Table Of ContentFrom Performance to Print in Shakespeare's England
Redefining British Theatre Histoiy
General Editor: Professor Peter Holland
Redefining British Theatre Histoiy is a five-volume series under the general editorship of
Professor Peter Holland. The series brings together major practitioners in theatre history in
order to establish ways in which previous assumptions need fundamental questioning and
to initiate new directions for the field. The series aims to establish a new future for theatre
history, not least by making theatre historians aware of their own history, current practice
and future.
Titles include:
Peter Holland and Stephen Orgel (editors)
FROM SCRIPT TO STAGE IN EARLY MODERN ENGLAND
FROM PERFORMANCE TO PRINT IN SHAKESPEARE'S ENGLAND
W. B. Worthen and Peter Holland (editors)
THEORIZING PRACTICE
Redefining Theatre History
Redefining British Theatre History
Series Standing Order ISBN 0-333-98219-3 (Hardback) 0-333-98220-7 (Paperback)
(outside North America only)
You can receive future titles in this series as they are published by placing a standing order.
Please contact your bookseller or, in case of difficulty, write to us at the address below with
your name and address, the title of the series and the ISBN quoted above.
Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke,
Hampshire RG21 6XS, England
From Performance to Print
in Shakespeare's England
Edited by
Peter Holland
and
Stephen Orgel
Redefining British Theatre Histoiy Series
General Editor: Peter Holland
In Association with the Huntington Library
*
Introduction, selection and editorial matter
© Peter Holland and Stephen Orgel 2006
All chapters© Individual Contributors, 2006
Softcover reprint of the hardcover I st edition 2006 978-1-4039-9228-4
lJ
All rights reserved. No reproduction, copy or transmission of this
publication may be made without written permission.
No paragraph of this publication may be reproduced, copied or transmitted
save with written permission or in accordance with the provisions of the
Copyright, Designs and Patents Act 1988, or under the terms of any licence
permitting limited copying issued by the Copyright Licensing Agency,
90 Tottenham Court Road, London W1T 4LP.
Any person who does any unauthorised act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The authors have asserted their rights to be identified
as the authors of this work in accordance with the Copyright,
Designs and Patents Act 1988.
First published 2006 by
PALGRAVE MACMILLAN
Houndmills, Basingstoke, Hampshire RG21 6XS and
175 Fifth Avenue, New York, N.Y. 10010
Companies and representatives throughout the world
PALGRAVE MACMILLAN is the global academic imprint of the Palgrave
Macmillan division of St. Martin's Press, LLC and of Palgrave Macmillan Ltd.
Macmillan"' is a registered trademark in the United States, United Kingdom
and other countries. Palgrave is a registered trademark in the European
Union and other countries.
ISBN 978-0-230-21013-4 ISBN 978-0-230-58454-9 (eBook)
DOl I 0.1 057/97S02305S4549
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
From performance to print in Shakespeare's England I edited by
Peter Holland and Stephen Orgel.
p. em.- (Redefining British theatre history series)
"In association with the Huntington Library."
Includes bibliographical references and index.
ISBN 978-0-230-21013-4
1. Shakespeare, William, 1564-1616- Stage history- To 1625.
2. Shakespeare, William, 1564-1616- Stage history- England.
3. Shakespeare, William, 1564-1616-Dramatic production.
4. Shakespeare, William, 1564-1616-Criticism, Textual. 5. Theater
England-History-16th century. 6. Theater-England-History-17th
century. I. Holland, Peter, 1951- II. Orgel, Stephen. Ill. Redefining British
theatre history.
PR3095.F 76 2006
792.9'50942- dc22 2005053787
10 9 8 7 6 5 4 3 2 1
15 14 13 12 11 10 09 08 07 06
Contents
List of Illustrations vii
Notes on Contributors x
Series Introduction: Redefining British Theatre History xiii
Peter Holland
Introduction: Printing Performance 1
Peter Holland
Part I Performing the Book
1 The Book of the Play 13
Stephen Orgel
2 Making Meaning Marketing Shakespeare 1623 55
Gary Taylor
3 From Print to Performance: Looking at the Masque in
Timon of Athens 73
John Jowett
4 'As it was, is, or will be played': Title-pages and the
Theatre Industry to 1610 92
Gabriel Egan
Part II Editing and Performance
5 Editing Boys: the Performance of Genders in Print 113
Jeffrey Masten
6 On Not Looking Back: Sight and Sound and Text 135
A. R. Braunmuller
7 De-generation: Editions, Offspring, and Romeo and Juliet 152
Wendy Wall
Part III Living Theatre
8 Rhetoric, Discipline, and the Theatricality of Everyday Life
in Elizabethan Grammar Schools 173
Lynn Enterline
9 History Between Theaters 191
Anston Bosnian
vi Contents
10 Robert Armin Do the Police in Different Voices 208
Richard Preiss
Part IV Shakespeare Reconstructed
11 Hamlet's Smile 231
Margreta de Grazia
12 The technique of it is mature': Inventing the Late Plays in
Print and in Performance 243
Gordon McMullan
Index 261
List of Illustrations
Figure 1 The Longer Thou Livest the More Fool Thou Art, c. 1569, title-page.
Reproduced by permission of The British Library 16
Figure 2 Thomas Preston, Cambises, 1570, title-page. Reproduced by
permission of The British Library 18
Figure 3 The title pages of Gorboduc and Ferrex and Porrex, 1565 and
1570 (the latter appearing as part 6 of All such treatises as haue
been lately published by Thomas Norton). Reproduced by
permission of The Huntington Library, San Marino, California 20
Figure 4 Title-page of Terence's Comedies, Strasbourg, 1496 23
Figure 5 A conspectus of characters from Terence's Adelphi and
Heautontimoroumenos, from the 1496 Strasbourg edition 24
Figure 6 Frontispiece of Terence's Comedies, Venice, 1497, showing
the Prologue addressing an academic audience 25
Figure 7 A scene from the Andria, from Terence's Comedies, Paris, 1552 26
Figure 8 A scene from the Eunuchus, from Terence's Comedies,
Venice, 1567 26
Figure 9 Battista Guarini, II Pastor Fido, Venice, 1602. A conspectus of
the action of Act 2 27
Figure 10 Baltasar de Beaujoyeulx, Balet Comique de la Royne, Paris, 1582.
The masquing hall with the opening scene 29
Figure 11 Estienne Durand, Discours au vray du ballet dans par le roy...,
Paris, 1617. Dancers in the first entry 30
Figure 12 Thomas Campion, The Description of a Maske..., London, 1607
(Lord Hay's Masque). Frontispiece. Reproduced by permission of
the Folger Shakespeare Library 31
Figure 13 Thomas Kyd, The Spanish Tragedy, London, 1615. Title-page
illustration. Reproduced by permission of the Folger
Shakespeare Library 32
Figure 14 Prospero Bonarelli della Rovere, 77 Solimano Tragedia,
Florence, 1620. Frontispiece to Act 2 32
Figure 15 77 Solimano. Frontispiece to Act 5 33
Figure 16 Giovanni Carlo Coppola, Le Nozze degli Dei, Florence, 1637.
Hell scene, Act 5 34
Figure 17 Elkanah Settle, The Empress of Morocco, London, 1673.
Frontispiece to Act 5 35
Figure 18 Measure for Measure 2.2 from the Padua folio. Reproduced by
courtesy of the University of Virginia Press 36
Figure 19 Thomas Otway, Venice Preserved, London, 1682. A page from
the promptbook for a series of mid-eighteenth-century
productions 38
viii List of Illustrations
Figure 20 A page of instructions for the stage manager in the Venice
Presety'd promptbook 39
Figure 21 A contemporary drawing of the Prologue to the Andria, in
Terentii Comoeditv, Aldus, Venice, 1541 41
Figure 22 A contemporary drawing of the first scene of the Andria in the
Aldine Terence, 1541 42
Figure 23 Macbeth, as arranged for the stage by Henry Irving, London,
1889. Two pages of 1.7 annotated by a member of the
audience 43
Figure 24 A section of 1.1 {Hamlet) with contemporary annotations 46
Figure 25 Hamlet, London, 1703, with marginal additions from
the fourth folio 47
Figure 26 Thomas Heyw7ood The Second Part of the Iron Age,
;
London, 1632. A minimal annotation 48
Figure 27 George Chapman, revised by Thomas D'Urfey, Bussy D'Ambois,
London, 1691. Title-page 49
Figure 28 Bussy D'Ambois, marginalium to the Prologue 50
Figure 29 William Cartwright, Comedies, Tragi-comedies, with other
Poems, London, 1651. Remnants of the frontispiece
and title-page 50
Figure 30 Charles Wase, Plectra of Sophocles, The Hague' (i.e., London),
1649. Title-page with Inner Temple Library stamps
(The stamps and much of the printing is in red) 52
Figure 31 The Inner Temple lays claim to a battle axe 53
Figure 32 Title-page of George Wilkins's The Miseries of Inforst Mariage,
printed by William Jaggard for George Vincent in 1607.
Reproduced by permission of The Huntington Library,
San Marino, California 97
Figure 33 Title-page of John Day, William Rowley, and George Wilkins's
The Travailes of the Three English Brothers, printed by George
Eld for John Wright in 1607. Reproduced by permission of
The Huntington Library, San Marino, California 98
Figure 34 Border first used for Sir Thomas Elyot's Dictionarie, 1559 130
Figure 35 Border first used for William Golding's translation of Ovid's
First Tower Bookes of Metamorphosis, 1565 131
Figure 36 Printer's device of a boy seated on a dolphin, first used in
England in 1571 132
Figure 37 Printer's device of a boy with one arm winged and the other
weighted down, first used in England in 1563 132
Figure 38 Another version of the device in Figure 37, first used in
England in 1619 132
Figure 39 The family tree of the Romeo and Juliet text. Reprinted from
William Shakespeare: A Textual Companion, by Stanley
Wells and Gary Taylor, with John Jowett and William
Montgomery (Oxford: Clarendon Press, 1987), 288 158
List of Illustrations ix
Figure 40 Title-page to Catechismus paruus pueris primum Latine...
proponendus in scholis (London: John Day, 1573).
Reproduced by permission of the Folger Shakespeare Library 178
Figure 41 Christian Friedrich Wiegand, after Adam Friedrich Oeser,
Curtain for the Theater auf der Ranstadter Bastei (1819,
original 1766). Reproduced by permission of the
Stadtgeschichtliche Museum, Leipzig 192
Figure 42 Title-page to Engelische Comedien und Tragedien (1620).
Reproduced by permission of the Folger Shakespeare Library 195
Figure 43 Illustration to the manuscript Jemand und Niemand (1608).
Reproduced by permission of the Bibliothek des
Zisterzienstiftes, Rein 202
Figure 44 Title-page to the manuscript Comoedia Benandt Daf3 Wohl
Gesprochene Uhrtheil Eynes Weiblichen Studenten oder Der Jud
von Venedig (n.d.). Reproduced by permission of the
Osterreichische Nationalbibliothek, Vienna 205
Figure 45 Title-page of Foole Upon Foole, Or Six Sortes ofSottes (1600).
Reproduced by permission of the Folger Shakespeare Library 216
Figure 46 Title-page of Armin's Quips Upon Questions (1600).
Reproduced by permission of the British Library 218
Figure 47 Robert Armin, costumed as 'Blue John' or John-of-the-Hospital,
the real-life 'natural' he portrayed in The Historie of the Two
Maids ofMore-clacke. Reproduced by permission of The
Huntington Library, San Marino, California 223
Figure 48 Four costume designs by Albert Rothenstein for
Granville Barker's production of The Winter's Tale at the
Savoy Theatre, 1912. Reproduced by permission of the
Harvard Theatre Collection 256
Figure 49 Henry Ainley as Leontes, Savoy Theatre, 1912. Reproduced
by permission of the Illustrated London News Picture Library 257
Figure 50 The pastoral scene (The Winter's Tale 4.4.), Savoy Theatre,
1912. Reproduced by permission of the Illustrated London
News Picture Library 258
