I have sent my proofs for correction and resetting (as I mean now to have only 24 lines in a page instead of 29” (see Fredeman,
is the same, re-leaded but not re-set.” On 7 March DGR wrote to Swinburne saying his book is
now printed wider so as to make more pages” (Fredeman,
This is one of the four sets of 1869-1870 proofs that Charles Fairfax Murray obtained from Mrs. Jane Morris in 1897, and that he subsequently gave to the Fitzwilliam Museum along with much other DGR material.
This proof is a copy of the second state of the first issue of the proofs for
the first edition of the 1870
. It is bound together with two printers' revises: a 16-page revise of
“
This copy of the first proof is identical to the latter. Both carry into
print all but one of the hand corrections made in
The text of these proofs and revises is clear of revision or change. Vertical lines appear in the margin on pages 98-99, 119, 127, 129, and 231.
The revise materials bound up with these first edition proofs indicate some
of the late changes made to the evolving set of poems that eventually became
the 1870
This proof carries revisions from an earlier state, and it underwent a
major revision (eventuating in a second issue) before it was ready to serve
as printer's copy for the first edition (see Fredeman,
The Trial Book Fallacy
[Many poems in this volume were written between
1847 and 1853.
Others are of recent date, and a few belong
to the intervening
period. It has been thought unnecessary
to specify the earlier
work, as nothing is included which the
author believes to be immature.]
*During the excavations, the Tiyari workmen held their ser-
vices in the shadow of the great bulls. (
*‘
* Uguccione della Faggiuola, Dante's former protector, was now his fellow-guest at Verona.
* ‘Messere, voi non vedreste tant'ossa se cane io
fossi.
point of the reproach
is difficult to render, depending as it does
on the literal
meaning of the name Cane.
* Such was the last sentence passed by Florence against Dante, as a recalcitrant exile.
** stelle.’ Inferno
stelle.’ Purgatorio
stelle.’ Paradiso
* Quomodo sedet
sola civitas!’
the
*This little poem, written in 1847, was printed in a periodical
at the outset of 1850. The metre, which is used by several
old
English writers, became celebrated a month or two later
on the
publication of
*A Triptych. In the centre, the Adoration; at the two sides,
David as shepherd and David as king.
[The first twenty-six sonnets and the seven first
songs
treat of love. These and the others would belong to
sepa-
rate sections of the projected work.]
*In the drawing Mary has left a festal procession, and is
ascending
by a sudden impulse the steps of the house where
she sees Christ.
Her lover has followed her and is trying
to turn her back.
*The scene is in the house-porch, where Christ holds a bowl
of
blood from which Zacharias is sprinkling the posts and
lintel.
Joseph has brought the lamb and Elizabeth lights
the pyre. The
shoes which John fastens and the bitter herbs
which Mary is gather-
ing form part of the ritual.
*The subject shows Cassandra prophesying among her
kindred,
as Hector leaves them for his last battle.
They are on the platform
of a fortress, from which the
Trojan troops are marching out. Helen
is arming Paris;
Priam soothes Hecuba; and Andromache holds
the child to
her bosom.