Curiosities of Literature (Vol. 1-3). Disraeli Isaac

good and solid reasons at the first dash. I am for discourses that give the first charge into the heart of the doubt; his languish about the subject, and delay our expectation. Those are proper for the schools, for the bar, and for the pulpit, where we have leisure to nod, and may awake a quarter of an hour after, time enough to find again the thread of the discourse. It is necessary to speak after this manner to judges, whom a man has a design, right or wrong, to incline to favour his cause; to children and common people, to whom a man must say all he can. I would not have an author make it his business to render me attentive; or that he should cry out fifty times O yes! as the clerks and heralds do.

      "As to Cicero, I am of the common opinion that, learning excepted, he had no great natural parts. He was a good citizen, of an affable nature, as all fat heavy men—(gras et gausseurs are the words in the original, meaning perhaps broad jokers, for Cicero was not fat)—such as he was, usually are; but given to ease, and had a mighty share of vanity and ambition. Neither do I know how to excuse him for thinking his poetry fit to be published. 'Tis no great imperfection to write ill verses; but it is an imperfection not to be able to judge how unworthy bad verses were of the glory of his name. For what concerns his eloquence, that is totally out of comparison, and I believe will never be equalled."

      PREFACES.

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      A preface, being the entrance to a book, should invite by its beauty. An elegant porch announces the splendour of the interior. I have observed that ordinary readers skip over these little elaborate compositions. The ladies consider them as so many pages lost, which might better be employed in the addition of a picturesque scene, or a tender letter to their novels. For my part I always gather amusement from a preface, be it awkwardly or skilfully written; for dulness, or impertinence, may raise a laugh for a page or two. A preface is frequently a superior composition to the work itself: for, long before the days of Johnson, it had been a custom for many authors to solicit for this department of their work the ornamental contribution of a man of genius. Cicero tells his friend Atticus, that he had a volume of prefaces or introductions always ready by him to be used as circumstances required. These must have been like our periodical essays. A good preface is as essential to put the reader into good humour, as a good prologue is to a play, or a fine symphony to an opera, containing something analogous to the work itself; so that we may feel its want as a desire not elsewhere to be gratified. The Italians call the preface La salsa del libra, the sauce of the book, and if well seasoned it creates an appetite in the reader to devour the book itself. A preface badly composed prejudices the reader against the work. Authors are not equally fortunate in these little introductions; some can compose volumes more skilfully than prefaces, and others can finish a preface who could never be capable of finishing a book.

      On a very elegant preface prefixed to an ill-written book, it was observed that they ought never to have come together; but a sarcastic wit remarked that he considered such marriages were allowable, for they were not of kin.

      In prefaces an affected haughtiness or an affected humility are alike despicable. There is a deficient dignity in Robertson's; but the haughtiness is now to our purpose. This is called by the French, "la morgue littéraire," the surly pomposity of literature. It is sometimes used by writers who have succeeded in their first work, while the failure of their subsequent productions appears to have given them a literary hypochondriasm. Dr. Armstrong, after his classical poem, never shook hands cordially with the public for not relishing his barren labours. In the preface to his lively "Sketches" he tells us, "he could give them much bolder strokes as well as more delicate touches, but that he dreads the danger of writing too well, and feels the value of his own labour too sensibly to bestow it upon the mobility." This is pure milk compared to the gall in the preface to his poems. There he tells us, "that at last he has taken the trouble to collect them! What he has destroyed would, probably enough, have been better received by the great majority of readers. But he has always most heartily despised their opinion." These prefaces remind one of the prologi galeati, prefaces with a helmet! as St. Jerome entitles the one to his Version of the Scriptures. These armed prefaces were formerly very common in the age of literary controversy; for half the business of an author consisted then, either in replying, or anticipating a reply, to the attacks of his opponent.

      Prefaces ought to be dated; as these become, after a series of editions, leading and useful circumstances in literary history.

      Fuller with quaint humour observes on Indexes—"An Index is a necessary implement, and no impediment of a book, except in the same sense wherein the carriages of an army are termed Impedimenta. Without this, a large author is but a labyrinth without a clue to direct the reader therein. I confess there is a lazy kind of learning which is only Indical; when scholars (like adders which only bite the horse's heels) nibble but at the tables, which are calces librorum, neglecting the body of the book. But though the idle deserve no crutches (let not a staff be used by them, but on them), pity it is the weary should be denied the benefit thereof, and industrious scholars prohibited the accommodation of an index, most used by those who most pretend to contemn it."

      EARLY PRINTING.

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      There is some probability that this art originated in China, where it was practised long before it was known in Europe. Some European traveller might have imported the hint.30 That the Romans did not practise the art of printing cannot but excite our astonishment, since they actually used it, unconscious of their rich possession. I have seen Roman stereotypes, or immoveable printing types, with which they stamped their pottery.31 How in daily practising the art, though confined to this object, it did not occur to so ingenious a people to print their literary works, is not easily to be accounted for. Did the wise and grave senate dread those inconveniences which attend its indiscriminate use? Or perhaps they did not care to deprive so large a body of scribes of their business. Not a hint of the art itself appears in their writings.

      When first the art of printing was discovered, they only made use of one side of a leaf; they had not yet found out the expedient of impressing the other. Afterwards they thought of pasting the blank sides, which made them appear like one leaf. Their blocks were made of soft woods, and their letters were carved; but frequently breaking, the expense and trouble of carving and gluing new letters suggested our moveable types which, have produced an almost miraculous celerity in this art. The modern stereotype, consisting of entire pages in solid blocks of metal, and, not being liable to break like the soft wood at first used, has been profitably employed for works which require to be frequently reprinted. Printing in carved blocks of wood must have greatly retarded the progress of universal knowledge: for one set of types could only have produced one work, whereas it now serves for hundreds.

      When their editions were intended to be curious, they omitted to print the initial letter of a chapter: they left that blank space to be painted or illuminated, to the fancy of the purchaser. Several ancient volumes of these early times have been found where these letters are wanting, as they neglected to have them painted.

      The initial carved letter, which is generally a fine wood-cut, among our printed books, is evidently a remains or imitation of these ornaments.32 Among the very earliest books printed, which were religious, the Poor Man's Bible has wooden cuts in a coarse style, without the least shadowing or crossing of strokes, and these they inelegantly daubed over with broad colours, which they termed illuminating, and sold at a cheap rate to those who could not afford to purchase costly missals elegantly written and painted on vellum. Specimens of these rude efforts of illuminated prints may be seen in Strutt's Dictionary of Engravers. The Bodleian library possesses the originals.33

      In the productions of early printing may be distinguished the various splendid editions of Primers, or Prayer-books. These were embellished with cuts finished in a most elegant taste: many of them were grotesque or obscene. In one of them an angel is represented crowning the Virgin