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.