8vo, pp. xiv, 460, with a half-title; a very good copy in contemporary French speckled calf, red morocco spine label, head of spine chipped.
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Le Maitre d’anglais, ou grammaire raisonné … troisième edition …
Third (second Paris) edition, with tables and explanatory notes added by Scipion Duroure.
‘Cobbett’s first occupation in America was the teaching of English to French émigrés, mostly moderate Republicans, who had fled to America after the fall of the Girondins … His first work, written in French to aid his students, was … Le Tuteur Anglais, an English grammar written in French. This was not actually published until 1795 [in Philadelphia] … The little volume afterwards had an enormous circulation. Reprinted in France under the title Le Maitre Anglais, it passed through forty or more editions’ (G. D. H. Cole, The Life of William Cobbett, 1924).
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PETERLOO, WITH A COLOURED ETCHING OF THE MASSACRE [PETERLOO MASSACRE.]
Peterloo Massacre, containing a faithful narrative of the events which preceded, accompanied, and followed the fatal sixteenth of August, 1819 … including the proceedings which took place at the inquest at Oldham, on the body of John Lees, who dies in consequence of wounds and bruises received at the above time and place … Edited by an observer.
First edition, collected from the 14 original parts with a title-page and introduction dated 6 December 1819. No. 1 is the ‘second edition, corrected’; No. 2 is possibly a second edition as it advertises the re-printing of No. 3 at the end.
CONTROVERSIAL AUTOBIOGRAPHY [HAZLITT, William.]
Liber amoris; or, the new Pygmalion.
First edition of one of the most controversial books in all English literature, a wonderful autobiographical text which has been systematically deprecated since its first publication. It tells the bitterly precise tale of Hazlitt’s infatuation with a servant girl, one Sarah Walker, his landlady’s daughter, in the year of his divorce from his wife. Hazlitt’s mordant narrative, couched as letters to two friends, spares neither himself, the blindly obsessed lover, nor the unworthy, out-classed, victimizing and victimized object of his love and lust. The little book is a classic of intimate autobiography, and a masterful, if perhaps initially unintentional exploitation of the ‘Pygmalion’ theme. ‘We are unusually close to a Romantic ideal of spontaneity … The letters, as they evoke and give lasting value to the writer’s emotions, form a kind of Romantic apologia’ (Jonathan Wordsworth, Visionary Gleam).