Chapter 1

OF DIVISIONS IN AUTHORS

There are certain mysteries or secrets in all trades, from the highest to the lowest, from that of prime- ministering to this of authoring, which are seldom discovered unless to members of the same calling. Among those used by us gentlemen of the latter occupation, I take this of dividing our works into books and chapters to be none of the least considerable. Now, for want of being truly acquainted with this secret, common readers imagine, that by this art of dividing we mean only to swell our works to a much larger bulk than they would otherwise be extended to. These several places therefore in our paper, which are filled with our books and chapters, are understood as so much buckram, stays, and stay-tape in a taylor’s bill, serving only to make up the sum total, commonly found at the bottom of our first page and of his last.

But in reality the case is otherwise, and in this as well as all other instances we consult the advantage of our reader, not our own; and indeed, many notable uses arise to him from this method; for, first, those little spaces between our chapters may be looked upon as an inn or resting-place where he may stop and take a glass or any other refreshment as it pleases him. Nay, our fine readers will, perhaps, be scarce able to travel farther than through one of them in a day. As to those vacant pages which are placed between our books, they are to be regarded as those stages where in long journeys the traveller stays some time to repose himself, and consider of what he hath seen in the parts he hath already passed through; a consideration which I take the liberty to recommend a little to the reader; for, however swift his capacity may be, I would not advise him to travel through these pages too fast; for if he doth, he may probably miss the seeing some curious productions of nature, which will be observed by the slower and more accurate reader. A volume without any such places of rest resembles the opening of wilds or seas, which tires the eye and fatigues the spirit when entered upon.

Secondly, what are the contents prefixed to every chapter but so many inscriptions over the gates of inns (to continue the same metaphor), informing the reader what entertainment he is to expect, which if he likes not, he may travel on to the next; for, in biography, as we are not tied down to an exact concatenation equally with other historians, so a chapter or two (for instance, this I am now writing) may be often passed over without any injury to the whole. And in these inscriptions I have been as faithful as possible, not imitating the celebrated Montaigne, who promises you one thing and gives you another; nor some title- page authors, who promise a great deal and produce nothing at all.

There are, besides these more obvious benefits, several others which our readers enjoy from this art of dividing; though perhaps most of them too mysterious to be presently understood by any who are not initiated into the science of authoring. To mention, therefore, but one which is most obvious, it prevents spoiling the beauty of a book by turning down its leaves, a method otherwise necessary to those readers who (though they read with great improvement and advantage) are apt, when they return to their study after half-an-hour’s absence, to forget where they left off.

These divisions have the sanction of great antiquity. Homer not only divided his great work into twenty- four books (in compliment perhaps to the twenty-four letters to which he had very particular obligations), but, according to the opinion of some very sagacious critics, hawked them all separately, delivering only one book at a time (probably by subscription). He was the first inventor of the art which hath so long lain dormant, of publishing by numbers; an art now brought to such perfection, that even dictionaries are divided and exhibited piecemeal to the public; nay, one bookseller hath (to encourage learning and ease the public) contrived to give them a dictionary in this divided manner for only fifteen shillings more than it would have cost entire.

Virgil hath given us his poem in twelve books, an argument of his modesty; for by that, doubtless, he would insinuate that he pretends to no more than half the merit of the Greek; for the same reason, our Milton went originally no farther than ten; till, being puffed up by the praise of his friends, he put himself on the same footing with the Roman poet.