Bibliographic Notes on One Hundred Books Famous in English Literature

Volume II: _1 l., 588 pp. Portrait. Two plates.

Chapter 36,045 wordsPublic domain

WILLIAM WORDSWORTH

(1770-1850)

AND

SAMUEL TAYLOR COLERIDGE

(1772-1834)

In Cottle, the Bristol bookseller and poet, Wordsworth and Coleridge found a friend whose appreciation of their genius took a practical form. As early as 1795 we learn from a letter of Coleridge to Thomas Poole that "Cottle has entered into an engagement to give me a guinea and a half for every hundred lines of poetry I write, which will be perfectly sufficient for my maintenance, I only amusing myself on mornings; and all my prose works he is eager to purchase." When the two poets planned to issue a book in which Coleridge should show "the dramatic treatment of supernatural incidents," while Wordsworth should try to give the charm of novelty to "things of ever[y] day," it was Cottle who bought it. He says: "A visit to Mr. Coleridge at Stowey has been the means of my introduction to Mr. Wordsworth, who read me many of his Lyrical Pieces, when I perceived in them a peculiar but decided merit. I advised him to publish them, expressing a belief that they would be well received. I further said that he should be at no risk; that I would give him the same sum which I had given Mr. Coleridge and Mr. Southey, and that it would be a gratifying circumstance to me to usher into the world, by becoming the publisher of, the first volumes of three such poets as Southey, Coleridge and Wordsworth--a distinction that might never again occur to a provincial publisher."

He gave Wordsworth thirty guineas for the copyright, and issued the book with the following imprint: _Bristol: Printed by Biggs and Cottle, for T. N. Longman, Paternoster Row, London, 1798_. But this imprint did not remain upon the title-page of the whole edition, for Cottle tells us that the sale was so slow, and the severity of most of the reviews so great, that its progress to oblivion seemed ordained to be as rapid as it was certain. He parted with the largest proportion of the five hundred at a loss, to Mr. Arch, a London bookseller, who bound up his copies with a new title-page bearing his name. The copies of the earlier issue are very rare.

Shortly after the transfer, Cottle retired from business, selling all his copyrights to Longman and Rees, far-sighted publishers, both of whom were also Bristol men. In the transfer the copyright of the _Lyrical Ballads_ was down in the bill as worth nothing, whereupon Cottle begged the receipt for the thirty guineas, and presented it to Wordsworth.

The work was entirely anonymous, with nothing to show that it was a joint production. Coleridge's poem, _The Nightingale_, inserted at the last minute, in place of _Lewti_, makes an extra leaf between pages 68 and 69. It is numbered 69 (the verso is blank), but no apparent confusion results since the original page 69 is not numbered, in accordance with the printer's scheme of numbering.

We catch an interesting glimpse of this poet-publisher in a letter of Coleridge's to Robert Southey, written under date of July 22, 1801:

"Poor Joseph! he has scribbled away both head and heart. What an affecting essay I could write on that man's character! Had he gone in his quiet way on a little pony, looking about him with a sheep's-eye cast now and then at a short poem, I do verily think from many parts of the "Malvern Hill," that he would at last have become a poet better than many who have had much fame, but he would be an Epic, and so

'Victorious o'er the Danes, I Alfred, preach, Of my own forces, Chaplain-General.'"

Duodecimo.

COLLATION: _viii, 68 pp., 1 l., 69-210 pp., 1 l._

WASHINGTON IRVING

(1783-1859)

Early in the year 1809 a notice in the newspapers, headed "Distressing," announced the disappearance from his lodgings of a "small elderly gentleman" named Knickerbocker; and another notice, signed Seth Handaside, landlord of the Independent Columbian Hotel, Mulberry Street, reads:

"Sir:--You have been good enough to publish in your paper a paragraph about Mr. Diedrich Knickerbocker, who was missing so strangely from his lodgings some time since. Nothing satisfactory has been heard of the old gentleman since; but a _very curious kind of a written book_ has been found in his room in his own handwriting. Now I wish you to notice him, if he is still alive, that if he does not return and pay off his bill, for board and lodging, I shall have to dispose of his Book, to satisfy me for the same."

On December 6, 1809, the actual publication of the work is announced in the _American Citizen_:

"IS THIS DAY PUBLISHED, BY INSKEEP AND BRADFORD--NO. 128 BROADWAY A HISTORY OF NEW YORK.

In 2 vols. duodecimo--price 3 dollars.

"Containing an account of its discovery and settlement, with its internal policy, manners, customs, wars, &c., &c., under the Dutch government, furnishing many curious and interesting particulars never before published, and which are gathered from various manuscripts and other authenticated sources, the whole being interspersed with philosophical speculations and moral precepts.

"This work was found in the chamber of Mr. Diedrich Knickerbocker, the old gentleman whose sudden and mysterious disappearance has been noticed. It is published in order to discharge certain debts he has left behind."

In this way Irving chose to introduce his satire to the world. The book was put to press in Philadelphia instead of in New York, in order the more easily to preserve its anonymous character.

The pretence that it was a serious history was carried even into the dedication "To the New York Historical Society," and the work may really be described as a practical joke in book form.

The volumes sold well, and, on the whole, were well received. Some members of the old Dutch families of the state saw in them a reflection upon their ancestors that they found it hard to overlook, and Irving himself describes their indignation against him. Mr. Pierre M. Irving tells us that he heard his uncle say that the avails of the first edition of _The History_ amounted to about three thousand dollars.

A narrow folded plate, in the first volume, is entitled, "New Amsterdam (Now New-York) As it appeared about the year 1640, while under the Dutch Government". A legend beneath the engraving adds: "Copied from an ancient Etching of the same size, Published by Justus Danckers at Amsterdam". The view is often missing, being much sought after by print collectors.

Duodecimo.

COLLATION: _Two volumes._ Volume I: _xxiii, 268 pp._ Volume II: _1 l., 258 pp. Folded plate._

GEORGE GORDON BYRON,

SIXTH BARON

(1788-1824)

Robert Charles Dallas, a "well-meaning, self-satisfied, dull, industrious man," Byron's friend, having read with enthusiasm "a new attempt in the Spenserian stanza," which Byron brought back from Italy with him, undertook to find a publisher for it. William Miller, who afterward sold out to John Murray, refused it on the ground that it contained "sceptical stanzas," and that it attacked Lord Elgin as a "plunderer." To this criticism Byron's reply is characteristic:

"REDDISH'S HOTEL, July 30th, 1811.

"SIR: I am perfectly aware of the justice of your remarks, and am convinced that, if ever the poem is published, the same objections will be made in much stronger terms. But as it was intended to be a poem on _Ariosto's plan_, that _is_ to _say_ on _no plan_ at all, and, as is usual in similar cases, having a predilection for the worst passages, I shall retain those parts, though I cannot venture to defend them. Under these circumstances I regret that you decline the publication, on my own account, as I think the book would have done better in your hands; the pecuniary part, you know, I have nothing to do with. But I can perfectly conceive, and indeed _approve_ your reasons, and assure you my sensations are not _Archiepiscopal_* enough as yet to regard the rejection of my Homilies."

Murray, to whom the manuscript was next carried, was more than willing to undertake the publication of the poem. He offered six hundred pounds for the copyright of the first two cantos; but Byron, refusing to keep the money himself, presented it to the needy Dallas. Dallas was the intermediary, at first, as we learn from Byron's letter to him dated August 21, 1811: "I do not think I shall return to London immediately, and shall therefore accept freely what is offered courteously--your mediation between me and Murray." Again, in a letter to Murray, August 23, 1811, he says: "My friend, Mr. Dallas, has placed in your hands a manuscript poem written by me in Greece, which he tells me you do not object to publishing."

The relations between Murray and Byron form one of the most interesting chapters in the history of bookselling, redounding equally to the credit of each. In a letter to the publisher, dated September 5, 1811, the poet says: "The time seems to be past when (as Dr. Johnson said) a man was certain to 'hear the truth from his bookseller,' for you have paid me so many compliments, that if I was not the veriest scribbler on earth, I should feel affronted." Murray in one letter asked him to "obviate" some expressions concerning Spain and Portugal, "and with them, perhaps, some religious feelings which may deprive me of some customers amongst the _Orthodox_," but Byron refused to change anything, saying: "As for the '_Orthodox_' let us hope they will buy, on purpose to abuse--you will forgive the one if they do the other."

The following extracts give us an insight into our author's feelings about the appearance and make-up of his book. Speaking of its form, he says: "He [Murray] wants to have it in a quarto, which is a cursed unsaleable size; but it is pestilent long, and one must obey one's publisher." And to Murray himself he writes in answer to a very natural question: "... The printer may place the notes in his _own way_, or any _way_, so that they are not in _my way_. I care nothing about types or margins."

The use of the poet's name on the title-page caused some discussion, as we see from a letter to Dallas already quoted: "I don't think my name will answer the purpose, and you must be aware that my plaguey Satire will bring the north and south Grub Street down upon the _Pilgrimage_;--but, nevertheless, if Murray makes a point of it, and you coincide with him, I will do it daringly; so let it be entitled 'By the author of _English Bards and Scotch Reviewers_...." There was another reason why he did not want his name to appear: "Has Murray shown the work to any one? He may--but I will have no traps for applause ... I much wish to avoid identifying _Childe Harold's_ character with mine, and that, in sooth, is my second objection to my name appearing in the title-page." Later, however, as we see, he gave way on this point.

We are indebted to Smiles, in his memoirs of John Murray, for a vivid picture of Byron as a book-maker.

"He afterwards looked in [at 32, Fleet Street] from time to time, while the sheets [of _Childe Harold_] were passing through the press, fresh from the fencing rooms of Angelo and Jackson. He used to amuse himself by renewing his practice of _Carte et Tierce_, with his walking-cane directed against the book-shelves, while Murray was reading passages from the poem with occasional ejaculations of admiration, on which Byron would say, 'You think that a good idea, do you, Murray?' Then he would fence and lunge with his walking stick at some special book which he had picked out on the shelves before him. As Murray afterwards said, 'I was often very glad to get rid of him!'"

The poem, that is, two Cantos of it, was published March 1, 1812, in an edition of five hundred copies, which were all sold in three days. We hear from Elizabeth, Duchess of Devonshire, that "the subject of conversation, of curiosity, of enthusiasm, almost, one might say, of the moment is not Spain, or Portugal, Warriors or Patriots, but Lord Byron!" "He returned," she continues, "sorry for the severity of some of his lines (in the _English Bards_), and with a new poem, _Childe Harold_, which he published. This poem is on every table, and himself courted, visited, flattered, and praised whenever he appears. He has a pale, sickly, but handsome countenance, a bad figure, and, in short, he is really the only topic almost of every conversation--the men jealous of him, the women of each other."

Thomas Davison, the printer of the book, was also responsible for many of the volumes of Campbell, Moore and Wordsworth, but he is known chiefly for his fine edition of Whitaker's _History of Richmondshire_, Rogers's _Italy_, and Dugdale's _Monasticon Anglicanum_. Timperley speaks of the singular beauty and correctness of his works, which brought about him a "connection" of the most respectable publishers of the day, and he adds: "By improvements which he made in printing ink, (a secret of which he had for a long time the exclusive possession) and other merits, he acquired great celebrity; and few indeed of his competitors, could approach the characters of what issued from his press."

"For equal accuracy and beauty, let the palm be extended to Davison and Moyes," cries Mr. Dibdin in _The Bibliographical Decameron_. In a note he adds: "Mr. Davison is both an excellent and an elegant printer. His _Gil Blas_, published by Messrs. Longman, Hurst, and Co. is quite worthy of the beautiful engravings with which that edition is adorned: but his _Arabian Nights_, by Scott, 1811, in 6 octavo volumes, is, to my eye, a more exquisite performance."

Early in their intercourse Murray had said to Byron: "Could I flatter myself that these suggestions were not obtrusive, I would hazard another, in an earnest solicitation that your lordship would add the two promised Cantos, and complete the _Poem_." But the volume containing the third Canto was not issued until 1816, when Murray paid £2000 for it. The fourth Canto, in a much thicker volume, came out two years afterward, and for this £2100 were received by the poet. The second volume sold for 5s. 6d., and the last for 12s.

Byron must have carried his point about the size, for these last volumes were issued in octavo.

Quarto.

COLLATION: _vi pp., 1 l., 226 pp. Facsimile._

* Alluding to Gil Blas and the Archbishop of Grenada.

JANE AUSTEN

(1775-1817)

Egerton published _Sense and Sensibility_ in 1811, while _Pride and Prejudice_ (originally named _First Impressions_), which had been finished in August, 1797, was first offered by Miss Austen's father to Cadell, the famous publisher, in the following letter:

"Sir,--I have in my possession a manuscript novel, comprising 3 vols., about the length of Miss Burney's 'Evelina.' As I am well aware of what consequence it is that a work of this sort sh^{d} make its first appearance under a respectable name, I apply to you. I shall be much obliged, therefore, if you will inform me whether you choose to be concerned in it, what will be the expense of publishing it at the author's risk, and what you will venture to advance for the property of it, if on perusal it is approved of. Should you give any encouragement, I will send you the work.

"Steventon, near Overton, Hants.

"1^{st}. Nov. 1797."

Cadell refused the book without reading it, and it was finally carried to Egerton, who accepted the story and made it into an attractive volume, although Gifford, who afterward read it for Murray with a view to publishing _Emma_, tells us that it was "--wretchedly printed, and so pointed as to be almost unintelligible."

_Mansfield Park_ and _Emma_, like her two earlier novels, were issued anonymously during Miss Austen's lifetime. Though the author's name was an open secret, it did not appear in any of her books until the year after her death, when her brother, Henry Austen, announced it in a short biographical notice prefixed to _Northanger Abbey_ and _Persuasion_.

One hundred and fifty pounds were received from the sale of _Sense and Sensibility_, and less then seven hundred pounds from the sale of all four books issued before the two novels of 1818.

The work, "my own darling child," as Miss Austen called it, appeared in January, and she says of it: "There are a few typical errors; and a 'said he,' or a 'said she,' would sometimes make the dialogue more immediately clear; but 'I do not write for such dull elves' as have not a great deal of ingenuity themselves. The second volume is shorter than I could wish; but the difference is not so much in reality, as in look."

Duodecimo.

COLLATION: _Three volumes._

SAMUEL TAYLOR COLERIDGE

(1772-1834)

Coleridge, writing to his wife, April 4, 1803, says: "To-day I dine again with Sotheby. He had informed me that ten gentlemen who have met me at his house desired him to solicit me to finish the 'Christabel,' and to permit them to publish it for me; and they engaged that it should be in paper, printing, and decorations the most magnificent thing that had hitherto appeared. Of course I declined it. The lovely lady shan't come to that pass! Many times rather would I have it printed at Soulby's on the true ballad paper. However, it was civil, and Sotheby is very civil to me."

It was not until May 8, 1816, that the still unfinished poem of _Christabel_ was offered to Murray, who, upon Byron's recommendation, so Lamb tells us, agreed to take it, paying seventy guineas for it, "until the other poems shall be completed, when the copyright shall revert to the author." _Christabel_ is in two parts. The "three parts yet to come," and which Coleridge in the Preface said he hoped would be finished in the present year, never appeared. _Kubla Khan; Or A Vision In A Dream_ is prefaced by a short introduction. The seventy guineas Coleridge turned over to a needy friend. Murray also gave "£20 for permission to publish the other fragment of a poem, _Kubla Khan_, but which the author should not be restricted from publishing in any other way that he pleased."

We may not pass over this book, modest as it is in appearance, without giving a quotation from the voluble Dibdin on the merits of its printer and his press, "The Shakespeare Press." "Trivial as the theme may appear," says he, "there are some very reasonable folks who would prefer an account of this eminent press to the 'History of the Seven Years War:' and I frankly own myself to be of that number. Nor is it--with due deference be it said to William Bulmer & Co.--from the least admiration of the _exterior_ or _interior_ of this printing-office that I take up my pen in behalf of it; but because it has effectually contributed to the promotion of belles-lettres, and national improvement in the matter of puncheon and matrix."

Dibdin might have said more, without exaggeration; some of the chief glories of English typography came from the hands of William Bulmer & Co., works like the edition of Shakespeare of Alderman Boydell; _The Poetical Works of John Milton_, in three volumes, with engravings after designs by R. Westall; Goldsmith's _Traveller_ and _Deserted Village_, with engravings upon wood by Thomas Bewick; Somerville's _Chase_, with engravings by John and Thomas Bewick; Forster's edition of _The Arabian Nights' Entertainments_ in five volumes, with illustrations after Smirke's designs; and last, but not least, Dibdin's own _Bibliotheca Spenceriana_. Specimens of printing such as these justify Bulmer's claim that great strides had been taken toward raising the art from the depths to which it had fallen.

One is tempted to wonder if the ten gentlemen friends of Sotheby, smitten by the mania for this new-found mode of expression in book-making, could have had it in mind to issue _Christabel_ with designs by Bewick, or Westall, or Smirke.

Octavo.

COLLATION: _vii, 64 pp., 2 ll._

SIR WALTER SCOTT

(1771-1832)

Constable offered "The Author of Waverley" £700 for its copyright; but was told that the sum was too little if the book succeeded, and too much if it failed. The success of the novel, when it appeared, July 7, 1814, was enormous. One thousand copies were sold in the first five weeks, and six editions were necessary within the year. The whole English-reading world waited for another book from the same pen. _Ivanhoe_ appeared, December 18, 1819, and Mr. Leslie Stephen says that it was "Scott's culminating success in a book-selling sense, and marked the highest point both of his literary and social prosperity."

The "Waverley novels" had been issued in duodecimo, but this volume marked a change to a new size. The paper was finer than hitherto, and the press-work much better. The price, too, was raised from eight shillings the volume to ten. These changes were made, Lockhart tells us, to assist the impression, which it was thought best to create, that _Ivanhoe_ was by a new hand; but "when the day of publication approached, [Constable] remonstrated against this experiment, and it was accordingly abandoned." The sale of the novel, in the early editions, amounted to 12,000 copies. Its popularity to-day is as great as ever.

Scott's persistence in keeping up his anonymity is well known. In agreements with Constable a clause was introduced making the publisher liable to a penalty of £2000 if the author's name were revealed.

A survey of Scott's publishing ventures would hardly be complete without a word concerning this publisher with whom his fortunes were so inseparably connected. Curwen says: "From 1790 to 1820 Edinburgh richly deserved the honorable title of 'Modern Athens.' Her University and her High School, directed by men preëminently fitted for their duties ... attracted and educated a set of young men, unrivalled, perhaps, in modern times for genius and energy, for wit and learning. Nothing, then, was wanting to their due encouragement but a liberal patron, and this position was speedily occupied by a publisher who, in his munificence and venturous spirit, soon outstripped his boldest English rival--whose one fault was, in fact, that of always being a Mæcenas, never a tradesman." By his liberality to writers, Constable transformed the publishing business, and practically put it upon a new basis. He made it possible for authors to do away with aristocratic patrons, and to stand upon their own merits. Scott had good reason to say, even after his disastrous participation in Constable and Co.'s failure, "Never did there exist so intelligent and so liberal an establishment."

Octavo.

COLLATION: _Three volumes._

JOHN KEATS

(1795-1821)

The poems in this volume represent the labor of a little over a year and a half--that is, from March, 1818, to October, 1819,--and were all written after the publication of _Endymion_. The book was issued in the beginning of July, and was the third, and, as it proved, the last of the poet's works. "My book is coming out," said he, "with very low hopes, though not spirits, on my part. This shall be my last trial; not succeeding, I shall try what I can do in the apothecary line." It was not lack of success, however, that led him to discontinue the publishing line.

Among the "other poems" mentioned on the title-page is _Hyperion. A Fragment_. The publishers, who seem to have cordially appreciated Keats's genius, refer to it in a special "Advertisement" placed after the title-page, and dated Fleet-Street, June 26, 1820:

"If any apology be thought necessary for the appearance of the unfinished poem of Hyperion, the publishers beg to state that they alone are responsible, as it was printed at their particular request, and contrary to the wish of the author. The poem was intended to have been of equal length with Endymion, but the reception given to that work discouraged the author from proceeding."

The volume was issued in light brown paper-covered boards, at 7s. 6d., and our poet says in a letter to Charles A. Brown: "My book has had good success among the literary people, and I believe has a moderate sale." And again he writes on this subject to Mr. Brown, August, 1820: "The sale of my book is very slow, though it has been very highly rated. One of the causes, I understand from different quarters, of the unpopularity of this new book, is the offence the ladies take at me. On thinking that matter over, I am certain that I have said nothing in a spirit to displease any woman I would care to please; but still there is a tendency to class women in my books with roses and sweetmeats,--they never see themselves dominant."

On the verso of the title-page of some copies, and at the end of the book, we find _London: Printed by Thomas Davison, Whitefriars_, a guarantee for the excellence of the typography, the key-note of which is struck in the admirably arranged title-page.

Duodecimo.

COLLATION: _3 ll., 199 pp._

PERCY BYSSHE SHELLEY

(1792-1822)

Charles Ollier, the publisher, received the following interesting letter from Shelley, dated at Pisa, June 8, 1821:

"Dear Sir,--You may announce for publication a poem entitled "Adonais." It is a lament on the death of poor Keats, with some interposed stabs on the assassins of his peace and of his fame; and will be preceded by a criticism on "Hyperion," asserting the due claims which that fragment gives him to the rank which I have assigned him. My poem is finished, and consists of about forty Spenser stanzas. I shall send it you, either printed at Pisa, or transcribed in such a manner as it shall be difficult for the reviser to leave such errors as _assist_ the obscurity of the "Prometheus." But in case I send it printed, it will be merely that mistakes may be avoided; [so] that I shall only have a few copies struck off in the cheapest manner."

The latter course was finally decided upon. The manuscript was sent to the printer at Pisa on June 16, 1821, and the first finished copy, in a blue, ornamented paper wrapper, was received July 13. This was not slow work, and the more remarkable when it is known that there are very few printer's errors in the book. This accuracy is due to the great pains Shelley took in revising the proofs.

The volume, and especially the untrimmed copies measuring 10×7-1/2 inches, are beautiful in appearance. There is a certain marked peculiarity in the typography, however, which is explained by Mr. Forman in this way: "The frequent dashes, which seem to have exactly the value usual with Shelley, are all double the usual length, except in two instances. The fact is that, in Shelley's bold writing, these dashes _were_ very long: the English printers would understand this; but Didot's people seem to have followed them literally; and the book being boldly printed, this peculiarity would not be likely to strike Shelley in revising."

The name of the press at Pisa is not given; the fact that the "Types of Didot" were used does not of course necessarily mean that the Didots had an office there, as Mr. Forman would seem to imply.

In the preface Shelley speaks as if he had changed his mind about issuing the criticism of _Hyperion_ with this volume, as he planned to do in the letter to Ollier. "It is my intention to subjoin to the London edition of this poem, a criticism upon the claims of its lamented object to be classed among the writers of the highest genius who have adorned our age." No London edition is known, however.

The poem was first printed in England in the columns of the _Literary Chronicle_ for December 1, 1821, where it was appended to a review; but in this form stanzas XIX to XXIV were omitted. The earliest separate reprint bears the impress _Cambridge: Printed by W. Metcalfe, and sold by Messrs. Gee & Bridges, Market-Hill_. MDCCCXXIX.

Two quotations from an interesting unpublished letter, belonging to a member of the Grolier Club, show that Ollier, who had been the publisher of most of Shelley's works, had copies of the Pisa book for sale, shortly after it was issued; the letter is addressed to "Meſs^r. Ollier & Co., Booksellers Vere Street, Bond St., London, Angleterre," and reads:

"Bagni. July 27. 1821

"DEAR SIR

"I send you the bill of lading of the box containing Adonais: and I send also a copy to yourself by M^r. Gisborne who probably will arrive before the Ship.... The work I send you, has been seen in print by M^r. Gisborne, & has excited, as it must in every one, the deepest interest.

"Dear Sir, Yours very truly

"P. B. SHELLEY."

Quarto.

COLLATION: _25 pp._

CHARLES LAMB

(1775-1834)

"Poor Elia," says Lamb in a letter to the publisher, Taylor, under date of July 30, 1821, "Poor Elia, the real (for I am but a counterfeit), is dead. The fact is, a person of that name, an Italian, was a fellow-clerk of mine at the South Sea House thirty (not forty) years ago, when the characters I described there existed, but had left it like myself many years; and I, having a brother now there, and doubting how he might relish certain descriptions in it, I clapt down the name of Elia to it, which passed off pretty well, for Elia himself added the function of an author to that of a scrivener, like myself.

"I went the other day (not having seen him for a year) to laugh over with him at my usurpation of his name, and found him, alas! no more than a name, for he died of consumption eleven months ago, and I knew not of it.

"So the name has fairly devolved to me, I think, and 'tis all he has left me."

In this way our author himself accounts for the pseudonym, which, by the way, he says should be pronounced "Ellia."

The _London Magazine, London: Printed for Baldwin, Cradock, And Joy_, was established in January, 1820; but Taylor and Hessey did not become its proprietors until July of the following year, when Taylor, who was something of a writer himself, especially on monetary subjects, acted as editor, with Thomas Hood as sub-editor. John Scott, whom Byron described as "a man of very considerable talents and of great acquirements," had been called to the editorship when Lamb began his essays, and William Hazlitt was on the staff.

The first of the series appeared in the August number, 1820, and the papers continued until October, 1822, when, twenty-seven having been issued, they, with one other called _Valentine's Day_, which had appeared in the _Indicator_ for February, 1821, were collected to form this volume.

When the book was in press Lamb thought to use a dedication, which he wrote and sent to Taylor with the following note, dated December 7, 1822:

"Dear Sir--I should like the enclosed Dedication to be printed, unless you dislike it. I like it. It is in the olden style. But if you object to it, put forth the book as it is; only pray don't let the printer mistake the word _curt_ for _curst_.

C. L.

"On better consideration, pray omit that Dedication. The Essays want no Preface: they are _all Preface_. A Preface is nothing but a talk with the reader; and they do nothing else. Pray omit it.

"There will be a sort of Preface in the next Magazine, which may act as an advertisement, but not proper for the volume.

"Let Elia come forth bare as he was born."

The label on the paper-covered boards gives the price of the volume as 9s. 6d., a fairish price for the neat, but in no way remarkable piece of book-making which Thomas Davison executed for the publishers.

Some copies of the first edition show a variation in the imprint: Messrs. Taylor and Hessey having opened a new shop at 13, Waterloo Place, this address was printed in a line below the old one. Occasion was also taken, at this time, to furnish the book with a half-title.

Octavo.

COLLATION: _iv, 341 pp._

SAMUEL PEPYS

(1633-1703)

To the information given on the title-page, the noble editor adds some further facts in a preface. He says that the six volumes, closely written in short-hand by Pepys himself, had formed a part of the collection of books and prints bequeathed to Magdalen College, where they had remained unexamined (from the date of Pepys's death) until the appointment of Lord Braybrooke's brother, George Neville, afterwards called Grenville, as master of the College. Under Neville's auspices they were deciphered by Mr. Smith, whom his lordship had not the pleasure of knowing.

Pepys used short-hand for his notes because he often had things to say which he did not think fit for all the world to know; and Lord Braybrooke found it "absolutely necessary" to "curtail the MS. materially." The complete journal, all that it is possible to print, was not issued until 1893.

Colburn, the publisher, known for his successful ventures, and especially for the series called _Colburn's Modern Standard Novelists_ and _The Literary Gazette_, containing works by Bulwer Lytton, Lady Morgan, Captain Marryat, and others, had been so fortunate with an issue of Evelyn's _Diary_ that he was led into the present undertaking. With this edition, which sold at six pounds six shillings, and with two succeeding editions selling at five guineas, he is reputed to have made a handsome profit on the twenty-two hundred pounds paid for the copyright.

The large volumes with their broad margins are handsome specimens of the excellent typographical work of the Bentleys. They are embellished with two illustrations in the text, and thirteen engraved plates. A frontispiece portrait of the author, after the painting by Kneller, was engraved by T. Bragg, and a smaller portrait used as a head-piece to the Life is signed _R. W. ſculp_. This last is a copy of one of Pepys's book-plates; it has the motto "Mens cujusque is est Quisque" above the oval frame, and "Sam. Pepys. Car. Et. Iac. Angl. Regib. A. Secretis Admiraliæ" in two lines below. Another book-plate used by the Secretary is copied on the title-page. Of the remaining portraits, one was engraved by John Thomson, while five were the work of R. Cooper, who also engraved the "View of the Mole at Tangier" and the "View of Mr. Pepys' Library." The other plates, including one showing facsimiles of Pepys's short- and long-hand; two of pedigrees, and a folded map, are signed "Sid^y. Hall, Bury Str^t. Bloomsb^y."

Some copies of the book on fine paper, with beautiful impressions of the plates, are marked in red on the half-title page, "Presentation Copies."

Quarto.

COLLATION: _Two volumes._ Volume I: _1 l., xlii, 498, xlix pp._