8vo, pp. 326; publisher’s dark blue cloth, red, black and white dust-jacket with a design by Lewis; a very good copy in a good jacket, spine slightly sunned, a few small tears to edges; bookplate of Lewis’s friend the BBC broadcaster D. G. Bridson, with some pencil marks by him in the margin.
US $367 €348
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The Lion and the Fox. The Role of the Hero in the Plays of Shakespeare …
Reprint of the second edition of Lewis’s ‘first political book’, a collection of essays engaging with Shakespeare and Machiavelli first published in 1927 and then reissued by Methuen in 1951; inscribed in a very shaky hand ‘To Geoffrey Bridson from Wyndham / Oct 1956’.
‘The Lion and the Fox is shot through with original thinking on every subject that it takes up … The tone of the book is distinctly liberal, and its attitude towards the concept of despotic rule is one of suspicion and antipathy’ (Bridson, The Filibuster).
Laid in loose is a 1-leaf typescript of two sections from pp. 83-4 and 89-90 of ‘The Foxes’ Case’ by Lewis, published in The Calendar of Modern Letters 2:8 (October 1925), with a few corrections in pen and the note ‘original copy checked with DGB’ at the foot. The article included several passages subsequently incorporated into The Lion and the Fox.
See Bridson, ‘That Notorious Machiavel’, The Filibuster, pp. 1-18. Pound & Grover A6c note; Morrow & Lafourcade A7c note.
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First edition, a fine association copy. Agnes Bedford (1892-1969) was a lifelong friend of Pound (they first met in 1919 and corresponded until 1963 when he unexpectedly severed contact) and through him of Wyndham Lewis, with whom she had an affair in the 1920s. A vocal coach and accompanist, she provided the music for Pound’s Five Troubadour Songs (1920). After he left for Paris in January 1920, Bedford sublet his flat; she then visited him in Paris the following year, where she was the principal amanuensis for his opera based on Villon’s Le Testament. She was later the rehearsal coach for its first performance in 1931 and her contacts were vital to the casting of singers (Bridson was later involved in the first broadcast of the opera in 1962, for which Bedford was frequently consulted). Laid in here is a copy of a letter of 4 May 1969 from Bedford to Bridson on his retirement – ‘I have been so happy to read all the appreciative things about you on all sides’ – recalling ‘happy times at Studio A’ and Bridson’s ‘kind friendship & affection for Wyndham’.
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[Dos untererdishe Rusland … ubersetzt vun A. Frumkin].
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