Are These Things So? & The Great Man's Answer to Are These Things So? (1740)
William Andrews Clark Memorial Library, University of California, Los Angeles, 1972, Wraps, , , Good
Some creases to wrap and remnants of a sticker, some notations to first facs. in pencil, else fine. The Augustan Reprint Society: Publication Number 153. Introduction by Ian Gordon. Two pamphlets from the British Museum reproduced in facsimile: Are these things so? (1740; the Second edition corrected; 164.n.57) and The Great Man's Answer (1740; 11630.h.50). ''The two pamplets reproduced here belong to the fierce heightening in the plamphlet campaign against Robert Walpole that took place at the end of 1740. They represent only two efforts within a brief but furious encounter that gave rise to the publication of no fewer than nine separate poems. On Thursday, 23 October 1740, Thomas Cooper, 'one of te most prolific printers and publishers of the pamphlet literature of the eighteenth century,' published a savage denunciation of Walpole called Are these things so? This panphlet, which took the fictional form of an open letter from Alexander Pope, 'An Englishman in his grotto,' to Robert Walpole, 'A Great Man at Court,' set off a round of verse writing among the party hacks of the day that vividly illustrates the close relationship between literature and politics in the first half of the eighteenth century. Within the space of two months eight further pamphlets direcly related to this pamphlet . . . were published.'' Dead to the world's each Scene of Pomp or Care, / Wrapp'd up in Apathy to all that's there; / My sole Ambitions o'er myself to reign, / My Avarice to make each Hour a Gain; / My Scorn--the Threats of Favours of a Crown, / A prince's Whisper, or a Tyrant's Frown; / My Pride--forgetting and to be forgot; / My Lux'ry--lolling in my peaceful Grot. . .'' from Are these Things So? the Previous Question. From an Englishman in his Grotto, To a Great Man at Court. ''What leave my Country to be lost?--Not I; / The Danger's yet but in imagination, / I hope on seven years more to save the Nation. / In vain you Patriot Oafs pronounce my Fall, / Like the great Laureate, S'Blood I'll stand you all. / What tho' you've made the People loath my Name, / I'll live not on such slender Food as Fame . . .''--from The Great Man's Answer to Are these Things So? in a Dialogue between His Honour and the Englishman in His Grotto.
The Humanities Text Initiative, a unit of the University of Michigan's Digital Library Production Service, has provided online access to full text resources since 1994. The Humanities Text Initiative (HTI) is an umbrella organization for the creation, delivery, and maintenance of electronic texts, as well as a mechanism for furthering the library community's capabilities in the area of online text.
Swann Galleries was founded in 1941 as an auction house specializing in Rare Books. Today they are the largest specialist rare book auctioneers in the world, and our business has expanded to encompass the Visual Arts.
The Bookbindings of Margaret Armstrong, 15 July - 31 October 2002. The Rotunda University of Virginia
Collection Summary Creator: Schoolcraft, Henry Rowe, 1793-1864 Title: Papers of Henry Rowe Schoolcraft 1788-1941 (bulk 1820-1856) Size: 25,000 items; 90 containers plus 1 oversize; 28 linear feet; 69 microfilm reels Repository: Manuscript Division, Library of Congress Abstract: Author, ethnologist, explorer, geologist, glass manufacturer, and Indian agent. Correspondence, journals, articles, books, manuscripts of magazines, poetry, speeches, government reports, Indian vocabularies, maps, drawings, and other papers reflecting Schoolcraft's career as a glass manufacturer, mineralogist on an exploring expedition in the Ozark Mountains, geologist on the Cass expedition to the Northwest Territory, leader of expeditions throughout the Great Lakes region, member of Michigan's legislative council, Indian agent, superintendent of Indian affairs for Michigan, ethnologist, and author of works concerning the Iroquois of New York state and other Indians of North America.
The Library now provides an outline view of encoded finding aids for all Library divisions from its EAD search page. This view using HTML frames is the default option for finding aids on the search page because of the highly contextual nature of these documents, which are best understood when the table of contents is available on-screen at all times. The use of frames also permits large documents to be "chunked", which allows the browser to retrieve only the portion of the finding aid needed at the time. A table of contents list links to a view which displays a navigation frame with individual sections of the finding aid; the sections may be searched and printed separately. This view will load quickly.
THIS EXHIBITION presents Renaissance editions of Dante's Divine Comedy from the John A. Zahm, C.S.C., Dante Collection at the University of Notre Dame, together with selected treasures from The Newberry Library. The Zahm collection ranks among the top Dante collections in North America. Purchased for the most part by Zahm in 1902 from the Italian Dantophile Giulio Acquaticci, the 15th- and 16th- century imprints presented here form the heart of Zahm's collection, which totals nearly 3,000 volumes, including rare editions and critical studies from the Renaissance to the present. The nine incunable editions and nearly complete series of 16th-century imprints featured in this exhibit constitute essential primary sources for both the history of Dante's reception during the Renaissance and the early history of the printed book.
In 1945 the Zamorano Club published The Zamorano 80: A Selection of Distinguished California Books Made by Members of the Zamorano Club. The criterion for inclusion was that a selection above all should be distinguished, and that rarity and importance would be secondary. Yet, over time, it appears that the eighty books selected are both distinguished and important, and a number of them are definitely rare. The Club's goal was to choose those books considered cornerstones of a serious collection of Californiana. The books listed in The Zamorano 80 for the most part have withstood the test of time.
UTEL (the University of Toronto English Library) is the main undergraduate and graduate site for students and faculty of the Department of English. It was created in 1996 with funds from a grant to Prof. Ian Lancashire from the Provost's Information Technology Courseware Development Fund and with support from the Department of English, chaired by Prof. T. H. Adamowski. The prototype UTEL site was set up on the University of Toronto Library Web server in 1993-94 to make available the Department of English teaching anthology Representative Poetry On-line.
The Editorial Freelancers Association is a national, nonprofit, professional organization of self-employed workers in the publishing and communications industries. Members are editors, writers, indexers, proofreaders, researchers, desktop publishers, translators, and others who offer a broad range of skills and specialties.
"The ABS was formed in 1979 and today we have over 1,400 members living throughout the U.S. and in 37 other countries. The ABS issues a bimonthly Magazine and the Journal to disseminate information about the use, care, propagation and beauty of bamboo."
"Woman, the New Factor in Economics." by Rev. Augusta Cooper Bristol. from The Congress of Women: Held in the Woman's Building, World's Columbian Exposition, Chicago, U. S. A., 1893.. Chicago, ILL: Monarch Book Company, 1894. pp. pp. 80-86. at The Celebration of Women Writers, University of Pennsylvania Digital Library
"Rev. Augusta Cooper Bristol is a native of New Hampshire. She was born April 17,1835. Her parents were Otis Cooper and Hannah (Powers) Cooper. In 1866 she married Louis Bristol, a lawyer of Connecticut. She is a woman of big brain, well stored with valuable information, and one of the most graceful and profound writers and speakers of the present day. Her principal literary works are a volume of poems and various published lectures, some of which have been translated into French. She is a member of no special church at present, but in faith is Unitarian, and not infrequently speaks from the pulpit. Her postoffice address is Vineland, N. Y." Augusta Bristol [1835-1910]
19th Century Schoolbooks"The Nietz Old Textbook Collection is one of several well-known collections of 19th Century schoolbooks in the United States. Among the 16,000 volumes are many titles that are rarely held and have not yet been reproduced in microform collections or reprint editions. The collection is used by Pitt faculty and students as well as visiting scholars from other colleges and universities. The ULS received two U.S. Higher Education Act Title IIC grants (1985-1987) to catalog the original collection."
Library of Congress Rare Books and Special Collections: Table of Contents; Introduction (Larry Sullivan Chief, Rare Book and Special Collections Division); American History; American Literature; Europe; Book Arts; The Illustrated Book; List of Selected Special Collections; Concordance of Images (Includes information on how to order copies of the images).
“On this site you will find William Caxton’s two editions of Chaucer’s Canterbury Tales, probably printed in 1476 and 1483. The originals are both in the British Library.”
Another interface at De Montfort University edited by Barbara Bordalejo, Canterbury Tales Project.
Other links to Chaucer.
An Online Repository of Works Printed in English Between the Years 1477 and 1799.
“Renascence Editions is an effort to make available online works printed in English between the years 1477 (when Caxton began printing) and 1799. These texts have been produced with care and attention, but are not represented by the publisher as scholarly editions in the peer-reviewed sense. They are made available to the public for nonprofit purposes only. The publisher and general editor is Richard Bear at the University of Oregon. If you would like to edit a text in this series, send email to the Publisher.”
An excellent report by Maureen Mulvihill of the auction of rare books and manuscripts from the estate of Paula Peyraud
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society. An Auction Report by Maureen E. Mulvihill as published in Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers, prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS, PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008). Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y. 483 Lots (books, manuscripts, images). Sales total: $1.6 million, including premium. Photograph, Margie Van Dyke. Bookplate from Peyraud copy of Frances Burney’s Cecilia, (lot 218, buyer McGill University). Bookplate bears inscribed initials (“FCP - EKP”), being the collector’s grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud, both visual artists (see “Peyraud,” Benezit, vol. 10, 2006 edition).
digital facsimiles of printed and manuscript music. Selected works from the Music Collections are being re-published in digital form in order to provide internet access to the collections of the Royal Library. Both manuscripts and printed music have been included: some are published expressly for printing, others are primarily intended for study. Most of the digitized scores can be seached and browsed in REX, while other materials are grouped in special databases and according to subjects. Questions about the digital music collection may be directed to:
“Throughout his political career Hopkinson wrote poetry and satire on the politically derisive issues of the day. He penned a popular and humorous work on the 1787 Constitutional Convention. He was also an accomplished harpsichordist and composer. His work "My Days Have Been So Wondrous Free," set to the words of Thomas Parnell's "Love and Innocence," is the first extant secular song by a native American composer.”
The John Cage Trust was established in 1993 as a not-for-profit institution whose mission is to gather together, organize, preserve, disseminate, and generally further the work of the late American composer, John Cage. Its founding trustees were Merce Cunningham, Artistic Director of the Cunningham Dance Company, Anne d'Harnoncourt, Director of the Philadelphia Museum, and David Vaughan, Archivist of the Cunningham Dance Foundation, all long-time Cage friends and associates. Laura Kuhn, who from 1986 to 1992 worked directly with John Cage, serves as both a founding trustee and ongoing Executive Director. In 2008, Anne d'Harnoncourt was replaced by Margarete Roeder, long-time gallerist to both Cage and Cunningham; in 2009, Merce Cunningham was replaced by Melissa Harris, editor-in-chief of Aperture.
from The Gate of Angels
From here she could see the light in the Wrayburns’ front room opposite—one light only until Mr Wrayburn got back, but at the Turner’s farm, well set back from the road, every window seemed to blaze, as though they were all keeping it up for some kind of celebration. There were two or three loud shouts from the house and then a creaking and splashing. As a dream repeats itself, Daisy saw a horse and cart coming out of the Turner’s entrance. It might have been the same cart, only it was well-lit now with safety oil lamps. It crossed the road, turned right and pulled up where Daisy stood. There was a woman driving, wrapped up like a parcel in rugs and tarpaulin. She said nothing, so Daisy picked up her bag, wiped her face with the back of her hand, put her foot on the slippery iron pedal, sprang up and edged into the passenger seat. As the cart rocked a little and steadied, the woman said without apparent feeling of any kind, “I’m going to my sister’s at Chesterton, I can’t stand any more of that old Turner tonight.” The horse was evidently unwilling to leave its home as darkness fell. The woman beat it vigorously and it shook its head, throwing off showers of raindrops that glittered in the light of the new headlamp, then started off at a jog trot. It was a slow journey— everything on the road passed them—but not a quiet one. The cart, like a ship at sea, had a pitch as well as a roll, and there was a recurrent screech from a loose spoke on the wheel, along with the creak of the collar and traces and the blowing and rumbling like a deep inner protestation from the horse itself as its feet clocked and clapped in hollow succession on and on. The ride seemed neither short nor long. It was isolated from everyone and everything else on the road by its peaceful, noisy, familiar, monotonous discomfort. Daisy knew by the lamps that they must have got to the Chesterton Road, where she hoped to catch a motor-bus to the station. She had been rocked almost to sleep, but now she turned to the rugs and tarpaulin beside her. “If you’d be kind enough to slow up, I can jump down. It was very good of you to stop for me. I don’t know what I’d have done otherwise.” “You looked as if you’d lost something, that’s why I stopped for you.” Daisy hesitated. “You don’t know who I am.” “Yes, I do,” said Mrs Turner.Penelope Fitzgerald