they did not receive
proofs from the printers, or that the printers never attended to the
corrected proofs? Each single erratum seems to have been felt as a stab
to the literary feelings of the poor author!

FOOTNOTES:

[Footnote 37: It abounded with other errors, and was so rigidly
suppressed, that a well-known collector was thirty years endeavouring
ineffectually to obtain a copy. One has recently been added to the
British Museum collection.]

[Footnote 38: A good example occurs in _Hudibras_ (Part iii. canto 2,
line 407), where persons are mentioned who

"Can by their pangs and _aches_ find
All turns and changes of the wind."

The rhythm here demands the dissyllable _a-ches_, as used by the older
writers, Shakspeare particularly, who, in his _Tempest_, makes Prospero
threaten Caliban--

"If thou neglect'st, or dost unwillingly
What I command, I'll rack thee with old cramps;
Fill all thy bones with _aches_; make thee roar
That beasts shall tremble at thy din."

John Kemble was aware of the necessity of using this word in this
instance as a dissyllable, but it was so unusual to his audiences that
it excited ridicule; and during the O.P. row, a medal was struck,
representing him as manager, enduring the din of cat-calls, trumpets,
and rattles, and exclaiming, "Oh! my head _aitches_!"]

PATRONS.

Authors have too frequently received ill treatment even from those to
whom they dedicated their works.

Some who felt hurt at the shameless treatment of such mock Maecenases
have observed that no writer should dedicate his works but to his
FRIENDS, as was practised by the ancients, who usually addressed those
who had solicited their labours, or animated their progress. Theodosius
Gaza had no other recompense for having inscribed to Sixtus IV. his
translation of the book of Aristotle on the Nature of Animals, than the
price of the binding, which this charitable father of the church
munificently bestowed upon him.

Theocritus fills his Idylliums with loud complaints of the neglect of
his patrons; and Tasso was as little successful in his dedications.

Ariosto, in presenting his Orlando Furioso to the Cardinal d'Este, was
gratified with the bitter sarcasm of--"_Dove diavolo avete pigliato
tante coglionerie?_" Where the devil have you found all this nonsense?

When the French historian Dupleix, whose pen was indeed fertile,
presented his book to the Duke d'Epernon, this Maecenas, t