CHAPTER VI.

THE PRINCIPAL ENTRY.--THE AUTHOR-ENTRY, 4.

=57.=--When books are written in collaboration, the customary procedure is to make the entry under the first-named author, if not more than two are given on the title-page, followed by the name of the second. If there are more than two authors, then the name of the first only is given, followed by “and others,” or “&c.,” as

Woods, Robert A., and others. The poor in great cities.

It is desirable to give a cross-reference from every joint-author to the name under which the entry is placed, but it depends greatly upon the style of the catalogue whether this is done or not. In most cases it will be found that the references can be dispensed with if more than two authors, and often enough from the second when but two. It is unlikely, for example, that a reference is necessary from Rice to Besant for the novels by Besant and Rice, or from Chatrian for those by Erckmann-Chatrian. If, however, the second-named author is also the single author of other books in the library, the reference is unavoidable and must be given. In the principal entry it is unnecessary to reverse the names of any author but the first, though this is sometimes done, as

Besant, Sir Walter, and Rice, James;

but the better form is

Besant, Sir Walter, and James Rice.

=58.=--The order of arrangement for books written by an author who is also a joint-author is to give first those books written by him alone; then those books in which he has collaborated, with his name occupying the leading place upon the title-page; and lastly the references to other authors with whom he has joined, but with his name in a secondary place. The entries would be separately alphabetical in each of these divisions. The following illustrates this point:--

STEVENSON, Robert L. The black arrow.

⸻ Weir of Hermiston.

⸻ and Fanny. The dynamiter.

⸻ and Lloyd OSBOURNE. The ebb-tide.

⸻ The wrecker.

⸻ _See also_ Henley, W. E.

=59.=--As in this illustration the repeat dash has been used, it may be here stated that its purpose is to save the repetition of the author’s name in each entry after the first, and, as shown in the case of “The wrecker,” it is unnecessary to give more than a single dash in any instance, as the position of the entry denotes that it is by the same authors as the preceding book. It was owing to the misuse of this dash that the old catalogue joke arose of

Mill, J. S. On liberty.

⸻ On the Floss.

and others equally ridiculous are to be found in catalogues where the dash is not limited in use as a repeat for authors’ names, or as a repeat to a subject-heading, but this point is further dealt with under subject-cataloguing (Section 102). It must be noted that in the case of authors’ or editors’ names the dash is strictly limited in use as a repeat for second and further books by the same author, and not to repeat all authors with the same surname, as

Fletcher, Andrew.

⸻ Banister.

⸻ C. R. L.

⸻ Giles.

⸻ J. S.

⸻ J. W.

This bad form should be avoided, and the surname of each person given in full, as

Fletcher, Andrew.

Fletcher, Banister.

Fletcher, C. R. L.

=60.=--Music is not usually treated upon the supposition that the librettist is joint-author with the composer. The latter is always regarded as the author and the entry given under his name only. The reason for this is that in the case of operas, oratorios, and the like the libretto is a mere secondary matter and the books are placed in libraries for the music only, and in the vocal scores of operas there is seldom a complete libretto. In this way the Gilbert-Sullivan operas are entered only under Sullivan, and if thought desirable a reference may be given from Gilbert, but it is not essential. The following is from the title-page of one of these operas.

“An entirely new and æsthetic opera in two acts entitled ‘Patience; or, Bunthorne’s bride,’ written by W. S. Gilbert, composed by Arthur Sullivan, arranged from the full score by Berthold Tours. London.”

Properly adapted this would appear in the catalogue as

SULLIVAN, Sir Arthur S.

Patience; or, Bunthorne’s bride: opera; arranged by Berthold Tours. (_Vocal score._) pp. 117. 4o. n.d.

It is hardly necessary to say that if on the other hand the libretto only of an opera or similar work were in the library, the entry would be given under the librettist, and the composer would be ignored, as there would be none of his work in the book.

Occasionally an exception to these rules will arise, and would be found in a book like

Moore’s Irish melodies; with accompaniments by M. W. Balfe.

because it is likely enough that an edition of Moore’s Melodies with music would be called for without regard to the composer, though the book may have been placed in the library more on account of the music. Therefore, both entries must be given, that under the arranger’s name being the principal, as

BALFE, Michael W.

Moore’s Irish melodies; with accompaniments. pp. viii., 192. la. 8o. n.d.

MOORE, Thomas.

Irish melodies; with accompaniments by Balfe. n.d.

=61.=--When a book consists of a collection of essays or articles by a number of authors, gathered together by an editor, it is proper to give the principal entry under the editor’s name rather than under that of the first-named author in the contents. If a book of this nature is of sufficient importance, each of its divisions can be treated as a separate work, and author-entries given, each author being credited with his share only. As to how far books of the kind are to be so dealt with must rest entirely with the cataloguer, space and utility being the two important points for his consideration. It frequently happens that a single essay or section of a book contains the essence of many volumes, and to a busy man such essays may be of more real value than a whole book. Again, if a person is interested in the work of a particular author, he will be glad not only to have the complete books, but also his contributions to miscellaneous works as well, and these are shown by indexing the contents. To do this will add to the extent and cost of a catalogue, but it will, at the same time, add to its value and usefulness. Of course there are many volumes of this miscellaneous nature, the contents of which are of a very slight or ephemeral value, and to so index them would be a waste of energy and of space. It is quite as easy to overdo this indexing of contents as to carry it out judiciously, as witness the fact that some librarians have gone to the trouble of indexing the principal contents of such obvious works of reference as the _Encyclopædia Britannica_, and the _Dictionary of National Biography_. In this matter, then, it will be seen that no fixed rule can be laid down. Sometimes the setting out of the contents under the principal entry will be sufficient. This does not imply that the contents of volumes of magazines, reviews, and the like should be so treated, as is sometimes seen attempted, of course with sorry results so far as completeness is concerned, because at best but a selection can be given, and even this necessitates wading through pages of closely-set small type; in fact, the only real purpose it serves is to show what serial stories are in a particular volume. No one can gainsay the fact that an enormous quantity of valuable material lies hidden away in back volumes of magazines, but librarians must depend upon such works as Poole’s _Index to Periodical Literature_, with its supplements, and the _Review of Reviews’ Annual Index to Periodicals_ to reveal it.

=62.=--In some libraries the contents of miscellaneous books are set out as well as indexed, but it is doubtful if it is worth while doing both in the majority of cases. The following entries show a well-known book fully treated in this way so far as the principal and author entries only are concerned:--

Essays and reviews, pp. iv., 434. la. 8o. 1860

_Contains_:--The education of the world, by Temple. Bunsen’s Biblical researches, by Williams. On the study of the evidences of Christianity, by Powell. Séances historiques de Genève: The national church, by Wilson. On the Mosaic cosmogony, by Goodwin. Tendencies of religious thought in England, 1688-1750, by Pattison. On the interpretation of scripture, by Jowett.

TEMPLE, Frederick, _Archbp._

The education of the world. (Essays and reviews). 1860

WILLIAMS, Rowland.

Bunsen’s Biblical researches. (Essays and reviews). 1860

POWELL, Baden.

On the study of the evidences of Christianity. (Essays and reviews). 1860

WILSON, Henry B.

Séances historiques de Genève: The national church. (Essays and reviews). 1860

GOODWIN, C. W.

On the Mosaic cosmogony. (Essays and reviews). 1860

PATTISON, Mark.

Tendencies of religious thought in England, 1688-1750. (Essays and reviews). 1860

JOWETT, Benjamin.

On the interpretation of scripture. (Essays and reviews). 1860

As these items would each require at least one subject entry besides, it will be seen that this book must have fifteen distinct entries to be effectually catalogued.

=63.=--The contents of collected works in more than one volume must be set out in order that the catalogue may show in what volume a particular work is to be found, in this way:--

HAWTHORNE, Nathaniel.

Complete works; with introductory notes by Geo. P. Lathrop. (_Riverside ed._) Illus. 12 v. 1883

v. 1. Twice-told tales.

v. 2. Mosses from an old manse.

v. 3. The house of the seven gables. The snow image, and other twice-told tales.

and so on through the rest of the volumes. Wherever possible, the tabulated contents of such works should be summarised when considered sufficient for all reasonable purposes, as

GRAY, Thomas.

Works; ed. by Edmund Gosse. 4 v. 1884

v. 1. Poems, journals, and essays.

v. 2-3. Letters.

v. 4. Notes on Aristophanes and Plato.

To give a list of the essays contained in the first volume is unnecessary, as all Gray’s miscellaneous essays are in that volume.

=64.=--There are books, or rather editions of books, of a composite nature, where an editor has joined together works by different authors into one volume. Examples of these are

The poetical works of Henry Kirke White and James Grahame; with memoirs, &c., by George Gilfillan. _Edin._, 1856

The dramatic works of Wycherley, Congreve, Vanbrugh, and Farquhar; with biographical and critical notices by Leigh Hunt. 1875

To be exact, the cataloguer may give the principal entry under the editor, as already stated, but it does not obviate the necessity under any circumstances of a separate entry under the name of each author. There is no need to include the names of the other authors in the entries, and just the same principle would apply as illustrated in the _Essays and reviews_ above. It is as well, however, to add the name of the editor to each author-entry, as it shows the particular edition. The entries in full would appear as

GILFILLAN, George (_Ed._)

The poetical works of Henry Kirke White and James Grahame; with memoirs, &c. 8o. _Edin._, 1856

WHITE, Henry Kirke. Poetical works; ed. by George Gilfillan. 1856

GRAHAME, James. Poetical works; ed. by George Gilfillan. 1856

The second book would be dealt with after the same manner, but with the Christian names supplied to the sub- or author-entries, as

HUNT, Leigh (_Ed._)

The dramatic works of Wycherley, Congreve, Vanbrugh, and Farquhar; with biog. and critical notices. la. 8o. 1875

WYCHERLEY, Wm.

Dramatic works; with biog., &c. notices by Leigh Hunt. 1875

and similar entries under Wm. Congreve, Sir John Vanbrugh, and George Farquhar. The entries may be made a little more concise, as

Congreve, Wm. Dramatic works; ed. by Hunt. 1875

It will be observed that neither of the above books would properly admit of a principal entry under the first-named author, as it would bring the authors’ names together in such a way as to lead to the supposition that they were joint-authors, as

White, Henry Kirke, and James Grahame. Poetical works.

Wycherley, Wm., Wm. Congreve, and others. Dramatic works.

It is true that any person with the least knowledge of English literature would know better than that these authors had collaborated, but the cataloguer has to put himself in the position of the man who knows nothing of the matter. Cross-references from one author’s name to the other in such a case would be absurd.

=65.=--Anthologies or other compilations are to be entered under the names of the editors or compilers, with the abbreviation _Ed._ (Editor) or _Comp._ (Compiler) following the name, as

Palgrave, Francis T. (_Ed._) Golden treasury of songs and lyrics. 1887

The artist of a collection of drawings or other illustrations is to be regarded as the author, and the writer of any descriptive text accompanying them placed subordinately, as

BURGESS, Walter W.

Bits of old Chelsea: a series of forty-one etchings; with letterpress descriptions by Lionel Johnson and Richard Le Gallienne. fo. 1894

It would be as well to give cross-references from the writers of the text, as

Johnson, Lionel. _See also_ Burgess, W. W.

Le Gallienne, Richard. _See also_ Burgess, W. W.

=66.=--The difference in references between “_See_” and “_See also_” must be noted. If there are entries of any kind already in the catalogue under the names of the persons referred from, then the reference is “_See also_,” and not “_See_.” The best form for writing a cross-reference is

Johnson, Lionel.

⸻ _See also_ Burgess, W. W.,

and, if it should happen that by the time the “copy” of the catalogue is being got ready for printing there was no other entry under this author’s name, it would be altered to

Johnson, Lionel. _See_ Burgess, W. W.

=67.=--It occasionally happens that both the work of the artist and of the writer of the text are of sufficient importance to warrant separate entries, but only one of the entries should be the principal entry giving the fullest particulars. A book of this kind is Ruskin’s edition of Turner’s _Harbours of England_. As this particular edition is published as one of Ruskin’s works, and Turner is more subject than author, then the main entry is

RUSKIN, John.

The harbours of England; with … illustrations by J. M. W. Turner; ed. by Thos. J. Wise. pp. xxvi, 134. sm. 8o. _Orpington_, 1895

and the subordinate entry is

TURNER, J. M. W.

The harbours of England; [text] by John Ruskin. 1895

=68.=--When a word not on the title-page is added to an entry by the cataloguer, it is customary to show this by enclosing it in brackets [ ] as the word “text” in the above example. On the other hand, if words have been left out from the transcript of the title-page as unnecessary the omission is denoted by three points … as shown in the Ruskin entry where the word “thirteen” has been passed over. In the smaller libraries it will be found that it is unnecessary to denote either additions or omissions in this way, but where perfect exactness is of importance this is the understood form for the purpose.

This Ruskin entry also shows that if it is already stated in the title that the book is illustrated there is no occasion to repeat “illus.” in the collation. There are many books of which the value lies more in the illustrations than in the text, such as those illustrated by Blake, Bewick, Cruikshank, “Phiz,” and others. It is often found sufficient in such cases to give a cross-reference from the artist to the author illustrated, like

CRUIKSHANK, George, Works illustrated by. _See_ Ainsworth, W. H.; Maxwell, W. H.

it being, of course, understood that it is stated in the author-entry that the particular edition is illustrated by the artist from whose name the reference is given, as

MAXWELL, W. H.

History of the Irish Rebellion, 1798; illus. by Geo. Cruikshank.

otherwise the reference would be worthless.

The extent to which these references are given depends altogether upon the editions, as the cheap modern reprints of books like Ainsworth’s novels do not call for notice of the illustrations, and there are not many illustrators of books--especially in these days of “process” reproduction--whose work calls for the special attention of the cataloguer.

In making references like the foregoing, or of any kind, care should be exercised to give all the names necessary, and not, as is sometimes done, but two or three, and then finishing with a comprehensive “&c.” which is less than no use, inasmuch as it only serves to show that there are other books in the library illustrated by this particular artist, but what they are the cataloguer has neglected to state and the inquirer is thus left in vexatious doubt.