Thursday, 12 September 2013

Contemporary Reviews of Haywood's New Present for a Servant-Maid (1771)

Below are transcripts of two contemporary reviews of Eliza Haywood's A New Present for a Servant-Maid (1771), a revision of A Present for a Servant-Maid (1743), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

* * * * *

Ab.58.9 A New Present for a Servant-Maid, Monthly Review 46 (April 1772): 463 (Article 59)—online here

Art. 59. A new Present for a Servant-Maid: containing Rules for her moral Conduct, both with respect to herself and her Superiors: the whole Art of Cookery, Pickling, Preserving, &c. With Marketing Tables, and Tables for calling- up Expences, &c. By Mrs. Haywood. 12mo. 2s. bound, Pearch, &c. 1771.

The Present for a Servant-Maid has been published, as a twelve-penny pamphlet, above 20 years; and was esteemed by your good housewifes (the race was not quite extinct, in this island, about 20 years ago) as a well-designed and valuable tract. The additions now made, relating to Cookery, and other domestic concerns, must render the work still more extensively useful.

* * * * *

Ab.58.9 A New Present for a Servant-Maid, The Critical Review 33 (June 1772): 500 (Art.43)—online here

43. A new Present for a Servant-Maid. 12mo. 2s. Pearch.

This is an improved edition of a pamphlet which has long been considered as useful.

Tuesday, 10 September 2013

Contemporary Reviews of Haywood's Clementina (1768)

Below are transcripts of three contemporary reviews of Eliza Haywood's Clementina (1768), a revision of The Agreeable Caledonian (1728–29), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

* * * * *

Ab.41.3 Clementina, Critical Review 25 (January 1768): 59 (Article 14)—online here

14. Clementina; or, the History of an Italian Lady, who made her Escape from a Monastery, for the Love of a Scots Nobleman, 12mo. Pr. 2s. 6d. Noble.

This is a republication of a dull, profligate, Haywoodian production, in which all the males are rogues, and all the females whores, without a glimpse of plot, fable, or sentiment

* * * * *

Ab.41.3 Clementina, The London Review 37 (January 1768): 47–48—online here

Clementina, or, The History of an Italian Lady, who made her Escape from a Monastery, for the Love of a Scots Nobleman, Noble.

In an advertisement prefixed to this little volume we learn, that it was written by Mrs. Haywood in the year 1728, and published under the title of the Agreeable Caledonian, so that it is now only vamped up with little more that a different title-page, and cannot consequently claim any attention as a new production.

* * * * *

Ab.41.3 Clementina, Monthly Review 38 (May 1768): 412 (Article 45)—online here

Art. 45. Clementina; or the History of an Italian Lady, who made her Escape from a Monastery, for the Love of a Scots Nobleman. 12mo. 3s. Noble.

We are told, in the advertisement prefixed to this Novel, that, it is not a new work; that it made its first appearance in 1728, under the title of The Agreeable Caledonian; that its author was the late Mrs. Eliza Haywood; and that the present edition is printed from a copy corrected by her, not long before her death,—It is like the rest of Mrs. Haywood's novels, written in a tawdry style, now utterly exploded; the romances of these days being reduced much nearer to the standard of nature, and to the manners of the living world.

Monday, 9 September 2013

Contemporary Reviews of Haywood's History of Leonora Meadowson (1788)

Below are transcripts of two contemporary reviews of Eliza Haywood's The History of Miss Leonora Meadowson (1788), a revision of Cleomelia (1726), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

* * * * *

Ab.35.2 The History of Leonora Meadowson, Critical Review 65 (March 1788): 236—online here

The History of Leonora Meadowson. By the Author of Betsy Thoughtless. 2 Vols. 5s. Noble.

The spirit which dictated Betsy Thoughtless is evaporated; the fire of the author scarcely sparkles. Even two meagre volumes could not be filled, without a little History of Melinda Fairfax;—without the Tale of Cornaro and the Turk,—a tale told twice, in verse and prose,—a tale already often published, and as often read.[**] Alas, poor author! we catch with regret thy parting breath.

But, as this is probably the last time that we shall meet, as we owe somewhat to the author of Betsy Thoughtless, our first guide in these delusive walks of fiction and fancy, we mast give a short account of the present work.—Leonora yields indiscreetly to the wishes of her first lover; she then marries another; the marries again, before she is happy, with the faithful Fleetwood, whom she thought inconstant. Mrs. Munden acted more prudently, though at first thoughtless and indiscreet. The tale is, however, neatly told, and we are interested in the fate of our heroine, notwithstanding her first indiscretion, and her two subsequent very unaccountable matches.

The story of Melinda Fairfax is that of the “Guardian,” which has been so often seen on the stage, though with some little variation. The Tale of Cornaro is well known: the poetical version we do not recollect. If it is the work of the author, he deserves our applause: the versification is elegant, and sometimes highly poetical. The descriptive parts are extremely well executed.

[**seemingly, a reference to John Whaley, "Cornaro and the Turk: A Tale," A Collection of Original Poems and Translations (London: Printed for the Author, 1745), 1–28 [ESTC: t101302], which was often reprinted. The Tale starts "Where, 'mid Italia's ever sunny lands; / Fast by the streams of Po, Ferrara stands." For reprints online, see here (1780, often reprinted), here (1807) and here (1811, sans title).]
* * * * *

Ab.35.2 The History of Leonora Meadowson, Town and Country Magazine 20 (April 1788): 154—online here.

The History of Leonora Meadowson. By the Author of Betsy Thoughtless 2 Vols. 5s. Noble.

In this work very little of the author's original fancy and spirit is to be found; but the poetical version of Camaro, a tale well known, is elegant and well executed.

Monday, 2 September 2013

Bibliothèque Britannique, 1733-1747

Bibliothèque Britannique, ou Histoire des Ouvrages des Savans de la Grande-Bretagne is one of the lesser-known eighteenth-century French journals which reviewed English books for French readers. It has also been one of the less accessible French journals, as Frank Beckwith explained in 1933 in an article in The Library. (F. Beckwith, "The Bibliotheque Britannique, 1733-47," The Library, 4th ser., 12 (1931): 75–82.)

In 2008, however, runs of the journal from a range of libraries began to appear on Google Books and now there are multiple copies of every issue freely available. The contributing libraries, and the date of contribution, are: Oxford University (October 2006); Princeton University (July 2008); Ghent University (November 2008); University of Madrid (July 2009); University of Lausanne (October 2009); Lyon Public Library (April 2011); Bavarian State Library (September 2011), Austrian National Library (October 2011).

Unfortunately, Google Books suck at cataloguing, so I have made the following list to simplify the task of finding a copy of each quarterly issue. When I recently made a similar finding-list of volumes of American Book-Prices Current etc (see here) I was asked why I did not make my list on or Library Thing. The simple answer is, I don't know how; but it is also more convenient for me to put things on my web-log/blog than on another site, and I have greater editorial control here too. Which means, if I ever wanted to provide a link to each copy of each issue contributed by each library, I could.

So, below you will find a link to a copy of each volume (the best I can find online), which is unfailingly two quarterly volumes bound together. Since the first issue of Bibliothèque Britannique covered April–June and the second July–September, each volume of two quarterly issues (the Premiere et Seconde partie of each Tome) contains either these two quarters (Q2 and Q3) or October–December and January–March (Q4 and Q1). Note, there was a hiatus in production between Q3 1744 and Q2 1746, so that vol.23 spans Q2 1744–Q3 1746.

* * * * *

Tome Premier (vol.1, pt.1–2; Q2,3 1733): here.
Tome Second (vol.2, pt.1–2; Q4,1 1733–34): here.
Tome Troisieme (vol.3, pt.1–2; Q2,3 1734): here.
Tome Quatrieme (vol.4, pt.1–2; Q4,1 1734–35): here.
Tome Cinquieme (vol.5, pt.1–2; Q2,3 1735): here.
Tome Sixieme (vol.6, pt.1–2; Q4,1 1735–36): here.
Tome Septieme (vol.7, pt.1–2; Q2,3 1736): here.
Tome Huitieme (vol.8, pt.1–2; Q4,1 1736–37): here.
Tome Neuvieme (vol.9, pt.1–2; Q2,3 1737): here.
Tome Dixieme (vol.10, pt.1–2; Q4,1 1737–38): here.

Tome Onzieme (vol.11, pt.1–2; Q2,3 1738): here.
Tome Douzieme (vol.12, pt.1–2; Q4,1 1738–39): here.
Tome Treizieme (vol.13, pt.1–2; Q2,3 1739): here.
Tome Quatorzieme (vol.14, pt.1–2; Q4,1 1739–40): here.
Tome Quinzieme (vol.15, pt.1–2; Q2,3 1740): here.
Tome Seizieme (vol.16, pt.1–2; Q4,1 1740–41): here.
Tome Dix-Septieme (vol.17, pt.1–2; Q2,3 1741): here.
Tome Dix-Huitieme (vol.18, pt.1–2; Q4,1 1741–42): here.
Tome Dix-Neuvieme (vol.19, pt.1–2; Q2,3 1742): here.
Tome Vingtieme (vol.20, pt.1–2; Q4,1 1742–43): here.

Tome Vingt-Unieme (vol.21, pt.1–2; Q2,3 1743): here.
Tome Vingt-Deuxieme (vol.22, pt.1–2; Q4,1 1743–44): here.
Tome Vingt-Troisieme (vol.23, pt.1–2; Q2 1744, Q3 1746): here.
Tome Vingt-Quatrieme (vol.24, pt.1–2; Q4,1 1746–47): here.

Tome Vingt-Cinquieme [Index volumes] (vol.25, pt.1–2; 1747): here.

[UPDATED 9 September 2013]

Wednesday, 28 August 2013

Another French Review of The Female Spectator

I mentioned here that the “Avvertimento” (the preface) to the Italian translation of Eliza Haywood’s The Female Spectator (1744–46) quotes from a glowing review of this journal in the “Biblioteca Britannia”—but that I was unable to find the review in question until Google Books made it available. Since it is now available, I thought it would be useful to transcribe the French text here so that I can translate it (see Bibliothèque Britannique, vol.23, pt.2 (July–September 1746): 395–416 (Art 10).

[BTW: I have had to replace all 114 ampersands below with "[et]" since Blogger cannot be persuaded to display this character. Stupid Blogger. I have silently corrected a few typos—mostly t/r errors—but I have left archaic spellings intact, though these trip up Google Translate.]

[UPDATE 18 March 2017: since it is clear that I am not going to get around to doing a proper translation, I have added a Google translation of this text below.]

* * * * *


The Female Spectator. London, printed and published by T. Gardner, at Cowley's Head, opposite St. Clement’s Churcb, in the Strand.


La Spectatrice: à Londres, chez T. Gardner. [et]c. C'est un in 8vo, dont il paroit tous les Mois une Brochure de 60 à 80 pagg. [et] dont la prémiere parut sur le milieu d'Avril 1744.

L'auteur de cet Ouvrage a beaucoup hazardé de se produire sous un Titre, qui reveille d'abord l’Idée d'un excellent Livre, dont il étoit à craindre que la Comparaison ne fût désavantageuse au sien. Pour |396| soutenir le Caractère de Spectatrice, [et] ne point deshonorer le Spectateur, dont on se dit la Sœur, il faut des Talens peu communs. Sans cela, il est à craindre, qu'un Ecrivain, qui s'est aquis, à si juste Titre, tant de Réputation, ne renie le Parentage, [et] ne fasse passer cette prétendue Sœur pour un Enfant supposé, qui ne fut jamais de sa Famille. La facilité, avec laquelle ces Réflexions se présentent à l'Esprit, ne nous permet pas de douter que la Spectatrice ne les ait faites; [et] qu'elle n'ait senti combien son Entreprise étoit périlleuse. Mais, si cela est, il faut que, remplie d'une noble Confiance, elle ait crû pouvoir soutenir un si grand Nom, [et] faire un Ouvrage, si non égal à celui de son Frere, du moins qui en approche, dans la même proportion qu'il y a entre les Talens [et] la Capacité d'un Homme dont l'Esprit est cultivé par l'Etude, [et] ceux d'une Femme qui n'a pas eu le même Avantage. Si l'on envisage la Spectatrice dans ce point de vûe, nous osons bien assurer, qu'elle ne s'est point trompée dans l'Idée avantageuse qu'elle a conçue d'elle même [et] de ses forces. Son Livre en général est, non seulement digne de la Sœur du Spectateur, mais on y trouve de plus un très grand Nombre de Morceaux, que son Frere feroit Gloire d'avoir composé, [et] qui nè lui feroient pas moins d'Honneur que ce que nous avons déjà de lui. On seroit même tenté de croire, qu'elle est en possession des Papiers du des- |397| sunt, [et] qu'elle ne fait autre chose que de mettre en œuvre, à sa maniere, les Matériaux que le Spectateuravoit amassé pour la Continuation de son Ouvrage. Ce qu'il y a de sûr c'est que la Sœur puise dans la mê-me Source que le Frère a puisé. Le but de celui-ci a été de corriger l'un [et] l'autre sexe de ses défauts; mais celle là en veut sur tout à ceux du beau-sexe. Pour cet effet, ils mettent tous deux en usage ce que le bon sens, l'Esprit, [et] l'usage du Monde peuvent fournir de bon [et] d'agréable; avec cette différence qu'on remarque plus de savoir dans les Ecrits du Frère, [et] que la, Sœur semble être mieux au fait de toutes les petites Histoires qui forment ce qu'on appelle la Chronique Scandaleuse. Elle les raconte d'une maniere fort agréable, sans nommer les Originaux, [et] les accompagne de Réflexions également judicieuses [et] délicates. Mais, voyons comment la Spectatrice parle elle même de sa personne, de son but, des moyens d'y arriver, [et] des secours qu'elle aura pour y atteindre.

[397–403, quote from “Liv. I. p. 4.”—starting with “Pour preuve de ma sincerité, dit-elle (a) je vous déclare d'abord que je n'ai jamais été belle, [et] que je suis bien éloignée d'être jeune; aveu que peu de Personnes de mon sexe seroient disposées à faire” and ending with “Tous ceux donc qui prétendront faire tomber, sur quelques Personnes en particulier, le blâme des Actions dont il fera fait mention dans ce Livre, ou qui voudront y faire ce qu'on appellé une Clé, doivent s'attendre à être traité, dans la partie suivante, avec toute la sevérité que mérite la Noirceur de leur procédé.” This is Ab.60.1 FS Book 1 (1744), pp.2–7: “As a Proof of my Sincerity, I shall, in the first place, assure him, that for my own Part I never was a Beauty, and am now very far from being young” to “Whoever, therefore, shall pretend to fix on any particular Person the Blame of Actions they may happen to find recorded here, or make what they call a Key to these Lucubrations, must expect to see themselves treated in the next Publication with all the Severity so unfair a Proceeding merits.”]

  Malgré cette Menace [et] toutes les autres précautions de la Spectatrice pour empêcher qu'on ne découvre les Originaux qu'elle a en Vûe, il ne faut pas douter que ceux de fes Lecteurs, qui sont un peu au fait de ce qui se passe en Angleterre, [et] surtout à Londres, n'en reconuoissent plusieurs. Au reste, il nous semble qu'elle ne doit point s'en mettre en peine; parce qu'il n'y aura que ceux qui savent déjà les Histoires qu'elle raconte, qui connoîtront les Masques. C'est à eux à avoir la discrétion de ne les point nommer. Quant aux autres, qui voudront déviner, il est probable qu'ils donneront à gauche plus souvent qu'ils ne rencontreront juste. La raison en est toute naturelle. Les Ornemens, qui accompagnent le Récit de la Spectatrice, dépaïseront aisément les Lecteurs , [et] seront Cause qu'on trouvera avec bien de la peine des Personnes à qui conviennent tous les traits, par lesquels elle caractérise les Acteurs qu'elle introduit fur la Scene. Cette difficulté, [et] la crainte de donner à faux, doivént empêcher toute Personne raisonnable de |404| se livrer à des Conjectures, propres à noircir, dans son Esprit, [et] dans celui de ceux à qui elle les communiquera, la réputation de son prochain.

  Pour achever l'exposition, que nous nous sommes proposé de faire, du plan [et] du but de la Spectatrice, il ne sera pas inutile de rapporter ici la maniére dont elle s'explique sur l'Article des Nouvelles que ses Espions devoient lui envoyer des païs étràngers. Ce qui lui donna lieu de le faire, ce fut une Lettre qu'elle reçut plusieurs Mois après que son Ouvrage eut commencé à paroitre (a). L'Auteur se plaint de ce que, malgré ses promesses, elle n'avoit encore régalé le Public d'aucune Nouvelle Politique.

[404–5, quote from “Liv. VIII. p. 118.”—starting “Châcun s'imaginoit, lui dit il que vous avies la Clé du Cabinet des Princes, [et] un fil pour vous guider dans le plus épais du Labyrinthe des Mystéres d'Etat; [et] que vous pénétriés sans peine dans tous les secrets ressorts de l'Ambition, de l'Avarice , [et] de la Vangeance, qui font de si terribles ravages.” ending “De grandes flottes couvrent l'Ocean, [et] aucun des Vents, qui font enfler tant de voiles, n'a apporté à la Spectatrice la Nouvelle du but de ces prodigieux Arméniens, ni des grands Exjploits que ceux qui les commandent ont faits, ou sont sur le point de faire.” This is: Ab.60 FS, Book 8 (1744), pp.119–20; starting “Every body imagin'd you had a Key to unlock the Cabinet of Princes,—a Clue to guide you through the most intricate Labyrinths of State,—and that the secret Springs of Ambition, Avarice and Revenge, which make such dreadful havock.” ending “Huge Fleets cover the Ocean with their spreading Sails, but not all the Wind that fills them wafts to the Female Spectator any Account to what intent equipped, where directed, or what great Feats they yet have done, or are about to do.”]

  La Spectatrice répond à l'Auteur de cette Lettre, qu'elle n'a jamais eu dessein de parler dans son Ouvrage des Nouvelles, dont il lui reproche de n'avoir fait aucune Mention. Ces Choses ne sont point du ressort d'une femme, [et] ne font rien à son but. D'ailleurs, les ressorts qui produisent tous ces grands mouvemens ne sont |406| autre Chose que les Passions des Hommes. En raisonnant fur elles on remonte à la source de tous les désordres qui arrivent dans le monde. II n'est pas si aisé de décider quelle passion dans un Ministre a produit tel désordre particulier. Souvent ce n'est qu'une bagatelle, qui ressèmble assez à ce jeu des Enfans, qui consiste à faire des Noeuds que leurs Camarades doivent ensuite dénouer. Enfin, quand il seroit facile de pénétrer dans les Mystères d'Etat, il ferait imprudent [et], peut-être, peu fur, de le faire. “II y a an ancien Proverbe qui dit, que tout ce qui est licite n'est pas expédient; auquel l'on peut ajouter celui-ci, qu'il y a plusieurs Choses nécessaires qui ne sont pas lictses. Le principal but qu'on se propose dans cet Ouvrage, c'est de s'opposer au prodigieux accroifiement du luxe; [et] de travailler à la réforme des mœurs d'un siécle, de l’aveu de tout le monde, abâtardi [et] corrompu.”

  La prémiere Partie roule en général fur l’Amour [et] le Mariage; [et] fur la Contrainte dans laquelle des Peres [et] des Meres tiennent leurs filles, tandis que d'autres leur accordent une trop grande Liberté. Nous allons en donner un Extrait assez éxact pouvoir juger de la Nature du travail de a Spectatrice.

  De toutes les passions que l’Homme a reçu de son Créateur la plus noble, dit un Poëte, la plus douce, [et] la plus agréable, c'est l'Amour. Cela est exactement vrai quand elle est dirigée |407| par la Raison; mais alors ce n'est plus cette passion telle qu'elle est décrite dans les Romans [et] les Comédies. On représente l'Amour, dans ces Ouvrages, comme le Dieu de plaisirs [et] de la joye; mais, en même tems, on lui donne toute la fureur de Mars, on lui fait fouler aux Pieds tous les devoirs de l'Amitié [et] de l'Affection naturelle; [et] c'est un motif qui sanctifie les plus grands Crimes. La Lecture de ces Livres gate l'Esprit des jeunes gens, qui s'imaginent que l'Amour est réellement tel qu'on l'y trouve dépeint. Ils forment le leur fur ce modèle: faut il être surpris, après cela, de leur voir faire tant d'extravagances? On voie souvent des filles, trop jeunes encore pour qu'on leur parle d'Ámour, ou même pour éprouver cette passion, affecter cette Langueur, ces roulemens d'Yeux, ces soupirs, [et] cent autres folies qu'elles ont lûes; [et] ne s'appliquer uniquement qu'à tâcher de faire croire qu'elles sentent toutes les peines [et] les délicatesses de l'Amour. Dans de tels sentimens, elles sont disposées à se jetter, au mépris de l'Autorité Paternelle [et] de la Raison, à la tête du prémier Fat qui s'addressera à elles. Et comme l'Amour qu'une fille conçoit dans cette circonstance est purement imaginaire, elle s'apperçoit bientôt qu'elle n'aime pas la personne dont elle croioit être charmée, [et] fait un antre Choix. C'est là, la véritable Cause de l'Inconstance dont on accuse à tort les femmes; |408| Car, quand une fois elles aiment bien, rarement elles changent. Il n'y a qu'une suite continuelle de mepris [et] de mauvais traitemens de là part de l'Objet de leur tendresse qui puisse le leur rendre moins cher. La Spectatrice conseille donc à toute fille qui veut se marier, de bien éxaminer son Cœur, pour savoir si elle a une véritable tendresse pour son Amant. Et comme elle ne nait pas tout d'un coup, il ne faut pas se marier avant de se connoitre reciproquement, ni avant qu'on soit en état d'examiner son Cœur.

  Toutes ces Réflexions sont justifiées par l'Exemple de Martesia, qui, à l'âge de quatorze Ans, écouta, contre la Volonté de son Pere, le prémier Homme qui s'addressa à elle, [et] se fit enlever. L'Amour, qu'elle prétendoit avoir pour lui, étoit purement chimérique; aussi ne dura t-il pas longtems. Elle n'eut pas plus-tôt vû le jeune Clitandre, qu'il lui parut plus aimable que son Mari. Dès lors, il n'eut pas de peine à s'en faire écouter; [et] elle oublia bien tôt avec lui tous les Principes d'honneur [et] de vertu qu'on lui avoit inspirés dès son enfance. Le degout, qu'elle marquoit pour la Maison de son Epoux [et] pour sa personne, étoit trop marqué pour ne pas l'appercevoir. Il lui en fit de tendres reproches, auxquels elle répondit de manière à lui saire soupçonner la cause de son indifférence. Quand il fut convaincu que ses soupçons n'étoient pas mal-fondés, il mit tout en |409| usage pour regagner l'Amitié de sa Femme; mais tous ses soins furent inutiles. Alors il résolut de vivre séparément avec elle, sans cependant faire d'éclat. Il s'étoit déjà écoulé quelque tems depuis qu'ils vivoient de cette maniere, lorsqu'elle devint grosse. Le soin de sa réputation lui fit chercher les moyens de la mettre à couvert; à quoi elle ne pût réüssir qu'imparfaitement. On se disoit son Aventure à l'oreille; ce qui, joint au Chagrin qu'elle eut de se voir abandonnée par Clitandre, lui fit prendre la résolution de quitter l’Angleterre pour toujours.

  Ce n'est pas toujours la faute des filles, si elles font de mauvais Mariages. La trop grande Contrainte, dans laquelle leurs Parens les tiennent, leur fait saisir la prémière occasion de sécouër un joug qui leur est à charge. La Chaleur du Climat n'est pas toujours la Cause qu'en Espagne, en Italie, [et] en Turquie, les Femmes acceptent d'abord les prémières propositions d'un homme; mais la prison où on les tient fait que, quand elles jouissent d'un moment de Liberté, elles craignent de refuser une Chose que bies tôt après il ne sera plus en leur pouvour d'accorder. En effet, une fille récluse n'est point accoutumée aux tendres discours que les Hommes tiennent d'ordinaire aux Femmes. S'il lui arrive donc de s'entendre dire quelque chose d'obligeant, elle prend d'abord au Pied de la Lettre ce qui n'étoit qu'une Politesse; [et] s'expose, ou |410| à perdre son Honneur, ou à se rendre ridicule. C'est pour cette raison que, de toutes les Filles, les plus aisées à seduire sont celles qui ont été élevées à la Campagne, où elles n'ont vû d'autre Homme que leur Pere ou leur Curé. Cette contrainte où-on les retient fait qu'elles se jettent assèz soudent entre les bras d'un Laquais ou de quelque jeune Païsan.

  Seomanthe, pour son Malheur, fut élevée par une Vieille Tante, qui ne lui permit de prendre aucun des innocens plaisirs de la jeunesse. Elle ne voyoit, pour toute Compagnie, que quelques Vieilles prudes, Amies de la Tante, qui déclamoient sans cesse contre les Amusemens des gens du Monde. Leurs Discours ne la persuadoient point; [et] elle ne voyoit jamais passer de jeunes gens de l'un [et] de l'autre sexe, un peu bien mis, qu'elle ne souhaitât d'être avec eux. Elle languissoit sur tout de faire Connoissance avec ceux d'entre les Hommes, dont la Figure [et] l’Ajustement lui piaisoient. Ses desirs furent enfin accomplis. Un de ces Hommes, qui n'ont pour tout bien que ce qu'ils ont sur leur Corps, [et] dont l'unique ressource est d'attraper quelque riche Heritiere, entreprit de se rendre Maitre de la personne [et] du bien de Seomanthe. Pour cet effet, il mit en jeu une de ces Entremetteuses, qui, sous prétexte de vendre de belles Nipes, vont de Maison en Maison, pour corrompre la vertu des Femmes [et] des Filles. Cette Créature rendit |411| une Lettre de cet Avanturier à Seomanthe, qui eut la foiblesse d’y faire réponse. Dimanche suivant, il se trouva près d'elle à l'Eglise, où sa Personne, [et] une nouvelle Lettre acheverent de la charmer. Il lui demandoit une entrevue chés la femme qui lui avoit rendu la prémière Lettre, ou ailleurs [et] elle jugeoit à propos; ou, tout au moins, une Réponse, qu'il attendroit le Lendemain matin sous ses Fenêtres. Ne pouvant pas lui accorder la prémière de ses demandes, il fallut se rabattre sur la derniere; [et] ce commerce ayant duré quelque-tems, par le Ministére de l'Entremetteuse, Seomanthese laissa persuader de sortir une Nuit de la Maison de sa Tante, pour se retirer chés le Gallant. Il n'en fut pas plutôt le Maitre, qu'il chercha à se mettre aussi en possession de son Bien. Un petit nombre de jours lui suffirent pour cela; au bout desquels il quitta l’Angleterre, laissant sa Femme dans le désespoir [et] la Misère. Sa Tante ne voulant pas la recevoir, elle fut obligé de se retirer chés des Parens dans la Dépendance desquels elle vit aujourd'hui.

  Si la Contrainte, dans laquelle on retient les jeunes filles, est dangereuse, il ne l'est pas moins de leur accorder trop de Liberté. La mode s'est introduite de les laisser aller aux Mascarades en hyver, [et] aux Ridotis en été; ou elles sont exposées à se trouver avec toutes sortes de gens, [et] à entendre des Discours qui blessent souvent |412| la pudeur. Une telle Compagnie est bien propre à corrompre les mœurs d'une jeune personne, qui, n'ayant pas encore assés de jugement pour se conduire par les Principes de la Raison, se contente de suivre l'exemple des autres. Mais ils sont souvent dangereux dans ces endroits publics, ou la plus infame prostituée, dès qu'elle a un billet, peut entrer aussi bien, que la femme la plus vertueuse. Les Hommes, qui ont un peu de Connoissance du monde [et] de ce qui se passe dans de telles Assemblées, n'aiment pas que leurs femmes les frequentent.

  La Spectatrice rapporte ici la maniere ingénieuse dont un Mari s'y prit pour dégouter sa femme des Mascarades. Elle étoit vertueuse [et] ne vouloit jamais y aller sans lui; mais elle pouvoit cesser de l'être, [et] l'Habitude, qu'elle prenoir de n'en manquer aucune, lui causoit de la dépense. Il ne vouloit paroitre ni jaloux ni Avare, [et] lui inspirer cependant du dégout pour ces Assemblées. Dans ce dessein, il pria un de ses Amis de faire un Habit de Masque parfaitement semblable à celui qu'il devoit mettre. Pendant qu'il dansoit avec sa femme, l'Ami prit adroitement sa place; [et], quand il fut tems de se retirer, elle suivit la Personne qu'elle prenoit pour son Mari: elle monta avec lui dans un Carosse, qui les conduisit à un Cabaret, où elle fut fort surprise de se trouver avec un Etranger, qui lui tenoit des Discours auxquels elle |413| n'étoit point accoutumée. Elle appelloit du monde, lorsque son Mari survint, qui lui représenta les mauvaises Conséquences qu'auroit eu cette Avanture, si elle lui étoit arrivée avec une autre Personne que celle de son Ami. Il ajouta, qu'il avoit remarqué tout ce petit Manege, [et] qu'il les avoit suivi, dans le Dessein de tirer Vangeance de l'Affront, qu'on lui faisoit; mais que, puisque son Ami ne l'avoit point connue, [et] qu'à son Attachement pour lui, il l'avoit prise pour tout autre que ce qu'elle étoit, il n'avoit aucun lieu de se plaindre de lui. Cet Artifice produisit son effet: [et] la femme, qui a ignoré que c'étoit un jeu, a renoncé pour toujours aux Mascarades.

  Il ne faut pas s'imaginer, que la ressemblance des Habits n'ait réellement jamais rien occasionné de semblable dans ces Assemblées. La Spectatrice en rapporte deux Exemples bien funestes. L'un d'une Dame, qui, ayant reconnu son Mari dans une Mascarade, le crut amoureux d'une femme avec qui il s'entretenoit. La Jalousie, qu'elle en conçut, la fit résoudre à ne point le perdre de vue, [et] à le suivre quand il sortiroit. Malheureusement pour elle, il se trouva un Masque habillé de même: le prenant pour son Mari, elle le suivit dans la Maison où il entra. Quand elle eut reconnu son erreur, elle voulut se retirer; mais, les manieres engageantes de cet Homme, l'envie de lui demander des Nouvelles de son Mari, [et] sa Jalousie, la firent |414| rester; [et] l'Amour de la Vengeance la perdit. Son Mari fut instruit de toût dès le Lendemain. Le Ton, sur lequel il lui en parla, la fit rétirer chés ses Parens; qui, dès lors, se brouillérent pour toujours avec lui. Il fallut ensuite se battre contre le Gallant de sa femme; [et] tous deux furent dangereusement blessés. Enfin, après être guéri de ses blessures, le Gallant alla en France, où sa Maitresse le suivit bien-tôt après.

L'autre Exemple est celui d'un Frere [et] d'une Sœur, qui se trouvoient dans cette Assemblée pour la premiere fois. Celle-ci, prenant une autre Personne pour son frere, le pria de vouloir la teminener au Logis. Sans lui répondre, il s'avance avec elle du côté de la porte, la fait monter en Carosse, [et] la conduit chés lui; ou, après en avoir criminellement abusé, il la renvoye, en prenant des précautions pour que sa Maison ne fut point reconnue. Cette jeune Demoiselle, qui devoit se marier avec un Gentil-homme de sa Province, conçut tant de honte du malheur qui lui étoit arrivé, qu'elle ne voulut plus le voir, [et] est allée passer ses jours dans la retraite.

  Vaux-Hall n'est pas tout à fait si dangereux que lé Bal masqué; mais, il ne laisse pas de l'être beaucoup. La Musique, les délicieux Bosquets, les Endroits écartés, [et] la facilité qu'un Amant a d'entretenir sa Maitresse, sont de dangereux ennemis de l’Honneur. Un certain Homme, dont la Connoissance n'est pas fort honorable |415| pour les jeunes Dames, s'est vanté plusieurs fois, que; Vaux-Hall étoit le Temple de Flora, dont, depuis long-tems, il avoit été établi Grand-Prêtre. Il est assez à craindre, que la Chose ne soit que trop vraye.
  L'on trouve, à la suite de ces Réflexions, une petite Historiette, dans la quelle ce Prétendu Grand-Prétre joue un assez vilain Rolle. Il avoit cherché à séduire une jeune Fille, pour la faire servir aux plaisirs d'un Seigneur. Déjà la Mere étoit gagnée, [et] elle promettoit de rendre bon compte de sa fille: déjà il en avoit fait fête à ce Seigneur, au nom du quel il agissoit, lorsque la jeune Fille, préférant son honneur à tout autre chose, quitta la Maison de sa Mere, [et] se retira chez un Curé pour en être protégée. Celui-ci, ne voyant guéres de jour à pouvoir la garder chez lui contre la Volonté de sa Mere, lui proposa de l'épouser; ce qu'elle accepta avec joye.

  Telle est, en gros, la Nature de l'Ouvrage que nous annonçons. Il n'est pas aisé d'en donner une Idée bien juste dans un Extrait. Il faudroit pouvoir en représenter la beauté du stile, la vivacité des pensées, la justesse des raisonnemens, [et] la finesse des réfléxions: mais, pour cela, il seroit nécessaire de s'arréter presque sur tout; [et] ce ne seroit plus un Extrait, mais une Traduction. Il faut espérer, que quelqu'un en donnera bien-tôt une, qui mettra le Public en état de juger du mérite de |416| la Spectatrice*. Son Ouvrage semble devenir de jour en jour plus parfaits [et] l'on s'apperçoit, que, bien loin de tomber , comme la plûpart des Ecrivains périodiques, les dernieres parties ont quelque supériorité sur les précédentes.

*Cet Ouvrage s’imprime à la Haye, chez P. De Hondt.

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The author of this work has hazarded much by appearing under a title [The Female Spectator], which awakens at first the idea of an excellent book [The Spectator], from which it was feared that comparison would be disadvantageous to her. To support the character of the Female Spectator, which the sister is called, and not to dishonour the Spectator, it is necessary to have unusual talents. Without this, it is to be feared, that a writer, who has acquired so just a title, so much reputation, does not renounce the parentage, and does not cause this pretended sister to pass for a supposed child, who never was her family. The ease with which these reflections present themselves to the spirit does not permit us to doubt that the Female Spectator has made them; And that she did not perceive how perilous her enterprise was. But if this is so, it must be filled with a noble confidence, that it has been able to sustain such a great name, and to make a work, if not equal to that of its brother, at least approaching it, in the same proportion between the talents and the capacity of a man whose spirit is cultivated by the study, and those of a woman who has not had the same advantage. If we consider the Spectator from this point of view, we venture to assure her that she has not been deceived in the advantageous idea which she conceived of herself and of her forces. Her book in general is not only worthy of the sister of the Spectator, but also contains a very large number of pieces, which his brother would be glad to have composed, and which would do him no less honour than that which we already have of his. One would even be tempted to believe that she is in possession of the papers of the collection, and that she does nothing but put into execution, in her manner, the materials which the Spectator had amassed for the continuation of his work. What is certain is that the sister draws from the same source that the brother has drawn from. The object of the latter has been to correct both of its faults; but this one has a great deal to do with the fair-sex. For this purpose they both make use of what good sense, spirit, and the use of the world can furnish good and agreeable; with this difference that one notices more knowledge in the writings of the brother, and that the sister seems to be better acquainted with all the little stories which form what is called Chronique Scandaleuse. She recounts them in a very agreeable manner, without naming the originals, and accompanies them with reflections equally judicious and delicate. But let us see how the Female Spectator speaks of her person, of her purpose, of the means of accomplishing it, and of the assistance she will have in reaching it.


In spite of this threat and all the other precautions of the Female Spectator to prevent the discovery of the originals she has in view, it must not be doubted that those of her readers, who are a little acquainted with what is happening in England, and especially in London, did not recognize many. Besides, it seems to us that it ought not to trouble itself; because there will be only those who already know the stories that she tells, who will know the masks. It is up to them to have the discretion not to name them. As for the others, who wish to deviate, it is probable that they will give to the left more often than they will meet fairly. The reason is quite natural. The engravings, which accompany the narrative of the Female Spectator, will readily displease the readers, and will be cause to be found with much difficulty of the persons to whom all the traits agree, by which it characterizes the actors whom it introduces on the scene. This difficulty, and the fear of giving falsehood, ought to prevent any reasonable person from engaging in conjectures, calculated to blacken the reputation of his neighbour in his spirit, and in those of whom it communicates them.

In order to complete the exposition which we have proposed to make of the plan and purpose of the Female Spectator, it will not be useless to relate here the manner in which she explains the article of the News which her spies were to send her of foreign countries. That which gave her the right to do so, was a letter which she received several months after her work began to appear. The author complains that, notwithstanding her promises, she had not yet regaled the public with any political news.


The Female Spectator replies to the author of this letter, which she never intended to speak in her work of the news, of which he reproaches her for not having given any mention. These things are not within the power of a woman, and do nothing to her end. Besides, the springs which produce all these great movements are nothing else than the passions of men. By reasoning on them they trace back to the source of all the disorders which occur in the world. It is not so easy to decide which passion in a Minister has produced such particular disorder. Often it is only a trifle, which resembles in this game of the children, which consists in making knots which their comrades must then untie. Finally, when it would be easy to penetrate into the mysteries of state, it would be imprudent and, perhaps, little to do so. “There is an ancient Proverb which says, that ‘whatever is lawful is not expedient’; to which it may be added, that ‘That there are several necessary things that are not licensed’. The principal object which is proposed in this work is to oppose the prodigious increase of luxury; and to work to reform the manners of a century, by the confession of the whole world, abashed and corrupted.”

The first part is generally about Love and Marriage; And on the Constraint in which the fathers and mothers hold their daughters, while others grant them too great a liberty. We will give an excerpt sufficiently able to judge of the nature of the work of the Female Spectator.

Of all the passions which man has received from his most noble Creator, says a Poet, the sweetest and most agreeable is love. This is exactly true when it is directed by reason; but then it is no longer this passion as it is described in novels and comedies. Love is represented in these works as the God of pleasures and joy; but at the same time he is given all the fury of Mars, and he is made to tread on the feet all the duties of friendship and natural affection; and it is a motive that sanctifies the greatest crimes. The reading of these books bears the spirit of the young men, who imagine that love is really as it is depicted. They form theirs on this model: must we be surprised, after that, to see them do so many extravagances? We often see daughters, too young to be spoken of Amour, or even to experience this passion, to affect this languor, these eloquence, those sighs, and a hundred other follies they have had; And apply themselves only to trying to make them believe that they feel all the pains and delicacies of love. In such sentiments, they are disposed to throw themselves, in defiance of paternal authority and reason, at the head of the first person who will address themselves to them. And as the love which a girl conceives in this circumstance is purely imaginary, she soon perceives that she does not love the person of whom she thought she was charmed, and makes another choice. This is the true cause of inconstancy, of which women are wrongly accused; for, when once they love well, rarely they change. There is but a continual succession of contempt and bad treatment on the part of the object of their tenderness which can make it less dear to them. The Female Spectator therefore advises every girl who wishes to marry, to examine her Heart thoroughly, in order to know whether she has a true tenderness for her lover. And as she is not born all at once, one must not marry until one knows one another, nor before one is able to examine his Heart.

All these reflections are justified by the example of Martesia, who, at the age of fourteen years, listened to the first man, who opposed her Father's will, and took her away. Love, which she pretended to have for him, was purely chimerical; so it did not last long. She had no sooner seen the young Clitandre, than he appeared to her more amiable than her husband. From that moment he had no difficulty in making himself heard; and she soon forgot with her all the principles of honour and virtue which had inspired her from her childhood. The disgust, which she had for the house of her bridegroom and for his person, was too marked for him not to perceive it. He reproached her with tender reproaches, to which she replied so as to suspect the cause of her indifference. When he was convinced that his suspicions were not unfounded, he made every effort to regain the friendship of his wife; but all his care was useless. Then he resolved to live separately with her, but without making any splendour. It had already been some time since they had lived in this way, when she became fat. The care of his reputation made him seek the means of sheltering him; to which it could only imperfectly reap. His adventure was said in his ear; which, combined with the sorrow she felt at seeing herself abandoned by Clitandre, made her resolve to leave England for ever.

It is not always the fault of girls, if they make bad marriages. The too great constrainment, in which their parents hold them, makes them seize the first opportunity of securing a yoke which is a burden to them. The heat of climate is not always the cause in Spain, Italy, and Turkey, Women accept first the first propositions of a man; but the prison in which they are kept does, that when they enjoy a moment of liberty, they fear to refuse a thing which soon afterwards it will no longer be in their power to grant. Indeed, a secluded girl is not accustomed to the tender discourse, which men usually take from women. If, therefore, he happens to be told something obliging, she takes at first to the foot of the letter what was only a politeness; and exposes himself, or loses his honour, or makes himself ridiculous. It is for this reason that, of all the Daughters, the easiest to seduce are those who have been brought up in the country, where they have had no other man but their father or their priest. This constraint, in which they are kept, causes them to throw themselves together in the arms of a Laquais or some young Paisan.

Seomanthus, for her misfortune, was brought up by an old aunt, who did not allow her to take any of the innocent pleasures of youth. She saw only a few old prudes, friends of the aunt, who constantly declaimed against the amusements of the people of the world. Their discourses did not persuade her; and she never saw passing youth of either sex, a little well dressed, that she did not wish to be with them. She languished on all things to make acquaintance with those of the men, of whom the figure and the adjustment inspired her. Her desires were finally fulfilled. One of these men, who have for all good what they have about their bodies, and whose sole resource is to catch some wealthy heiress, undertook to make himself master of the person and goods of Seomanthus. For this purpose he brought into play one of these panders, who, under pretence of selling beautiful clothes, went from house to house to corrupt the virtue of women and girls. This creature returned a letter from this advocate to Seomanthus, who had the weakness to reply to it. On the following Sunday he found himself beside her at the Church, where his person and a new letter finished charming her. He asked her for an interview with the woman who had given her the first letter, or elsewhere, and she thought fit; or at least a reply, that he would wait the next morning under his windows. Not being able to grant him the first of his demands, it was necessary to fall back on the last; and this trade having lasted some time by the ministry of the procuress, Seomanthus persuaded him to go out a night from his aunt's house, to retire to the gallant. He was no sooner the master, than he sought to put himself in possession of his goods. A few days sufficed for it; at the end of which he left England, leaving his woman in despair and misery. Since her aunt did not wish to receive her, she was obliged to retire from the parents in the dependence of which she now lives.

If the constraint, in which young girls are retained, is dangerous, it is none the less to grant them too much liberty. Fashion has been introduced to let them go to the masquerades in winter, and to the ridottos in summer; or they are exposed to be with all sorts of people, and to hear discourses which often hurt modesty. Such a company is well fitted to corrupt the manners of a young person, who, having not yet asserted judgment to conduct herself by the principles of reason, content herself with following the example of others. But it is often dangerous in these public places, for the most infamous prostitute, as soon as she has a ticket, can enter as well as the most virtuous woman. Men, who have a little knowledge of the world and what happens in such assemblies, do not like their wives frequenting them.

The Female Spectator reports here the ingenious manner in which a husband took to disgust his wife with masquerades. She was virtuous, and would never go without him; but she could cease to be so, and habit, which she took to miss none of them, caused her an expense. He did not wish to appear jealous or miserly, and yet inspire him with disgust for these assemblies. With this intention, he begged one of his friends to make a cloth mask perfectly similar to that which he was to wear. While he was dancing with his wife, the friend took his place adroitly; and when it was time to retire, she followed the person she took for her husband. She went with him to a carriage, which led them to a Cabaret, where she was very surprised to find herself with a foreigner, who kept up speeches to which she was not accustomed. She called the world when her husband came, who represented to her the evil consequences that this adventure would have had if it had happened to her with another person than that of his friend. He added, that he had noticed all this little carousel, and that he had followed them, with the design to draw the attention of the affront which was done to him; but that his friend had not known him, and that, but for his attachment for him, he had taken her for whatever she was, he had no cause to complain of him. This artifice produced its effect; and the woman, who had forgotten that it was a game, renounced for ever the masquerades.

It must not be imagined, that the resemblance of the habits has never really occasioned anything like this in these assemblies. The Female Spectator reports two very fatal examples. One of a lady, who, having recognized her husband in a masquerade, thought him in love with a woman with whom he was conversing. Jealousy, as she conceived it, made her resolve not to lose sight of him, and to follow him when he went out. Unfortunately for her, there was a masquerader dressed in the same way: taking him for her husband, she followed him into the house where he entered. When she had recognized her error, she wished to retire; but the man's engaging manners, the desire to ask her for news of her husband, and her jealousy, made her stay; and the love of vengeance lost her. Her husband was informed of everything on the morrow. The tone with which he spoke to her, caused her to withdraw to her parents; who, from that moment, quarreled with him forever. It was then necessary to fight against his wife's gallant; and both were dangerously wounded. At length, after being cured of his wounds, the gallant went to France, where his Mistress followed him soon after.

The other example is that of a Brother and a Sister, who were in this assembly for the first time. She, taking another person for her brother, begged him to bring her to the house. Without answering her, he advances with her towards the door, makes her go up to coach, and leads her to him; or, after having criminally abused her, he dismissed her, taking precautions so that his house was not recognized. This young lady, who was to marry a gentleman of her own province, was so ashamed of the misfortune which had happened to her, that she would no longer see him, and went to spend her days in retirement.

Vaux-Hall is not quite so dangerous as a masked ball; but, not by much. Music, delicious groves, remote places, and the ease that a lover has to maintain his mistress, are dangerous enemies of honour. A certain man, whose knowledge is not very honourable to young ladies, has boasted several times that, Vaux-Hall was the Temple of Flora, of which he had long been the High Priest. It is to be feared, that the Thing is only too true.

One finds, in these reflections, and little histories, that this pretended grand-priest plays a rather ugly role. He had sought to seduce a young girl, to make her serve the pleasures of a Lord. The mother was already gained, and she promised to give due consideration to her daughter. He had already given a feast to this Lord, in whose name he was acting, when the young girl, preferring her honour to anything else, left the house of her mother, and retired to a parish priest to be protected. The latter, seeing a fight to be able to keep her at home against his mother's will, proposed to her to marry him; which she joyfully accepted.

Such, by and large, is the nature of the work which we announce. It is not easy to give a right idea just in an excerpt. It would be necessary to be able to represent the beauty of the style, the vivacity of thoughts, the correctness of reasoning, and the refinement of reflexions; but for this it would be necessary to arrest almost everything; and it would no longer be an extract, but a translation. It is to be hoped that some one will soon give one, which will enable the public to judge of the merit of the Female Spectator. His work seems to become more perfect day by day, and we perceive that, far from falling, like most of the periodical writers, the last parts have some superiority over the preceding ones.

* This work is printed at the Hague, by P. De Hondt.

[UPDATED 18 March 2017]

Tuesday, 27 August 2013

Contemporary Reviews of Haywood's The Husband (1756)

Below are transcripts of two contemporary reviews of Eliza Haywood's The Husband (1756), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

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Ab.72 The Husband The Critical Review 1 (March 1756): 133–35, Art.7—online here, transcribed below, without the running quotation marks.

Art. VII. The Husband. In Answer to the Wife. Pr. 3s. Gardner.

THE Husband is penned by the author of the Wife, in much the same manner; with the same honest intention; but as from her sex she is a better judge of the duties of the latter; so is she rather partial to the ladies. However a man of sense will certainly be thankful for such hints as are thrown out with a view of promoting and establishing firmly that amicable correspondence, so necessary to the happiness of a couple united for life.

He, who considers properly, will neither assume too much from his being a man; nor yet tamely submit to be led by the nose as your asses are; in trifles he will give way to his wife, because of her sex, in the composition of which there seems to be a large share of the spirit of contradiction; in matters of importance he will find a way to make her adopt his own notions, without seeming to have intended it. For woman, being of a soft and pliable nature, is rather wrought upon by gentleness and soothing; than by menaces and austerity.

A person who is able to deport himself in this manner, will give no occasion to his wife to use the following stratagem; which we have extracted for its pertinence and entertainment; a man, in such engagements as the husband described in this short story, is as much out of his element as a fish out of water; and looks as ridiculous as a woman at the head of a troop of horse.

When a man takes it into his head to be present at the hiring of a new servant-maid,—questions her on what she is able to do,—cavils with her on the article of afternoons tea, and going out every other Sunday to visit an old aunt or cousin,—is always running into his kitchen while the victuals is dressing,—ordering how the sauces shall be made, |134|—giving directions concerning the stirring of the fire, so as to render it either concave or convex, according as he thinks the meat to be roasted or boil'd requires,—enters into a learned dissertation on nutmegs, and whether they are best pounded in a mortar or grated, for minced-pyes, and a thousand other discourses of the same nature:—I say, when a man gives himself this unbecoming trouble, he is sure of being laugh'd at by his servants, and seldom fails of being despised by his wife.

I shall close what I have to say upon this head with a little incident, the truth of which I can aver:—A smart young lady of my acquaintance happen'd to be married to a gentleman of the cast I am speaking of;—she soon perceived this humour in him, and resolved to break him of it, if possible, by fair means;—the method she took was this:—one day when she catch'd him haranguing in the kitchen, she said nothing but went directly into the stable, where she enter'd into a conversation with the groom on the management of horses.

The husband soon after missing her, and being told where she was gone, was a little surpriz'd, and immediately follow'd her,—“What has brought you hither, my dear,” cried he.—“I should not have wonder'd if any one except yourself had ask'd that question,” replied she, with a smile;—“but I cannot help thinking that I make as good a figure in the stable as you do in the kitchen; and that it becomes me full as well to enquire how many oats your horse eats in a week, as for you to examine how many eggs I order my maid to put into a pudding.”

Conscious of the justice of this repartie, and sensibly touch'd with it, he blush'd,—hung down his head, but had not power to speak a word:—she saw the effect of what she had said, and resum'd her discourse, with the same sprightliness and good-humour she had began,—“Lookye, my dear,” said she, “I either am or am not qualified for the management of your domestic affairs.—If I am, I beg you will leave them entirely to me;—if I am not, let us change sides,—do you take upon you what is commonly the province of a wife, and I will endeavour to learn that of a |135| husband;—for it would be too much for you to undergo the fatigue of both.

There are many scraps of advice scattered through this piece, which every man, who studies his own ease, will rather adopt than reject; among these, our author is certainly right in faying, that “A man who is desirous of acquiring the reputation of a good husband,—would have his family well govern'd, and his wife always faithful, chearful, and obliging, must never go about to deprive her entirely of those recreations to which she may have been accustom'd; but as the most innocent may be inconvenient, if too often repeated, to the end she may take them the more seldom, he should endeavour to make home as pleasing to her as possible, which can only be done by staying much in it himself, and behaving while there in somewhat like the manner describ'd in the seventh section in this book.”

Our author's observations upon gaming, jealousy, incontinence, drunkenness, and petulance, are well founded; but there is something whimsical and ridiculous in the regard which she expresses for shells in the latter end of the second section, book 3, and whatever opinion we may have of her heart, this gives us but a poor one of her taste; coins have their use in ascertaining facts of history; and society derives many advantages from encouraging statuary and painting; the consideration of which would carry us infinitely beyond our bounds; we allow that in the latter there are many impositions, with the forming which, if this writer had been fully conversant, she would have known that the Spaltham pot and chimney, are more efficacious in giving the tint of antiquity, than the fun, wind, or pumice-stone.

Upon the whole, we then venture to say, of the Wife and Husband, that tho' the stile is rambling and incorrect; yet it is far from being despicable; that there is a good attempt made at commixing morality with entertainment; and they may both be productive of good effects in the hands of young people that can indulge a little reflection.

[NB: This review was reprinted in The Repository, or general Review, consisting of a select Collection of literary Compositions, with occasional Remarks (1756): 165–67.]

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Ab.72 The Husband The Monthly Review 14 (April 1756): 360, Art.3—online here, transcribed below, without the running quotation marks.

IX. The Husband, in answer to The Wife. 12mo. 3s. Gardner.

In the Appendix to the thirteenth volume of our Review, Art. IX. of the Catalogue, we mentioned The Wife; to the Author of which we are obliged also for The Husband. The two performances are of equal importance. They are not calculated for readers of taste; but such books have their admirers; and may be of use to such readers as will condescend to regard them.

Monday, 26 August 2013

Contemporary Reviews of Haywood's The Wife (1756)

Below are transcripts of two contemporary reviews of Eliza Haywood's The Wife (1756), with links to the original texts (now on Google Books). See here for a complete list of early reviews of Haywood's works available online.

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Ab.70 The Wife The Monthly Review 13 (December 1755): 509, Art.9—online here, transcribed below, without the running quotation marks.

IX. The Wife. By Mira, one of the authors of the Female Spectator, and Epistles for Ladies. 12mo. 3s. Gardner.
The title of this work may, perhaps, have induced some to imagine it of the novel kind; it is, however, wholly perceptive, and intended to direct the conduct of wives; who are here advised to discard those fashionable follies, and subdue those dangerous passions, that too often contribute to render the married state of all others the most unhappy. Mrs. Mira, tho' not a very spirited writer, in general, has painted some of the foibles of her sex in striking colours; but to anticipate the resentment she seems to apprehend from the freedoms she has so taken, she concludes this volume with "promising, that If any of them shall think her admonitions too strongly enforced, they will have their full revenge, when they read the duties she has enjoined a husband."—These last are to be the subject of another publication, said to be now in the press.

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Ab.70 The Wife The Critical Review 1 (March 1756): 129–33, Art.6—online here, transcribed below, without the running quotation marks.

Art. VI. The Wife. By Mira, one of the authors of The female spectator, and Epistles for ladies, i2mo. Price 3s Gardner.

THE design of this work is good; it is intended to restore marriage to its ancient honour, to relieve it from the imputations under which it labours, from the general ill-conduct of the parties united. This laudable end is endeavoured at, by examining the various occasions of difference, dislike, or disagreement, that may arise in that state; and adapting |130| proper advice in such circumstances to the wife, whose duty and happiness is the subject of our author’s study.

The principal objects that occasion disputes in life, are religion and politics; with both these, our author advises the wife not to intermeddle; desiring her, in the former case, provided her husband be a Latitudinarian, to endeavour to reclaim him by the regularity of her own conduct, and her attachment to the service of God; in the latter, to be silent, if she chances to be of different sentiments; few women being from their abilities, either natural or acquired, fit to talk upon such subjects; and if they are, discontents may possibly ensue, which may end very much to the disadvantage of the woman, from the rank she holds in the creation.

Our author's sentiments, with regard to dress, are very just; if a man really loves, his esteem will be kept up, by finding his wife always neat: and I believe a neglect of this essential circumstance, contributes much to that indifference, wherewith we see so many husbands daily behave to their wives; and that emulation in dress of the light wanton, or unthinking coquet, which is too much practised, is certainly an extreme that ought to be avoided almost as much as sluttishness. A woman should moreover study the mode of her husband's mind, and avoid talkative impertinence when he is inclined to be serious, as much as damping his gayer hours with an unaccountable gloomy appearance.

Under the article of oeconomy we may rank public diversions, Bath, Tunbridge, &c. on the use of which pleasures our author descants very prettily; but she certainly has never been at Bath, or she would not have introduced company to play at cards in the pump-room; however, it is a mistake of no manner of consequence.

Our author's dissertations upon detraction, secrecy, sloth, and complaisance, are worth being attended to; and she has represented in a just light the folly of a woman's engaging in abstruse and speculative sciences, when her domestic concerns claim particularly her attention.

It is hard for most women to bear peaceably a knowledge of their husband's galantry; and we shall conclude this review of The Wife, with quoting a story concerning a woman in such |131| a situation, in whose conduct there appears something entertaining; tho' a wife, ought to be very certain of her husband's good-nature, before she ventures to probe his failings so deeply before company.

A gentleman of a very ancient family and considerable estate, was married to a lady of beauty, wit, virtue, and good humour; but though he knew and acknowledg'd the merits of his wife, yet he was a man of so deprav'd a taste, that the most dirty dowdy he could pick up frequently supply'd her place within his arms.

It happen'd when they were at their country-seat, that riding one morning to take the air, as was his usual custom, he met a ragged country wench, with a pair of wallets, or coarse linnen-bags, thrown over her shoulder;—he stopp'd his horse and ask'd what she had got there,—to which she reply'd, with a low curtsy after her fashion,—that it was broken victuals,—that her mother and she had no sustenance but what they got from the charity of the cooks at great gentlemen's houses, and that she was now going home with what they had given her.—‘You need not be in haste, I suppose,’ said he;—‘if you will go with me into yonder field I will give you something to buy you a new gown.’

The poor girl needed not much persuasion to bring her to consent, on which he alighted from his horse and threw the bridle over a hedge-stake, and the girl at the same time hung her bags on the pummel of the saddle, to prevent their coming to any harm,—then follow'd the gentleman a little way out of the road, where they soon commenced and finish'd their amour.

The horse not liking his situation, found means to get loose and ran directly home;—the lady by chance was at the window when he came galloping into the court-yard;—she was at first a little frighted to see him without his rider, but perceiving the bags, call'd to have them brought to her, and on their being so, was not long at a loss to guess the meaning of this adventure.

She then order'd the cook to empty the wallets, and put whatever she found in them into a clean dish, and send it up |132| in the first course that day at dinner,—which accordingly was done.

The husband on missing his horse walk'd home, and brought with him two neighbouring gentlemen whom he accidentally met with in his way; but these guests did not prevent the lady from prosecuting her intention;—the beggar's provision was set upon the table,—remnants of stale fowls,—bones half pick'd,-pieces of beef,—mutton, —lamb,—veal, with several lumps of bread, promiscuously huddled together, made a very comical appearance: —every one presently had their eyes upon this dish, and the husband not knowing what to make of it cried out pretty hastily, —‘What's this! What have we got here!’—To which the lady with the greatest gaiety replied, ‘It is a new-fashion Olio, my dear; —it wants no variety, I think there is a little of every thing, and I hope you will eat heartily of it, as it is a dish of your own providing.’

The significant smile which accompanied these last words, as well as the tone of voice in which they were spoke, making him remember where the girl had hung her wallets, threw him into a good deal of confusion; which she perceiving, order'd the dish to be taken away, and said, ‘I see you do not like it, my dear, therefore when next you go to market pray be a better caterer.’—‘Forgive this,’ cried he, ‘and I promise never to go to any such markets more.’

The gentlemen found there was some mystery in all this, but would not be so free as to desire an explanation.—When dinner was over, however, and the lady, after behaving the whole time with all the chearfulness imaginable, had retired to leave them to their bottle, the husband made no scruple of relating to them by what means his table had been furnish'd with a dish of so particular a kind; at which they laughed very heartily, and would have done so much more if their admiration of the lady's wit and good humour had not almost entirely engross'd their attention.

Upon the whole, this work is performed in a loose, familiar manner, the topics being enlivened by short anecdotes, which are natural, and soften the edge of reflection and advice; neither of which can, without alternatives, be easily digested by | 133| minds warm, active, youthful and vigorous: and whatever may be the execution of it, it is much fitter for the hands of young people, than the numbers of novels void of morals, beauty, language or design, which some publisher, every day almost, throws out upon the town.

[NB: This review was reprinted in The Repository, or general Review, consisting of a select Collection of literary Compositions, with occasional Remarks (1756): 163–65.]

Eliza Haywood Reviews, Texts, Links etc

[For Eliza Haywood texts, links etc., and recent criticism of the same, see here; for texts, links etc., specifically related to Haywood's life, contemporary biographical accounts etc, see here. For William Hatchett links see here.]

I listed a number of original, contemporary, or near contemporary, reviews of works by Haywood in my Bibliography of Eliza Haywood (2004). I have subsequently found quite a few early reviews of works by Haywood, especially in translation, and thought I should bring together any links to either original review texts (whether or not they are mentioned in my Bibliography) or my posts with transcribed and translated review texts etc. Where appropriate, I might add the occasional original preface, where that preface engages with Haywood's texts (like this one).

Like my earlier link pages (mentioned above), this page will be updated, added to and corrected, as I find new material. NB also, each section is in the sequence found in my Bibliography (chronological by title) and uses the numbering of my Bibliography.

Facsimile Texts of 18C reviews criticism online

Ab.6.2A Idalia: Or, The Unfortunate Mistress [review in Dutch, of the Dutch translation (from the French translation)] Vaderlandsche letteroefeningen, No.15 (1804): 656–57—online here.

Ab.9 The Rash Resolve; Or, or the Untimely Discovery [review in French, of French translation] Bibliothèque Française , vol.9 (Nivôse An 9 [December 1800–January 1801]): 190–91—online here.

Ab.35.2 The History of Miss Leonora Meadowson, [reviewed in] Critical Review 65 (March 1788): 236—online here.

Ab.35.2 The History of Miss Leonora Meadowson, [reviewed in] Town and Country Magazine 20 (April 1788): 154—online here.

Ab.41.3 Clementina, [reviewed in] Critical Review 25 (January 1768): 59 (Article 14)—online here.

Ab.41.3 Clementina, [reviewed in] The London Review 37 (January 1768): 47–48—online here.

Ab.41.3 Clementina, [reviewed in] Monthly Review 38 (May 1768): 412 (Article 45)—online here.

Ab.54.3 The Anti-Pamela; or Feign'd Innocence Detected [review in French, of French translation] “L’Anti-Pamela, ou la fausse Innocence découverte dans les Avantures de Syrene” in Bibliothèque Britannique, 22.2 (January–March 1744): 358–66—online here.

Ab.58.9 A New Present for a Servant-Maid, [reviewed in] Monthly Review 46 (April 1772): 463 (Article 59)—online here

Ab.58.9 A New Present for a Servant-Maid, [reviewed in] The Critical Review 33 (June 1772): 500 (Art.43)—online here

Ab.60 The Female Spectator [review in French] Bibliothèque Britannique, ou Histoire des Ouvrages des Savans de la Grande, vol.23, pt.2 (July–September 1746): 395–416 (Art 10)—online here.

Ab.66.2 A Letter from H---- G----g [review in French, of French translation] "Lettre sur le Prétendant" in L’Année littéraire, 7 (1756): 38–43—online here.

Ab.70 The Wife, [reviewed in] The Monthly Review 13 (December 1755): 509, Art.9—online here.

Ab.70 The Wife, [reviewed in] The Critical Review 1 (March 1756): 129–33, Art.6—online here.

Ab.72 The Husband, [reviewed in] The Critical Review 1 (March 1756): 133–35, Art.7 here.

Ab.72 The Husband, [reviewed in] The Monthly Review 14 (April 1756): 360, Art.3 here.

Transcribed and translated texts of 18C reviews criticism online

Ab.6.2A Idalia: Or, The Unfortunate Mistress [transcript and translation of the Dutch] "A Dutch Review of Idalia (1723)" (posted 2019.11.07 here)

Ab.9.2 The Rash Resolve; Or, or the Untimely Discovery [transcript and translation of the French] "French Review of Haywood's The Rash Resolve (1724)" (posted 2015.01.22 here)

Ab.17.1 and 17.4 Memoirs of a Certain Island Adjacent to the Kingdom of Utopia, short reviews of unauthorised (partial) reprints: Modern Lovers (1756) and Prostitutes of Quality (1757) (posted 2017.10.18 here)

Ab.35.2 The History of Miss Leonora Meadowson [reviews in English] "Contemporary Reviews of Haywood's History of Leonora Meadowson (1788)" (posted 2013.09.09 here)

Ab.41.3 Clementina [reviews in English] "Contemporary Reviews of Haywood's Clementina (1768)" (posted 2013.09.10 here)

Ab.58.9 A New Present for a Servant-Maid [reviews in English] "Contemporary Reviews of Haywood's New Present for a Servant-Maid (1771)" (posted 2013.09.12 here)

Ab.60 The Female Spectator [transcript and translation of the French] "Another French Review of The Female Spectator" [in the Bibliothèque Britannique (July–September 1746)] (posted 2013.08.28 here)

Ab.60 The Female Spectator [transcript and translation of the French] "A French Review of The Female Spectator" [in the Mercure de France (April 1751)] (posted 2011.01.22 here)

Ab.60 The Female Spectator [transcript of Italian] "The Female Spectator in Italian" (posted 2013.08.24 here)

Ab.66.2 A Letter from H---- G----g [transcript of French] "A French Review of A Letter from Henry Goring" (posted 2015.03.08 here)

Ab.68 The History of Jenny and Jemmy Jessamy [transcript and translation of the French] "Jemmy et Sophie, 1797" (posted 2011.01.03 here)

Ab.70 The Wife [review in English] The Monthly Review 13 (December 1755): 509, Art.9 (posted 2013.08.26 here)

Ab.70 The Wife [review in English] The Critical Review 1 (March 1756): 129–33, Art.6 (posted 2013.08.26 here)

Ab.72 The Husband [review in English] The Critical Review 1 (March 1756): 133–35, Art.7 (posted 2013.08.27 here)

Ab.72 The Husband [review in English] The Monthly Review 14 (April 1756): 360, Art.3 (posted 2013.08.27 here)

[UPDATED 7 November 2019]

Saturday, 24 August 2013

The Female Spectator in Italian

La Spettatrice (1752)—Ab.60.15 in my Bibliography of Eliza Haywood—is a translation from the French into Italian of the first six books of Eliza Haywood’s The Female Spectator (1744–46). The “Avvertimento” (the “Advertisement” or preface) of this Italian translation begins by noting that “Questo libro è stato ricevuto in Inghilterra con tale applauso, che fu necessario farne una seconda edizione poco dopo pubblicata la prima” (This book has been received in England with such applause, that a second edition was necessary shortly after the first was published)—which is certainly true.

The Italian preface goes on to say that the author of The Female Spectator is unknown, but repeats the assessment of the “Biblioteca Britannia”—that The Female Spectator is a worthy sister of Joseph Addison and Richard Steele’s The Spectator.

When I compiled my Bibliography I was unable to locate this glowing assessment of Haywood’s Female Spectator in the Biblioteca Britannia. But I am now able to do so, thanks (once again) to Google Books, who have published online the volume of Bibliothèque britannique in which this review appears. (See Bibliothèque Britannique, ou Histoire des Ouvrages des Savans de la Grande, vol.23, pt.2 (July–September 1746): 395–416 (Art 10)—online here.)

When I was at Harvard I made a transcription of the preface (the “Advertisement”) and the authorisation (the “privilege” to print) so that I could get a translation of them. At the time, the Harvard copy was the only one I could locate, but I have since found two more, at Biblioteca della Fondazione Querini Stampalia, Venice, Italy [I. G. 747] and at the National Library of Malta [F-III-36] (my discovery of this copy was the subject of this blog entry).

Since, the Advertisement” and “privilege” are not online, and since I have recently been contacted by a scholar interested in these texts, I thought I should publish it online here. (The scholar is involved with the “Moralischen Wochenschriften” project at the University of Graz—described in English here).

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[Judging from the number of words that Google cannot translate, it appears that there are quite a few transcription errors below—if anyone fluent in 18C Italian would like to correct the text I will very happily adopt their corrections and credit them here!]


Questo libro è stato ricevuto in Inghilterra con tale applauso, che fu necessario farne una seconda edizione poco dopo pubblicata la prima: han creduto in quel paese di scoprire gli originali, du chi l'Autore fa il ritratto, e pubblica gl avvenimenti, ma sono sempre incerte le discoperte di tal natura, e per gli stranieri di poca importanza. Il libro non ha bisogno di questo soccorso, è stimabilissimo per sè stesso, tanto per le riflessioni morali eccellenti che contiene, quanto per le storie, che fervono di fondamento ad esse, narrate in una maniera la più semplice, e la più naturale. L'Autrice ha lasciato il meraviglioso a i compoitori di Romanzi, e si è contentata di dipingere i costumi, e le usanze della propria Nazione. Ecco il giudizio che dà di quest' Opera l'Autore della Biblioteca |4| Britannia nel tomo XXIII. parte II.

L'Autrice di quest' Opera ha rischiato assaissimo di comparir sotto un titolo, che immantinente risveglia l'idea d'un libro eccellente, il cui confronto potevasi temere molto disavantaggioso. Per sostenere il carattere di SPETTATRICE, e non far disonore allo Spettatore, di cui si dice sorella, vi bisognano de' talenti particolari. Senza di questi è da temersi, che uno Scrittore, il quale con sì giusta ragione si è acquistata tanta riputazione. non rinunzj questa parantela, e non faccia conscere questa sua pretesa sorella per una siglia supposta, e non mai della sua samiglia. E'probabile, che la SPETTATRICE medesima abbia fatti questi riflessi, che tanto facilmente si presentanto allo spirito, ed abbia preveduto il pericolo della sua impresa. Ma se la cosa è così, bisogna ch' ella piena d' una nobile considenza abbia creduto di poter sostenere un Nome sì grande, e fare un' Opera, se non eguale a quella di suo Fratello, almeno che se le avvicini, con quella proporzione che passa tra i talenti, e la capacità d'un uomo, il cui spirito è reso colto dagli studj, e quella d'una, |5| che manca di questo vantaggio.

Se fi considera la SPETTATRICE in questo punto di vista, bisogna confessare, ch'ella non si è ingannata nella idea vantaggiosa, che ha concepito di sè medesima, e della sua abilità. Il suo Libro non solamente è degno della sorella dello Spettatore, ma vi si trovano in oltre molti pezzi, che suo fratello avrebbe per gloria di aver composti, e che gli farebbero onore del pari a quelli, che abbiamo di lui. Potrebbe forse sospettarsi, ch'ella avesse gli scritti del Defonto, e che non abbia fatto altro, che mettere in opera, alla sua maniera, i materiali di gi¡a raccolti dallo Spettatore per continuare la sua Opera. E'però cosa certa, che la Sorella, ed il Fratello hanno pescato nell'acqua medesima. Quegli si è proposto di correggere de' suoi disetti l'uno e l'altro Sesso, ma quella prende particolarmente di mira quei del bel Sesso.

Per ottener questo effecto tutti e due mettono in opera tutto il buono, e tutto il dilettevole, che può fornire del Mondo; con questa differenza, che negli scritti del Fratello si trova piu di sapere, e che la Soella pare meglio |6| istruita di tutte le piccole storie, the racconta in una maniera molto graziosa, senza nominare gli Originali, e le accompagna con Riflessioni giudiziose egualmente che delicate. Pare che l'Opera vade sempre più diventando perfetta, e si vede, che in vece di decadere, come fanno la maggior parte de'Scrittori periodici, l'ultime parti sono piu eccellenti delle prime.

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Dello Studio di Padoa.

Avendo veduto per la Fede di Revisione, ed Approvazzione del P. F. Paolo Tommaso Manuelli, Inquisitor General del Santo Officio di Venezia nel Libro intiolato: La Spettatrice ec. Opera scritta in Inglese, e tradotta dal Francese, non v' esser cosa alcuna contro la Santa Fede Cattolica, e parimente per Attestato del Sgretario Nostro; niente contro Principi, e buoni costumi, concediamo Licenza a Giovanni Tevernin Stampator di Venezia, che possa essere stampo, osservando gli ordini in materia di Stampe, e presentando le solite Copie alle Pubbliche Librerie di Venezia, e di Padoa.

Dat. li 10 Maggio 1752.

Barbon Morosini Pr. Riff.
Alvise Mocenigo 4. K. Pr. Riff.

Registrato in Libro a carte 24 al Num. 256.

Gio: Girolamo Zuccato Segret.

Adi 19. Maggio 1752.
Registrato nel Magistrato Eccellentiss.
degli Esecutori contro la Bestemmia.
Alvise Legrenzi Segret.

Wednesday, 10 July 2013

American Book-Prices Current, Book-Prices Current, Book Auction Records etc

Most of the early volumes of American Book-Prices Current (ABPC) are available online, some of them many times over, thanks to the Internet Archive. Unfortunately, the Internet Archive suck at cataloguing, so it is hellishly difficult to find a specific volume. I made the following list to simplify the task for myself. I am probably re-inventing the wheel, but I hope other people will find it useful.

Despite the title of this post, I have not yet gone looking for the original, British Book-Prices Current (BPC) and Book Auction Records (BAR)—the other two standard sources for information on book sale records and the second-hand trade in books in general, but I will. And, if I find any, I will add them below.

[UPDATE 11 July 2013: I have added BPC and BAR now. The Internet Archive has outdone itself in trying to hide some of these files, many of which are catalogued as A Winter in North China (!). I was only able to locate some of the below by guessing URLs based on sequences of correctly-catalogued files. As I use the files I will re-arrange them so that, where there are duplicates, the best files appear first. (Best being the cleanest colour scans, with text and pdf files available.) I have reluctantly included a few Hathi Trust files, which combine appalling catalogue layout with an even worse user interface.]

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NB: final four volumes of ABPC in this list probably should not be available for download, and may not be available for download for long, for copyright reasons. (On the Hathi Trust catalogue page these files are described—when you can find them—as "Limited (search only).")

ABPC 1 (1895) here
ABPC 2 (1896) here; here; here
ABPC 3 (1897) here; here; here
ABPC 4 (1898) here; here; here
ABPC 5 (1899) here; here; here; here
ABPC 6 (1900) here; here
ABPC 7 (1901) here; here; here
ABPC 8 (1902) here; here; here; here
ABPC 9 (1903) here; here; here; here
ABPC 10 (1904) here; here
ABPC 11 (1905) here; here; here; here; here; here
ABPC 12 (1906) here; here
ABPC 13 (1907) here; here
ABPC 14 (1908) here; here; here
ABPC 15 (1909) here
ABPC 16 (1910) here
ABPC 17 (1911) here; here
ABPC 18 (1912) here; here
ABPC 19 (1913) here; here
ABPC 20 (1914) here; here
ABPC 21 (1915) here; here
ABPC 22 (1916) here
ABPC 23 (1917) here; here; here
ABPC 24 (1918) here; here; here
ABPC 25 (1919) here; here; here
ABPC 26 (1920) here; here
ABPC 27 (1921) here; here
ABPC 28 (1922) here [NB Hathi Trust]
ABPC 29 (1923) here
ABPC 30 (1924) here
ABPC 35 (1930) here
ABPC 38 (1933) here
ABPC 48 (1943) here

ABPC Index for 1916-1922 (1925) here [NB Hathi Trust]
ABPC Index for 1941-1945 (1946) here

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BPC 2 (1889) here
BPC 3 (1890) here
BPC 4 (1891) here; here
BPC 5 (1892) here
BPC 6 (1893) here
BPC 7 (1894) here; here; here
BPC 8 (1895) here
BPC 9 (1896) here
BPC 10 (1897) here; here; here
BPC 11 (1898) here; here
BPC 12 (1898) here; here; here
BPC 13 (1899) here; here
BPC 14 (1900) here; here
BPC 15 (1901) here; here
BPC 16 (1902) here; here
BPC 17 (1903) here; here
BPC 18 (1904) here; here; here; here
BPC 19 (1905) here
BPC 20 (1906) here; here
BPC 21 (1907) here; here
BPC 22 (1908) here; here; here; here
BPC 23 (1909) here
BPC 24 (1910) here; here
BPC 25 (1911) here
BPC 26 (1912) here
BPC 27 (1913) here; here
BPC 28 (1914) here
BPC 29 (1915) here
BPC 31 (1917) here
BPC 32 (1918) here
BPC 33 (1919) here
BPC 34 (1920) here
BPC 35 (1921) here
BPC 36 (1922) here

BPC Index 1887–96 here
BPC Index 1897–1906 here

* * * * *

BAR 1, pt.2 (1904) here
BAR 2 (1905) here
BAR 3 (1906) here
BAR 4 (1907) here
BAR 5 (1908) here
BAR 6 (1909) here
BAR 7 (1910) here
BAR 8 (1911) here
BAR 9 (1912) here
BAR 10 (1913) here
BAR 12 (1915) here
BAR 13 (1916) here
BAR 14 (1917) here
BAR 15 (1918) here
BAR 16 (1919) here
BAR 17 (1920) here
BAR 18 (1921) here
BAR 19 (1922) here

* * * * *

Auction Prices of Books; A Representative record … of the English Book-prices current in 1886 and the American book-prices current in 1894 to 1904, and including some thousands of important auction quotations of earlier date (1905):
  Vol.1 here; here
  Vol.2 here; here
  Vol.3 here; here
  Vol.4 here; here

[LAST UPDATE 11 July 2013]