Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 8 - Ending and Going On (1736–1765)

  • from Part IV - Into the Future
  • Valerie Rumbold, University of Birmingham
  • Book:
    Swift in Print
    Published online:
    14 May 2020
    Print publication:
    04 June 2020, pp 251-291

  • Summary

    For as long as he was able, Swift continued to send important poems to press in London, while Polite Conversation was published in strategically different editions there and in Dublin. Directions to Servants, finally sent to press unfinished, was brought out by Faulkner a few days after Swift’s death in 1745. But Faulkner soon lost ground to the London copy-holders, whose new 1755 edition, first advertised as to be edited by ‘an intimate Friend of the Author’, was in the event edited by a professional man of letters, John Hawkesworth, and boasted the novelty of a fashionable large quarto. The first publication of The History of the Four Last Years of the Queen in 1758 showed that even an editor who had known Swift personally could still denounce his politics. In 1765 Swift’s cousin Deane Swift added to Hawkesworth’s edition new material from family manuscripts. The volumes‘ imposing quarto option, and its clean modern pages, confirm just how much Swift in print had changed from the modest formats and expressive typography of its author’s lifetime.