Gossip in a Library.

by Edmund Gosse.

INTRODUCTORY

It is curious to reflect that the library, in our customary sense, is quite a modern inst.i.tution. Three hundred years ago there were no public libraries in Europe. The Ambrosian, at Milan, dates from 1608; the Bodleian, at Oxford, from 1612. To these Angelo Rocca added his in Rome, in 1620. But private collections of books always existed, and these were the haunts of learning, the little glimmering hearths over which knowledge spread her cold fingers, in the darkest ages of the world. To-day, although national and private munificence has increased the number of public libraries so widely that almost every reader is within reach of books, the private library still flourishes. There are men all through the civilised world to whom a book is a jewel--an individual possession of great price. I have been asked to gossip about my books, for I also am a bibliophile. But when I think of the great collections of fine books, of the libraries of the magnificent, I do not know whether I dare admit any stranger to glance at mine.

The Mayor of Queenborough feels as though he were a very important personage till Royalty drives through his borough without noticing his scarf and his c.o.c.ked hat; and then, for the first time, he observes how small the Queenborough town-hall is. But if one is to gossip about books, it is, perhaps, as well that one should have some limits. I will leave the masters of bibliography to sing of greater matters, and will launch upon no more daring voyage than one _autour de ma pauvre bibliotheque_.

I have heard that the late Mr. Edward Solly, a very pious and worshipful lover of books, under several examples of whose book-plate I have lately reverently placed my own, was so anxious to fly all outward noise that he built himself a library in his garden. I have been told that the books stood there in perfect order, with the rose-spray flapping at the window, and great j.a.panese vases exhaling such odours as most annoy an insect-nostril. The very bees would come to the window, and sniff, and boom indignantly away again. The silence there was perfect. It must have been in such a secluded library that Christian Mentzelius was at work when he heard the male book-worm flap his wings, and crow like a c.o.c.k in calling to his mate. I feel sure that even Mentzelius, a very courageous writer, would hardly pretend that he could hear such a "shadow of all sound" elsewhere. That is the library I should like to have. In my sleep, "where dreams are mult.i.tude," I sometimes fancy that one day I shall have a library in a garden. The phrase seems to contain the whole felicity of man--"a library in a garden!" It sounds like having a castle in Spain, or a sheep-walk in Arcadia, and I suppose that merely to wish for it is to be what indignant journalists call "a faddling hedonist."

In the meanwhile, my books are scattered about in cases in different parts of a double sitting-room, where the cats carouse on one side, and the hurdy-gurdy man girds up his loins on the other. A friend of Boethius had a library lined with slabs of ivory and pale green marble. I like to think of that when I am jealous of Mr. Frederick Locker-Lampson, as the peasant thinks of the White Czar when his master's banqueting hall dazzles him. If I cannot have cabinets of ebony and cedar, I may just as well have plain deal, with common gla.s.s doors to keep the dust out. I detest your Persian apparatus.

It is a curious reflection, that the ordinary private person who collects objects of a modest luxury, has nothing about him so old as his books. If a wave of the rod made everything around him disappear that did not exist a century ago, he would suddenly find himself with one or two sticks of furniture, perhaps, but otherwise alone with his books. Let the work of another century pa.s.s, and certainly nothing but these little brown volumes would be left, so many caskets full of pa.s.sion and tenderness, disappointed ambition, fruitless hope, self-torturing envy, conceit aware, in maddening lucid moments, of its own folly. I think if Mentzelius had been worth his salt, those ears of his, which heard the book-worm crow, might have caught the echo of a sigh from beneath many a pathetic vellum cover. There is something awful to me, of nights, and when I am alone, in thinking of all the souls imprisoned in the ancient books around me. Not one, I suppose, but was ushered into the world with pride and glee, with a flushed cheek and heightened pulse; not one enjoyed a career that in all points justified those ample hopes and flattering promises.

The outward and visible mark of the citizenship of the book-lover is his book-plate. There are many good bibliophiles who abide in the trenches, and never proclaim their loyalty by a book-plate. They are with us, but not of us; they lack the courage of their opinions; they collect with timidity or carelessness; they have no need for the morrow. Such a man is liable to great temptations. He is brought face to face with that enemy of his species, the borrower, and dares not speak with him in the gate. If he had a book-plate he would say, "Oh!

certainly I will lend you this volume, if it has not my book-plate in it; of course, one makes a rule never to lend a book that has." He would say this, and feign to look inside the volume, knowing right well that this safeguard against the borrower is there already.

To have a book-plate gives a collector great serenity and self-confidence. We have laboured in a far more conscientious spirit since we had ours than we did before. A learned poet, Lord De Tabley, wrote a fascinating volume on book-plates, some years ago, with copious ill.u.s.trations. There is not, however, one specimen in his book which I would exchange for mine, the work and the gift of one of the most imaginative of American artists, the late Edwin A. Abbey. It represents a very fine gentleman of about 1610, walking in broad sunlight in a garden, reading a little book of verses. The name is coiled around him, with the motto, _Gravis cantantibus umbra_. I will not presume to translate this tag of an eclogue, and I only venture to mention such an uninteresting matter, that my indulgent readers may have a more vivid notion of what I call my library. Mr. Abbey's fine art is there, always before me, to keep my ideal high.

To possess few books, and those not too rich and rare for daily use, has this advantage, that the possessor can make himself master of them all, can recollect their peculiarities, and often remind himself of their contents. The man that has two or three thousand books can be familiar with them all; he that has thirty thousand can hardly have a speaking acquaintance with more than a few. The more conscientious he is, the more he becomes like Lucian's amateur, who was so much occupied in rubbing the bindings of his books with sandal-wood and saffron, that he had no time left to study the contents. After all, with every due respect paid to "states" and editions and bindings and tall copies, the inside of the volume is really the essential part of it.

The excuses for collecting, however, are more than satire is ready to admit. The first edition represents the author's first thought; in it we read his words as he sent them out to the world in his first heat, with the type he chose, and with such peculiarities of form as he selected to do most justice to his creation. We often discover little individual points in a first edition, which never occur again. And if it be conceded that there is an advantage in reading a book in the form which the author originally designed for it, then all the other refinements of the collector become so many acts of respect paid to this first virgin apparition, touching and suitable homage of cleanness and fit adornment. It is only when this homage becomes mere eye-service, when a book radically unworthy of such dignity is too delicately cultivated, too richly bound, that a poor dilettantism comes in between the reader and what he reads. Indeed, the best of volumes may, in my estimation, be destroyed as a possession by a binding so sumptuous that no fingers dare to open it for perusal. To the feudal splendours of Mr. Cobden-Sanderson, a tenpenny book in a ten-pound binding, I say fie. Perhaps the ideal library, after all, is a small one, where the books are carefully selected and thoughtfully arranged in accordance with one central code of taste, and intended to be respectfully consulted at any moment by the master of their destinies. If fortune made me possessor of one book of excessive value, I should hasten to part with it. In a little working library, to hold a first quarto of _Hamlet_, would be like entertaining a reigning monarch in a small farmhouse at harvesting.

Much has of late been written, however, and pleasantly written, about the collecting and preserving of books. It is not my intention here to add to this department of modern literature. But I shall select from among my volumes some which seem less known in detail to modern readers than they should be, and I shall give brief "retrospective reviews" of these as though they were new discoveries. In other cases, where the personal history of a well-known book seems worth detaching from our critical estimate of it, that shall be the subject of my lucubration. Perhaps it may not be an unwelcome novelty to apply to old books the test we so familiarly apply to new ones. They will bear it well, for in their case there is no temptation to introduce any element of prejudice. Mr. Bludyer himself does not fly into a pa.s.sion over a squat volume published two centuries ago, even when, as in the case of the first edition of Harrington's _Oceana_, there is such a monstrous list of errata that the writer has to tell us, by way of excuse, that a spaniel has been "questing" among his papers.

These scarce and neglected books are full of interesting things.

Voltaire never made a more unfortunate observation than when he said that rare books were worth nothing, since, if they were worth anything, they would not be rare. We know better nowadays; we know how much there is in them which may appeal to only one man here and there, and yet to him with a voice like a clarion. There are books that have lain silent for a century, and then have spoken with the trumpet of a prophecy. We shall disdain nothing; we shall have a little criticism, a little anecdote, a little bibliography; and our old book shall go back to the shelves before it has had time to be tedious in its babbling.

CAMDEN'S "BRITANNIA"

BRITAIN: _or a chorographical description of the most flourishing Kingdomes, England, Scotland and Ireland, and the Ilands adioyning; out of the depth of Antiquitie: beautified with Mappes of the severall Shires of England; Written first in Latine by William Camden, Clarenceux K. of A. Translated newly into English by Philemon Holland.

Londini, Impensis Georgii Bishop & Joannis Norton, M.DC.X_.

There is no more remarkable example of the difference between the readers of our light and hurrying age and those who obeyed "Eliza and our James," than the fact that the book we have before us at this moment, a folio of some eleven hundred pages, adorned, like a fighting elephant, with all the weightiest panoply of learning, was one of the most popular works of its time. It went through six editions, this vast antiquarian itinerary, before the natural demand of the vulgar released it from its Latin austerity; and the t.i.tle-page we have quoted is that of the earliest English edition, specially translated, under the author's eye, by Dr. Philemon Holland, a laborious schoolmaster of Coventry. Once open to the general public, although then at the close of its first quarter of a century, the _Britannia_ flourished with a new lease of life, and continued to bloom, like a literary magnolia, all down the seventeenth century. It Is now as little read as other famous books of uncompromising size. The bookshelves of to-day are not fitted for the reception of these heroic folios, and if we want British antiquities now, we find them in terser form and more accurately, or at least more plausibly, annotated in the writings of later antiquaries. Giant Camden moulders at his cave's mouth, a huge and reverend form seldom disturbed by puny pa.s.sers-by.

But his once popular folio was the life work of a particularly interesting and human person; and without affecting to penetrate to the darkest corners of the cavern, it may be instructive to stand a little while on the threshold.

When this first English edition of the _Britannia_ was published, Camden was one of the most famous of living English writers. For one man of position who had heard of Shakespeare, there would be twenty, at least, who were quite familiar with the claims of the Head-master of Westminster and Clarenceux King-of-Arms. Camden was in his sixtieth year, in 1610; he had enjoyed slow success, violent detraction, and final triumph. His health was poor, but he continued to write history, eager, as he says, to show that "though I have been a studious admirer of venerable antiquity, yet have I not been altogether an incurious spectator of modern occurrences." He stood easily first among the historians of his time; he was respected and adored by the Court and by the Universities, and that his fame might be completed by the chrism of detraction, his popularity was a.s.sured from year to year by the dropping fire of obloquy which the Papists scattered from their secret presses. It had not been without a struggle that Camden had attained this pinnacle; and the _Britannia_ had been his alpenstock.

This first English edition has the special interest of representing Camden's last thoughts. It is nominally a translation of the sixth Latin edition, but it has a good deal of additional matter supplied to Philemon Holland by the author, whereas later English issues containing fresh material are believed to be so far spurious. The _Britannia_ grew with the life of Camden. He tells us that it was when he was a young man of six-and-twenty, lately started on his professional career as second master in Westminster School, that the famous Dutch geographer, Abraham Ortelius, "dealt earnestly with me that I would ill.u.s.trate this isle of Britain." This was no light task to undertake in 1577. The authorities were few, and these in the highest degree occasional or fragmentary. It was not a question of compiling a collection of topographical antiquities. The whole process had to be gone through "from the egg."

As a youth at Oxford, Camden had turned all his best attention to this branch of study, and what the ancients had written about England was intimately known to him. Any one who looks at his book will see that the first 180 pages of the _Britannia_ could be written by a scholar without stirring from his chair at Westminster. But when it came to the minute description of the counties there was nothing for it but personal travel; and accordingly Camden spent what holidays he could s.n.a.t.c.h from his labours as a schoolmaster in making a deliberate survey of the divisions of England. We possess some particulars of one of these journeys, that which occupied 1582, in which he started by Suffolk, through Yorkshire, and returned through Lancashire. He was a very rapid worker, he spared no pains, and in 1586, nine years after Ortelius set him going, his first draft was issued from the press. In later times, and when his accuracy had been cruelly impeached, he set forth his claims to attention with dignity. He said: "I have in no wise neglected such things as are most material to search and sift out the truth. I have attained to some skill of the most ancient British and Anglo-Saxon tongues; I have travelled over all England for the most part, I have conferred with most skilful observers in each county.... I have been diligent in the records of this realm. I have looked into most libraries, registers and memorials of churches, cities and corporations, I have pored upon many an old roll and evidence ... that the honour of verity might in no wise be impeached."

It was no slight task to undertake such a work on such a scale. And when the first Latin edition appeared, it was hailed as a first glory in the diadem of Elizabeth. Specialists in particular counties found that Camden knew more about their little circle than they themselves had taken all their lives to learn. Lombard, the great Kentish antiquary, said that he never knew Kent properly, till he read of it in the _Britannia_. But Camden was not content to rest on his laurels.

Still, year by year, he made his painful journeys through the length and breadth of the land, and still, as new editions were called forth, the book grew from octavo into folio. Suddenly, about twelve years after its first unchallenged appearance, there was issued, like a bolt out of the blue, a very nasty pamphlet, called _Discovery of certain Errors Published in the much-commended Britannia_, which created a fine storm in the antiquarian teapot. This attack was the work of a man who would otherwise be forgotten, Ralph Brooke, the York Herald.

He had formerly been an admirer of Camden's, his "humble friend,"

he called himself; but when Camden was promoted over his head to be Clarenceux King-of-Arms, it seemed to Ralph Brooke that it became his duty to denounce the too successful antiquary as a charlatan. He accordingly fired off the unpleasant little gun already mentioned, and, for the moment, he hit Camden rather hard.

The author of the _Britannia_, to justify his new advancement, had introduced into a fresh edition of his book a good deal of information regarding the descent of barons and other n.o.ble families. This was York Herald's own subject, and he was able to convict Camden of a startling number of negligences, and what he calls "many gross mistakings." The worst part of it was that York Herald had privately pointed out these blunders to Camden, and that the latter had said it was too much trouble to alter them. This, at least, is what the enemy states in his attack, and if this be true, it can hardly be doubled that Camden had sailed too long in fair weather, or that he needed a squall to recall him to the duties of the helm. He answered Brooke, who replied with increased contemptuous tartness. It is admitted that Camden was indiscreet in his manner of reply, and that some genuine holes had been p.r.i.c.ked in his heraldry. But the _Britannia_ lay high out of the reach of fatal pedantic attack, and this little cloud over the reputation of the book pa.s.sed entirely away, and is remembered now only as a curiosity of literature.

In the preface the author quaintly admits that "many have found a defect in this work that maps were not adjoined, which do allure the eyes by pleasant portraitures, ... yet my ability could not compa.s.s it." They must, then, have been added at the last by a generous afterthought, for this book is full of maps. The maritime ones are adorned with ships in full sail, and bold sea-monsters with curly tails; the inland ones are speckled with trees and spires and hillocks. In spite of these old-fashioned oddities, the maps are remarkably accurate. They are signed by John Norden and William Kip, the master map-makers of that reign. The book opens with an account of the first inhabitants of Britain, and their manners and customs; how the Romans fared, and what antiquities they left behind, with copious plates of Roman coins. By degrees we come down, through Saxons and Normans, to that work which was peculiarly Camden's, the topographical antiquarianism. He begins with Cornwall, "that region which, according to the geographers, is the first of all Britain," and then proceeds to what he calls "Denshire" and we Devonshire, a county, as he remarks, "barbarous on either side."

With page 822 he finds himself at the end of his last English county, Northumberland, looking across the Tweed to Berwick, "the strongest hold in all Britain," where it is "no marvel that soldiers without other light do play here all night long at dice, considering the side light that the sunbeams cast all night long." This rather exaggerated statement is evidently that of a man accustomed to look upon Berwick as the northernmost point of his country, as we shall all do, no doubt, when Scotland has secured Home Rule. We are, therefore, not surprised to find Scotland added, in a kind of hurried appendix, in special honour to James I and VI. The introduction to the Scottish section is in a queer tone of banter; Camden knows little and cares less about the "commonwealth of the Scots," and "withall will lightly pa.s.s over it." In point of fact, he gets to Duncansby Head in fifty-two pages, and not without some considerable slips of information. Ireland interests him more, and he finally closes with a sheet of learned gossip about the outlying islands.

The scope of Camden's work did not give Philemon Holland much opportunity for spreading the wings of his style. Anxious to present Camden fairly, the translator is curiously uneven in manner, now stately, now slipshod, weaving melodious sentences, but forgetting to tie them up with a verb. He is commonly too busy with hard facts to be a Euphuist. But here is a pretty and ingenious pa.s.sage about Cambridge, unusually popular in manner, and exceedingly handsome in the mouth of an Oxford man:

"On this side the bridge, where standeth the greater part by far of the City, you have a pleasant sight everywhere to the eye, what of fair streets orderly ranged, what of a number of churches, and of sixteen colleges, sacred mansions of the Muses, wherein a number of great learned men are maintained, and wherein the knowledge of the best arts, and the skill in tongues, so flourish, that they may rightly be counted the fountains of literature, religion and all knowledge whatsoever, who right sweetly bedew and sprinkle, with most wholesome waters, the gardens of the Church and Commonwealth through England. Nor is there wanting anything here, that a man may require in a most flourishing University, were it not that the air is somewhat unhealthful, arising as it doth out of a fenny ground hard by. And yet, peradventure, they that first founded a University in that place, allowed of Plato's judgment. For he, being of a very excellent and strong const.i.tution of body, chose out the Academia, an unwholesome place of Attica, for to study in, and so the superfluous rankness of body which might overlay the mind, might be kept under by the dis-temperature of the place."

The poor scholars in the mouldering garrets of Clare, looking over waste land to the oozy Cam, no doubt wished that their foundress had been less Spartan. Very little of the domestic architecture that Camden admired in Cambridge is now left; and yet probably it and Oxford are the two places of all which he describes that it would give him least trouble to identify if he came to life again three hundred years after the first appearance of his famous _Britannia_.

A MIRROR FOR MAGISTRATES

A MIRROR FOR MAGISTRATES: _being a true Chronicle Historie of the untimely falles of such unfortunate Princes and men of note, as have happened since the first entrance of Brute into this Iland, untill this our latter Age. Newly enlarged with a last part, called_ A WINTER NIGHTS VISION, _being an addition of such Tragedies, especially famous, as are exempted in the former Historie, with a Poem annexed, called_ ENGLAND'S ELIZA. _At London. Imprinted by Felix Kyngston_, 1610.

This huge quarto of 875 pages, all in verse, is the final form, though far from the latest impression, of a poetical miscellany which had been swelling and spreading for nearly sixty years without ever losing its original character. We may obtain some imperfect notion of the _Mirror for Magistrates_ if we imagine a composite poem planned by Sir Walter Scott, and contributed to by Wordsworth and Southey, being still issued, generation after generation, with additions by the youngest versifiers of to-day. The _Mirror for Magistrates_ was conceived when Mary's protomartyrs were burning at Smithfield, and it was not finished until James I. had been on the throne seven years.

From first to last, at least sixteen writers had a finger in this pie, and the youngest of them was not born when the eldest of them died.

It is commonly said, even by such exact critics as the late Dean Church, that the _Mirror for Magistrates_ was planned by the most famous of the poets who took part in its execution, Thomas Sackville, Lord Buckhurst. If a very clever man is combined in any enterprise with people of less prominence, it is ten to one that he gets all the credit of the adventure. But the evidence on this point goes to prove that it was not until the work was well advanced that Sackville contributed to it at all. The inventor of the _Mirror for Magistrates_ seems, rather, to have been George Ferrers, a prominent lawyer and politician, who was master of the King's Pastimes at the very close of Henry VIII.'s reign. Ferrers was ambitious to create a drama in England, and lacked only genius to be the British Aeschylus. The time was not ripe, but he was evidently very anxious to set the world tripping to his goatherd's pipe. He advertised for help in these designs, and the list of persons he wanted is an amusing one; he was willing to engage "a divine, a philosopher, an astronomer, a poet, a physician, an apothecary, a master of requests, a civilian, a clown, two gentlemen ushers, besides jugglers, tumblers, fools, friars, and such others," Fortune sent him, from Oxford, one William Baldwin, who was most of these things, especially divine and poet, and who became Ferrers' confidential factotum. The master and a.s.sistant-master of Pastimes were humming merrily on at their masques and triumphs, when, the King expired. Under Queen Mary, revels might not flourish, but the friendship between Ferrers and Baldwin did not cease. They planned a more doleful but more durable form of entertainment, and the _Mirror for Magistrates_ was started. Those who claim for Sackville the main part of this invention, forget that he is not mentioned as a contributor till what was really the third edition, and that, when the first went to press, he was only eighteen years of age.

Ferrers well comprehended the taste of his age when he conceived the notion of a series of poems, in which famous kings and n.o.bles should describe in their own persons the frailty and instability of worldly prosperity, even in those whom Fortune seems most highly to favour.

One of the most popular books of the preceding century had been Lydgate's version of Boccaccio's poems on the calamities of ill.u.s.trious men, a vast monody in nine books, all harping on that single chord of the universal mutability of fortune. Lydgate's _Fall of Princes_ had, by the time that Mary ascended the throne, existed in popular esteem for a hundred years. Its language and versification were now so antiquated as to be obsolete; it was time that princes should fall to a more modern measure.

The first edition of Baldwin and Ferrers' book went to press early in 1555, but of this edition only one or two fragments exist. It was "hindered by the Lord Chancellor that then was," Stephen Gardiner, and was entirely suppressed. The leaf in the British Museum is closely printed in double columns, and suggests that Baldwin and Ferrers meant to make a huge volume of it. The death of Mary removed the embargo, and before Elizabeth had been Queen for many months, the second (or genuine first) edition of the _Myrroure for Magistrates_ made its appearance, a thin quarto, charmingly printed in two kinds of type.

This contained twenty lives--Haslewood, the only critic who has described this edition, says _nineteen_, but he overlooked Ferrers'

tale of "Humphrey, Duke of Gloucester"--and was the work, so Baldwin tells us, of seven persons besides himself.

The first story in the book, a story which finally appears at p. 276 of the edition before us, recounts the "Fall of Robert Tresilian, Chief Justice of England, and other of his fellows, for misconstruing the laws and expounding them to serve the Prince's affections, Anno 1388." The manner in which this story is presented is a good example of the mode adopted throughout the miscellany. The corrupt judge and his fellow-lawyers appear, as in a mirror, or like personages behind the illuminated sheet at the "Chat Noir," and lamentably recount their woes in chorus. The story of Tresilian was written by Ferrers, but the persons who speak it address his companion:

_Baldwin, we beseech thee with our names to begin_

--which support Baldwin's claim to be looked upon as the editor of the whole book. It is very dreary doggerel, it must be confessed, but no worse than most of the poetry indited in England at that uninspired moment in the national history. A short example--a flower culled from any of these promiscuous thickets--will suffice to give a general notion of the garden. Here is part of the lament of "The Lord Clifford":

_Because my father Lord John Clifford died, Slain at St. Alban's, in his prince's aid, Against the Duke my heart for malice fired, So that I could from wreck no way be stayed, But, to avenge my father's death, a.s.sayed All means I might the Duke of York to annoy, And all his kin and friends for to destroy.

This made me with my b.l.o.o.d.y dagger wound His guiltless son, that never 'gainst me stored; His father's body lying dead on ground To pierce with spear, eke with my cruel sword To part his neck, and with his head to board, Invested with a royal paper crown, From place to place to bear it up and down.

But cruelty can never 'scape the scourge Of shame, of horror, or of sudden death; Repentance self that other sins may purge Doth fly from this, so sore the soul it slayeth; Despair dissolves the tyrant's bitter breath, For sudden vengeance suddenly alights On cruel deeds to quit their b.l.o.o.d.y spites_.

The only contribution to this earliest form of the _Mirror_ which is attributed to an eminent writer, is the "Edward IV" of Skelton, and this is one of the most tuneless of all. It reminds the ear of a whining ballad snuffled out in the street at night by some unhappy minstrel that has got no work to do. As Baldwin professes to quote it from memory, Skelton being then dead, perhaps its versification suffered in his hands.