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- 32
LUCRECE
figures in all extant impressions save in the two in the Bodleian Library, where the line reads—
Euen so *this* pattern of *the* worne out age.
It is difficult to determine which is the better reading, but it is clear that ‘*the* patterne of *this* . . . age’ was deemed the better by the corrector of the press.
Misprints peculiar to three extant copies.
The following two misprints in the Bodleian copy, which is here reproduced, are also met with in the second copy in the same library and in the Sion College copy as well, but both are corrected in the Devonshire and British Museum copies:—line 1182, ‘which *for* (instead of *by*) him tainted’; line 1335, ‘blastz’ for ‘blast.’
Misprints in all extant copies.
The following misprints seem common to all impressions:—Title-page (last line) ‘Churh-yard’ for ‘Church-yard’; ‘sleeep’ (l. 163) for ‘sleep’; ‘to beguild’ (l. 1544) for ‘so beguild’; ‘on’ (l. 1680) for ‘in’; ‘it in’ (l. 1713) for ‘in it.’ The inverted commas at the beginning of ll. 867–8 are exceptional, and may also be reckoned among typographical inaccuracies.
Capital letters within the line.
The volume offers examples of the ordinary irregularities which are usually met with in specimens of Elizabethan typography. Capital letters within the line are used little less arbitrarily than in *Venus and Adonis*. Such ordinary words as ‘Tent’ (15), ‘Bee’ (836, 840, 1769), ‘Citty’ (1554) and ‘Foe’ (1608), are always dignified with an initial capital. But the personified ‘time’ and ‘opportunity’ go without the distinction. No law is observable in such a distribution of capitals. In the first part of the poem, ‘Beauty’ is invariably spelt with a capital, but in the concluding stanzas it appears with a small letter; the word is used eighteen times in all, and the capital appears twelve times. ‘Sun’ occurs eight times in all, five times
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