 | |  |
Notes
See, for instance, George R. Price, "Setting by Formes in the First Edition of The Phoenix," PBSA, LVI (1962), 414-427; John Russell Brown, "The Printing of John Webster's Plays (III): The Duchess of Malfi," Studies in Bibliography, XV (1962), 57-69; John Hazel Smith, "The Composition of the Quarto of Much Ado About Nothing," Studies in Bibliography, XVI (1963), 9-26.
W. W. Greg, A Bibliography of the English Printed Drama to the Restoration, II (1951), 504-505. The printer, whose name does not appear in the imprint, is identified by means of ornaments used in the book.
This Sir Henry Neville (1588-1629), the son of an eminent Elizabethan courtier and diplomat of the same name, was at Lincoln's Inn in 1614 (Joseph Foster, Alumni Oxonienses, III [Early Series], 1058). C. M. Gayley suggests that the elder Sir Henry may have been the original owner of the manuscript to which Walkley apparently refers (Francis Beaumont: Dramatist [1914], pp. 145-149.)
Shakespeare First Folio (1955), p. 154, n. 1. Greg points out that some ten years earlier Blount seems to have obliged the players in a similar fashion by entering Pericles and Antony and Cleopatra, neither of which was printed at the time.
In The Works of Francis Beaumont and John Fletcher (Variorum Edition: London, 1904), I, 301-302.
That Q1 must be the copy-text is shown by Berta Sturman, "The Second Quarto of A King and No King, 1625," Studies in Bibliography, IV (1951-52), 166-170.
See Appendix: Table II. For a discussion of the pattern of type reappearances in a quarto set by formes, see my "Printing Methods and Textual Problems in A Midsummer Night's Dream Q1," Studies in Bibliography, XV (1962), 35-55.
See Appendix: Table III. The compositors seem often to have substituted when they had W's in the case, but they also tended to use W's rather than VV's or vv's just after a distribution was made.
In Sheet A I find no types from L(o) or M but the following from L(i): M L1v,25-A3v,13; h L2,16-A4,30; b L2,31-A3v, 30; d L4,15-A3,15(?). I suppose, therefore, that Sheet A was composed after Sheet M and before the distribution of L(o) and M.
Aside from the difference in signatures, I find no means to distinguish the work of the two compositors. Their spelling characteristics are very similar, and neither, as far as I can tell, had any preference in details of typography not shared by his fellow. From the editor's point of view, this likeness is probably all to the good, for it may mean that both men followed copy closely, thus producing a relatively unsophisticated print.
| | |