Portrait of a Black Intellectual: The Life and Letters of Ignatius Sancho

One of the Rare Book Collection’s most interesting chronicles of the African diasporic experience exists not as an autobiography, but as a collection of letters. Originally published in 1782, our two-volume first edition of the Letters of the Late Ignatius Sancho highlights the unique societal influence of a black public intellectual in 18th century England.

The marbled cover of the first volume of "Letters of the Late Ignatius Sancho," 1782 first edition.
Marbled front cover of the first volume, originally published in 1782. CT788.S168 A32 v.1.

When these letters were published by an editor two years after his death, Ignatius Sancho posthumously became the first black Briton to publish correspondence. This was the last in a lifelong record of firsts: Sancho had been the first black Briton to vote in parliament, patronize a white artist, critique art, literature, & poetry, and have an obituary in the British press. He wrote plays, music, essays, and a book, and was well-published in popular serials. Known for his taste level, his creative opinion was sought after by the likes of Laurence Sterne, Matthew and Mary Darly, John Ireland, Daniel Gardner, John Hamilton Mortimer, Joseph Nollekens, and John James Barralet. Much of this status was afforded to him by his high station under the Duke and Duchess of Montagu, as well as his later ownership of a grocery (which afforded him his voting rights). These achievements were especially significant for a former slave, so much so that Abolitionists widely held him as a symbol of the high capacity of the black intellect. A master writer and rhetorician, he used his talents as a tool to gain respect and penetrate social circles previously inaccessible to black men.

The book's frontispiece, Thomas Gainsborough's portrait of Sancho engraved by Bartolozzi. subject Ignatius Sancho sits erect and eyes the distance with a right hand tucked into the bosom of an elaborately trimmed waistcoat.
The frontispiece, Gainsborough’s famed portrait of Sancho, engraved by Bartolozzi. In the painting the waistcoat is a warm vermilion, edged with a delicate gold.

We know that the public held him in high regard because it is indicated in the narrative framing of his Letters. The book begins with a disclaimer that was common in the publications of well-established white figures, but largely absent in those of black writers. The publisher’s note declares, “The editor of these letters [Frances Crewe Phillips] thinks proper to obviate an objection, which she finds has already been suggested, that they were originally written with a view to publication.” University of Maryland professor Vincent Carretta identifies this as an example of “the frequent and usually disingenuous disclaimer by editors of posthumously published correspondence that the letters had not been written with an eye toward publication.” These statements were intended to assert an authenticity of sentiment, countering public suspicions of self-censored and intentionally impressive writing. The fact that Sancho’s letters included such an opening, while equally significant publications by other black writers such as Olaudah Equiano and Frederick Douglass did not, offers us proof of a status and high regard that may otherwise be difficult to fully understand today. It is evidence of an established reputation for wit and artistry that preceded him even in death.

Sancho’s book of letters and other autobiographic black narratives are available in the Rare Book Collection. If you are interested in black experiences in the United States, check out our new exhibit “On the Move: Stories of African American Migration and Mobility,” on display until January 19th, 2020 in the Melba Remig Saltarelli Exhibition Room.

Big, Bigger, Biggest: Wordsworth’s Poetical Works

In the preface to his influential 1879 selected edition of Wordsworth, poet and critic Matthew Arnold set about to do two things for Wordsworth’s legacy. Firstly, he hoped to divide the “really first-rate work” that Wordsworth had produced between the years of 1798 and 1808 from the “mass of inferior work” that clogged and obstructed true appreciation of Wordsworth’s genius. His second aim was to divest the arrangement of Wordsworth’s poems from the idiosyncratic “scheme of mental physiology” that Wordsworth had invented for his 1815 Poems, an arrangement that had been adhered to by Wordsworth’s publishers in all subsequent collected editions of his works.

Arnold’s new arrangement grouped poems together by their form—ballads with ballads, odes with odes, etc. Just a few years later, in 1882, editor William Knight would propose yet another arrangement: chronological. Knight’s Poetical Works of William Wordsworth, unlike Arnold’s selective edition, is expansively comprehensive, running to eleven volumes. In the preface to his edition, Knight writes that he adopted chronology to show “the growth of [Wordsworth’s] mind, the progressive development of his imaginative power”—echoing the subtitle of the Prelude, or Growth of a Poet’s Mind.

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One of the 10 large paper copies printed on Whatman’s Handmade Paper, showing Knight’s textual footnotes. | PR5820 .E82 1882b v.1 c. 3

Knight also acknowledges just how difficult chronological arrangement is for a poet like Wordsworth, who wrote over the course of many decades and revised frequently. Moreover, Wordsworth’s revisions, claims Knight, were not always for the better, and the discerning reader might prefer an earlier state of the text. To ameliorate these issues, Knight included copious footnotes, mapping out the textual history of each poem. He devoted the last three volumes of the set to a detailed biography, which also included several pieces of writing by Wordsworth that had never before been in print. In short, Knight dressed Wordsworth within a scholarly apparatus.

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Size comparison of the largest, large, and standard issues of Knight’s Poetical Works. | PR5850 .E82 1882b v. 1 c. 3, PR5850 .E82 1882b v. 1 c. 2, PR5850 .E82 v. 1
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Frontispiece depicting Wordsworth House, Cockermouth | PR5850 .E82 1882b v. 1 c. 2

Knight’s Poetical Works was issued in three sizes: a “standard” edition standing 23 cm tall, a large paper edition of 27.5 cm, and a largest paper edition of 29 cm. The median large paper edition can additionally be divided into two issues: one with a limitation statement marking it as one of 115 copies “on Large paper,” and a second with a limitation statement specifying one of 25 copies on “Imperial octavo laid paper.” Knight’s edition is further dressed up by a different engraved frontispiece in each volume. In the large and largest paper copies, the frontispieces are printed on fine china paper adhered to heavier stock.

These luxe touches, like Knight’s footnotes and biographical volumes, acknowledge Wordsworth’s position by the 1880s as one of England’s premier poets—a status that, even ten years prior, was not taken for granted.

The Deserted Cottage

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Wiliam Wordsworth, The Deserted Cottage (London and New York: George Routledge & Co., 1859) | PR5858 .A1 1859 c.3

The textual history of Wordsworth’s Excursion, intended as a first installment of his planned magnum opus The Recluse, is astonishingly complicated. The texts that became The Excursion were composed over many years, with portions drafted as early as 1797. These poetic fragments would continue to grow as Wordsworth’s conception of the poem changed over the course of almost twenty years. Furthermore, portions of what would eventually become books 1 and 2, “The Wanderer” and “The Solitary,” had been sometimes referred to under the varying titles “The Ruined Cottage” and “The Pedlar.”

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Routledge’s edition contains illustrations by several well-known Victorian book illustrators, including Birket Foster and John Gilbert. | PR5858 .A1 1859 c. 3

The Excursion first appeared to the public eye in 1814 in a handsome quarto edition, and went through several more editions during his lifetime. Wordsworth continued to revise the poem even after publication, as was his habit throughout his career. “The Wanderer” and “The Solitary” received substantial revisions in 1845, and the newly revised text would see publication, first in a posthumous collected edition by his authorized publisher, Moxon, in 1849 and then in a stand-alone edition in 1857.

 

 

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Routledge issued The Deserted Cottage in several binding styles and colors. The RBC holds seven copies of the work, each in a distinct binding. | PR5858 .A1 1859 c. 6

 

This already complicated history of revision, before and after publication, is further confused by the appearance in 1859 of a volume titled The Deserted Cottage, produced under the imprint of George Routledge and Company. This curious book represented itself in the preface as the fulfillment of a wish by Samuel Taylor Coleridge to see “the first two books of The Excursion … published separately,” though Wordsworth himself seems never to have used the title The Deserted Cottage in reference to the first two books of The Excursion nor did he ever conceive of bringing them into publication separately from the whole.

 

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This dark but vibrant blue was a popular cloth color for Victorian publisher’s bindings. | PR5858 .A1 1859 c. 4

Routledge reproduces the text of the 1814 Excursion, which had come out of copyright in 1858. However, that text was issued before the extensive revisions incorporated in Moxon’s 1857 edition of The Excursion. Whether readers noticed or minded the missing revisions in the text is unknown. Packaged in an array of attractive colors of decorative cloth, and additionally offered in leather with gauffered edges and marbled endpapers, The Deserted Cottage was marketed by Routledge like a gift or prize book. The copies in the RBC’s Wordsworth Collection speak to this history: several contain contemporary gift inscriptions.

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This inscription indicates the book was given as a school prize during the Christmas season. | PR5858 .A1 1859 c. 3

“Wordsworthian Carnage” and Lyric Impressions

Monday evening, Wilson Library celebrated the new rare book exhibition Lyric Impressions: Wordsworth in the Long Nineteenth Century. A viewing and reception were followed by a tour-de-force lecture entitled “Wordsworthian Carnage,” delivered by Professor Duncan Wu of Georgetown University.

Professor Duncan Wu, Elizabeth Ott, and Professor Mark Reed
Professor Duncan Wu, exhibition curator Elizabeth Ott, and Professor Mark Reed | photograph by David Vander Meulen

The cold rain could not keep away over 80 poetry and rare book enthusiasts, who enjoyed the enlightening display of 140 items, curated by Elizabeth Ott from the RBC’s Wordsworth Collection and related holdings. The exhibition examines Wordsworth’s writing within the context of world events spanning over a century, from the years of the French Revolution to the First World War. The multiple editions and issues of Wordsworth’s poetry also demonstrate the remarkable changes in book production during that period, as technology and literary markets developed at an unprecedented pace. In 2010 Mark L. Reed, III, Lineburger Professor Emeritus in the Humanities, tripled the size of the Wordsworth Collection with a gift of 1,700 volumes, making such an exploration possible. And so, Monday evening was also an occasion to honor Professor Reed and his extraordinary generosity, which has helped UNC become a leading repository for print editions of the British Romantics.

Taylor Johnson and Emily Kader at the exhibition
Taylor Johnson (UNC SILS student) and Emily Kader (Rare Book Research Librarian) at the exhibition | photograph by Anna Morton

Professor Wu took as the subject for his lecture a notable line in William Wordsworth’s “Thanksgiving Ode,” which was written for a general day of thanksgiving in Britain just a little over 200 years ago, January 18, 1816. That commemoration of the Battle of Waterloo brought forth Wordsworth’s complex thoughts and feelings about the decisive world event. His poem, which failed to find critical acclaim in general, became best known instead for one verse in particular: “Yea, Carnage is thy daughter.” In a presentation worthy of London’s West End as well as the halls of academe, Professor Wu investigated the significance of those words through passages from other writers—including Percy Shelley, Lord Byron, and William Hazlitt. Faculty, friends, and staff, as well as UNC students past and present, all left energized by Professor Wu’s dramatic performance, its scholarly sweep, and the power of poetry.

Anna Morton, Catherine Payling, Duncan Wu, Elizabeth Ott, Bruce Graver, Mark Reed, Margaret Graver, Claudia Funke, David Vander Meulen
Anna Morton, Rare Book Collection Assistant (UNC B.F.A. 2013); Catherine Payling; Duncan Wu; Elizabeth Ott, Assistant Curator of Rare Books; Bruce Graver, Professor of English, Providence College (UNC Ph.D. 1984); Mark Reed; Margaret Graver, Professor of Classics, Dartmouth College (UNC B.A. 1982); Claudia Funke, Curator of Rare Books; David Vander Meulen | photograph by Doris Vander Meulen

In the after-festivities, David Vander Meulen, Professor of English at the University of Virginia, presented the Rare Book Collection with an unusual copy of the 1879 Poems of Wordsworth, edited by Matthew Arnold. Reed’s comprehensive collecting culminated in 2013 with an exemplary scholarly resource: A Bibliography of William Wordsworth 1787-1930, published by Cambridge University Press. Professor Vander Meulen, editor of the distinguished journal Studies in Bibliography, recognized the 1879 volume as an unrecorded variant of A163 in Reed’s bibliography. As he noted, “several features do not appear to match the descriptions of the first printing: Spine. The imprint reads simply  ‘Macmillan’ (as in issue 1), but Arnold’s name is absent  (as in issue 2); First gathering. Leaf π1, ordinarily containing the Golden Treasury Series device and the epigraph, is not present. (But the book does have the tissue guard facing the title page, which is on ‘moderately stiff paper’).” Professor Reed observed that the binding seemed to represent a state between his bibliography’s first and second bindings, “a very exciting discovery.”

Professor Vander Meulen spoke for Studies in Bibliography colleague Elizabeth Lynch and himself: “The gift above all is to show respect for Mark’s magnum opus and labor of love, the Wordsworth bibliography.  It is a remarkable accomplishment, characterized by uncommon thoroughness, accuracy, and understanding. . . . The donation also signals gratitude in a more personal way.  We remain appreciative and indebted to Mark’s article in Studies in Bibliography on the title pages of Lyrical Ballads.  It’s a model that I provide to students in my bibliography class every year.”

Mark Reed’s collecting began almost fifty years ago with the acquisition of a copy of Lyrical Ballads, and it is fair to say that this most recent thoughtful addition to the Wordsworth Collection won’t be the last. With such a formidable establishment, UNC is committed to the continued growth of its Wordsworth Collection as well as its allied British Romantic holdings.

A catalog of Lyric Impressions is being published and will be available through UNC Press. Look forward to an announcement on our blog.

Mark Reed's copy of Lyrical Ballads, which began his comprehensive collecting of Wordsworth editions up to 1930 | PR5869 L9 c.1
Mark Reed’s copy of Lyrical Ballads, which began his comprehensive collecting of Wordsworth editions up to 1930 | PR5869 L9 c.1
The most recent addition to UNC's Wordsworth Collection, a heretofore unknown variant of Reed A163, gift of David Vander Meulen in honor of Mark Reed
The most recent addition to UNC’s Wordsworth Collection, a heretofore unknown variant of the first edition first printing of Reed A163, gift of David Vander Meulen and Elizabeth Lynch in honor of Mark Reed. The Lady Brooks of the ownership label on the cover may be the wife of the longest-serving governor of Victoria, Australia, General Sir Reginald Alexander Dallas Brooks.

 

 

 

Mark Reed gives considered regard to the latest addition to the Wordsworth Collection
Mark Reed gives considered regard to the latest – but not the last –  addition to the Wordsworth Collection | photograph by Margaret Graver

Wordsworth’s Romantic Circle: Robert Southey

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William Wordsworth, Sacred to the Memory of Robert Southey [England: 1843] | PR5869 .S23 1843
The enduring fame of Wordsworth’s collaboration with Samuel Taylor Coleridge on  Lyrical Ballads has ensured that Wordsworth’s friendship with Coleridge is a well-known aspect of his biography. In fact, it was just one of many important literary and artistic friendships that helped to shape Wordsworth’s Romantic circle. Of particular note is Wordsworth’s lengthy friendship with fellow Laker Robert Southey, England’s poet laureate from 1813 to his death in 1843.

Wordsworth met Southey and Coleridge in 1795, a time when all three poets were caught up in republican sentiment. Wordsworth’s initial friendship with Southey was not without setbacks: notably, Southey’s less-than generous review of Lyrical Ballads. Wordsworth was offended at the idea that the review might hurt sales of the book—a matter that concerned him greatly as a struggling poet. Writing to printer Joseph Cottle in 1799, Wordsworth exclaimed:

“Southey’s review I have seen. He knew that I published those poems for money and money alone. He knew that money was of importance to me. If he could not conscientiously have spoken differently of the volume, he ought to have declined the task of reviewing it.

The bulk of the poems he has described as destitute of merit. Am I recompensed for this by vague praises of my talents? I care little for the praise of any other professional critic, but as it may help me to pudding…”

Nevertheless, Southey would grow to be a close associate of Wordsworth, especially after he moved to Keswick in the Lake District in 1802. Neighborly association promoted renewed affections. In 1805, when Wordsworth’s older brother John passed away, Southey wrote to console him:

“I scarcely know what to say to you after this thunderstroke–nor whether I ought to say anything. Only–whenever you feel or fancy yourself in a state to derive any advantage from company–I will come over to you–or do you come here. It has been my custom when in affliction to force myself to mental exertion, a difficult thing, but possible,–but it made my sleep dreadful.–for grief, as far as it is a bodily feeling, like disease will have its course.”

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The RBC copy of the lithograph broadside, printed for the subscribers, has manuscript annotations in the hand of Mary Wordsworth, wife of the poet, supplying the final two lines of the poem, left off of this printing. Additional manuscript along the bottom, torn edge is also in Mary Wordsworth’s hand, and indicates the broadside may have originally been much taller. | William Wordsworth, Sacred to the Memory of Robert Southey (Keswick: I. Ivison, ca. 1844) | PR5869 .S23 1844

At Southey’s own death in 1843, Southey’s friends, including Wordsworth, undertook a project to erect a memorial tablet at Crosthwaite Church. Subscribers were solicited to fund the project and Wordsworth was asked to write an inscription. Each subscriber would receive a lithographed broadside depicting the tablet as a memorial. Additionally, the inscription, titled “Sacred to the Memory of Robert Southey,” was set in letterpress to be sold as an additional fund-raising effort. The fund-raising proved so successful that the tablet was upgraded to a monument: a marble effigy of Southey lying recumbent on a raised platform.

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Former owner Mary Ann Brenchly sewed this keepsake printing of Wordsworth’s inscription into the back of a Lake District guide book along with blank pages for her notes and observations.
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In the interior of the bifolium, Brenchly added her notes on visiting the Southey monument along with a sketch.

In addition to the letterpress and lithograph broadsides printed in 1843 and 1844, Wordsworth’s inscription was later reproduced by an unknown printer as a small bifolium, probably as a keepsake or souvenir for tourists visiting the Lake District and Crosthwaite Church. The only known surviving witness to this version of the poem is sewn into a guidebook to the Lake District, now in the RBC, formerly owned by Mary Ann Brenchly of Wanlass How, Ambleside. Brenchly visited Crosthwaite Church some time after 1848 and recorded her observations on the monument on the blank sides of the bifolium, along with two pages of additional notes on her travels tipped in using straight pins.

 

 

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Mary Ann Brenchly’s guidebook | Handbook to the English Lakes: with Map and Engravings (Kendal: Hamilton & Co., 1847) | PR5869 .S33 1844

Wordsworth in the 1790s

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In 1790, Wordsworth undertook a walking tour of the Alps, carrying him through Revolutionary France | William Wordsworth, Descriptive Sketches (London: J. Johnson, 1793) | PR5869 .D47 1793

One of the most difficult tasks in mounting exhibitions is the sometimes nerve-wracking choice of what to include and what to edit out. “Kill your darlings,” as Faulkner would have it in writing fiction, is just as apt when choosing which six or seven books and objects will stand in as evidence of a rich and complicated historical narrative. These decisions were particularly difficult for Lyric Impressions: Wordsworth in the Long Nineteenth Century—the rare book exhibition that opened at Wilson Library on January 20th.  Clocking in at more than 2,000 volumes, The William Wordsworth Collection is so vast that one exhibition could never do justice to the whole. To remedy that reality, we’ll be undertaking a series of blog posts to explore Wordsworth publications that didn’t make it past the cutting room floor. Each post will expand on the major themes of the exhibition. In this post, we’ll explore Wordsworth’s productive and turbulent development in the decade of the 1790s by considering his first published books: An Evening Walk and Descriptive Sketches (1793).

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After publishing An Evening Walk in 1793, Wordsworth continued to revise the poem. It appears under the heading “Poems Referring to the Period of Childhood” in his 1815 Poems. | William Wordsworth, An Evening Walk (London: J. Johnson, 1793) | PR5856 .A1 1793

By the time he published Lyrical Ballads in 1798, Wordsworth had developed a distinctive poetic voice, one he conceived of as a departure from the studied, high-flown style popular for much of the eighteenth century. In An Evening Walk and Descriptive Sketches, composed between 1787 and 1792, this poetic voice was still nascent; in both poems, Wordsworth relies on earlier poetic models, such as Thomson’s The Seasons (1730) and Milton’s Paradise Lost (1667). The poems’ allusive qualities were not lost on his contemporary audience, whose mixed critical reception of the works drew attention to their derivative qualities. Neither were they lost on Wordsworth himself, who later wrote that he found them to be “juvenile productions, inflated and obscure,” nevertheless, they contained “many new images and vigorous lines….”

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The 1793 An Evening Walk is a loco-descriptive poem; later revisions incorporated more narrative and dramatic material.

Sales of An Evening Walk and Descriptive Sketches were not robust. While it is unknown how many copies were issued in the initial print run, the audience of the two works appears to have been small. Wordsworth commented in 1801 that “Johnson [his publisher] has told some of my Friends who have called for them, that they were out of print: this must be a mistake. Unless he has sent them to the Trunk-maker’s they must be lying in some corner of his Warehouse, for I have reason to believe that they never sold much.” Whether or not the unsold copies were indeed scrapped for paper waste, today copies of the first editions are relatively scarce.

Aside from offering a window on Wordsworth’s developing poetic voice, An Evening Walk and Descriptive Sketches are important works juxtaposed with Wordsworth’s politically charged poetry of the same period. In the 1780s and 90s, Wordsworth was also composing more explicitly radical poems, such as “Salisbury Plain,” and “Letter to the Bishop Llandaff.” An Evening Walk and Descriptive Sketches both follow a tradition of loco-descriptive verse, where the poet’s reaction to an evocative landscape or monument triggers a philosophic and aesthetic experience. They do not, as some of his other poems of the 1790s do, explicitly confront the incendiary political issues of his youth. Though Wordsworth’s political attitudes are not wholly absent from his published verse, his unpublished (or largely unpublished) poetry is more direct and, at times, inflammatory.

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Descriptive Sketches contains allusions to the upheaval in France, though expression of its political sentiments are oblique and have been the subject of much scholarly debate.

Wordsworth’s radical discontent in the 1790s reflected the mood of the country. At the beginning of the decade, economic disparity had reached alarming levels. Radical sentiment, spurred by the rhetoric of the American Revolution and the ideals of the French Revolution, circulated widely. But 1793 would prove to be a decisive turning point, as the British Government enacted a series of increasingly draconian measures designed to stamp out radical dissent, among them the Treason Trials and the suspension of habeas corpus in 1794 and the so-called “Gagging Acts”—the Treason Act and Seditious Meetings Act—in 1795. The government actively sought out radical agitators and their associates—including Wordsworth and Coleridge, who were purportedly investigated by a government spy in 1796.

An Evening Walk and Descriptive Sketches anticipate Wordsworth’s poetic trajectory toward philosophic verse and also the turning political tide in England. By the close of the 1790s, Wordsworth’s idealistic radicalism had matured and changed, though he would maintain an active interest in political and current events throughout his life.

Purchases at the Pirie Sale

Thomas Browne, A True and Full Copy of that which Was Most Imperfectly and Surreptitiously Printed Before under the Name of Religio Medici (London: For Andrew Crooke, 1643)
Thomas Browne, A True and Full Coppy of that which Was Most Imperfectly and Surreptitiously Printed Before under the Name of Religio Medici (London: For Andrew Crooke, 1643) | William A. Whitaker Fund

The rare book world is filled with talk about the recent sale of the library of late collector Robert S. Pirie. UNC Professor Emeritus Mark L. Reed, III, recalls Pirie as a classmate at Harvard many decades ago, in William Jackson’s bibliography course. Reed was a graduate student in English literature, and Pirie was the only undergraduate in the class. Mark Reed went on to teach at UNC and become a leading Wordsworth scholar, bibliographer, and collector. (His Wordsworth collection, the basis for his 2013 bibliography, now resides at UNC.) And Pirie went on to a career as an attorney and investment banker and to form “what will always be considered one of the finest libraries of English literature of not just our time, but of all time,” as the Sotheby’s sale catalog states.

Pirie’s collection was mostly sixteenth- and seventeenth-century English literature, and the RBC acquired three books from it that fit nicely with faculty research and existing holdings. Serendipitously, Mark Reed is among the members of the Whitaker Fund Committee, which approved these purchases.

First among the three works is the rare first authorized edition of Religio Medici, which supports the scholarship of UNC Professor Reid Barbour. Professor Barbour writes about its significance:

“When it was first published in the 1640s, Sir Thomas Browne’s Religio Medici made an immediate and a powerful impact on readers throughout Europe. Readers of a wide spectrum of confessional identities celebrated it for its peaceful form of Christianity but others roundly condemned it as atheistic. Over the course of nearly a decade, Browne had transformed the work on several occasions, in keeping with his conviction that his authorial self was subject to change. But the first authorized edition, published in 1643, was Browne’s final attempt to reshape those prose meditations on God, nature, and humanity that were causing such a stir after the work’s extensive manuscript circulation and unauthorized publication in 1642.

“The 1643 edition plays a central part in the new Oxford University Press edition of Religio Medici, edited by Brooke Conti of Cleveland State University and me,” Barbour continues. “UNC’s acquisition of a copy of this edition will enable me to conduct careful and extensive analysis of the book’s physical properties, from its famous frontispiece image of a man tumbling from a steep cliff only to be rescued by the hand of God, to its paper stock, watermarks, and textual variants.”

Other works acquired at the sale are The Crowne of All Homers Worckes Batrachomyomachia or the Battaile of Froges and Mise. His Hymn’s—and—Epigrams Translated According to the Originall. By George Chapman. (London, 1624?) and Elkanah Settle’s The Empress of Morocco. A Tragedy with Sculptures. As It Is Acted at the Duke’s Theatre (London, 1673).

Elkanah Settle, The Empress of Morocco (London, 1673)
Elkanah Settle, The Empress of Morocco (London, 1673) | William A. Whitaker Fund

The Crowne of All Homers Worckes completes The Whole Works of Homer, . . . Translated According to the Greeke by Geo. Chapman (London, 1616), already in the RBC (PA4025.A1 C45). This acquisition sustains the interests of UNC Professor Jessica Wolfe, who has recently published Homer and the Question of Strife from Erasmus to Hobbes (Toronto, 2015).

The Settle will surely be a valuable resource for UNC’s dramatic programs. The RBC has six other works by Settle, an important playwright of his period. The Empress of Morocco distinguishes itself by being the first English drama to be so extensively illustrated.

Commemorating Waterloo

Today marks the 200th anniversary of the Battle of Waterloo, the battle in which Napoleon was at last decisively defeated. Now remembered primarily as a conflict between England and France, the Battle of Waterloo took place south of Brussels in present-day Belgium and included armies from Prussia, Austria, Hanover, Nassau, the Duchy of Brunswick, and England. This Seventh Coalition formed expressly to defeat Napoleon after his return to power during the Hundred Days following his exile on Elba. The Battle of Waterloo ended Napoleon’s rule and two decades of war across the continent of Europe. A precursor to the World Wars of the twentieth century, the Napoleonic Wars brought issues of imperialism and nationalism to the fore, inaugurating modern warfare as they changed the face of Europe.

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“View from Mont St. Jean at the Battle of Waterloo,” from Thomas Hartwell Horne, An Illustrated Record of Important Events in the Annals of Europe, During the Last Four Years… (London, 1816) | D308 H81 1817

The Battle of Waterloo is also significant in its immediate incorporation into popular imagination. Only days after news of the victory reached British soil, the battle was already being heralded as one of the most important events in history. Commemoration of the battle began within weeks, bolstered by eye-witness accounts from returning soldiers–many more of whom were literate than had ever been the case in previous wars.

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M. De Beauchamp, An Authentic Narrative of the Campaign of 1815… (London, 1815) | Hoyt 235

Accounts of the battle took advantage of modern media. Portraits of the generals and principle agents of the battle appeared frequently, creating a cult of celebrity around the Duke of Wellington and Napoleon in particular. Maps, memorials, charts, and dramatic scenes all sought to deliver to the British reader an authentic experience of the battle and its particulars.

Literary reactions to the battle also abounded. Newspapers and journals of the day printed patriotic poetry affirming Britain’s supremacy in the wake of the victory. Leading writers, regardless of their political affiliations, joined the chorus. Sir Walter Scott was among the first to try his hand. His highly publicized Field of Waterloo figured itself as a philanthropic gesture; the proceeds were to fund relief efforts for returning soldiers.

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John Booth, The Battle of Waterloo… (London, 1815) | Hoyt 237
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Walter Scott, The Field of Waterloo (Edinburgh, 1815) | PR3513 F5 c.2

William Wordsworth, long troubled by the threat to European culture and history represented by the chaotic ruin of Napoleon’s campaign, published an ambitious Pindaric ode titled Thanksgiving Ode, January 18, 1916 to commemorate the battle–an effort that met with mixed reviews due to his reluctance to praise the Duke of Wellington, whom he was known to dislike.

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A sonnet included with the first publication of Thanksgiving Ode | William Wordsworth, Thanksgiving Ode, January 18, 1816 (London, 1816) | PR5869 .T43 1816

Robert Southey’s contribution, The Poet’s Pilgrimage to Waterloo, participated in the emerging tourist culture that surrounded Waterloo and other sites of the wars. Southey’s visitation to the scene of the battle provides a template for the literary traveller, who can follow in the poet’s footsteps on a pilgrimage of his own. That Southey’s poem was used as a kind of guide book is apparent in the Rare Book Collection’s copy, which is bound together with an actual travel guide to Belgium, published in the same year.

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Robert Southey, The Poet’s Pilgrimage to Waterloo (London, 1816) | PR5464 P6 1816
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The Battle of Waterloo… (Manchester, 1816) | Hoyt 368

The primacy of the battle did not fade as the nineteenth century wore on. It remained a watershed moment in the British cultural consciousness. Eye-witness accounts of the battle continued to emerge throughout mid-century, including Fanny Burney’s posthumously published narrative in her Diary and Letters of Madame d’Arblay (1842) and Robert Gleig’s popular Story of the Battle of Waterloo (1848). William Makepeace Thackeray’s fictionalized version of the battle provided emotional crisis for the heroine of his much-read novel Vanity Fair (1847).

Models and panoramas of the battle provided another avenue for commemoration. Panorama paintings first began to appear in the 1780s but gained wide popularity during the nineteenth century as a pre-cinematic immersive experience for those who could not afford to travel to historic sites. Guides, prints, pamphlets, and other ephemeral publications produced in conjunction with panorama displays can help us recreate the space of the panorama, if not the experience.

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Great National Panorama of the Battle of Waterloo, Painted by Chevalier Philip Fleisher (London, 18–) | Hoyt 1147

Patrons interested in learning more about the history of Waterloo may consult the Rare Book Collection’s Hoyt Collection of French History. The collection includes over 5,000 valuable books and documents related to the French Revolution and the Napoleonic Wars.

April 1968

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McClure, Michael. Grahhr April grharrr April, [Buffalo: Gallery Upstairs Press, 1968] | PS3563.A262 G72 1968
Rough winds may shake the darling buds of May, but the rumbling grahhr of April is what gets us shaking in the Rare Book Collection. We offer for your consideration this broadside from the Beats Collection. The poem is one of several written and performed by controversial Beat poet Michael McClure during the mid-1960s to feature prominent onomonopiac transliterations of beastly speech. Much of McClure’s poetry explores the animistic meatiness of human bodies, abandoning social codes in favor of raw experience.

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Detail from McClure, Michael. Grahhr April grharrr April, [Buffalo: Gallery Upstairs Press, 1968] | PS3563.A262 G72 1968

The poem’s aggressive juxtaposition of elements of vitality and mortality echo the tumultuous events of April, 1968, a watershed month in the history of the United States that saw the assassination of Martin Luther King, Jr., the signing of the Civil Rights Act of 1968, and mounting public protests against the Vietnam War.

Large in format (54 x 73 cm), the broadside arranges McClure’s poem symmetrically along a vertical axis, mirroring words and punctuation. The bright, calligraphic red script draws the eye to the visual arrangement of words, distracting from their syntactic meaning. In the background is a stock image of a lion in blue. Blown large and grainy, the lion confronts the reader with his animal and his printed presence, simultaneously an icon of nature and of manufacture.

McClure was well known for his public readings—Kerouac’s Dharma Bums includes a fictionalized account of his performance at the 1955 San Francisco Six Gallery. Those interested in hearing this poem vocalized are encouraged to consult the catalog for a 1968 recording on vinyl where McClure appears alongside fellow Beats Allen Ginsburg, Lew Welch, and Aram Saroyan, amongst others. McClure also recorded a filmed version in 1966 where he reads the poem aloud to a cage of lions.

120th Anniversary of Robert Louis Stevenson’s Untimely Death

Arthur Johnstone, Recollections of Robert Louis Stevenson in the Pacific (London, 1905) / PR5495 .J6) / Presented by Carl W. Gottschalk and Susan K. Fellner
Frontispiece in Arthur Johnstone, Recollections of Robert Louis Stevenson in the Pacific (London, 1905) / PR5495 .J6 / Presented by Carl W. Gottschalk and Susan K. Fellner

Today marks 120 years since the passing of the great Scottish writer Robert Louis Stevenson in 1894. The author of such classics as Treasure Island and The Strange Case of Dr. Jekyll and Mr. Hyde, Stevenson was only 44 years old when he died in the Samoan Islands of a mysterious sudden illness. Though he lived a short life, Stevenson’s writings revived the Romantic movement in his time and continue to inspire wonder in readers today.

The Rare Book Collection at the University of North Carolina at Chapel Hill is fortunate to have a large number of works by and about Robert Louis Stevenson. Many of these fine and rare volumes were generously gifted by renowned doctor and book collector Carl W. Gottschalk and his wife Susan K. Fellner. Dr. Fellner is a research professor in UNC’s Department of Cell and Molecular Physiology. The late Dr. Gottschalk was Kenan professor and distinguished research professor of medicine and physiology at UNC and an eminent expert on the kidney. His stellar library of rare books on the human kidney came to the RBC following his death in 1997.

Stevenson is best known for his prose, but he also published several works of poetry. One highlight from the Gottschalk gift is an elegant edition of children’s poetry (below). A Child’s Garden of Verses was originally published in 1885 by Longmans of London after a trial book had appeared the same year with the title Penny Whistles. It was subsequently re-editoned many times due to the popularity of its over 60 short poems.

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Robert Louis Stevenson, A Child’s Garden of Verses (London, 1896) / PR5489 .C5 1896 / Presented by Carl W. Gottschalk and Susan K. Fellner

The RBC’s 1896 edition of A Child’s Garden of Verses was published by John Lane of London in a lovely green binding with gilt decoration to the spine and covers. It features 100 illustrations by the prolific English illustrator Charles Robinson. A Child’s Garden of Verses was the first full work that he illustrated. This edition was so popular that it demanded several additional printings.

Of all the poems in A Child’s Garden of Verses, one seems to capture the essence of Stevenson’s writing better than all the others: The Land of Story-books.

PR5489_.C5_1896_p93At evening when the lamp is lit,
Around the fire my parents sit;
They sit at home and talk and sing,
And do not play at anything.

Now, with my little gun, I crawl
All in the dark along the wall,
And follow round the forest track
Away behind the sofa back.

There, in the night, where none can spy,
All in my hunter’s camp I lie,
And play at books that I have read
Till it is time to go to bed.

These are the hills, these are the woods,
These are my starry solitudes;
And there the river by whose brink
The roaring lions come to drink.

 

I see the others far away
As if in firelit camp they lay,
And I, like to an Indian scout,
Around their party prowled about.

So, when my nurse comes in for me,
Home I return across the sea,
And go to bed with backward looks
At my dear land of Story-books.

Whether young or old, one cannot help falling in love with Stevenson’s tales. Possibly what makes Stevenson’s writing so beloved is its timeless ability to tap into the imaginations of readers. Stevenson’s fiction comes alive in the minds of those who close their eyes with childlike wonder and allow themselves to be transported to the worlds where pirates bury treasure and monsters lurk in the night.