' id='Page_201'>201</span> - <h2 class='c006'>ELIZABETH CLEGHORN GASKELL<br /> <span class='large'>1810-1865</span></h2> -</div> - -<div><span class='pageno' id='Page_203'>203</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>MRS. GASKELL</div> - </div> -</div> - -</div> -<h3 class='c015'><i>BIOGRAPHY AND CRITICAL REMINISCENCE</i></h3> - -<p class='c016'>MRS. GASKELL: <span class='sc'>Haunts, Homes and Stories</span>. By -<span class='sc'>Esther A. Chadwick</span>. London. 1910.</p> - -<p class='c008'>MRS. GASKELL. By the same. London. 1913.</p> - -<p class='c008'>MRS. GASKELL. By <span class='sc'>A. E. Bayley</span>. (Women -Novelists of Queen Victoria's Reign.) London. -1897.</p> - -<p class='c008'>MRS. GASKELL AND KNUTSFORD. By <span class='sc'>G. A. -Payne</span>. London. 1906.</p> - -<h3 class='c015'><i>BIBLIOGRAPHY</i></h3> - -<p class='c020'>Much valuable bibliographical information is contained -in two little books by Mr. John Albert Green of -the Manchester Reference Library:</p> - -<p class='c008'>A BIBLIOGRAPHICAL GUIDE TO THE GASKELL -COLLECTION IN THE MOSS-SIDE -LIBRARY. Manchester. 1911.</p> - -<p class='c008'>CATALOGUE of an Exhibition of Books and Autographs -illustrating the Life and Work of Mrs. E. C. -Gaskell. Manchester. 1911.</p> - -<p class='c000'>Students may also be referred to:</p> - -<p class='c008'>GASKELL BIBLIOGRAPHY. A list of the writings -of Mrs. E. C. Gaskell and of the Rev. William -Gaskell. By Wm. E. A. and Ernest Axon. Manchester. -1895.</p> - -<div> - <span class='pageno' id='Page_204'>204</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> FICTION, BIOGRAPHY, ETC.</h3> -</div> - -<h4 class='c017'>1848</h4> - -<p class='c016'>MARY BARTON: A Tale of Manchester Life. -(Quotation from Carlyle.) London: Chapman and -Hall, 186 Strand. <span class='fss'>MDCCCXLVIII</span>. 2 vols. Ex. Cr. -8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (x) [paged as viii] + 317 + (3). The -place of half-title and verso is taken by a publishers' -advertisement, 2 pp., listing: “Chapman and Hall's -Series of Original Works in Fiction, Biography, -and General Literature.”</p> - -<p class='c018'>Vol. II. pp. (ii) + 312.</p> - -<p class='c018'>No half-titles. Ribbed mulberry cloth, gilt, -blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1848.</p> - -<h4 class='c017'>[1850]</h4> - -<p class='c016'>LIBBIE MARSH'S THREE ERAS: A Lancashire -Tale. London: Hamilton Adams and Co. 1 vol. -16mo. Pp. 72. Paper wrappers printed with title -of story.</p> - -<p class='c009'><span class='sc'>Note</span>—This story first appeared in 1847, in Vol. I. of “Howitt's -Journal,” over the pseudonym “Cotton Mather Mills.” It was -issued by Chapman and Hall over the author's name in 1855 as a -fourpenny pamphlet of twenty-four pages.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'><a href='#asterisked'>*</a>THE SEXTON'S HERO AND CHRISTMAS -STORMS AND SUNSHINE. Contributed by -the authoress of <cite>Mary Barton</cite>. For the benefit of -<span class='pageno' id='Page_205'>205</span>the Macclesfield Public Baths and Washhouses. -Manchester: Johnson, Rawson and Co. 1850. -1 vol. Cr. 8vo. Pp. 28. Paper wrappers.</p> - -<p class='c009'><span class='sc'>Note</span>—These stories first appeared in 1847 and 1848 in Vols. II. -and III. of “Howitt's Journal,” over the pseudonym “Cotton -Mather Mills.” They were reissued under one cover by Chapman -and Hall in 1855 over the author's name.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'><a href='#asterisked'>*</a>LIZZIE LEIGH: A Domestic Tale from “Household -Words.” By <span class='sc'>Charles Dickens</span>. New York. -Dewitt and Davenport. 1850. 1 vol. 12mo. Buff -paper wrappers printed in black with wording as -above.</p> - -<p class='c009'><span class='sc'>Note</span>—This pamphlet was a pirated edition of a story published -anonymously in “Household Words” and rashly assumed by the -pirates to have been written by Dickens. It made a further -appearance the next year in <cite>The Irving Offering</cite> (New York, 1851), -still over Dickens' name.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'>THE MOORLAND COTTAGE. By the author of -<cite>Mary Barton</cite>. With illustrations by Birket Foster. -London: Chapman and Hall, 193 Piccadilly. 1850. -1 vol. Fcap. 8vo (4¼ × 6¾). Pp. (viii) + 182 + (2). -Advertisement of <cite>Mary Barton</cite> occupies p. (183). -Line-engraved frontispiece and picture title-page -precede printed title-page. Other line-engraved -illustrations here and there in the text. Maroon -cloth, full gilt, blocked in gold and blind. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in December, 1850.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'>RUTH: A Novel. By the author of <cite>Mary Barton</cite> -(Quotation from Phineas Fletcher.) London: -Chapman and Hall, 193 Piccadilly. 1853. 3 vols. -Ex. Cr. 8vo (4¾ × 7⅞).</p> - -<p class='c018'><span class='pageno' id='Page_206'>206</span>Vol. I. pp. (ii) + 298. Publishers' advertisements, -36 pp., dated 1853, bound in at end.</p> - -<p class='c018'>Vol. II. pp. (ii) + 328.</p> - -<p class='c018'>Vol. III. pp. (ii) + 311 + (1).</p> - -<p class='c018'>No half-titles. Dull purple cloth, gilt, blocked in -blind. Yellow end-papers, of which those at front -of Vols. I. and II. are printed with publishers' -advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in January, 1853.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'>CRANFORD. By the author of <cite>Mary Barton</cite>, <cite>Ruth</cite> -etc. London: Chapman and Hall, 193 Piccadilly. -1853. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. iv + 324. -No half-title. Olive-green embossed cloth, blocked -in gold and blind. Yellow end-papers.</p> - -<h4 class='c017'>1854</h4> - -<p class='c016'><a href='#asterisked'>*</a>TWO LECTURES ON LANCASHIRE DIALECT. -By the author of <cite>Mary Barton</cite>. London: Chapman -and Hall, 193 Piccadilly. Fcap. 8vo (4¼ × 6¾). -Paper wrappers.</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>LIZZIE LEIGH AND OTHER TALES. By the -Author of <cite>Mary Barton</cite>, <cite>Ruth</cite> etc. Cheap Edition. -London: Chapman and Hall, 193 Piccadilly. 1855. -1 vol. Sm. Cr. 8vo (4½ × 7). Pp. (viii) + 304. -Yellow paper boards.</p> - -<p class='c009'><em>Contents</em>: The Well of Pen Morfa—The Heart of John Middleton—Disappearances—The -Old Nurse's Story—Traits and Stories -of the Huguenots—Moreton Hall—My French Master—The -Squire's Story—Company Manners—Mr. Harrison's Confessions—Libbie -Marsh's Three Eras—The Sexton's Hero—Christmas -Storms and Sunshine—Hand and Heart—Bessie's Troubles at -Home.</p> - -<p class='c009'>This is the first edition of all the above stories, with the exception -of <cite>Lizzie Leigh</cite>, <cite>Libbie Marsh's Three Eras</cite>, <cite>The Sexton's</cite> -<span class='pageno' id='Page_207'>207</span><cite>Hero</cite>, <cite>Christmas Storms and Sunshine</cite>, <cite>Hand and Heart</cite>, and -<cite>Bessie's Troubles at Home</cite>.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in September, 1855. It is -a volume in Chapman and Hall's Select Library of Fiction, published -at two shillings.</p> - -<p class='c009'>(ii) It may be of interest to enthusiasts to know that <cite>Lizzie Leigh</cite> -was adapted for the stage by W. R. Waldron and published in -May, 1872, as No. 1393 in Lacy's Acting Editions of British Plays. -Mrs. Gaskell must be absolved from all responsibility for this -dramatization.</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>NORTH AND SOUTH. By the author of <cite>Mary -Barton</cite>, <cite>Ruth</cite>, <cite>Cranford</cite> etc. London: Chapman -and Hall, 193 Piccadilly. 1855. 2 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. (viii) + 320. Advertisement of previous -works by the same author occupies p. (i), preceding -half-title. Publishers' advertisements, 4 pp., bound -in at end.</p> - -<p class='c018'>Vol. II. pp. (iv) + 361 + (1). -Dark brown cloth, gilt, blocked in blind. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1855.</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'><a href='#asterisked'>*</a>HAND AND HEART and BESSIE'S TROUBLES -AT HOME. By the author of <cite>Mary Barton</cite>. -London: Chapman and Hall, 193 Piccadilly. 1855. -Fcap. 8vo (4¼ × 6¾). Paper wrappers.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>THE LIFE OF CHARLOTTE BRONTË, <span class='sc'>Author of</span> -<cite>Jane Eyre</cite>, <cite>Shirley</cite>, <cite>Villette</cite> <span class='fss'>ETC.</span> By E. C. Gaskell, -author of <cite>Mary Barton</cite>, <cite>Ruth</cite> etc. (Quotation from -<cite>Aurora Leigh</cite>.) London: Smith Elder and Co., -65 Cornhill. 1857. 2 vols. Ex. Cr. 8vo (4⅞ × 8).</p> - -<p class='c018'>Vol. I. pp. viii + 352.</p> - -<p class='c018'>Vol. II. pp. viii + 327 + (1). Publishers' catalogue, -16 pp., dated March, 1857, bound in at end.</p> - -<p class='c018'><span class='pageno' id='Page_208'>208</span>Three illustrations in steel engraving—two in -Vol. I., one in Vol. II.—all printed separately. -Dark brown cloth, gilt, blocked in blind. Yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1857.</p> - -<h4 class='c017'>1859</h4> - -<p class='c016'>ROUND THE SOFA. By the author of <cite>Mary Barton</cite>, -<cite>Life of Charlotte Brontë</cite> etc. etc. London: Sampson -Low Son and Co., 47 Ludgate Hill. 1859. -2 vols. Ex. Cr. 8vo (4⅞ × 7⅞).</p> - -<p class='c018'>Vol. I. pp. (iv) + 340. Publishers' advertisement -slip, printed on yellow paper, should be found inserted -between the front end-papers.</p> - -<p class='c018'>Vol. II. pp. (iv) + 297 + (1). Publishers' catalogue, -12 pp., printed on text paper and dated -March, 1859, bound in at end.</p> - -<p class='c018'>No half-titles. Scarlet embossed cloth, gilt, -blocked in blind. Yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: Vol. I., Round the Sofa—My Lady Ludlow. Vol. II., -The Accursed Race—The Doom of the Griffiths—Half a Life-time -Ago—The Poor Clare—The Half-Brothers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in March, 1859.</p> - -<p class='c009'>(ii) It should be observed that only Vol. II. contains a list of -contents, the corresponding page (iv) in Vol. I. being occupied by -an author's note.</p> - -<h4 class='c017'>1860</h4> - -<p class='c016'>RIGHT AT LAST: And Other Tales. By the author -of <cite>Mary Barton</cite>, <cite>Life of Charlotte Brontë</cite>, <cite>Round -the Sofa</cite> etc. etc. London: Sampson Low Son and -Co., 47 Ludgate Hill. 1860. 1 vol. Ex. Cr. 8vo -(4⅞ × 7¾). Pp. (vi) + 318. No half-title. Scarlet -embossed cloth, gilt, uniform with <cite>Round the Sofa</cite>. -Yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: Right at Last—The Manchester Marriage—Lois the -Witch—The Crooked Branch.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on May 10, 1860.</p> - -<div> - <span class='pageno' id='Page_209'>209</span> - <h4 class='c017'>1861</h4> -</div> - -<p class='c016'>LOIS THE WITCH AND OTHER TALES. By -<span class='sc'>E. C. Gaskell</span>, author of <cite>Mary Barton</cite>, <cite>The Life -of Charlotte Brontë</cite>. Copyright edition. Leipzig: -Bernhard Tauchnitz. 1 vol. (4½ × 6¼). Pp. (viii) + -338 + (2). Usual Tauchnitz paper wrappers.</p> - -<p class='c009'><em>Contents</em>: Lois the Witch, The Grey Woman, The Doom of the -Griffiths, The Half-Brothers, The Crooked Branch.</p> - -<p class='c009'><span class='sc'>Note</span>—This is a first edition of <cite>The Grey Woman</cite>.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>SYLVIA'S LOVERS. By Mrs. <span class='sc'>Gaskell</span>, author of -<cite>The Life of Charlotte Brontë</cite>, <cite>Mary Barton</cite>, <cite>Ruth</cite>, -<cite>North and South</cite> etc. (Quotation from Tennyson.) -London: Smith, Elder and Co., 65 Cornhill. -<span class='fss'>MDCCCLXIII.</span> 3 vols. Ex. Cr. 8vo (4⅞ × 7⅝).</p> - -<p class='c018'>Vol. I. pp. (viii) + 310 + (2).</p> - -<p class='c018'>Vol. II. pp. (iv) + 294. No half-title.</p> - -<p class='c018'>Vol. III. pp. (iv) + 284 + (4). No half-title. Advertisement -of <cite>The Life of Charlotte Brontë</cite> occupies -pp. (285) to (288).</p> - -<p class='c018'>Magenta cloth, gilt, blocked in blind. Greenish-buff -end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in March, 1863.</p> - -<h4 class='c017'>1863</h4> - -<p class='c016'>A DARK NIGHT'S WORK. By Mrs. <span class='sc'>Gaskell</span>, -author of <cite>Sylvia's Lovers</cite>, <cite>Life of Charlotte Brontë</cite>, -<cite>Mary Barton</cite>, <cite>Ruth</cite> etc. etc. London: Smith -Elder and Co., 65 Cornhill. <span class='fss'>MDCCCLXIII.</span> 1 vol. -Slim Cr. 8vo (4½ × 7⅝). Pp. (iv) + 299 + (1). Brown -cloth, gilt, blocked in blind. Cream end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in May, 1863.</p> - -<div> - <span class='pageno' id='Page_210'>210</span> - <h4 class='c017'>1865</h4> -</div> - -<p class='c016'>THE GREY WOMAN: And Other Tales. By Mrs. -<span class='sc'>Gaskell</span>, Author of <cite>Mary Barton</cite>, <cite>North and South</cite>, -<cite>Sylvia's Lovers</cite>, <cite>Cousin Phillis</cite>, <cite>Cranford</cite> etc. Illustrated -Edition. London: Smith, Elder and Co., -65 Cornhill. <span class='fss'>MDCCCLXV.</span> 1 vol. Cr. 8vo (5 × 7½). -Pp. (iv) + 280. No half-title. Wood-engraved frontispiece -and picture title-page precede printed title. -Two illustrations in course of the text, wood engraved -and printed separately. Red embossed cloth, -gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><em>Contents</em>: The Grey Woman—Curious if True—Six Weeks at -Heppenheim—Libbie Marsh's Three Eras—Christmas Storms and -Sunshine—Hand and Heart—Bessie's Troubles at Home—Disappearances.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in October, 1865. It is a first -edition of <cite>Curious if True</cite> and <cite>Six Weeks at Heppenheim</cite>.</p> - -<h4 class='c017'>1865</h4> - -<p class='c016'>COUSIN PHILLIS: And Other Tales. By Mrs. -<span class='sc'>Gaskell</span>, author of <cite>Mary Barton</cite>, <cite>North and -South</cite>, <cite>Sylvia's Lovers</cite>, <cite>Cranford</cite> etc. London: -Smith, Elder and Co., 65 Cornhill. -<span class='fss'>MDCCCLXV.</span> 1 vol. Cr. 8vo (5 × 7½). Pp. (iv) + -286 + (2). Publishers' advertisements occupy pp. -(287) and (288). No half-title. Wood-engraved -frontispiece and picture title-page, printed separately, -precede printed title. Two illustrations in -the course of the text, wood engraved and printed -separately. Red embossed cloth, blocked in gold -and blind. Uniform with <cite>The Grey Woman</cite>. -Cream end-papers.</p> - -<p class='c009'><em>Contents</em>: Cousin Phillis—Company Manners—Mr. Harrison's -Confessions—The Sexton's Hero.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in December, 1865.</p> - -<p class='c009'>(ii) It is a first edition of <cite>Cousin Phillis</cite>, which story appeared -serially in the “Cornhill.”</p> - -<div> - <span class='pageno' id='Page_211'>211</span> - <h4 class='c017'>1866</h4> -</div> - -<p class='c016'>WIVES AND DAUGHTERS: An Everyday Story. -By Mrs. <span class='sc'>Gaskell</span>. With 18 illustrations by George -du Maurier. London: Smith, Elder and Co., -65 Cornhill. 1866. 2 vols. Demy 8vo (5½ × 8⅝).</p> - -<p class='c018'>Vol. I. pp. (iv) + 336.</p> - -<p class='c018'>Vol. II. pp. (iv) + 332.</p> - -<p class='c018'>No half-titles. Ten illustrations in Vol. I. and -eight in Vol. II., all wood engraved and printed -separately. Maroon cloth, blocked in gold. Pale -yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February, 1866. The story -appeared serially in the “Cornhill.”</p> - -<h3 class='c015'><i>NOTE</i></h3> - -<p class='c020'>The Knutsford edition of Mrs. Gaskell's works -(Smith, Elder and Co., 1906, 8 vols.), edited by A. W. -Ward, contained in Vols. I., III., VI., and VII. -material not previously issued in book form. Further -additional matter (notably a chapter of <cite>Cranford</cite>) was -published by Clement Shorter in the edition of Mrs. -Gaskell's works edited by him for The World's -Classics. The same authority published an edition of -<cite>The Life of Charlotte Brontë</cite> in 1900 (Smith, Elder) with -many valuable notes. He has also issued a privately -printed edition of Mrs. Gaskell's Letters on Charlotte -Brontë, but this booklet, in accordance with the plan of -the present volume, is not herein specifically listed. -Full details of the various appearances of Gaskell miscellanea -(with the exception of that last mentioned above) -will be found in J. A. Green's Bibliographical Guide to -the Gaskell Collection, referred to on p. 203.</p> - -<div> - <span class='pageno' id='Page_212'>212</span> - <h3 class='c015'>II.—BOOKS PARTIALLY WRITTEN, ATTRIBUTED TO, OR EDITED BY MRS GASKELL.</h3> -</div> - -<h4 class='c017'>1840</h4> - -<p class='c016'>VISITS TO REMARKABLE PLACES: Old Halls, -Battle Fields, and Scenes illustrative of striking -passages in English History and Poetry. By <span class='sc'>William -Howitt</span>, author of <cite>The Rural Life of England</cite>, -<cite>Boy's Country-Book</cite> etc. Illustrated by Samuel -Williams. London: Longman, Orme, Brown, -Green and Longmans. <span class='fss'>MDCCCXL.</span> 1 vol. Med. 8vo -(5¾ × 9). Pp. vii + (i) + 526. No half-title. Wood-engraved -vignette on title-page and numerous other -illustrations. Pp. 130 to 146 are occupied by an -account of Clopton Hall, written by Mrs. Gaskell. -Fawn cloth, blocked in gold.</p> - -<h4 class='c017'>1853</h4> - -<p class='c016'><a href='#asterisked'>*</a>THE SICKNESS AND HEALTH OF THE -PEOPLE OF BLAEBURN. By the author of -<cite>Mary Barton</cite>. Boston. 1853. 1 vol. 12mo. Paper -wrappers.</p> - -<p class='c009'><span class='sc'>Note</span>—This is a reprint (unauthorized) of a story that appeared -anonymously in Vol. I. of “Household Words.” The attribution -to Mrs. Gaskell is a mistake, Harriet Martineau being the real -author of the tale.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>MABEL VAUGHAN. By the author of The <cite>Lamplighter</cite>. -Edited, by arrangement with the author, -by Mrs. <span class='sc'>Gaskell</span>, author of <cite>Mary Barton</cite>. London: -<span class='pageno' id='Page_213'>213</span>Sampson Low, Son and Co., 47 Ludgate Hill. -1857. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. viii + 459 + (1). -Publishers' catalogue, 12 pp., paged but undated, -bound in at end. Line-engraved frontispiece, -printed separately. Dark green cloth, blocked in -gold and blind. Pale yellow end-papers. Also -issued simultaneously in boards.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in September, 1857.</p> - -<h4 class='c017'>1862</h4> - -<p class='c016'>GARIBALDI AT CAPRERA. By <span class='sc'>Colonel Vecchi</span>. -Translated from the Italian. With Preface by Mrs. -<span class='sc'>Gaskell</span>. Cambridge: Macmillan and Co., and -23 Henrietta Street, Covent Garden. London. -1862. 1 vol. Fcap. 8vo (4¼ × 6⅝). Pp. xi + (i) + -130 + (2). Publishers' advertisement occupies p. (131). -Publishers' catalogue, 16 pp., undated, bound in at -end. Frontispiece in tinted lithograph, showing -Garibaldi's house. Scarlet cloth, blocked in gold. -Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in February or March, 1862.</p> - -<div class='chapter'> - <span class='pageno' id='Page_215'>215</span> - <h2 class='c006'>HERMAN MELVILLE<br /> <span class='large'>1819-1891</span></h2> -</div> - -<div><span class='pageno' id='Page_217'>217</span></div> -<div class='ph2'> - -<div class='nf-center-c1'> -<div class='nf-center c001'> - <div>HERMAN MELVILLE</div> - </div> -</div> - -</div> - -<p class='c012'>At intervals during the last forty years, Herman Melville -has been discovered by intellectuals, belauded, a -little read, and once more forgotten. It is typical of the -man and of his perverse withdrawal from the lettered -world, that even before his death he was the subject of -spasmodic <span lang="fr" xml:lang="fr">battues</span> by appreciative readers, who sought -to startle into activity their idol's reputation by methods -suited to the enlivenment of an author long dead and -hidden by the undergrowth of time.</p> - -<p class='c000'>The latest and the most thorough stimulation to which -the repute of Melville has been subjected is now at full -stretch. Whatever its critical shortcomings, this concerted -attempt to write a new name on the roll of nineteenth-century -genius bids fair to achieve one important -triumph—the immortalization of <cite>Moby Dick</cite> and, consequentially, -of the man who wrote it.</p> - -<p class='c000'>A very minor result of the same Melville boom is his -inclusion in this book. Save in the matter of date, he -has little in common with the other writers here treated. -They are of Victorianism Victorian; he, if he belongs to -any period or to any genealogy, is of the ageless, race-less -family of the lonely giants. That his fellows between -these covers are all lesser novelists than he, I am unprepared -to admit. Trollope excels him in humour, wisdom -and depth of understanding; he must rank, as master of -technique, below all save Whyte-Melville and perhaps -Disraeli. But he has a quality of grandeur, a majesty -of isolation that they lack, and his very inchoate bitterness -of spirit transcends by its datelessness their well-rounded -friendliness and their complacent wit.</p> - -<p class='c000'>If that were not enough, he differs from them also in -the very texture and subject of his work. His mysticism, -for all its yearning and its gloom, is of a spiritual quality -far rarer than that of their materialism, for all its vivacity -<span class='pageno' id='Page_218'>218</span>and its aspiration. Between him and Reade is a certain -soul resemblance, but the advantage in this is Melville's. -He directly influenced the Englishman,<a id='r4' /><a href='#f4' class='c014'><sup>[4]</sup></a> and beside his -remote immensity Reade, even at his most massive and -his most contentious, seems but a dwarf, roaring disgruntlement -against the walls of Grub Street.</p> - -<div class='footnote' id='f4'> -<p class='c000'><span class='label'><a href='#r4'>4</a>. </span>There is in existence the copy of <cite>Moby Dick</cite> in which Reade -made extensive notes and excisions, maybe with the idea of issuing -an abbreviated version. Readers of <cite>Love Me Little, Love Me Long</cite> -will immediately detect the influence of Melville's great book on the -whaling narrative related by Frank Dodd to Mr. Fountain and to -his lovely niece.</p> -</div> - -<p class='c000'>Melville's books are the strange mirror of a strange -life. The young writer, famous at thirty, who yet lives -out a diminuendo of appreciation to an old age of disappointed -poverty, is no unfamiliar figure. One thinks -immediately of William Harrison Ainsworth, from the -foppish eminence of his early twenties to the last sad -years in a Tonbridge villa, when he laboured at the -regular production of three-volume fiction—one novel a -year at seventy-five pounds the time—alone amid the -memories of vanished splendour. But the man who as -a youth wins reputation in letters and passes, of deliberate -purpose, maturity and age in other, non-literary, pursuits -is a scarcer type, of which Melville is an unusual -example.</p> - -<p class='c000'>Born in 1819, he published <cite>Typee</cite> at the age of -twenty-seven, <cite>Moby Dick</cite> five years later, and <cite>The Piazza -Tales</cite> in 1856. From then until his death, in 1891, he -wrote little, and, to the even greater detriment of his -fame, withdrew entirely from the society of writers, -hiding his name and his very existence behind the screen -of an obstinate reserve.</p> - -<p class='c000'>I have no intention here either of summarizing the life -or of passing judgment on the works of Herman Melville. -The former is related in detail by Professor Raymond -Weaver, whose large biography is of so recent date -that any shorter presentment of the facts must merely be -a précis of the information therein contained. The -respective merits of the outstanding books are already -<span class='pageno' id='Page_219'>219</span>(and will remain for long enough) the sport of literary -publicists, to whose views and counter-views I refer the -curious. One feature, nevertheless, of contemporary -opinion challenges to protest my amateur temerity. Apart -from <cite>Moby Dick</cite>, the neo-Melvillian has little beyond -patronizing approval for the books of his hero; <cite>Typee</cite> -(1846) and <cite>Omoo</cite> (1847) are interesting records of travel, -remarkable mainly for the early date of their appearance -and as forerunners of the South Sea School in letters and -in painting. <cite>Mardi</cite> (1849), <cite>Redburn</cite> (1849), and <cite>White -Jacket</cite> (1850) claim respect as autobiography and for passages -that reveal their author's genius struggling toward -a more complete expression. These are the rising steps -to the crowning summit of Melville's work. There, -unique and peerless, stands <cite>Moby Dick</cite>; beyond it the -terraces fall away again, and even more steeply than they -rose.</p> - -<p class='c000'>Is this opinion a just one? I am a little uncertain. -With no desire to denigrate <cite>Moby Dick</cite> or to deny it the -first place in <em>importance</em> among Melville's books, I would -venture that his genius is more perfectly and skilfully -revealed in a volume of stories belonging to the so-called -decadence. <cite>The Piazza Tales</cite> are liable to be dismissed -by the critic of to-day with kindly condescension as “the -best of the later work,” a judgment as misleading as it -is easily explained. In some degree the worship of <cite>Moby -Dick</cite> and the comparative neglect of the other work are -inevitable corollaries to the Melville boom at its present -stage. During the first period of any new æsthetic -wonder, the peculiar transcends the normal in the -imagination of disciples. Let the case of Melville be -paralleled with that of Tintoretto's pupil, Greco. When -first set in the revival of interest in this painter's work, -he was most admired when most bizarre. He won favour -for the contrast he presented to his immediate forerunners -and his contemporaries. The name of Greco stood for -certain mannerisms in colour and composition, and, the -more a Greco picture revealed those mannerisms, the -better a Greco it was judged to be. Already, from the -<span class='pageno' id='Page_220'>220</span>hand of time, this formula of appreciation is suffering -adjustment, but Melville is to-day precisely at the point -where yesterday Greco stood. Like the master of Toledo, -he has peculiar and noticeable tricks of matter and of -style. Because <cite>Moby Dick</cite> is of these tricks more -redolent than the author's other books, it tickles the -palate of contemporary enthusiasm more thoroughly -than do they.</p> - -<p class='c000'>Such preference is by its very nature tenacious. -<cite>Moby Dick</cite>, for all that it is unmistakably Melville, is far -from flawless. What if Melville recognized its weaknesses? -What if he deplored those very characteristics -that are to-day lauded as his priceless individuality and -chief claim to fame? With all its vastness and its wonder, -the epic story of Ahab and the great white whale displays -the faults of its author as strikingly as it reveals his -talents. In years to come, when the glamour of oddity -has paled a little, it will be admitted that the book labours -under a sad weight of intolerable prolixity. Nor is this -prolixity implicit in the greatness of Melville's writing. -This is proved by the two chief stories in <cite>The Piazza -Tales</cite>. <cite>Benito Cereno</cite> and <cite>The Encatadas</cite> hold in the -small compass of their beauty the essence of their author's -supreme artistry. They are profound and lovely and -tenderly robust, but they are never tedious and never -wilful. Surely it were generous to admit that Melville -sought to improve on <cite>Moby Dick</cite> and that, in the matter -of technical control, he succeeded? These two stories -cannot as literary achievement compare with their vast -and teeming predecessor. That is natural. But they -may not be ignored as the last glimmer of a dying lamp. -They mark the highest technical level of their author's -work, and, had not within a year or two of their appearance -the darkness of self-distrust descended on him, -might well have proved a revelation of something yet to -come from the brain of Herman Melville, something -destined—but for the treacherous inhibition of human -frailty—to excel in power everything to which that brain -had previously given birth.</p> - -<div> - <span class='pageno' id='Page_221'>221</span> - <h3 class='c015'><i>BIOGRAPHY</i></h3> -</div> - -<p class='c016'>HERMAN MELVILLE, MARINER AND MYSTIC. -By <span class='sc'>Raymond M. Weaver</span>. New York. Doran. -1921. London: Humphrey Milford. 1922.</p> - -<p class='c018'>This long and careful book is based on the papers -and information of the Melville family and represents -the sum of present-day knowledge of Melville's -life and ideas.</p> - -<h3 class='c015'><i>NOTE</i></h3> - -<p class='c020'>Collectors should observe the fact that it was the -custom of American publishers in the fifties and sixties -to bind one edition in cloths of various colours for the -purposes of window display. Consequently Melville's -first American editions are met with in a variety of colourings -which, in the matter of date of issue, rank equally.</p> - -<div> - <span class='pageno' id='Page_222'>222</span> - <h3 class='c015'>I.—EDITIONES PRINCIPES<br /> FICTION, POETRY, TRAVEL</h3> -</div> - -<h4 class='c017'>1846</h4> - -<p class='c016'><a href='#asterisked'>*</a>TYPEE: A Peep at Polynesian Life during a Four -Months Residence in A Valley of the Marquesas -with notices of the French Occupation of Tahiti and -the Provisional Cession of the Sandwich Islands to -Lord Paulet. By <span class='sc'>Herman Melville</span>. Part One. -(Part Two.) New York. Wiley and Putnam, -London: John Murray, Albemarle Street. 1846. -2 vols. Sm. Cr. 8vo (5 × 7¼).</p> - -<p class='c018'>Vol. I. pp.<a id='r5' /><a href='#f5' class='c014'><sup>[5]</sup></a> Vol. II. pp.<a href='#f5' class='c014'><sup>[5]</sup></a></p> - -<div class='footnote' id='f5'> -<p class='c018'><span class='label'><a href='#r5'>5</a>. </span>That the pagination of these volumes must be omitted is a -misfortune that was unpreventable. A detailed description of the -books was sent me from America, but the slip on which the -actual pagination was set out did not arrive.</p> -</div> - -<p class='c018'>The half-titles to both volumes read: Wiley and -Putnam's Library of American Books: Typee: A -Peep at Polynesian Life. On the verso of half-title -to Vol. I. is a list of books of travel; on that to -Vol. II. the titles in the Library of American Books. -Vol. I. contains a map. Dark green cloth, gilt. -Fawn end-papers.</p> - -<h4 class='c017'>1846</h4> - -<p class='c016'>NARRATIVE OF A FOUR MONTHS RESIDENCE -AMONG THE NATIVES OF A VALLEY OF -THE MARQUESAS ISLANDS: Or <span class='sc'>A Peep at -Polynesian Life</span>. By <span class='sc'>Herman Melville</span>. London: -John Murray, Albemarle Street, 1846. 1 vol. Sm. -Cr. 8vo (4¾ × 7). Pp. xvi + (ii) + 285 + (1). Publisher's -<span class='pageno' id='Page_223'>223</span>advertisements, 16 pp., dated March, 1846, -bound in at end. A sketch map of the Marquesas -Islands on page (xviii) faces page (1). Red cloth, -gilt, blocked in blind. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—A volume in Murray's “Colonial and Home Library” -(No. 15). Subsequently named <cite>Typee</cite>. The lettering on the spine -reads: Colonial and Home Library Vol XV Melvilles Marquesas -Islands Murray.</p> - -<h4 class='c017'>1847</h4> - -<p class='c016'><a href='#asterisked'>*</a>TYPEE: A Peep at Polynesian Life during a Four -Months Residence in A Valley of the Marquesas. -Revised Edition with a Sequel. By <span class='sc'>Herman Melville</span>. -New York: Wiley and Putnam. London: -John Murray, Albemarle Street. 1847. 1 vol. -Sm. Cr. 8vo (5 × 7¼). Pp<a id='r6' /><a href='#f6' class='c014'><sup>[6]</sup></a>. Of this book pp. -291-307 are occupied by the sequel to <cite>Typee</cite> entitled -<cite>The Story of Toby</cite>, and not previously published. -Map faces title-page.</p> - -<div class='footnote' id='f6'> -<p class='c000'><span class='label'><a href='#r6'>6</a>. </span>See footnote to previous page.</p> -</div> - -<h4 class='c017'>1847</h4> - -<p class='c016'>TYPEE: Or <span class='sc'>A Narrative of a Four Months Residence -Among The Natives of a Valley of the -Marquesas Islands</span>: Or <span class='sc'>A Peep at Polynesian -Life</span>. By <span class='sc'>Herman Melville</span>. London: John -Murray, Albemarle Street. 1847. 1 vol. Sm. Cr. -8vo (4¾ × 7). Pp. xvi + 301 + (1). Pp. 287-301 are -occupied by <cite>The Story of Toby</cite>, a sequel to <cite>Typee</cite> -not previously published. Publisher's advertisement -precedes half-title proper, occupying reverse of -a series half-title of “The Home and Colonial (<i><span lang="la" xml:lang="la">sic</span></i>) -Library,” these two pages being inset on other than -text paper. Publisher's catalogue, Fcap. 8vo, 16 pp., -dated March, 1847, bound in at end. Red cloth, -gilt, uniform with preceding item. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—The lettering on the spine is identical with that of the -1846 issue.</p> - -<div> - <span class='pageno' id='Page_224'>224</span> - <h4 class='c017'>1847</h4> -</div> - -<p class='c016'>OMOO: A Narrative of Adventures in the South Seas. -By <span class='sc'>Herman Melville</span>, author of <cite>Typee</cite>. New -York: Harper and Brothers, Publishers. London: -John Murray. 1847. 1 vol. Cr. 8vo (4⅞ × 7⅜). -Pp. (408). The pagination of this volume is very -confusing. Pp. (1)-(16) are paged xv + (i). Pp. 17-389 -are so paged, p. (390) is unpaged, pp. (391)-(399) -are paged (xv) to xxiii, p. (400) is unpaged, and -pp. (401)-(408) are paged (1) to 8. Title-page printed -in red and black, half-title in red. Line-engraved -map printed separately facing title. Blue cloth, -blocked in gold and blind. White end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—As an example of the varieties to be met with among -American publications of this date, I append a collation of this -same book, made by a friend from a copy seen in the United -States. The variation of binding and end-papers is unimportant -(see note on p. 220).</p> - -<h4 class='c017'>1847</h4> - -<p class='c016'><a href='#asterisked'>*</a>OMOO: A Narrative of Adventures in the South Seas. By -<span class='sc'>Herman Melville</span>, author of <cite>Typee</cite>. New York: Harper and -Brothers, Publishers. London: John Murray, 1847. 1 vol. -Cr. 8vo (4⅞ × 7⅜). Pp. 398, of which (1)-(9) are unpaged, -(10)-(17) are paged in roman numerals, 18-389 in arabic -numerals, while pp. (390)-(398) are occupied by publishers' -advertisements. Publishers' catalogue, 16 pp., bound in at -end. Title-page printed in red and black, half-title in red. -Line-engraved map facing title-page. Brown cloth, blocked in -gold. Marbled end-papers.</p> - -<h4 class='c017'>1847</h4> - -<p class='c016'>OMOO: A Narrative of Adventures in the South Seas, -being a sequel to the <cite>Residence in the Marquesas -Islands</cite>. By <span class='sc'>Herman Melville</span>, author of <cite>Typee</cite>. -London: John Murray, Albemarle Street. 1847. -1 vol. Sm. Cr. 8vo (4¾ × 7). Pp. xiii + (i) + 321 +(1). -Line-engraved map printed on text paper facing -title-page. Red cloth, gilt, uniform with preceding -item. Pale yellow end-papers.</p> - -<p class='c009'><span class='pageno' id='Page_225'>225</span><span class='sc'>Notes</span>—(i) The lettering on the spine reads: Adventures in the -South Seas Murray.</p> - -<p class='c009'>(ii) A volume in Murray's “Colonial and Home Library” -(No. 22). The Preface is dated New York, January 28, 1847.</p> - -<p class='c009'>(iii) Contemporary announcements of Murray's “Colonial and -Home Library” speak of an issue of this book in <em>two parts</em>, -“<em>sewed</em>,” and numbered respectively 43 and 44 of the series. I -have never seen such wrappered issues, but, to judge by their -numbering in the Library, they postdate the edition above -described.</p> - -<h4 class='c017'>1849</h4> - -<p class='c016'>MARDI AND A VOYAGE THITHER. By <span class='sc'>Herman -Melville</span>, author of <cite>Typee</cite> and <cite>Omoo</cite>. London: -Richard Bentley, New Burlington Street. 1849. -3 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. x + 336 + (2).</p> - -<p class='c018'>Vol. II. pp. x + 335 + (3).</p> - -<p class='c018'>Vol. III. pp. viii + 348.</p> - -<p class='c018'>Titles printed in two colours. Pale apple-green -cloth, gilt, blocked in blind. Blue and white -decorated end-papers, printed with publisher's advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published on March 16, 1849. The -English edition predates the American one. 1,000 copies were -printed.</p> - -<h4 class='c017'>1849</h4> - -<p class='c016'>MARDI: AND A VOYAGE THITHER. By <span class='sc'>Herman -Melville</span>. New York: Harper and Bros. Publishers, -82 Cliff Street. 1849. 2 vols. Ex. Cr. 8vo -(4⅞ × 7⅜).</p> - -<p class='c018'>Vol. 1. pp. (376). The paging is very irregular. -Pp. (1) to (6) are blank and unpaged; p. (7) is title-page; -p. (8) bears note of the book's official registration; -p. (9) bears dedication; p. (10) is blank; p. (11) -bears preface dated New York, January, 1849; p. (12) -is blank; p. (13) is half-title; p. (14) is blank; pp. (15) -to (18) are occupied by List of Contents paged (ix) -to xii; pp. (19) to (371) are paged (13) to 365; pp. (372) -<span class='pageno' id='Page_226'>226</span>to (376) are blank and unpaged. Pp. (1) (2) and (375) -(376) are pasted down to front and back inside end-papers.</p> - -<p class='c018'>Vol. II. pp. (408), of which pp. (1)-(6) are blank -and unpaged; p. (7) is title-page; p. (8) bears note -of the book's official registration; p. (9) is half-title; -p. (10) is blank; pp. (11)-(14) are occupied by List -of Contents paged (ix) to xii; pp. (15) to (393) are -paged (9) to 387; p. (394) is blank and unpaged; -pp. (395)-(402) are occupied by publishers' advertisements -paged (1) to 8; pp. (403)-(408) are blank -and unpaged. Pp. (1) (2) and (407) (408) are pasted -down to front and back inside end-papers.</p> - -<p class='c018'>It should be noted that in each volume the printed -half-title follows the title-page.</p> - -<p class='c018'>Dark green cloth, blocked in gold and blind. -Yellow end-papers.</p> - -<h4 class='c017'>1849</h4> - -<p class='c016'>REDBURN: <span class='sc'>His First Voyage</span>. Being the Sailor -boy confessions and reminiscences of the son of a -gentleman in the Merchant Service. By <span class='sc'>Herman -Melville</span>. Author of <cite>Typee</cite>, <cite>Mardi</cite> etc. London: -Richard Bentley, New Burlington Street, 1849. -2 vols. Ex. Cr. 8vo (4⅞ × 7¾).</p> - -<p class='c018'>Vol. I. pp. viii + 316. No half-title.</p> - -<p class='c018'>Vol II. pp. viii + 314.</p> - -<p class='c018'>Dark blue cloth, gilt, blocked in blind, white end-papers -patterned in blue and printed with publisher's -advertisements.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on September 29, 1849. -The English edition predates the American one. 750 copies were -printed.</p> - -<p class='c009'>(ii) I have seen a copy of this edition bearing on the case the -name of T. C. Newby as publisher, but with the Bentley title-page. -This was probably a “remainder” copy, for Newby frequently -bought sheets of books that had not sold when originally published, -and issued them at a cheaper price wholly or partially over his -imprint.</p> - -<div> - <span class='pageno' id='Page_227'>227</span> - <h4 class='c017'>1849</h4> -</div> - -<p class='c016'>REDBURN: <span class='sc'>His First Voyage</span>. Being the sailor -boy confessions and reminiscences of the son -of a gentleman in the Merchant Service. By -<span class='sc'>Herman Melville</span>, Author of <cite>Typee</cite>, <cite>Mardi</cite>. New -York: Harper and Bros., Publishers, 82 Cliff -Street. 1849. 1 vol. Cr. 8vo (4⅞ × 7½). Pp. (420). -The numbering of pages is very erratic. Pp. (1)-(6) -are blank and unpaged; p. (7) is title-page; -p. (8) bears note of the book's official registration; -p. (9) bears dedication; p. (10) is blank; -pp. (11)-(17) are occupied by List of Contents paged -(v)-xi; p. (12) is blank; pp. (13) to 390 are so paged; -pp. (391)-(394) are unpaged and occupied by advertisements -of other works by Melville; pp. (395)-(406) -form a publishers' list, dated October, 1849, -and paged (1) to 14; pp. (407) and (408) are occupied -by publishers' advertisements, undated, but paged -(1) and 2; pp. (409)-(412) are blank; pp. (413) and -(414) are pasted down to inside back end-paper. No -printed half-title. Purple-brown cloth, gilt, blocked -in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—Copies of the first edition are found with fewer advertisement -pages at the end. These may well, in view of the irregular -nature of American bookmaking at that period, be contemporary -in issue with those more extensively furnished, but the collector -will naturally prefer a copy as complete as possible.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'>WHITE JACKET: Or <span class='sc'>The World in a Man of War</span>. -By <span class='sc'>Herman Melville</span>. London: Richard Bentley, -New Burlington Street, 1850. 2 vols. Ex. Cr. -8vo (4¾ × 7¾).</p> - -<p class='c018'>Vol. I. pp. vi + 322.</p> - -<p class='c018'>Vol. II. pp. iv + 315 + (1).</p> - -<p class='c018'>No half-titles. Pale blue cloth, gilt, blocked in -<span class='pageno' id='Page_228'>228</span>blind. Yellow end-papers, printed with publisher's -advertisements.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on January 23, 1850. The -English edition predates the American one. 1,000 copies were -printed.</p> - -<p class='c009'>(ii) Vol. I. pp. iii and iv contain a preface dated October, 1849, -and different in content from the note on p. iv of the American -edition, dated March, 1850.</p> - -<h4 class='c017'>1850</h4> - -<p class='c016'>WHITE JACKET: Or <span class='sc'>The World in a Man of War</span>. -By <span class='sc'>Herman Melville</span>. Author of <cite>Typee</cite>, <cite>Omoo</cite>, -<cite>Mardi</cite> and <cite>Redburn</cite>. New York: Harper and -Bros., Publishers, 82 Cliff Street. London: -Richard Bentley. 1850. 1 vol. Cr. 8vo (4⅞ × 7½). -Pp. (484). Here again the paging is irregular. -Of the preliminary matter pp. (1)-(6) are blank; -p. (7) is title-page; p. (8) bears note of the book's -official registration; p. (9) bears quotation from -Fuller's <cite>Good Sea-Captain</cite>; p. (10) bears author's -note, dated New York, March, 1850; pp. (11)-(13) -are occupied by List of Contents and are paged in -roman numerals, (v) to vii; p. (14) is blank; pp. (15) -to (471) are paged (9) to 465; p. (472) is blank; -pp. (473)-(476) are unpaged and occupied by advertisements -of other works by Melville; pp. (477) (478) -are also unpaged and occupied by publishers' advertisements; -pp. (479)-(484) are blank and unpaged. -No printed half-title. Dark brown or blue-grey -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—The varieties of binding are of simultaneous date.</p> - -<h4 class='c017'>1851</h4> - -<p class='c016'>THE WHALE. By <span class='sc'>Herman Melville</span>, author of -<cite>Typee</cite>, <cite>Omoo</cite>, <cite>Redburn</cite>, <cite>Mardi</cite>, <cite>White Jacket</cite>. -(Quotation from <cite>Paradise Lost</cite>.) London: Richard -Bentley, New Burlington Street. 1851. 3 vols. -Ex. Cr. 8vo (4¾ × 7¾).</p> - -<p class='c018'><span class='pageno' id='Page_229'>229</span>Vol. I. pp. viii + 312.</p> - -<p class='c018'>Vol. II. pp. iv + 303 + (1).</p> - -<p class='c018'>Vol. III. pp. iv + 328.</p> - -<p class='c018'>Quarter cream cloth blocked in gold; bright blue -embossed cloth sides, blocked in blind. Pale yellow -end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published on October 18, 1851. The -English edition predates the American one. 500 copies were printed.</p> - -<p class='c009'>(ii) Vol. I. only has half-title, on which the story is described as -<cite>The Whale or Moby Dick</cite>.</p> - -<h4 class='c017'>1851</h4> - -<p class='c016'>MOBY DICK: Or <span class='sc'>The Whale</span>. By <span class='sc'>Herman Melville</span>, -Author of <cite>Typee</cite>, <cite>Omoo</cite>, <cite>Redburn</cite>, <cite>Mardi</cite>, -<cite>White-Jacket</cite>. New York: Harper and Bros. Publishers. -London: Richard Bentley. 1851. 1 vol. -Cr. 8vo (4⅞ × 7⅜). Pp. (xxx) [paged as xxiii + (i)] -+ 634 + (12). Epilogue occupies p. (635). Publishers' -advertisements, 6 pp., occupy pp. (637)-(642). -Pp. (i) (ii) and (647) (648) are pasted down to front -and back inside end-papers. No printed half-title. -Slate-blue or scarlet cloth, gilt. Orange end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) The varieties of binding are of simultaneous date.</p> - -<p class='c009'>(ii) This book was expurgated for publication in England, the -American text containing thirty-five passages not included in -Bentley's edition (see previous item).</p> - -<h4 class='c017'>1852</h4> - -<p class='c016'>PIERRE: Or <span class='sc'>The Ambiguities</span>. By <span class='sc'>Herman Melville</span>. -New York: Harper and Bros., Publishers, -329 and 331 Pearl Street, Franklin Square. 1852. -1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (xii) [paged as viii] -+ 495 + (6). Pp. (i) (ii) and (501) (502) are pasted -down to front and back inside end-papers. No -printed half-title. Dark grey cloth, gilt, blocked in -blind. Dark grey end-papers.</p> - -<div> - <span class='pageno' id='Page_230'>230</span> - <h4 class='c017'>1852</h4> -</div> - -<p class='c016'>PIERRE: Or <span class='sc'>The Ambiguities</span>. By <span class='sc'>Herman Melville</span>. -London: Sampson Low Son and Co., 47 -Ludgate Hill. 1852. 1 vol. Cr. 8vo (5 × 7½). Pp. -viii + 495 + (i). No half-title. Blue embossed cloth, -gilt, blocked in blind. Pale yellow end-papers.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in November, 1852.</p> - -<p class='c009'>(ii) This English edition consists of American printed sheets -with cancel title. It is as scarce as, if not scarcer than, the -American edition, the bulk of which was destroyed by fire.</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>ISRAEL POTTER: <span class='sc'>His Fifty Years of Exile</span>. By -<span class='sc'>Herman Melville</span>. Author of <cite>Typee</cite>, <cite>Omoo</cite> etc. -New York: G. P. Putnam and Co., 10 Park Place. -1855. 1 vol. Cr. 8vo (4⅞ × 7⅜). Pp. (280) [paged -as (2) + 276 + (2)]. No printed half-title. Purple-brown -cloth, gilt, blocked in blind. Yellow end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—On the case, this book is entitled “Fifty Years Exile.” -A pirated edition, under the title <cite>The Refugee</cite>, was published in -Philadelphia in [1865].</p> - -<h4 class='c017'>1855</h4> - -<p class='c016'>ISRAEL POTTER: <span class='sc'>His Fifty Years of Exile</span>. By -<span class='sc'>Herman Melville</span>, author of <cite>Typee</cite>, <cite>Omoo</cite> etc. -London: G. Routledge and Co., Farringdon Street. -1855. 1 vol. Fcap. 8vo (4 × 6½). Pp. 174. Bright -yellow paper wrappers printed in black. The outside -back wrapper is occupied by publishers' advertisements. -Also issued simultaneously in cloth.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1855.</p> - -<div> - <span class='pageno' id='Page_231'>231</span> - <h4 class='c017'>1856</h4> -</div> - -<p class='c016'>THE PIAZZA TALES. By <span class='sc'>Herman Melville</span>, -author of <cite>Typee</cite>, <cite>Omoo</cite>, etc. etc. New York: Dix -and Edwards, 321 Broadway. London: Sampson -Low, Son and Co. 1856. 1 vol. Cr. 8vo (4¾ × 7⅛). -Pp. (vi) + 431 + (11). No printed half-title. Publishers' -advertisements, unpaged and undated, -occupy pp. (433)-(439). Purple-brown cloth, blocked -in gold and blind. Grey-blue end-papers.</p> - -<p class='c009'><em>Contents</em>: The Piazza—Bartleby—Benito Cereno—The Lightning-Rod -Man—The Encantadas; or Enchanted Islands—The Bell-Tower.</p> - -<p class='c009'><span class='sc'>Notes</span>—(i) This book was published in May or June, 1856.</p> - -<p class='c009'>(ii) It is doubtful whether copies of this book were ever actually -issued in England, despite the fact that Sampson Low and Co. -advertised the book at 9s. in June, 1856. At the most, copies may -exist with an English cancel title, but even this is improbable in -view of the joint imprint on the New York edition. It will be -noted that when previously Low imported Melville sheets (<i><span lang="la" xml:lang="la">cf.</span></i> -<cite>Pierre</cite>, 1852) they inserted their own title-page and bound the book -differently for English issue, but in that case their name was not -printed on the American edition.</p> - -<p class='c009'>(iii) Copies of the first American edition exist, with pale yellow -end-papers. These are thinner in quality than the grey-blue ones -above mentioned, and not chalk surfaced to the extent usual with -American tinted papers of the period. Indeed, they have more the -appearance of English than of American end-papers, but it is -difficult to believe that Sampson Low and Co. could have imported -sheets and cases from America, merely carrying out in this country -the process of binding.</p> - -<h4 class='c017'>1857</h4> - -<p class='c016'>THE CONFIDENCE MAN: <span class='sc'>His Masquerade</span>. By -<span class='sc'>Herman Melville</span>, Author of <cite>The Piazza Tales</cite>, -<cite>Omoo</cite> etc. etc. New York: Dix Edwards and Co., -321 Broadway. 1857. 1 vol. Cr. 8vo (4⅞ × 7½). -Pp. (x) [paged as vi] + 394 + (4). No printed half-title. -Purple-brown cloth, gilt, blocked in blind. -Dark green end-papers.</p> - -<div> - <span class='pageno' id='Page_232'>232</span> - <h4 class='c017'>1857</h4> -</div> - -<p class='c016'>THE CONFIDENCE MAN: <span class='sc'>His Masquerade</span>. By -<span class='sc'>Herman Melville</span>, author of <cite>The Piazza Tales</cite>, -<cite>Omoo</cite>, <cite>Typee</cite> etc. etc. Authorized edition. London: -Longman, Brown, Green, Longmans and Roberts. -1857. 1 vol. Fcap. 8vo (4¼ × 6¾). Pp. vi + 354. -No half-title. Publishers' catalogue, 24 pp., dated -September, 1855 [<i><span lang="la" xml:lang="la">sic</span></i>], bound in at end. Yellow-brown -cloth, gilt, blocked in blind. Brick-red end-papers, -partially printed with publishers' advertisements.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in April, 1857.</p> - -<h4 class='c017'>1866</h4> - -<p class='c016'>BATTLEPIECES AND ASPECTS OF THE WAR. -By <span class='sc'>Herman Melville</span>. New York: Harper and -Bros., Publishers, Franklin Square. 1866. 1 vol. -Cr. 8vo (4¾ × 7⅜). Pp. (298), of which pp. (i)-(6) are -blank and unpaged; p. (7) is title-page; p. (8) bears -note of the book's official registration; p. (9) bears -dedication; p. (10) is blank; p. (11) bears Author's -Note; p. (12) is blank; pp. (13)-(16) are occupied by -List of Contents paged (vii)-x; pp. (17) to (278) are -paged (11) to 272; pp. (279)-(284) are blank and -unpaged. No printed half-title. Brown or violet -cloth, gilt. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—There was no English edition of this book.</p> - -<h4 class='c017'>1876</h4> - -<p class='c016'>CLAREL: A Poem and a Pilgrimage in the Holy Land. -By <span class='sc'>Herman Melville</span>. In four parts. I. Jerusalem. -II. The Wilderness. III. Mar Saba. -IV. Bethlehem. New York: G. P. Putnam's Sons, -No. 182 Fifth Avenue, 1876. 2 vols. Sq. 16mo -(6⅞ × 5⅛).</p> - -<p class='c018'><span class='pageno' id='Page_233'>233</span>Vol. I. pp. (304), of which pp. (8) and (9) are -paged ii and iii, pp. (10) and (11) unpaged, and -pp. (12)-(304) are paged 8 to 300.</p> - -<p class='c018'>Vol. II. pp. (312). In this volume the paging is -even more erratic; pp. (i)-(5) are unnumbered, p. (6) -is numbered iv, pp. (7), (8), and (9) are unnumbered, -pp. (10) to (309) are numbered 304 to 571, pp. (310) -to (312) are unnumbered.</p> - -<p class='c018'>Bright green cloth, gilt. Chocolate end-papers.</p> - -<p class='c009'><span class='sc'>Note</span>—This book was published in July, 1876. There was no -English edition.</p> - -<h4 class='c017'>1888</h4> - -<p class='c016'>JOHN MARR AND OTHER SAILORS, WITH -SOME SEA PIECES. New York: De Vinne -Press. 1888. 1 vol. Fcap. 8vo (4½ × 6¾). Pp. -(iv) + 103 + (1). Cream paper wrappers printed in -black.</p> - -<p class='c009'><span class='sc'>Note</span>—Only twenty-five copies of this edition were printed.</p> - -<h4 class='c017'>1891</h4> - -<p class='c016'><a href='#asterisked'>*</a>TIMOLEON etc. New York: Canton Press. 1891. -1 vol. (4½ × 7). Pp. (72), of which (1)-(5) are unnumbered, -(6) is paged in roman numerals, pp. 7-70 -in arabic numerals, and (71) and (72) unnumbered. -Buff paper wrappers, printed in black.</p> - -<p class='c009'><span class='sc'>Note</span>—Only twenty-five copies of this edition were printed.</p> - -<div> - <span class='pageno' id='Page_234'>234</span> - <h3 class='c015'>II.—BOOKS PARTIALLY WRITTEN<br /> BY HERMAN MELVILLE</h3> -</div> - -<p class='c020'>There are only two items that it is possible to list under -this heading, and to each one of them Melville's contribution -is so slight as to make unnecessary their detailed collation. -P. 30 of the <cite>Memorial to James Fenimore -Cooper</cite>, published in one volume by Putnam, New York, -in 1852, bears a letter from Melville in praise of Cooper -addressed to the Committee organizing the Cooper celebration. -Pp. 399 and 400 of <cite>The History of Pittsfield, -Massachusetts from 1800 to 1876</cite>, by J. E. A. Smith, -and published in Springfield by C. W. Bryan and Co., -1876, bear an account of Major Thomas Melville written -by Herman Melville, but not nominally attributed to -him.</p> - -<div class='chapter'> - <span class='pageno' id='Page_235'>235</span> - <h2 class='c006'>INDEX OF BOOK-TITLES</h2> -</div> -<ul class='index c005'> - <li class='c021'><span class='sc'>After Dark</span> (Collins), <a href='#Page_130'>130</a>, <a href='#Page_139'>139</a></li> - <li class='c021'><span class='sc'>American Senator</span>, The (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_64'>64</a></li> - <li class='c021'><span class='sc'>Angelo</span> (Reade), <cite>Play</cite>, <a href='#Page_170'>170</a></li> - <li class='c021'><span class='sc'>Antonina</span> (Collins), <a href='#Page_136'>136</a></li> - <li class='c021'><span class='sc'>Arab's Ride to Cairo</span>, The (Whyte-Melville), <a href='#Page_191'>191</a></li> - <li class='c021'><span class='sc'>Armadale</span> (Collins), <cite>Novel</cite>, <a href='#Page_131'>131</a>, <a href='#Page_142'>142</a></li> - <li class='c021'><span class='sc'>Armadale</span> (Collins), <cite>Play</cite>, <a href='#Page_152'>152</a></li> - <li class='c021'><span class='sc'>Art</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Australia and New Zealand</span> (Trollope), <a href='#Page_60'>60</a></li> - <li class='c021'><span class='sc'>Autobiography</span>, An (Trollope), <a href='#Page_71'>71</a></li> - <li class='c021'><span class='sc'>Ayala's Angel</span> (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_68'>68</a></li> - <li class='c005'><span class='sc'>Barchester Towers</span> (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_39'>39</a></li> - <li class='c021'><span class='sc'>Basil</span> (Collins), <a href='#Page_134'>134</a>, <a href='#Page_138'>138</a></li> - <li class='c021'><span class='sc'>Battlepieces and Aspects of the War</span> (Herman Melville), <a href='#Page_232'>232</a></li> - <li class='c021'><span class='sc'>Belton Estate</span>, The (Trollope), <a href='#Page_31'>31</a>, <a href='#Page_33'>33</a>, <a href='#Page_49'>49</a></li> - <li class='c021'><span class='sc'>Bertrams</span>, The (Trollope), <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a>, <a href='#Page_40'>40</a></li> - <li class='c021'><span class='sc'>Bessie's Troubles at Home</span> (Gaskell), <a href='#Page_207'>207</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Bible Characters</span> (Reade), <a href='#Page_169'>169</a></li> - <li class='c021'><span class='sc'>Black and White</span> (Collins), <cite>Play</cite>, <a href='#Page_153'>153</a></li> - <li class='c021'><span class='sc'>Black but Comely</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_199'>199</a></li> - <li class='c021'><span class='sc'>Black Robe</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_148'>148</a></li> - <li class='c021'><span class='sc'>Blind Love</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_151'>151</a></li> - <li class='c021'><span class='sc'>Bones and I</span> (Whyte-Melville), <a href='#Page_195'>195</a></li> - <li class='c021'><span class='sc'>Bones at Rothwell</span>, The (Whyte-Melville), <a href='#Page_200'>200</a></li> - <li class='c021'><span class='sc'>Box Tunnel</span>, The (Reade), <a href='#Page_162'>162</a></li> - <li class='c021'><span class='sc'>British Sports and Pastimes</span> (Trollope), <a href='#Page_72'>72</a></li> - <li class='c021'><span class='sc'>Brookes of Bridlemere</span>, The (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_194'>194</a></li> - <li class='c005'><span class='sc'>Can you Forgive Her?</span> (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a>, <a href='#Page_45'>45</a></li> - <li class='c021'><span class='sc'>Castle Richmond</span> (Trollope), <a href='#Page_26'>26</a>, <a href='#Page_28'>28</a>, <a href='#Page_41'>41</a></li> - <li class='c021'><span class='sc'>Cerise</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_194'>194</a></li> - <li class='c021'><span class='sc'>Children of the New Forest</span>, The (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_95'>95</a></li> - <li class='c021'><span class='sc'>Christie Johnstone</span> (Reade), <cite>Novel</cite>, <a href='#Page_160'>160</a></li> - <li class='c021'><span class='sc'>Christie Johnstone</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Christmas Storms and Sunshine</span> (Gaskell), <a href='#Page_204'>204</a>, <a href='#Page_206'>206</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Clarel</span> (Herman Melville), <a href='#Page_232'>232</a></li> - <li class='c021'><span class='sc'>Claverings</span>, The (Trollope), <a href='#Page_28'>28</a>, <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_52'>52</a></li> - <li class='c021'><span class='sc'>Clergymen of the Church of England</span> (Trollope), <a href='#Page_49'>49</a></li> - <li class='c021'><span class='sc'>Cloister and the Hearth</span>, The (Reade), <a href='#Page_163'>163</a></li> - <li class='c021'><span class='sc'>Code of Signals for the use of Vessels Employed in the Merchant Service</span>, A (Marryat), <a href='#Page_82'>82</a></li> - <li class='c021'><span class='sc'>Commentaries of Cæsar</span>, The (Trollope), <a href='#Page_57'>57</a></li> - <li class='c021'><span class='sc'>Confidence Man</span>, The (Herman Melville), <a href='#Page_231'>231</a>, <a href='#Page_232'>232</a></li> - <li class='c021'><span class='sc'>Coningsby</span> (Disraeli), <a href='#Page_110'>110</a>, <a href='#Page_111'>111</a>, <a href='#Page_119'>119</a></li> - <li class='c021'><span class='sc'>Considerations on the Copyright Question</span> (Collins), <a href='#Page_147'>147</a></li> - <li class='c021'><span class='sc'>Contarini Fleming</span> (Disraeli), <a href='#Page_107'>107</a>, <a href='#Page_108'>108</a>, <a href='#Page_109'>109</a>, <a href='#Page_115'>115</a></li> - <li class='c021'><span class='sc'>Contraband</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_196'>196</a></li> - <li class='c021'><span class='sc'>Countess and the Dancer</span>, The (Reade), <cite>Play</cite>, <a href='#Page_177'>177</a></li> - <li class='c021'><span class='sc'>Courier of Lyons</span>, The (Reade), <cite>Play</cite>, <a href='#Page_171'>171</a></li> - <li class='c021'><span class='pageno' id='Page_236'>236</span><span class='sc'>Course of True Love never did Run Smooth</span>, The (Reade), <a href='#Page_161'>161</a></li> - <li class='c021'><span class='sc'>Cousin Henry</span> (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_66'>66</a></li> - <li class='c021'><span class='sc'>Cousin Phillis</span> (Gaskell), <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Cranford</span> (Gaskell), <a href='#Page_206'>206</a></li> - <li class='c021'><span class='sc'>Cream</span> (Reade), <a href='#Page_162'>162</a></li> - <li class='c021'><span class='sc'>Crisis Examined</span>, The (Disraeli), <a href='#Page_117'>117</a></li> - <li class='c005'><span class='sc'>Dangerous Path</span>, The (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Dark Night's Work</span> (Gaskell), <a href='#Page_209'>209</a></li> - <li class='c021'><span class='sc'>Dead Secret</span>, The (Collins), <a href='#Page_130'>130</a>, <a href='#Page_139'>139</a></li> - <li class='c021'><span class='sc'>Diary in America</span>, A (Marryat). Part 1, <a href='#Page_89'>89</a>; part 2, <a href='#Page_90'>90</a></li> - <li class='c021'><span class='sc'>Diary of a Blasé</span>, The (Marryat), <a href='#Page_88'>88</a></li> - <li class='c021'><span class='sc'>Did he Steal it?</span> (Trollope), <cite>Play</cite>, <a href='#Page_55'>55</a></li> - <li class='c021'><span class='sc'>Digby Grand</span> (Whyte-Melville), <a href='#Page_186'>186</a>, <a href='#Page_189'>189</a></li> - <li class='c021'><span class='sc'>Doctor Thorne</span> (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_40'>40</a></li> - <li class='c021'><span class='sc'>Doctor Wortle's School</span> (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_67'>67</a></li> - <li class='c021'><span class='sc'>Dora</span> (Reade), <cite>Play</cite>, <a href='#Page_173'>173</a></li> - <li class='c021'><span class='sc'>Double Marriage</span>, The (Reade), <cite>Play</cite>, <a href='#Page_174'>174</a></li> - <li class='c021'><span class='sc'>Dream Woman</span>, The (Collins), <cite>Play</cite>, <a href='#Page_154'>154</a></li> - <li class='c021'><span class='sc'>Drink</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Duke's Children</span>, The (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_25'>25</a>, <a href='#Page_26'>26</a>, <a href='#Page_67'>67</a></li> - <li class='c005'><span class='sc'>Editor's Tales</span>, An (Trollope), <a href='#Page_56'>56</a></li> - <li class='c021'><span class='sc'>Eighth Commandment</span>, The (Reade), <a href='#Page_162'>162</a></li> - <li class='c021'><span class='sc'>Endymion</span> (Disraeli), <a href='#Page_107'>107</a>, <a href='#Page_108'>108</a>, <a href='#Page_122'>122</a></li> - <li class='c021'><span class='sc'>England and France</span> (Disraeli), <a href='#Page_115'>115</a></li> - <li class='c021'><span class='sc'>Enquiry into the Plans, Progress and Policy of American Mining Companies</span>, An (Disraeli), <a href='#Page_113'>113</a></li> - <li class='c021'><span class='sc'>Eustace Diamonds</span>, The (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_60'>60</a></li> - <li class='c021'><span class='sc'>Evil Genius</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_149'>149</a></li> - <li class='c021'><span class='sc'>Eye for An Eye</span>, An (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a>, <a href='#Page_65'>65</a></li> - <li class='c005'><span class='sc'>Fallen Leaves</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_147'>147</a></li> - <li class='c021'><span class='sc'>First Printer</span>, The (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Fixed Period</span>, The (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_70'>70</a></li> - <li class='c021'><span class='sc'>Floral Telegraph</span>, The (Marryat), <a href='#Page_98'>98</a></li> - <li class='c021'><span class='sc'>Foul Play</span> (Reade), <cite>Novel</cite>, <a href='#Page_164'>164</a></li> - <li class='c021'><span class='sc'>Foul Play</span> (Reade), <cite>Play</cite>, <a href='#Page_176'>176</a></li> - <li class='c021'><span class='sc'>Framley Parsonage</span> (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_41'>41</a></li> - <li class='c021'><span class='sc'>Free Labour</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Frozen Deep</span>, The (Collins), <cite>Story</cite>, <a href='#Page_144'>144</a></li> - <li class='c021'><span class='sc'>Frozen Deep</span>, The (Collins), <cite>Play</cite>, <a href='#Page_153'>153</a></li> - <li class='c005'><span class='sc'>Garibaldi at Caprera</span> (Gaskell), <a href='#Page_213'>213</a></li> - <li class='c021'><span class='sc'>General Bounce</span> (Whyte-Melville), <a href='#Page_186'>186</a>, <a href='#Page_187'>187</a>, <a href='#Page_190'>190</a></li> - <li class='c021'><span class='sc'>Gladiators</span>, The (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_193'>193</a></li> - <li class='c021'><span class='sc'>Gold</span> (Reade), <cite>Play</cite>, <a href='#Page_170'>170</a></li> - <li class='c021'><span class='sc'>Golden Crowns</span> (Reade), <a href='#Page_166'>166</a></li> - <li class='c021'><span class='sc'>Golden Lion of Granpere</span>, The (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_59'>59</a></li> - <li class='c021'><span class='sc'>Good Fight</span>, A (Reade), <a href='#Page_169'>169</a></li> - <li class='c021'><span class='sc'>Good for Nothing</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_192'>192</a></li> - <li class='c021'><span class='sc'>Good Stories of Man and Other Animals</span> (Reade), <a href='#Page_167'>167</a></li> - <li class='c021'><span class='sc'>Grey Woman</span>, The (Gaskell), <a href='#Page_209'>209</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Griffith Gaunt</span> (Reade), <cite>Novel</cite>, <a href='#Page_163'>163</a></li> - <li class='c021'><span class='sc'>Guilty River</span>, The (Collins), <a href='#Page_149'>149</a></li> - <li class='c005'><span class='sc'>Hand and Heart</span> (Gaskell), <a href='#Page_207'>207</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Hard Cash</span> (Reade), <a href='#Page_163'>163</a></li> - <li class='c021'><span class='sc'>Harry Heathcote of Gangoil</span> (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_61'>61</a></li> - <li class='c021'><span class='sc'>Haunted Hotel</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_146'>146</a></li> - <li class='c021'><span class='sc'>Heart and Science</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_148'>148</a></li> - <li class='c021'><span class='sc'>He Knew He Was Right</span> (Trollope), <a href='#Page_31'>31</a>, <a href='#Page_32'>32</a>, <a href='#Page_54'>54</a></li> - <li class='c021'><span class='pageno' id='Page_237'>237</span><span class='sc'>Henrietta Temple</span> (Disraeli), <a href='#Page_110'>110</a>, <a href='#Page_118'>118</a></li> - <li class='c021'><span class='sc'>Hero and a Martyr</span>, A (Reade), <a href='#Page_165'>165</a></li> - <li class='c021'><span class='sc'>Hide and Seek</span> (Collins), <a href='#Page_130'>130</a>, <a href='#Page_134'>134</a>, <a href='#Page_138'>138</a></li> - <li class='c021'><span class='sc'>Holmby House</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_191'>191</a></li> - <li class='c021'><span class='sc'>Horace</span> (Whyte-Melville), <a href='#Page_189'>189</a></li> - <li class='c021'><span class='sc'>How the 'Mastiffs' went to Iceland</span> (Trollope), <a href='#Page_65'>65</a></li> - <li class='c021'><span class='sc'>Hunting Sketches</span> (Trollope), <a href='#Page_48'>48</a></li> - <li class='c021'><span class='sc'>Hypochondriac</span>, The (Reade), <cite>Play</cite>, <a href='#Page_173'>173</a></li> - <li class='c005'><span class='sc'>Illustrations of the Burmese War</span> (Marryat), <a href='#Page_103'>103</a></li> - <li class='c021'><span class='sc'>Infernal Marriage</span>, The (Disraeli), <a href='#Page_121'>121</a></li> - <li class='c021'><span class='sc'>Inside the Bar</span> (Whyte-Melville), <a href='#Page_193'>193</a></li> - <li class='c021'><span class='sc'>Interpreter</span>, The (Whyte-Melville), <a href='#Page_191'>191</a></li> - <li class='c021'><span class='sc'>I Say No</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_148'>148</a></li> - <li class='c021'><span class='sc'>Is He Popenjoy?</span> (Trollope), <a href='#Page_32'>32</a>, <a href='#Page_64'>64</a></li> - <li class='c021'><span class='sc'>Israel Potter</span> (Herman Melville), <a href='#Page_230'>230</a></li> - <li class='c021'><span class='sc'>It is Never too Late to Mend</span> (Reade), <cite>Novel</cite>, <a href='#Page_160'>160</a></li> - <li class='c021'><span class='sc'>It's Never too Late to Mend</span> (Reade), <cite>Play</cite>, <a href='#Page_174'>174</a></li> - <li class='c021'><span class='sc'>Ixion in Heaven</span> (Disraeli), <a href='#Page_121'>121</a></li> - <li class='c005'><span class='sc'>Jack Ashore</span> (Howard), <a href='#Page_101'>101</a></li> - <li class='c021'><span class='sc'>Jacob Faithful</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_84'>84</a>, <a href='#Page_85'>85</a></li> - <li class='c021'><span class='sc'>Japhet in Search of a Father</span> (Marryat), <a href='#Page_77'>77</a>, <a href='#Page_78'>78</a>, <a href='#Page_81'>81</a>, <a href='#Page_87'>87</a></li> - <li class='c021'><span class='sc'>Jealousy</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Jezebel's Daughter</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_147'>147</a></li> - <li class='c021'><span class='sc'>Jilt</span>, The (Reade), <a href='#Page_168'>168</a></li> - <li class='c021'><span class='sc'>Joan</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>John Caldigate</span> (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_66'>66</a></li> - <li class='c021'><span class='sc'>John Marr and Other Sailors</span> (Herman Melville), <a href='#Page_233'>233</a></li> - <li class='c021'><span class='sc'>Joseph Rushbrook</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_93'>93</a></li> - <li class='c005'><span class='sc'>Kate Coventry</span> (Whyte-Melville), <a href='#Page_186'>186</a>, <a href='#Page_191'>191</a></li> - <li class='c021'><span class='sc'>Kate Peyton</span> (Reade), <cite>Play</cite>, <a href='#Page_174'>174</a>, <a href='#Page_177'>177</a></li> - <li class='c021'><span class='sc'>Katerfelto</span> (Whyte-Melville), <a href='#Page_188'>188</a>, <a href='#Page_197'>197</a></li> - <li class='c021'><span class='sc'>Kellys and the O'Kellys</span>, The (Trollope), <a href='#Page_26'>26</a>, <a href='#Page_37'>37</a></li> - <li class='c021'><span class='sc'>Kept in the Dark</span> (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_69'>69</a></li> - <li class='c021'><span class='sc'>King's Own</span>, The (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_83'>83</a></li> - <li class='c021'><span class='sc'>Kings' Rival</span>, The (Reade), <cite>Play</cite>, <a href='#Page_172'>172</a></li> - <li class='c005'><span class='sc'>Ladies' Battle</span>, The (Reade), <cite>Play</cite>, <a href='#Page_170'>170</a>, <a href='#Page_175'>175</a></li> - <li class='c021'><span class='sc'>Lady Anna</span> (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_61'>61</a></li> - <li class='c021'><span class='sc'>Lady's Oath</span>, A (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Landleaguers</span>, The (Trollope), <a href='#Page_26'>26</a>, <a href='#Page_70'>70</a></li> - <li class='c021'><span class='sc'>Last Chronicle of Barset</span>, The (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_29'>29</a>, <a href='#Page_50'>50</a></li> - <li class='c021'><span class='sc'>La Vendée</span> (Trollope), <a href='#Page_38'>38</a></li> - <li class='c021'><span class='sc'>Law and the Lady</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_144'>144</a></li> - <li class='c021'><span class='sc'>Lawyers and Legislators</span> (Disraeli), <a href='#Page_113'>113</a></li> - <li class='c021'><span class='sc'>Lazy Tour of Two Idle Apprentices</span>, The (Collins), <a href='#Page_151'>151</a></li> - <li class='c021'><span class='sc'>Le Faubourg Saint-Germain</span> (Reade), <cite>Play</cite>, <a href='#Page_173'>173</a></li> - <li class='c021'><span class='sc'>Legacy of Cain</span>, The (Collins), <a href='#Page_132'>132</a>, <a href='#Page_150'>150</a></li> - <li class='c021'><span class='sc'>Letters of Runnymede</span>, The (Disraeli), <a href='#Page_118'>118</a></li> - <li class='c021'><span class='sc'>Libbie Marsh's Three Eras</span> (Gaskell), <a href='#Page_204'>204</a>, <a href='#Page_206'>206</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Life of Charlotte Brontë</span> (Gaskell), <a href='#Page_207'>207</a></li> - <li class='c021'><span class='sc'>Life of Cicero</span>, The (Trollope), <a href='#Page_67'>67</a></li> - <li class='c021'><span class='sc'>Life of Paul Jones</span>, The (Disraeli), <a href='#Page_123'>123</a></li> - <li class='c021'><span class='sc'>Linda Tressel</span> (Trollope), <a href='#Page_35'>35</a>, <a href='#Page_53'>53</a></li> - <li class='c021'><span class='sc'>Little Novels</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_150'>150</a></li> - <li class='c021'><span class='sc'>Little Savage</span>, The (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_96'>96</a></li> - <li class='c021'><span class='sc'>Lizzie Leigh</span> (Gaskell), <a href='#Page_205'>205</a>, <a href='#Page_206'>206</a></li> - <li class='c021'><span class='sc'>Lois the Witch</span> (Gaskell), <a href='#Page_208'>208</a>, <a href='#Page_209'>209</a></li> - <li class='c021'><span class='sc'>Lord George Bentinck</span> (Disraeli), <a href='#Page_120'>120</a></li> - <li class='c021'><span class='pageno' id='Page_238'>238</span><span class='sc'>Lord Palmerston</span> (Trollope), <a href='#Page_69'>69</a></li> - <li class='c021'><span class='sc'>Lost Husband</span>, The (Reade), <cite>Play</cite>, <a href='#Page_170'>170</a></li> - <li class='c021'><span class='sc'>Lost Sisters</span>, The (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Lothair</span> (Disraeli), <a href='#Page_111'>111</a>, <a href='#Page_122'>122</a></li> - <li class='c021'><span class='sc'>Lotta Schmidt</span> (Trollope), <a href='#Page_53'>53</a></li> - <li class='c021'><span class='sc'>Love me Little Love me Long</span> (Reade), <a href='#Page_162'>162</a></li> - <li class='c021'><span class='sc'>Love and Money</span> (Reade), <cite>Play</cite>, <a href='#Page_177'>177</a></li> - <li class='c021'><span class='sc'>Lucrezia Borgia</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c005'><span class='sc'>Mabel Vaughan</span> (Gaskell), <a href='#Page_212'>212</a></li> - <li class='c021'><span class='sc'>Macdermotts of Ballycloran</span>, The (Trollope), <a href='#Page_26'>26</a>, <a href='#Page_37'>37</a></li> - <li class='c021'><span class='sc'>Man and Wife</span> (Collins), <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_142'>142</a></li> - <li class='c021'><span class='sc'>Mardi and a Voyage Thither</span> (Herman Melville), <a href='#Page_219'>219</a>, <a href='#Page_225'>225</a></li> - <li class='c021'><span class='sc'>Marguerite</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Marine Coast</span>, The (Howard), <a href='#Page_102'>102</a></li> - <li class='c021'><span class='sc'>Marion Fay</span> (Trollope), <a href='#Page_33'>33</a>, <a href='#Page_69'>69</a></li> - <li class='c021'><span class='sc'>Market Harborough</span> (Whyte-Melville), <a href='#Page_185'>185</a>, <a href='#Page_188'>188</a>, <a href='#Page_192'>192</a></li> - <li class='c021'><span class='sc'>Mary Barton</span> (Gaskell), <a href='#Page_204'>204</a></li> - <li class='c021'><span class='sc'>Masks and Faces</span> (Reade), <cite>Play</cite>, <a href='#Page_171'>171</a></li> - <li class='c021'><span class='sc'>Masterman Ready</span> (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_81'>81</a>, <a href='#Page_92'>92</a></li> - <li class='c021'><span class='sc'>Memoirs of Admiral Sir Sidney Smith</span> (Howard), <a href='#Page_101'>101</a></li> - <li class='c021'><span class='sc'>Memoirs of the Life of William Collins</span> (Collins), <a href='#Page_136'>136</a></li> - <li class='c021'><span class='sc'>Message from the Sea</span>, A (Collins), <cite>Play</cite>, <a href='#Page_152'>152</a></li> - <li class='c021'><span class='sc'>Miss Gwilt</span> (Collins), <cite>Play</cite>, <a href='#Page_155'>155</a></li> - <li class='c021'><span class='sc'>Mission</span>, The (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_94'>94</a></li> - <li class='c021'><span class='sc'>Miss Mackenzie</span> (Trollope), <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a>, <a href='#Page_47'>47</a></li> - <li class='c021'><span class='sc'>Miss or Mrs.?</span> (Collins), <a href='#Page_144'>144</a></li> - <li class='c021'><span class='sc'>Moby Dick</span> (Herman Melville), <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_220'>220</a>, <a href='#Page_229'>229</a></li> - <li class='c021'><span class='sc'>Moonstone</span>, The (Collins), <cite>Novel</cite>, <a href='#Page_129'>129</a>, <a href='#Page_131'>131</a>, <a href='#Page_142'>142</a></li> - <li class='c021'><span class='sc'>Moonstone</span>, The (Collins), <cite>Play</cite>, <a href='#Page_155'>155</a></li> - <li class='c021'><span class='sc'>Moorland Cottage</span>, The (Gaskell), <a href='#Page_205'>205</a></li> - <li class='c021'><span class='sc'>M. or N.</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_195'>195</a></li> - <li class='c021'><span class='sc'>Mr. Midshipman Easy</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_80'>80</a>, <a href='#Page_88'>88</a></li> - <li class='c021'><span class='sc'>Mr. Scarborough's Family</span> (Trollope), <a href='#Page_30'>30</a>, <a href='#Page_70'>70</a></li> - <li class='c021'><span class='sc'>Mr. Wray's Cash Box</span> (Collins), <a href='#Page_133'>133</a>, <a href='#Page_134'>134</a>, <a href='#Page_137'>137</a></li> - <li class='c021'><span class='sc'>My Miscellanies</span> (Collins), <a href='#Page_141'>141</a></li> - <li class='c005'><span class='sc'>Narrative of a Four Months' Residence among the Natives of a Valley of the Marquesas Islands</span> (Herman Melville), <a href='#Page_222'>222</a>, <a href='#Page_223'>223</a></li> - <li class='c021'><span class='sc'>Narrative of the Travels and Adventures of Monsieur Violet in California</span>, etc. (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_93'>93</a></li> - <li class='c021'><span class='sc'>Naval Officer</span>, The (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_83'>83</a></li> - <li class='c021'><span class='sc'>Never too Late to Mend</span> (Hazlewood), <cite>Play</cite>, <a href='#Page_175'>175</a></li> - <li class='c021'><span class='sc'>New Magdalen</span>, The (Collins), <cite>Novel</cite>, <a href='#Page_132'>132</a>, <a href='#Page_133'>133</a>, <a href='#Page_143'>143</a></li> - <li class='c021'><span class='sc'>New Magdalen</span>, The (Collins), <cite>Play</cite>, <a href='#Page_155'>155</a></li> - <li class='c021'><span class='sc'>Newton Forster</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_83'>83</a></li> - <li class='c021'><span class='sc'>Nina Balatka</span> (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_50'>50</a></li> - <li class='c021'><span class='sc'>Nobs and Snobs</span> (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>No Name</span> (Collins), <cite>Novel</cite>, <a href='#Page_131'>131</a>, <a href='#Page_141'>141</a></li> - <li class='c021'><span class='sc'>No Name</span> (Collins), <cite>Play</cite>, <a href='#Page_152'>152</a>, <a href='#Page_154'>154</a></li> - <li class='c021'><span class='sc'>North America</span> (Trollope), <a href='#Page_44'>44</a></li> - <li class='c021'><span class='sc'>North and South</span> (Gaskell), <a href='#Page_207'>207</a></li> - <li class='c021'><span class='sc'>No Thoroughfare</span> (Collins), <cite>Story</cite>, <a href='#Page_151'>151</a></li> - <li class='c021'><span class='sc'>No Thoroughfare</span> (Collins), <cite>Play</cite>, <a href='#Page_153'>153</a></li> - <li class='c005'><span class='sc'>Old Commodore</span>, The (Howard), <a href='#Page_100'>100</a></li> - <li class='c021'><span class='sc'>Old Man's Love</span>, An (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_71'>71</a></li> - <li class='c021'><span class='sc'>Olla Podrida</span> (Marryat), <a href='#Page_91'>91</a></li> - <li class='c021'><span class='sc'>Omoo</span> (Herman Melville), <a href='#Page_219'>219</a>, <a href='#Page_224'>224</a></li> - <li class='c021'><span class='sc'>Orley Farm</span> (Trollope), <a href='#Page_24'>24</a>, <a href='#Page_30'>30</a>, <a href='#Page_31'>31</a>, <a href='#Page_42'>42</a></li> - <li class='c021'><span class='sc'>Outward Bound</span> (Howard), <a href='#Page_101'>101</a></li> - <li class='c005'><span class='pageno' id='Page_239'>239</span><span class='sc'>Pacha of Many Tales</span>, The (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_81'>81</a>, <a href='#Page_85'>85</a></li> - <li class='c021'><span class='sc'>Peg Woffington</span> (Reade), <a href='#Page_160'>160</a></li> - <li class='c021'><span class='sc'>Percival Keene</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_93'>93</a></li> - <li class='c021'><span class='sc'>Peregrine Pickle</span> (Reade), <cite>Play</cite>, <a href='#Page_170'>170</a></li> - <li class='c021'><span class='sc'>Perilous Secret</span>, A (Reade), <a href='#Page_168'>168</a></li> - <li class='c021'><span class='sc'>Perils of certain English Prisoners</span> (Collins), <a href='#Page_151'>151</a></li> - <li class='c021'><span class='sc'>Peter Simple</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_81'>81</a>, <a href='#Page_84'>84</a>, <a href='#Page_85'>85</a></li> - <li class='c021'><span class='sc'>Phantom Ship</span>, The (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_89'>89</a></li> - <li class='c021'><span class='sc'>Phineas Finn</span> (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_30'>30</a>, <a href='#Page_54'>54</a></li> - <li class='c021'><span class='sc'>Phineas Redux</span> (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_24'>24</a>, <a href='#Page_60'>60</a></li> - <li class='c021'><span class='sc'>Piazza Tales</span>, The (Herman Melville), <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_220'>220</a>, <a href='#Page_231'>231</a></li> - <li class='c021'><span class='sc'>Pierre</span> (Herman Melville), <a href='#Page_229'>229</a>, <a href='#Page_230'>230</a></li> - <li class='c021'><span class='sc'>Pirate, and the Three Cutters</span>, The (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_85'>85</a></li> - <li class='c021'><span class='sc'>Plot in Private Life</span>, A (Collins), <a href='#Page_140'>140</a></li> - <li class='c021'><span class='sc'>Poor Jack</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_90'>90</a></li> - <li class='c021'><span class='sc'>Poor Miss Finch</span> (Collins), <a href='#Page_134'>134</a>, <a href='#Page_143'>143</a></li> - <li class='c021'><span class='sc'>Poverty and Pride</span> (Reade), <cite>Play</cite>, <a href='#Page_172'>172</a></li> - <li class='c021'><span class='sc'>Present State of Mexico</span>, The (Disraeli), <a href='#Page_113'>113</a></li> - <li class='c021'><span class='sc'>Prime Minister</span>, The (Trollope), <a href='#Page_23'>23</a>, <a href='#Page_25'>25</a>, <a href='#Page_62'>62</a></li> - <li class='c021'><span class='sc'>Privateer's-man</span>, The (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_79'>79</a>, <a href='#Page_95'>95</a></li> - <li class='c021'><span class='sc'>Put Yourself in His Place</span> (Reade), <a href='#Page_164'>164</a></li> - <li class='c005'><span class='sc'>Queen of Hearts</span>, The (Collins), <a href='#Page_130'>130</a>, <a href='#Page_140'>140</a></li> - <li class='c021'><span class='sc'>Queen's Maries</span>, The (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_193'>193</a></li> - <li class='c005'><span class='sc'>Rachel Ray</span> (Trollope), <a href='#Page_28'>28</a>, <a href='#Page_29'>29</a>, <a href='#Page_44'>44</a></li> - <li class='c021'><span class='sc'>Rachel the Reaper</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Ralph the Heir</span> (Trollope), <a href='#Page_32'>32</a>, <a href='#Page_58'>58</a></li> - <li class='c021'><span class='sc'>Rambles beyond Railways</span> (Collins), <a href='#Page_137'>137</a></li> - <li class='c021'><span class='sc'>Rattlin the Reefer</span> (Marryat/Howard), <a href='#Page_99'>99</a></li> - <li class='c021'><span class='sc'>Readiana</span> (Reade), <a href='#Page_167'>167</a></li> - <li class='c021'><span class='sc'>Redburn</span> (Herman Melville), <a href='#Page_219'>219</a>, <a href='#Page_226'>226</a>, <a href='#Page_227'>227</a></li> - <li class='c021'><span class='sc'>Revolutionary Epick</span>, The (Disraeli), <a href='#Page_117'>117</a>, <a href='#Page_121'>121</a></li> - <li class='c021'><span class='sc'>Riding Recollections</span> (Whyte-Melville), <a href='#Page_185'>185</a>, <a href='#Page_188'>188</a>, <a href='#Page_199'>199</a></li> - <li class='c021'><span class='sc'>Right at Last</span> (Gaskell), <a href='#Page_208'>208</a></li> - <li class='c021'><span class='sc'>Rogue's Life</span>, A (Collins), <a href='#Page_146'>146</a></li> - <li class='c021'><span class='sc'>Rosine</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_198'>198</a></li> - <li class='c021'><span class='sc'>Round the Sofa</span> (Gaskell), <a href='#Page_208'>208</a></li> - <li class='c021'><span class='sc'>Roy's Wife</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_199'>199</a></li> - <li class='c021'><span class='sc'>Ruth</span> (Gaskell), <a href='#Page_205'>205</a></li> - <li class='c005'><span class='sc'>Sarchedon</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_196'>196</a></li> - <li class='c021'><span class='sc'>Satanella</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_196'>196</a></li> - <li class='c021'><span class='sc'>Settlers in Canada</span>, The (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_94'>94</a></li> - <li class='c021'><span class='sc'>Sexton's Hero</span>, The (Gaskell), <a href='#Page_204'>204</a>, <a href='#Page_206'>206</a>, <a href='#Page_210'>210</a></li> - <li class='c021'><span class='sc'>Shilly Shally</span> (Reade), <cite>Play</cite>, <a href='#Page_32'>32</a>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Shocking Story</span>, A (Collins), <a href='#Page_145'>145</a></li> - <li class='c021'><span class='sc'>Sickness and Health of the People of Blaeburn</span> (wrongly attributed to Gaskell), <a href='#Page_212'>212</a></li> - <li class='c021'><span class='sc'>Simpleton</span>, A (Reade), <a href='#Page_165'>165</a></li> - <li class='c021'><span class='sc'>Single Heart and Double Face</span> (Reade), <cite>Novel</cite>, <a href='#Page_167'>167</a></li> - <li class='c021'><span class='sc'>Single Heart and Double Face</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Sir Harry Hotspur of Humblethwaite</span> (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_58'>58</a></li> - <li class='c021'><span class='sc'>Sir Henry Morgan</span> (Howard), <a href='#Page_102'>102</a></li> - <li class='c021'><span class='sc'>Sister Louise</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_198'>198</a></li> - <li class='c021'><span class='sc'>Small House at Allington</span>, The (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_45'>45</a></li> - <li class='c021'><span class='sc'>Snarleyow</span> (Marryat), <a href='#Page_80'>80</a>, <a href='#Page_88'>88</a></li> - <li class='c021'><span class='sc'>Songs and Verses</span> (Whyte-Melville), <a href='#Page_195'>195</a></li> - <li class='c021'><span class='sc'>South Africa</span> (Trollope), <a href='#Page_64'>64</a></li> - <li class='c021'><span class='sc'>Star Chamber</span>, The (Disraeli), <a href='#Page_123'>123</a></li> - <li class='c021'><span class='sc'>Stories of the Sea</span> (Marryat), <a href='#Page_87'>87</a></li> - <li class='c021'><span class='pageno' id='Page_240'>240</span><span class='sc'>Story of Toby</span>, The (Herman Melville), <a href='#Page_223'>223</a></li> - <li class='c021'><span class='sc'>Struggles of Brown, Jones and Robinson</span>, The (Trollope), <a href='#Page_34'>34</a>, <a href='#Page_57'>57</a></li> - <li class='c021'><span class='sc'>Suggestion for the Abolition of the Present System of Impressment in the Naval Service</span> (Marryat), <a href='#Page_82'>82</a></li> - <li class='c021'><span class='sc'>Sybil</span> (Disraeli), <a href='#Page_110'>110</a>, <a href='#Page_111'>111</a>, <a href='#Page_120'>120</a></li> - <li class='c021'><span class='sc'>Sylvia's Lovers</span> (Gaskell), <a href='#Page_209'>209</a></li> - <li class='c005'><span class='sc'>Tales of all Countries</span> (Trollope). First series, <a href='#Page_41'>41</a>; second series, <a href='#Page_44'>44</a></li> - <li class='c021'><span class='sc'>Tancred</span> (Disraeli), <a href='#Page_110'>110</a>, <a href='#Page_111'>111</a>, <a href='#Page_120'>120</a></li> - <li class='c021'><span class='sc'>Terrible Temptation</span>, A (Reade), <a href='#Page_165'>165</a></li> - <li class='c021'><span class='sc'>Thackeray</span> (Trollope), <a href='#Page_65'>65</a></li> - <li class='c021'><span class='sc'>Thompson Hall</span> (Trollope), <a href='#Page_68'>68</a></li> - <li class='c021'><span class='sc'>Three Clerks</span>, The (Trollope), <a href='#Page_24'>24</a>, <a href='#Page_30'>30</a>, <a href='#Page_39'>39</a></li> - <li class='c021'><span class='sc'>Tilbury Nogo</span> (Whyte-Melville), <a href='#Page_186'>186</a>, <a href='#Page_189'>189</a></li> - <li class='c021'><span class='sc'>Timoleon</span> (Herman Melville), <a href='#Page_233'>233</a></li> - <li class='c021'><span class='sc'>Trade Malice</span> (Reade), <a href='#Page_166'>166</a></li> - <li class='c021'><span class='sc'>Tragedy of Count Alarcos</span>, The (Disraeli), <a href='#Page_119'>119</a>, <a href='#Page_121'>121</a></li> - <li class='c021'><span class='sc'>Travelling Sketches</span> (Trollope), <a href='#Page_49'>49</a></li> - <li class='c021'><span class='sc'>True Cross</span>, The (Whyte-Melville), <a href='#Page_197'>197</a></li> - <li class='c021'><span class='sc'>Two Destinies</span>, The (Collins), <a href='#Page_131'>131</a>, <a href='#Page_144'>144</a></li> - <li class='c021'><span class='sc'>Two Lectures on Lancashire Dialect</span> (Gaskell), <a href='#Page_206'>206</a></li> - <li class='c021'><span class='sc'>Two Loves and a Life</span> (Reade), <cite>Play</cite>, <a href='#Page_172'>172</a></li> - <li class='c021'><span class='sc'>Typee</span> (Herman Melville), <a href='#Page_218'>218</a>, <a href='#Page_219'>219</a>, <a href='#Page_222'>222</a>, <a href='#Page_223'>223</a></li> - <li class='c005'><span class='sc'>Uncle John</span> (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_197'>197</a></li> - <li class='c005'><span class='sc'>Valerie</span> (Marryat), <a href='#Page_78'>78</a>, <a href='#Page_96'>96</a></li> - <li class='c021'><span class='sc'>Venetia</span> (Disraeli), <a href='#Page_110'>110</a>, <a href='#Page_119'>119</a></li> - <li class='c021'><span class='sc'>Vicar of Bullhampton</span>, The (Trollope), <a href='#Page_35'>35</a>, <a href='#Page_55'>55</a></li> - <li class='c021'><span class='sc'>Village Tale</span>, The (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Vindication of the English Constitution in a Letter to a Noble and Learned Lord</span> (Disraeli), <a href='#Page_117'>117</a></li> - <li class='c021'><span class='sc'>Visits to Remarkable Places</span> (Howitt Gaskell), <a href='#Page_212'>212</a></li> - <li class='c021'><span class='sc'>Vivian Grey</span> (Disraeli), <a href='#Page_107'>107</a>, <a href='#Page_108'>108</a>, <a href='#Page_110'>110</a>, <a href='#Page_114'>114</a></li> - <li class='c021'><span class='sc'>Voyage of Captain Popanilla</span>, The (Disraeli), <a href='#Page_108'>108</a>, <a href='#Page_109'>109</a>, <a href='#Page_110'>110</a>, <a href='#Page_114'>114</a>, <a href='#Page_121'>121</a></li> - <li class='c005'><span class='sc'>Wandering Heir</span>, The (Reade), <cite>Story</cite>, <a href='#Page_166'>166</a></li> - <li class='c021'><span class='sc'>Wandering Heir</span> (Reade), <cite>Play</cite>, <a href='#Page_179'>179</a></li> - <li class='c021'><span class='sc'>Warden</span>, The (Trollope), <a href='#Page_22'>22</a>, <a href='#Page_38'>38</a></li> - <li class='c021'><span class='sc'>Way Things Turn</span>, The (Reade), <cite>Play</cite>, <a href='#Page_178'>178</a></li> - <li class='c021'><span class='sc'>Way We Live Now</span>, The (Trollope), <a href='#Page_29'>29</a>, <a href='#Page_33'>33</a>, <a href='#Page_34'>34</a>, <a href='#Page_62'>62</a></li> - <li class='c021'><span class='sc'>Welcome</span>, A (Trollope), <a href='#Page_72'>72</a></li> - <li class='c021'><span class='sc'>Well Born Workman</span>, The (Reade), <a href='#Page_176'>176</a></li> - <li class='c021'><span class='sc'>West Indies and the Spanish Main</span>, The (Trollope), <a href='#Page_40'>40</a></li> - <li class='c021'><span class='sc'>Whale</span>, The (Herman Melville), <a href='#Page_228'>228</a>, <a href='#Page_229'>229</a></li> - <li class='c021'><span class='sc'>What is he?</span> (Disraeli), <a href='#Page_116'>116</a></li> - <li class='c021'><span class='sc'>White Jacket</span> (Herman Melville), <a href='#Page_219'>219</a>, <a href='#Page_227'>227</a>, <a href='#Page_228'>228</a></li> - <li class='c021'><span class='sc'>White Lies</span> (Reade), <a href='#Page_161'>161</a></li> - <li class='c021'><span class='sc'>White Rose</span>, The (Whyte-Melville), <a href='#Page_187'>187</a>, <a href='#Page_194'>194</a></li> - <li class='c021'><span class='sc'>Why Frau Frohmann Raised her Prices</span> (Trollope), <a href='#Page_68'>68</a></li> - <li class='c021'><span class='sc'>Wives and Daughters</span> (Gaskell), <a href='#Page_211'>211</a></li> - <li class='c021'><span class='sc'>Woman Hater</span>, A (Reade), <a href='#Page_166'>166</a></li> - <li class='c021'><span class='sc'>Woman in White</span>, The (Collins), <cite>Novel</cite>, <a href='#Page_129'>129</a>, <a href='#Page_131'>131</a>, <a href='#Page_132'>132</a>, <a href='#Page_140'>140</a></li> - <li class='c021'><span class='sc'>Woman in White</span>, The (Collins), <cite>Play</cite>, <a href='#Page_154'>154</a></li> - <li class='c021'><span class='sc'>Wondrous Tale of Alroy</span>, The (Disraeli), <a href='#Page_108'>108</a>, <a href='#Page_116'>116</a></li> - <li class='c021'><span class='sc'>Works of Isaac Disraeli</span>, Ed. B. Disraeli, <a href='#Page_124'>124</a></li> - <li class='c005'><span class='sc'>Young Duke</span>, The (Disraeli), <a href='#Page_109'>109</a>, <a href='#Page_114'>114</a></li> -</ul> - -<div class='nf-center-c1'> - <div class='nf-center'> - <div>PRINTED IN GREAT BRITAIN BY BILLING AND SONS, LIMITED, GUILDFORD AND ESHER.</div> - </div> -</div> - -<div class='tnotes'> - -<div class='chapter'> - <h2 class='c006'>TRANSCRIBER'S NOTES</h2> -</div> - <ol class='ol_1 c005'> - <li>Made corrections indicated in <a href='#ERRATA'>Errata</a> and <a href='#ADDENDUM'>Addendum</a>. - - </li> - <li>Silently corrected typographical errors. - - </li> - <li>Retained anachronistic and non-standard spellings as printed. - </li> - </ol> - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Excursions in Victorian Bibliography, by -Michael Sadleir - -*** END OF THIS PROJECT GUTENBERG EBOOK VICTORIAN BIBLIOGRAPHY *** - -***** This file should be named 53118-h.htm or 53118-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/1/1/53118/ - -Produced by Richard Tonsing, MWS, Adrian Mastronardi and -the Online Distributed Proofreading Team at -http://www.pgdp.net (This file was produced from images -generously made available by The Internet Archive/American -Libraries.) - - -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. 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