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Problems in the Making of Computer Concordances by S. M. Parrish

1.

2.

3.

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Electronic Computers and Elizabethan Texts by Ephim G. Fogel

1.

2.

3.

4.

5.

Textual Criticism

6.

Concordance-Making

7.

Enumerative Bibliography

8.

Studies in Attribution

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Printing Methods and Textual Problems in A Midsummer Night's Dream Q1 by Robert K. Turner, Jr.

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2.

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The Printing of John Webster's Plays (III): The Duchess of Malfi by John Russell Brown

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notes

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The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon (VII) by Cyrus Hoy

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2.

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National Library of Scotland and Edinburgh University Library Copies of Plays in Greg's Bibliography of the English Printed Drama by Marion Linton

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Scottish Printers and Booksellers 1668-1775: A Second Supplement (II) by Robert Hay Carnie

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1.

Index of Places

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Early Editions of The Tatler by William B. Todd

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Samuel Richardson's London Houses by T. C. Duncan Eaves and Ben D. Kimpel

1.

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Wordsworth's Poetry and Stuart's Newspapers: 1797-1803 by R. S. Woof

1.

2.

3.

A Note on Pseudonyms

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Some Observations on the Text of Dubliners: "The Dead" by Robert E. Scholes

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2.

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The English Editions of James Gould Cozzens by James B. Meriwether

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2.

Publication Dates of the Novels

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The Errata Lists in the First Aldine Editions of Caro's Rime and of the Due Orationi of St. Gregorius Nazianzenus by Curt F. Bühler

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On the Tercera Parte of Calderon — 1664 by Edward M. Wilson

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Gorboduc, Ferrex and Porrex: The First Two Quartos by I. B. Cauthen, Jr.

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New Year's Day Gift Books in the Sixteenth Century by Edwin Haviland Miller

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A Note on Printers' Measures by W. Craig Ferguson

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The Earliest London Printings of "Verses on the Death of Doctor Swift" by A. H. Scouten

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The Printing of Fielding's Miscellanies (1743) by Donald D. Eddy

1.

Facts and Conjectures Concerning the Printing

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Rasselas: Purchase Price, Proprietors, and Printings by Gwin J. Kolb

1.

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Dwight's Triumph of Infidelity: Text and Interpretation by Jack Stillinger

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2.

3.

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William Dean Howells and The Breadwinners by George Monteiro

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A Harold Frederic First by Stanton B. Garner

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PART II. PERIODICALS

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Hidden Printings in Edith Wharton's The Children by Matthew J. Bruccoli

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Half-Sheet Imposition of Eight-Leaf Quires in Formes of Thirty-Two and Sixty-Four Pages by Oliver L. Steele

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A SELECTIVE CHECK LIST OF BIBLIOGRAPHICAL SCHOLARSHIP FOR 1960

1.0.

Part I: INCUNABULA AND EARLY RENAISSANCE by Rudolf Hirsch

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2.0.

Part II: THE LATER RENAISSANCE TO THE PRESENT by Howell J. Heaney

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2.1.

1. Bibliographies, Check Lists, Enumerations

2.1a.

ENGLISH AND GENERAL

2.1b.

B. United States

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2.2.

2. Printing, Publishing, Bibliography and Textual Scholarship

2.2a.

A. English and General

2.2b.

B. United States

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1.

Notes on Contributors

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BIBLIOGRAPHICAL SOCIETY OF THE UNIVERSITY OF VIRGINIA

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CONTRIBUTING MEMBERS FOR 1961

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WINNERS OF THE 1961 AWARDS

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RECENT MEETINGS OF THE SOCIETY

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PUBLISHED BY THE SOCIETY DURING THE YEAR

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OTHER PUBLICATIONS AVAILABLE TO MEMBERS

8.

FORTHCOMING PUBLICATIONS

9.

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notes

[1]

Cf. P. Williams, 'The Compositor of the 'Pied Bull' Lear', SB, I (1948-49), 61-68; J. R. Brown, 'The Printing of John Webster's Plays (I) and (II)', SB, VI (1954), 117-140 and VIII (1956), 113-127; and R. K. Turner Jr., 'The Composition of The Insatiate Countess, Q2', SB,XIII (1959), 198-203; 'The Printing of The Maid's Tragedy Q1' SB, XIII (1960), 199-220; 'Notes on the Text of Thierry and Theodoret Q1', SB, XIV (1961), 218-231; and 'The Printing of Philaster Q1 and Q2', The Library, 5th series, XV (1960), 21-32.

[2]

Cf. The White Devil, ed. J. R. Brown (1960), p. lxx, notes 3 and 4.

[3]

The Jacobean Drama (1936), p. 42.

[4]

Cf. J. R. Brown, op. cit., SB, (1954), 132 and VIII (1956), 117-120.

[5]

Possibly lines of dialogue were also added at the same time: or, if Compositor A (who set I1v) was ahead of B, the latter might already have followed the lead of the corrector of I1v and set two or three speeches continuously on I3v without special provocation. It is just possible that the whole madman's song as it is printed in the quarto was an addition to the printer's copy, replacing four or five lines of dialogue or stage-direction on both pages. This hypothesis gains some support by: 1.) 7 lines are saved on I3v and only four used on I4; 2.) on H2 a 'ditty' is printed where the printer's copy had announced 'The Hymne' and the author added an apologetic note after some sheets had been printed; the printer's copy may have been deficient in its songs as some dramatic texts of the period are; and 3.) the disconnected talk of the madmen might easily be cut without leaving traces.

[6]

One is printed in SB, VIII (1956), 127.