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- 14
THE PASSIONATE PILGRIM
Typographical defects and characteristics.
miscellany is not high. Misprints abound. Numerous lines are as they stand barely intelligible. Such defects were mainly due to imperfections in the ‘copy’, but they bear witness, too, to hasty composition and to carelessness on the part of the press corrector. Few of the irregularities are beyond the ingenuity of a conscientious overseer to remove. In Poem IX, the second line of the sonnet is omitted. There is only one catchword in the whole volume, viz. ‘Lord’, at the foot of B 8 (recto). Capitals within the line are not very common, but are employed most capriciously. In Sonnet IV, three of the fourteen lines begin with small letters instead of capitals. At V, l. 7, ‘eases’ rimes with ‘there’. Spelling eccentricities which are scarcely to be differentiated from misprints, include —II, l. 12, ‘ghesse’ for ‘guess’; V, l. 1, ‘deawy’ for ‘dewy’; XIII, l. 10, ‘symant’ for ‘cement’; XIV, l. 15, ‘scite’ for ‘cite’; ‘scence’ for ‘sense’ (the word ‘sense’ is correctly spelt VIII, l. 6); l. 19, ‘ditte’ for ‘ditty’; XVII, l. 4, ‘nenying’ for ‘renying’; l. 8, ‘a nay’ for ‘annoy’; l. 12, ‘wowen for ‘women’; XVIII, l. 34, ‘prease’ for ‘press’; l. 51, ‘th’ are’ for ‘the ear’. The volume was a small octavo and the meagre dimensions of the ‘copy’ led the printer to set the type on only one side of the leaf in the case of twenty-five of the twenty-eight leaves of text. At the top and bottom of each page of text is an ornamental device of ordinary pattern—no uncommon feature in small volumes of verse of the period.
II
Jaggard’s precedents
The part that Jaggard played throughout the enterprise followed abundant precedents. It was common practice for publishers to issue, under a general title of their own devising, scattered pieces of poetry of varied origin. His brother’s master, Tottel, had inaugurated the custom in 1557,
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