By Andrew R. Murphy
A Concise better half to Shakespeare and the Text introduces the early variants, enhancing practices, and publishing heritage of Shakespeare’s performs and poems, and examines their impact on bibliographic stories as a whole.
- The first single-volume e-book to supply an available and authoritative creation to Shakespearean bibliographic studies
- Includes a valuable creation, notes on Shakespeare’s texts, and an invaluable bibliography
- Contributors signify either best and rising students within the field
- Represents an remarkable source for either scholars and faculty
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Extra resources for A Concise Companion to Shakespeare and the Text (Concise Companions to Literature and Culture)
A2v), while in the anonymous play The Second Part of the Return from Parnassus (c. 1601), the printer John Danter is seen explaining to Ingenioso (a figure for Thomas Nashe) that “good fayth, M. Ingenioso, I lost by your last booke; and you know there is many a one that pays me largely for the printing of their inventions, but for all this you shall have 40 shillings and an odde pottle of wine” (Leishman 1949: 247– 8). This evidence, however, is inconclusive. Not only does Danter eventually up his price, declaring he will have Ingenioso’s “Chronicle 24 The Publishing Trade in Shakespeare’s Time of Cambridge Cuckolds” “whatsoever it cost,” it also seems that “40 shillings” was a colloquial term to describe any insignificant sum of money.
It was the responsibility of Renaissance printers to transform writer’s scripts into readable texts. In the Art of Printing, Joseph Moxon wrote that “a Compositor is strictly to follow his Copy,” but he immediately retracts this by noting that “the carelessness of some good Authors, and the ignorance of other Authors, has forc’d Printers to introduce a Custom, which among them is look’d upon as a task and duty incumbent on the Compositor, viz. to discern and amend the bad Spelling and Pointing of his Copy, if it be English” (Moxon 1958: 191–2).
19) (Macdonald 1971: 200). The “authorial” Shakespeare was above all Shakespeare the poet, not Shakespeare the dramatist. 39 Peter Stallybrass and Roger Chartier Shakespeare Unbound and Bound But is “author” the right name for the writer of such popular successes as Venus and Adonis and Lucrece? If these poems were “the water of the Muses,” as the title-page of Venus and Adonis claimed, they were certainly not contained within the cups of the golden Apollo. ” Shakespeare’s love is “without end”; his “Pamphlet” is not, as the fate of most of the copies (and perhaps of whole editions) shows.
A Concise Companion to Shakespeare and the Text (Concise Companions to Literature and Culture) by Andrew R. Murphy