The remaining poems are in the old spirit, but are somewhat mournful
echoes of the past. They remind us of the robin's winter song--"Hark to
him weeping," say the country folk, as they listen to the music which
retains the sweetness but has lost what Wordsworth calls the gushes of
the summer strains. There is still an ode to Venus; its prayer not now
"come to bless thy worshipper"; but "leave an old heart made callous by
fifty years, and seek some younger votary." There is an ode to Spring.
Spring brought down from heaven his earliest Muse; it came to him
charged with youthful ardours, expectations, joys; now its only message
is that change and death attend all human hopes and cares. Like an army
defeated, the snow has retreated; the Graces and the Nymphs can dance
unclad in the soft warm air. But summer will thrust out spring, autumn
summer, then dull winter will come again; will come to the year, will
come to you and me. Not birth nor eloquence nor virtue can save from
Minos' judgement seat; like Aeneas, Tullus, Ancus, like all the great
ones of the earth, we shall soon be nameless shades and a poor pinch of
dust. More of the old buoyant glee comes back in a festal invitation
to one Virgilius, not the poet. There is a ring of Tom Moore in Sir
Theodore Martin's rendering of it.
* * * * *
On the young grass reclined, near the murmur of fountains,
The shepherds are piping the song of the plains,
And the god who loves Arcady's purple-hued mountains,
The god of the flocks, is entranced by their strains.
* * * * *
To the winds with base lucre and pale melancholy!
In the flames of the pyre these, alas! will be vain;
Mix your sage ruminations with glimpses of folly,
'Tis delightful at times to be somewhat insane!
There follows a savage assault on one Lyce, an ancient beauty who had
lost her youthful charms, but kept up her youthful airs:
Where now that beauty? where those movements? where
That colour? what of her, of her is left,
Who, breathing Love's own air,
Me of myself bereft!
Poor Lyce! spared to raven's length of days;
That youth may see, with laughter and disgust,
A firebrand, once ablaze,
Now smouldering in grey dust.
Poor Lyce indeed! what had she done to be so scourged? One address we
miss: there is no ode in this book to Maecenas, who was out of favour
with Augustus, and had lost all political influence. But the friend is
not sunk in the courtier. The Ides or 13th of April is his old patron's
birthday--a nativity, says Horace, dearer to him almost than his own,
and he keeps it always as a feast. With a somewhat ghostly resurrection
of voluptuousness dead and gone he bids Phyllis come and keep it with
him. All things are ready, a cask of Alban nine years old is broached,
the servants are in a stir, the altar wreathed for sacrifice, the flames
curling up the kitchen chimney, ivy and parsley gathered to make a
wreath for Phyllis' hair. Come then, sweet girl, last of my loves; for
never again shall this heart take fire at a woman's face--come, and
learn of me a tune to sing with that dear voice, and drive away dull
care. I am told that every man in making love assures the charmer that
no woman shall ever succeed her in his regards; but this is probably
a veritable amorous swan-song. He was older than are most men at
fifty-two. Years as they pass, he sadly says, bereave us one by one
of all our precious things; of mirth, of loves, of banquets; at last
the Muse herself spreads wings to follow them. "You have sported long
enough," she says, "with Amaryllis in the shade, you have eaten and
drunk your fill, it is time for you to quit the scene." And so the
curtain falls.
* * * * *
To our great loss there is no contemporary portrait of Horace. He
tells us himself (Ep. II, ii, 214; I, xx, 29) that he was short of
stature, his hair black but early tinged with grey; that he loved to
bask in sunshine, that his temper was irascible but easily appeased.
In advanced life he became fat; Augustus jests with him rather coarsely
on his protuberant figure. The portrait prefixed to this volume is
from a Contorniate, or bronze medallion of the time of Constantine,
representing the poet's likeness as traditionally preserved amongst
his countrymen three hundred years after his death.
The oldest extant manuscript of his works is probably that in the public
library of Berne, and dates from the ninth century. The earliest printed
edition, bearing neither date nor printer's name, is supposed to have
been published at Milan in 1470. Editions were also printed at Florence
and at Venice in 1482, and a third at Venice in 1492. An illustrated
edition on vellum was brought out by Aldus in 1501, and reissued in
1509, 1514, 1519. The Florence Press of the Giunti produced splendid
specimens in 1503, 1514, 1519. Between this date and the end of the
century seven more came forth from famous presses. Of modern editions
we may notice the vellum Bodoni folio of 1791, and the matchless Didot
of 1799 with its exquisite copperplate vignettes. Fortunate is the
collector who possesses the genuine first edition of Pine's "Horace,"
1733. It is known by an error in the text, corrected in the subsequent
and less bibliographically valuable impression of the same year.
A beautifully pictorial book is Dean Milman's; the student will prefer
Orelli, Macleane, Yonge, Munro and King, or Dean Wickham's scholarly
volumes.
* * * * *
In composing this modest little book I have had in view principally
readers altogether ignorant of Latin, but wishing to know something of
a writer lauded enthusiastically by all classical scholars: they will
observe that I have not introduced into its pages a single Latin word.
I have nourished also the hope that it might be serviceable to those
who have forgotten, but would like to recover, the Horace which they
learned at school; and to them I would venture to recommend the little
copy of the Latin text with Conington's version attached, in "Bell's
Pocket Classics." Latinless readers of course must read him in English
or not at all. No translation can quite convey the cryptic charm of
any original, whether poetry or prose. "Only a bishop," said Lord
Chesterfield, "is improved by translation." But prose is far easier to
render faithfully than verse; and I have said that either Conington's
or Dean Wickham's version of the Satires and Epistles, which are both
virtually in prose, will tell them what Horace said, and sometimes
very nearly how he said it. On the Odes a host of English writers have
experimented. Milton tried his hand on one, with a result reflecting
neither Milton nor Horace. Dryden has shown what he could have done but
would not do in his tantalising fragment of the Ode to Fortune. Pope
transformed the later Ode to Venus into a purely English poem, with a
gracefully artificial mechanism quite unlike the natural flow of the
original. Marvell's noble "Horatian Ode," with its superb stanzas on
the death of Charles I, shows what he might have achieved, but did
not attempt. Francis' rendering of 1765 is generally respectable,
and in default of a better was universally read and quoted by his
contemporaries: once, in the Ode to Pyrrhus (III, xx) he attains
singular grace of phrase and metre. Cowper translated two Odes and
imitated two more, not without happy touches, but with insertions
and omissions that lower poetry into commonplace. Of Calverley's few
attempts three are notably good; a resounding line in his "Leuconoe"
(I, xi):
Which flings now the flagging sea-wave on the obstinate sandstone reef,
is at once Horatian and Tennysonian; and his "Oh! where is all thy
loveliness?" in the later Ode to Lyce has caught marvellously the minor
key of tender memory which relieves the brutality of that ruthless
flagellation. Mr. Goldwin Smith's more numerous "Bay Leaves" are
fashioned all in goodly measure; and his "Blest man who far from care
and strife" well transfers to English the breathlessness of Horace's
sham pastoral ecstasy. Of more ambitious translators Bulwer Lytton
catches now and then the careless rapture of his original; Sir Theodore
Martin is always musical and flowing, sometimes miraculously fortunate
in his metres, but intentionally unliteral and free. Conington is
rigidly faithful, oftentimes tersely forcible; but misses lyrical
sweetness. Perhaps, if Marvell, Herrick, Cowley, Prior, the now
forgotten William Spencer, Tom Moore, Thackeray, could be alchemized
into one, they might combine to yield an English Horace. Until eclectic
nature, emulating the Grecian sculptor, shall fashion an archetype from
these seven models, the vernacular student, with his Martin and his
Conington, sipping from each alternately, like Horace's Matine bee
(IV, ii, 27), the terseness of the professor and the sweetness of the
poet, may find in them some echo from the ever-shifting tonality of the
Odes, something of their verbal felicity, something of their thrilling
wistfulness; may strive not quite unsuccessfully, in the words of
Tennyson's "Timbuctoo," to attain by shadowing forth the unattainable.
ON THE "WINES" OF HORACE'S POETRY
The wines whose historic names sparkle through the pages of Horace
have become classical commonplaces in English literature. "Well, my
young friend, we must for once prefer the Falernian to the _vile
Sabinum?_" says Monkbarns to Lovel when the landlord of the Hawes Inn
at Queensferry brings them claret instead of port. It may be well
that we should know somewhat of them.
The choicest of the Italian wines was _Caecuban_, from the
poplar-trained vines grown amongst the swamps of Amyclae in Campania.
It was a heady, generous wine, and required long keeping; so we find
Horace speaking of it as ranged in the farthest cellar end, or "stored
still in our grandsire's binns"(III, xxviii, 2, 3; I, xxxvii, 6); it was
reserved for great banquets, kept carefully under lock and key: "your
heir shall drain the Caecuban you hoarded under a hundred padlocks"
(II, xiv, 25). It was beyond Horace's means, and only rich men could
afford to drink it; we hear of it at Maecenas' table and on board his
galley (I, xx, 9); and it appeared at the costly banquet of Nasidienus
(page 27). With the Caecuban he couples the _Formian_ (I, xx, 11), and
_Falernian_ (I, xx, 10), grown on the southern slopes of the hills
dividing Campania from Latium. "In grassy nook your spirit cheer with
old Falernian vintage," he says to his friend Dellius (II, iii, 6).
He calls it fierce, rough, fiery; recommends mixing it with Chian
wine, or with wine from Surrentum (Sat. II, iv, 55), or sweetening and
diluting it with honey from Mount Hymettus (Sat. II, ii, 15). From
the same district came the _Massic_ wine, also strong and fiery. "It
breeds forgetfulness" (II, vii, 21), he says; advises that it should
be softened by exposure to the open sky (Sat. II, iv, 51). He had a
small supply of it, which he kept for a "happy day" (III, xxi, 6). The
_Calenian_ wine, from Cales near Falernum, was of similar character.
He classes it with Caecuban as being too costly for a poor man's purse
(I, xx, 10): writing late in life to a friend, promises to find him
some, but says that his visitor must bring in exchange an alabaster box
of precious spikenard (IV, xii, 17). Next after these Campanian vintages
came the _Alban_. He tells Phyllis that he will broach for her a cask
of it nine years old (IV, xi, 1). It was offered, too, at Nasidienus'
dinner as an alternative to Caecuban; and Horace praises the raisins
made from its berries (Sat. II, iv, 72). Of the _Sabine_, poorest of
Italian wines, we have spoken (page 23).
The finest Greek wine was _Chian_, thick and luscious; he couples it
in the Epode to Maecenas (IX, 34) with _Lesbian_ which he elsewhere
(I, xvii, 21) calls "innocent" or mild. _Coan_ wine he mentions twice,
commending its medicinal value (Sat. II, iv, 29; II, viii, 9).
In justice to Horace and his friends, it is right to observe that
connoisseurship in wine must not be confounded with inebriety. They
drank to exhilarate, not to stupefy themselves, to make them what
Mr. Bradwardine called _ebrioli_ not _ebrii_; and he repeatedly warns
against excess. The vine was to him "a sacred tree," its god, Bacchus,
a gentle, gracious deity (I, xviii, 1):
'Tis thine the drooping heart to heal,
Thy strength uplifts the poor man's horn;
Inspired by thee, the soldier's steel,
The monarch's crown, he laughs to scorn.
III, xxi, 17.
"To total abstainers," he says, "heaven makes all things hard"
(I, xviii, 3); so let us drink, but drink with moderate wisdom, leave
quarrelsomeness in our cups to barbarous Scythians, to brute Centaurs
and Lapithae: let riot never profane our worship of the kindly god. We
must again remember that they did not drink wine neat, as we do, but
always mixed with water. Come, he says to his slave as they sit down,
quench the fire of the wine from the spring which babbles by (II, xi,
19). The common mixture was two of water to one of wine; sometimes nine
of water to three of wine, the Muses to the Graces; very rarely nine of
wine to three of water.
Who the uneven Muses loves,
Will fire his dizzy brain with three times three.
Three once told the Grace approves;
She with her two bright sisters, gay and free,
Hates lawless strife, loves decent glee.
III, xix, 11.
CHRONOLOGY OF HORACE'S LIFE AND WORKS
===========================================
B.C. AGE.
65 Born December 8th.
44 21 Entered as student at Athens.
43 22 In Brutus' army.
{ Philippi.
41 24 {
{ Return to Rome.
38 27 Introduced to Maecenas.
35 30 Satires, Book I.
30 35 Satires, Book II, and Epodes.
23 42 Odes I-III.
20 45 Epistles, Book I.
19 46 Epistles, Book II, ii.
17 48 The Century Hymn.
13 52 Odes, Book IV.
13 52 Epistle to Augustus.
10? 55? Art of Poetry.
8 57 Died November 17th.
===========================================
INDEX
Actium, 53.
Addison, 37, 49.
Aelius, Lamia, 65.
Agrippa, 65.
Anio, 19-21.
Antony, 26.
Archilochus, 13, 19.
Argiletum, 54.
Aristius, Fuscus, 21, 36, 42, 61, 66.
Arnold, Matthew, 55, 68.
Asella, 43.
Asterie, 68.
Athens, 11, 50.
Aufidus, 9, 73.
Augustus, 15, 28, 29, 45, 51, 56, 57, 65, 75, 77, 78.
Bandusia, 10, 72.
Barine, 68.
Brundusium, 17.
Brutus, 12, 13.
Calverley, 80.
Capitoline Hill, 16, 24-26, 65.
Chesterfield, 79.
Clients, 17.
Conington, 46, 81.
Coverley, 11.
Cowper, 80.
De Vere, Sir Stephen, 71.
Digentia, 21.
Dryden, 79.
Eliot, G., 67.
Enipeus, 68.
Epicureans, 11.
Epicurus, 55.
Fanshaw, Sir R., 59.
Florac, 23, 44.
Florus, 40, 44.
Fonteius Capito, 16.
Forum, 24, etc.
Fufius, 34.
Gallio, 36.
Goldwin Smith, 54, 80.
Homer: Iliad, 11, 37, 43;
Odyssey, 44.
Horace: childhood, 10;
studies at Athens, 11;
influence of Brutus, 12;
Philippi, 13;
struggle at Rome, 13;
introduction to Maecenas, 14;
Sabine farm, 19;
publishes Satires, 30;
Epistles, 37;
Epodes, 52;
Odes, 55;
Swan Song, 74;
his death, 29, 77;
editions of his works, 78;
his "wines," 82;
bibliography, 85.
Jews in Rome, 36.
Juvenal, 17, 23, 31.
Lalla Rookh, 69.
Lanciani, Professor, 25.
Lollius, 43, 66.
Lucilius, 13, 31, 48.
Lyce, 80.
Lydia, 69, 70.
Lytton, E. B., 66, 80.
Maecenas, 14, 17, 27-29, 38, 51-54, 62, 64.
Martin, Sir Theodore, 76, 80.
Marvell, 80, 81.
Milman, 38.
Milton, 41, 53, 60-62, 71, 79.
Murena, 66.
Newman, Cardinal, 51.
Ofellus, 32.
Omar Khayyám, 23, 63.
Orbilius, 11.
Pattison, Mark, 72.
Philippi, 13, 32.
Philippus, 34.
Phyllis, 66, 67, 77.
Pindar, 75.
Polemon, 35.
Pope, 27, 41, 44, 47-50, 79.
Pope Leo XIII, 64.
Postumus, 63.
Sabine farm, 17-19, etc.
Satire, origin of, 30.
Scaliger, 71.
Scott, 22, 82, 84.
Secular hymn, 57, 74.
Seneca, 16.
Septimius, 28, 39, 41, 65.
Sewell, R. C., 20.
Shakespeare, 13.
Sosii, 54, 71.
Steele, 37, 39.
Stoics, 11.
St. Beuve, 51.
Tarentum, 24, 65, 72.
Telephus, 66.
Tennyson, 9, 51, 80, 81.
Terentia, 15, 64.
Thackeray, 37, 59, 81.
Tiberius Nero, 39, 74, 75.
Tibullus, 28, 41, 65.
Tibur, 17, 19, 20, 72.
Vacuna, 21.
Varius, 14, 27.
Varus, 20.
Via Sacra, 25, 26.
Virgil, 14, 28, 38, 44.
Wickham, Dean, 47, 79.
Wordsworth, 22, 24, 75.
Xanthius, 66.
CHISWICK PRESS: PRINTED BY CHARLES WHITTINGHAM AND CO.
TOOKS COURT, CHANCERY LANE, LONDON.
* * * * *
_Messrs. Bell's Books for Presents & Prizes_
The British Artists Series.
_Large post 8vo, in special bindings, with 90 to 100 Illustrations,
7s. 6d. net each._
Sir Edward Burne-Jones, Bart.
By MALCOLM BELL.
Dante Gabriel Rossetti.
By H. C. MARILLIER.
Sir J. E. Millais, Bart.
By A. LYS BALDRY.
Frederic, Lord Leighton.
By ERNEST RHYS.
The English Pre-Raphaelite Painters.
Their Associates and Successors.
By PERCY BATE.
Sir Joshua Reynolds.
By LORD RONALD SUTHERLAND GOWER.
Thomas Gainsborough.
By LORD RONALD SUTHERLAND GOWER.
J. M. W. Turner.
By W. L. WYLLIE, A.R.A.
LONDON: GEORGE BELL & SONS
PORTUGAL STREET, LINCOLN'S INN.
* * * * *
_Messrs. Bell's Books._
_Fourth Edition, Post 8vo, 5s. net._
+HOW TO LOOK AT PICTURES.+ By ROBERT CLERMONT WITT, M. A. With 35
Illustrations.
"A better gift for people who are dimly 'fond of pictures,'
but who regret that they 'know nothing about them,' could not
be found."--_Spectator_.
"That infuriating expression, 'I know what I like,' ought to
be abolished by this book ... many people use it who really
have some feeling for Art, and would be glad of guidance; it
will be many years before they find a better guide than Mr.
Witt."--_Nineteenth Century_.
_With 40 Illustrative Plates and numerous Woodcuts in the text.
Second Edition, Post 8vo, 6s. net._
+HOW TO COLLECT OLD FURNITURE.+ By FREDERICK LITCHFIELD.
"The chapter on 'fakes' and the best way to choose furniture
are invaluable to the amateur and informing to the expert,
and the book is illustrated throughout with excellent
illustrations. The book is, without question, the most interesting
and informing guide that the modern fashion for antique furniture
has produced."--_Pall Mall Gazette_.
_Fourth Thousand. With 40 Illustrative Plates and numerous Reproductions
of Marks. Post 8vo, 5s. net._
+HOW TO IDENTIFY OLD CHINA.+ By MRS. WILLOUGHBY HODGSON.
"Of its kind this is quite a model handbook."--_Daily Telegraph_.
"The information given is precisely what is needed, and it is
particularly well arranged, with a preliminary chapter of
practical advice."--_Westminster Gazette_.
_With 40 Plates, illustrating upwards of 70 Miniatures. Second Edition.
Post 8vo, 6s. net._
+HOW TO IDENTIFY PORTRAIT MINIATURES.+ By GEORGE C. WILLIAMSON, Litt.D.
With Chapters on "How to Paint Miniatures," by ALYN WILLIAMS, R.B.A.,
A.R.C.A.
_With numerous Illustrations, 6s. net._
+HOW TO COLLECT BOOKS.+ By J. HERBERT SLATER, Editor of "Book Prices
Current," etc.
* * * * *
The Endymion Series.
Poems by Lord Tennyson.
ILLUSTRATED AND DECORATED BY ELEANOR FORTESCUE-BRICKDALE.
_Post 8vo, 7s. 6d._
Poems by Percy Bysshe Shelley.
ILLUSTRATED AND DECORATED BY R. ANNING BELL.
With Introduction by PROFESSOR WALTER RALEIGH.
_Post 8vo, 7s. 6d._
Poems by John Keats.
ILLUSTRATED AND DECORATED BY R. ANNING BELL.
With Introduction by PROFESSOR WALTER RALEIGH.
_Third Edition, post 8vo, 7s. 6d._
Poems by Robert Browning.
ILLUSTRATED AND DECORATED BY BYAM SHAW.
With Introduction by DR. R. GARNETT.
_Second Edition, revised, post 8vo, 7s. 6d._
English Lyrics from Spenser to Milton.
ILLUSTRATED AND DECORATED BY R. ANNING BELL.
Selected with Introduction by JOHN DENNIS.
_Post 8vo, 6s._
Milton's Minor Poems,
Including Comus and Samson Agonistes.
ILLUSTRATED AND DECORATED BY A. GARTH JONES.
_Post 8vo, 6s._
The Poems of Edgar Allan Poe.
ILLUSTRATED AND DECORATED BY W. HEATH ROBINSON.
With an Introduction by H. NOEL WILLIAMS.
_Second Edition, post 8vo, 6s._
* * * * *
Bell's Miniature Series of Painters.
_Pott 8vo, dainty Cloth covers, with 8 Illustrations, 1s. net each, or
in limp leather, with Photogravure Frontispiece, 2s. net._
_Now Ready._
ALMA TADEMA.
ROSA BONHEUR.
BURNE-JONES.
CONSTABLE.
CORREGGIO.
FRA ANGELICO.
GAINSBOROUGH.
GREUZE.
HOGARTH.
HOLBEIN.
HOLMAN HUNT.
LANDSEER.
LEIGHTON.
MICHELANGELO.
MILLAIS.
MILLET.
MURILLO.
RAPHAEL.
REMBRANDT.
REYNOLDS.
ROMNEY.
TURNER.
VELAZQUEZ.
WATTEAU.
WATTS.
WHISTLER.
"Highly satisfactory from every point of view."--_Westminster Budget_.
"The illustrations are uniformly excellent. If art is to be made
popular, this assuredly is the way to do it."--_Pall Mall Gazette_.
"They are clearly and intelligibly written and are just the thing
for the amateur art student."--_Literature_.
"Exquisite little volumes."--_Black and White_.
"Eminently tasteful."--_Globe_.
"A delightful little edition."--_Western Morning News_.
"Exceedingly handy and pretty."--_Outlook_.
* * * * *
Bell's Miniature Series of Great Writers.
A NEW SERIES DEALING WITH THE LIFE AND WORK OF THE GREAT WRITERS
OF ALL COUNTRIES.
UNIFORM WITH THE
Miniature Series of Painters, etc.
_Pott 8vo, Illustrated, cloth, 1s. net; or in limp leather, with
Photogravure Frontispiece, 2s. net._
_Now Ready._
BROWNING. By SIR FRANK T. MARZIALS, C.B.
CHAUCER. By REV. W. TUCKWELL.
COLERIDGE. By DR. GARNETT, C.B.
DEFOE. By A. WHERRY.
DE QUINCEY. By HENRY S. SALT.
DICKENS. By W. TEIGNMOUTH SHORE.
HORACE. By REV. W. TUCKWELL.
JOHNSON. By JOHN DENNIS.
LAMB. By DOUGLAS JERROLD.
MILTON. By DR. WILLIAMSON.
SHAKESPEARE. By ALFRED EWEN.
_In Preparation._
CARLYLE. By PROF. RICHARD JONES, PH.D.
GOLDSMITH. By E. LANG BUCKLAND.
MACAULAY. By DR. GARNETT, C.B.
MOLIERE. By SIR FRANK T. MARZIALS, C.B.
TENNYSON. By DR. WILLIAMSON.
XENOPHON. By E. C. MARCHANT, M.A.
"This charming and artistic little series--the illustrations of
which would be well worth the price asked for each book."--_Academy_.
* * * * *
Bell's Miniature Series of Musicians.
A COMPANION SERIES TO Bell's Miniature Series of Painters.
_Pott 8vo, Illustrated, cloth, 1s. net; or in limp leather,
with Photogravure Frontispiece, 2s. net._
_Now Ready._
BACH. By E. H. THORNE.
BEETHOVEN. By J. S. SHEDLOCK.
BRAHMS. By HERBERT ANTCLIFFE.
CHOPIN. By E. J. OLDMEADOW.
GOUNOD. By HENRY TOLHURST.
HANDEL. By WILLIAM H. CUMMINGS, Mus.D., Principal of the Guildhall
School of Music.
MENDELSSOHN. By VERNON BLACKBURN.
MOZART. By Prof. EBENEZER PROUT, B.A., Mus.D.
ROSSINI. BY W. A. BEVAN.
SCHUMANN. By E. J. OLDMEADOW.
SULLIVAN. By H. SAXE-WYNDHAM, Secretary of the Guildhall School
of Music.
VERDI. By SIGNOR VIZETTI.
WAGNER. By JOHN F. RUNCIMAN.
_In Preparation._
HAYDN. By JOHN F. RUNCIMAN.
SCHUBERT. By WAKELING DRY.
TSCHAIKOVSKI. By E. MARKHAM LEE, M.A., Mus. Doc.
"'Bell's Miniature Series of Musicians' are well known and highly
appreciated as a handy and useful series of concise and critical
biographies."--_St. James's Gazette_.
"These handy little books, in addition to being illustrated,
contain an amazing deal of information."--_Musical Times_.
* * * * *
The York Library.
A NEW SERIES OF REPRINTS ON THIN PAPER.
_Foolscap 8vo, cloth, 2s. net; leather, 3s. net._
_The following volumes are now ready:_
BURNEY'S EVELINA. Edited, with an Introduction and Notes, by ANNIE RAINE
ELLIS.
BURNEY'S CECILIA. Edited by ANNIE RAINE ELLIS. 2 vols.
BURTON'S ANATOMY OF MELANCHOLY. Edited by the REV. A. R. SHILLETO, M.A.,
with Introduction by A. H. BULLEN. 3 vols.
CERVANTES' DON QUIXOTE. MOTTEUX'S Translation, revised. With LOCKHART'S
Life and Notes. 2 vols.
COLERIDGE'S AIDS TO REFLECTION, and the Confessions of an Inquiring
Spirit.
COLERIDGE'S FRIEND. A series of Essays on Morals, Politics, and
Religion.
COLERIDGE'S TABLE TALK AND OMNIANA. Arranged and Edited by T. ASHE, B.A.
DRAPER'S HISTORY OF THE INTELLECTUAL DEVELOPMENT OF EUROPE. 2 vols.
EMERSON'S WORKS. A new edition in 5 volumes, with the Text edited and
collated by GEORGE SAMPSON.
GOETHE'S FAUST. Translated by ANNA SWANWICK, LL.D. Revised edition, with
an Introduction and Bibliography by KARL BREUL, Litt.D., Ph.D.
JAMESON'S SHAKESPEARE'S HEROINES.
LAMB'S ESSAYS. Including the Essays of Elia, Last Essays of Elia, and
Eliana.
* * * * *
The York Library--_continued_.
MARCUS AURELIUS ANTONINUS, THE THOUGHTS OF. Translated by GEORGE LONG,
M.A. With an Essay on Marcus Aurelius by MATTHEW ARNOLD.
MOTLEY'S RISE OF THE DUTCH REPUBLIC. With a Biographical Introduction by
MONCURE D. CONWAY. 3 vols.