The manuscripts of Pope's version of the Iliad and Odyssey are preserved in the British Museum in three volumes, the gift of David Mallet. They are written chiefly on the backs of letters, amongst which are several from Addison, Steele, Jervaise, Rowe, Young, Caryl, Walsh, Sir Godfrey Kneller, Fenton, Craggs, Congreve, Hughes, his mother Editha, and Lintot and Tonson the booksellers.[26] From these letters no information can be gathered, which merits public communication; they relate generally to the common civilities and common affairs of life. What little could be done has already been given in the additions to Pope's works. It has been observed, that Pope taught himself to write, by copying printed books: of this singularity we have in this collection a remarkable instance; several parts are written in Roman and Italic characters, which for some time I mistook for print; no imitation can be more correct. What appears on this Fac-Simile I have printed, to assist its deciphering; and I have also subjoined the passage as it was given to the public, for immediate reference. The manuscript from whence this page is taken consists of the first rude sketches; an intermediate copy having been employed for the press; so that the corrected verses of this Fac-Simile occasionally vary from those published. This passage has been selected, because the parting of Hector and Andromache is perhaps the most pleasing episode in the Iliad, while it is confessedly one of the most finished passages. The lover of poetry will not be a little gratified, when he contemplates the variety of epithets, the imperfect idea, the gradual embellishment, and the critical rasures which are here discovered.[27] The action of Hector, in lifting his infant in his arms, occasioned Pope much trouble; and at length the printed copy has a different reading. I must not omit noticing, that the whole is on the back of a letter franked by Addison; which cover I have given at one corner of the plate. The parts distinguished by Italics were rejected.