2 edition of Stolne and surreptitious copies found in the catalog.
Stolne and surreptitious copies
|Statement||by Alfred Hart.|
|The Physical Object|
|Pagination||xi p., l., 478 p. incl. tables.|
|Number of Pages||478|
Copies of what became known as the First Folio sold for roughly 15 shillings (binding was extra), but the late author’s reputation was slow in climbing to the level of his peers like Ben Jonson. 58 BOOK REVIEWS Shakespeare and the Stationers. By LEO KIRSCHBAUM. Columbus: Ohio State Uni-versity Press, Pp. The objective which Professor Kirschbaum set for himself was to illuminate the meaning of "diverse stolne, and surreptitious copies." As the title implies, it is not the nature of the origin of the "bad" quartos that.
You can write a book review and share your experiences. Other readers will always be interested in your opinion of the books you've read. Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them. Free ebooks since But the letter addressed to Readers tells them " where (before) you were abus'd with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors, that expos'd them: even those, are now offer'd to your view cur'd, and perfect of their limbes; and all the rest, absolute in their numbers, as.
And Heminge and Condell felt so confident about the finished book to state in the preface that where Shakespeare's fans had been earlier "abused with diverse stolne, and surreptitious copies. This book is the first complete history of the ideas that gave this movement its intellectual authority, and of the challenges to that authority that emerged in the s and s. Working chronologically, Egan traces the struggle to wring from the early editions evidence of precisely what Shakespeare wrote. Stolne and Surreptitious Copies.
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This volume was the first book devoted entirely to an investigation of the many problems associated with the relation between the 'stolne and surreptitious copies' of which Heminge and Condell complain in their address 'To the great Variety of Readers,' and the corresponding plays of Shakespeare printed by them in the first folio.
Stolne and surreptitious copies: A comparative study of Shakespeare's bad quartos, Hardcover – January 1, by Alfred Stolne and surreptitious copies book (Author) › Visit Amazon's Alfred Hart Page.
Find all the books, read about the author, and more. See search results for this author. Are you an author. Author: Alfred Hart. Genre/Form: Criticism, interpretation, etc History bibliografi: Additional Physical Format: Online version: Hart, Alfred, Stolne and surreptitious copies.
Get this from a library. Stolne and surreptitious copies; a comparative study of Shakespeare's bad quartos. [Alfred Hart]. In urging readers to "buy" this book, Heminge and Condell argue that even if readers own earlier copies of Shakespeare plays, they should buy this book anyway because it has more accurate texts: "Where before you were abus'd with diuerse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of iniurious imposters.
Hart, Alfred, "Stolne and Surreptitious Copies: A Comparative Study of Shakespeare's Bad Quartos," Melbourne Univ. Press, (reprinted Folcroft Library Editions, ). Kirschbaum, Leo. "A Census of Bad Quartos." Review of English Studies (January ), pp. 20– With the phrase "stolne, and surreptitious copies" Heminge and Condell were referring to a small group of unauthorized publications, such as the spurious First Quartos of Romeo and Juliet () and Hamlet (), for which Shakespeare's theater company released authorized texts in andrespectively.
you were abus’d with diuerse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of iniurious imposters, that expos’d them: euen those, are now offer’d to your view cur’d, and perfect of their limbes; and all the rest, absolute in their numbers, as.
Erne's book, which draws together the recent isolated conclusions of a number of scholars, builds on their foundations a more radical thesis, and makes it difficult to see how so many of us could have been taken in for so long by the unlikely image of a jobbing playwright.' Appendix B - Heminge and Condell’s “Stolne, and surreptitious.
In this study, Lukas Erne argues that Shakespeare, apart from being a playwright who wrote theatrical texts for the stage, was also a literary dramatist who produced reading texts for the page.
The usual distinction that has been set up between Ben Jonson on the one hand, carefully preparing his manuscripts for publication, and Shakespeare the man of the theatre, writing for his actors 4/5(2).
Appears in books from Page - Masques et Bouffons (comédie italienne), texte et dessins par Maurice Sand, gravures par A. Manceau, préface par George Sand. Appears in 50 books.
Theatricality, literariness, and the texts of Romeo and Juliet, Henry V, and Hamlet; Appendix A: the plays of Shakespeare and his contemporaries in print, ; Appendix B: Heminge and Condell's 'Stolne, and surreptitious copies' and the Pavier quartos; Appendix C: Shakespeare and the circulation of dramatic manuscripts.
show more. The book we call the "First Folio" is not by Shakespeare. Published in stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes The defaced copies of the author's works, with which the public had been "abus'd" have now been "cur'd"; in the folio volume they are presented as whole and "perfect".
Those writings. In Henry Condell, an actor in Shakespeare's company, the King's Men, and John Heminges, another actor in Shakespeare's company, prepared the first folio edition of Shakespeare's plays for publication.
Their preface to the work is notable for many reasons: first, just because it is the preface to one of the world's most famous books, but also because of its clear exhortation to readers to.
the “ stolne and surreptitious copies,” with which the Cambridge Editors justly charge the “setters forth,” or the “literary man” who, as they suggest, wrote the prefaces for them. And even if it may be contended, as Mr.
Pollard contends, that, speaking strictly by the card, the statement was true, inasmuch as “not all. Before the First Folio, its compilers tell the reader, “you were abus’d with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors.
Appendix B: Heminge and Condell's "Stolne, and Surreptitious Copies" and the Pavier Quartos Appendix C: Shakespeare and the Circulation of Dramatic Manuscripts Select Bibliography Erne's book, which draws together the recent isolated conclusions of a number of scholars, builds on their foundations a more radical thesis, and makes it.
In promoting their volume the editors claimed to have devoted much ' care, and paine ' to correcting ' diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors ' and to have restored the rest ' absolute in their numbers ' as Shakespeare had ' conceived ' them.
And it was those 'stolne and surreptitious copies,' the Quartos, that supplied the fuel. Undoubtedly, the Quartos have at times yielded valuable assistance, - notably in Hamlet and in Richard the Third, - more emphatically, however, in supplying deficiencies than in elucidating the Text.
As to the Text, it is doubtful that any very pronounced Reviews: 2. The editors of the First Folio are at pains to say that previous readers of Shakespeare “were abused with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and.
The Condells, left and Heminges, right with Ben Johnson, center, in The Book of Will at American Players Theatre in Spring Green (Liz Loren photo) and so to have publish’d them, as where (before) you were abused with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors, that.
If you're into stuff like this, you can read the full review. The World is a Page: "Shakespeare as Literary Dramatist" by Lukas Erne Published (2nd Edition). Table of Contents: Preface to the second edition Introduction Part I. Publication: The legitimation of printed playbooks in Shakespeare’s time The making of ‘Shakespeare’ Shakespeare and the publication of his plays (I): the /5(5).Before the First Folio, its compilers tell the reader, “you were abus’d with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors.” The First Folio promises something else.
It also shows that just after Shakespeare’s death, his .