8vo, pp. xxxvi, 179, ; uncut and partly unopened in the original publisher’s fine diaper cloth, spine lettered gilt, sunned; ticket of the Aberdeen booksellers D. Wyllie & Son.
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The Birds … Translated by the Rev. Henry Francis Cary … With Notes.
First edition. ‘Given how much there is in Aristophanes to outrage and violate nineteenth-century manners and sensibilities, it may seem surprising how popular he was. The popularity came at the price of bowdlerizing much of the “grossness”, but there was admiration and even a certain yearning for his unbuttoned earthiness as well as for his aerial levity …
‘Henry Francis Cary, translator of Dante, turned out the first metrical version of The Birds in mainly iambic heptameters (“fourteeners”). This was one of many attempts to match the rollicking rhythm of the Greek’ (The Oxford History of Literary Translation into English IV, p. 184). It also contains the first appearance of the word ‘Cloudcuckooland’ (p. 76).
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PRIVATE EDITION :: PRESENTATION COPY [TALFOURD, Thomas Noon].
Ion; a Tragedy, in five Acts. To which are added a few Sonnets. Second Edition.
Second private edition of Talfourd’s blank verse tragedy, adding a small group of eight sonnets not in the first edition (also privately printed, 1835), and with a new preface: ‘Having exhausted the small impression which was originally printed of Ion, and finding that there are yet friends in whose hands I wish to place it ... I send it again to the press. I have availed myself of this opportunity ... to introduce considerable alterations.’ Among the friends to whom he presented a copy was William Wordsworth, who was to attend the first performance in 1836, having dined beforehand with Talfourd and Landor. Afterwards they had a celebratory supper with Macready, who had taken the leading role, and Browning.
ALFIERI, Vittorio. LLOYD, Charles, translator.
The Tragedies of Vittorio Alfieri; translated from the Italian … In three Volumes …
First edition of this translation, which Lloyd undertook ‘on the suggestion of a friend whose judgement I highly respect’. This friend was likely Southey, who he addresses as his ‘sponsor’ in the ‘Dedicatory Sonnet’. He held Southey in high esteem, and benefited from his friendship through testing times. Lloyd’s temperament was always difficult, but in 1811 he began to suffer serious auditory delusions, which clouded the rest of his life in periodic spells of insanity. De Quincey suggests that he began the Alfieri project to divert his mind from the onset of madness, and held that Lloyd was amongst the most interesting men he had known.