University of Virginia Library

Search this document 


  
[title page]

collapse section 
The Life and Work of Fredson Bowers by G. Thomas Tanselle
 1. 
[section 1]
 2. 
I
 3. 
II
 4. 
III
 5. 
IV
 6. 
V
 7. 
Note on Sources
collapse section 
Fredson Thayer Bowers: A Checklist and Chronology by Martin C. Battestin
 1. 
Books
 2. 
Pamphlets
 3. 
Editions
 4. 
Contributions to Serials and Books
collapse section5. 
Non-Academic Writings
 01. 
As an Undergraduate
 02. 
On Dogs
 03. 
On Music
 04. 
On Stamps
 6. 
Chronology
  
Notes
collapse section 
A Preliminary Handlist of Books to which Dr. Samuel Johnson Subscribed by D. D. Eddy and J. D. Fleeman
collapse section1. 
Introduction
 01. 
[section]
 02. 
Locations of Copies We report a plurality of copies in parentheses after the location symbol.
 03. 
Abbreviated References
 2. 
SUBSCRIPTION BOOKS
 3. 
Appendix: Chronological List
 4. 
Index
  
Notes
collapse section 
Rehabilitating the A-Text of Marlowe's Doctor Faustus by Eric Rasmussen
 1. 
I
 2. 
II
 3. 
III
 4. 
IV
 5. 
V
  
Notes
collapse section 
Rhyming in Pericles: More Evidence of Dual Authorship by MacD. P. Jackson
  
[section]
  
Notes
collapse section 
A Restoration Lampoon in Transmission and Revision: Rochester's(?) "Signior Dildo" by Harold Love
 1. 
[section 1]
 2. 
The sources
 3. 
The versions
 4. 
Order of stanzas
 5. 
The growth of the text
 6. 
Authorship
 7. 
List of variants
 8. 
Conclusion
  
Notes
collapse section 
The Bibliographical Significance of the Turned Letter by Robin Dix and Trudi Laura Darby
  
[section]
  
Notes
collapse section 
Young's Corrections to Dodington's Epistle to Bute: Evidence from the Yale Manuscript by James E. May
  
[section]
  
Notes
collapse section 
Greek Tragedy with a Happy Ending: The Publication of Robert Potter's Translations of Aeschylus, Euripides, and Sophocles by David Stoker
  
[section]
  
Notes
collapse section 
Rickaby Cancellation: A New Species of Post-Impression Correction by B. N. Gerrard
  
[section]
  
Notes
collapse section 
Attributions of Authorship in theGentleman's Magazine, 1793-1808: A Supplement to Kuist by Emily Lorraine de Montluzin
  
[section]
collapse section 
From The Bookman of London by Arthur Sherbo
  
[section]
  
Notes
collapse section 
The Piltdown Man and the Norman Conquest: Working Volumes and Printer's Copy for Charles Dawson's The History of Hastings Castle by Peter Miles
  
[section]
  
Notes
collapse section 
Paulding's Anonymous Writings: New Attributions and Speculations by Ralph M. Aderman
  
[section]
  
Notes

collapse section 
[section]
  
Notes on Contributors
  
BIBLIOGRAPHICAL SOCIETY OF THE UNIVERSITY OF VIRGINIA
  
CONTRIBUTING MEMBERS FOR 1992
  
[section]
  
WINNERS OF THE 1992 STUDENT AWARDS IN BOOK COLLECTING
  
Colophon
collapse section Collapse All | Expand All expand section
previous section
next section

Order of stanzas

The transmission of the poem is characterised by a remarkable, and at first sight chaotic, degree of variation in the sequence of stanzas. Taking as our point of reference the line-order of BLh19 and VAd43, which is probably that of the lost B-version ancestor, we find the following variants.

    A version:

  • BLh17: 1-24, 24.1-24.8, 29-32, 25-28, 57-60, 33-36, 45-48, 41-44, 49-56, 65-72, 61-64, 73-76
  • Od8/I: 1-16, 29-32, 17-24, 24.1-24.8 [marg.], 57-60, 49-56, 73-76, 61-64
  • Od8/2 (the "Additions"): 33-36, 36.1-36.4, 25-28, 28.1-28.32, 81-92, 92.1-92.4, 65-72, 41-44, 37-40, 40.1-40.4
  • OSe15-marg: 28.13-28.16.

    B version:

  • BLh19: 1-92
  • Np42: 1-7, 12, 9-20, 25-28, 21-24, 29-92 [line 12 appears twice]
  • Of15: 1-56, 61-92
  • OSe15: 1-36, 41-72, 28.13-28.16 [marginal in second hand], 73-92[8]
  • Pt2: 1-32, 37-92
  • V90: 1-32, 37-40, 33-36, 41-48, 53-56, 49-52, 57-92 [both pairs of inverted stanzas reordered by marginal numbers]
  • VAd43: 1-92
  • 03: 1-32, 37-40, 33-36, 41-92
Apart from the striking variations between versions A and B and the two texts of A, most of these differences arise from nothing more than the scribe
253

Page 253
skipping over a stanza, and either omitting it entirely or repairing the damage by incorporating it after its incorrectly entered successor. The whole-stanza eyeskip was an easy enough error in a poem composed of four-line stanzas with a refrain, especially as it is only in the conclusion that we encounter anything resembling a developing narrative. The lineation variants suggest that some aspect of the scriptorium master copy led to confusion over the correct position of the stanzas ll. 33-36 and ll. 37-40.

It should be remembered that the sources listed are the survivors of many times that number. The fact that the term "signior" became accepted as a euphemism for dildo indicates that knowledge of the 1673 version was much more widespread than the one remaining pre-1690 transcript would suggest.[9] Of course, this may have happened through hearing the piece sung rather than reading it.

previous section
next section