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Publishers and Sinners: The Augustan View by Ian Watt
 1. 
[section 1]
 2. 
I
 3. 
II
 4. 
III
  
Notes
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"My Squeamish Public": Some Problems of Victorian Magazine Publishers and Editors by Oscar Maurer
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[section 1]
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I
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II
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III
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IV
  
Notes
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Melville and the Common Reader by William Charvat
  
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Notes
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Bibliography and the Novelistic Fallacy by Bruce Harkness
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[section 1]
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II
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III
  
Notes
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Compositor B's Role in The Merchant of Venice Q2 (1619) by D. F. McKenzie
  
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Notes
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The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon (IV) by Cyrus Hoy
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[section 1]
 2. 
I
  
Notes
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Some Folger Academic Drama Manuscripts by R. H. Bowers
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[section 1]
 2. 
I Folger MS. J.a.1
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II Folger MS. J.a.2
  
Notes
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Scottish Printers and Booksellers 1668-1775: A Supplement by Robert Hay Carnie and Ronald Paterson Doig
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[section 1]
 2. 
LIST OF ABBREVIATIONS
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INDEX OF PLACES
  
Notes
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Blake's Engravings and his Friendship with Flaxman by G. E. Bentley, Jr.
  
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Notes
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Recurrent Printing by William B. Todd
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[section 1]
 2. 
Notes on Variants
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Copies Examined
  
Notes
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THE COMPOSITION OF The Insatiate Countess, Q2 by Robert K. Turner, Jr.
  
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Notes
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'Oh! Sophonisba! Sophonisba! Oh!' by D. F. Foxon
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[section 1]
 2. 
TABLE 1
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TABLE 2
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Impression. TABLE 3
  
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Supplementary Notes on Samuel Richardson as a Printer by Alan D. McKillop
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I
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II
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III
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IV
  
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Msgazine and Other Contributions by Mary Russell Mitford and Thomas Noon Talfourd by William A. Coles
  
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Notes
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The Publication of Leigh Hunt's Imagination and Fancy by David Bonnell Green
  
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Notes
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Howells Bibliography: A "Find" and a Clarification by Edwin H. Cady
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[section 1]
 2. 
I
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II
  
Notes
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A SELECTIVE CHECK LIST OF BIBLIOGRAPHICAL SCHOLARSHIP FOR 1957 SERIES B
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Part I: INCUNABULA AND EARLY RENAISSANCE, by Rudolf Hirsch
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Part II: The Later Renaissance to the Present by Howell J. Heaney
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1. Bibliographies, Check Lists, Enumerations
 2.1a. 
A. English and General
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B. United States
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2. Printing, Publishing, Bibliographical and Textual Scholarship
 2.2a. 
A. English and General
 2.2b. 
B. United States
  
Notes

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Notes

 
[1]

George M. Smith, "In the Early Forties," Cornhill Magazine, LXXXI (1900), 577-585; see also DNB, [Leonard Huxley], The House of Smith Elder (1923), pp. 35-37, and Frank Arthur Mumby, Publishing and Bookselling, A History from the Earliest Times to the Present Day (rev. ed., 1954), pp. 243-244. Mumby's account consists largely of quotations from the Cornhill article; he misdates the incident 1846.

[2]

Smith includes, pp. 584-585, a further anecdote about Hunt's impracticality.

[3]

See The Correspondence of Leigh Hunt, ed. Thornton Leigh Hunt (1862), and Luther A. Brewer, My Leigh Hunt Library (1932-1938), passim; see also S. R. Townshend Mayer, "Leigh Hunt and Charles Ollier," St. James's Magazine, XXXV (1875), 387-413, W. M. Parker, "Charles Ollier to William Blackwood," TLS, Jan. 4, 1947, p. 288, David E. Kaser, "Two New Leigh Hunt Letters," N & Q, CC (March 1955), 123-124, and William H. Marshall, "Leigh Hunt on Walt Whitman: a New Letter," N & Q, CCII Sept. 1957), 392-393.

[4]

The letter is addressed: "Charles Ollier Esqre./ Hayes Place,/ Lisson Grove." I wish to thank Mr. R. Norris Williams, 2d, and the Historical Society of Pennylvania for their generous permission to publish this letter. Canceled words are in pointed brackets.

[5]

Presumably Thomas Longman (1804-1879), who had succeeded his father as head of the firm on the latter's death in 1842; but possibly his brother William (1813-1877), a partner in the firm, "attached . . . to the literary and publishing departments"; see DNB.

[6]

A canceled word that is illegible follows at this point.

[7]

Ollier was an accomplished performer on the flute.

[8]

See DAB, Letters to Leigh Hunt from his Son Vincent, With Some Replies, ed. A. N. L. Munby (1934), pp. 25-26, 58-60, and Huxley, House of Smith Elder, p. 35. Although his later career in America was honorable enough, he had left England to avoid arrest for forgery.

[9]

See Brewer, My Leigh Hunt Library, II, 286-287, for two letters from Powell to Hunt in which he discusses his negotiations with Smith, Elder & Company over Wit and Humour and "Action and Passion" and refers to the arrangements for Imagination and Fancy.

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