A Concise Companion to Shakespeare and the Text - download pdf or read online

By Andrew R. Murphy

ISBN-10: 140513528X

ISBN-13: 9781405135283

ISBN-10: 1444332058

ISBN-13: 9781444332056

A Concise significant other to Shakespeare and the textual content introduces the early versions, modifying practices, and publishing background of Shakespeare’s performs and poems, and examines their impression on bibliographic stories as a complete.

  • The first single-volume e-book to supply an available and authoritative advent to Shakespearean bibliographic stories
  • Includes a worthy advent, notes on Shakespeare’s texts, and an invaluable bibliography
  • Contributors symbolize either best and rising students within the box
  • Represents an exceptional source for either scholars and school

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Example text

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.

The play’s rampant anachronism suggests the extent to which Shakespeare’s concerns are tied to the conditions of print publication in Elizabethan, rather than Henrician, England. 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).

W[i]t[h] their poor lugage plodding tooth portes and costes for transportacion (Greg 1961: 75–6) Even though spelling and punctuation were not standardized in Renaissance England, no printing house would put out a play that looked anything like this. In the first example, neither the speech prefix nor the proper name of Sir Thomas More begins with a capital, and the two words that compose the line are spelt five different ways. Moreover, they are entirely unpunctuated. Without the context, it would be impossible to know whether “Sheriff” and “More” are one and the same person or whether “more” is a proper, not a common, noun.

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A Concise Companion to Shakespeare and the Text by Andrew R. Murphy

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