Mathematical Shakespeare

On 27 June 1854 when seventeen year old Alfred Ainger (1837-1904) picked up his prize for ‘proficiency in Mathematics’ from King’s College London, was he surprised to discover that it was a handsomely bound volume of the complete works of William Shakespeare edited by Charles Knight, complete with the college arms stamped in gold on its cover?  [tape was required eventually]

AA01bookplateAA00To me a connection between a mathematics prize and the complete works of Shakespeare is not obvious.

Was this prize selected with Ainger in mind or is it the default prize for any number of achievements, so that the prize reflects the enormous esteem in which the Victorians held Shakespeare?

And did this prize have a career-altering effect?  The following year, when he was 18, the Dictionary of National Biography reports of Alfred: ‘Devotion to Shakespeare manifested itself early and in 1855 he became the first president of the college’s Shakepeare Society’.

In fact, in later life it is his literary skills, not his mathematical ones, for which Ainger would be recognised. He went to King’s school with the sons of Charles Dickens and was taken up by the novelist for his skill in amateur dramatics.  He knew Tennyson, became a published authority on Charles Lamb, and, along with producing books, articles and lectures, became an Anglican preacher and chaplain both to Queen Victoria and subsequently to King Edward VII.

His prize Shakespeare volume is quite new to our collection (2016), but already the engravings by William Harvey have provided illustrations for an exhibition I was assembling in January from King’s College London Archives to commemorate the 400th anniversary of Shakespeare’s death.

King’s has not been around yet quite 200 years, so the Archive might not expect to have much relevant to Shakespeare (1564-1616). Fortunately just over a century ago Fredrick Furnivall (1825-1910)  the prolific Victorian scholar, literary editor, lexicographer and rowing enthusiast donated to King’s, along with his impressive library, a collection of papers from the many societies he founded. The New Shakspere Society papers (Furnivall insisted on the variant spelling) proved a good source for Shakespeare in the archives at King’s, the frontispiece from Ainger’s Shakespeare providing the opening illustration.

AA_shrewEach play has a full-page illustration in the volume and it is intriguing to see how an entire play is squeezed into a single frame for such pieces as the Taming of the Shrew where the Sly framework literally frames an inner scene from the shrew taming when Kate and Petruchio encounter the tailor and haberdasher meant to provide her wardrobe.  The insanity of the comedy is conveyed visually by setting the inner frame at a dangerous angle.

AA_dreamThe four interwoven layers of A Midsummer Night’s Dream are stacked on top of each other with the young lovers at the bottom being awakened by hunters Theseus and Hippolyta in the middle of the image while Oberon and Titania and their flight of fairies crowd the upper region with Puck flying in from the left carrying the ass’s head taken from Bottom the Weaver.  The tone is as romantic as anyone could wish.

Chapbooks: Fleet Street time travellers

lane-at-back-of-Fleet-StI would love to have wandered around Fleet Street and this area of London’s alleyways and lanes before the banking corporations supplanted the newspaper offices and severed the unbroken link to the area’s printing history that had stretched back so many years.

In the back streets of this historic centre of the British book trade, at addresses like Shoe Lane, Bow Church Yard and Red Lion Court, all a stone’s throw from the Maughan Library, small volumes of stories and fables and tales known as chapbooks were once printed – their geographical provenance enduringly visible through imprints like: Printed and sold at the London and Middlesex Printing Office, no. 81, Shoe Lane, Holborn.

ac_tpIn my current cataloguing project I have been adding these little, well-thumbed volumes to the Special Collections catalogue.

The chapbooks I have been working on were printed and produced in the later 18th century, though versions of chapbooks existed from the 17th to the 19th century. These were usually produced on hand operated printing presses in small industrial units, with family members sometimes employed at the stages of production. Chapbooks were normally printed on one single sheet of paper and then folded into 8, 12, 16 or 24 pages. They would usually have been sold unbound and held together by a simple sewing.

When you walk through the narrow, high-walled alleyways around Fleet Street, Holborn Circus and St Paul’s (as I do often on my lunch breaks) it is not difficult to imagine the printers, workshop assistants, agents and delivery boys scurrying through the streets in pursuit of their occupation and living.

As easy as it is to imagine these scenes of production, it is also no stretch of the imagination to imagine the itinerant ‘chapmen’, from whom the books take their name, bargaining with printers and agents, buying chapbooks wholesale, and then heading out of town with them tucked inside their bags, ready to sell to country folk at fairs and festivals. The soubriquet ‘chapmen’ derives from an Old English word meaning ‘dealer’ or ‘seller’.

rh_tpAs literacy levels grew in the 18th and 19th centuries, the desire for these affordable, pithy tales also grew, and the stories that I have been working on include recognisable derivatives of the literary canon:

The travels and adventures of Capt. Lemuel Gulliver (abridged to a concise 24 pages)
A true tale of Robin Hood (true being an oft used word in titles, not always reflecting the veracity of the content)
The sleeping beauty in the wood

The tales are usually adorned with charming (and sometimes suggestive) woodcut illustrations. This was a cheap and durable method of illustration: woodcuts can be used for long periods and passed from one printer to another and, as Ruth Richardson says in her excellent British Library article on chapbooks, in the more expensive editions, children were sometimes employed to colour these woodcut illustrations.

penny-histories-spineThe chapbooks I have been working on were bound together in the 20th century by an independent firm on behalf of the Library. Each bound volume contains perhaps 10 or 15 of these wonderful tales on cheaply produced paper, that has evidently been thumbed through by readers of London or the country, and perhaps read aloud around a homestead fire as a bedtime treat for the family.

I like these books because I can sense the mechanics of their production in the streets where I work. In the Foyle Special Collections Library we hold examples of works from the infancy of printing (known as incunabula) to the present day, with grand editions, illustrations and provenance marking many out as significant, unique and of immense value to researchers and historians. These chapbooks have their special place in the collection, and there is something wonderful about the mass appeal that they offered, with their eclectic subject content covering heroic tales, ghost stories, battle and adventure and news and politics.

Their popularity is attested to by the well-thumbed pages, and also by the sparsity of detail on some of the imprints. This lack of detail in an imprint like ‘Printed and sold in London’ suggests that some printers may have been none-too-keen to display that they themselves had also ‘cashed in’ on the popularity of a certain tale, with their anonymity ensuring the pirated edition would not be traced back to them.

I have been reporting these editions to the English Short Title Catalogue (ESTC) to ensure they are accessible to researchers worldwide; and of course if anyone would like to have a look at these wonderful little volumes, they are welcome to consult them in the Foyle Special Collections Library.

Select Bibliography

The Bibliographical Society. Chapbooks Working Group.[http://www.bibsoc.org.uk/about/committees/chapbooks] Accessed 20 July 2016

EDPOP. ‘The European dimensions of popular print culture’. [http://edpop.wp.hum.uu.nl/] Accessed 20 July 2016

The National Art Library Chapbooks Collection [http://www.vam.ac.uk/content/articles/n/national-art-library-chapbooks-collection/] Accessed 20 July 2016

Victor E Neuburg. Chapbooks: a guide to reference material on English, Scottish and American chapbook literature of the eighteenth and nineteenth centuries. London:  Woburn Press, [1972]. Foyle Special Collections [Special Collections Ref.]  Z6514.P7 NEU

Ruth Richardson. ‘Chapbooks’. [http://www.bl.uk/romantics-and-victorians/articles/chapbooks], accessed 15 July 2016

Andrew White Tuer. Pages and pictures from forgotten children’s books. London: The Leadenhall Press, 1898-1899. Foyle Special Collections  [Miscellaneous] PR91 TUE

Dame Barbara Cartland’s Christmas

Gallery

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Some might be surprised to find these Christmas card from the romance novelist Dame Barbara Cartland in amongst our collections! In fact we have a few, plus a fair bit of other correspondence, in the papers of Sir Arthur Bryant. … Continue reading