A fine piece of early Americana and a very fine gift

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HE KAINE DIATHEKE, NOVUM TESTAMENTUM
Wigorniae, Massachusettensi: excudebat Isaias Thomas, Jun, 1800
Editio Prima Americana

This is the first American printing of the Greek New Testament, considered a milestone in American printing history.

Isaiah Thomas’ printing shop was dubbed “the sedition factory,” during the American Revolution. Thomas moved his press from Boston across the Charles River to Worcester in order to avoid confiscation by British troupes. His press reassembled, Thomas remained in Worcester for the rest of his life, printing the first reports of the battles of Lexington and Concord (“Americans! – – – Liberty or Death! – – – Join or Die!”) and continuing to print until he sold his business in 1802.

Isaiah Thomas was born in Boston in 1749. Thomas was apprenticed to a printer, at the age of six, after the death of his father. He stayed for ten years, then broke his bond and headed to London, much as Benjamin Franklin had done earlier. Thomas got as far as Nova Scotia, where he stayed to print a newspaper. After six months, he was sent packing because of his anti-Stamp Act actions. After another foray, this time to the south, Thomas returned to Boston to set up his own newspaper, The Massachusetts Spy. At the same time, he began what would become a lucrative printing business, which included an almanac and the Royal American Magazine, in 1774.

After the war for independence was won, Thomas built his press into an enterprise that included a bindery, a paper mill and bookstores from Vermont to Maryland. In 1773, he established the first press in Newburyport, Massachusetts, at the request of some of its citizens. He printed books on medicine, music, history, and literature; and printed spellers, dictionaries, and bibles. Caleb Alexander (1755-1828), a graduate of Yale University, worked with Thomas as editor for his first American editions of Virgil and other works in Greek, including He kaine diatheke. Alexander based his edition on a 1707 Oxford edition by English scholar John Mill (1645-1707).

Thomas retired around 1802, about two years after his printing of He kaine diatheke. He spent the rest of his life collecting printed American works – books, pamphlets, broadsides, almanacs, and newspapers. He used these as primary sources for his History of Printing in America, published in 1810. He donated his collection to the American Antiquarian Society, an institution he organized in order to provide a home for print material from early American history.


This is the most recent of numerous gifts throughout the years from Dr. Ronald Rubin, a collector, like Isaiah Thomas, of early Americana and a very fine friend of Rare Books. Thank you, Dr. Rubin!

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Book of the Week — Color for the Letterpress

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“The simplest color relationship…still requires understanding of the color characteristics…that is, hue, value, intensity and temperature, etc.”
–James Trissel

COLOR FOR THE LETTERPRESS
James Trissel
Colorado Springs: The Press at Colorado College, 1987
NE1850 T75 1987

Twenty unnumbered, unbound folded leaves issued in plastic and wooden cases. Edition of seventy-five copies, signed by the author. University of Utah copy is no. 11.

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On this day, 1798 Independent Chronicle

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“In every country whatever, he who violates a woman is a monster.”

The Independent Chronicle and Universal Advertiser
Nathaniel Willis, publisher
Boston, MA: Powars and Willis, 1776
v. 30: no. 1852 (1798: Dec. 17-20)
AN2 A2 I49

Miscellany

—————–

For The Chronicle

To the virtuous Females in the United States

“In every country whatever, he who violates a woman is a monster”

-Buonaparte to his soldiers

This exalted sentiment must endear the immortal Buonaparte to every female throughout the world – more particularly to the virtuous part of that sex in America, whose accomplishments have exalted them to the highest elevation, in every circle wherein delicacy and refinement are estimated.—While this Hero is engaged in the arduous services of the Camp, he is not unmindful of those duties, which as a man and a citizen he is bound to discharge. With what indignation must this amiable sex in America, hear the invectives heaped on the Armies of France, and the praises bestowed on those of Britain? In what instance, did a British General guard his Soldiery against such horrid practices?—While a Burgoyne was spreading the alarm of havoc, and destruction through every cottage in the interior; while he was painting the distressing scene of savages let loose upon our frontiers; While the frantic mother, was clasping her disconsolate daughter to her bosom, and the bloody tomahawk was anticipated as uplifted to fever them in their affectionate embrace. While the premeditated carnage was promulgated in the sanguinary proclamation of this British commander—at this important period, my fair countrywoman, how did your bosoms throb with convulsions at the dreadful issue of his progress! Your Habitations destroyed! Your Parents massacred, and yourselves the Victims of the brutal lust of an unprincipled Soldiery.— These were your fears while the Army of Burgoyne were making inroads into your country.—These were your apprehensions while the troops of England were moving with hostile menaces towards the Cottages of Saratoga.

How different was the conduct of the British Generals in America, to that of Buonaparte in Egypt! Instead of exciting the Soldiery to burn Towns and Cities—instead inflaming their passions to trespass on the sanctity of female virtue—instead of alarming the anxious feelings of the tender mother, or, causing the timid bosom of a virtuous daughter to palpitate with terrific apprehensions: The magnanimous Buonaparte, no less displays the martial energy of a Soldier, than the tender sensibility of a guardian. Amid his anxious cares as a general, he is not inattentive to the kind of pattronage of a protector. Amid the shouts of a victorious Army, he proclaims in accents more sonorous than their huzzas, “that WHOEVER VIOLATES A WOMAN IS A MONSTER.”—In this noble and generous sentiment he unites the Camp of Mars, with the Temple of Venus. His cannon became the bow and his shot the arrows of Cupid.

While contemplating the highly esteemed reputation of Buonaparte, as it respects his honor, fidelity and attachment to the fair sex, we cannot but contrast it with the character of one, whose military appointment has led to many eulogiums in case a War should commence between France and America. While Buonaparte is anxious for the tranquility of the Egyptian Women, the American Hero has even blasted the happiness of a virtuous Wife and Children, by publicly revealing his detestable deeds.—Compare my fair Citizens the two characters—and in every circle where you hear of Bounaparte, remember the man, who wickedly committed the Crime, and then sacrificed the tender feelings of his Family, by furnishing a document of the fact, which the sensibility of a Husband and a Parent ought ever to revolt at!—Can this man, at the head of his Army, ever use the language of Buonaparte? If he should, his own blushes, would penetrate with that firey pungency, as to occasion an explosion of the whole magazines within his camp. For the man who is capable of violating the confidence of a woman, must be destitute of every principle which secures her protection.

The generous sentiment of Buonaparte must even assure him the affectional attachment of the Ladies:– And they must reprobate those, who, in their hearing should speak disrespectfully of the conqueror of Tyrants, and the protector of Women.

Let the delicate pen of Philenia resound the praises of a Buonaparte: On this topic may her poetic sublimity become equally as immortalized as the fame of the Conqueror of Italy. While contemplating the exalted theme, every female breast must beat with rapturous transports, and every voice join in reiterated plaudits, in celebrating the Virtues of the Man, who declares amid the ravage of a Camp, that “WHOEVER VIOLATES A WOMAN IS A MONSTER.”

These are thy trophies immortal Buonaparte! Should you even fail in the conquest of India, your declaration on the borders of Egypt, will enrich your memory beyond the most sumptuous acquisitions of the Earth.

A REPUBLICAN.

Rare Books issues of the Independent Chronicle and Universal Advertiser gift of Dr. Ronald Rubin.

On Jon’s Desk: Snow and Snow Flowers, poetry for a snowy winter’s day

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“It’s warm there, you cook yourself something, drink wine
and look out of the window at your friend eternity.”
– Vladimir Holan, Snow

Title: Snow

Author: Vladimir Holan

Printed: Canticle Press, with permission from Penguin Books Ltd., 1971

Edition of 100 copies

Translation: Jarmila and Ian Milner, 1971

Call Number: Z232.5 C3 H65

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Title: Snow Flowers

Author: Sandra Hoben

Printed: Canticle Press, for the Westigan Review, 1979

Printer: Lorraine Ferra

Edition of 75; University of Utah’s copy is number 50.

Call Number: Z232.5 C3 H63

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“Under the cloud cover,
sky and snow swirl together
without shadow,
I give into the speed.”
– Sandra Hoben, Snow Flowers

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“I build a snow fort
under the apple tree,
with bridges and canopies.”
– Sandra Hoben, The Snow Fort

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Snow has finally fallen at the University of Utah, kicking off the ’16-17 winter season. With temperatures in the teens and twenties, we need something to warm our hearts. Which is why we went in search of these amazing poems. So grab a blanket and let these poems, beautifully printed by Canticle Press, warm you up while you look out the window as the snow falls.

For more information about Vladimir Holan, visit this page:

http://mypoeticside.com/poets/vladimir-holan-poems#block-gallery-poet

Sandra Hoben’s poems have appeared in magazines and anthologies, including Alaska Quarterly Review, Antioch Review, Estero, Field, How Much Earth: The Fresno Poets, Ironwood, Partisan Review, Quarterly West, Tangled Vines, Three Rivers Poetry Journal, and Western Humanities Review, and in a chapbook, Snow Flowers from Westigan Press. She has taught at World College West, University of Utah, and in California and Utah Poets-in-the-Schools programs. Born in Waterbury, Connecticut, she inherited her wanderlust from her great-grandmother, Mary Murphy, who had traveled from Dublin to New England, but who was never able to make it all the way to Los Angeles.

http://www.speechlessthemagazine.org/take4.htm

Lorraine Ferra was born and raised in Vallejo, California, a seaport on the east side of the San Francisco Bay. At the age of nineteen, Lorraine’s mother died of cancer. This loss left her directionless, overturning her desire to become a newspaper columnist and leading her to the decision to enter the convent. She was a nun for seven years, majoring in theology and education and eventually teaching in Catholic schools. After leaving the convent, she was offered a position as curriculum director in the Salt Lake City Diocese. While living in Salt Lake, she pursued seminars in modern and contemporary poetry and creative writing under the directorship of the poet, Robert Mezey, at the University of Utah. She was accepted to the Utah Arts Council’s Poets-in-the-Schools program and was awarded a Utah Arts Council Award in Literature.

-Contributed by Jon Bingham, Rare Books Curator

Book of the Week — A Grammar of Color

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“The sense of comfort is the outcome of balance, while marked unbalance immediately urges a corrective. That this approximate balance is desirable may be shown by reference to our behavior, as to temperatures, quality of smoothness and roughness, degrees of light and dark, proportion of work and rest. One special application of this quality is balance which underlies beautiful color.”
— A. H. Munsell

“The three dimensions of color are not involved in the mysteries of higher mathematics. There is nothing about them which should not be as readily comprehended by the average reader as the three dimensions of a box, or any other form which can be felt or seen. We have been unaccustomed to regarding color with any sense of order and it is this fact, rather than any complexity inherent in the idea itself, which will be the source of whatever difficulty may be encountered by the reader, who faces this conception of color for the first time.”
— T. M. Cleland

A GRAMMAR OF COLOR. ARRANGEMENTS OF…
Thomas Maitland Cleland (1880-1964)
Mittineague, MA: The Strathmore Paper Co., 1921
QC495 C7 1921

Thomas Cleland wrote and designed this manual of color, funded by the Strathmore Paper Company. He suggested nearly endless options, good and bad, for printing various colored inks onto colored papers. Twenty-six paper samples from Strathmore were provided in a separate envelope at the back of the book for experimentation. Soon after publication of this book Cleland became the art director for Fortune Magazine. Cleland’s text, with diagrams, explains the dynamics of the color system developed by theorist Alfred H. Munsell, who introduces Cleland’s essay. Munsell died just before the publication of the book.

A. H. Munsell devoted his life perfecting his Munsell System of Color. This is the first presentation of his system to the printing, advertising and paper trade. Nineteen folding color-printed specimens demonstrate color combinations.

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Arthur S. Allen selected and arranged the color sheets.

Two plates engraved by artist and type designer Rudolph Ruzicka (1883-1978) depict balanced and unbalanced color schemes. Born in the Czech Republic, Ruzicka worked as a consultant to Mergenthaler Linotype Company for fifty years. He contributed illustrations to books published by the Grolier Club, Lakeside Press, and Overbrook Press. He collaborated with D. B. Updike on the design of several books for Merrymount Press.

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Book of the Week — De coloribus libellus

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“Those colours are simple which belong to the elements, fire, air, water and earth. For air and water are naturally white in themselves, while fire and the sun are golden. The earth is also naturally white, but seems coloured because it is dyed. This becomes clear when we consider ashes; for they become white when the moisture which caused their dyeing is burned out of them; but not completely so, for they are also dyed by smoke, which is black. In the same way sand becomes golden, because the fiery red and black tints the water. The colour black belongs to the elements of things while they are undergoing a transformation of their nature. But the other colours are evidently due to mixture, when they are blended with each other. For darkness follows when light fails. — Loeb Classical Library translation

DE COLORIBUS LIBELLVS A SIMONE PORTIO…
Pseudo Aristotele (384 BC – 322 BC)
Florentinae: ex officina Laurentii Torrentini, 1548
Editio princips

This is perhaps the earliest work on color theory, attributed to Aristotle, who took his ideas from Empedocles and went a step further, creating a base line occupied by seven colors. Aristotle’s base line was applied to all color-systems up to the time of Isaac Newton. His assumption was to represent colors as actual characteristics of the surface of bodies and not as subjective phenomena produced by the eye or in the brain as a result of the properties of light. Aristotle observed colors very accurately, as well as their contrasts. He noted, for instance, that the violet appearing on white wool appeared different when on black wool and that colors appeared different in daylight than in candlelight. Only much later were these phenomena systematically examined and explained.

This edition was translated and edited with extensive scholarly commentary by Simone Porzio (1497-1554), a Neapolitan philosopher and scientist who was a fanatical disciple of Pomponazzi. Porzio eventually gave up lecturing on medicine at Piza and his scientific studies to focus on studying philosophy. Porzio denied immortality in all forms and taught that the human soul is homogeneous with the soul of animals and plants.

Binding is old vellum with a red leather lettering piece.

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A Fulbright Scholar Returns Bearing Gifts

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Rich in imagery and fantastical in nature, La Trama Celeste by Adolfo Bioy Casares and Para Las Seis Cuerdas by Jorge Luis Borges are the two newest additions to the Rare Books Latin American collection.

Every country has a history – that is certain. If we are too young to know our history through life and experience, textbooks can only try to educate us a little further. Unfortunately, the academic rhetoric of such books distances us from the very roots of history, the emotional and personal connections between a country and its citizens where the story of a culture is revealed. This story can only be found within the language of literature.

Recently, I was looking for the story of Argentina. As I walked along the sidewalks of the capital city in the interior province of Córdoba, the modern roads and upscale storefronts clashed with the colonial architecture of the popular Jesuit churches. It was the Jesuit Order which founded the oldest university in the country, and gave Córdoba city the nickname, “The Learned One.”

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In order for me to learn more about this country, I had to explore the hidden nooks and crannies which veered off main roads. These quiet alleyways acted as a personal time machine and led me even further into the history of Argentina, into old bookstores covered in dust and filled with the smell of lingering memories and dreams.

My presence in the small bookstore on Avenida 9 de Julio was initially ignored, much like many of the old photographs and postcards that had been lost or forgotten. I lingered quietly in between the stacks of books for a while, before I decided to formally introduce myself to the two old men drinking mate at the counter.

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“Hola, soy de los Estados Unidos y trabajo con la biblioteca de la Universidad de Utah, en el departmento de los libros raros. Me interesa encontrar primeras ediciones de Borges y Bioy Casares. Pueden ayudarme?”

My newly acquired Argentine accent complimented my foreign mystique, and led the owner to realize that I wasn’t merely a tourist passing by. His eyes opened wide and he smiled, directing me to sit in a dusty chair and wait. Espera. I settled in to the soft, velvet cushions, excited by the all the fragile pages of the venerable books around me. That excitement I felt was elevated to extremes when the owner returned with a dozen or more first edition books and set them in front of the chair. Para vos, he said, for you.

One such book was La Trama Celeste by Buenos Aires writer, Adolfo Bioy Casares.

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La Trama Celeste
Adolfo Bioy Casares
Buenos Aires: Sur, 1948
First Edition

In Memory of Paulina:
I always wanted Paulina. In one of my first memories, Paulina and I are hidden in a dark gazebo of laurels, in a garden with two stone lions. Paulina said to me: I like the blue, I like the grapes, I like the ice, I like the roses, I like the white horses. I understood that my happiness had begun, because in these preferences I could identify myself with Paulina. It seemed so miraculous to us that in a book about the final meeting of the souls in the soul of the world, my friend wrote in the margin: Ours already met. “Ours” at that time, meant hers and mine.

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Translated into English as The Celestial Plot, this collection of short stories was first published in December 1948. By this time, Bioy Casares had already made a name for himself with the release of his novella The Invention of Morel (1940). In addition to his renowned literary works, his fame was elevated by his longstanding friendship with the Argentina’s literary hero, Jorge Luis Borges.

While both working with Sur magazine in the early 1930’s, the two writers met and before long transformed their friendship into a series of collaborative works, often published under the name of H. Bustos Domecq. Over the years, Bioy Casares and Borges, among others, worked to develop the growing genre of philosophical literature in Latin America, sometimes vaguely defined as Magic Realism, connecting dreams and reality through mazes, mirrors and memories, while consistently begging the question of identity.

Within an elite circle of intellectuals, the famous fantastical writers might have seemed impervious to the desolate reality of political, economic and social decline outside the walls of the publishing house. However, it was never too far from reach. Between the lines of their collected literary works the influence of their country’s politics can easily be seen.

In Borges’ collection of poetry Para Las Seis Cuerdas (For the Six Strings) the history of Argentina is depicted in a series of 11 milongas, folkloric songs written in the style of the famous Argentine tango.

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Para Las Seis Cuerdas
Jorge Luis Borges
Illustrated by Héctor Basaldúa
Buenos Aires, Emecé Editores, 1965
First Edition
Edition of 3,000

Someone Speaks of the Tango
Tango that I have seen dancing
Against a yellow sunset
By those who were able
Of another dance, that of the knife.

Tango from that Maldonado
With less water than mud;
Tango whistling in passing
From the side of the car.

Carefree and loose,
You always looked straight ahead,
Tango you were the one
To be a man and to be brave.

Tango you were happy,
Like I have been as well,
According to my memory,
Which is a little forgetful.

Since that yesterday, how many things
Have happened to us both;
The games and the regret
To love and not be loved.

I will have died and you will continue
Bordering our life;
Buenos Aires does not forget you
Tango that you were and will be

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The tango is just one of the cultural phenomena written within Argentina’s diverse history, a history which asks all those who are part of it, or wish to study it, to participate in a continuous conversation. This conversation must include many countries, cultures and languages. Unlike common textbooks, the language of literature provides us with the key to get the very core of history and culture. Unlike textbooks, literature helps define solidarity and shows us how similar we truly are.

Contributed by Lyuba Basin, Rare Books Assistant and graduate student in World Languages and Culture at the University of Utah, who also provided the translations.

Editor’s note: Welcome home, Lyuba and thank you for your gifts!

Road Trip! — Center for Western Studies, Augustana University

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Rare Books is pleased to announce the use of one of our Karl Bodmer aquatints as an image for an installation at the Center for Western Studies, Augustana University, Sioux Falls, South Dakota.

The image is part of an installation spanning three rooms. The Rare Books Bodmer image is in a section of the exhibit that discusses Lewis and Clark’s experiences with the Lakota and, in particular, the claim Joseph DeSomet Lewis that Meriwether Lewis was his father.

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Rare Books thanks Matthew Brunsvik, Marriott Library Digital Operations Coordinator, for his help.

Let’s go!

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We recommend — Mother Goose Refigured

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cover art by Matt Saunders

cover art by Matt Saunders

“…its no surprise
If the wolf takes many a prize.
I say the wolf because not all wolves are the same.
There are those of courteous fame,
No noise or bile or rage,
But reserved, compliant, and sage,
Who will trail a girl well bred
All the way home, into her bed.
Ah! But as everyone knows, it’s the saccharine tongues,
Of all the wolves, who are the most dangerous ones.”
— Charles Perrault, “The Little Red Tippet”
—- translation by Christine Jones

Mother Goose Refigured: A Critical Translation of Charles Perrault’s Fairy Tales
Christine A. Jones
Detroit: Wayne State University Press, 2016

University of Utah Associate Professor Christine Jones is a specialist of seventeenth- and eighteenth-century France, with interests in the luxury trades and the fairy tale. She is the author of Shapely Bodies: The image of Porcelain in Eighteenth-Century France, as well as numerous articles on trade history. With folklore scholar Jennifer Schacker, she coedited Marvelous Transformations: An Anthology of Fairy Tales and Contemporary Critical Perspectives and Feathers, Paws, Fins, and Claws: Fairy-Tale Beasts.

Her work as a scholar and a teacher has been recognized with numerous honors and awards, including The University Distinguished Teaching Award (2014) and the Honors-Humanities Professorship (2015). For the Honors-Humanities Professorship Lecture she spoke to a packed house about “When Chocolate was Magic and Medicine.” She has introduced numerous undergraduate and graduate students to the enchantment of working with rare books and Rare Books.

We celebrate the publication of Christine’s latest book with an invitation to hold some of the rare magic for yourself by visiting Special Collections.

Tales of Mother Goose: the dedication manuscript of 1695 reproduced in collotype facsimile, Pierpont Morgan Library, 1956 Z115Z P43

Tales of Mother Goose: the dedication manuscript of 1695 reproduced in collotype facsimile, Pierpont Morgan Library, 1956
Z115Z P43

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“Cinderella is not a singular but plural, not a stable identity but a constantly shifting one. She is made of so many different versions of identity layered up in printed, oral, and visual media that she might be called a ‘palimpsest.'” — from the Introduction, Mother Goose Revisited

Possible Squeeze Play. This Advice I chanced Upon, That's Influenced Me Quit a Lot -- "If the shoe fits--put it on!" Just Look What Cinderella Got!, Kathryn Kay, Circle Publishing Co., 1942

Possible Squeeze Play. This Advice I chanced Upon, That’s Influenced Me Quite a Lot — “If the shoe fits–put it on!” Just Look What Cinderella Got!, Kathryn Kay, Circle Publishing Co., 1941 PS3521 A88 P677 1941


“Dressing the part so that people take you seriously as a way to draw attention to yourself when you would otherwise go unnoticed…sounds logical.” — from the Introduction, Mother Goose Refigured

A FAIRY GARLAND, BEING FAIRY TALES… Edmund Dulac, Cassel & Company, 1928 PZ8 F1685 1928 PZ8 F1685 1928

A FAIRY GARLAND, BEING FAIRY TALES…
Edmund Dulac,
Cassel & Company, 1928
PZ8 F1685 1928


“Even a wit of the dimmest cast,
Who is not so very worldly,
Will discover anon that this story
Is a tale of times long past.
No more the horrible husband of old
Whose demands were impossibly bold.
Though now he be discontent and domineering
Still with his wife he’s endearing.
The color of his beard no longer stands
To show among them who wears the pants.”
—Charles Perrault, “The Blue Beard”
—-translation by Christine Jones

L'Oeuvre de Leon Bakst pour La belle au bois dormant, M. de Brunhoff, 1922 ND699 B3 L38

L’Oeuvre de Leon Bakst pour La belle au bois dormant, M. de Brunhoff, 1922
ND699 B3 L38

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“While she was crossing the woods, she ran into the neighborhood wolf, who very much wanted to eat her but did not dare because of the woodsmen in the forest. He asked her where she was going. The poor girl, who did not know that it is dangerous to stop and listen to wolves, told him…”
—Charles Perrault, “Little Red Tippet”
—-translation by Christine Jones

Little Red Riding Hood, animated by Julian Wehr, Dunewald Printing Corporation, 1944 PZ8 L783 We

Little Red Riding Hood, animated by Julian Wehr, Dunewald Printing Corporation, 1944
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Book of the Week — The Collected Poetry of W. H. Auden

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For, given man, by birth, by education,
Imago Dei who forgot his station,
The self-made maker who himself unmakes,
The only creature ever made who fakes,
With no more nature in his loving smile
Than in his theories of a natural style,
What but tall tales, the luck of verbal playing,
Can trick his lying nature into saying
That love, or truth in any serious sense,
Like orthodoxy, is a reticence.
— from “The Truest Poetry is the Most Feigning or, Ars Poetica for Hard Times”

The Collected Poetry of W. H. Auden
W. H. Auden 91907-1973)
New York: Random House, 1945
First edition, tenth printing

Stanza quoted above from folded clipping out of The New Yorker, date unknown, found tucked into this copy after the title-page.

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Rare Books copy inscribed and dated December 1954 by Auden to Eleanor Nicholes, who donated the book to us.

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