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213
Impression. TABLE 3
Sheet. | 1 | 2 | 3 | 4 | |
A | p.[i] imprint | Head, | Head, | ||
Strand. | Strand. | Strand. | Strand. | ||
p. [v] l. 7 | them. | them. | them. | them. | |
B | p. 1 catchword | Ah | Ah, | Ah | Ah, |
p. 2 last line | My bosom | My bosom | My bosom | The bosom | |
p. 5 headpiece | fleur-de-lys block | serpentine flowers | serpentine flowers | serpentine flowers | |
C | p. 11 l. 14 | Vengeance | vengeance | vengeance | vengeance |
p. 13 flowers | square, with '?' | square, no '?' | square, no '?' | triangular | |
press figure | p. 13-7 (intermittent) | ||||
D | p. 21 l. 12 | shhut | shut | shut | shut |
p. 19 headline | H of SOPH . . over | O of SOPH- over | H of SOPH- over | H of SOPH- over | |
N of NARVA | N of NARVA | N of NARVA | N of NARVA | ||
E | p. 28 headpiece | star block | basket block | basket block | basket block |
p. 32 l. 13 | E'er | E'er | E'er | Ere | |
press figure | p. 29-1 | p. 29-1 | p. 29-1 | p. 32-7 | |
F | p. 38 l. 9 | on the ground | on the ground | to the ground | to the ground |
p. 39 l. 7 | Praise | praise | praise | praise | |
press figure | p. 40-7 | ||||
G | p. 47 l. 15 | mustremind | mustremind | must remind | must remind |
H | p. 50 l. 21 | contemtuous | contemptuous | contemptuous | contemptuous |
press figure | p. 56-7 (intermittent) | p. 56-7 (intermittent) | p. 56-5 | ||
I | p. 57 l. 11 | the graces all | the graces all | the graces all | the graces, all |
p. 58 l. 7 | MASINSSSA | MASINSSSA | MASINISSA | MASINISSA | |
p. 63 l. 5 | sweet as | sweet, as | sweet, as | sweet, as | |
press figure | p. 64-2 | ||||
K | p. 70 l. 3 | Seem not | Seem not | Seems not | Seems not |
press figure | p. 72-7 | p. 72-7 | |||
L | p. [79] | errata | errata | no errata | no errata |
press figure | p. [80]-7 |
[_]
This table attempts to show changes in the type between the
different impressions of each sheet; I hope it includes no corrections made
in the course of printing such as I have noted during the first octavo
impression on p. 18. As explained in the text, the solid line
between impressions represents considerable movement of the type, while
the dotted line covers cases where there are minor but
consistent
differences although the type probably remained in the formes.[_]
The line references omit the speech headings from their
numeration. I use the expression 'block' to describe a woodcut, qualified
by its central feature, as 'star block'; 'flowers' are printers' flowers, which
I have tried to distinguish roughly by their basic shape — square,
triangular or serpentine. | ||