:: :: University of Virginia Library

The "Company" of Printers by Cyprian Blagden

The Compositors of Henry IV, Part 2, Much Ado About Nothing, The Shoemakers' Holiday, and The First Part of the Contention by W. Craig Ferguson

Playhouse Interpolations in the Folio Text of Hamlet by Harold Jenkins

The Rationale of Old-Spelling Editions of the Plays of Shakespeare and his Contemporaries by John Russell Brown

The Rationale of Old-Spelling Editions of the Plays of Shakespeare and his Contemporaries: A Rejoinder by Arthur Brown

The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon (V) by Cyrus Hoy

A List of Printers' Apprentices, 1605-1640 by D. F. McKenzie

The Problem of Indifferent Readings in the Eighteenth Century, with a Solution from The Deserted Village by Arthur Friedman

The History of A Poem: Tennyson's Ode on the Death of the Duke of Wellington by Edgar F. Shannon, Jr.

[section 1]

1a.

[letter]

1b.

[section 1b]

The Reading of Joseph Carrington Cabell: "A List of Books on Various Subjects Recommended to a Young Man . . . ." by H. Trevor Colbourn

The Optical Identification of First Formes by Kenneth Povey

Ralegh and Ayton: The Disputed Authorship of "Wrong Not Sweete Empress of My Heart" by Charles B. Gullans

The Printing of Beaumont and Fletcher's The Maid's Tragedy Q1 (1619) by Robert K. Turner, Jr.

"The Unspeakable Curll": Prolegomena by Robert L. Haig

The False Alarm and Taxation No Tyranny: Some Further Observations by D. J. Greene

Two Notes on Goldsmith by Arthur Friedman

The Missing Third Edition of Wheble's Junius (1771) by G. Blakemore Evans

The Text of Burns' "The Jolly Beggars" by John C. Weston, Jr.

Harold Frederic: A Bibliography by Robert H. Woodward

Bibliographical Notes on F. Scott Fitzgerald's The Beautiful and Damned by Matthew J. Bruccoli

A SELECTIVE CHECK LIST OF BIBLIOGRAPHICAL SCHOLARSHIP FOR 1958

[appendix]

Collapse All | Expand All expand section

Tennyson noted his acceptance of Moxon's offer in the margin of the letter.

Finally the funeral was set for November 18, and the elegy was ready within the available time. Although Tennyson had not brought it to the perfection that he would afterwards attain, it possessed the authentic cadence. He wished to honor the great Duke and was apparently satisfied to submit his lines to the verdict of readers and reviewers. A single octavo, bound in gray paper, the Ode, consisting of 251 lines of varying lengths, was published on November 16, two days before the funeral.[15] Undoubtedly Sir Charles is right that his hopes for the success of the poem were high.[16]