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 Another Random Document on
Scribd Without Any Related Topics
 JOHN DONNE

(1573-1631)

25. Poems, | By J. D. | With | Elegies | On The

Authors | Death. | London.| Printed by M. F. for
Iohn Marriot, | and are to be ſold at his ſhop in St.
Dunſtans | Churchyard in Fleet-ſtreet. 1633.

An entry in the Registers of the Stationers' Company shows the book

to have been regularly licensed, though somewhat delayed owing to
the doubts of the censor concerning the Satires and certain of the
Elegies.

"13o Septembris 1632

"John Marriott. Entred for his Copy vnder the handes of Sir Henry
Herbert and both the Wardens a booke of verses and Poems (the
five satires, the first, second, Tenth, Eleaventh and Thirteenth
Elegies being excepted) and these before excepted to be his, when
he bringes lawfull authority ... vjd.

"written by Doctor John Dunn."

But in 1637, after two editions had been published, the poet's son,
who had a somewhat unsavory reputation, addressed a petition to
the Archbishop of Canterbury stating that it had been put forth
"withoute anie leaue or Authoritie," and, as a result, the Archbishop
issued the following order, December 16, 1637.

"I require ye Parties whom this Petition concernes not to meddle any
farther with ye Printing or Selling of any ye pretended workes of ye
late Deane of St. Paules, saue onely such as shall be licensed by
publike authority, and approued by the Petitioner, as they will
answere ye contrary to theyr perill. And this I desire Mr. Deane of ye
Arches to take care."

In view of this discussion, Marriot's note in "The Printer To The

Understanders," which is not found in all copies, and which, since it
is printed on two extra leaves, was evidently an afterthought for late
issues, takes on an added interest. It would be difficult to say
whether his apologies touching on all these matters were actuated
by the noble spirit in which he claims he printed the book, or to
ward off anticipated criticism. One is almost tempted to try and read
between the lines when he exclaims:

"If you looke for an Epiſtle, as you haue before ordinary publications,
I am ſory that I muſt deceive you; but you will not lay it to my
charge, when you shall conſider that this is not ordinary ..., you may
imagine (if it pleaſe you) that I could endeare it unto you, by ſaying,
that importunity drew it on, that had it not beene preſented here, it
would haue come to us beyond the Seas (which perhaps is true
enough,) that my charge and paines in procuring of it hath beene
ſuch, and ſuch. I could adde hereunto a promiſe of more
correctneſſe, or enlargement in the next Edition, if you ſhall in the
meane time content you with this....

"If any man (thinking I ſpeake this to enflame him for the vent of the
Impreſſion) be of another opinion, I ſhall as willingly ſpare his money
as his judgement. I cannot looſe ſo much by him as hee will by
himſelfe. For I ſhall ſatiſfie my ſelfe with the conſcience of well doing,
in making ſo much good common.
"Howſoeuer it may appeare to you, it ſhall ſuffice me to enforme you
that it hath the beſt warrant that can bee, publique authority and
private friends."

The younger Donne's petition is supported by the appearance of the

book itself, which was edited in a very careless fashion, without any
attempt at order or relation. But, on the other hand, as Mr. Edmund
Gosse has pointed out, Marriott and his edition really do seem to
have had the support of the best men among Donne's disciples and
friends: King, Hyde, Thomas Browne, Richard Corbet, Henry
Valentine, Izaak Walton, Thomas Carew, Jasper Mayne, Richard
Brathwaite and Endymion Porter, all of whom, beside several others,
combined to write the Elegies mentioned on the title-page.

The printer, "M. F.," was Miles Flesher, or Fletcher, successor to

George Eld, and one of the twenty master printers who worked
during this most troublous period, following the famous act of July
11, 1637. He also printed for Marriott the second edition of 1635 in
octavo, and the third of 1639, which, in the matter of contents, is
practically the same as the second.

Marriott's first reference in the lines of the "Hexaſtichon Bibliopolæ"

which follows "The Printer To The Understanders,"

"I See in his laſt preach'd, and printed booke,

His Picture in a ſheete; in Pauls I looke,
And ſee his Statue in a ſheete of ſtone,
And ſure his body in the graue hath one:
Thoſe ſheetes preſent him dead, theſe if you buy,
You haue him living to Eternity,"

refers to the portrait engraved by Martin Droeshout, issued with

Death's Duell, in 1632. The whole verse seems to be an apology for
the lack of a portrait in this volume. Donne was abundantly figured
afterward. The Poems, printed in 1635, and again in 1639, contained
his portrait at the age of eighteen, engraved by Marshall; Merian
engraved him at the age of forty-two, for the Sermons of 1640; and
Lombart produced the beautiful head for the Letters of 1651.
Quarto.
Collation: Title, one leaf; A-Z, Aa-Zz, and Aaa-Fff3, in fours.
 SIR THOMAS BROWNE

(1605-1682)

26. Religio, | Medici. | Printed for Andrew Crooke.

1642. Will: Marſhall. ſcu.

This is thought to be the earlier of two anonymous editions

published in the same year, and without the author's sanction, as we
learn from the third edition published in the following year, entitled A
true and full coppy of that which was moſt | imperfectly and
Surreptitiously printed before | under the name of: Religio Medici. In
the preface Browne says over his signature: "... I have at preſent
repreſented into the world a ful and intended copy of that Peece
which was moſt imperfectly and surreptitiouſly publiſhed before." He
repeats the complaint of surreptitious publication in a letter to Sir
Kenelm Digby, in which he begs the latter to delay the publication of
his "Animadversions upon ... the Religio Medici" which "the liberty of
these times committed to the Press."

The chief points of difference between the two surreptitious editions

have been pointed out by Mr. W. A. Greenhill in his facsimile edition
of the book, printed in 1883. The form of some of the capital letters
is occasionally different; the issue which he calls A, and to which our
copy belongs, has pp. 190, the other, B, 159; A has 25 lines to a
page—B, 26; and the lines in A are shorter than those in B. After
comparing these with the authorized version, Mr. Greenhill says:
"It will appear from the above collection of various readings that the
alterations made by the Author in the authorized edition consisted
chiefly in the correction of positive blunders, made (as we know
from an examination of the existing MSS.) quite as often by the
copyist as by the printer. But he also took the opportunity of
modifying various positive and strongly worded propositions by the
substitution of less dogmatic expressions, or the insertion of the
qualifying words, I think, as some will have it, in some sense, upon
some grounds, and the like." "Upon the whole," Mr. Greenhill thinks
Browne "had good reason to complain bitterly that the book was
published, not only without his knowledge and consent, but also in a
"depraved and 'imperfect' form."

The curious coincidence that all three editions, spurious and

authorized, were issued by the same publisher, who used the
engraved title-page by William Marshall for each, only changing the
imprint, gave rise to the hypothesis that, if Sir Thomas did not
authorize, he did not prevent the publication of the early editions. In
fact, Dr. Johnson (though he professes to acquit him) favored the
view "that Browne procured the anonymous publication of the
treatise in order to try its success with the public before openly
acknowledging the authorship."

The effect of the work certainly justified any fears the author may
have had. It excited much controversy and was placed in the Index
Expurgatorius of the Roman Church. But from the publisher's point
of view, it was a great success. Eleven editions appeared during
Browne's lifetime, it was reprinted over and over again, and it
provoked over thirty imitations of its scope or title. It was translated
into Latin, Dutch, French and German.

The emblematic fancy of Marshall has represented on the engraved

title-page of this volume, a hand from the clouds catching a man to
hinder his falling from a rock into the sea. The picture bears the
legend "à coelo salus," which was afterward erased, not, we will
hope, because of lack of faith in the sentiment expressed. The title
was also rubbed out.
Duodecimo.
Collation: Engraved title, one leaf; A-M, in eights.
 EDMUND WALLER

(1606-1687)

27. The | Workes | Of | Edmond VValler | Eſquire, |

[Four lines] Imprimatur | Na. Brent. Decem. 30.
1644. | London, | Printed for Thomas Walkley |
1645.

The "Workes" of this poet "nursed in parliaments" consist of poems

and speeches. The book was probably issued early in the year,
having, as we see from the title-page, been licensed in December,
1644. There are copies identical in every other respect, that show a
block of printer's ornament instead of the "Imprimatur," and still
others with quite a new title-page, which reads: Poems,| &c. |
Written By | Mr. Ed. Waller | of Beckonſfield, Eſquire; lately a |
Member of the Honourable | House of Commons. | All the Lyrick
Poems in this Booke | were ſet by Mr. Henry Lavves Gent. | of the
Kings Chappell, and one of his | Majeſties Private Muſick. | Printed
and Publiſhed according to Order. | London, | Printed by T. W. for
Humphrey Moſley, at the | Princes Armes in Pauls Church- | yard.
1645.

New poems have been added to this last issue, and "The Table" of
contents has been inserted between the poems and speeches. There
is also an Epistle "To my Lady," and "An advertiſement to the
Reader" wherein we read:

"This parcell of exquiſit poems, have paſſ'd up and downe through

many hands amongſt perſons of the beſt quallity, in looſe imperfect
Manuſcripts, and there is lately obtruded to the world an adulterate
Copy, surruptitiouſly and illegally imprinted, to the derogation of the
Author, and the abuſe of the Buyer. But in this booke they apeare in
their pure originalls and true genuine colours."

We may with reasonableness see in the first variation a publisher's

trick to make his book appear to have had a quick sale; while the
second might indicate a transfer of the unsold sheets from Walkley
to Moseley, who for some reason, perhaps an agreement arrived at
with the poet, considered himself to be the authorized publisher.

Later in the same year, Moseley issued a reprint, which omitted the
Speeches, and a new edition in octavo with a title-page which now
reads:

Poems, &c. | Written By | Mr. Ed. Waller | [Three lines] And Printed
by a Copy of | his own hand-writing. | [Four lines] Printed and
Publiſhed according to Order. | London, | Printed by J. N. for Hu.
Moſley, at the Princes | Armes in Pauls Church-yard, | 1645.

The volume has been entirely reprinted.

The Speeches appear again, but the rest of the contents remain as
before. Mr. Beverly Chew, in an article on "The First Edition of
Waller's Poems," says: "It is this edition that is generally called the
'first authorized edition,' but it is quite evident that all of the editions
of this year stand about on the same level so far as the author is
concerned." Not until the edition of 1664 do we read on the title-
page, "Never till now Corrected and Published with the approbation
of the Author."
Octavo.
Collation: Title, one leaf, B-H, in eights.
 FRANCIS BEAUMONT

(1584-1616)

AND

JOHN FLETCHER

(1579-1625)

28. Comedies | And | Tragedies | Written by |

Francis Beaumont | And | Iohn Fletcher |
Gentlemen. | Never printed before, | And now
publiſhed by the Authours | Originall Copies. |
[Quotation] London, | Printed for Humphrey
Robinſon, at the three Pidgeons, and for |
Humphrey Moſeley at the Princes Armes in St
Pauls | Church-yard. 1647.
These two dramatists, between whom "there was a wonderfull
consimility of phancy," and who shared everything in common, were
inseparably connected in their writings. No collected edition of their
plays appeared before this posthumous one, which is dedicated to
Philip, Earl of Pembroke, by ten actors, and is introduced to the
reader by James Shirley, the dramatist, who speaks of the volume as
"without flattery the greatest Monument of the Scene that Time and
Humanity have produced." This, too, notwithstanding the fact that
Shakespeare's Works had appeared twenty-four years before.

This edition appears to have been due to Moseley's enterprise. He

tells us in a frank address called "The Stationer to the Readers":

"'T were vaine to mention the Chargeableneſſe of this VVork; for

thoſe who own'd the Manuſcripts, too well knew their value to make
a cheap eſtimate of any of theſe Pieces, and though another joyn'd
with me in the Purchaſe and Printing, yet the Care & Pains were
wholly mine...."

Commenting upon the fact stated on the title-page that the plays
had not been printed before, he says: "You have here a New Booke;
I can ſpeake it clearely; for of all this large Uolume of Comedies and
Tragedies, not one, till now, was ever printed before...." "And as
here's nothing but what is genuine and Theirs, ſo you will find here
are no Omiſſions; you have not onely All I could get, but all that you
muſt ever expect. For (beſides thoſe which were formerly printed)
there is not any Piece written by theſe Authours, either Joyntly or
Severally, but what are now publiſhed to the VVorld in this Volume.
One only Play I muſt except (for I meane to deale openly) 'tis a
Comedy called the VVilde-gooſe-Chase, which hath beene long
lost...."

Nothing which throws light upon the history of printing at this time is
more interesting than the Postscript added at the end of the
commendatory verses by Waller, Lovelace, Herrick, Ben Jonson and
others, and immediately after a poem by Moseley himself ending, "If
this Booke faile, 'tis time to quit the Trade." ...

"... After the Comedies and Tragedies were wrought off, we were
forced (for expedition) to ſend the Gentlemens Verſes to ſeverall
Printers, which was the occaſion of their different Character; but the
Worke it ſelfe is one continued Letter, which (though very legible) is
none of the biggeſt, becauſe (as much as poſſible) we would leſſen
the Bulke of the Volume."

This matter of size seems to have been the cause of no little

solicitude and care. Speaking of adding more plays to the volume,
he says:

"And indeed it would have rendred the Booke ſo Voluminous, that

Ladies and Gentlewomen would have found it ſcarce manageable,
who in Workes of this nature muſt firſt be remembred."

There are thirty-six plays in the collection: as the stationer tells us in

the preface to the reader quoted above, all those previously printed
in quarto are included, except the Wild Goose Chase, which had
been lost. It is added at the end of the volume with a separate title-
page dated 1652.

The following epigram by Sir Aston Cockain, addressed to the

publishers, the two Humphreys, is not without interest in this
connection as showing that the difficulties arising from the joint
authorship were early sources of perplexity:

"In the large book of Plays you late did print

(In Beaumonts and in Fletchers name) why in't
Did you not juſtice? give to each his due?
For Beaumont (of thoſe many) writ in few:
And Maſſinger in other few; the Main
Being ſole Iſſues of ſweet Fletchers brain.
But how come I (you ask) ſo much to know?
Fletchers chief boſome-friend inform'd me ſo.
 ... ... ... ... ...
For Beaumont's works, & Fletchers ſhould come forth
With all the right belonging to their worth."

Moseley, in his address as stationer, says of the portrait of Fletcher

by William Marshall, which bears the inscriptions, "Poetarum
Ingeniosissimus Ioannes Fletcherus Anglus Episcopi Lond: Fili."
"Obijt 1625 Ætat 49": "This figure of Mr. Fletcher was cut by ſeveral
Originall Pieces, which his friends lent me; but withall they tell me,
that his unimitable Soule did ſhine through his countenance in ſuch
Ayre and Spirit, that the Painters confeſſed it, was not eaſie to
expreſſe him." The nine lines of verse beneath the portrait are by Sir
John Birkenhead. The portrait is found in two states, distinguishable
by the size of the letters in Birkenhead's name. Although he was
very ambitious to get a portrait of Master Beaumont, his search
proved unavailing.

There are a few woodcut head-bands, varied with others made of

type metal, in the front part of the book, but the last part is severely
plain.
Folio. The first collected edition.
Collation: Portrait; A, four leaves; a-c, in fours; d-g, in twos; B-
L2, in fours; Aa-Ss, in fours; Aaa-Xxx, in fours; 4A-4I, in fours;
5A-5X, in fours; 6A-6K, in fours; 6L, six leaves; 7A-7G, in fours;
8A-8C, in fours; *Dddddddd, two leaves; 8D-8F, in fours.
 ROBERT HERRICK

(1591-1674)

29. Hesperides: | Or, | The Works | Both | Humane

& Divine | Of | Robert Herrick Eſq. [Quotation,
Printer's mark] London, | Printed for John
Williams, and Francis Eglesfield, | and are to be
ſold at the Crown and Marygold | in Saint Pauls
Church-yard. 1648.

A volume entitled "The seuerall Poems written by Master Robert

Herrick" was entered by Master Crooke for license April 29, 1640,
but was not published. The Hesperides was the first work of the
poet to be printed, except some occasional contributions to
collections of poems. It is dedicated in a metrical epistle to the most
illustrious and most hopeful Charles, Prince of Wales, afterward
Charles II.

The book is divided into two parts, the second having a separate
title-page which reads: His | Noble Numbers: | Or, | His Pious
Pieces, | Wherein (amongſt other things) | he ſings the Birth of his
Christ: | and ſighs for his Saviours ſuffe- | ring on the Croſſe.|
[Quotation] London. | Printed for John Williams, and Francis
Eglesfield, 1647. |
This part was not issued, as far as is known, except with the
Hesperides to which the author evidently intended it to be affixed, if
we may judge by the lines toward the end of the first part: "Part of
the work remains; one part is past."

The year of publication had seen Herrick dispossessed of his living at

Dean Prior by the predominant Puritan party, and it has been
suggested that he was glad to take this means of gaining an income.
His use of the form, "Robert Herrick, Esquire," was, it is thought, a
wise move on the part of the publishers, since a book by the
"Reverend," or "Robert Herrick, Vicker" would have been less likely
to meet with favor.

Neither Williams nor Eglesfield was a bookseller of importance, and

the printer is entirely unknown. He may have withheld his name for
fear of the judgment suggested by Herrick at the head of his column
of Errata:

"For theſe Tranſgreſsions which thou here doſt ſee,

Condemne the Printer, Reader, and not me;
Who gave him forth good Grain, though he miſtook
The Seed; ſo ſow'd theſe Tares throughout my Book."

Copies vary in the imprint, some reading London, Printed for John
Williams and Francis Eglesfield, and are to be ſold by Tho. Hunt,
Bookſeller in Exon, 1648; and several differences of spelling,
capitalization and punctuation also occur. These variations have
given rise to a discussion that aims to determine the sequence of
issues; but thus far it serves only to prove that constant editorial
tinkering took place at the press-side.

William Marshall, whose prolific graver (Strutt says he used only that
tool) produced portraits, frontispieces, title-pages, and other
decorations of a certain charm, even if dry and cramped in style, had
in Herrick a subject of more than usual difficulty. As if conscious of
his shortcomings he attempts to make atonement by the emblematic
flattery of Pegasus winging his flight from Parnassus, the Spring of
Helicon, loves and flowers, which he adds to lines signed I. H. C.
and W. M.
Octavo.
Collation: Four leaves (without signatures): B-Z and Aa-Cc, in
eights, Aa-Ee, in eights.
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