Tag Archives: Exhibition

Praising the Daisy – Senate House Library contributes

When an email came through announcing Professor Elizabeth Robertson’s Matthews lecture in the Senate House on ‘Chaucer and Wordsworth’s Vivid Daisies’, the opportunity to enhance the occasion by displaying a couple of books to allow Chaucer and Wordsworth to speak for themselves through the printed word seemed too good to miss. After all, Senate House Library has strong literary collections, which we want people to be aware of and use.

Selecting an edition of Chaucer for the praise of the daisy in his ‘Legend of Good Women’ was easy. The first edition in which it appeared, the Workes of 1532, appealed to the eye by virtue of being printed in black letter, and exercised all the attraction of the earliest appearance of the work.

This copy of Chaucer’s Workes formerly belonged to Sir Louis Sterling (1879-1958), and the Sterling Library of first and fine editions of English literature turned up trumps again with Wordsworth. But the first edition of Wordsworth’s Poems in Two Volumes (1807), containing his three ‘Daisy’ poems, could not as a drab duodecimo volume be expected to exercise quite the same aura as the Chaucer folio. We played with the idea of showing the facsimile of the manuscript of  Poems in Two Volumes, a good way to indicate the creative process, and also to showcase Senate House Library’s palaeography collection. Manuscript facsimiles constitute a significant proportion of this, and this Wordsworth book provides a salutary reminder that these are not exclusively mediaeval. Ultimately I chose A Decade of Years: Poems by William Wordsworth, Wordsworth-11798-1807 (1911). This is a selection of Wordsworth’s poems, mostly composed between 1798 and 1807, arranged to present ‘as a whole and subjectively those special characteristics which make Wordsworth pre-eminently the poet and interpreter of the mysticism of nature, to wit, his own mysticism & oneness with the spirit of the universe, “that impels all thinking things, all objects of all thought, & rolls through all things” …’ (p. [3]). The volume was printed by Thomas James Cobden-Sanderson at the Doves Press, the private press he established with Emery Walker in 1901 to print works of great literature in productions rendered beautiful with type alone, devoid of illustration and other ornament.

The Matthews Lecture is being delivered by Professor Elizabeth Robertson (University of Glasgow), at 5pm 18th November in Beveridge Hall in Senate House, London, WC1E 7HU. It is followed by a wine reception. This event is free and everyone is welcome but you must book a place. You can view the exhibition of books mentioned above in Beveridge Hall.

Chaucer and Science – an exhibition

This post introduces an exhibition to coincide with the Biennial London Chaucer Conference  on the theme of Science, Magic and Technology. It runs from 29th June to 12th July at Senate  House library.

Senate House Library often puts on displays to support conferences. It’s a win-win situation: the conference is enhanced by the books or manuscripts shown, and the Library demonstrates a sample of the richness of its holdings and the relevance of its material for research. This is the second time that it is supporting the biennial London Chaucer conference. Last time it exhibited a range of editions of Chaucer, from Richard Pynson’s 1492 printing of the Canterbury Tales onwards, and including private press editions noteworthy for their production as ‘books beautiful’. This time we broadened the display to fit the theme of ‘Science, Magic and Technology’, focussing on the science – more specifically, on astronomy and astrology.

From Chaucer's 'Knight's Tale' in 1550 edition of Chaucer's 'Workes'
‘The Workes of Geffray Chaucer Newly Printed’
Geoffrey Chaucer
London: R. Toy, [1550?]
[S.L.] I [Chaucer – 1532] fol.
We still showed a couple of early editions of Chaucer: his Workes from about 1550 (ESTC S122266), open at the ‘Knight’s Tale’ because that tale is rich in astrological symbolism, and the Workes from 1532 (the first complete edition of Chaucer) because it provides the earliest printed appearance of Chaucer’s Treatise of the Astrolabe. And we fetched out some other examples of medieval literature: a 1554 edition of Gower’s Confessio Amantis (in part imbued with astrology), and an illustrated edition of Dante’s Comedy from 1544, showing Dante’s paradise of nine concentric circles around the earth.

 

'Philosophia Naturalis, Compendium Clarissimi Philosophi Pauli Veneti' Paul of Venice Paris: J. Lambert, [ca. 1515?] M [Paulus] SR
‘Philosophia Naturalis, Compendium Clarissimi Philosophi Pauli Veneti’
Paul of Venice
Paris: J. Lambert, [ca. 1515?]
M [Paulus] SR
But we also used early scientific works. Possibly the rarest item, and the item with the most illustrative appeal, is Philosophia Naturalis, by Paul of Venice (ca 1368-1428), printed in Paris in about 1515. Despite its comprehensive title, this book comprises just one work, De Compositione Mundi – an abbreviated Latin version of the thirteenth-century monk Ristoro d’Arezzo’s Composizione del Mondo, written in about 1282. The Composizione, itself based on work by Ptolemy, Aristotle, Averroes and others, is the first astronomical work to have been written in Italian; a further claim to fame is that it may have influenced Dante, who influenced Chaucer.

 

Visit the exhibition  at Senate House Library (4th floor, Senate House), 29 June – 12 July 2015. Available during Senate House Library opening hours: Mon. – Fri. 9.00-17.45; Sat. 9.45-17.15.

 

100 Dubliners: A Small Display

Several times a year, Senate House Library provides small displays to support academic conferences. The Library demonstrates thereby that the items in its special collections, far from being museum pieces, are relevant for research. Conference delegates are able tangibly to see some of the items talked about and items of related interest, as well as realising the availability of resources that they can return to consult later on.

100 Dubliners, celebrating the centenary of the publication of James Joyce’s first book of fiction, presented a certain challenge on the display front. Displays rely on attractive exhibits, and James Joyce’s Dubliners (1914) is not, in its first edition, an attractive book – in fact,

James Joyce, 'Dubliners',
James Joyce, ‘Dubliners’ (London, Richards, 1914); cover.

it is a rather drab one. Yet it had to be the centrepiece of any display based on Dubliners, and perhaps the very drabness, from the point of view of the materiality of the book, is useful in demonstrating the modest beginnings of a book which was to become a landmark in the history of literary modernism, of Irish literature, and of the short story form, but which had a long and rocky pre-publication history.

CPH_1614-1
James Joyce, ‘Dubliners’ (London: Richards, 1914); title page.

Drabness, indeed, was nothing unusual, as is clear from the display of two roughly contemporaneous books which are better looking only in having their title pages in red and black. George Moore’s The Untilled Field (1903) is considered by some to be the progenitor of the Irish short story, and credited as an influence on Dubliners. And W.B. Yeats’s Poems, 1899-1905 (1906) was chosen for display because of Yeats’s friendship with and influence on James Joyce, and for reference within Dubliners to the Celtic Twilight.

The first edition of Joyce’s Finnegans Wake (1939) was selected for display on the basis of its oblique reference to the alleged burning of an edition of Dubliners by its Dublin publisher in 1912. The Wake is not much prettier than the earlier volumes, but it does reflect the status of a by now established writer. The copy is one of an edition limited to 425 numbered copies, signed by the author, and the margins are unusually large: 4 cm for the outer margin, and 6 for the bottom margin (5.5 cm below the page number).

'Hanna & Neale’s New Large-Scale Plan of Dublin'
‘Hanna & Neale’s New Large-Scale Plan of Dublin’

Unappreciated in the years leading up to 1914, Dubliners had become well and truly canonised by the time the Dolmen Press brought out its edition in 1986, illustrated by Dublin-born painter Louis le Brocquy. Visually, it would be the drawing point of the display, were it not for Hanna & Neale’s New Large-Scale Plan of Dublin, showing Dublin as it was about one hundred years ago. Joyce, incidentally, frequented their bookshop …