George Santayana's Marginalia, A Critical Selection: Book One, Abell–Lucretius

Editorial Practice

Editorial Practice The following enumeration of pages does not reflect the relative importance of a given work sub specie aeternitatis; the numeration of marginalia in each volume indicates only the degree of attention that Santayana paid to that specific work. The selected texts from Santayana’s personal library are listed in alphabetical order by author (or by title if the work is “edited by” rather than authored) and then, most often, by date of publication. Editions of standard writers are listed by that writer, not by the editor; e.g., Lucretius, but not Munro, editor of the edition in question. Pseudonymous works are listed by pseudonym, followed by the author’s authentic name. A work in two or more volumes is most often treated as one book; there are a few exceptions. A headnote for each text includes the author’s name in bold face type, the title of the work in italics, brief publication information (place and date), library location of the text, and the number of marginalia contained within the text (or by an indication of lack of importance in the editor’s view). Publisher or printer is not included in the headnote. Anonymous works are listed alphabetically by title. Not all marginalia within a given text have been selected for inclusion in this edition. Text is chosen for content and style. Paraphrase occurs to save space. Crucial phrases or entire passages are given in the original language other than English, followed by translation in a footnote. Translations, which are literal, not literary, are the editor’s, unless otherwise indicated. Each marginalia from a particular text is numbered consecutively, followed by the page number(s) and any other information regarding Santayana’s markings (‘marked’, ‘marked Z’, ‘underlined’, etc.) or placement (top, bottom). Santayana’s spelling and usage is maintained throughout; e.g., “every thing” (two words) for “everything.” He favored British spelling after his visit to Frank Russell’s establishment in 1887. Slips of the pencil are reproduced. His punctuation, which he knew to be uncertain in English, caused him to use colons where correctness would indicate semicolons. Single or double quotation marks are reproduced as Santayana wrote them; he was inconsistent. Flyleaf matter is indicated as such, but presentation messages are not considered to be marginalia. Marginalia within Santayana’s own works are not included here, since they are incorporated in the complete critical edition. Key to location of texts: Columbia Rare Book and Manuscript Library, Butler Library, Columbia University, New York City Georgetown Special Collections, Lauinger Library, Georgetown University, Washington, D.C. Harvard Houghton Library, Harvard University, Cambridge, Massachusetts Le Balze Georgetown University, Villa Le Balze, Fiesole, Italy Texas Humanities Research Center, University of Texas, Austin Waterloo Rare Book and Manuscript Room, University of Waterloo, Waterloo, Ontario Key to symbols and typefaces within the edition: The reproduced text taken from a particular book is in regular tenpoint typeface from margin to margin. It is not within quotation marks, but material quoted within the selected text is so marked. Literal translations (in place of reproduced text) from another language into English are in italic typeface from margin to margin. When the text is reproduced in its original language, a translation is given in a footnote, in italic. Text which has been paraphrased by the editor is placed within double vertical bars || … || and aligned from margin to margin. Editorial comments are a smaller, nine-point size text within square brackets [ … ] and block indented. Comments or clarifying words within the text or marginalia also are placed in square brackets and in the smaller font size. Santayana’s marginalia, which normally follow a block of text, are in bold ten-point typeface and block indented. In the marginalia the bracketed question mark [?] indicates a questionable reading of Santayana’s hand. xvi Editorial Practice Footnotes immediately follow the text to which they refer within each numbered entry. Any underlined text reflects underlining done by Santayana. A single slash through a character, as well as strikethroughs and insertions (marked by inferior carets) within the reproduced text or within the marginalia itself, reflect Santayana’s markings. The term ‘marked’ indicates that Santayana drew a vertical line in the margin next to the lines of text reproduced (‘doubly marked’ indicates two vertical lines). ‘Marked X’ indicates that Santayana wrote an ‘X’ in the margin next to the text. ‘Marked Z’ indicates that he drew a wavy vertical line (probably for emphasis) next...