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ANACREON (& SAPPHO) - ANAKREONTOS.

Teiou mele [Greek]. Anacreontis Teii Odae. Ab Henrico Stephano luce & Latinitate nunc primùm donatae. - [THE STARTING-POINT OF MODERN LITERATURE]

Herman H. J. Lynge & Søn A/S
lyn60114
Lutetiae (i.e. Paris), (? Guillaume Morel for) Henri Estienne (II), 1554. 4to. Contemporary limp vellum with remains of ties to boards. Remains of contemporary paper labels to spine and traces of autor in ink in contemporary hand, also to spine.A few smaller worm tracts to boards and a bit of spotting, but overall very nice. A large spot to title-page, presumably erased ink, from the removal of an old owner's name. The spot is in the blank margin, close to the printer's device, but not touching it. Apert from that internally very nice with only light occasional damp staining or browning. Old ink note in Greek characters to front free end-paper and a small note (referring also to "Lyra") on A(1)r. A very nice copy with large margins. Woodcut printer's device to title-page, woodcut headpiece and opening initial. Magnificently printed in all three sizes of the famous "grecs du roi"-type. (8), 110 pp.

Rare first edition of the groundbreaking Anacreon-volume by H. Estienne, being the milestone publication that not only constitutes the first book by the brilliant Henri Estienne II, but also the extremely influential editio princeps of the Anacreontea. Furthermore, this groundbreaking publication contains Sappho’s now immortal Aphrodite-hymn, being the very first of any of Sappho’s poems to appear in print (here for the second time in print) as well as the magnificent “Midnight poem” (fragment 168B), establishing for the first time since antiquity the gathering together of poems by Sappho: “A momentous point in her transmission. Yet it is ironic that the first collection of a fragmentary Greek poet known and admired beyond any other today should have appeared as a mere appendix to a book dedicated to another author entirely, without even her name on the title-page.” (Cambridge Companion to Sappho, p. 251). The impact that Sappho - “mother of all women poets” - would eventually come to have upon modern poetry and society was not yet known to Estienne and his contemporaries, for whom she was more or less unknown. Estienne, however, recognized the value of the poems of hers that he had encountered and with the publication of them in the present volume began a tradition that would eventually cause her to become arguably the most celebrated Greek poet of all time. “Estienne’s edition of Anacreon’s poetry was enthusiastically received by the Pléiade poets, which considerably boosted Sappho’s influence on western European literature”. (van Dijk: I Have Heard about You, p. 37). This beautifully printed slim volume constitutes an outright Renaissance sensation. “The “Anacreaonta” became the most influential “ancient” Greek poetic text during the Renaissance, and Estienne’s “editio princeps” virtually caused a poetic revolution, not only in France, but also in Italy and Germany – where this influence culminated in the 18th century with the Anacreontic Poets (“Die Anakreontiker”).” (Schreiber 139). Henri Estienne II – “in many ways the greatest member of the Estienne dynasty, and most certainly its most prolific scholar” (Schreiber) - had travelled extensively through Italy, the Low Countries, and England, in search of Greek manuscripts. It is from one of these that he had printed (possibly by Guillaume Morel) his first book, this editio princeps of the Anacreaontea, which is thus also the first book to bear his imprint. Henri Estienne, along with his contemporaries, believed the work to contain the ancient Greek lyrics of the poet Anakreon (6th century BC), whose poems, are not extant, except for some short fragments. In fact, the poems contained in this volume constitute the Anacreontea, which is a collection of Greek lyric poems written in the style and imitation of Anacreon, at various dates. “Henri’s publication of these “ancient” Greek lyrics caused an immediate literary sensation in France, and was celebrated and immortalized by Ronsard, in an oft-quoted passage of his “Odes”.” (Schreiber). Henri Estienne started out his publishing career with this magnificent publication that catapulted him into fame, and he went on to become one of the most influential literary and scholarly figures of the second half of the 16th century in Europe; he dominated Renaissance scholarship with his magnificent publications and has arguably not been superseded by any publisher since. The young Henri Estienne had discovered the present poems in Louvain, in a manuscript owned by an Englishman named John Clements, who was a friend of Thomas More. Their publication “was a sensation of the first class and the starting-point for a new branch of modern literature” (R. Pfeiffer: History of Classical Scholarship”, p. 109). “This first edition was greeted with tremendous enthusiasm by the members of the Pléiade, who, like everyone else, believed the poems genuine, and each of whom immediately translated or imitated some of the “Anacreontea”.” (Schreiber). The poems may not have been “genuine” Anacreon-poems, but the influence that the publication of them came to exercise was no less profound than had they been; the mark they have left of modern literature is difficult to compare to anything else. The printing of the original Greek text, in all three sizes of the magnificent “grecs du roi”-type, is followed by the first Latin translation of the poems, done by Estienne himself, and by Estienne’s own commentary. The text of this editio princeps has been followed by almost every subsequent editor, and today the name Anacreon cannot be mentioned without thinking of Estienne. After the Anacreon-poems themselves, are two leaves containing first, poems by Alkaios, and second, the two famous poems by Sappho: The Ode to Aphrodite (fragment 1) and the Midnight Poem (fragment 168B, also known as “The Moon Sets”), constituting a momentous point in the Sappho-transmission, namely the first time since antiquity that anyone had gathered together poems by her. Soon after, more Sappho-collections would appear causing her to eventually become the most admired Greek poet. “In a recent article, R. Aulotte… shows how Sappho’s influence on the poets dates from the time when Henri Estienne published the odes then known along with his famous edition of Anacreon. His first edition, published in 1554, contained the “Ode to Aphrodite” and the fragment “The Moon has Set”.” (Mary Morrison: Henri Estienne and Sappho, in: Bibliothèque d’Humanisme et Renaissance T.24, N.2 (1962), p. 388). "From time immemorial women poets have had only one norm, one touchstone: Sappho, the legendary woman poet who lived on the island of Lesbos in the Aegean sea in the 6th century BC. … The Sappho figure is the peg on which views of female poetic genious and female sexuality have been hung, century after century.” (Suzanne van Dijk: I Have Heard about You…, p. (35) ). Dibdin I: 258 (“A beautiful and rare edition”); Schreiber: 139; Renouard: 115.
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BERGIUS, PETER JONAS
Herman H. J. Lynge & Søn A/S
lyn62692
(Stockholm, 1777). 8vo. As extracted from "Kungl. Svenska vetenskapsakademiens handlingar", uncut unopened. Fine and clean. Pp. 304-309.
Medicinische und philosophische Schrifften von…
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ALBERTI, MICHAEL.
Herman H. J. Lynge & Søn A/S
lyn62695
Halle im Magdeburgischen, Hendel, 1721. 8vo. In contemporary full calf with four raise bands and richly gilt spine. Traces from old paper-label to upper part of spine. Leather on spine cracked, spine-ends slightly chipped. Internally nice and clean. (14), 620, (28) pp. First collected edition of Alberti’s essays. Alberti (1682–1757), professor of medicine and philosophy at Halle and later rector of the university, was a leading disciple of Georg Ernst Stahl who considered the soul as having control on the body. Therapies involved dealing with the internal senses and feelings.
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O Capital. (i.e. Portuguese:
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MARX, CARLOS [KARL] (+) GABRIELLE DEVILLE (+) [Translator:] ALBANO DE MORAES.
Herman H. J. Lynge & Søn A/S
lyn62679
Lisboa, De Francisco Luiz Goncalves, 1912. 8vo. In the original red printed cloth-binding with black and white lettering. Spine with loss of the white lettering. Paper-label pasted on to lower inner margin of front board. Very light wear to extremities, Internally very fine and clean. 240 pp. The exceedingly scarce first Portuguese edition of the most important abridged version of Marx's Capital ever to have appeared, published fifty-six years before the first full Portuguese (but published in Brazil) translation and whole sixy-two years before the first full translation published in Portugal. Curiously, two translations of the present work were made 1912 but the present translation seems to have priority (see Bastien, "Readings and Translations of Karl Marx in Portugal"). After the 1933 rise of Salazar's dictatorial Estado Novo regime, suppression of the relatively newly founded Communist party grew. Members were arrested, tortured, and executed and many were sent to the Tarrafal concentration camp in the Cape Verde Islands. Communist literature suffered an equally repressive fate, hence the rarity of the present work. Marxism and especially Marxist writing caught on comparatively late in Portugal: "As for the Socialist Party - supposed to be the main expression of Marxism -, it revealed itself unable to stimulate effective theoretical and doctrinal efforts. Its existence was an example of ambiguity and inconsequence. Its political programme went on mixing Marxian elements, associationist tradition and positivist thinking. Its strategy balanced continuously between an alliance with republican politicians and the maintenance of political autonomy. Its tatics balanced between electoral abstencionism and an involvement in election processes, that never led it to a relevant position in parliament. Even its international relations showed a lasting ambiguity: it had been created according to the instructions of the Marxist majority at the Hague Congress, when most of its members tended to support political abstencionism. When the formation of the Second lnternacional was taking place in Paris in 1889 Portuguese socialists tried to join the Marxist congress, after being present at the possibilist congress. In 1920 they decided to join the Third lnternacional (what was not accomplished), at the same time that an internal reformist turn was taking place." (Bastien, "Readings and Translations of Karl Marx in Portugal"). "The epitome, here translated, was published in Paris, in 1883, by Gabriel Deville, possibly the most brilliant writer among the French Marxians. It is the most successful attempt yet made to popularize Marx's scientific economics. It is by no means free from difficulties, for the subject is essentially a complex and difficult subject, but there are no difficulties that reasonable attention and patience will not enable the average reader to overcome. There is no attempt at originality. The very words in most cases are Marx's own words, and Capital is followed so closely that the first twenty-five chapters correspond in subject and treatment with the first twenty-five chapters of Capital. Chapter XXVI corresponds in the main with Chapter XXVI of Capital, but also contains portions of chapter XXX. The last three chapters-XXVII, XXVIII, and XXIX-correspond to the last three chapters-XXXI, XXXII, and XXXIII-of Capital." (ROBERT RIVES LA MONTE, Intruductory Note to the 1899 English translation). Capital de Marx also had a Portuguese edition at this time, or better, two different editions, both in 1912, but only in translation of the survey of Book I published in France by Gabriel Deville in 1883 (Marx, 1912a and Marx, 1912b). This version omitted material dealt with in at least four chapters of the original text and was not particularly appreciated by Engels. It was a simplified text, aimed at supporting the training of socialist militants and that made it possible for them to have access, indirect, to the work of Marx. The other summaries and anthologies of Capital, which, with a purpose similar to that of Deville, circulated in Europe during this period or ignored in Portugal, as was the case with Carlo Cafiero, or were only occasionally mentioned, as was the case with Paul Lafargue and Karl Kautsky, in its French versions. OCLC list two copies, both in the US.
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His Pokhodzhennia vydiv cherez pryrodnyi dobir,…
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DARWIN, CHARLES.
Herman H. J. Lynge & Søn A/S
lyn62681
(Kharkiv), Derzhavne medychne vyd-vo (State Medical Publishing House), 1936. 8vo. In publisher's original grey cloth binding with black lettering to spine with Darwin's portrait embossed on front board. Wear to extremities, corner bumped and light spoling to back board. Inner hinges split and first 3 leaves partly detached. Last 20 ff. slighly creased due to dampstain, otherwise internally a nice and clean copy. 674 pp. + frontispiece, portrait of Darwin and 1 plate with genealogical tree. The exceedingly rare first Ukranian translation of Darwin's landmark 'Origin of Species'. OCLC only list two copies (Library of Congress and The Huntington Library, USA) Freeman F797.
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Om Krigen med England. Med Tanker om samme…
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BOYE, JOHANNES.
Herman H. J. Lynge & Søn A/S
lyn62687
Fridericia, S. Elmenhoff, 1809. 8vo. In nice recent marbled paper covered boards with leather title-label with gilt lettering to spine. Ex-libris (Bent W. Dahlstrøm) to verso of front board. A nice and clean copy. 40 pp. Biblioteca Danica III, 572.
Regras methódicas para se aprender a escreuer o…
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VENTURA DA SILVA, JOAQUIM JOSE.
Herman H. J. Lynge & Søn A/S
lyn62100
Lisboa, Officina de Simão Thaddeo Ferreira, 1803. Folio-oblong (365 x 255 mm). In contemporary half calf. Wear to extremies, upper part of spine with loss of leather. Ex-libris pasted on to pasted down front end-paper. With, primarily marginal, brownspotting throughout. Dampstain to inner margin and upper outer margin of last 10 ff. 32 ff. Rare first edition of the most celebrated Portuguese treatise on calligraphy. Joaquim José Ventura da Silva (1777–1849), regarded as one of Portugal’s finest calligraphers and teachers of writing, composed this methodological guide to handwriting in which he combines a historical survey of scripts used in Portugal with practical instruction for teaching and learning penmanship.Ventura da Silva is reffered to by Innocencio (Diccionario Bibliographico) as "one of the best Portuguese Calligraphers". A second edition was published in 1819, a third in 1841, and a facsimile was published in Porto in 1899.
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