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Notes
W. W. Greg, The Shakespeare First Folio (1955), p. 466. Also see the discussion by Philip Williams, "New Approaches to Textual Problems in Shakespeare," SB, 7 (1956), 3-14.
For Compositor B: William Kable, The Pavier Quartos and the First Folio of Shakespeare, Shakespeare Monograph II (1972). Kable's views have been challenged by J. F. Andrews, "The Pavier Quartos of 1619," Vanderbilt dissertation, 1971; and by Peter W. M. Blayney, "Compositor B and the Pavier Quartos," The Library, 5th Ser., 27 (1972), 179-206. For Compositor C: Robert Lawson, Compositor C of the Shakespeare First Folio, Shakespeare Monographs III (1973).
T. H. Howard-Hill, "The Compositors of Shakespeare's Folio Comedies," SB, 26 (1973), 84-88. Lawson also noticed discrepancies between Compositor A of the Histories and Compositor A of the Comedies, but did not follow up his initial discovery.
The distinction between quantitative and qualitative evidence is discussed by Fredson Bowers in Bibliography and Textual Criticism (1964), pp. 194-195.
The Printing and Proof-Reading of the First Folio of Shakespeare (1964), II, pp. 376-392. Subsequent references to this work will be in parentheses in the text.
This term is used by Howard-Hill, op. cit., p. 65. Subsequent references to his article will be in parentheses in the text.
"Compositors C and D of the Shakespeare First Folio," PBSA, 65 (1971), 41-52; "Compositors E and F of the Shakespeare First Folio," PBSA, 66 (1972), 369-406. Subsequent references to these articles will be in parentheses in the text.
2 Henry IV, Richard III, and Macbeth. Cairncross even failed to distinguish between indenting and centering the speech prefix.
The first line of text in Tmp and MM is short and this probably influenced the placement of the speech prefix.
The first line of text in Tmp and MM is short and this probably influenced the placement of the speech prefix.
LLL: all (1018j), tell (878, 1190j), twill (1090), well (1119j) will (1144j), ell (1223), and shall (1242); MND: all (913j); MV: well (585j), will (359j, 498), and shall (803). However, three counter-examples are in MV: wel (483j), al (1245), and wil (225j).
The pages I chose for Compositor C approximate those Howard-Hill chose for Compositor D as closely as possible; Compositor C's pages come from the same quires and plays as Compositor D's. Like Howard-Hill, I did not distinguish between long and short lines. (My figures also do not include my, by and why.)
The figure before the colon is the number of times the spelling occurs in short lines; the figure after the colon is the number of instances in long lines.
you'll: 663, 692, 702; ye: 630; yu: 655; yt: 707. These promotional contractions are developed as a criterion for Compositor C on page 92.
These contractions occur on: A2v (3), B2 (2), B6v (2), C1v, C2v, C3v, D1, D1v, D2v, D4, F4v, G4v, H2v (2), H3v (3), I4, K5 (3), L1 (2), L4, M1, N3v, N5v, O2, R4, V4, a1, a2, a5, a5v, a6 = 39.
A complex vowel is either two vowels in conjunction (-ee-) or a single vowel followed by two consonants in conjunction (think).
he'll: A5v, D3v; she'll: B5, C4, G5v; they'll: A5, E3; we'll: A5v, C4v (5), C5 (1:1), D3v, G5v (1:1); you'll: B4v, B5, E3.
This chart is a modified version of Howard-Hill's chart of non-Compositor B pages in MM (p. 81), but corrected and expanded. I have excluded F2v, which is discussed below since it was set by Compositor D.
Howard-Hill includes F5v as one of the pages in quire H with indented flow-overs (p. 95). Although Compositor D did set F5v, I can not find an indented flow-over on that page.
Other -ie endings changed from copy -y endings are: uglie (1370), amitie (1372), waterie (1390), snakie (1438), dowrie (1441), gaudie (1447), demie (1462), sum-marie (1477), and giddie (1491).
The compositor changed any to anie (1255j), and retained companie (1344). Other -ie endings changed from copy -y endings are: Monkie (1330), tarrie (1342), naughtie (1359), and quallitie (1347).
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