Inventory List of the TENNYSON COLLECTION
as originally compiled under the supervision of TEMPLETON CROCKER

• POEMS, BY TWO BROTHERS. London: MDCCCXXVII. First edition, small paper copy. Original drab paper- boards, white paper back label. 6 3/4 x 4 1/4 inches.
  
  
• POEMS, BY TWO BROTHERS. London: MDCCCXXVII. First edition, large paper copy. Original drab paper- boards, with white paper back label, uncut and unopened. 7 13/l6 x 4 3/16 inches. Wise gives the measurement as 7 3/4 x 8 11/16 inches.
  
  
• POEMS, BY TWO BROTHERS. London: MDCCXXVII. First edition, large paper copy. Original drab paper- boards, with white paper back label, uncut. 7 3/4 x 4 11/16 inches.
  
  
• TIMBUCTOO. (Of high association interest) This copy consists of 6 leaves containing the separate title to Timbuctoo, then the Poem pages (5)-13. The title page and the poems of C. R. Kennedy and C. Merivale, are missing. Frederick Locker book plate, and label of Pickering, Bookseller. Piccadilly. On the separate title page Tennyson has written: "Eleanor Bertha Mary Locker A Tennyson. 25 June/67". On the flyleaf opposite is the inscription: "Transferred to Papa 22 April 1880 Eleanor B. M. Tennyson". Below this, Locker has written in pencil: "Tennyson was very much bored at my asking him to write E's name in this book, as he was ashamed of the Poem, however I insisted on his doing it. A good deal of this Poem was written for a poem called "the battle of Armageddon", which was never published". Tennyson has marked passages and made corrections in the text. On the first page of text, next to the last line, "th" is underlined and "the" written on the margin. On page 6, lines 14 and 15 are marked by Tennyson, and Locker has written at the foot of the page: "He said these were the only good passages in the Poem so he marked them F.L." Lines 3 and 4 on the next page are also marked. On this page (7), "child" on line 24 is marked by Locker, who has written at the foot of the page: "This stood "son", professor Smyth made him alter it F. L. 25 June 67. Tennyson tells me that a great portion of this poem, which he considers great trash, was taken out of a poem he wrote called the battle of Armageddon". On page 10 Tennyson has altered the word "cones" to "peaks" and Locker writes at the foot "He said, "I cannot stand this. I must alter this." An autograph letter of Tennyson's is pasted in at the front of the book. Locker has written his signature on the letter, and there is pasted on it a clipping from the Times of January 16, l865, stating that Tennyson has accepted the baronetcy conferred on him by Her Majesty the

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  Queen.The letter is written on paper with a wide mourning border."Farringford June 3d/62 Dear Lady Augusta (stanley) You will think me crazy.I wrote in such haste yesterday to save the post that I quite forgot the main purpose of my letter-at least as far as I can recollect.I fear that though my thanks to the Queen were of course implied in what I wrote I did not expressly request you to present them to Her Majesty.Will you have the kindness to do so - thanks most dutiful & heartfelt for the volumes whether they be a gift or a loan; for on referring to your letter, which merely states that your Ladyship was commanded by the Queen to "forward" the books that I might read & admire what H.M. had read & admired, I am horrorstricken lest I may have assumed as a gift what may have been meant as a loan; still I feel that you are so kind & considerate you would have said something about the returning the books had they to be returned. May I ask for a single line to tell me how this is, & to assure me of your forgiveness of my haste, my stupidity & my troubling you Yours very truly A Tennyson." Full green morocco binding, gilt edges.
  
  
• PRLUSIONES ACADEMICAE. MDCCCXIX. Cantabrigiae:Typis Academicis Excudit Joannes Smith. First edition. Title, separate title (Timbuctoo),the Poem pages (5)-13, blank verso of page 13. Pages 15-41 occupied by poems by C.R.Kennedy and C. Merivale, are lacking. Red morocco, gilt tops. 8 1/16 x 5 1/8 inches.
  
  
• THE FORESTERS. London,1892, First Edition;green cloth, 12 mo
  
  
• BALLADS AND OTHER POEMS. London,1880,First Edition;green cloth, 12mo
  
  
• THE ANTECHAMBER.London,1906, First Edition, printed for private circulation; original rose paper bound, Small 8vo; including case
  
  
• POEMS,CHIEFLY LYRICAL. London: Effingham Wilson,1830. Sig.H-10 with a series of Effingham Wilson book advertisements, is missing.Page 91 is misnumbered 19,and the word carcanet on page 72 is not mispelt coronet.Some of the early copies have both errors:Thomas J.Wise (Bibliography of Tennyson, footnote page 17)says:"It is evident that these errors were detected,and corrected,at different periods during the printing of the book. Professor Albert E.Jack, possessed a copy in which page 91 is misnumbered 19, but in which the word carcanet is correctly printed. Brown morocco, gilt edges. 7 1/8 x 8 1/4
  
  

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• THE GEM, A LITERARY ANNUAL. London: W. Marshall. MDCCCXXXI. This book contains three poems by Tennyson which are not included in any of the authorized editions of his collected Works. "No More", "Anacreontics", and "A Fragment" on pages 87, 131, and 242 respectively. Three quarter morocco, gilt edges. 6 3/8 x 4 inches. Henry William Poor and Walter Thomas Wallace copy.
  
  
• POEMS By Alfred Tennyson. London: Edward Moxon. MDCCCXXXIII. Coll. perf., with the leaf of advertisements (Sig.A-I). Original dark paper boards, white paper back label. 6 3/4 x 4 1/4 inches.
  
  
• 
  POEMS By Alfred Tennyson, London: Edward Moxon. MDCCCXXXIII.
  First edition, with numerous autograph corrections in Tennyson's handwriting. This volume formerly belonged to William Haslam, an early and close friend of Keats, and his autograph "W.Haslam" appears on the page of Contents. "The Palace of Art" contains the most of the autograph changes: Stanza 32 line 2 reading "That gave large view to distant lands", changed to "That lent large verge to distant lands". Stanza 33 has two changes, line 1, reading "Huge incense urns" is changed to "And incense urns" Line 3 reading "Each with a different odour fuming", is changed to "Each with a different odour clouding", Stanza 34 line 1, reading "Far-off 'twas wonderful to look upon" is changed to "So that 'twas wonderful to look upon" Line 2 reading "Those sumptuous towers between the gleam" is changed to "Those towers far-off betwixt the gleam". Stanza 36 line 4, reading "And topped with frostlike spires" is changed to "And tipt with frostlike spires". Stanza 49 line 4 reading "In pomp beyond control", is changed to "In pride beyond control". The eight lines of stanzas 52 and 53 are almost entirely re-written, six new lines being substituted. For:
  
  With graceful chalices of curious wine,
  Wonders of art - and costly jars,
  And bossed salvers. Ere young night divine
  

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  Crowned dying day with stars,
  Making sweet close of his delicious toils,
  She lit white streams of dazzling gas
  And soft and fragrant flames of precious oils
  In moons of purple glass.
  
  
  Tennyson has re-written the following new stanza:
  
  Communing with herself all these are mine,
  Let the great earth make peace or war,
  "Tis one to me," She when young night divine
  Crowned dying day with stars,
  Making sweet close of his delicious toils,
  Lit light in wreaths and anadems,
  And pure quintessences of precious oils
  In hollow'd moons of gems.
  
  
  This reading is followed in later editions except the phrase "the great earth" is changed to "the world". In stanza 5, line 1 reads: "Ranged on the fretted woodwork to the ground" this is changed to "Ranged on the fairy fretted woodwork round", The poem to "J.S." page 160, in stanza 8, line 3,reading "A man more pure and mild and just", is changed to "A man more pure and bold and just", Stanza 16 line 4, reading "That holy silence smiteth best". is changed to "That only silence smiteth best". These revib sed readings are followed in later editions. Bound in full calf, gilt, edges red. 6 7/16 x 3 15/16 inches.
  
  
  
• 
  THE LOVER'S TALE. London: Edward Moxon. MDCCCXXXIII. This first trial edition of The Lover's Tale is bound in with a first edition of Poems, 1833. Only four copies of this trial edition are known: The Ashley Library copy, the Rowfant Library copy, the William Harris Arnold copy (Gladstone), and the present one, of which Wise (Ashley Library Catalogue) says: "was found a few years ago in the hands of a bookseller in the Isle of Wight". Green morocco, gilt edges. 6 3/8 x 4 inches.
  
  
  
• THE CHARGE OF THE LIGHT BRIGADE. A manuscript of the poem in Tennyson's handwriting, written on white note paper stamped"Farringford. Freshwater, Isle of Wight." The manuscript is signed and dated "A Tennyson Apr. 10/64'" This is ten years after the poem's first appearance. The "Maud" version differs considerably from the original version published in The Examiner. The manuscript is here reproduced in full: The Charge of the Light Brigade. Half a league half a league
  
  

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  The Charge of the Light Brigade Manuscript in Tennyson's hand.

  256-greyscale image, 200 dpi, of the first page of MS xxx, Tennyson's Charge of the Light Brigade, from the University of Virginia Special Collections Dept.

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  1

  Half a league onward
  All in the valley of Death
  Rode the six hundred:
  "Forward the Light Brigade
  Charge for the guns" he said
  Into the valley of Death
  Rode the six hundred.
  
  
  

  2

  "Forward the Light Brigade:"
  Was there a man dismay'd?
  Not tho' the soldier knew
  Some one had blunder'd:
  Theirs not to make reply,
  Theirs not to reason why,
  Theirs but to do & die,
  Into the valley of Death
  Rode the six hundred.
  
  
  

  3

  Cannon to right of them,
  Cannon to left of them,
  Cannon in front of them
  Volley'd & thunder'd;
  Storm'd at with shot & shell,
  Boldly they rode & well,
  Into the jaws of Death,
  Into the mouth of Hell
  Rode the six hundred.
  
  
  

  4

  Flash'd all their sabres bare,
  Flash'd as they turn'd in air,
  Sabring the gunners there,
  Charging an army while
  All the world wonder'd:
  Plunged in the battery smoke
  Right through the line they broke;
  Cossack & Russian
  Reel'd from the sabre stroke,
  Shatter'd & sunder'd.
  Then they rode back, but not
  Not the six hundred.
  
  
  

  5

  Cannon to right of them,
  Cannon to left of them,
  Cannon behind them
  Volley'd & thunder'd;
  Storm'd at with shot & shell,
  While horse & hero fell,
  They that had fought so well
  Came thro' the jaws of Death
  Back from the mouth of Hell,
  All that was left of them
  Left of six hundred.
  
  

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  6

  When can their glory fade?
  O the wild charge they made!
  All the world wonder'd.
  Honour the charge they made!
  Honour the Light Brigade,
  Noble six hundred!
  
  
• THE CHARGE OF THE LIGHT BRIGADE. This is a copy of The Examiner of December 9, 1854, in which the poem first appeared. The poem is on the page numbered 780, and is signed "A.T." The poem was afterwards published in Maud & Other Poems, in 1855, and in the same year was reprinted as a quarto pamphlet of 4 pages, for distribution among the soldiers in the army before Sebastopol. Walter Thomas Wallace copy.
  
  
• MAUD, AND OTHER POEMS. London, Edward Moxon, 1855. Coll.perf. Tennyson's signature is on the title page, and bound in at the beginning of the volume are 8 numbered pages of Moxon book advertisements dated October, 1855. Original green cloth boards. 6 3/4 x 4 1/4 inches.
  
  
• MAUD, AND OTHER POEMS. London: Edward Moxon, 1855. This volume is catalogued in Harry B. Smith's Sentimental Library as follows: "This copy belonged to Tennyson and was used by him in making the revisions for the third edition. The preliminary printed version of Maud of which the only copy known to have existed was destroyed by Coventry Patmore - was entitled "Maud; or the Madness". In preparing the third edition, Tennyson intended to revert to the original title, as the words "or the Madness" are added in his hand in the present copy. The Third edition of Maud contained 10 pages of additions to the poem. Five stanzas and several lines of these additions appear in this copy in Tennyson's autograph. There are also a number of alterations of words and phrases. The poem The Charge of the Light Brigade, is marked out, evidently with the intention of omitting it from the third edition. Of this lyric Tennyson wrote to F. G. Tuckerman: "It is not a poem on which I pique myself". On page 9, Tennyson has written three stanzas, numbered 14, 15, 16, and headed: "3 stanzas to be inserted after the 13th". On page 37 Tennyson has written two lines to be inserted after the fourth line on the printed page. In the sixth line of stanza three, he has written "stuff'd" to be printed in place of "stuft". On page 38 he has written a stanza numbered 4, and changed the former number 4, to 5.

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  Maud, and Other Poems. London, 1855 Corrections and additions in Tennysons hand for a later edition

  256-Greyscale image, 200 dpi of Tennysons poem "Maud" with corrections and additions in Tennyson's hand, from the Univerisity of Virginia Special Collections Department.

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  Riviere binding of red morocco, gilt edges. 6 11/16 x 4 1/ inches.
  
  
• OENONE. 1857. Title page as above, verso blank. On recto of next page: Ut potuit eximium hoc carmen in amoenis apud Falconhurst Otiis latine reddedit et Joanni G. Talbot optimo amicis- simo D.D.L." The poem occupies pages 4 to 29, with the Latin verses on the right, signed "Lyttelton" on page 29, and the English translation on the left signed "Tennyson" on page 28. The verso of page 29 is blank, and the next page bears the imprint: London: Gilbert and Rivington, Printers, St. John's Square. Original maroon cloth boards. Buxton Forman bookplate, and his initials on the flyleaf with the date: 20.12 92. On the title page is written: "From the Translator". This book is not mentioned by either Wise or Shepherd.
  
  
• MANUSCRIPT OF ELAINE (Idylls of the King). This manuscript is entirely in Tennyson's handwriting, undated, and inscribed at the beginning: "F.Locker from A Tennyson". There are about 30 leaves, some blank, of a blue paper notebook, quarto size. The text has been much worked over and corrected, and even then differs considerably from the published version. There are upwards of 725 lines in all. Two of the pages contain a rough draft of "Milton", the poem commencing: "O mighty mouth'd inventor of harmonies" which appears at the end of Idylls of the Hearth, (1864), with two other poems under the heading "In Quantity".
  
  
• IDYLLS OF THE KING. London: Edward Moxon & Co., 1859. Coll.perf. There is no imprint on the verso of the title page, which is blank. Probably these copies were the earliest issued (Wise). Tennyson has written on the title: "G.W.Dasent from A. Tennyson Aug. 8th/59". Bound in at the beginning are 4 leavss of Moxon book advertisements, dated July, 1859. Original green cloth boards. 6 374 x 4 1/4 inches.
  
  
• IDYLLS OF THE KING. London: Edward Moxon & Co., 1859. Since there is an imprint on the verso of the title page, this is probably not one of the earliest copies. Blue morocco gilt, top edges gilt, by De Sauty. 6 5/8 x 4 1/16 inches.
  
  
• IDYLLS OF THE KING. London: Edward Moxon & Co., 1859. Coll.perf., and without the imprint of Bradbury and Evans

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  on the reverse of the title page. Bound in leather, blind tooled, by the Guild of Women- Binders. Uncut, top edges gilt. 6 9/16 x 4 1/8 inches. At the beginning of the volume is bound the trial title page of The True and the False, described below Trial title page of The True and the False, and Contents leaf. This is Tennyson's copy. Only two copies of this trial issue are known, and as they vary in setup, Mr. Wise considers that they represent two successive sets of proofs. The present title page is evidently the third proof, differing from each of the others, and the Contents leaf being now as finally printed. This is the actual page used by Tennyson in making his final correc- tions. He has now cancelled the original title and the first word of the next line, "Four"; also, the initials P.L., D.C.L., in large letters after his name; and below, the words "Poet Laureate". Below this he has made three trials of a motto, one being: "God has not made, since Adam was, the Man more perfect than Arthur". Another, "Brut. G ab Arthur", and the third, which was the one selected: "Flos Regum Arthurus - Joseph of Exeter". Bound in between the trial title and the Contents, is an autograph letter from Emily Tennyson to Moxon, dated Far- ringford June 30th, 1859.: "My dear Sir, I send the title page as it is to be & I shall rejoice in seeing the book out next week. I wish you the highest success in the best sense of the word in your new undertaking. Thank you for the first number & believe me Truly yours Emily Tennyson".
  
  
• IDYLLS OF THE KING. Strahan and Co., London, 1869. This is either the ninth or the tenth edition, and not published until 1870, although the date is 1869. There are corrections in Tennyson's handwriting on pages 71, 78, 91, 92, 96, and 113. Most of the corrections con- sist of changing "you" to "ye", but on page 71, line 1, "filial" is changed to "daughtiest", and in line 15 "custom" is changed to "usage". Blue morocco binding, top edges gilt, by Riviere. 6 1/2 x 4 1/8 inches.
  
  
• THE SAILOR BOY. London: Emily Faithful & Co., 1861. Coll.perf., in the original stiff cream colored paper wrappers. 6 13/16 x 4 5/16 inches; solander case.
  
  
• SEA DREAMS. AN IDYLL. By Alfred Tennyson. This is probably the earliest form of the poem, and it is the only known copy. Many corrections have been made by Tennyson. It was printed by him in pamphlet form and paged 1-8. It is not mentioned in Wise's Bibliography, who refers to the poem as being first printed in Macmillan's Magazine, January 1860. This copy was either

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  intended as a separate publication, or a distinct proof pull by the publishers of Macmillan's, where it subsequently appeared. It differs in the type used for its title, has no headlines as in the magazine, but instead has a separate pagination, also, is spaced differently. It was however evidently revised by Tennyson for the purpose of the subsequent printing for it bears important autograph corrections by him in the text, and has also directions to the printer. An excerpt from the magazine is bound up in the volume. Tennyson presented this pamphlet to his brother-in-law C. R. Weld, who, it is stated often acted as his literary agent and evidently arranged for the publication of the lines in Macmillan's Magazine. Weld has written above the text: "Given to me by A Tennyson at Farringford Jan.l/1860 C.R.Weld". and: "Inserted in Macmillan's Magazine January 1860 - Honorarium L 300". Tennyson has written at the top: "Revise. Make all the spaces throughout equal & so as to fill the eight pages without crowding too much at the foot of the last." The pamphlet is entirely uncut. Bound by Sangorski and Sutcliffe in green morocco. 8 1/2 x 5 3/4 inches.
  
  
• HELEN'S TOWER, CLANDEBOYE. Privately Printed. Flyleaf, blank leaf, title page, page commencing "XXth day of November", "to My Dear Son". 3 pages, Tennyson's poem on the reverse of which is "On Wednesday", blank leaf, flyleaf. The lining and end papers are formed of white paper covered with gold stars. Originally issued in 1861, this copy is one of the examples made up in the following year, having the additional blank leaf between the end paper and the title page watermarked with the date 1862. As issued, in the original green stiff glazed paper wrappers. 9 5/8 x 7 11/16 inches.
  
  
• THE LOVER'S TALE. London. Fifty Copies printed for Private Circulation. MDCCCLXX. Coll.perf. The first pirated edition. Reprinted by Herne Shepherd, produced from the copy (afterwards in the Rowfant Library, and now in the possession of Mr. J.A. Spoor, of Chicago) of the original of which Mr Basil Montagu Pickering had purchased in Messrs Sotheby's rooms in June, 1870. Red morocco, top edges gilt. 6 7/8 x 4 3/16 inches.
  
  
• MORTE D'ARTHUR: DORA: AND OTHER IDYLS. London. MDCCCXLII. Coll.perf. This is the second of the Tennyson trial books. There are the four sections of 16 pages each, unopened and unstitched, just as they left the printer's hands: in case.
  
  

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• MORTE D'ARTHUR; DORA; AND OTHER IDYLS. London, MDCCCXLII Coll.perf. Stitched, and covered with plain green gray paper wrappers. 6 11/16 x 4 1/4 inches; including case. POEMS. By Alfred Tennyson. In Two Volumes. Vol.l. London: Edward Moxon, Dover Street. MDCCCXLII. Coll.perf. Bound in with this volume are the proof sheets of "Circumstance", "The Lady of Shalott", and "Mariana in the South", with corrections and alterations, some in Tennyson's writing, and some in Spedding's. These proofs came from James Spedding, friend of Tennyson and the reader of his poems. Tennyson scarcely published anything for a long while without first submitting the manuscript to Spedding. The numbering of the pages of the proofs, as well as the setting of the text and the composition of "The Lady of Shalott" show a great difference from the published text. The proofs show a number of corrections of a slight nature, by Spedding probably, but on page 76 of the proof (page 86 of the published volume) Tennyson has added a whole line. The last verse formerly began "In the lighted palace near/ Died the sound of royal cheer,/ Who is this? and what is here?/ And they crosst themselves for fear." Tennyson has changed this to "Who is this? & what is here" above the first line, added the word "and" at the commencement of the second line, and crossed out the third line. The proof of "Circumstance" is on the recto of a leaf bearing the signature F-2, and on the verso is the first proof sheet of The Lady of Shalott. This leaf is not paged. The subsequent proof sheets of The Lady of Shalott are paged 69-76. The first proof sheet of Mariana in the South is paged 78 on the verso, and the next leaf is numbered 79, 80. The word "South" in the title is starred, with footnote: "See Poems, Chiefly Lyrical". The proofs end with verse VI, those of verses VII and VIII are missing. The last two lines in the proof of verse V read: "Madonna, leave me not all alone,/ To die forgotten and live forlorn " These are underscored, and in the published version they read: "Sweet Mother, let me not here alone,/ Live forgotten and die forlorn." Volume II. Coll.perf. The two volumes are bound in the original drab paperboards. Vol.l, has the white paper back label, but it has worn off from Vol.II. 6 3/4 x 4 1/8 inches.
  
  
• THE PRINCESS; A MEDLEY. By Alfred Tennyson. London: Edward Moxon, Dover Street. MDCCCXLVII. Coll.perf. 8 pages of book advertisements dated November 1, 1847. This book is from Harry B. Smith's Sentimental Library. There is Tennyson's visiting card and the Frederick Locker book plate. On the flyleaf Locker has written: "See pages 23 & 93. With leaves from a later

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  edition, & mss corrections by Alfred." Harry B. Smith says of this book: "This copy belonged to the Locker-Lampson Collection. The intercalated songs, did not appear until the third edition. They have been supplied in this copy by Locker-Lampson. Two of them, "As thro' the land at eve we went" and "Thy voice is heard thro' rolling drums" are Tennyson's proof sheets, with several alterations in his autograph. In the former song Tennyson has cancelled the second stanza and added a line each to the first and third, changing materially the arrangement and the effect of the verses. The proof of the second song shows that it originally read: "When all among the thundering drums/Thy soldier in the battle stands". This has been altered in Tennyson's hand to "Thy voice is heard thro' rolling drums/That beat to battle where he stands". The other songs "The splendour falls on castle walls", and "Home they brought her warrior dead", and "Ask me no more", are inserted in the autograph of Mr Locker-Lampson".
  
  
• IN MEMORIAM. London: Edward Moxon, Dover Street, l850. Coll.perf. An early copy of the first edition, having the two errors on pages 2 and 198. Page 2 line 13, "the" for "thee". Page 198 line 3, "baseness" for "bareness". Blue morocco by Riviere, with the original covers bound in. 6 11/16 x 4 1/8 inches.
  
  
• IN MEMORIAM. Tenth Edition. London, l861. There are 4 leaves, unopened, of Moxon book advertisements bound in at the beginning, dated January 1861. Page 203, unpaged, is blank, save for 2 parallel lines in the center. This volume was used by Dodgson (Lewis Carroll) in making his Index, and it is pencilled throughout by him. Original purple cloth boards. 6 3/4 x 4 1/8 inches.
  
  
• AN INDEX TO "IN MEMORIAM". London: 1862. This is Dodgson's copy and bears his signature "Lewis Carroll" on the flyleaf. Purple boards. 6 7/16 x 4 inches.
  
  
• ODE ON THE DEATH OF THE DUKE OF WELLINGTON. London:1852 Coll.perf. Full calf, top edges gilt, otherwise intact, with the original slate colored paper wrappers. 8 3/4 x 5 9/16 inches.
  
  
• ODE FOR THE OPENING OF THE INTERNATIONAL EXHIBITION. London: Edward Moxon & Co., 1862. Coll. perf. Green morocco, top edges gilt, by Riviere. 6 13/16 x 4 1/4 inches.
  
  

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• A WELCOME. London: Edward Moxon & Co., 1863. Coll.perf. Single sheet as issued, unbound. This is the first edition, as the diamond shaped center of the small French rule, which is placed immediately below the first line of the title, is solid, and not a hollow frame, as in the second edition. Thomas Wise says that page 3 has a dropped head: "The Welcome"; in the present copy it reads: "A Welcome". 6 3/4 x 4 1/4 inches; including solander case.
  
  
• 
  IDYLLS OF THE HEARTH. London: Edward Moxon & Co., 1864. Proof sheets, with corrections by Tennyson. 175 pages. The proof sheets of A Welcome to Alexandra (pages 164, 165 in the first editior., are not present. Page 164 (unpaged) contains A Dedication. The remaining poems follow in the same order as in the final printing. In the proof sheets there is no spacing after "Hendecasyllabics", which is followed by "Specimen of a translation of the Iliad in blank verse", ending in the middle of page 175, with the imprint of Bradbury and Evans at the foot. Some of the more important changes made by Tennyson follow: Page 99, last line. Proof: "And such a sense, when first I lighted on him". The word "lighted" is changed to "fronted him". Page 106 line 9. Proof: "And Christ the snare to catch his dupe and fool"; Changed to: "And Christ the bait to trap his dupe and fool"; Page 107 line 8. Proof: "A light, a belt of luminous vapour, lay", Tennyson has written "It seem'd", above the first two words, and then drawn a line through his writing. As published, the line reads: "A belt, it seem'd, of luminous vapour, lay", Page 149. In the proof, verses X and XI are marked to be printed in inverted order. The first two lines in the proof of verse X (verse XI of the printed version) read:
  "We followed; sail was never furl'd,
  Or anchor dropt at eve or morn"; This is changed
  
  to:
  "And never sail of ours was furl'd,
  Nor anchor dropt at eve or morn";
  
  Page 159 line 4. Proof: "And there lives a worm in the lonely wood", is changed to: "And a worm is there in the lonely wood", "A Dedication" (unpaged, on the verso of M2, after page 163, and paged 166 in the published version), the proof reads: "Who wrote it, for his own sake, as for theirs
  May grow less careful of his brother fools,
  Or learn the wise indifference of the wise",
  
  Tennyson has changed line 5 to read "Who wrote it, self

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  reliant when assail'd", Line 6 has been cancelled, and line 7 he has changed to "May learn the wise indifference of the wise", The corrected proof of "A Dedication" differs so much from the published version that it is here given in full In line 2, Tennyson has changed "Thee" to "you", in each case.
  
  

  A Dedication.

  Dear, near and true - no truer Time himself
  Can prove thee, tho' he make thee evermore
  Dearer and nearer, as the rapid of life
  Shoots to the fall - take this, and pray that he
  Who wrote it, for his own sake, as for theirs,
  May grow less careful of his brother fools,
  Or learn the wise indifference of the wise,
  And after Autumn past, if let to pass
  Life's autumn into seeming - leafless years,
  May come in peace to the bare head, and wear
  His wisdom lightly, like the delicate fruit -
  You know it, tho' the name is rude enough -
  Which in the winter woodland looks like a flower
  
  Bound by P. Ruban in purple morocco. 6 3/4 x 4 1/8 inches. Charles B. Foote copy.
  
  
• IDYLLS OF THE HEARTH. London: 1864. Coll.perf. Few copies were printed, as the title "Idylls of the Hearth" was soon cancelled and the name "Enoch Arden", substituted. Red morocco, top edges gilt, by Riviere. 6 ll/16 x 4 1/8 inches.
  
  
• ENOCH ARDEN, etc. London: 1864. Coll.perf. First edition. Olive morocco gilt, gilt edges, by "C. McL - 1909". 6 9/16 x 4 inches.
  
  
• ENOCH ARDEN, etc. London, 1865. This volume is identical to the first edition published in 1864. Wise does not mention this edition of 1865. Bound in at the front are 16 numbered pages of Moxon book advertisements. On the title Tennyson has written: "E from A Tennyson". Original green cloth boards. 6 3/4 x 4 1/8 inches.
  
  
• THE WINDOW; OR, THE SONGS OF THE WRENS. Proof sheets, with many alterations and corrections in Tennyson's autograph. These sheets are unbound, numbered 165-178, and are 6 7/8 x 4 1/4 inches in size. Headline "The Window", throughout. The poem is divided into twelve sections, and the type is the same as the Canford Manor folio edition of 1867. On the first page are the initials "A.S.", those of Strahan, the publisher. In

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  Page 32
  the title Tennyson has changed "Loves" to "Songs". He has drawn lines through the second stanza of the fifth section, and "omit" is written on the margin. This stanza has not appeared since the Canford Manor private folio edition. In the last line of the third stanza of the fifth section Tennyson has changed "we'll" to "all". In the following section (numbered VI) the two stanzas are almost entirely re-written. The three versions are given in full, as the corrected proof differs from the published versions. Private folio version (the same as the uncorrected proof):
  "Where is another sweet as my sweet?
  Such another beneath the sky?
  Fine little hands, fine little feet,
  Fine little heart, and merry blue eye.
  Shall I write to her? shall I go?
  Ask her to marry me by and by?
  Somebody said that she'd say no,
  But somebody knows that she'll say ay,
  Ay ay, ay ay, ay ay, ay ay,
  Ay ay, ay ay.
  
  
  Ah my lady, if ask'd to her face,
  Might say no, for she is but shy:
  Fly, little letter, apace, apace,
  Down to the light in the valley fly,
  Fly to the light in the valley below,
  Tell my wish to her merry blue eye,
  For somebody said that she'd say no,
  And she won't say no, and I'll tell you why,
  She will say ay, ay ay, ay ay -
  Ay ay, ay ay."
  
  Tennyson proof corrections: "Small of the small", (cancelled, and changed to -) "Slight of the slight, sweet of the sweet! Fine of the ("finest under" is written, then changed to - )
  fine, & shy of the shy;
  Fine little hands, fine little feet,
  Dewy blue eye
  Shall I write to her? shall I go?
  Ask her to marry me by and by?
  Somebody said that she'd say no,
  Somebody knows that she'll say ay,
  Ay ay, ay!
  
  
  Ay or no, if ask'd to her face?
  Ay or no, from shy of the shy?
  Go,little letter, apace, apace,
  Fly -
  Fly to the light in the valley below,

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  Page 33
  

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  The Window; or, the Songs of the Wrens Proof sheets with corrections in Tennyson's hand

  256-Greyscale image, 200 dpi of Tennyson's "The Window" with corrections in Tennyson's hand. From the University of Virginia Special Collections Department.

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  Page 34
  
  Tell my wish to her dewy blue eye,
  Somebody said that she'd say no, -
  Won't say no, I'll tell you why,
  She will say ay, ay ay, ay ay - "
  
  In the last line, "She" was first cancelled, then marked "stet." Published versions:
  "Where is another sweet as my sweet,
  Fine of the fine, and shy of the shy?
  Fine little hands, fine little feet -
  Dewy blue eye.
  Shall I write to her? shall I go?
  Ask her to marry me by and by?
  Somebody said that she'd say no;
  Somebody knows that she'll say ay!
  Ay or no, if ask'd to her face?
  Ay or no, from shy of the shy?
  Go, little letter, apace, apace,
  Fly;
  Fly to the light in the valley below -
  Tell my wish to her dewy blue eye:
  Somebody said that she'd say no;
  Somebody knows that she'll say ay!
  
  In stanza VIII "cook'd" in line 8, is changed to "drest". A pencil line is drawn through section X. These proof sheets are in a morocco case stamped "R.Riviere & Son. for S.M. Samuel. 1894."
  
  
• THE WINDOW, OR THE LOVES OF THE WRENS. Canford Manor. MDCCCLXVII. Coll. perf. This copy commences with the title page, followed by the leaf with the monogram of Sir Ivor Bertie Guest. Original limp red boards, gilt edges. 10 7/8 x 8 1/16 inches. William Harris Arnold copy.
  
  
• THE WINDOW; OR, THE LOVES OF THE WRENS. MDCCCLXVII. This is the first pirated edition, made by Mr. Herne Shepherd. Green morocco, by Riviere, edges untrimmed, H. Buxton Forman copy, 6 13/16 x 4 1/4 inches.
  
  
• LUCRETIUS. Cambridge, Mass. Printed for Private Circulation, 1868. Coll.perf. Original light brown boards. 7 1/8 x 5 3/8 inches.
  
  
• THE HOLY GRAIL AND OTHER POEMS. London, 1870. Coll. perf. Original green cloth boards. 6 11/16 x 4 1/8 inches. Pasted in the volume is a cardboard sheet with a reproduction in water color of the Holy Grail with the notation:

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  Page 35
  "The Dish at Genoa supposed to have given the original conception of the Sangreal was taken by the Genoese at the capture of Caesarea. A.D.1101 out of a building erected by Herod as a temple but then used as a mosque. It was supposed to be made of a single emerald and was once pawned by the state for 1200 gold marks. It was taken by the French & whilst in their keeping suffered fracture and proved to be of glass of Roman manufacture cast and afterwards turned in a lathe; its top was hexagonal and has two handles. It must therefore appear something like the above. Width 15 1/6 in. Depth 4 2/3 Height 6 1/3."
  
  
• THE LAST TOURNAMENT. London, 1871. Coll.perf. Author's Private Edition. Uncut; the binding has been removed. 6 15/16 x 4 1/4 inches.
  
  
• THE LAST TOURNAMENT. London, 1871. Coll.perf. Author's Private Edition. Dark green morocco by Riviere. 6 13/16 x 4 1/4 inches.
  
  
• ENGLAND AND AMERICA IN 1782. London, l872. Coll.perf. As issued, stitched, and without wrappers. 6 11/16 x 4 3/16 inches; including solander case
  
  
• TO THE QUEEN MDCCCLXXIII. Coll.perf. Red morocco by Riviere, top edges gilt. 7 7/8 x 5 3/8 inches.
  
  
• GARETH AND LYNETTE etc. London, 1872. Coll.perf. Following page 136, are 10 numbered pages of advertisements of books published by Strahan and Co. Original green cloth boards. 6 11/16 x 4 3/16 inches.
  
  
• A WELCOME TO HER ROYAL HIGHNESS MARIE ALEXANDROVNA,DUCHESS OF EDINBURGH. Henry S. King & Co., London, 1874. Coll.perf. In this, the first edition, the 4th line of the second stanza has the word "plains" which was changed to "palms'' in the second impression (quarto, instead of octavo). Riviere binding of red morocco, gilt tops. 6 3/4 x 4 3/16 inches.
  
  
• THE NEW TIMON AND THE POETS. Privately printed, 1876. In some copies page 14 is misprinted 4; it is not misprinted in this copy. 32 pages, the last leaf unpaged. This is the issue pirated by Mr Shepherd, being a reprint of the 30 pages appended to the last two pirated

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  Page 36
  editions of The Lover's Tale. Green morocco binding by Riviere, all edges untrimmed. 6 9/16 x 4 5/16 inches. Book plate of Buxton Forman, and his initials on the flyleaf with date 25.9.99.
  
  
• QUEEN MARY, AND HAROLD, agreement. This is the agreement between Henry S. King & Co. and Tennyson, regarding the publication of Queen Mary and Harold. Dated May 7, 1877, and written on a single folio sheet of blue paper folded in two. Henry S. King & Co. desire to include Queen Mary and Harold in the various editions of Tennyson they are authorized to publish, and agree to pay him eight hundred pounds for the privilege. Tennyson's signature is at the foot of the agreement, and below that, he has signed the receipt for the amount. Morocco binding by Sangorski and Sutcliffe.
  
  
• HAROLD A DRAMA. Henry S. King & Co., London, 1877. First edition. Some of the leaves are unopened. At the end are bound 2 leaves advertising Tennyson's works, followed by 30 numbered pages of Henry S. King publications, then the imprint: "Elzevir Press - Printed by John C. Wil- kins 9, Castle Street, Chancery Lane. Original green cloth boards. 6 3/4 x 4 5/8 inches.
  
  
• BECKET A TRAGEDY. London: l879. Trial edition. This copy has been bound, but the binding has been removed. Edges untrimmed. Coll.perf. William Harris Arnold sale, 1924 (no.939). 7 1/2 x 5 inches; in case.
  
  
• BECKET A TRAGEDY. London: 1879. Trial edition. Coll.perf. Red morocco binding by Riviere, top edges gilt. 7 1/2 x 5 inches.
  
  
• THE FALCON. London: Printed for the Author, 1879. As issued, in pale drab paper wrappers. 7 9/16 x 5 1/16 inches: including solander case.
  
  
• CHILD SONGS. London, C. Kegan Paul & Co., 1880. Printed for copyright purposes. As issued, stitched, without wrappers. 6 13/16 x 4 3/8 inches; including case.
  
  
• THE CUP. London: Printed for the Author, 1881. As issued, in plain paper wrappers of a pale drab color. 7 5/8 x 5 1/8 inches; including case.
  
  
• HANDS ALL ROUND. 1882. Sung by Mr. Santley. Folio, with music, as issued; including solander case.
  
  

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  Page 37
  
• THE CUP AND THE FALCON. By Alfred Lord Tennyson Poet Laureate, London, Macmillan and Co., 1884. First Published Edition, as issued, in green cloth boards. On the fly title Tennyson has written: "F. Locker from Tennyson". On page 8O, he has written on the margin: "see p.86". With a caret after "Gods" in line 6. On the blank page following 85 are these lines in his handwriting: "Nay, rather than so clip/ The flowery rose of Hymen, we would add/ Some golden fringe of gorgeousness - beyond/ Old use - to make the day memorial, when/Synorix, first king, Camma, first Queen of the realm/ Drew here the richest lot from Fate - to live/And die together." Frederick Locker "Greenway" book plate.
  
  
• THE PROMISE OF MAY. London: Printed for the Author: l882 . First Trial Edition, as issued, in pale brown paper wrappers. 7 1/2 x 5 1/8 inches; including solander case.
  
  
• THE PASSING OF ARTHUR. London, Macmillan and Co., 1884. This is the reprint issued for students. Cream Colored wrappers with lettering and frame in dark red. 6 5/8 x 4 9/16 inches; including solander case
  
  
• TO H.R.H. PRINCESS BEATRICE.1885. Second Edition, with no watermark or gilt edges. As issued. 11 7/8 x 8 7/8 inches; including case.
  
  
• TIRESIAS AND OTHER POEMS. London, Macmillan and Co., 1885. As issued, in green cloth boards.
  
  
• ODE ON THE OPENING OF THE COLONIAL AND INDIAN EXHIBITION. These are the proof sheets,and they differ from the separately printed issue of the Official Programme in which the poem was published. Two quarto leaves (one side of each only). At the top is printed "Strictly Private and Confidential". The headline on both leaves reads "Colonial and Indian Exhibition Opening Ceremonial", whereas on both the separately printed brochure and the Official Programme this is divided between both the leaves. The text is bordered by black lines, which were not to Tennyson's liking, as he has written on the proof: "This black line is not nice". Consequently in the issued copies the color was changed to red. In the first verse Tennyson has made five punctuation corrections. In the second verse two words have been changed. In the third verse occur two punctuation corrections, and two more in the fourth verse. This last verse has also two words changed and the final line added. All these corrections are in Tennyson's autograph. The corrections in the last verse are important,

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  Page 38
  the fifth line: "Sons, be welded, each and all" was originally: "Sons, be welded, one and all". The eighth line: "One life, one flag, one fleet, one Throne" was originally: "One faith, one flag, one fleet, one Throne". It was evidently Tennyson's original idea for the last verse to end like the other three, with "Britons, hold your own". He however added the final line as it appears in the original print - "And God Guard All". Accompanying the proofs is a copy of the Official Programme containing the poem as issued; including case.
  
  
• ODE ON THE OPENING OF THE COLONIAL AND INDIAN EXHIBITION. 1886. London: William Clowes and Sons. As issued. A single half sheet, folded in two; including case.
  
  
• LOCKSLEY HALL SIXTY YEARS AFTER Etc. London, Macmillan and Co., and New York, 1886. As issued, in green cloth boards.
  
  
• CARMEN SAECULARE, AN ODE IN HONOUR OF THE JUBILEE OF QUEEN VICTORIA. 1887. This is a trial issue, and the only copy known. Without stitching. 8 pages 9 1/8 x 6 1/8 inches). The last leaf is blank. The title occupies the top portion of the first page followed by 11 lines of the Ode, the remainder occupying pages 2 to 6. Stanza VII differs from the other printed forms, reading - "Henry's fifty summers are a shadow
  Edward's fifty years are scarce remember'd
  Ev'n her Grandsire's fifty half forgotten."
  
  Whereas in the next two issues, the first two lines read: "Henry's fifty years are all in shadow
  Gray with distance Edward's fifty summers."
  
  Including case.
  
  
• CARMEN SAECULARE AN ODE By Alfred Tennyson. London, Printed for Private Distribution, 1887. Author's Private Edition. Stiff glazed cream colored paper covers, with lettering in blue surrounded by an ornamental border. The edges of the leaves are trimmed and gilt. 7 3/4, x 5 1/8 inches; including case.
  
  
• CARMEN SAECULARE AN ODE By Alfred Tennyson. London, Printed for Private Distributlon, 1887. Author's Private Edition. Stiff glazed cream colored paper covers, with lettering in blue surrounded by an ornamental border. The edges of the leaves are trimmed and gilt. 7 3/4 x 5 1/8 inches; including case.
  
  

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  Page 39
  
• DEMETER AND OTHER POEMS. This is the only known copy of the trial issue. Printed on 121 pages. Small quarto, without title page, in buff wrapper. Macmillan, 1889. There are many textual variations in the poems which are important to the student of Tennyson. This trial issue comprises sixteen poems (pages 1-175). The poems are: 1. Carmen Saeculare. The title as printed in Demeter is simply "On the Jubilee of Queen Victoria". (Leaving out "An Ode in Honour of"). The text follows that which appeared in the destroyed issue. It was altered considerably when finally issued. 2. Demeter. This is only for title.Published as "Demeter and Persephone". The text was altered and added to when finally published. 3. Owd Roa. This has some textual variations. 4. Vastness. This has but 15 verses. When published, 3 new verses were added and verse X altered. 5. The Ring. This title only. When published it was dedicated to the Hon. J. Russell Lowell. It commences: "The Ghost in Man, the Ghost that once was Man", whereas when published there were 33 lines before this, and it has one line which afterwards was cancelled. 6. Forlorn. 7. Happy. With one line altered when published. 8. Ode on the Progress of Spring. The title afterwards was changed to "The Progress of Spring" and the text considerably altered. 9. Politics. A poem of 8 lines, afterwards re-written and extended to 12 lines. 10. Fame. 6 lines. This was omitted from the published volumes. 11. The Snowdrop. 12. The Oak. 13. Far-Far-Away. A poem of 4, verses, afterwards re-arranged, altered, and extended to 6 verses. 11,. The Play. This was entirely re-written when published. 15. To Ulysses. Some slight textual variations. 16. The Throstle. Re-written when published. This version of The Throstle is of the highest importance, for Wise in his Bibliography states that the poem as it appeared in The New Review, The Scotsman, and separately published for copyright purposes, and in the Demeter volume, agreed in every detail but with one single textual variation, and some minor details of punctuation. But in this trial issue the poem is practically re-written, for alterations have been made in the first verse (lines 3 and 4), second verse (1 and 2), third verse (entirely re-written), fourth verse (1 and 2).
  
  

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  Page 40
  
• THE THROSTLE. London, 1889. A single sheet folded in two. Issued for copyright purposes. 7 x 4 3/4 inches; including solander case.
  
  
• THE DEATH OF THE DUKE OF CLARENCE AND AVONDALE. A single quarter sheet folded in two. The verse is printed upon the recto of the first leaf, the remaining pages are blank. Printed for private distribution. 8 9/16 x 5 7/8 inches;including case.
  
  
• THE SILENT VOICES. 1892. A single quarter sheet folded in two. Issued to assure the copyright. 7 x 4 3/4 inches; including solander case.
  
  
• TO WILLIAM CHARLES MACREADY. A poem of 14 lines commencing: "Farewell, Macready, since to-night we part". Printed on 2 leaves (reverse of each blank). Quarto size. This is the first and only separately printed issue of this poem, which was read by John Forster, at a farewell banquet given to Macready, March 1, 1851. It was first included in Tennyson's works in 1891. This trial issue was printed for Tennyson, who intended to include it in his Demeter volume. The present copy carries the dated rubber stamp of the printer "Clarke, 27 May '89"; including case.
  
  
• THE ROSE. A sonnet of 8 lines, commencing: "Rose, on this Terrace fifty years ago". Printed on one side of a quarto leaf. 1889. This is Tennyson's trial issue, afterwards printed in the Demeter volume as "The Rose on the Terrace", but not included in the trial volume; including case.
  
  
• TO M.B. WITH THE FOLLOWING POEM. The private trial issue, printed on 6 pages. Quarto.1889. This was afterwards printed in the Demeter volume with the fuller title: "To Mary Boyle". It was not included in the trial volume; including case.
  
  
• RIFLE-CLUBS By Alfred Tennyson Written in 1859 Now for the First Time Printed New York, 1899. Japanese vellum paperboards, rough edges t o the leaves. Number 2, of 17 copies printed at the Marion Press. Former owners: William Henry Poor and Walter Thomas Wallace. With the present copy is a letter from Dodd, Mead & Co. to W. H. Arnold, reading - "We are sending herewith a copy of the first edition of Tennyson's "Rifle-Clubs", which we have just received from Mr. Hopkins today. Of the seventeen copies printed two have gone for copyright,

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  Page 41
  and only fifteen are for sale. The manuscript will go with No. 1 We are sending you No. 2".
  
  
• THE FORESTERS ROBIN HOOD AND MAID MARIAN. 1892. Large paper copy, formerly in the collection of William Harris Arnold. Green cloth boards, white paper label. 9 3/4 x 6 1/4, inches. With this copy is a letter from Arnold to Mr Chew reading: "Mr Brett says that the large paper copies of The Foresters were made in response to a request of Miss Ada Rehan for a copy of the book in more luxurious form than the ordinary edition. Mr Brett believes there were only six copies made. One of these was sent to Lord Tennyson, one to Mr Daly, one to Miss Rehan. Mr Brett retained one, and two were sold to me. Sincerely yours, W. H. Arnold".
  
  
• THE DEATH OF OENONE, AKBAR'S DREAM, AND OTHER POEMS. 1892. Large paper edition (10 x 6 1/2 inches) in white cloth boards, issued in November. The first edition was issued on October 28, in green cloth boards.
  
  

TENNYSONIANA

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Page 42

• Lord Tennyson's Funeral. A collection of items: 1. Three official tickets for admission to the Funeral Service at Westminster Abbey, with the official black seal of the Dean on each. Mourner's ticket.
  
  
• 2. Order of service at the Funeral. Pamphlet printed on 3 pages (page 4, blank). Quarto. Containing in full "Crossing the Bar" and "Silent Voices".
  
  
• 3. Leaflet, 16mo. Printed on one side "Crossing the Bar" and on the other, "Silent Voices", with "Not to be taken a way" written at the top.
  
  
• 4. The pirated poem with music "Crossing the Bar" with a portrait of Tennyson at the top. Folio printed on 2 pages with the reverse of each blank. This was sold on the streets at the time of the Funeral, but was suppressed. Including case.
  
  
• Thomas J. Wise, A BIBLIOGRAPHY OF ALFRED, LORD TENNYSON. 2 vols. London: Printed for Private Circulation, 1908. One of an edition of 100 copies. "Thomas J. Wise" signed on the half-title of each volume. Bookplate of John Arthur Brooke. Presented to the University of Virginia by the Estate of Templeton Crocker.
  
  
• Browning (Elizabeth Barrett) and Horne (Richard Hengist) Autograph manuscript, with heading: "Alfred Tennyson". Written on 39 pages of various sizes, some of which are inlaid. This essay appeared as one of the series of biographical sketches in "A New Spirit of the Age". Mrs. Browning wrote four of the 39 pages, which appear in different places, as if they had supplanted certain passages by Horne. A small autograph letter by Miss Barrett is inlaid before the text, in which she writes: "I send you an "Opinion" on Tennyson. Use it or do not use it. He is a divine poet; but I have found it difficult (in the examination of my own thoughts of him) to analyse his divinity & to determine (even to myself) his particular aspect as a writer. What is the reason for it? It never struck me before. A true and divine poet never the less."
  
  
• A.L.S. from Macaulay dated from Holly Lodge November 11 1859. "Dear Duke of Argyll, I send you the proof sheets of two of the Laureate's Idyls which you were kind enough to lend me in the summer. As he has made some alterations, he may naturally be unwilling that his poems, in their first form, should be in the hands of a stranger. Will

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  Page 43
  you dine here on Saturday week, the nineteenth, at half after seven? Ever yours, Macaulay".
  
  
• A.L.S. from Emily Tennyson dated from Farringford Feby 17th 1862, and with a narrow mourning band. "My dear Signor [ G. F. Watts], I rejoice to hear that your beautiful and touching portrait is now in a form to be known and delighted in by many. Alfred will of course, send his signature since you desire it. Thinking you may like to have the Dedication we send a copy for you and one for Mrs. Prinsep if she also care to have it. with all kind words. I trust that this winter has dealt gently with you and that you are growing stronger and stronger. Alfred is not well, but thanks to Dr. Jackson's kind care he is certainly in some ways better. With his affectionate regards, I am Most truly yours Emily Tennyson". Enclosed with this is a separate 1862 printing of the Dedication (to the Idylls of the King). This copy agrees with Wise's No. 99 except that the present pages are numbered [ iii], iv-vi, as in the 1862 edition.
  
  
• A.L.S. from Emily Tennyson dated Farringford Feby 20th 1862, and with a narrow mourning band. "My dear Signor, I am so sorry that you have been inconvenianced. He always writes his name so now. Thanks for your wish that even his signature should appear to the best advantage. Thank Mrs Prinsep too for this & for her kind little note. How very good in you to think of proofs for us. Most truly yours Emily Tennyson." Tennyson's signature "A Tennyson" is pasted to the note.
  
  
• A.L.S. from Emily Tennyson dated June 28th 1863 on note- paper marked Farringford Freshwater. Isle of Wight. "My dear Signor, "This is one of the great pictures that future generations will look at" was one of the exclamations which greeted yours on its arrival. I really can only feel ashamed when I think how much of your time & thought have been spent on me & when I know that it is a picture of myself & such an one that a lady (Lady Grant Sir A's mother) said this morning she almost felt in sitting near it that I could speak to her. I do not know how such a beautiful picture has come but you are a subtle alchemist a great magician that I do know. His thanks he hopes to give in person to-morrow. Ever most truly yours Emily Tennyson".
  
  

By HENRY R. WAGNER

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Page 45

I DO not remember exactly when it was that I first met Mr. Crocker but I think it was in John Howell's bookstore, some time in 1917 or 1918 I had heard of him in New York from dealers in American books, and at the time our acquaintance began he was an avid collector, usually buying everything on the subject that was sent him. Most of the years 1919 and 1920 I spent in New York City. On my return to Berkeley in the latter part of 1920, I again met Mr. Crocker and began discussing with him the advisability of organizing an historical society. The record of the first steps taken in the spring of 1922 to reorganize the Society, with Templeton Crocker as president, can be found in the first volume of the QUARTERLY (pp. 9-20, 107-110) and were briefly retold by Anson S. Blake in his obituary of Mr. Crocker in the QUARTERLY for March of this year, so I shall comment only on the less familiar details.

As a means of procuring members the first year, Mr. Crocker suggested that I write a short history of the proceedings leading up to the Society's re-birth, and that John Henry Nash be asked to print it; he, Crocker, would pay for it. Several hundred copies of eight pages were printed at a cost to Mr. Crocker of $300. It met with success and we could at last begin operating. Miss Dorothy H. Huggins was made corresponding secretary. It should be mentioned here that she officiated in that capacity as well as assistant editor of the QUARTERLY until 1944, when she resigned to take a position with the University of California Press. The success of the Society was due more to her efforts than to any other person.

To publish a quarterly magazine was the only object in organizing a Society. Turning it into a museum had been frowned on at the start and many gifts of that character were rejected. Neither was money to be spent in the purchase of books for the library and no professors of history were to be elected as directors, the object being to prevent the use of the QUARTERLY as an outlet for their own articles or those of their students, and thus limit its interest to professional historians.

When we began to prepare material for the first volume of the QUARTERLY, the work devolved on Robert E. Cowan and myself. It proved no easy task. Where were we to find something of value and interest to print? Dr. Charles L. Camp edited a story of overland adventure by Charles Cardinell; Mary Floyd Williams wrote a piece on California local institutions under Spain and Mexico; and Mr. Cowan one on auction sales of California

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Then we were stuck. Finally, we decided to print an article I had written on the discovery of California and which I had read at a luncheon meeting on May 5, 1922, but still we did not have enough; so we decided to include a documentary section. This device was used for a number of years as it was a flexible one. Mr. Crocker owned some very valuable documents, especially regarding the Bear Flag movement, and most of these we printed for the next two years. They were originals and absolutely unknown.

Like all institutions of this character that are not supported bv the state or by large endowments, there was always a deficit at the end of the year. As Christmas approached, I would figure out how much we needed to balance the accounts. The sum required was usually about $750. I would then go to Mr. Crocker's office and tell him; whereupon, promptly and pleasantly, he would give me a check for the full amount. He continued this practice for several years until finally two or three directors agreed to pay part of the cost. Never have I met a man who gave up money more cheerfully than Templeton Crocker. Let there be no mistake: Mr. Crocker and not I, as some of my friends insist, was the real founder of the California Historical Society. Without his social position and wealth I could not have made a go of it. He did not wish to be president and tried hard to avoid election. When I was in Europe at the time of the annual meeting in January 1923, he persuaded the directors to elect me president. The news reached me in Seville. I immediately wrote, declining to accept; I insisted that Mr. Crocker should remain president. To this he finally agreed and continued in that office for several years. Almost always he attended the directors' meetings. As far as I know, however, he attended only one luncheon meeting but did not preside. He said he could not talk on his feet at a public gathering.

Templeton Crocker was the most indifferent--or perhaps casual is the better word--man I ever met. On one occasion in 1921, while he was still interested in California books, he said he would like to see my collection, so I invited him, and he came out and spent some time looking at prize volumes of one kind or another which I had. He looked at them with a most indifFerent air, usually without comment. After about two hours of this we were both worn out and he went home.

In the early part of 1940, while on a visit to San Francisco and not having seen Mr. Crocker for a number of years, I called his office on the telephone and he told me to come to his apartment on Green Street that evening. After we were comfortably seated, we began to reminisce about the early days of the Society. Suddenly I thought about his books and rather impertinently asked what he intended to do with them as they no longer seemed to interest him. Without a particle of annoyance he said he had thought of leaving his collection to the Society. Then I asked him if that was the case, why not give them to the Society now? He thought a minute or two and

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said, "Very well, l will." Allen L. Chickering drew up a deed of gift which Mr. Crocker signed, and thus the Society became owner of the collection. Some of his larger pictures had been hanging in the Society's quarters since its beginning, but he had a number of others at his house which he sent down in batches from time to time for several months. The directors had the collection appraised for insurance purposes at $67,ooo. I made out a small list of the most important books; this was published in the QUARTERLY of March 1940 (pp. 79-81). Shortly afterwards, Mr. Crocker became ill, and I never saw him again. He died on Sunday night, December 12, 1948.

Although the end was not unexpected, all his friends felt his loss deeply; especially was this true of the early members of the Society who had come in personal contact with him. Crocker was a rather slender man, not very tall, and always in my relations with him he was good-natured: I doubt very much that he ever became angry. I have written enough to show how generous he was. In time, he became rather proud of his association with the Society, especially of his part in its resuscitation in 1922. Once, when we were a little short of patron members, I asked him if he could not get some more, as he knew everybody who had money--perhaps the chief requisite. He smiled and said, "Oh, yes, I could get more members, but after a little while those members will come to me and say, 'Mr. Crocker, we joined your Society, and now we have one we want you to join.' Naturally, I cannot refuse. and I calculate that it costs me less to pay the deficit of the Society."

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Additions to the collection
made by
C. WALLER BARRETT
on the occasion of its presentation
to the
UNIVERSITY OF VIRGINIA LIBRARY

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Tears, Idle Tears Manuscript in Tennyson's hand

256-Greyscale image, 200 dpi of Tennyson's manuscript from the University of Virginia Special Collections Department

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• IN MEMORIAM. London: Edward Moxon, Dover Street, 1850. Inscribed: "John Kenyon to Elizabeth B. Browning. 1850." Kenyon introduced Robert Browning to Elizabeth Barrett.
  
  
• QUEEN MARY: A DRAMA. London, Henry S. King & Co., 1875. Inscribed: "William Warburton from A. Tennyson."
  
  
• ENOCH ARDEN. Miscellaneous Odd Proof Sheets, with corrections in Tennyson's hand, 1865?-1869? The poems involved are "Boadicea," "In Quantity" (this one does not have ms. corrections), "Specimen of a Translation of the Iliad...," "The Spiteful Letter," and "Literary Squabbles." Proof Sheets of p.l70-8 for an edition of "Enoch Arden," post 1865, with changes in Tennyson's hand on p.l73, 177, 178. Two (ie., 3) sets of proof sheets of p.l61-4 for another edition, circa 1869?, containing "On A Spiteful Letter" (changed in the first revision to "A Letter" and in the later Collected Works to "The Spiteful Letter") and "Literary Squabbles," both poems with corrections on the earlier proofs in Tennyson's hand, and without annotations on the later corrected proof, of which there are two copies.
  
  
• TEARS, IDLE TEARS. Autograph manuscript, at the end of which is an ALS, 1865 November 2, from Tennyson to J. R. Thompson, who had requested a Tennyson poem in the poet's hand.
  
  
• ALS, 1840-50's?, Tennyson to Edward Moxon.
  
  
• ALS, Sunday (1850's?), Tennyson to an unidentified correspondent concerning an appointment.
  
  
• ALS, 1859 January 31, Tennyson to an unidentified correspondent sending thanks for "your book of songs."
  
  
• ALS, 1864 June 3?, Tennyson to an unidentified correspondent sending thanks for "your 'seven-gabled' bee-hive-home & family group." Docketed "June 4, 1864" by the recipient.
  
  
• ALS, 1868 March 26, Emily Tennyson to an unidentified correspondent sending thanks for "your brave & kind & flattering defence from whatever it may be."
  
  
• ALS, 1869 May 23, Lionel Tennyson to W. C. Bennett.
  
  
• ALS, 1869 June 26, Hallam Tennyson to an unidentified correspondent apologizing for the delay in answering a letter and "thanking you for your present."
  
  
• ALS, 1874 December 15, Tennyson to an unidentified

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  correspondent concerning the inclusion of "Lotos-eaters" in a publication.
  
  
• ALS, 1876 March 20, Tennyson to an unknown correspondent sending thanks for the photograph from the "Holy Grail."
  
  
• ALS, 1876 November 16, Tennyuson to Theodore Martin.
  
  
• AL, 1870's?, Tennyson to Charles Kegan Paul. A draft copy.
  
  
• ALS, 1890 July 16, Tennyson to Laurence Barrett.
  
  

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This book Was printed by lithography from typescript, linotype repropction proof, photo and original manuscript, on standard Parmalife Paper, by the University of Virginia Press.