A discussion of interesting books from my current stock A site


August 2016

John Bunyan: Solomon’s Temple Spiritualiz’d

548d John Bunyan 1628-1688 Solomon’s Temple Spiritualiz’d or Gospel-Light fetcht out of the Temple at Jerusalem, To let Us More easily into the Glory of New-Testament-Truths. By John Bunyan L…

Source: John Bunyan: Solomon’s Temple Spiritualiz’d

John Bunyan: Solomon’s Temple Spiritualiz’d


548d John Bunyan 1628-1688

Solomon’s Temple Spiritualiz’d or Gospel-Light fetcht out of the Temple at Jerusalem, To let Us More easily into the Glory of New-Testament-Truths. By John Bunyan


London: for Eliz. Smith, 1691.

$13,000   Octavo A-K12 (C3, C5 incorrectly signed B3, B5 respectively). Second edition

Second edition (the first edition appeared in 1688.)

Of the three 17th century editions of this work, all are extremely rare. A combined search of Wing, ESTC, OCLC and RLIN yields 2 copies of this edition in the U.S.: Yale, UCLA.

This copy has a few ragged pages, but is sturdy and readable. Bound in contemporary tanned sheepskin, the boards ruled in blind. The corners are bumped, the extremities rubbed, but the binding is well preserved overall. The edges of the title page are stained from contact with the leather of the binding. There is minor foxing throughout. The first 3 leaves with…

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Bunyan bibliography (1988-2016)

Compiled by Galen K. Johnson, Tabatha Raiees-Dana, Sarah Cory and David Parry. Last revised by David Parry, June 2016. The 1988–2008 section was published in Bunyan Studies, Vol. 13 (2008–2009) and…

Source: Bunyan bibliography (1988-2016)

John Bunyan: Solomon’s Temple Spiritualiz’d

548d John Bunyan 1628-1688

Solomon’s Temple Spiritualiz’d or Gospel-Light fetcht out of the Temple at Jerusalem, To let Us More easily into the Glory of New-Testament-Truths. By John Bunyan


London: for Eliz. Smith, 1691.

$13,000   Octavo A-K12 (C3, C5 incorrectly signed B3, B5 respectively). Second edition

Second edition (the first edition appeared in 1688.)

Of the three 17th century editions of this work, all are extremely rare. A combined search of Wing, ESTC, OCLC and RLIN yields 2 copies of this edition in the U.S.: Yale, UCLA.

This copy has a few ragged pages, but is sturdy and readable. Bound in contemporary tanned sheepskin, the boards ruled in blind. The corners are bumped, the extremities rubbed, but the binding is well preserved overall. The edges of the title page are stained from contact with the leather of the binding. There is minor foxing throughout. The first 3 leaves with a tear in the fore-margin slightly affecting text, ownership inscription torn from top margin of title with partial loss of line-border. One line crossed out in ink on leaf G12r. Aside from these minor defects, a well-preserved copy of an exceedingly rare book.

Bunyan’s task in writing “Solomon’s Temple spiritualiz’d” is to explain the allegorical significance of the Temple and its construction. The Temple itself is a “similitude” for the Kingdom that Christ shall establish on earth and for the “whole Christian dispensation”. It is therefore “an object of our special attention as a light to guide us while searching into gospel truths”. As the editor explains in the preface, “Of all the wonders of the world, the temple of Solomon was beyond comparison the greatest and the most magnificent. It was a type of that temple not made with hands, eternal in the heavens, of that city whose builder and maker is God, and which, at the consummation of all things, shall descend from heaven with gates of pearl and street of pure gold as shining glass, and into which none but the ransomed of the Lord shall enter. Jesus, the Lamb of God, shall be its light and glory and temple; within its walls the Israel of God, with the honour of the Gentiles, shall be brought in a state of infinite purity. No unclean thing will be able to exist in that dazzling and refulgent brightness which will arise from the perfection of holiness in the immediate presence of Jehovah; and of this, as well as of the whole Christian dispensation, the temple of Solomon was a type or figure.”As Bunyan himself puts it, “there lies, as wrapt up in a mantle, much of the glory of our gospel matters in this temple which Solomon builded; therefore I have made, as well as I could, by comparing spiritual things with spiritual, this book upon this subject.” In his letter to the reader, Bunyan emphasizes the importance of searching for the “spiritual meaning” of the “old church-way of worship” (i.e. the ceremonies of the Old Testament), “because they serve to confirm and illustrate matters to our understandings. Yea, they show us the more exactly how the New and Old Testament, as to the spiritualness of the worship, was as one and the same; only the old was clouded with shadows, but ours is with more open face.”However, Bunyan cautions his readers against developing their own interpretations of these symbols, “I give no encouragement to any now, to fetch out of their own fancies, figures or similitudes to worship God by. What God provided to be an help to the weakness of his people of old was one thing, and what they invented without his commandment was another. For though they had his blessing when they worshipped him with such types, shadows, and figures, which he had enjoined on them for that purpose, yet he sorely punished and plagued them when they would add to these inventions of their own.” Nor does Bunyan assert that he is correct in all that he writes. He concludes his letter with this humble disclaimer: “I dare not presume to say that I know I have hit right in every thing; but this I can say, I have endeavoured so to do. True, I have not for these things fished in other men’s waters; my Bible and Concordance are my only library in my writings. Wherefore, courteous reader, if thou findest any thing, either in word or matter, that thou shalt judge doth vary from God’s truth, let it be counted no man’s else but mine.”

Wing B5596.



Manuscript Road Trip: The World’s Most Mysterious Manuscript

Manuscript Road Trip

The Flight into Egypt, Walters Art Museum, MS W.188, f.112r The Flight into Egypt, Walters Art Museum, MS W.188, f.112r

We can’t leave New Haven until I introduce you to The World’s Most Mysterious Manuscript.

voynich detailI won’t deny it. I have been captivated by Beinecke MS 408 since I first laid eyes on it in my “Introduction to Latin Paleography” class at Yale in the fall of 1988. It has been called “The World’s Most Mysterious Manuscript,” “The Roger Bacon Cipher,” a Sphinx, a hoax, a conspiracy, the work of a madman, the work of a genius.

It is The Voynich Manuscript.

f. 75r detail f. 75r detail

If you Google the words “Voynich Manuscript,” you will tumble down a rabbit hole into a dark scary corner of the internet full of alien abductions, seances, conspiracy theories, and secrets. You will stumble into heated debates between fellow obsessives who have devoted their lives to this codex. You will discover sub-specialties you didn’t know existed. Follow an innocuous-looking link and you may…

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Seven English Restoration Plays!

“FROM 1642 onward for eighteen years, the theaters of England remained nominally closed. There was of course evasion of the law; but whatever performances were offered had to be given in secr…

Source: Seven English Restoration Plays!

Ferrante Imperato Historia Naturale 1672

A few months ago I began a blog {and by my estimation unfinishable} addressing the discovery,mention,description or images of potentially man-made stone tools ( anthropogenic), in early printed books. Naturally stone tools and other chipped stone artifacts are found almost everywhere proto man existed. Projectile points, bifaces, unifies, ground stone artifacts, and lithic reduction by-products  such as flakes and cores, have been found every where there is early printing, but it appears that no-one was looking for them, and they remained undiscovered. The recognition of stone tools ‘as stone tools’ does not really appear until the birth of Archaeology.(the late 19th century) In the middle ages and until the end of the early modern period there is very little discussion (or texts at least)  putting forth conceptions of The Origins of Mankind. In Breech’s translation of Lucretius he  gives us this :

Man’s earliest arms were fingers, teeth, and nails, 
And stones, and fragments from the branching woods.
Then fires and flames they joined, detected soon ;
Then copper next ; and last, as latest traced.

But there are a few books which mention and attribute both natural and supernatural what will later be recognized as anthropogenic.,Agricola in 1558, and Gesner 1565, describe stone axes but do not put forth any theories Gesner does suggest that ceraunia sometimes are pyramidal in form but others resemble wedges or hammers, but leaves it at that.  In the sixteenth century Mercati (not published until 1717) Discusses Ceraunia:  so-called Thunderbolts,( the Latin ceraunia derives from the Greek work κεραυνοs, meaning a bolt of lightning.) and refers back to Lucretius’ description of early men using hard flint. The 1599 Historia Naturale di Ferrante Imperato has stone knives and Ceraunia and is one of the earliest examples I could find to illustrate them.

And today I have a copy to offer.


765G Ferrante Imperato (1550-1625)

Historia Naturale di Ferrante Imperato Napolitano: nella quale ordinatamente si tratta Della diversa condition di Minere, Pietre pretiose, & altre curiosità: Con varie Historie di Piante, & Animali, sin’hora non date in luce. In questa Seconda Impressione aggiontovi da Gio. Maria Ferro Spetiale alla Sanità, alcune Annotationi alle Piante nel Libro vigesimo ottavo. Dedicata all?Altezza Ser.[enissi]ma Di Giovan Federico Duca di Brunswick, et Lunenburg.

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Presso Combi, & La Noù., Venice:, 1672.                                                  $18,000

SECOND EDITION (1st 1599)… Folio 31 x 22. cm. *4, A-Z6, Aa-Zz6, Aaa-Mmm6, a4. With an added folding plate
This copy is bound stiff paper boards with a glossy sheen, making it look like clean vellum, it is a nice copy.



In this impressive and famous engraving we see Visitors to Imperato’s museum, Probably representing  Ferrante’s son Francesco pointing  to the impressive the crocodile dangling from the ceiling. This overgrown ‘Cabinet’ was without a doubt the precursor to the modern museum, This book describes and quite often illustrates what a visitor would see.  A herbalist and apothecary in Naples, Imperator privately assembled an impressive range of plant, animal and mineral specimens—possibly as many as 35,000 items. The book is also thought to be the first comprehensive natural history book written in Italian instead of Latin.


The  Dell’Historia Naturale (Natural History) consists of  nearly 800 pages, with 119 woodcuts. The woodcut showing his museum, released in 1599, is quite possibly the earliest published illustration of a curiosity cabinet.In this edition the Engraving is much more detailed than the woodcut of the 1599 edition.

This is a fine copy of the second edition (first 1599) of this beautiful catalogue of the ‘Museo’ of the Neapolitan apothecary Ferrante Imperator (1550-1625) and his son Francesco. This edition was prepared by Giovanni Maria Ferro who added new material and also new illustrations to the final chapter. Imperato’s collection of natural history specimens was one of the earliest of its kind in Italy and the catalogue was the first to contain both plants and animals.

“The museum of Ferrante and Francesco Imperato of Naples was as famous as Calceolari’s and in Ferrante’s ‘Historia Naturale’, . several pages are devoted to molluscs and some of the shells illustrated are easily indentifiable” (Dance pp. 15-16).DSC_0038 (2)

Imperato was convinced that fossils were the remains of sea animals buried in sediment, which were later turned to stone by “lapidifying juices.” He described the action of the seas in the deposition of sedimentary rocks and was the first to mention the concept of a stratigraphic sequence.? (Wilson)

“The catalogue is divided in 28 books with substantial sections on mining (5 books) and alchemy (9 books), the remainder being devoted to animals and vegetable specimens. Ferrante Imperato took a scientific interest in his collection and was one of the first people to recognise the mysterious ‘bronteae’ and ‘ombriae’ as meteoric stones and proved that ‘Jew stones’, a popular ‘Wunderkammer’ specimen, were in fact the petrified points of an ‘echinus’. In DSC_0037 (2)G.M. Ferro’s addenda to the catalogue is an interesting description and illustration of red and black indian ink in a Chinese ink bottle and decorated vase (p. 677)” (Grinke, From Wunderkammer to museum n. 22).Besides Ferro’s added illustrations and text, the second edition differs in having an engraved view of the museum interior, whereas in the first edition the scene is represented in a much cruder woodcut. The vignette on the title depicts hills, the shore, and the sea with a variety of plants, sea and land creatures, and minerals arising under the astral influence rained down from the heavens, with the motto ‘ab uno’.



Hoover 440, Schuh 2384; Sinkankas 3109; Ward & Carozzi 1172Hunt botanical cat.,; I, 321; Nissen, C. Zoologische Buchillustration,; 2111; Wellcome cat. of printed books,; III, 328; Mortimer, Harvard College Italian 16th Century Books II, 240

Seven English Restoration Plays!

“FROM 1642 onward for eighteen years, the theaters of England remained nominally closed. There was of course evasion of the law; but whatever performances were offered had to be given in secrecy, before small companies in private houses, or in taverns located three or four miles out of town. No actor or spectator was safe, especially during the early days of the Puritan rule. Least of all was there any inspiration for dramatists. In 1660 the Stuart dynasty was restored to the throne of England. Charles II, the king, had been in France during the greater part of the Protectorate, together with many of the royalist party, all of whom were familiar with Paris and its fashions. Thus it was natural, upon the return of the court, that French influence should be felt, particularly in the theater. In August, 1660, Charles issued patents for two companies of players, and performances immediately began.”

( published in A Short History of the Theatre. Martha Fletcher Bellinger. New York: Henry Holt and Company, 1927. pp. 249-59)

273F Susanna Centlivre 1667?-1723

The gamester: a comedy. As it is acted at the New Theatre in Lincolns-Fields by Her Majesty’s servants. The prologue spoke by Mr. Betterton. Written by N. Rowe, Esq


London: Printed for J. Knapton, in St. Paul’s Church-Yard, E. Curll at the Dial and the Bible, R. Gosling at the Mitre and Crown, both against St. Dunstan’s — Church in Fleetstreet, and A. Bettesworth on London-Bridge, 1714                             $950

Duodecimo 6.3 x 3.75 inches A4, B-D12, E2. 75 pages. Third edition. This copy has a pale splotch on the title page, and two leaves have a slight water stain. It is a large copy, and has been recently rebound in full parchment over boards.

“A sad lot were all these early feminine intruders into the field of letters, —Aphra Behn, Mrs. Manley, Mrs. Pilkington, and the rest. Mrs. Centlivre was the best of them.   Almost the first of her sex to adopt literature as a calling, she may well be regarded as an unconscious reformer, the leader of a forlorn hope against that literary fortress which was so long defended by the cruel sneers of its masculine garrison. She fell upon the glacis. But over her body the Amazons have marched on to victory.” (H. A. Huntington, “Mrs. Centlivre,” Atlantic Monthly, 1882, vol. 49, page 764DSC_0038 (1)

.“[Centlivre’s] plays have a provoking spirit and volatile salt in them, which still preserves them, from decay. Congreve is said to have been jealous of their success at the time, and that it was one cause which drove him in disgust from the stage. If so, it was without any good reason, for these plays have great and intrinsic merit in them, which entitled them to their popularity, and besides, their merit was of a kind entirely different from his own.” (William Hazlitt, 1818, “Lectures on the English Comic Writers,” Lecture viii.The original source for the plot line was Jean Francois Regnard’s “Le Joueur.” The prologue was written by Nicholas Rowe (1674-1718). ESTC T26857; NCBEL II, 781.


759F John Dryden 1631-1700

The Indian Emperour; or, the Conquest of Mexico by the Spaniards. Being the Sequel of the Indian Queen.


London, Printed for H. Herringman, and are to be sold by Joseph Knight, and Francis Saunders, at the Sign of the Blue Anchor in the Lower Walk of the New Exchange, 1686     $1,100

Quarto 15.5 x 20 cm A-I4  Fifth Edition Disbound, some spotting but otherwise in fine condition.

 The Indian Emperor or The Conquest of Mexico by the Spaniards 1665, rhymed heroic tragedy comes into full being. The Indian Emperor gave an adequate test of the heroic couplet in serious drama and established Dryden’s position as a dramatist. In the conflicts of love and honour between characters of high rank, including personages like Montezuma and Cortez, who move, before a foreign and semi historical background, through scenes of stirring incident toward the triumphant union of martial hero and angelic heroine and the death of those unable to survive the tragic stress, Dryden assembled many elements of earlier English plays, and wedded heroic action to the heroic couplet by the new formula of ‘heroic drama’.” (Nettleton, 55-56)

DSC_0037 (1)John Dryden , “English poet, dramatist, and literary critic who so dominated the literary scene of his day that it came to be known as the Age of Dryden…The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown.About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations.In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching.
His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best.When in May 1660 Charles II was restored to the throne, Dryden joined the poets of the day in welcoming him, publishing in June Astraea Redux, a poem of more than 300 lines in rhymed couplets. For the coronation in 1661, he wrote To His Sacred Majesty. These two poems were designed to dignify and strengthen the monarchy and to invest the young monarch with an aura of majesty, permanence, and even divinity. Thereafter, Dryden’s ambitions and fortunes as a writer were shaped by his relationship with the monarchy. On Dec. 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. In due course she bore him three sons.Dryden’s longest poem to date, Annus Mirabilis (1667), was a celebration of two victories by the English fleet over the Dutch and the Londoners’ survival of the Great Fire of 1666. In this work Dryden was once again gilding the royal image and reinforcing the concept of a loyal nation united under the best of kings. It was hardly surprising that when the poet laureate, Sir William Davenant, died in 1668, Dryden was appointed poet laureate in his place and two years later was appointed royal historiographer…Soon after his restoration to the throne in 1660, Charles II granted two patents for theatres, which had been closed by the Puritans in 1642. Dryden soon joined the little band of dramatists who were writing new plays for the revived English theatre. His first play, The Wild Gallant,( see below) a farcical comedy with some strokes of humor and a good deal of licentious dialogue, was produced in 1663. It was a comparative failure, but in January 1664 he had some share in the success of The Indian Queen, a heroic tragedy in rhymed couplets in which he had collaborated with Sir Robert Howard, his brother-in-law. Dryden was soon to successfully exploit this new and popular genre, with its conflicts between love and honour and its lovely heroines before whose charms the blustering heroes sank down in awed submission. In the spring of 1665 Dryden had his own first outstanding success with The Indian Emperour, a play that was a sequel to The Indian Queen….Besides being the greatest English poet of the later 17th century, Dryden wrote almost 30 tragedies, comedies, and dramatic operas. He also made a valuable contribution in his commentaries on poetry and drama, which are sufficiently extensive and original to entitle him to be considered, in the words of Dr. Samuel Johnson, as “the father of English criticism.”After Dryden’s death his reputation remained high for the next 100 years, and even in the Romantic period the reaction against him was never so great as that against Alexander Pope. In the 20th century there was a notable revival of interest in his poems, plays, and criticism, and much scholarly work was done on them. In the late 20th century his reputation stood almost as high as at any time since his death. (Sutherland, encyclopedia Britannica)

Wing D 2293; Woodward & McManaway 420; MacDonald, H. John Dryden; 69f


252F John Dryden 1631-1700

The Wild Gallant: A Comedy. As it was Acted at the Theater-Royal, By His Majesties Servants. Written By John Dryden, Esq;


London: Printed by H. Hills, for H. Herringman, at the Blew-Anchor, in the Lower-Walk of the New-Exchange, 1684                            $600

Quarto 8.5 x 6.5 inches A3, B-H4, [I]1. 55 pp. Second edition. This copy is bound in neat tan cloth and corners with marbled paper boards and a gold-lettered spine.

The Wild Gallant was Dryden’s first play, it was “acted at the King’s House on the fifth of February, 1662/3. It failed, and was withdrawn. An attempt waDSC_0040s made, under the auspices of Lady Castlemaine, to give it a little fashion at court, where it was acted on the twenty-third of February, but with no better result. The audience could not reconcile the title with the story, nor make out with certainty which was the ‘Wild Gallant.’ ‘The king,’ says Pepys, ‘did not seem
pleased at all the whole play, nor any body else.’ […] The comedy was revived, with considerable alterations, in the season of 1667, not 1669, as stated by Sir Walter Scott, who, in this and other instances, assumes the date of publication as determining the date of production. Dryden excuses himself in the prologue on the revival, for not having originally made the play sufficiently licentious, and promises to make amends in future. ‘It would be doing him a great injustice,’ says honest Mr. Genest, ‘not to acknowledge that he was as good as his word.’” (Annotated Edition of the English Poets, by Robert Bell) Wing D-2401; MacD 72c; W & M 487.


253F John Dryden 1631-1700

An Evening’s Love: Or, The Mock-Astrologer. As it is Acted By Their Majesties Servants. By Mr. Dryden.


London: Printed for Henry Herringman, and are to be sold by Richard Bentley, at the Post-House in Russel-street, Covent-Garden, 1691                               $750

Quarto 8.6 x 6.5 inches A-K4. 63 pp. Fourth edition. This copy is disbound.

DSC_0037 (3)“Produced at the King’s House on the twenty-second of June, 1668. The descent of this comedy has been traced through the French from the Spanish. There is no mistaking its origin. The Spanish dances in its veins with a sprightliness Dryden has nowhere so pleasantly sustained. The most curious element in it is the intimate knowledge it reveals of the mysteries of astrology. The state of society that could have endured the prologue to this must have renounced even the affectation of decency.” (Annotated Edition of the English Poets, by Robert Bell) Wing D-2276; MacD 75d; W & M 413.


254F [John Wilmot, Earl of Rochester] Earl of Rochester & Fletcher, John 1647-1680

Valentinian: A Tragedy. As ‘tis Alter’d by the late Earl of Rochester, And Acted at the Theatre-Royal. Together with a Preface concerning the Author and his Writings. By one of his Friends.

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London: Printed for Timothy Goodwin at the Maiden-head against St. Dunstans-Church in Fleetstreet, 1685                                           $ 5,500

Quarto 8.7 x 6.6 inches A4, a-c4, B-L4, M2. 82 pp. First edition. This is bound in paper wrappers The title is a little stained and it is trimmed close but it is overall a decent copy.

Valentinian is a Jacobean era stage play, a revenge tragedy written by John Fletcher that was originally published in the first Beaumont and Fletcher folio of 1647. The play dramatizes the story of Valentinian III, one of the last of the Roman Emperors, as recorded by the classical historian Procopius.Like many plays in Fletcher’s canon, Valentinian was both revived and adapted during the Restoration period. This adaptation under the same title by the poet and playwright John Wilmot, 2nd Earl of Rochester was staged in 1684 at Drury Lane and published in 1685. Rochester changed the play’s order of scenes and eliminated the final act entirely, making Fletcher’s heroine Lucina the central focus of the drama.

The manuscript copy of Rochester’s version is titled “Lucina’s Rape.” Pinto regards Rochester’s work as a transforming of a loosely structured melodrama into a “symbolic poem full of profound meaning.” It may not have been performed until 1684, and it was not published until 1685. This text was taken from a prompt copy of Lucina’s Rape , and reveals that Rochester’s reworking itself had been further ‘Alter’d’ to the extent of having four scenes reordered and 86 lines removed.   Lucina’s Rape Or The Tragedy of Vallentinian , British Library Add. MS 28692 (title-page) What obviously appealed to Rochester was the basis for a satiric portrait of Charles II provided by Fletcher’s portrayal of a Roman emperor as a lustful monster. Rochester’s relationship with the King seems always to have been fragile, with the poet veering between seeing him as a father figure to respect and a fallen human being to despise

“An adaptation by Rochester, in poor taste, of Beaumont and Fletcher’s tragedy of ‘Valentinian’ appeared in 1685, under the title ‘Valentinian: a TrageDSC_0038 (2)dy.’ When the play was produced in 1685, Betterton played Aecius with much success and Mrs. Barry appeared as Lucina. Three prologues were printed, one by Mrs. Aphra Behn.

”The prologue by Aphra Behn is  a “long and eloquent defense of the character and writings of Rochester” (Pforzheimer)






Wing F-1354; W & M 1299; MacD 233; Pforzheimer 1069.



849G Sir George Etherege 1634?-1691

The comical revenge, or, love in a tub. Acted at His Highness the Duke of York’s Theatre in Lincolns-Inn-fields. Licensed, July 8. 1664.


Roger L’Estrange London: Printed for Henry Herringman, and are to be sold at his shop at the Blew-Anchor in the Lower Walk of the New Exchange,1669                                $1,700

Quarto 8.75 x 6.5 inches A-I4, K4.(In this edition, there is a comma after title word “revenge” and leaf A2r has catchword “hope”. Another edition has a semi-colon after “revenge” and leaf A2r has catchword “the”.) This is a good copy, in boards. This is a rare edition Listing only 4 copies in ESTC.

The first work published by  Etherege was The Comical Revenge, or Love in a Tub. It was published in 1664 and may have been produced for the first time late in the previous year. This comedy was an immediate success and Etherege found himself, in a night, famous. Thus introduced to the wits and the fops of the town, Etherege took his place in the select and dissolute circle of Rochester, Dorset and Sedley. On one occasion, at Epsom, after tossing in a blanket certain fiddlers who refused to play, Rochester, Etherege and other boon companions so “skirmished the watch” that they left one of their number thrust through with a pike and were fain to abscond. Etherege married a fortune, it is not certain when, and, apparently for no better reason, was knighted. On the death of Rochester, he was, for some time, the “protector” of the beautiful and talented actress, Mrs. Barry. 63  Ever indolent and procrastinating, Etherege allowed four years to elapse before his next venture into comedy. She Would if She Could, 1668.“The reputation of Sir George Etherege has risen considerably in the present century, and although there is now some danger of his being given an importance that he would have been the first to disown, he undoubtedly stamped his own unemphatic image on the Restoration theater. The comic world of his first two plays, although it is almost as unreal to the modern playgoer as the world of Edwardian musical comedy, is still young and fresh; it has the cool fragrance of those early mornings in the sixteen-sixties that Etherege knew so well as he went rollicking home after a night of pleasure. […] His gentlemen never do anything that he and his friends would have been ashamed to do themselves. Whatever his moral standards may be, we have at least the satisfaction of feeling (as we do not with Dryden) that he is not consciously lowering them to make an English comedy. […] (Sutherland)

Wing E-3370; W & M 546; Hazlitt, page 45.

[Another edition]

137F Sir George Etherege 1634?-1691

The Comical Revenge: Or Love in a Tub. As it is now Acted By Their Majesty’s Servants. By Sir George Etherege.


London: Printed by T. Warren for Henry Herringman, and are to be Sold by J. Tonson, F. Saunders, T. Bennet, and K.Bentley, 1697                                            $1,100

Quarto 8.75 x 6.5 inches A-I4, K2. Seventh edition. This play first appeared 1664. This is a good and clean copy. Bound in modern boards.

 Wing E-3373; W & M 550; Hazlitt, page 45.






Great Coxwell barn — lonewalkerwessex

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