"When you and I behind the veil are past,Oh, but the long, long while the world shall last."
As to worthy Hartman Schedel, God rest his soul, one wonders whether he has yet learned that Columbus discovered America. He had not yet heard of it when he finished his book, though Columbus had returned to Spain three months before. O most lame and impotent conclusion! But the fifteenth century, though it had an infinite childlike curiosity, had no nose for news. Nuremberg nodded peacefully on while a new world loomed up beyond the seas, and studied Michael Wolgemut's picture of Noah building the ark while Columbus was fitting out the Santa Maria for a second voyage. Such is mankind, blind and deaf to the greatest things. We know not the great hour when it strikes. We are indeed most enthralled by the echoing chimes of the romantic past when the future sounds its faint far-off reveille upon our unheeding ears. The multitude understands noon and night; only the wise man understands the morning.
Caxton's printer's mark
And now finally, what of William Caxton? The father of English printing had been for many years an English merchant residing in Bruges when his increasing attention to literature led him to acquire the new art of printing. He had already translated from the French the Histories of Troy, and was preparing to undertake othereditorial labors when he became associated with Colard Mansion, a Bruges printer. From Mansion he learned the art and presumably purchased his first press and type. Six books bearing Caxton's imprint were published at Bruges between 1474 and 1476, though it is possible that the actual printing was done by Mansion rather than by Caxton himself. In 1476 Caxton set up the first printing shop in England, in a house within the precincts of Westminster Abbey. Between that date and his death in 1491 he printed ninety-three separate works, some of these in several editions. His industry and scholarly zeal as a publisher somewhat exceeded his technical skill as a printer. Caxton's books, which are now much rarer than those of many continental printers of the same period, are not so finely and beautifully done as the best of theirs. But the peculiar interest of his work lies in the striking variety of the works he chose for publication, the conscientious zeal with which he conceived and performed his task, and the quiet humor of his prefaces and notes. Let me illustrate briefly these three points. First, his variety. We have observed that Aldus and Froben published chiefly the Latin and Greek classics, Koberger the Latin scriptures and theological works, and Stephanus a combination of classics and theology. Caxton published few of the classics and very little theology. His books consist largely of the works of the early English poets, Chaucer, Gower, and others, of mediaeval romances derived from English, French, and Italian sources, and of chronicles and histories. The two most famous works that came from his press were the first printed editions of Chaucer's Canterbury Tales and Malory's Morte d'Arthur. His own English translationof the Golden Legend, a mediaeval Latin collection of lives of the saints, is scarcely less in importance. Among many other titles the following may serve to show how unusual and unconventional were his selections:
The History of Reynard the Fox.The History of Godfrey of Boloyne, or the Conquest of Jerusalem.The Fables of Aesop.The Book of Good Maners.The Faytes of Armes and of Chyvalrye.The Governayle of Helthe.The Arte and Crafte to Know Well to Dye.
This is indeed humanism, but humanism in a different sense from that of Aldus and Erasmus. Human life from the cradle to the grave, human life in war and peace, human life in its gayer and its graver lights and shadows, human life as embodied equally in famous writers and in anonymous popular legends, was Caxton's field. He accounted nothing human alien to his mind or to his great enterprise.
Again, Caxton was conscientious. He set great store by accuracy, not only typographical accuracy in matters of detail, but also the general accuracy of the texts or sources from which his own translations and his editions of other works were made. For example, in the second edition of the Canterbury Tales he explains how the first edition was printed from the best manuscript that he could find in 1478, but how after the appearance of that there came to him a scholar who complained of many errors, and spoke of another and moreauthentic manuscript in his father's possession. Caxton at once agreed to get out a new edition "whereas before by ignorance I erred in hurting and defaming his book in divers places, in setting in some things that he never said nor made and leaving out many things that are made which are requisite to be set in." A great many other examples of such disinterested carefulness are to be found in the history of those busy fifteen years at Westminster. In view of the fact that he was not only editor, printer, and publisher, but also translated twenty-three books totaling more than forty-five hundred printed pages, this scholarly desire for accuracy deserves the highest praise. Unlike Aldus and Froben, who were likewise editors as well as publishers, he was not surrounded by a capable corps of expert scholars, but worked almost alone. His faithful foreman, Wynkyn de Worde, doubtless took over gradually a large share of the purely mechanical side of the business, but Caxton remained till the end of his life the active head as well as the brains of the concern.
As for his humor, it comes out even in his very selections of books to be printed, but chiefly in little touches all through his prefaces. For example, in his preface to the Morte d'Arthur he answers with a certain whimsical gravity the allegations of those who maintain that there was no such person as King Arthur, and that "all such books as been made of him be but feigned and fables." He recounts with assumed sincerity the evidence of the chronicles, the existence of Arthur's seal in red wax at Westminster Abbey, of Sir Gawain's skull at Dover Castle, of the Round Table itself at Winchester, and so on. But he goes on to say, in his own quaint way, whichthere is not space to quote at large, that in his own opinion the stories are worth while for the intrinsic interest and the moral values in them, whether they are literally true or not. He closes thus:
"Herein may be seen noble chivalry, courtesy, humanity, friendliness, hardiness, love, friendship, cowardice, murder, hate virtue and sin. Do after the good and leave the evil, and it shall bring you to good fame and renommee. And for to pass the time this book shall be pleasant to read in, but for to give faith and belief that all is true that is contained herein, ye be at your liberty."
"Herein may be seen noble chivalry, courtesy, humanity, friendliness, hardiness, love, friendship, cowardice, murder, hate virtue and sin. Do after the good and leave the evil, and it shall bring you to good fame and renommee. And for to pass the time this book shall be pleasant to read in, but for to give faith and belief that all is true that is contained herein, ye be at your liberty."
This wise, sane, gentle apostle of literature in England wrought well in his day, and is justly honored alike by scholars and by printers, who regard him, in England and America, as the father of their craft. Indeed to this day in the printing trade a shop organization is sometimes called a chapel, because according to ancient tradition Caxton's workmen held their meetings in one of the chapels adjoining the abbey of Westminster.
This survey of printing in its relations to the Renaissance is now not finished but concluded. I have shown that the invention and improvement of printing was not the cause but rather the effect of the revival of learning, while on the other hand the wide dissemination of literature made possible by typography of course accelerated enormously the process of popular enlightenment. I have selected five typical printers of that age:
Aldus, with his Homer.Stephanus, with his Greek Testament.Froben, with his Plato.Koberger, with his Nuremberg Chronicle.Caxton, with his Morte d'Arthur.
Here we find represented in the Aldus Homer the revival of Greek learning, in the Stephanus Testament the application of this to the free criticism of the scriptures, in the Froben Plato the substitution of Platonic idealism for the scholastic philosophy based on Aristotle, in the Nuremberg book the epitome of mediaeval superstition, credulity, and curiosity on the verge of the new era, and in Morte d'Arthur the fond return of the modern mind, facing an unknown future, upon the naive and beautiful legends of Arthurian romance. An age full of contradictions and strange delusions, but an age of great vitality, great eagerness, great industry, patience, foresight, imagination. And in such an age it was the good fortune of these wise craftsmen who handled so deftly their paper and type to be the instruments of more evangels than angels ever sang, more revolutions than gunpowder ever achieved, more victories than ever won the applause of men or the approval of heaven. In the beginning the creative word wasFiat lux—let there be light. In the new creation of the human mind it wasImprimatur—let it be printed. If printing had never been invented, it is easy to conceive that the enormous learning and intellectual power of a few men in each generation might have gone on increasing so that the world might to-day possess most of the knowledge that we now enjoy; but it is certain that the masses couldnever have been enlightened, and that therefore the gulf between the wise few and the ignorant many would have exceeded anything known to the ancient world, and inconceivably dangerous in its appalling social menace. Whoever first printed a page of type is responsible for many crimes committed in the name of literature during the past four centuries; but one great book in a generation or a century, like a grain of radium in a ton of pitchblende, is worth all it has cost; for like the radium it is infinitely powerful to the wise man, deadly to the fool, and its strange, invisible virtue so far as we know may last forever.
DESIGNED BY BRUCE ROGERS AND PRINTED FROM MONOTYPE CASLON TYPE BY WILLIAM EDWIN RUDGE AT MOUNT VERNON NEW YORK IN DECEMBER 1921.
OF THIS EDITION ONE HUNDRED COPIES ARE ON FRENCH HAND-MADE PAPER AND FIVE HUNDRED ON ANTIQUE WOVE PAPER.
Transcriber's Note: This text uses both today and to-day.