細節
JOHNSON, Samuel (1709-1784). The Prince of Abbisinia. A Tale. London: for R. and J. Dodsley, and W. Johnston, 1759.
2 volumes, 8° (153 x 93mm). (Some very light spotting, some slight browning to first and last leaves, C4 and C5 disbound). Contemporary polished speckled calf (hinges worn, volume 2 missing part of spine label, corners slightly rubbed).
FIRST EDITION. Johnson may have been inspired by Jerome Lobo's Voyage to Abyssinia, which he had translated into English from a French copy of the Portugese priest's travel book. However, it is just as likely that Johnson, inspired by the success of his 'Eastern Tales' in the Rambler, decided to frame this philosophical work in an exotic setting. Boswell recounts how Johnson wrote this work at prodigious speed in order to pay for his mother's funeral, but it appears that she died either as he was finishing the work, or just afterwards. Boswell's account of the genesis and production of Rasselas, whilst subject to considerable doubt, has formed the basis of all subsequent biographies for this episode in Johnson's life. Later known as Rasselas, Johnson neither used this title for the work during his lifetime nor let his name appear on the title-page. (See W. Jackson Bate. Samuel Johnson. London: 1977; and P. Quennell. Samuel Johnson, his Friends and Enemies. London: 1972.) Courtney IV pp. 85-87. (2)
2 volumes, 8° (153 x 93mm). (Some very light spotting, some slight browning to first and last leaves, C4 and C5 disbound). Contemporary polished speckled calf (hinges worn, volume 2 missing part of spine label, corners slightly rubbed).
FIRST EDITION. Johnson may have been inspired by Jerome Lobo's Voyage to Abyssinia, which he had translated into English from a French copy of the Portugese priest's travel book. However, it is just as likely that Johnson, inspired by the success of his 'Eastern Tales' in the Rambler, decided to frame this philosophical work in an exotic setting. Boswell recounts how Johnson wrote this work at prodigious speed in order to pay for his mother's funeral, but it appears that she died either as he was finishing the work, or just afterwards. Boswell's account of the genesis and production of Rasselas, whilst subject to considerable doubt, has formed the basis of all subsequent biographies for this episode in Johnson's life. Later known as Rasselas, Johnson neither used this title for the work during his lifetime nor let his name appear on the title-page. (See W. Jackson Bate. Samuel Johnson. London: 1977; and P. Quennell. Samuel Johnson, his Friends and Enemies. London: 1972.) Courtney IV pp. 85-87. (2)