Cuts
As there are no cuts introduced in F whose length is of 2-3 lines, the
actual cuts may conveniently be divided into two groups: single-line cuts
and
those of four lines and more. The latter are almost certainly deliberate
measures taken to bring the text into conformity with the promptbook. They
are usually described as 'theatrical' cuts, as though this is all we know, and
all
we need to know. But to say that the cuts are theatrical in historical fact
( represent the text as performed) does not prove that they are
theatrical
in origin ( made by others, without Shakespeare's approval), or that
they
are 'theatrical' in nature ( cheap, melodramatic, coarse, or inartistic).
Cuts made in the theatre by Shakespeare's company could have been made
by Shakespeare himself, resident dramatist and sharer; even if he did not
initiate them, it can be assumed
(in the absence of evidence to the contrary) that he approved of them and
lent them his authority by so doing.
[24]
There are five of these longer cuts: 1.3.129-133, 1.3.239-242, 1.3.268-293,
3.2.29-32 and 4.1.52-59 (following TLN 426, 531, 557, 1388 and 1974).
The single-line cuts may have similar authority, but as they could easily
arise
through compositorial error, they are less reliable as evidence of manuscript
consultation.
[25]
