By Andrew R. Murphy
A Concise significant other to Shakespeare and the Text introduces the early variants, enhancing practices, and publishing background of Shakespeare’s performs and poems, and examines their effect on bibliographic experiences as a whole.
- The first single-volume booklet to supply an obtainable and authoritative creation to Shakespearean bibliographic studies
- Includes a beneficial advent, notes on Shakespeare’s texts, and an invaluable bibliography
- Contributors symbolize either prime and rising students within the field
- Represents an remarkable source for either scholars and faculty
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Additional resources for A Concise Companion to Shakespeare and the Text (Concise Companions to Literature and Culture)
Notwithstanding their first Coppies were purloyned from the true owner, or imprinted without his leaue” (sigs. B6v–7r). In practice, the situation was more complex than this. Some authors (the most-trumpeted instance being Ben Jonson) took a detailed and ongoing interest in the production of their works, while others (traditionally Shakespeare, though this orthodoxy is now being challenged) were little concerned with the fate of their texts after they were consigned to the press, or, earlier, to the acting companies.
That period is also the focus of this chapter, and the following account will touch on the issues of patronage, literacy, nationalism, and the widespread distribution of print which lurk beneath the rebel Cade’s violent judicial rhetoric. If Shakespeare mentions print only seldom, he mentions publishers even less. ” (33–5). Collatine’s fateful publication is oral and occasional, a far cry from the busy world of the hand press and the bookstall. Bearing in mind the multiple resonances of “publication” for an early modern audience, this chapter will close with a brief exploration of the overlapping modes of publication – print, manuscript, speech, and image – that characterized the era of Shakespeare and his contemporaries.
Reading the early printed texts reminds us that the “Shakespeare” that we now treat in the singular has been composed by multiple historical agents (theater companies, actors, publishers, compositors, editors) who have produced the plural Shakespeares that continue to 35 Peter Stallybrass and Roger Chartier multiply. But the questions of what Hamlet we read and how it has been edited are much more than “historical” ones, in the limiting sense of that term. As David Scott Kastan writes, “literature exists .