Italics
The influence of Q on F may also be illustrated by the
occasional departure of F from its normal practice as to the use of
roman or italics for proper names, where it is influenced by, and
follows, Q. For example, the conservative F compositor A, following
his copy—at this point, Q3—diverges into using italics for
"Dolphin" in the text, at III.v.64:-
|
Q1 |
Q2 |
Q3 |
F |
II.iv.29 |
Dolphin
|
Dolphin
|
Dolphin |
Dolphin |
111 |
Dolphin
|
Dolphin |
Dolphin |
Dolphin |
115 |
Dolphin
|
Dolphin |
Dolphin |
Dolphin |
III.v.64 |
Dolphin
|
Dolphin
|
Dolphin
|
Dolphin
|
vii.88 |
om. |
om. |
om. |
Dolphin |
A's more unorthodox colleague, B, also, who was inclined to the
opposite extreme of treating the word as a name and italicising it,
departs from this practice at I.ii.221 and 235, to follow Q in
using roman type, while in the remaining nine instances in the
scene, he returns to his normal italics. So, at IV.vi.11, 15, 24,
B follows Q3, as against Q1 and Q2, in printing "Suffolke", used
alone as a proper name, in roman; and all the quartos in printing
"Monmouth", seven times, and "Macedon", five times, in italics
(IV.vii.); and "Lucifer" and "Belzebub" in roman.