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)
68. Childe Harold's Pilgrimage. | A Romaunt. | By | Lord Byron |
[Quotation] London: | Printed For John Murray, 32, Fleet-Street; |
William Blackwood, Edinburgh; And John Cumming, Dublin. | By Thomas
Davison, White-Friars. | 1812.
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)
69. Pride | And | Prejudice: | A Novel. | In Three Volumes. | By The
| Author Of "Sense And Sensibility." | Vol. I. | London: | Printed For
T. Egerton, | Military Library, Whitehall. | 1813.
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)
70. Christabel: | Kubla Khan, | A Vision; | The Pains Of Sleep. | By
| S. T. Coleridge, Esq. | London: | Printed for John Murray,
Albemarle-Street, | By William Bulmer And Co. Cleveland-Row, | St.
James's. | 1816.
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)
71. Ivanhoe; | A Romance. | By "The Author Of Waverley," &c. |
[Quotation] In Three Volumes. | Vol. I. | Edinburgh: | Printed For
Archibald Constable And Co. Edinburgh: | And Hurst, Robinson, And Co.
90, Cheapside, London. | 1820.
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)
72. Lamia, | Isabella, | The Eve Of St. Agnes, | And | Other Poems.
| By John Keats, | Author Of Endymion. | London: | Printed For Taylor
And Hessey, | Fleet-Street. | 1820.
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)
73. Adonais | An Elegy On The Death Of John Keats, | Author Of
Endymion, Hyperion Etc. | By | Percy. B. Shelley | [Quotation] Pisa |
With The Types Of Didot | MDCCCXXI.
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.