Shakespeare's Stories For Young Readers – Comedies, histories and tragedies Mr. It is a collection of plays by William Shakespeare that modern scholars call the First Folio.
Published in 1623, about seven years after Shakespeare’s death. It is considered one of the most influential books ever published.
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Shakespeare's Stories For Young Readers
Printed in folio format and containing 36 of Shakespeare’s plays, it was prepared by Shakespeare’s colleagues John Heminges and Hry Condell. It is dedicated to William Herbert, 3rd Earl of Pembroke and his brother Philip Herbert, Earl of Montgomery (later 4th Earl of Pembroke).
Romeo And Juliet
Although 19 of Shakespeare’s plays were published in quarto before 1623, the First Folio is probably the only reliable text of about 20 plays and a valuable source text for many of the previously published plays. Eighteen plays from the First Folio are not known to have been printed earlier, including The Tempest, Twelfth Night, and Measure for Measure.
The Folio contains all of Shakespeare’s generally accepted plays, except Pericles, The Prince of Tyre, Two Noble Kinsmen, Edward III, and two lost plays, Cardio and Love’s Labour.
Of the 750 copies printed, 235 are known to remain, most of which are in public archives or private collections. More than a third of the extant copies are in the Folger Shakespeare Library in Washington, D.C., which includes a total of 82 first folios.
After a long career as an actor, playwright and participant in Lord Chamberlain’s M (later King’s M).
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Shakespeare’s works – both poetic and dramatic – had a rich history in print before the publication of the First Folio: from the first publications of Vusus and Adonis (1593) and The Rape of Lucretia (1594), 78 individual editions of his works have been printed. known 23 of them are his poetry, and the remaining 55 are his plays. Counted by editions published before 1623, the best-selling works are Vus and Adonis (12 editions), The Rape of Lucretia (6 editions) and Hry IV, Part 1 (6 editions). Of the 23 editions of the songs, 16 octaves were published; the rest, and almost all the editions of the plays, were printed in quarto.
Quarto format is made by folding a large sheet of printing paper twice, making 4 sheets of 8 pages. The average quarter was 7 x 9 inches (18 x 23 cm) and usually consisted of 9 leaves, giving a total of 72 pages.
An octavo – made by folding the same size page three times, making 8 sheets of 16 pages – was half the size of a quarto.
Octavos were generally cheaper to produce than quartos, and a common way to reduce publishing costs was to reduce the number of pages required by compression (using two columns or a smaller font) or shortening the text.
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[Publish me] Smallest size, I bees eat least of Pippin-pyes. Or in a druggist’s shop, see To roll up in Drugg: or to dry tobacco. First (could I buy) I should be obliged to clean, Where he last threw his Glister-pipe. — Hry Fitzgeffrey, Certain Elegies (1618)
Editions of individual plays were usually published in quarters and could be bought for 6d (equivalent to £5 in 2021) without binding. These editions were primarily intended to be cheap and convenient and to be read until sold out or turned into wrapping paper (or worse), not high-quality library items.
Buyers who wanted to keep a particular play would have to bind it, and would usually bind several related plays or multiple plays into one volume.
In The Cambridge Companion to Shakespeare’s First Folio, Tara L. Lyons argues that this was partly due to the publisher John Harrison’s desire to capitalize on the poem’s association with Ovid: the Greek classics were sold in the octavo, so print. Poetry in the same format as Shakespeare would strengthen the association.
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In the end, however, it was a matter of economy: Vusus and Adonis required four pages in the octavo, compared to seven in the quarto, and the Rape of Lucrece octavo required five pages, compared to 12.
Whatever the motivation, the move seems to have had the desired effect: Francis Meres, the first well-known literary critic to devote himself to Shakespeare, in Palladis Tamia (1598), says: “Ouid’s sweet sweet soul dwells. The treasure and Shakespeare the honest tongue, witness his sugary sonnets among his Vuss and Adonis, his Lucrece, his friends.
Please tell me B, where is the mystery, What others call a play you call a work. — anonymous, Wits Recreations (1640)
The publication of literary works on paper was unprecedented. Beginning with the publication of Sir Philip Sidney’s Arcadia Countess of Pembroke (1593) and Astrophel and Stella (1598), both by William Ponsonby, a significant number of folios were published, a significant number of which m. which will then be included in the publication of the First Folio.
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But the quarto was the typical format for printed plays at the time: the folio was a popular format, usually used for books that, according to Fredson Bowers, had “some superior merit or lasting value”.
The members of the Stationers Company who published the book were bookseller Edward Blount and father/son William and Isaac Jaggard. William Jaggard seemed an odd choice for King’s M, as he published the dubious collection The Passionate Pilgrim as well as Shakespeare’s, and in 1619 he printed 10 new quarto editions of Shakespeare for which he had no clear rights, some with false dates and titles. page (The Affair of the Forged Folio). Indeed, his contemporary Thomas Heywood, whose poetry Jaggard pirated and misattributed to Shakespeare, specifically states that Shakespeare was “much offended that M. Jaggard (who was a complete stranger) had been so bold with his name.”
Heminges and Condell insisted that the Folio supersedes earlier publications, which they said were “stolen and hidden copies, warped and deformed by the frauds and deceits of wicked impostors”, arguing that Shakespeare’s actual words “are now offered to your sight cured and improved”. their limbs; and all the rest, entirely in their number, as he devised them.”
The pulp industry was in its infancy, and a quantity of book quality rag paper was imported from France.
The Winter’s Tale
It is believed that the typing and printing of the First Folio was such a large undertaking that King M only needed the capacity of Jaggard’s shop. William Jaggard was old, sick and blind by 1623 and died a month before the book went on sale; His son Isak had to do most of the work on the project.
A comparison of the “To be or not to be” dialogue in the first three editions of Hamlet, showing the different quality of the text in the Bad Quarto, the Good Quarto, and the First Folio.
The First Folio publishing syndicate also included two publishers who previously owned the rights to a number of plays in print: William Aspley (Much Ado About Nothing and Hry IV Part 2) and John Smethwick (Love’s Labour’s Lost, Romeo and Juliet and Hamlet). Smetwick was a business partner of another Jaggard, William’s brother John.
The printing of the folios was probably done between February 1622 and early November 1623. It is possible that the printer originally hoped to finish the book early, as the Frankfurt Fair catalog lists the book between April and October. in 1622, but the catalog contained many books not yet printed by 1622, and the modern opinion is that the attempt was intended only as advance publicity.
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The first impression was from 1623, and the earliest record of a retail purchase is an account book entry of Edward Dering dated 5 December 1623 (he bought two); The Bodleian Library in Oxford acquired his copy in early 1624 (later sold for £24 as a replacement edition when the Third Folio became available in 1663/1664).
The 36 plays of the First Folio are in this order; Plays never published before 1623 are marked with an asterisk. After each performance, the type of source used is indicated, determined by bibliographic research.
The term rough paper refers to drafts of a Shakespeare play. Upon completion, the author or transcriber would prepare a transcript or correct copy of the defective papers. This manuscript should be largely marked with precise and detailed stage directions and all other data necessary for the performance, and may also serve as an information book, which the promoter would use to direct the play. Any of these manuscripts, in any combination, could be used as a source for a printed text. The notation Qn represents n . four edition of the play.
Troilus and Cressida was originally intended to follow Romeo and Juliet, but production was halted, possibly due to disputes over the rights to the play; was
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