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1759, pp. 52.
Two works bound together, 16mo (130 × 82 mm). Ownership inscription to title, dated 1759, manuscript translation of a Greek verse at end of Preface to the first work, a complete song in the same hand added to final blank. Very lightly browned. Contemporary half vellum, marbled boards, spine lettered in manuscript, red edges. Rubbed, but an attractive copy.
Gleim’s ‘Prussian War-Songs’ issued anonymously as the work of a Grenadier in the Prussian army were a popular success, being quite in tune with the patriotism surrounding Frederick the Great’s campaigns of the Seven Years’ War. Some appeared in small collections in 1757 and earlier in 1758 but the Preussische Kriegslieder includes engraved music and, most importantly, and for the first time, a 12-page Preface anonymously contributed by Gotthold Ephraim Lessing. The Kriegslieder mark important departure in German lyric poetry with their emphasis on traditional Germanic models at the expense of classical affectation. They were frequently reprinted.
This is a delightful typographical production, with the text presented within borders and with lots of typographical ornaments. The finely engraved music is presented (staves running bottom-to-top) on pages facing the text, and there is an elegant etched frontispiece. The second work, De Grenadier an die Kriegesmuse has no separate imprint and is apparently found with the Preussische Kriegslieder in some other copies, so they are quite likely to have been issued together. An early owner has added (probably in 1772) an additional martial song, the song of a Russian officer addressed to his Ottoman foe: ‘Heraus vernegner Muselmann / Heraus ins ofne Feld.’ see full details...
Friedrich Hoffmann (1660-1742), a German physician, practiced and taught medicine, chemistry and physics in Halle from 1693. He studied and wrote on such varied topics as paediatrics, mineral waters and meteorology and introduced many new drugs into medical practice (such as a compound spirit of ether branded “Anodyne” and “Hoffmanns-Tropfen” still today known as a household remedy). Hoffmann was among the first to describe several diseases, including appendicitis and German measles, and to recognize the regulatory role of the nervous system.
The work contains examinations of common ailments such as fever, infections, haemorrhageing, cramps, spasms and convulsions, consideration of the cerebral and nervous system, lymph and glands, female complaints and childhood illnesses. It also includes numerous medicinal recipes and cures. see full details...
The Subterranean Voyage of Nicolas Klim is one of the classics of speculative and utopian fiction, written fifteen years after Swift's Gulliver's Travels and often compared favourably with that work. It is the first fully developed novel to be set in the earth's interior, a setting which has been utilised countless times in later science fiction. Klim, a poor student, falls through a hole in the earth just outside the Norwegian town of Bergen and finds himself on the inside of the earth's crust. He lands on the planet Nazar (which orbits a sun at the centre of the earth's cavity) where he finds a nation that lives according to the laws of reason and nature. The peasantry are considered very highly and therefore are the most distinguished class in the state; many of the highest offices are held by women, who are in every way equal to the men. Nazar presents an enlightened utopia, very much in the mould of the ideals of Montesquieu and Voltaire (who Holberg admired enormously) but Klim also travels to other states where the perfect state of society is not so fully developed or is perhaps degenerate, allowing a vivid comparison of political, social and philosophical systems.Holberg (like his hero Klim) was a native of Bergen at a time when Norway and Denmark existed as a twin kingdom. He saw himself as a fully European writer and the equal of the French philosophes. The majority of his works, including the present, first appeared in Latin, the universal language. The adventures of Nicolas Klim were immediately popular and were rapidly translated into all the major European languages.
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Beginning with ‘Feinem Marocco Toback’, (Fine Moroccan Tobacco) the recipes are unusually detailed (usually covering a page or more) and offer specific ingredients and methods of tobacco preparation. Other tobaccos include ‘Feinen Pariser Toback’ (two different blends!), ‘Rappe d’Hollande Grand Cardinal’, ‘Bolongaro,’ two varieties of ‘Violet’. The ‘Morhendro’ blend seems especially potent, with the inclusion of 4 grains of opium.
The contents of several tobacco canisters are also described, such as a Moorish blend (Canister 1), a Swiss blend (Canister 2), ‘Peter’s Best Blend’ (Petrum Optimum, Canister 3), and more.
The upper cover bears the contemporary MS inscription of ‘J.A. Neeb’ (i.e. Johannes Adam Neeb) who was tobacconist active at Lich, Hesse (approximately 25 miles from Marburg) in the late eighteenth and early nineteenth century. A later owner has written inside the front cover in pen ‘Organist Joh. Adam Neeb’ in error: the organist in question was in fact Johannes Adam’s son Heinrich (1806-1878) who achieved fame as a composer, conductor and teacher in Frankfurt. (Franz Kössler, Personenlexikon von Lehrern des 19. Jahrhunderts: Berufsbiographien aus Schul-Jahresberichten und Schulprogrammen, 1825-1918, mit Veröffentlichungsverzeichnissen, 2007.) see full details...
Like his drinking-partner Thomas Rowlandson, Woodward absorbed high and low culture omnivorously and paid keen attention to contemporary politics.
A Political Fair is ‘a fantastic survey of the international situation’ in 1807 and is considered one of Woodward’s finest images, the print catalogue of the British Museum devoting two full pages to its complex allegories. At the heart of the fair is a large booth (‘The Best-Booth in the Fair’) representing Great Britain holding aloft on its platform images of Britannia, John Bull, together with an Irishman, Scotsman and Welsh harpist gathered convivially around a punchbowl, while a waiter sweeps into the chamber below with a vast joint of roast beef on his platter. All this was typical of Woodward’s patriotism and was intended to portray the essential unity of the nation amidst the host of clamouring figures in the neighbouring booths representing the other nations. Napoleon, in tricorn and feathers, rebuffs a disgruntled Dutchman complaining about his King with the words ‘I never change Mynheer after the goods are taken out of the Shop’. High up on the right, the American booth displays a placard advertising ‘Much ado about Nothing with the Deserter’, a reference to the friction between Britain and the United States over recent defections from British to American ships and the ban on armed British ships in American ports. The Danish booth on the left advertises ‘The English Fleet and The Devil to Pay’ in reference to the hideous bombardment of Copenhagen by the British fleet in September that year.
Musical and theatrical references abound, with many of the placards punning on the titles of plays and musical performances then showing in London: Much ado about nothing, All’s well that ends well (Shakespeare), The Padlock (Bickerstaffe), The Deserter (Dibdin), The Double Dealer (on the Russian booth, by Congreve) and The English Fleet (Dibdin again). see full details...