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 reviews as a whole.
- The first single-volume e-book to supply an available and authoritative advent to Shakespearean bibliographic studies
- Includes a precious creation, notes on Shakespeare’s texts, and an invaluable bibliography
- Contributors signify either prime and rising students within the field
- Represents an exceptional 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)
Barker’s emphasis on the national context may well reflect the Stationers’ Company’s resentful relationship with the newly established university-based presses of Oxford and Cambridge. With the exception of these two printing houses the Stationers’ Company exercised a largely effective monopoly on printing in England. During the first half of the sixteenth century, presses were established in St Albans, Oxford, Cambridge, Tavistock, Abingdon, Ipswich, Worcester, Canterbury, and York, but all of these provincial presses had ceased to 19 Helen Smith operate by 1557.
Christopher Barker, as well as enjoying royal support, marked his texts with a printer’s device that featured the tiger’s head from his patron Sir Francis Walsingham’s crest, and, in 1576, established a second shop in Paternoster Row (an area heavily associated with religious printing) marked by the sign of the tiger’s head. However he or she was financed, or whoever took on the role, the first step for the early modern publisher was to secure the rights to the relevant copy, often through a one-off payment to the author.
Scattered among his collection of books in English were “the tragedie of Romeo & Iulieta” (no. 30) and “a midsumer night dreame” (no. 48). But the two narrative poems were catalogued together: “Venus & Adon. ” (no. 18) and “the rap of Lucrece idem” (no. 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?
A Concise Companion to Shakespeare and the Text (Concise Companions to Literature and Culture) by Andrew R. Murphy