The Old Printer and the Modern Press

by Charles Knight

'The Image or Mirror of the World' is one of the popular books which Caxton translated from the French. It treats of a vast variety of subjects, after the imperfect natural philosophy of those days. We have an account of the seven liberal arts; of nature, how she worketh; and how the earth holdeth him right in the middle of the world. We have also much geographical information, amongst which the wonders of Inde occupy a considerable space. Meteorology and astronomy take up another large portion. The work concludes with an account of the celestial paradise. This book seems specially addressed to high and courtly readers, for Caxton says, "The hearts of nobles, in eschewing of idleness at such time as they have none other virtuous occupations on hand, ought to exercise them in reading, studying, and visiting the noble feats and deeds of the sage and wise men, sometime travelling in profitable virtues; of whom it happeneth oft that some be inclined to visit the books treating of sciences particular; and other to read and visit books speaking of feats of arms, of love, or of other marvellous histories; and among all other, this present book, which is called the 'Image or Mirror of the World,' ought to be visited, read, and known, by cause it treateth of the world, and of the wonderful division thereof." But the translator tells us, "I have endeavoured me therein, at the request and desire, cost and dispense, of the honourable and worshipful man, Hugh Brice, citizen and alderman of London." We may therefore believe that Caxton intended this book for a wider circulation than that of the nobles whom he addresses; especially as he says, "I have made it so plain that every man reasonable may understand it, if he advisedly and attentively read it, or hear it." The good old printer rendered the book intelligible to all classes, under the condition that all who read it should give their attention. This is one of the books into which Caxton has introduced woodcuts, giving twenty-seven figures, "without which it may not lightly [easily] be understood." These twenty-seven figures are diagrams, explanatory of some of the scientific principles laid down in this book; but there are eleven other cuts illustrative of other subjects treated in the work. An idea maybe formed of the manner in which those cuts are engraved from the following fac-simile of 'Music.'

One of the most popular books of Caxton's translation must unquestionably have been the 'History of Reynard the Fox.' It is held that this work was composed in the twelfth century; and surely the author must have been a man of high genius to have constructed a fable which has been ever since popular in all countries, and delights us even to this hour. Caxton has no woodcuts to his edition, to which the book subsequently owed a portion of its attractions.

'The Subtil Histories and Fables of Esop,' translated by Caxton from the French, were printed by him in 1483, "The first year of the reign of King Richard the Third." In the first leaf there is a supposed portrait of Esop, a large rough woodcut, exhibiting him as he is described, with a great head, large visage, long jaws, sharp eyes, a short neck, curb-backed, and so forth. There is a controversy whether Richard the Third was a deformed man or not. It is held by many that it was one of the scandals put forth under his triumphant successor (which scandal Shakspere has for ever made current), that Richard was

"Cheated of feature by dissembling nature,

Deform'd, unfinish'd."

It strikes us that Caxton would scarcely have ventured, in the first year of King Richard III., to exhibit a print of a hump-backed Esop (for any print was then a rare thing), if his dread sovereign had been remarkable amongst the people for a similar defect. The conclusion of these fables of Esop has a story told by Caxton as from himself, which is a remarkable specimen of a plain narrative style, with a good deal of sly humour:—

"Now then I will finish all these fables with this tale that followeth, which a worshipful priest and a parson told me late: he said that there were dwelling at Oxenford two priests, both Masters of Arts—of whom that one was quick and could put himself forth; and that other was a good simple priest. And so it happened that the master that was pert and quick was anon promoted to a benefice or twain, and after to prebends, and for to be a dean of a great prince's chapel, supposing and weening that his fellow, the simple priest, should never be promoted, but be always an annual, or, at the most, a parish priest. So after a long time that this worshipful man, this dean, came running into a good parish with five or seven horses, like a prelate, and came into the church of the said parish, and found there this good simple man, sometime his fellow, which came and welcomed him lowly. And that other bade him 'Good morrow, Master John,' and took him slightly by the hand, and axed him where he dwelt.—And the good man said, 'In this parish.' 'How,' said he, 'are ye here a sole priest, or a parish priest?' 'Nay, Sir,' said he, 'for lack of a better, though I be not able nor worthy, I am parson and curate of this parish.' And then that other vailed [lowered] his bonnet, and said, 'Master Parson, I pray you to be not displeased; I had supposed ye had not been beneficed. But, master,' said he, 'I pray you what is this benefice worth to you a year?' 'Forsooth,' said the good simple man, 'I wot never; for I make never accompts thereof, how well I have had it four or five years.' 'And know ye not,' said he, 'what it is worth?—it should seem a good benefice.' 'No, forsooth,' said he, 'but I wot well what it shall be worth to me.' 'Why,' said he, 'what shall it be worth?' Forsooth,' said he, 'if I do my true dealing in the cure of my parishes in preaching and teaching, and do my part belonging to my cure, I shall have heaven therefore. And if their souls be lost, or any of them, by my default, I shall be punished therefore. And hereof I am sure.' And with that word the rich dean was abashed: and thought he should be the better, and take more heed to his cures and benefices than he had done. This was a good answer of a good priest and an honest. And herewith I finish this book, translated and imprinted by me, William Caxton." The moral of the fable is not obsolete.

One of Caxton's most splendid books, of which he seems to have printed three editions, was 'The Golden Legend.' This is, indeed, an important work, printed in double columns, and containing between four and five hundred pages, which are largely illustrated with woodcuts. It was not without great caution, as we have already mentioned (page 107), that Caxton proceeded with this heavy and expensive undertaking. Happy would it have been for all printers if puissant and virtuous earls, and others in high places, had thought it a duty to encourage knowledge by taking a "reasonable quantity" of a great work; but happier are we now, when, such assistance being grudgingly bestowed or honestly despised, the makers of books can depend upon something more satisfying than the rich man's purse, which was generally associated with "the proud man's contumely."