By Andrew R. Murphy
A Concise better half to Shakespeare and the Text introduces the early versions, modifying practices, and publishing historical past of Shakespeare’s performs and poems, and examines their impression on bibliographic reviews as a whole.
- The first single-volume e-book to supply an obtainable and authoritative creation to Shakespearean bibliographic studies
- Includes a beneficial creation, notes on Shakespeare’s texts, and an invaluable bibliography
- Contributors characterize either major and rising students within the field
- Represents an unheard of 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)
Editions) together with a 1600 copy of Thomas Middleton’s The Ghost of Lucrece and a 1595 copy of Emaricdulfe. C. 2 It was only through a few such bound miscellanies that most of the few surviving copies of the poems were preserved. If Shakespeare’s poems, his most popular publications, were largely read to death, the same is true of his plays, given their unbound format. ” It is, after all, materially true. The Folger Library alone has more than 80 copies of the First Folio. Not surprisingly, given how many copies survive, the First 40 Reading and Authorship Folio (and the millions of copies of the “works” that have succeeded it) conditions how we think about Shakespeare as an author.
The very notion of a publishing trade threatens to restrict our understanding of the multiplicity of mechanisms through which texts could be made public, or sent abroad, in early modern England. It also serves to disguise the sheer variety of the industries and processes which came together to produce the early modern book. As D. F. McKenzie reminds us: “Almost all texts of any consequence are the product of the concurrent inter-action of ideologies and institutions, of writers, publishers, printers, binders, wholesalers, travellers, retailers, as well as of the material sources (and their makers and suppliers) of type, paper, cord, and all the appurtenances of a printing house” (1992: 128).
A London Guild of Stationers, whose members were scribes, illuminators, and sellers of manuscript books and writing materials, can be traced back to at least 1403, well before the advent of print. In 1557, with the printing press firmly established in London, the bookmen of the city banded together to form the Stationers’ Company, and were granted a royal charter of incorporation by Mary I. In 1559, members received the right to wear their own distinctive livery. The Stationers’ Company was no new invention, but the institutional recognition of a network of trades and an artisanal heritage with a long history.
A Concise Companion to Shakespeare and the Text (Concise Companions to Literature and Culture) by Andrew R. Murphy