Notes

Introduction

1 The Historie of Troylus and Cressida. As it was acted by the Kings Maiesties seruants at the Globe. Written by William Shakespeare (London: G. Eld for R. Bonion and H. Walley, 1609), sig. A2. 2 The OED dates the use of `commodity' to mean `a thing of use or advantage to mankind; esp. in pl. useful products, material advantages, elements of wealth', to 1400 (OED 5). 3 Shakespeare, The Poems, ed. John Roe (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1992), Dedication of Venus and Adonis to Henry Wriothesley, third Earl of Southampton, line 11. The import- ant new editions of the narrative poems edited by Colin Burrow and Katherine Duncan-Jones unfortunately were not published in time for me to consult them for this book. On the publication history of Venus and Adonis and Lucrece see F. T. Prince (ed.), Shakespeare, The Poems (1960, The Arden Shakespeare; London and New York: Routledge, 1988): pp. xi±xx; Roe (ed.), Shakespeare, The Poems, pp. 287±92, and Harry Farr, `Notes on Shakespeare's Printers and Publishers with Special Reference to the Poems and Hamlet', The Library,4th series, 3:4 (March 1923): 225±50. 4 My figures are based on the table of Shakespeare quartos printed in The Shakspere Allusion-Book: A Collection of Allusions to Shakspere from 1591±1700 eds. C. M. Ingleby, L. Toulmin Smith, F. J. Furnivall et al. (London: Humphrey Milford and Oxford University Press, 1932), 2 vols, vol. 2, pp. 520±3. 5 My figures are based on Peter Beal (ed.), Index of Literary Manuscripts. Volume 1: 1450±1625, part 2 (London and New York: Mansell and R. R. Bowker Com- pany, 1980), pp. 452±63 and p. 633. 6 Shakspere Allusion-Book: A Collection of Allusions to Shakspere from 1591 to 1700, vol. 2, p. 540. Lucrece is not far behind Venus and Adonis in amassing 25 allusions before 1649, ahead of Othello's 19 allusions; 1 and 2 Henry IV com- bined achieve 38 allusions, Romeo and Juliet 36, and Falstaff (treated by the compilers as a separate category) 32. For an overview of the early modern vogue of Venus and Adonis and Lucrece, see Hyder Edward Rollins, (ed.), A New Variorum Edition of Shakespeare: The Poems (Philadelphia and London: J. B. Lippincott Company, 1938), pp. 447±61. 7 See for instance Wai-Chee Dimock, `Feminism, New Historicism, and the Reader', American Literature 63:4 (1991): 601±22; reprinted in Readers and Reading, ed. Andrew Burnett (London: Longman, 1995): 122±31, p. 123. 8 The history of the book is a rapidly expanding field of study, too extensive to document in one footnote. Kevin Sharpe's Reading Revolutions: The Politics of Reading in Early Modern England (New Haven and London: Yale University Press, 2000) provides an astute survey of the field (see esp. pp. 34±62); see also The Book History Reader, eds. David Finkelstein and Alistair McCleery (London and New York: Routledge, 2002); Jonathan Rose, `The History of

198 Notes 199

Books: Revised and Enlarged', in The Darnton Debate: Books and Revolution in the Eighteenth Century, ed. Haydn T. Mason (Oxford: Voltaire Foundation, 1998): 83±104; Anthony Grafton, `Is the History of Reading a Marginal Enterprise? Guillaume Bude and his Books', Papers of the Bibliographical Society of America 91 (1997): 139±57; J. P. Feather, `The Book in History and the History of the Book', Journal of Library History 21 (1981): 12±26; Robert Darnton, `What is the History of Books', Daedalus 3 (1982): 65±83, and chapter 1 of The Kiss of Lamourette. Reflections in Cultural History (London and Boston: Faber and Faber, 1990); also the seminal studies of Roger Chartier on the history of the book, esp. ed., The Order of Books: Readers, Authors and Libraries in Europe between the Fourteenth and Eighteenth Centuries, trans. Lydia G. Cochrane (Cam- bridge: Polity Press, 1994); Roger Chartier and Alain Boureau, eds., The Culture of Print: Power and the Uses of Print in Early Modern Europe, trans. Lydia G. Cochrane (Cambridge: Polity Press, 1989); Roger Chartier and Gugliemo Cavallo, eds., A History of Reading in the West (Cambridge: Polity Press, 1999), and `Reading, Writing and Literature in the Early Modern Age', Critical Survey, special issue on `Reading in Early Modern England', 12:2 (winter 2000): 128± 42. For recent studies of reading in early modern England, see Sasha Roberts, `Reading in Early Modern England: Contexts and Problems', Critical Survey, special issue on `Reading in Early Modern England', 12:2 (winter 2000): 1±13; Elizabeth Sauer and Jennifer Anderson (eds.), Books and Readers in Early Modern England: Material Studies (Philadelphia: University of Pennsylvania Press, 2001); Eugene R. Kintgen, Reading in Tudor England (Pittsburgh: University of Pittsburgh Press, 1996); William Sherman, John Dee: The Politics of Reading and Writing in the English Renaissance (Amherst: University of Massachussetts Press, 1995); Williamn Sherma and Lisa Jardine, `Pragmatic Readers: Knowledge Transactions and Scholarly Services in late Elizabeth England', in Religion, Culture, and Society in Early Modern Britain: Essays in Honour of Patrick Collinson (eds.) Anthony Fletcher and Peter Roberts (Cambridge: Cambridge University Press, 1994): 102±24; Jason Scott-Warren, `News, Sociability, and Bookbuying in Early Modern England: The Letters of Sir Thomas Cornwallis', The Library, ser.7, vol. 1 (2000): 381±402; David R. Olson, The World on Paper: The Concep- tual and Cognitive Implications of Writing and Reading (Cambridge: Cambridge University Press, 1994), pp. 143±59; and James Raven, Helen Small and Naomi Tadmor (eds.), The Practice and Representation of Reading in England (Cambridge: Cambridge University Press, 1995). Heidi Brayman Hackel's `Impressions from a Scribbling Age' (forthcoming) will deepen our understanding of early modern reading practices, while Adrian Johns provides a compelling account of early modern print culture in The Nature of the Book. Print and Knowledge in the Making (Chicago and London: University of Chicago Press, 1998). Marjorie Plant's The English Book Trade: An Economic History of the Making and Sale of Books (London: George Allen and Unwin, 1939), H. S. Bennett's English Books and Readers, 1558±1603 (Cambridge: Cambridge University Press, 1965) and English Books and Readers, 1603±40 (Cambridge: Cambridge University Press, 1970) remain useful overviews. 9 Darnton, The Kiss of Lamourette, p. 110. 10Likewise Lori Humphrey Newcomb argues that anecdotal accounts of reading Pandosto `bring out social dynamics' more widely in `The Triumph of Time: The Fortunate Readers of Robert Greene's Pandosto'inTexts and Cultural 200 Notes

Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1997): 95±123, p. 117. 11 Eugene R. Kintgen makes this distinction in `Reconstructing Elizabethan Reading', Studies in English Literature 30:1 (Winter 1990): 1±18, p. 18. 12 Sharpe, Reading Revolutions, p. 39. 13 Roger Chartier, `Labourers and Voyagers: From the Text to the Reader', Dia- critics 22 (summer 1992): 49±61, p. 50. For an adept analysis of the material forms of Shakespeare's plays see David Scott Kastan, Shakespeare and the Book (Cambridge: Cambridge University Press, 2001). 14 Neil Fraistat, `Introduction: The Place of the Book and the Book as Place', in Poems in Their Place: The Intertextuality and Order of Poetic Collections (Chapel Hill and London: University of North Carolina Press, 1986): 3±17; similarly Earl Miner argues that the orderings of collections `add a new sense, a new meaning' to their contents in `Some Issues for Study of Integrated Collections', in Poems in Their Place: 18±43, p. 18. For studies of the arrangement of poems by Jonson, Marvell, Donne, and Milton, see the essays by Annabel Patterson, John T. Shawcross, and Joseph Anthony Wittreich in Poems in Their Place. 15 See, for instance, F. T. Prince (ed.), Shakespeare, The Poems, p. xiii. On the casual treatment of later editions of Shakespeare's poems by editors see Henry Woudhuysen, `The Year's Contributions to Textual Studies: Editions and Textual Studies', Shakespeare Survey, 46 (1994): 241±58, p. 248. 16 John Kerrigan (ed.), Shakespeare, The Sonnets and A Lover's Complaint (1986; London: Penguin Books, 1995), p. 46. As Stephen Orgel remarks, we ought to be aware that early modern readers `noticed and valued things that we have taught ourselves to ignore' (`The Authentic Shakespeare', in Representations, 21 (winter 1988): 1±26, p. 4). 17 William London (ed.), A Catalogue of the Most Vendible Books in England (1658), sig. Ee4v. The catalogue also listed the `Rape of Lucretia. 8o' (sig. Ee4v), `Mr Shakspear's Playes. folio.', `King Leare, and his three Daughters, with the unfortunate life of Edgar. 4o', and `The life and death of Rich. the 2o. 4o' (sig. Ff1v). 18 Adrian Johns, The Nature of the Book, p. 378. As Johns remarks, `fixity exists only inasmuch as it is recognized and acted upon by people ± not otherwise' (p. 19). 19 Michael D. Bristol and Arthur F. Marotti, `Introduction', Print, Manuscript, Performance. The Changing Relations of the Media in Early Modern England, eds. Arthur F. Marotti and Michael D. Bristol (Columbus: Ohio State University Press, 2000): 1±29, p. 6; Stephen Orgel, `Marginal Maternity: Reading Lady Anne Clifford's Mirror for Magistrates', forthcoming in Printing and Parenting in Early Modern England, ed. Douglas A. Brooks (Aldershot: Ashgate, 2003). On marginalia in the early modern period see for instance Steven Zwicker, `Reading the Margins: Politics and the Habits of Appropriation' in Kevin Sharpe and Steven Zwicker (ed.), Refiguring Revolutions: Aesthetic and Politics from the English Revolution to the Romantic Revolution (Berkeley: University of California Press, 1998): 101±15; Stephen A. Barney, Annotation and its Texts (Oxford and New York: Oxford University Press, 1991); Sherman, John Dee, pp. 60and 65±75; Sharpe, Reading Revolutions, pp. 261±4 and 274±6; Henry Woudhuysen, Sir Philip Sidney and the Circulation of Manuscripts 1558±1640 Notes 201

(Oxford: Clarendon Press, 1996), pp. 21±4; Peter Lindenbaum, `Sidney's Arca- dia as Cultural Monument and Proto-Novel', in Texts and Cultural Change in Early Modern England, eds. Cedric Brown and Arthur Marotti: 80±94, esp. pp. 85±9; David McPherson, Ben Jonson's Library and Marginalia. An Annotated Catalogue, special issue of Studies in Philology 71 (1974): x.1±106, esp. pp. 10± 12; and Virginia F. Stern, Gabriel Harvey: His Life, Marginalia and Library (Oxford: Clarendon Press, 1979). 20Sharpe, Reading Revolutions, esp. chapters 2 and 4; Sherman, John Dee, esp. pp. 79±100; and Lisa Jardine and Anthony Grafton, ` ``Studied for Action'': How Gabriel Harvey Read his Livy', Past and Present 129 (November 1990): 30±78. 21 Heidi Brayman Hackel, `Boasting of Silence: Women Reading in Early Modern England', unpubl. paper presented at a seminar on `Reading and the Con- sumption of Literature in Early Modern England', Shakespeare Association of America Annual Meeting, 1999. 22 Richard Brome, `Upon Aglaura Printed in Folio', in Parnassus Biceps. Or Sever- all Choice Pieces of Poetry, Composed by the best Wits that were in both the Universities before their Disolution (London, 1656), sig. E5. 23 For Lady Anne Clifford's Mirror for Magistrates, see Stephen Orgel, `Marginal Maternity: Reading Lady Anne Clifford's Mirror for Magistrates'; for annotated copies of the Arcadia see Heidi Brayman Hackel, `Impressions from a Scrib- bling Age', forthcoming. 24 Harold Love, Scribal Publication in Seventeenth Century England (Oxford: Clar- endon, 1993), pp. 2±9. Early modern manuscript culture is now gaining the critical attention it deserves: for recent studies see for instance Arthur Mar- otti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995), esp. pp. 135±208; idem., `Malleable and Fixed Texts: Manuscript and Printed Miscellanies and the Transmission of Lyric Poetry in the English Renaissance', New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill (Bingham- ton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 159± 73; Marotti and Bristol (eds), Print, Manuscript, and Performance; Gerald L. Bruns, `The Originality of Texts in a Manuscript Culture', Journal of Compara- tive Literature 32 (Spring 1980): 119±29; Mary Hobbs, `Early Seventeenth- Century Verse Miscellanies and Their Value for Textual Editors', English Manuscript Studies, 1100±1700 1 (1989): 182±210, and Early Seventeenth- Century Verse Miscellany Manuscripts (Aldershot: Scolar Press, 1992); Peter Beal, In Praise of Scribes: Manuscripts and their Makers in Seventeenth-Century England (Oxford: Clarendon Press, 1998); Henry Woudhuysen, Sir Philip Sidney and the Circulation of Manuscripts 1558±1640 (Oxford: Clarendon, 1996); Steven N. May, `Manuscript circulation at the Elizabethan Court', in New Ways of Looking at Old Texts: 273±80; Edwin W. Sullivan, II, `The Renais- sance Manuscript Verse Miscellany: Private Party, Private Text', in New Ways of Looking at Old Texts: 289±97; J. W. Saunders, `From Manuscript to Print: A Note on the Circulation of Poetic MSS. in the Sixteenth Century', Proceedings of the Leeds Philosophical and Literary Society 6 (1951): 507±28; Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca and London: Cornell University Press, 1993), pp. 1±22 and 33±4 and the journal Early Manuscript Studies (EMS). On literary property in the period see, for instance, Adrian Johns, The Nature of the Book, and Arthur 202 Notes

Marotti, `Shakespeare's Sonnets as Literary Property', in Soliciting Interpret- ation: Literary Theory and Seventeenth-Century English Poetry, eds. Elizabeth D. Harvey and Katharine Eisaman Maus (Chicago and London: Chicago University Press, 1990): 143±73. 25 Marrotti and Bristol, Introduction, Print, Manuscript, Performance,p.5. 26 See Gary Taylor, `Some Manuscripts of Shakespeare's Sonnets', Bulletin of the John Rylands Library 68 (Autumn 1985): 210±46, esp. pp. 228±36 and 244±6; Duncan-Jones (ed.), Shakespeare's Sonnets and a Lover's Complaint (1997; London: Arden Shakespeare, Thomas Nelson, 1999), pp. 456±7. 27 John Benson, `To the Reader', Shakespeare's Poems (London, 1640), sigs. A2±A2v. 28 The Academy of Complements (London, 1640), sig. A7. 29 Whitney, `Ante-aesthetics', p. 42; `ante' here denotes both `anticipatory' as well as `prior to'. 30Ann Moss, Printed Commonplace Books and the Structuring of Renaissance Thought (Oxford: Clarendon, 1996), p. 164. An important exception is Charles Whitney's `Ante-aesthetics: Towards a theory of early modern audi- ence response' in Shakespeare and Modernity. Early Modern to Millennium, ed. Hugh Grady (London and New York: Routledge, 2000): 40±60; see esp. pp. 49±55. On commonplacing, see also Rosemary Crane, Framing Authority: Sayings, Self and Society in Sixteenth-Century England (Princeton: Princeton University Press, 1993), p. 18; Peter Beal, ` ``Notions in Garrison'': The Seven- teenth-Century Commonplace Book', in New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill (Binghamton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 131±47; Ann Blair, `Humanist Methods in Natural Philosophy: The Commonplace Book', Journal of the History of Ideas 53 (1992): 541±52; Max W. Thomas, `Reading and Writing the Renaissance Commonplace Book: A Question of Authorship?', in The Construction of Authorship: Textual Appro- priations in Law and Literature, eds. Martha Woodmansee and Peter Jasz (Durham, NC: Duke University Press, 1994): 401±15; Henry Woudhuysen, Sir Philip Sidney and the Circulation of Manuscripts 1558±1640, pp. 11±26; Sharpe, Reading Revolutions, pp. 277±83; Sherman, John Dee, pp. 61 and 64±5; and Edwin Wolf, The Textual Importance of Manuscript Commonplace Books of 1620±1660 (Charlottesville, VA: Bibliographical Society of the University of Virginia, 1949). On the evidence for commonplacing in Shakespeare's works, see T. W. Baldwin, William Shakespeare's Small Latin and Lesse Greek 2 vols (Urbana: University of Illinois, 1944), vol. 2, pp. 616 and 647. 31 On applied reading and textual appropriation in early modern England, see Zwicker, `Reading the Margins', p. 109; Sherman, John Dee, pp. 61±5; Sharpe, Reading Revolutions, pp. 85 and 189; and Lisa Jardine and William Sherman, `Pragmatic Readers: Knowledge Transactions and Scholarly Services in Late Elizabethan England', in Anthony Fletcher and Peter Roberts (eds.), Religion, Culture and Society in Early Modern Britain (Cambridge: Cambridge University Press, 1994): 102±24. 32 Helen Vendler, The Art of Shakespeare's Sonnets (London and Cambridge, MA: The Belknap Press of Harvard University Press, 1999), p. 41 n.5. 33 Vendler, The Art of Shakespeare's Sonnets, p. 40, n.5. Notes 203

34 Thomas Freeman, `To Master W: Shakespeare', Rubbe, and a Great Cast. Epi- grams by Thomas Freeman, Gent (London, 1614), epigram 92, sigs. K2v±K3. 35 For Sir Thomas Bodley, see Paul Morgan, `Frances Wolfreston and ``Hor Bouks'' ', in The Library, 6th series, XI:3 (September 1989): 197±219, p. 200. 36 William London, Catalogue of the Most Vendible Books in England (London, 1658), sigs. C2±C2v, V1 and Ee4v±Ff1v. 37 T. A. Birrell, `Reading as Pastime: The Place of Light Literature in Some Gentlemen's Libraries of the 17th Century', Property of a Gentleman: The Formation, Organisation and Dispersal of the Private Library 1620±1920 (Win- chester: St Paul's Bibliographies, 1991): 113±31, p. 113; see also Chartier, Introduction to The Culture of Print,p.4. 38 For overviews of Shakespeare's early reputation see, for instance, Ernest A. J. Honigmann, Shakespeare's Impact on his Contemporaries (London: Macmillan, 1982), pp. 33±48; Katherine Duncan-Jones, Ungentle Shakespeare: Scenes from His Life (London: Arden Shakespeare, 2001); G. E. Bentley, Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared (Chicago: Uni- versity of Chicago Press, 1945); and Michael Dobson, The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660±1769 (Oxford: Clarendon Press, 1992). 39 John Hemminge and Henry Condell, `To the Great Variety of Readers', Mr. William Shakespeares Comedies, Histories, & Tragedies (1623), sig. A3, repr. in The Norton Facsimile: The First Folio of Shakespeare, ed. Charlton Hinman (London: Paul Hamlyn, 1968), p. 7. 40 Mark Bland, `The London Book-Trade in 1600', in A Companion to Shake- speare, ed. David Scott Kastan (Oxford: Blackwell, 1999): 450±63, p. 462. 41 Jeffrey Masten, Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama (Cambridge: Cambridge University Press, 1997), pp. 120±1; see also pp. 4±5, 8±10 and 113±55. 42 Peter Blayney, `The Publication of Playbooks', in A New History of Early English Drama eds John D. Cox and David Scott Kastan (New York: Columbia Uni- versity Press, 1997): 383±422, pp. 388±9. 43 I am indebted to Margaret Ferguson and Eve Sanders for this last observation, raised at a workshop on `Literacies / Identities in Early Modern England' at the Shakespeare Association of America Annual Meeting 2001. 44 For recent studies of early modern readers of Shakespeare, particularly Venus and Adonis, see Philip Kolin, `Venus and/or Adonis among the Critics', in Venus and Adonis: Critical Essays, ed. Philip C. Kolin (New York and London: Garland Publishing Inc., 1997): 3±65, pp. 27±9; Richard Halpern, ` ``Pining their Maws'': Female Readers and the Erotic Ontology of the Text in Shake- speare's Venus and Adonis'inVenus and Adonis: Critical Essays, ed. Philip C. Kolin: 377±88; Katherine Duncan-Jones, `Much Ado with Red and White: the Earliest Readers of Shakespeare's Venus and Adonis', Review of English Studies 44 (Nov. 1993): 479±501; Heidi Brayman Hackel, ` ``The Great Variety of Readers'' and Early Modern Reading Practices', in A Companion to Shakespeare, ed. David Scott Kastan (Oxford: Blackwell, 1999): 139±57; and Marotti, `Shakespeare's Sonnets as Literary Property'. For studies of the repre- sentation of reading in Shakespeare see David M. Bergeron (ed.), Reading and Writing in Shakespeare (Newark: University of Delaware Press; London: Asso- ciated University Press, 1996). 204 Notes

45 For transcripts of shorter poems attributed to Shakespeare (including `A Song (Shall I dye)', `On Ben Johnson', `An Epitaph on Elias Iames', `An extemporary Epitaph on John Combe, a noted usurer', `Upon the King', and `Epitaph on Himselfe'), see Stanley Wells and Gary Taylor with John Jowett and William Montgomery, William Shakespeare: The Complete Works. Original-Spelling Edition (Oxford: Clarendon Press, 1986), pp. 881±7, and idem., William Shakespeare: A Textual Companion (Oxford: Clarednon Press, 1987), pp. 449±60.

Chapter 1

1 John Kerrigan, `The Editor as Reader: Constructing Renaissance Texts', in The Practice and Representation of Reading in England, eds. James Raven, Helen Small and Naomi Tadmor (Cambridge: Cambridge University Press, 1996): 102±24, p. 112. 2 Cited by Kerrigan, `The Editor as Reader', p. 113. 3 Richard Brathwaite, Nursery for the Gentry (London, 1638), p. 273; Vives, cited in Louis B. Wright, `The Reading of Renaissance English Women', Studies in Philology 28 (1931): 139±56, p. 147; Salter, Mirrhor of Modestie (London, 1574) reprinted in J. P. Collier, Illustrations of Old English Literature (London, 1866), vol. 1, pp. 10and 17, and cited in Louis B. Wright, Middle-Class Culture in Elizabethan England (1935; Ithaca: Cornell University Press, 1958), pp. 105±6; Robert Anton, `Of Venus', Vices Anotimie, Scourged and Corrected in New Satires. Lately written by R. A. of Magdalen Colledge in Cambridge (London, 1617), p. 52. For an overview of Elizabethan criticism of Ovid, see C. B. Cooper, Some Elizabethan Opinions of the Poetry and Character of Ovid (Menasha: Collegiate Press/University of Chicago Press, 1914), esp. pp. 12±34, and Caroline Jame- son, `Ovid in the Sixteenth Century', in J. W. Binns (ed.), Ovid (London: Routledge Kegan Paul, 1973): 210±42. 4 Mary Ellen Lamb, `Women readers in Mary Wroth's Urania', in Reading Mary Wroth: Representing Alternatives in Early Modern England, eds. Naomi J. Miller and Gary Waller (Knoxville: University of Tennessee Press, 1991), pp. 213±14. 5 For accounts of women reading Shakespeare in the early modern period, see my `Ladies ``never look / But in a Poem or in a Play-book'': women's recre- ational reading of Shakespeare in early modern England', in The Emergence of the Female Reader in England and America, 1500±1800, ed. Heidi Brayman Hackel (forthcoming); Ann Thompson and Sasha Roberts (eds.), Women Reading Shakespeare 1660±1900: An Anthology of Criticism (Manchester: Man- chester University Press, 1997); Ann Thompson, `Pre-Feminism or Proto- Feminism?: Early Women Readers of Shakespeare', Elizabethan Theatre 14 (1996): 195±211; Elizabeth Hageman and Sara Jayne Steen, `From the Editors', Shakespeare Quarterly, special issue on Teaching Judith Shakespeare 47:4 (1996): v±viii; and Heidi Brayman Hackel, ` ``Rowme'' of its Own: Printed Drama in Early Libraries', in A New History of Early English Drama (New York: Columbia University Press, 1997): 113±30, p. 122. 6 John Aubrey manuscript, c. 1680(Bodleian Library), cited in Shakspere Allu- sion Book, vol. 2, p. 260. Pope reported the prevalence of the story of Dave- nant `being more than a poetical child only of Shakespeare'; see ibid., p. 262. Notes 205

7 Philip Kolin, `Venus and/or Adonis among the Critics' in Venus and Adonis: Critical Essays, ed. Philip C. Kolin (New York and London: Garland Publishing, 1997): 3±65, pp. 27±9; Richard Halpern, ` ``Pining their Maws'': Female Readers and the Erotic Ontology of the Text in Shakespeare's Venus and Adonis' in Venus and Adonis: Critical Essays, ed. Philip C. Kolin: 377±88; Jacqueline Pearce, `Women as Readers' in Women and Literature in Britain, 1500±1700, ed. Helen Wilcox (Cambridge: Cambridge University Press, 1996): 80±99. 8 The history of early modern women's reading is a rapidly growing field, too extensive to document in one footnote. For an astute account of methodo- logical problems facing current research see David McKitterick, `Women and their Books in Seventeenth-Century England: The Case of Elizabeth Puckering', The Library: Transactions of the Bibliographical Society ser.7, vol. 1 (2000): 359±80, and for an overview of early modern representations of women's reading see Mary Ellen Lamb, `Constructions of Women Readers' in Teaching Tudor and Stuart Women Writers, eds. Margaret P. Hannay and Susanne Woods (New York: Modern Language Association, 2000): 23±34. For studies of women's recreational reading in particular, see Jennifer R. Goodman, ` ``That Wommen Holde in Ful Greet Reverence'': Mothers and Daughters Reading Chivalric Romances', in Women, The Book and the Worldly: Selected Proceedings of the St. Hilda's Conference, eds. Lesley Smith and Jane H. M. Taylor, vol. 2 (1993): 25±30; Heidi Brayman Hackel, `The Countess of Bridgewater's London Library', in Books and Readers in Early Modern England (Philadelphia: University of Pennsylvania Press, 2001), pp. 135±59; Caroline Lucas, Writing for Women. The Example of Woman as Reader in Elizabethan Romance (Milton Keynes: Open University Press, 1989), 27±36; and Louis B. Wright, `The Reading of Renaissance English Women', Studies in Philology 28 (1931): 139±56. For provocative discussions of the status of the early modern woman reader see, for instance, Frances E. Dolan, `Reading, Writing, and Other Crimes' in Feminist Readings of Early Modern Culture: Emerging Subjects, eds. Valerie Traub, Kindsay Kaplan and Dympna Callaghan (Cambridge: Cambridge University Press, 1996): 142±67; and Margaret Fer- guson, `A Room Not Their Own: Renaissance Women as Readers and Writers' in The Comparative Perspective on Literature: Approaches to Theory and Practice, eds. Clayton Koelb and Susan Nokes (London: Cornell University Press, 1988): 93±116. On women's circulation of manuscripts see, for instance, Victoria Burke, `Women and Early Seventeenth-Century Manuscript Culture: Four Miscellanies', The Seventeenth Century 12 (1997): 135±50, and Louise Schleiner's discussion of women's household reading formations in Tudor and Stuart Women Writers (Bloomington: Indiana University Press, 1994): 1±29. 9 David Bevington (ed.), The Complete Works of Shakespeare (New York: Long- man, 1997), p. 1609. 10Nancy Lindheim, `The Shakespearean Venus and Adonis', Shakespeare Quarterly 37 (Summer 1986): 190±203, pp. 200±1; Hallet Smith, Elizabethan Poetry: a Study in Conventions, Meaning and Expression (1952; London: Oxford Univer- sity Press, 1970), p. 86; J. W. Lever, `Venus and the Second Chance', Shake- speare Survey 15 (1962): 81±8, p. 81; C. S. Lewis, English Literature in the Sixteenth Century, Excluding Drama (Oxford: Oxford University Press, 1954), p. 498. 206 Notes

11 For an overview of allegorical readings of Venus and Adonis, see Philip Kolin, `Venus and/or Adonis Among the Critics', ed. Philip Kolin (London and New York: Garland Publishing, 1997): 3±65, pp. 16±18. 12 Arthur Golding, The XV Bookes of P Ovidius Naso, Entituled, METAMORPHOSIS (1593 edn), sig.*2v; William Shakespeare, Venus and Adonis (1593), ed. John Roe, Shakespeare, The Poems (Cambridge: Cambridge University Press, 1992). All references to Venus and Adonis are to this edition unless otherwise stated. 13 On Shakespeare's use of Ovidian sources in Venus and Adonis, see Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare vol. 1, Early Comedies, Poems, `Romeo and Juliet' (London: Routledge and Kegan Paul, 1957): 161±78; Jonathan Bate, Shakespeare and Ovid (Oxford: Clarendon Press, 1993): 48±67; and M. L. Stapleton, `Venus as Praeceptor: The Ars Amatoria in Venus and Adonis'inVenus and Adonis: Critical Essays, ed. Philip Kolin: 309±21. On precedents to Shakespeare's depiction of a coy Adonis, see Douglas Bush, Mythology and the Renaissance Tradition in English Poetry (1932; New York: Norton, 1963): 137±48. 14 Sonnet 11 on Venus and Adonis from The Passionate Pilgrim is generally agreed to be the work of Bartholemew Griffin; sonnets 4, 6, and 9 on the same theme may be the work of Griffin, Shakespeare, or an unidentified writer (see John Roe (ed.), The New Cambridge Shakespeare. The Poems (Cam- bridge: Cambridge University Press, 1992), pp. 241±6). Like Venus and Adonis the keynote of these four poems is bawdy wit and pleasure as a sexually assertive Venus dominates a coy Adonis; poem 9.10±14 even turns on the same double-entendre of `brakes' for pubic hair as Shakespeare's Venus deploys in her invitation to Adonis to enjoy her `brakes obscure and rough', 237 (compare also the image of the `fair queen' `on her back' in poem 4.13 with Venus and Adonis 523±4 and 814). 15 For critical accounts of the comedy, parody, and burlesque in the poem, see especially Rufus Putney, `Venus and Adonis: Amour with Humor', Philological Quarterly, 20(1941): 534±8, repr. in Venus and Adonis: Critical Essays, ed. Kolin: 123±40; and Kenneth Muir, `Venus and Adonis: Comedy or Tragedy?', in Shakespearean Essays. Tennessee Studies in Literature 2, eds. Alwin Thaler and Norman Sanders (Knoxville: University of Tennessee Press, 1964): 1±13. 16 Shakespeare, Romeo and Juliet (ed.) G. Blakemore Evans (1984; Cambridge: Cambridge University Press, 1992). 17 A valuable survey of criticism of Shakespeare's poem can be found in Venus and Adonis: Critical Essays, ed. Philip Kolin. For psychoanalytic readings of Venus and Adonis see, for instance, Coppelia Kahn, Man's Estate: Masculine Identity in Shakespeare (Berkeley: University of California Press, 1981): 21±46, and James Schiffer, `Shakespeare's Venus and Adonis: A Lacanian Tragicomedy of Desire' in Venus and Adonis: Critical Essays, ed. Kolin: 359±76. On the poem's treatment of sexuality see, for instance, William C. Keach, Elizabethan Erotic Narratives: Irony and Pathos in the Ovidian Poetry of Shakespeare, Marlowe, and Their Contemporaries (New Brunswick: Rutgers University Press, 1977): 52±84; Jonathan Bate, `Sexual perversity in Venus and Adonis'in Yearbook of English Studies, 23 (1993): 80±92, and Robert P. Merrix, ` ``Lo, in This Hollow Cradle Take Thy Rest'': Sexual Conflict and Resolution in Venus and Adonis', in Venus and Adonis: Critical Essays, ed. Kolin: 341±58; for feminist readings of the poem see Heather Dubrow, Captive Victors: Shakespeare's Narrative Poems Notes 207

(London: Cornell University Press, 1987), pp. 15±78, and Nona Fienberg, `Thematics of Value in Venus and Adonis', repr. in Venus and Adonis: Critical Essays, ed. Kolin: 247±58. For political readings of the poem, see Peter Erick- son, `Refracted Images of Queen Elizabeth in Venus and Adonis and The Rape of Lucrece', in Rewriting Shakespeare, Rewriting Ourselves (Berkeley: University of California Press, 1991): 31±56; for a deconstructive reading of the poem, see Catherine Belsey, `Love as Trompe l'oeil: Taxonomies of Desire in Venus and Adonis', Shakespeare Quarterly 46 (Fall 1995): 257±76, repr. in Venus and Adonis: Critical Essays, ed. Kolin: 261±85. On the poem's role in Shakespeare's career see Muriel Bradbrook, `Beasts and Gods: Greene's Groatsworth of Witte and the Social Purpose of Venus and Adonis', Shakespeare Survey 15 (1962): 62±72, and Tita French Baumlin, `The Birth of the Bard: Venus and Adonis and Poetic Apotheosis', Papers on Language and Literature 26 (Spring 1990): 191±211. 18 Douglas Bush, Mythology and the Renaissance Tradition (1932; New York: W. W. Norton, 1963), p. 145, repr. in Venus and Adonis: Critical Essays, ed. Kolin: 91±105, p. 97. 19 Francis Bacon, The Advancement of Learning (1605) ed. G. W. Kitchen (London: J. M. Dent and Sons, 1978), p. 83; De Augmentis, cited in The Works of Francis Bacon, ed. Basil Montagu (London: William Pickering, 1825). 20`Ad Gulielmum Shakespeare', Epigrammes in the oldest cut (1595), The 4th week, epigram 22, sig.E6; cited in The Shakspere Allusion-Book: A Collection of Allusions to Shakspere from 1591 to 1700, eds. C. M. Ingleby, L. Toulmin Smith and F. J. Furnivall (London: Oxford University Press, 1932), 2 vols., vol. 1, p. 24. 21 Reynolds, cited by Katherine Duncan-Jones in Ungentle Shakespeare: Scenes from his Life (London: Arden Shakespeare, 2001), p. 62; for a more detailed discussion of Reynolds' citation, see Duncan-Jones, `Much Ado with Red and White: the Earliest Readers of Shakespeare's Venus and Adonis', Review of English Studies 44 (Nov. 1993): 479±501. 22 Hamlet, 3.4.93±4, in The Riverside Shakespeare ed. G. Blakemore Evans (Boston: Houghton Mifflin, 1974). 23 Richard Barnfield, `A Remembrance of some English Poets', Poems in Divers Humors (1598), sig. E2v; cited in Shakspere Allusion-Book, vol. 1, p. 51. 24 Francis Meres, Palladis Tamia. Wits Treasury. Being the Second part of Wits Commonwealth. By Francis Meres Master of Artes of both Vniuersities (1598), pp. 281, 279 and 284; also cited in Shakspere Allusion-Book, vol. 1, pp. 46±8. 25 William Barksted, Mirha. The Mother of Adonis: or Lustes Prodegy (London, 1607), reprinted in The Poems of William Barksted, ed. A. B. Grosart (Manches- ter: Charles Sims, 1876); The Historie of Troylus and Cressida. As it was acted by the Kings Maiesties seruants at the Globe. Written by William Shakespeare (1609), sig. A2. 26 Kolin, `Venus and/or Adonis among the Critics', p. 10. 27 Cited in Shakspere Allusion-Book, vol. 1, p. 56. Harvey's copy of Speght's Chaucer is now held in the Manuscripts Room of the British Library. Richard Dutton reads Harvey's allusion to Hamlet in the context of the possible manuscript transmission of Shakespeare's plays in `The Birth of the Author', in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and 208 Notes

Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Mar- tin's Press, 1997): 153±78, pp. 169±70. 28 The Second Part of the Returne from Parnassus, later published as The Returne from Pernassus: Or The Scourge of Simony. Publiquely acted by the Students in Saint Iohns Colledge in Cambridge (London, 1606), repr. in J. B. Leishman (ed.), The Three Parnassus Plays (London: Nicholson and Watson, 1949), lines 301±4. 29 John Davies of Hereford, The Scourge of Folly (London, c. 1611), p. 231; Thomas Freeman, Epigram 92, Runne, and a Great Cast. The Second Bowle. (Being the second part of Rubbe, and a Great Cast) (London, 1614), sigs. K2v±K3. Freeman's `To Master W: Shakespeare' is far more ambivalent in tone than his epigrams to other writers with the exception of Nashe (epigram 96, sig. K3v): epigram 14, for instance, commends the `good workes' of Chaucer, Lydgate, and Gower (sig. G2); epigram 64 praises the unequalled wit `Of Spencers Faiery Queene' (sig. I3), while epigrams 69, 84, 87 and 93 offer general praise for Daniel, Donne, Chapman and Heywood (sigs. I4, K1, K2, K3). 30 Francis Johnson, `Notes on English Retail Book-prices, 1550±1640', The Library, 5th series, V:2 (September 1950): 83±112: pp. 92±3. Katherine Duncan-Jones records Richard Stonley's purchase of Venus and Adonis for 6d on 12 June 1593 (Ungentle Shakespeare, p. 63). 31 I am grateful to Peter Blayney for pointing out problems with the editorial treatment of sources on book costing; Edward Arber's Transcript of the Registers of the Company of Stationers of London 1554±1640, 5 vols. (London: privately printed, 1875±94), for instance, conceals several corrections and additions made to entries in the original transcripts (Peter Blayney, `A Groatsworth of Evidence', unpubl. paper read at the Seventeenth Annual Meeting of the Shakespeare Association of America, 1989, esp. p. 4). On the price of books, see also Marjorie Plant, The English Book Trade. An Economic History of the Making and Sale of Books (1939; London: George Allen & Unwin, 1974), pp. 241±5; and David McKitterick, ` ``Ovid with a Littleton'': The Cost of English Books in the Early Seventeenth Century', Transactions of the Cambridge Biblio- graphical Society 11 (1997): 184±234. 32 Richard Halpern, ` ``Pining their maws'': Female Readers and the Erotic Ontol- ogy of the Text in Shakespeare's Venus and Adonis', in Venus and Adonis: Critical Essays, ed. Kolin: 377±88, p. 379. 33 ` ``Yet tell me some such': fiction' Wroth's Urania and the ``Femininity'' of Romance', in Women, Texts and Histories 1575±1760, eds. Clare Brant and Diane Purkiss (London: Routledge, 1992): 39±68, p. 40. 34 Thomas Middleton, A Mad World My Masters (1608), ed. Standish Henning (London: Edward Arnold Ltd, 1965): 1.2.43±7. 35 As Eve Rachele Sanders remarks, `that a husband could mould his wife's character by regulating her reading is an unquestioned commonplace in contemporary conduct manuals .... Yet in Middleton's play, such precepts are the stuff of comedy' (Gender and Literacy on Stage in Early Modern England (Cambridge: Cambridge University Press, 1998), p. 8). 36 `Papers Complaint, compild in ruthfull Rimes Against the Paper-spoylers of these Times', appended to John Davies, The Scourge of Folly. Consisting of satyricall Epigramms (London, c. 1611), pp. 230±2. Elsewhere in the volume Davies praises Shakespeare's `raigning Wit' ± `Thou hadst bin a companion Notes 209

for a King' ± only to hail him, somewhat disparagingly, as `a King among the meaner sort' (`To our English Terence, Mr. Will: Shake-speare', pp. 76±7). 37 As Richard Halpern acknowledges, Davies tells us more `about the way men fantasized female readers than he does about the fantasies of those readers' (`Female Readers and the Erotic Ontology of the Text in Shakespeare's Venus and Adonis', p. 379). 38 Richard Brathwaite, The English Gentlewoman (London, 1631), pp. 43±7. Brathwaite associated Venus and Adonis with dissolute female sexuality two decades earlier in A Strappado for the Divell. Epigrams and Satyres alluding to the time, with divers measures of no lesse Delight (London, 1615): a prostitute keeps a picture of Venus and Adonis on her wall and appeals to her client that `if I Adon had, / As Uenus had: I could haue taught the lad,/ To haue beene farre more forward then he was' ± a possible allusion to Shakespeare's depiction of the coy Adonis (pp. 44±5). 39 See Georgianna Zeigler, ` ``My lady's chamber'': Female Space, Female Chas- tity in Shakespeare', Textual Practice 4:1 (Spring 1990): 73±90. 40Richard Brathwaite, The English Gentleman (London, 1630), p. 28. 41 Thomas Cranley, Amanda or The Reformed Whore (London, 1635), p. 17. The original page numbers of this edition do not always follow in sequence but for ease of reference I have adopted them here. 42 See Randle Cotgrave, Dictionarie of the French and English Tongues (1611): `fetuser. To touch, or wipe over with a feskue; also, to tickle by touching with a feskue'(sig. Oo4v). 43 Pepys diary entry for 9 February 1668, The Diary of Samuel Pepys, eds. Robert Latham and William Matthews (London: Bell & Sons, 1976), p. 59; see also Ian Moulton, Before Pornography: Erotic Writing in Early Modern England (Oxford: Oxford University Press, 2000), pp. 36±7. 44 John Taylor, Divers Crab-Tree Lectures. Expressing the severall Languages that shrews read to their Husbands, either at morning, Noone, or Night (London, 1639), p. 196 and 202; see also Louis B. Wright, Middle Class Culture in Elizabethan England (London: Methuen, 1964), pp. 132±3, and on Taylor's modes of publication, Alexandra Halasz, `Pamphlet Surplus: John Taylor and Subscription Publication', in Arthur F. Marotti and Michael D. Bristol (eds.), Print, Manuscript, and Performance: The Changing Relations of the Media in Early Modern England (Columbus: Ohio State University Press, 2000): 90±101. 45 Venus' words are co-opted as women's speech in the broadside ballad c. 1675 The New Married Couple; Or, A Friendly Debate between the Country Farmer and his Buxome Wife, in which a `buxome wife' attempts to seduce her `Nedde' with the invitation to `Graze on my soft Lips, [and] if those Hills be dry / stray further down where Fountains lye' (repr. in Roxburghe Ballads, vol. 4: 17 (Ballad Society, 1881); Douce Collection, vol. 2, p. 165v). 46 Mario Di Gangi argues that it is not so much the woman Venus but `the disorderly passion that afflicts unruly women and womanish men' that really becomes the source of gender confusion in Haec Vir (The Homoerotics of Early Modern Drama (Cambridge: Cambridge University Press, 1997), p. 136); see also Stephen Orgel, Impersonations: The Performance of Gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996), p. 87. 47 I examine contemporary obsessions with private space ± and the difficulty of drawing generalisations about private reading practices in early modern 210 Notes

England ± further in `Shakespeare ``Creepes into the womens closets about bedtime'': Women Reading in a Room of Their Own', in Renaissance Configurations: Voices / Bodies / Spaces, 1580±1690, ed. Gordon McMullan (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1998, repr. 2001): 30±63. 48 In Literacy and the Social Order. Reading and Writing in Tudor and Stuart England (Cambridge: Cambridge University Press, 1980), for instance, David Cressy describes gentlewomen readers as privileged women whose literacy was merely `a social ornament' (p. 128). 49 William Prynne, Histrio-Mastix. The Players Scourge or Actors Tragaedie (1633), cited in Shakspere Allusion-Book, vol. 1, p. 369; see also Heidi Brayman Hackel, `Rowme' of its Own: Printed Drama in Early Libraries', in A New History of Early English Drama, eds. John D. Cox and David Scott Kastan (New York: Columbia University Press, 1997): 113±30, p. 115. On the increase in book publication in this period see McKitterick, ` ``Ovid with a Littleton'' ', p. 190. 50Moulton, Before Pornography, p. 35. 51 The first allusion I have located to Shakespeare alongside Jonson and Beau- mont and Fletcher in the Shakspere Allusion-Book occurs in Sir Aston Cokaine's commendatory verses prefixed in 1632 to Massinger's Emperour of the East (vol. 1, p. 370); for the first use of the phrase `Triumvirate of wit' see Sir John Denham, Commendatory Verses on John Fletcher prefixed to the First Folio of Beaumont and Fletcher's Works (1647), cited in Shakspere Allu- sion-Book vol. 1, p. 504. On Shakespeare's position within the emerging late seventeenth-century dramatic canon, see Paulina Kewes, `Between the ``Tri- umvirate of wit'' and the Bard: The English Dramatic Canon, 1660±1720', in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1997): 200±24. 52 For `The Divine Shakespear', see John Crown, Prologue to The Misery of Civil- War. A Tragedy (1680), cited in Shakspere Allusion-Book, vol. 2, p. 259. For overviews of Restoration praise and criticism of Shakespeare, see Michael Dobson, The Making of the National Poet: Shakespeare, Adaptation, and Author- ship, 1660±1769 (Oxford: Clarendon Press, 1992), and Gary Taylor, Reinvent- ing Shakespeare: A Cultural History from the Restoration to the Present (New York: Weidenfeld and Nicolson, 1989). 53 Folger Shakespeare Library MS: V.b.198, fol. 3. For a transcript of `To my worthy muse', see Jean C. Cavanagh, `Lady Southwell's Defense of Poetry', in English Literary Renaissance, 14:3 (autumn 1984): 281±4; for a transcript of the complete miscellany see The Southwell-Sibthorpe Commonplace Book. Folger Ms. V.b.198, ed. Jean Klene (Tempe, Ariz.: Medieval & Renaissance Texts & Studies, 1997). The volume is probably written in the hands of several scribes, including Southwell's husband Captain Henry Sibthorpe (see Klene, pp. xxxvi±xxxviii). 54 Schleiner, Tudor and Stuart Women Writers, p. 121; see also Klene, The South- well±Sibthorpe Commonplace Book, p. xxviii. 55 Likewise, as Klene points out, athough Southwell was `probably familiar with Sidney's ``Defence of Poesy'', she does not use his definition [of poetry], but creates her own' (The Southwell±Sibthorpe Commonplace Book, p. xxvi). Notes 211

56 Paul Morgan, `Frances Wolfreston and ``Hor Bouks'' ', in The Library, 6th series, XI:3 (September 1989): 197±219, pp. 201 and 203; see also J. Gerritsen, `Venus Preserved: Some Notes on Frances Wolfreston', in English Studies Pre- sented to R. W. Zandvoort, supplement to English Studies 45 (1964): 271±4. The bulk of Wolfreston's library remained at Statfold Hall until it was catalogued and sold in 1856; on Wolfreston's collection of chapbooks see Tessa Watt, Cheap Print and Popular Piety 1550±1640 (Cambridge: Cambridge University Press, 1991), pp. 315±17. 57 Morgan, `Frances Wolfreston and ``Hor Bouks'' ', p. 207. Morgan suggests that the Latin and French volumes may have been for use by other members of her family since her name has so far been found only on books written in vernacular English (p. 208). 58 Morgan, `Frances Wolfreston and ``Hor Bouks'' ', p. 200. On Bodley's disdain for playbooks see also Heidi Brayman Hackel, ` ``Rowme'' of its own', pp. 120±1, and Jeffrey Masten, Textual Intercourse: Collaboration, Authorship, and Sexualities (Cambridge: Cambridge University Press, 1997), p. 115; on the formation of the Bodleian library see I. G. Philip and Paul Morgan, `Libraries, Books, and Printing', chapter 13 of The History of the University of Oxford. Volume 4: Seventeenth-Century Oxford, ed. Nicholas Tyacke (Oxford: Claren- don, 1997), pp. 659±72. 59 Englands Helicon (London, 1600), British Library C.39.e.48, sigs. Z2 and Y4. 60Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare: The Poems. (Philadelphia: J. B. Lippincott, 1938), pp. 391±2. 61 For s Titu Andronicus, see The Riverside Shakespeare ed. G. Blakemore Evans (Boston: Houghton Mifflin, 1974); Lamb, `Constructions of Women Readers', p. 30. 62 See Moulton, Before Pornography, pp. 54±64. 63 See Morgan, `Frances Wolfreston and ``Hor Bouks'' ', pp. 208±9. 64 John Barnard and Maureen Bell, The Early Seventeenth-Century York Book Trade and John Foster's Inventory of 1616 (Leeds: Leeds Philosophical and Literary Society, 1994), p. 87. There are few studies of the early modern regional book trade, but see Spreading the Word. The Distribution Networks of Print 1550±1850, eds. Robin Myers and Michael Harris (Winchester: St Paul's Bibliographies, 1990); D. F. McKenzie, `The London Book Trade in 1644', in John Horden (ed.), Bibliographia (Oxford: Leopard's Head, 1992): 131±51; David Stoker, `The Norwich Book Trades before 1800', in Transactions of the Cambridge Bibliographical Society 8:1 (1981): 79±125; and Harry G. Aldis, A List of Books Printed in Scotland before 1700 (Edinburgh: Edinburgh Bibliographical Society, no. 7, 1904). 65 Lorna Weatherill, `A Possession of One's Own: Women and Consumer Behav- ior in England, 1660±1740', Journal of British Studies 25 (April 1986): 131±56, p. 140. In London, for instance, 36 per cent of women's inventories included entries for books as compared with 28 per cent of men's, while in Cumbria only 8 per cent of women's inventories list books as compared with 18 per cent of men's (p. 140). David Cressy argues that `the later Stuart period saw a dramatic divergence between the experience of women in London and women in country districts' with regard to literacy, with `an education revo- lution among late Stuart and early Hanoverian women in the metropolis' (Literacy and the Social Order, pp. 145±7). 212 Notes

66 I discuss early modern women readers of Shakespeare further in `Ladies ``never look / But in a Poem or in a Play-book'': women's recreational reading of Shakespeare in early modern England'; see note 5. 67 See Peter Blayney, `The Publication of Playbooks', in A New History of Early English Drama, eds. John D. Cox and David Scott Kastan (New York: Colum- bia University Press, 1997): 383±422, p. 415. 68 Eighteenth-century note, pasted to front flyleaf of Folger Second Folio 22. Over ten Folger First Folios contain autographs by women dating from the second half of the seventeenth century, who probably inherited or obtained their copies second-hand (regarded as less valuable than subsequent Folio reprints in 1632, 1664 and 1685). 69 `A Catalogue of my Ladies Bookes at London taken October 27th 1627', Ellesmere Papers: EL 6495 (Huntington Library); Heidi Brayman Hackel notes that Frances Egerton's collection of some 241 books was probably one of the largest women's libraries in the period (` ``Rowme'' of Its Own', pp. 125±6; see note 5). 70Marta Straznicky, `Closet Drama', in The Companion to Renaissance Drama, ed. Arthur F. Kinney (Oxford: Blackwell, 2002), pp. 416±30. 71 Charles Hammond, The World's Timely Warning Piece (London, 1660), British Library Cup. 408.d.8/4, back flyleaf; see also Morgan, `Frances Wolfreston and ``Hor Bouks'' ', pp. 205, 207 and 217. 72 Gerald MacLean, `Print culture on the eve of the Restoration', unpubl. paper presented at a Folger Shakespeare Library seminar on `Partisan Culture in an Age of Revolution' directed by Derek Hirst and Steven Zwicker (1991), pp. 1±2. 73 See Morgan, `Frances Wolfreston and ``Hor Bouks'' ', pp. 204 and 215. 74 Heidi Brayman Hackel, `Boasting of Silence: Women Readers in Early Modern England', unpubl. paper for Shakespeare Association of America seminar on `Reading and the Consumption of Literature in Early Modern England', 1999; see Sasha Roberts, `Reading in Early Modern England: Contexts and Prob- lems', Critical Survey, special issue on `Reading in Early Modern England', 12:2 (winter 2000), pp. 1±13. On marginalia in a scholarly context see William Sherman, John Dee: the Politics of Reading and Writing in the English Renaissance (Amherst: University of Massachussetts Press, 1995), pp. 65±75, and the studies cited in Introduction, n.19. 75 Richard Brome, `Upon Aglaura Printed in Folio', Parnassus Biceps. Or Severall Choice Pieces of Poetry, Composed by the best Wits that were in both the Univer- sities before their Disolution (1656), sig. E5. 76 See McKitterick, `Women and their Books in Seventeenth-Century England: The Case of Elizabeth Puckering', pp. 375±7. 77 See Morgan, `Frances Wolfreston and ``Hor Bouks'' ', p. 204 and pp. 211±19. 78 On gentlemen's collections of playbooks and romances, see T. A. Birrell, `Reading as Pastime: The Place of Light Literature in Some Gentlemen's Libraries of the 17th Century', Property of a Gentleman: The Formation, Organ- isation and Dispersal of the Private Library 1620±1920 (Winchester: St Paul's Bibliographies, 1991): 113±31, pp. 122±5. 79 I.A., The Good Womans Champion (London, 1650?), British Library 12330.a.21, p. 3; see also Morgan, `Frances Wolfreston and ``Hor ' Bouks' ', pp. 211, 216 and 218. Notes 213

80I.A., The Good Womans Champion,p.1. The Good Womans Champion largely constructs its defence on women through scripture by discussing examples of virtuous women, the origins of Eve from Adam's rib, and the sacred import- ance of a loving marriage; the tract is followed by a dialogue of `A carefull Wives good counsell to a carelesse bad Husband' (p. 10) in which a dissolute husband ignores the pleas of his hard-working wife. 81 Philip Stubbes, A Crystal Glasse for Christian Women (London, 1591), reprinted in Daughters, Wives and Widows: Writings by Men about Women and Marriage in England, 1500±1640, ed. Joan Larsen Klein (Urbana and Chicago: University of Illinois Press, 1992): 139±50, p. 142. 82 Lady Anne Merrick to Mrs Lydall, 21 January 1638, Calendar of State Papers. Domestic Series, of the Reign of Charles I, 1625±[1649] (London: Longman, 1858±97), Conway Papers, p. 142. 83 Heywood is referred to as `the Author of the History of Women' on the title- page of Heywood's The Exemplary Lives and Memorable Acts of Nine the most worthy Women of the World (London, 1640). 84 Gunaikeion. Or Nine Bookes of Various History Concerninge Women (London, 1624), The Table, sigs. A4r±A4v and p. 398. Heywood argues that `the World hath taken notice' of women writers `and pittie it were their memories should not be redeemed from oblivion': among others, Heywood praises the `ingenious' Lady Mary Wroth and the `learned' Lady Mary Sidney (p. 398). 85 See Thompson and Roberts (eds.), Women Reading Shakespeare, 1660±1900, p. 11. 86 Margaret Cavendish, CCXI Sociable Letters (London, 1664), Letter CXXIII, repr. in Thompson and Roberts (eds.), Women Reading Shakespeare, 1660± 1900, pp. 11±14; see also Thompson, `Pre-Feminism or Proto-Feminism?', p. 198. 87 Preface, The Luckey Chance,inThe Works of Aphra Behn. Volume 7: The Plays 1682±1696, ed. Janet Todd (London: William Pickering, 1996), pp. 215±16. Of course, women such as Margaret Cavendish and Aphra Behn were in other respects politically conservative; see Catherine Gallagher, `Embracing the Absolute: the Politics of the Female Subject in Seventeenth-century England', Genders 1:1 (Spring 1988): 24±33; reprinted in Early Women Writers, 1600± 1720, ed. Anita Pacheco (London and New York: Longman, 1998): 133±45, p. 133. 88 Judith Drake, An Essay in Defence of the Female Sex (London, 1696; repr. New York: Source Book Press, 1970), p. 57. On Astell's attribution to the Essay, see Ruth Perry, The Celebrated Mary Astell: An Early English Feminist (Chicago and London: University of Chicago Press, 1986), pp. 106 and 490, n.24 and 25. 89 Folger Shakespeare Library First Folio 23, first flyleaf. Lady Mary Chudleigh's dialogue The Ladies Defence: or, The Bride-Woman's Counsellor Answer'd is accounted by Ruth Perry as a `great feminist poem' (The Celebrated Mary Astell, pp. 106±7). 90As Heidi Brayman Hackel notes the preliminaries of Folger First Folio 51 are incomplete and forty-nine leaves are supplied from other copies (`The ``Great Variety'' of Readers and Early Modern Reading Practices', in A Companion to Shakespeare, ed. David Scott Kastan (Oxford: Blackwell, 1999): 139±57, p. 150). I would like to thank Laetitia Yeandle at the Folger Shakespeare Library for 214 Notes

discussing the annotations to Folger Folio 51 with me, and Georgianna Zeigler for supplying copies of the Folger catalogue entries for this and other Folger volumes. 91 Annotations to Hamlet in Folger First Folio 51 appear on pp. 154±6; annota- tions to Titus Andronicus appear on pp. 32±5. Line references are to Hamlet, ed. G. R. Hibbard (1987; Oxford: Oxford University Press, 1994), and Titus Andronicus, ed. Jonathan Bate (Arden 3, 1994, p. 207). As Hackel notes, emendments may have been made in Folger First Folio 51 to more plays than Titus and Hamlet, now obscured by the 49 leaves supplied from other copies (`The ``Great Variety'' of Readers', p. 150); I discuss the surviving annotations to the Folio further in `Women Reading Shakespeare in Early Modern England' (forthcoming). 92 I am especially grateful to Donald Farren at the Folger Shakespeare Library for sharing the catalogue notes of Folger Folio 54 with me. 93 Lewis Theobald, Shakespeare Restored: or, a specimen of the many errors, as well committed, as unamended, by Mr Pope in his late edition of this poet (1726; repr. New York: AMS Press, 1970), pp. v±vi. 94 The Academy of Complements (London, 1640), pp. 138, 141, 143, and 148. Also included in the volume are quotations from Romeo and Juliet (`Love goes to love as schoole boyes from their books . . . '; p. 141) and Lucrece (`Her brests those Ivory Globes . . . '; p. 135). A summary of quotations is provided in the Shakspere Allusion-Book, vol. 1, p. 452; on The Academy of Complements in the context of mid-seventeenth-century poetical anthologies, see Arthur Marotti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cor- nell University Press, 1995), pp. 265±7.

Chapter 2

1 On E. K.'s glosses in Edmund Spenser, The Shepheardes Calender (1579) and Richard Barnfield's The Affectionate Shepheard (1594), see Bruce Smith, Homo- sexual Desire in Shakespeare's England: A Cultural Poetics (Chicago: Chicago University Press, 1991), pp. 94±102. 2 As T. A. Birrell suggests, the quarto was `a self-destructing artefact', vulnerable and throwaway by comparison with the monumental folio or handy octavo or duodecimo (T. A. Birrell, `The Influence of Seventeenth-Century Publishers on the Presentation of English Literature', in Historical and Editorial Studies in Medieval and Early Modern English, eds. Mary-Jo Arn and Hanneke Wirtjes (Groningen: Wolters-Noordhoff, 1985): 163±73, p. 166). eI examin the textual variants of the later quartos of Venus and Adonis in `Reading the Shakespearean Text in Early Modern England', Critical Survey 7:3 (winter 1995): 299±306; see also F. T. Prince (ed.), Shakespeare, The Poems (1960; London and New York: Routledge, 1988), p. xiv; Shakespeare, The Poems, ed. John Roe, (The New Cambridge Shakespeare; Cambridge: Cambridge Uni- versity Press, 1992), pp. 288±9; and Harry Farr, `Notes on Shakespeare's Printers and Publishers with Special Reference to the Poems and Hamlet', The Library 4th series, 3:4 (1923): 225±60, p. 228. For a survey and collations of early modern editions of Venus and Adonis, see Hyder Edward Rollins (ed.), A New Notes 215

Variorum Edition of Shakespeare. The Poems (Philadelphia: J. B. Lippincott, 1938), pp. 9ff and 369±90. 3 See William Keach, Elizbethan Erotic Narratives. Irony and Pathos in the Ovidian Poetry of Shakespeare, Marlowe, and their Contemporaries (New Brunswick: Rut- gers University Press, 1977), pp. 32±3. 4 Runne, and a Great Cast. The Second Bowle. (Being the second part of Rubbe, and a Great Cast (London, 1614), epigram 92, sig K2v; also cited in The Shakspere Allusion-Book: A Collection of Allusions to Shakspere From 1591 to 1700 (London: Humphrey Milford/Oxford University Press, 1932), 2 vols., vol. 1, p. 245. 5 Gabriel Harvey, amarginali in his copy of Speght's Chaucer; cited in Shakspere Allusion-Book, vol. 1, p. 56. 6 The most comprehensive study of the Parnassus plays remains J. B. Leish- man's The Three Parnassus Plays (London: Nicholson and Watson Ltd, 1949) and Paula Glatzer, The Complaint of the Poet: The Parnassus Plays. A Critical Study of the Trilogy Performed at St John's College, Cambridge 1598/99±1601/02 (Salzburg: Institut fuÈr Englishe Sprache und Literatur, 1977, pp. 47±51); see also Frederick S. Boas, University Drama in the Tudor Age (1914; New York: Benjamin Blom, 1966), p. 341. On the performance dates of the Parnassus plays see Leishman, Three Parnassus Plays,p.26. 7 See Leishman, Three Parnassus Plays,p.82. 8 Francis Meres, Palladis Tamia. Wits Treasury (London, 1598), p. 281; also cited in Shakspere Allusion-Book, vol. 1, p. 46. 9 Thomas Cranley, Amanda, or the Reformed Whore (London, 1635), p. 32. 10Shakespeare, dedication of Venus and Adonis to Henry Wriothesley, repr. in John Roe (ed.), The Poems, p. 78, line 11. 11 Meres, Palladis Tamia. Wits Treasury, p. 284; Leishman, Three Parnassus Plays, p. 56; see also Shakspere Allusion-Book, vol. 2, p. 478. 12 William London, `To the Most Candid and Ingenious Reader', A Catalogve of the most vendible Books in England, Orderly and Alphabetically Digested (London, 1658), sigs. A3 and C2±C2v. 13 Pilgrimage, 343±4; on the lampoon against the Calvinist Master of St John's, see Leishman, Three Parnassus Plays, pp. 68±71; and Glatzer, The Parnassus Plays, pp. 47±51. 14 Philomusus' brief audition as Richard III requires him to recite `Now is the winter of our discontent / Made glorious summer by the sonne of Yorke, [&c.]', indicating that these lines had already achieved some renown by 1600 (1838±9). On the Parnassus plays' attack on the profession of acting see Kathleen E. McLuskie, `The Poets' Royal Exchange: Patronage and Com- merce in Early Modern Drama', Yearbook of English Studies (1991): 53±62, pp. 58±9. 15 Robert Greene, Groats-Worth of Witte (1592; repr. Westport, CT: Greenwood Press, 1970), pp. 45±6. 16 Muriel Bradbrook, The Rise of the Common Player: A Study of Actor and Society in Shakespeare's England (Cambridge, MA: Harvard University Press, 1964), p. 268; Glatzer, The Parnassus Plays, p. 136. On the `sense of belonging to an elite of wits in a world of gulls' in satire of the late-sixteenth and early- seventeenth century, see also Philip J. Finkelpearl, John Marston of the Middle 216 Notes

Temple: an Elizabethan Dramatist in his Social Setting (Cambridge, MA: Harvard University Press, 1969), p. 73; Leishman, Three Parnassus Plays,p.50. 17 Lori Humphrey Newcomb, `The Triumph of Time: The Fortunate Readers of Robert Greene's Pandosto'in Texts and Cultural Change in Early Modern England eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1997): 95±123, pp. 99±101. 18 As Ernest Honigmann notes, Venus and Adonis and Romeo were `often named as special favourites in the sixteenth century by university men, most of them recent graduates', Shakespeare's Impact on his Contemporaries (London: Macmillan 1982), p. 33. On how one Elizabethan verse miscellany demon- strates `the good taste and bad taste . . . among a community of like-minded University Wits', see Randall Anderson, ` ``The Merit of a Manuscript Poem'': The Case for Bodleian MS Rawlinson Poet. 85', in Arthur F. Marotti and Michael D. Bristol (eds.), Print, Manuscript, and Performance: The Changing Relations of the Media in Early Modern England (Columbus: Ohio State Univer- sity Press, 2000): 172±98, p. 140. 19 Karl Snyder (ed.), A Critical Edition of the Faire Maide of the Exchange by Thomas Heywood (London: Garland, 1980), 3.3.80±96. 20Gervase Markham, The Dumbe Knight (London, 1608), sig. F 1. The change of pronoun from ` ``Fondling'', she saith' (l.229) to `Fondling, said he' has the effect of altering the gender of the speaker from female to male (although it may simply represent a typographical error). 21 See Andrew Gurr, The Shakespearean Stage 1574±1642 (1970; Cambridge: Cambridge University Press, 1992), p. 118. In 1633 The Dumbe Knight was reissued as `An Historicall Comedy' by the stationer William Sheares and `sold at his shoppe in Chancery Lane neere Serieants Inne' (title- page). 22 See Ian Frederick Moulton, Before Pornography: Erotic Writing in the English Renaissance (Oxford: Oxford University Press, 2000), p. 7. 23 Haec Vir: Or the Womanish Man (London, 1620), sig. C1v. Mark Rasmussen suggests that such appropriations of Venus' words by male suitors make queer readings `seem particularly irresistible' (`Shakespeare My Godfather: William Davenant and the ``Pre-Queer'' Bard'). 24 Moulton, Before Pornography, p. 73. 25 Marston, The Metamorphosis of Pigmalions Image. And Certain Satyrs (London, 1598), pp. 28 and 30; Second Return, 2193±5; see also Leishman, Three Par- nasssus Plays, pp. 38±41 and 47; and Glatzer, The Parnassus Plays, pp. 124 and 129. Alvin Kernan's The Cankered Muse: Satire of the English Renaissance (New Haven and London: Yale University Press, 1959) remains a useful overview of Elizabethan satire (see pp. 155±6 on the Parnassus plays). 26 Lenton, `The Younge Gallants Whirligig' (1629) 4±16, cited in Finkelpearl, John Marston of the Middle Temple, pp. 13±15; see also pp. 74±5. On satirists at the inns of court, see W. R. Prest, The Inns of Court under Elizabeth I and the Early Stuarts, 1590±140 (London: Longman, 1972), pp. 155±6; on manuscript circulation at the inns of court, see Arthur Marotti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995), pp. 35±7. 27 The Poems of Thomas Randolph ed. G. Thorn-Drury (London: F. Etchells and H. Macdonald, 1929), p. 39; cited by Prest, The Inns of Court, p. 156. Notes 217

28 Finkelpearl, John Marston and the Middle Temple, pp. 10±11; see also Prest, The Inns of Court, p. 9, and Rosemary O'Day, Education and Society 1500±1800. The Social Foundations of Education in Early Modern Britain (London and New York: Longman, 1982), pp. 90and 105. 29 Prest, The Inns of Court, pp. 27±8 and 41. On social differentiation within the universities and inns of court see O'Day, Education and Society, pp. 90and 99; and Prest, The Inns of Court, pp. 26 and 29±35. 30 Life of Edward, Earl of Clarendon . . . Written by Himself (Oxford, 1827), vol. 1, p. 76; cited by Finkelpearl, John Marston of Middle Temple, p. 15; see also Prest, The Inns of Court, p. 41. On the objections put forward by the benchers of the inns to combat novelties of dress ± ruffs, white doublet and hose, velvet facings, lawn caps, boots, cloaks, hats, spurs and swords, and long hair ± see Prest, The Inns of Court, pp. 92±3. 31 Chapman and Shirley, The Ball. A Comedy, as it was presented by her Majesties Servants, at the private House in Drury Lane (London, 1639), sig. H; also cited in Shakspere Allusion-Book, vol. 1, p. 360. 32 Lewis Sharpe, The Noble Stranger. As it was acted at the Priuate House in Salisbury Court, by her Maiesties Seruants (London, 1640), sigs. G3v±G4v; also cited in Shakspere Allusion-Book, vol. 1, p. 448. 33 Thomas Durfey, The Virtuous Wife; Or, Good Luck at Last (London, 1680), cited in Shakspere Allusion-Book, vol. 2, p. 256. 34 Anthony Wood (1668), The Life and Times of Anthony Wood, Antiquary at Oxford 1632±1695, Described by Himself, ed. Andrew Clark, 5 vols. (Oxford: Oxford Historical Society Publications, 1891±95), vol. 2, p. 147; see also I. G. Philip and Paul Morgan, `The Bodleian Library', chapter 13 of The History of the University of Oxford. Volume 4: Seventeenth-Century Oxford ed. Nicholas Tyacke (Oxford: Clarendon, 1997), p. 676. 35 See Prest, The Inns of Court, pp. 161±2 and 169. 36 Fortescutus Illistratus, or a Commentary on that Nervous Treatise De Laudibus Legum Angliae, Written by Sir John Fortescue Knight ...By Edward Waterhouse Esquire (1663), p. 151. Mr Langford also allocated time from 9±11 in the morning to `Carry on harmless acts of manhood, Fencing, Dancing, &c.' (p. 151; original italics). 37 T. A. Birrell, `Reading as Pastime: the Place of Light Literature in Some Gentlemen's Libraries of the 17th Century', in The Property of a Gentleman: The Formantion, Organisation and Dispersal of the Private Library 1620±1920, eds. Robin Myers and Michael Harris (Winchester: St Paul's Bibliographies, 1991): 113±31, p. 114; see also Birrell's `The Influence of Seventeenth-Cen- tury Publishers on the Presentation of English Literature', in Historical and Editorial Studies in Medieval and Early Modern English eds. Mary-Jo Arn and Hanneke Wirtjes (Groningen: Wolters-Noordhoff, 1985): 163±73, pp. 166±7. On playbooks in gentlemen's libraries, see also Heidi Brayman Hackel, ` ``Rowme of Its Own: Printed Drama in Early Libraries', A New History of Early English Drama eds. John D. Cox and David Scott Kastan (New York: Columbia Univesity Press, 1997): 113±30, p. 122; and Louis B. Wright, `The Reading of Plays during the Puritan Revolution', Huntington Library Bulletin 6 (1934): 73±108. Ralph Sheldon's library of over 500 playtexts included copies of Shakespeare's First Folio and Milton's Paradise Lost; other well-known collections include Thomas Mostyn and Sir Richard Newdigate (see Seymour 218 Notes

de Ricci, English Collectors of Books and Manuscripts, 1530±1930 (Cambridge: Cambridge University Press, 1930), pp. 180±1, 188±9), Harington and Oxen- den (see W. W. Greg, Bibliography of English Printed Drama (London, 1957): vol. 3, 1306 seq). On scholarly and sententious playreading see Marta Stra- zickny, `Closet Drama' in The Companion to Renaissance Drama, ed. Arthur F. Kinney (Oxford: Blackwell, 2002), pp. 416±30; and on gentlemen's libraries generally, see Kevin Sharpe, Reading Revolutions: The Politics of Reading in Early Modern England (London and New Haven: Yale University Press, 2000), pp. 68 and 309±18. On the physiology of reading light literature, see Adrian Johns, The Nature of the Book. Print and Knowledge in the Making (Chicago and London: University of Chicago Press, 1998), pp. 380±7. 38 Birrell, `Reading as Pastime', pp. 119±20and 122±5. 39 Birrell, `Reading as Pastime', p. 113. For studies of popular literature, see for instance Margaret Spufford's Small Books and Pleasant Histories: Popular Fiction and its Readership in Seventeenth Century England (1981; Cambridge: Cam- bridge University Press, 1985); and Tessa Watt, Cheap Print and Popular Piety, 1550±1640 (Cambridge: Cambridge University Press, 1991). 40John Taylor, Divers Crab-Tree Lectures (London, 1639), pp. 202±3. 41 Merrie Conceited Jests of George Peele (London, 1607; 1627 edn), p. 27. 42 Alexandra Halasz, The Marketplace of Print: Pamphlets and the Public Sphere in Early Modern England (Cambridge: Cambridge University Press, 1997), p. 11. 43 Stephen Orgel helpfully draws the distinction between print as reproduction and dissemination in `Marginal Maternity: Reading Lady Anne Clifford's Mirror for Magistrates', unpubl. paper presented to the Shakespeare Associ- ation of America Workshop on `Literacies / Identities in Early Modern Eng- land' (2001). 44 Stanley Wells and Gary Taylor with John Jowett and William Montgomery, William Shakespeare: The Complete Works. Original-Spelling Edition (Oxford: Clarendon Press, 1986), pp. 881±7, and idem., William Shakespeare: A Textual Companion (Oxford: Clarendon Press, 1987), pp. 449±60. 45 Moulton, Before Pornography, p. 35; see also Mary Hobbs (ed.), The Stoughton Manuscript. A Manuscript Miscellany of Poems by Henry King and his Circle, circa 1636 (Aldershot: Scolar Press, 1990), p. xiii. For studies of early modern manuscript culture and miscellanies see Introduction, n.24. 46 For a brief overview of extracts from Shakespeare's plays and poems in manuscript, see Peter Beal, Index of English literary Manuscripts. Volume 1, 1450±1625. Part 2 (London and New York: Mansell and R. R. Bowker, 1980), pp. 449±51, and on the plays' possible circulation in manuscript, see Richard Dutton, `The Birth of the Author' in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basing- stoke and New York: Macmillan Press and St. Martin's Press, 1997): 153±78, pp. 163±71. 47 My discussion of Cambridge University Library MS Mm.3.29 is indebted to Hilton Kelliher, `Unrecorded Extracts from Shakespeare, Sidney and Dyer', English Manuscript Studies 1100±1700 2 (1990): 163±87. The extract from Venus and Adonis contrasts with the plaintive tone of the verses from Sidney (a version of Song 11 from Astrophil and Stella, `Who is it that this Darcke nighte / vndernethe my windoue planinge') and Dyer copied by Colling; for transcriptions see Kelliher, `Unrecorded Extracts', pp. 171±5. Notes 219

48 Kelliher, `Unrecorded Extracts from Shakespeare, Sidney, and Dyer', pp. 169±70and 185, n.31. For a transcription of Colling's extract from Venus and Adonis, see Kelliher, `Unrecorded Extracts', p. 169. 49 Kelliher, `Unrecorded Extracts from Shakespeare, Sidney, and Dyer', pp. 165±6. 50Kelliher, `Unrecorded Extracts from Shakespeare, Sidney, and Dyer', pp. 165 and 179±82; see also Henry Woudhuysen, Sir Philip Sidney and the Circulation of Manuscripts 1558±1640 (Oxford: Clarendon Press, 1996), pp. 259±60. Kelli- her suggests that the 1580s±1590s poetical miscellany Bodleian Library MS Rawl. Poet 85 links Colling with Reshoulde (also at Cambridge) and Mills: it also includes poems by Sidney and Dyer, along with verse by Reshoulde, Mills, the Earl of Oxford, Ralegh, Breton, Lord Strange, and Queen Elizabeth (p. 181); see also Randall Anderson, ` ``The Merit of a Manuscript Poem'': The Case for Bodleian MS Rawlinson Poet. 85' in Arthur F. Marotti and Michael D. Bristol (eds.), Print, Manuscript, and Performance: The Changing Relations of the Media in Early Modern England (Columbus: Ohio State University Press, 2000): 172±98, p. 138. For a brief overview of manuscript circulation at the univer- sities, see Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 31±5. 51 On the `close connection found between lyric poetry and music', see Mary Hobbs, Early Seventeenth Century Verse Miscellanies (Aldershot: Scolar Press, 1992), pp. 93±5. 52 Arthur Marotti, `Folger Library MSS V.a.89 and V.a.345', in The Reader Revealed (forthcoming from the Folger Shakespeare Library); Peter Beal, ` ``Notions in Garrison'' ' in New Ways of Looking at Old Texts, ed. Speed-Hill, p. 144; see also Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 13±14 and 32±3. 53 Hobbs, Early Seventeenth-Century Verse Miscellany Manuscripts, pp. 120±2. 54 See John P. Cutts, ` ``Venus and Adonis'' in an Early Seventeenth-Century Song-Book', Notes and Queries 208 (August 1963): 302±3. 55 Bodleian MS Rawl. Poet 117 has two sets of page numbers running from the front and reverse of the volume. For the Basse epitaph, see fol. 16v; for aphorisms, see fols. 44±6 (reverse pagination); for psalms, see fols. 13±26v (reverse pagination); for Donne, see fol. 76v ff. (reverse pagination); for Love's Labours Lost, see fol. 5v (reverse pagination) and for Venus and Adonis, see fol. 4 (reverse pagination). 56 Bodleian MS Rawl. Poet 117, fol.4 (reverse pagination). Wasse's extract from Venus and Adonis perhaps represents a memorial reconstruction since all early modern quartos print the equivalent line as `Not gross to sink' (my italics); alternatively, Wasse may have deliberately emended the text in front of him. 57 Rosenbach Foundation MS 239/27, fol.166. A link between this miscellany and Bishop's (Rosenbach Foundation, MS 1083/16) has not yet been estab- lished, though it remains a distinct possibility. Rosenbach Foundation MS 239/27 also includes a version of Berowne's sonnet from Loves Labours Lost, `Take, o take those lips away' (fol.126) and lines on `Venus & Adonis' that echo the motifs of Shakespeare's poem and Constable's lyric (see chapter 1): `come sitt downe, downe, downe by mee', `Then in her armes she clipt the boy', `Yet still shee sooes him for a kisse', `she held him fast / And made him yeild to loue att last' (fol.111). 58 England's Parnassus (London, 1600), pp. 333±4. 220 Notes

59 Mary Thomas Crane, Framing Authority: Sayings, Self, and Society in Sixteenth- Century England (Princeton: Princeton University Press, 1993), pp. 3±4; see also Peter Beal, `Notions in garrison: the seventeenth-century commonplace book' in New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991, ed. W. Speed Hill (Binghamton, NY: Medieval and Renais- sance Texts and Studies, vol. 107, 1993): 131±47, p. 134; and G. K. Hunter, `The Marking of Sententiae in Elizabethan Printed Plays, Poems, and Roman- ces', The Library, 5th series, 6:3±4 (1951): 171±88. For further studies of commonplacing and commonplace books in early modern England, see Introduction, n.26. On the use of exempla, see Timothy Hampton, Writing from History: The Rhetoric of Exemplarity in Renaissance Literature (Ithaca and London: Cornell University Press, 1990), esp. pp. ix±xi and 1±30; and Alex- ander Gelley, Introduction to Unruly Examples: On the Rhetoric of Exemplarity ed. Alexander Gelley (Stanford: Stanford University Press, 1995): 1±24, esp. pp. 1±6. 60J. P. Collier (ed.), Seven English Poetical Miscellanies, printed between 1557 and 1602 (London: 1867), p. xii; Glatzer, The Parnassus Plays, p. 253. 61 See Crane, Framing Authority, p. 181. 62 D. E. L. Crane, Prefatory Note, England's Parnassus (London, 1600), Scolar Press Facsimile (Menston: Scolar Press Ltd, 1970). Belvedere was entered in the Stationers' Register on 11 August 1600, and England's Helicon on 4 August 1600; England's Parnassus was entered in the Stationers' Register on 2 October 1600. For a discussion of Belvedere in the context of the miscellany tradition see Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca and London: Cornell University Press, 1993), pp. 104±5 and 178. 63 England's Parnassus also includes several misattributions to Shakespeare; see Shakspere Allusion-Book, vol. 2, appendix B, pp. 474±7. 64 Catherine Belsey, `Love as Trompe-l'oeil: Taxonomies of Desire in Venus and Adonis', Shakespeare Quarterly 46 (Fall 1995): 257±76, repr. in Venus and Adonis: Critical Essays ed. Philip C. Kolin (New York: Garland, 1997): 261±85, pp. 277 and 272. 65 Contrary to Belsey's reading of love, lust and the citation of Venus and Adonis in Niccholes' tract, in Robert Burton's Anatomy of Melancholy (2nd edn, 1624) love is a destructive force. Discussing the predatory nature of love Burton cites Venus and Adonis ± `Were beauty under twenty lockes kept fast, / Yet Loue breakes through and pickes them all at last' (575±6) ± and in an analysis of sight as `the first step to this unruly' passion Burton cites as an example the moment `when Venus ranne out to meet her rose cheeked Adonis,asan elegant Poet of ours [noted as `Shakespeare' in the margin] sets her out, before quoting lines 871±4 from the poem; The Anatomy of Melancholy . . . The second edition, corrected and augmented by the Author (Oxford, 1624), Part 3. Sec 2. Mem 2. Subsec. 2, pp. 369 and 372 (misprint for p. 371, sig. Bbb3v). Burton's autographed copy of Venus and Adonis is now in the Bodleian Library, Bodl. Arch G.f.31; for Roberts Burton' library, see Nicolas K. Kiessling, The Library of Robert Burton (Oxford: The Oxford Bibliographical Society, n.s. XXII, 1988), p. 278, items 1468±9; and Heidi Brayman Hackel, ` ``Rowme'' of its own', pp. 120±1. Notes 221

66 The Shakespearean extracts from Belvedere are listed in Shakspere Allusion- Book, vol. 2, appendix D, pp. 489±518. On Belvedere see Mary Thomas Crane, Framing Authority, 183±7; Wendy Wall, The Imprint of Gender: Author- ship and Publication in the English Renaissance, pp. 104±5 and 178; Leishman, Three Parnassus Plays, 230±5n.; Paula Glatzer, The Parnassus Plays, pp. 252±5; and Charles Crawford, `Belvedere, or The Garden of the Muses', Englische StuÈdien 43 (1911): 198±228. 67 Crane, Framing Authority, pp. 167 and 170; see also pp. 4, 6, 34 and 185; Louis B. Wright, Middle-Class Culture in Elizabethan England (1935; Ithaca: Cornell University Press, 1958), pp. 148±50. 68 Crane, Framing Authority, pp. 6 and 185. Similarly, Jeffrey Masten argues that `post-Enlightenment paradigms of individuality, authorship, and textual property' do not apply to the early modern period with its emphasis upon collaborative authorship (Textual Intercourse: Collaboration, Authorship, and Sexualities (Cambridge: Cambridge University Press, 1997), p. 4. 69 Arthur Marotti, `Shakespeare's Sonnets as Literary Property', Soliciting Inter- pretation: Literary Theory and Seventeenth-Century English Poetry, eds. Elizabeth D. Harvey and Katharine Eisaman Maus (Chicago and London: University of Chicago Press, 1990): 143±73, p. 143; see also Brean S. Hammond, Profes- sional Imaginative Writing in England 1670±1740 (Oxford: Clarendon, 1997), pp. 19±35; and Neil Hathaway, `Compilatio: From Plagiarism to Compiling', Viator. Mediaeval and Renaissance Studies 20(1989): 19±44. Richard Barnfield's image `her teares began, / That (Chorus like) at euery word downe-rained', echoes Shakespeare's `tears, which chorus-like her eyes did rain' (360) in Cynthia; and the Legend of Cassandra (London, 1595), stanza 74 (cited in the Shakspere Allusion-Book, vol. 1, p. 19); Robert Baron deploys the line `When VENUS wold be's Parke, if he her Deere' in his description of a boar-hunt in Fortune's Tennis-Ball (p. 2) from Pocula Castalia. The Authors MOTTO. Fortunes Tennis-Ball, ELIZA, Poems, Epigrams, &c. By R. B. Gen. (London, 1650), a volume which borrows several images from Venus and Adonis and Lucrece (see Shakspere Allusion-Book, vol. 2, pp. 5±6) and shares the Ovidian motto that Shakespeare used to preface Venus and Adonis (`Vilia miretur vulgus: mihi flavus Apollo / Pocula Castalia plena ministret aqua'). 70 The Academy of Complements (London, 1640), sig. A7.

Chapter 3

1 Henry Willobie, Willobie his Avisa (London, 1594), sig. A4. Canto XLIIII of Willobie his Avisa refers to Willobie's `familiar friend W. S.', described as an `old player' in the `loving Comedy' of desire: while C. M. Ingleby conjectures that Willobie refers here to Shakespeare this cannot be confirmed with any certainty (Shakspere Allusion-Book, vol. 1, p. 13); see also Mark Rasmussen, `Shakespeare My Godfather: William Davenant and the ``Pre-Queer'' Bard', unpubl. paper. All references to Lucrece are to Shakespeare, The Poems, ed. John Roe (New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1992). 222 Notes

2 The Shakspere Allusion-Book includes four further tenuous allusions to Lucrece, all general in nature (vol. 1, pp. 14, 15, 96 and 125). 3 John Weever, `Ad Gulielmum Shakespeare', in Epigrammes in the oldest cut, and newest fashion (London, 1599); Richard Barnfield, `A Remembrance of some English Poets', Poems in Divers Humors (London, 1598), sig. E2v; Thomas Freeman, `To Master W. Shakespeare', epigram 92 in Runne, and a Great Cast. The Second Bowle (London, 1614), sig. K2v (cited in Shakspere Allusion-Book, vol. 1, pp. 24, 51 and 245). Another possible allusion to Shakespeare's Lucrece ± again paired with a reference to Venus and Adonis ± clearly points the finger of blame at Tarquin: `Tarquine laid a baite, / With foule incest [Lucrece's] bodie to defile' (John Lane, Tom Tel-Troths Message, and his Pens Complaint, 1600, p. 43; cited in Shakspere Allusion-Book, vol. 1, p. 71) 4 Richard Levin, `The Ironic Reading of ``The Rape of Lucrece'' and the Problem of External Evidence', Shakespeare Survey 34 (1981): 85±92, p. 90. Shakespeare's nine references to Lucrece in his plays stress her chastity and innocence ± perhaps above all in Titus Andronicus, where Demetrius claims `Lucrece was not more chaste / Than this Lavinia' (2.1.108±9) and Cymbeline, where Iachimo is reminded of the `chastity' Tarquin `wounded' when he intrudes into Imogen's bedchamber (2.2.12±14). However, I have some reser- vations with Levin's otherwise persuasive argument: he assumes that refer- ences to Lucrece collected in the Shakspere Allusion-Book necessarily refer to Shakespeare's poem (the collators of the Shakspere Allusion-Book are more circumspect) and that these references `constitute a representative sample' of contemporary responses to Shakespeare's poem (p. 90). 5 Debra Belt, `The Poetics of Hostile Response, 1575±1610', Criticism 33 (1991): 419±59. 6 John Kerrigan, `The Editor as Reader', in The Practice and Representation of Reading in England, eds. James Raven, Helen Small and Naomi Tadmor (Cam- bridge: Cambridge University Press, 1995): 102±24, p. 112; see also Eugene R. Kintgen, `Reconstructing Elizabethan Reading', Studies in English Literature, 30:1 (winter 1990), 1±18, esp. p. 13. 7 Augustine, The City of God, Book I, ch. 18; trans. John Healey (1610), ed. Ernest Barker (London: J. M. Dent, 1957), p. 23. 8 Augustine, The City of God, Book I, ch. 18, cited by Robin A. Bowers, `Iconog- raphy and Rhetoric in Lucrece', Shakespeare Survey 14 (1981): 1±21, p. 2. On the Augustinian controversy and Shakespeare's Lucrece, see for instance Ian Donaldson, The Rapes of Lucretia: A Myth and its Transformations (Oxford: Clarendon, 1982), pp. 21±39; Stephanie Jed, Chaste Thinking: The Rape of Lucretia and the Birth of Humanism (Bloomington and Indianapolis: Indiana University Press, 1989), pp. 3±4, 13, and 21±47; and Carolyn D. Williams, ` ``Silence, like a Lucrece knife'': Shakespeare and the Meanings of Rape', Yearbook of English Studies, 23 (1993): 93±110. 9 Don Cameron Allen, `Some Observations on The Rape of Lucrece', Shakespeare Survey 15 (1962): 89±98, p. 90. 10For an opposing view, see Katherine Duncan-Jones, Ungentle Shakespeare: Scenes from his Life (London: Arden Shakespeare, 2001), p. 75. 11 Robert Carew (trans.), Henri Estienne, A World of Wonders: Or An Introduction to a treatise touching the Conformitie of ancient and moderne wonders (London, 1607), pp. 100±1. Notes 223

12 Carew (trans.), A World of Wonders, pp. 101±2. The epigram's author is not identified but according to Don Cameron Allen it was the Vice-Chancellor of Altdorf (`Some Observations on The Rape of Lucrece', p. 90). 13 Folger MS V.a.162, fols.9±10. On associated composition see Mary Hobbs, Early Seventeenth-Century Verse Miscellany Manuscripts (Aldershot: Scolar Press, 1992), pp. 30±1. 14 N. N. (trans.), Jacques du Bosc, The Compleat Woman (1639), sigs. F1±F1v. 15 George Rivers, The Heroinae: or the Lives of Arria, Pauline, Lucrecia, Dido, Theutila, Cyprianan, Aretaphila (London, 1639), pp. 48±50. Rivers also borrows from Henry Carey's translation of Malvezzi's Romulus and Tarquin (London, 1637) when describing Collatine's address to the Roman populace at the Forum: `Romans, and Countrimen, this day presents to your wonder a fact of that height of [Tarquin's] impietie' (a speech, in turn, with echoes of Brutus' and Antony's speeches in Shakespeare's Julius Caesar, 3.2.13 and 75ff). 16 R[ichard]B[urton], pseud. Nathaniel Crouch, Female Excellency, or the Ladies Glory, Illustrated. In the worthy Lives and memorable Actions of Nine Famous Women, who have been renowned either for Virtue or Valour in several Ages of the world (London, 1688), pp. 73±8). Crouch also borrows from John Quarles' poem Tarquin Banished appended to the 1655 edition of Shakespeare's Rape of Lucrece and Henry Carey's Romulus and Tarquin (London, 1637). 17 Cavendish, Sociable Letters (1664), p. 110; Anon., The History of Tarquin and Lucretia (1669), p. 17; Aphra Behn, Seneca Unmasqued (London, 1685) repr. in The Pickering Masters: Works of Aphra Behn, ed. Janet Todd (London, 1993), vol. 4, p. 11. For Restoration treatments of Lucrece see my `Editing Sexuality, Narrative and Authorship: The Altered Texts of Shakespeare's Lucrece'in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke: Macmillan Press, 1997): 124±52, pp. 139±41. 18 Ian Donaldson, The Rapes of Lucretia, pp. 40±1. For opposing views emphasis- ing Shakespeare's presentation of Lucrece as virtuous see for instance Colin Burrow, `Life and Work in Shakespeare's Poems', Chatterton Lecture on Poetry, Proceedings of the British Academy 97 (publ. 1998): 15±50, p. 32; and Philippa Berry, `Woman, language, and history in The Rape of Lucrece', Shake- speare Survey 44 (1991): 33±9, p. 38. On the representation of reading in Lucrece, see Wendy Wall, `Reading for the Blot: Textual Desire in Early Modern English Literature', in David M. Bergeron (ed.), Reading and Writing in Shakespeare (Newark: University of Delaware Press / London: Associated University Press, 1996): 131±59, p. 137. 19 Coppelia Kahn, `The Rape in Shakespeare's Lucrece', Shakespeare Studies 9 (1976): 53±7, p. 45; for feminist readings of Lucrece see also Eve Rachele Sanders, Gender and Literacy on Stage in Early Modern England (Cambridge: Cambridge University Press, 1998), pp. 138±40; Nancy Vickers, ` ``The blazon of sweet beauty's best'': Shakespeare's Lucrece', in Shakespeare and the Question of Theory, eds. Patricia Parker and Geoffrey Hartman (London: Methuen, 1985): 95±115, p. 112; Helen Dubrow, Captive Victors: Shakespeare's Narrative Poems and Sonnets (Ithaca, NY and London: Cornell University Press, 1987), p. 90; Wendy Wall, The Imprint of Gender (Ithaca and London: Cornell University Press, 1993), pp. 214±20; and Mercedes Maroto Camino, `The Stage Am I': Raping Lucrece in Early Modern England (Salzburg / Lewiston, NY: Edwin Mellen Press, 1995), pp. 38±49 and 57. 224 Notes

20 Lucrece (1594), British Library copy, G.11178, sig. E1v. Another piece of marginalia in a seventeenth-century secretary hand on the final page of a Q1 copy of Lucrece autographed (in italic) by one `J. Berense' reads `wth out offence / leaue / give and / fa fayre my fayre nymph' (Bodleian Arch. G.e.32, sig. N1v). 21 Thomas Heywood, The Rape of Lucrece (London, 1608), British Library copy, C.34.h.44, back flyleaf. 22 Walter J. Ong, Orality and Literacy: The Technologizing of the Word (1982; London: Routledge, 1993), p. 121. 23 Likewise when Lucrece questions her innocence the use of italics in Q6 emphasises the contrast between action and intent, body and mind: `May my pure mind with the foule act dispence' (Line 1704). Both F. T. Prince, the Arden 2 editor of Lucrece, and John Roe, the New Cambridge editor, argue that these variant readings were made with the serious intention of `improv- ing' the poem; thus Prince points out that most of the new readings in Q6 were adopted by seventeenth- and eighteenth-century editors `precisely be- cause they had been introduced for their ``correctness''. A conscious ideal can be seen at work' (F. T. Prince (ed.), The Poems (1960; London: Routledge, 1988), p. xix; John Roe (ed.), The Poems, p. 292). 24 For Jackson's acquisition of Lucrece, see Edward Arber (ed.), A Transcript of the Registers of the Company of Stationers of London, 1554±1640, 5 vols. (London: privately printed, 1875±94), vol. 3, p. 542. For collations and a survey of early modern editions of Lucrece, see Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems, pp. 117ff and 406±13; John Roe (ed.), The Poems, pp. 289±92; and F. T. Prince (ed.), The Poems, pp. xvi±xx. 25 See Paul Morgan, `Frances Wolfreston and ``Hor Bouks'': a seventeenth-cen- tury woman book-collector', The Library, 6th series, XI: 3 (September 1989), pp. 207 and 217. 26 Gerald Langbaine cited in Shakspere Allusion-Book, vol. 2, p. 379. The `revised' Rape of Lucrece continued to be used as a copytext in the eighteenth century; in the 1709 Collection of Poems, Viz. I. VENUS and ADONIS. II. The Rape of LUCRECE. III. The Passionate Pilgrim. IV. Sonnets to Sundry Notes of Musick. By Mr. William Shakespeare published by Bernard Lintott, for instance, the 1632 quarto was used (sig. E3ff). 27 William Slights, `The Edifying Margins of Renaissance English Books', Renais- sance Quarterly, XLII: 4 (Winter 1989): 682±716, pp. 683 and 697±8. 28 Evelyn B. Tribble, Margins and Marginality: The Printed Page in Early Modern England (Charlottesville and London: University Press of Virginia, 1993), p. 2. See also Lawrence Lipking, `The Marginal Gloss', Critical Inquiry 3 (1977): 609±55; William W. E. Slights, ` ``Marginall notes that spoile the text'' scrip- tural annotation in the English Renaissance', Huntington Library Quarterly 55:2 (1992): 255±78; and Robert Darnton, The Kiss of Lamourette. Reflections in Cultural History (London: Faber and Faber, 1990), pp. 177±9 and 182±5. 29 On the use of initial capitals `for words which have a special significance in their context', see G. L. Brook, The Language of Shakespeare (London: Deutsch, 1976), p. 159; and N. E. Osselton, `Spelling-Book Rules and the Capitalization of Nouns in the Seventeenth and Eighteenth Centuries', in Historical and Editorial Studies in Medieval and Early Modern English, eds. Mary-Jo Arn and Hanneke Wirtjes (Groningen: Wolters-Noordhoff, 1985): 49±61. Notes 225

30Bodleain Arch. G.d.41, sigs. B2, I4, K1v, F3, G2, and G3. Other plot headings obscured by cropping appear on sigs. G4 and L2v; the annotator also noted the setting of the poem (Ardea) against its opening lines. 31 As Peter Lindenbaum has shown in the case of Sidney's Arcadia, early readers can be found both following and resisting `the directions of their paratextual guides' (Peter Lindenbaum, `Sidney's Arcadia as Cultural Monument and Proto-Novel' in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1997): 80±94, pp. 85ff. 32 For a transcript of Quarles' poem, see Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems, pp. 439ff. 33 One of the few examples I have found of revisions to the editorial apparatus of narrative poetry is Samuel Daniel's Poeticall Essayes . . . Newly corrected and augmented (London: P. Short for Simon Waterson, 1599), incorporating mar- ginal notes to The Civill Wars to indicate historical individuals mentioned in the text. For studies of the editorial treatment of narrative poetry and prose see for instance Simon Caughi `The ``setting foorth'' of Harington's Ariosto', Studies in Bibliography, XXXVI (1983): 137±68, and Adrian Weiss, `Shared printing, printer's copy, and the text(s) of Gascoigne's A Hundreth Sundrie Flowres'in Studies in Bibliography, XLV (1992): 71±104. 34 Lorna Hutson, `Fortunate Travelers: Reading for Plot in Sixteenth-Century England', Representations 41 (1993): 83±103. 35 On the social currency of typefaces, see Peter Blayney, `The Publication of Playbooks' in A New History of Early English Drama, eds. John D. Cox and David Scott Kastan (New York: Columbia University Press, 1997): 383±422, p. 414; Arthur Marotti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995), pp. 283±5, and D. F. McKenzie, `Typography and Meaning: the Case of Congreve', in The Book and the Book Trade in Eighteenth-Century Europe (Wolfenbutteler Schriften zur Geschichte des Buchwessens), eds. G. Barber and B. Fabian (Hamburg: Hauswe- dell, 1981): 81±125. 36 Roe (ed.), The Poems, p. 291; Prince (ed.), The Poems, p. xvii. On Thomas Snodham, see Ronald B. McKerrow, A Dictionary of Printers and Booksellers in England, Scotland and Ireland, and of Foreign Printers of English Books, 1557±1640 (London: Bibliographical Society, 1910), pp. 250±1; and Edward Arber (ed.), A Transcript of the Registers of the Company of Stationers of London, 1554±1640, 5 vols (London: privately printed, 1875±94), vol. 3, pp. 413 and 465. 37 Blayney, `The Publication of Playbooks', p. 391; T. A. Birrell, `The Influence of Seventeenth-Century Publishers on the Presentation of English Literature', in Historical and Editorial Studies in Medieval and Early Modern English eds. Mary- Jo Arn and Hanneke Wirtjes (Groningen: Wolters-Noordhoff, 1985): 163±73, p. 163. 38 Harry Farr, `Notes on Shakespeare's Printers and Publishers', The Library, 4th series, 3:4 (March 1923): 225±60, p. 248; McKerrow, Dictionary of Printers and Booksellers, p. 151; see also Arber (ed.), A Transcript of the Registers of the Company of Stationers, vol. 2, p. 648, vol. 3, p. 542, vol. 4, pp. 111±12 and 149. Jackson's literary output included Ariosto's A President for Satirists (London, 1608), Greene's Ghost Haunting Cunny Catchers (London, 1602), 226 Notes

Francis Davison's Poemes or a Poeticall Rapsodye (London, 1623), Arthur Saul's The Famous Game of Chesse-play (1614), and Nicholas Breton's Fantastiques (London, 1626). 39 Markham, The English Hus-wife; `To the Reader'. For other examples of editorial apparatus in Jackson's publications, see Gervase Markham's Cheape and Good Husbandry ((London, 1615), Thomas Snodham for Roger Jackson, 1614), The English Hus-wife (John Beale for Roger Jackson, 1615), Markham's Methode or Epitome (Thomas Snodham for Roger Jackson, 1616), and the 1609 edition of Dod and Cleaver's A Plaine and Familiar Exposition of the Thirteenth and Four- teenth Chapters of the Proverbs of Salomon (R. B. for Roger Jackson). Robert Greene's Ghost Hunting Conie-Catchers (London: I. North for Roger Jackson, 1602) is rare among Jackson's publications in employing the bare minimum of editorial apparatus. 40See H. S. Bennett, English Books and Readers 1603±1640 (Cambridge: Cam- bridge University Press, 1970). On the `stigma of print', see J. W. Saunders, `The Stigma of Print: A Note on the Social Bases of Tudor Poetry', Essays in Criticism 1 (1951): 139±63, and Henry Woudhuysen's critique in Sir Philip Sidney and the Circulation of Manuscripts 1558±1640 (Oxford: Clarendon Press, 1996), p. 14. 41 Marotti, Manuscript, Print, and the English Renaissance Lyric, p. 210. 42 On single-authored volumes of poetry in the seventeenth century see Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 211ff and 247±65; Paulina Kewes, ` ``Give me the social pocket-books . . .'': Humphrey Moseley's serial publication of octavo play collections', Publishing History 38 (1995): 5±21, p. 6; Leah S. Marcus, Unediting The Renaissance: Shakespeare, Marlowe, Milton (London and New York: Routledge, 1996), pp. 178ff; and Jeffrey Masten, Textual Intercourse: Collaboration, Authorship, and Sexual- ities in Renaissance Drama (Cambridge: Cambridge University Press, 1997), pp. 123±5 and 139. On the formative role of the stationer/`publisher' in the production of literature in the period (especially Moseley), see also Harold Love, Scribal Publication in Seventeenth-Century England (Oxford: Clarendon Press, 1993), pp. 35±41; Elizabeth L Eisenstein, The Printing Revolution in Early Modern Europe (1983; Cambridge University Press, 1990), p. 100; Peter Lindenbaum, `Milton's Contract', Cardozo Arts and Entertain- ment Law Journal, vol. X, no. 2 (1992), p. 451; and Warren Chernaik, `Books as Memorials: The Politics of Consolation', The Yearbook of English Sutides: Politics and Literature in England 1558±1658, Special Number, Vol. XXI (1991): 207±16. More widely, Kewes argues in ` ``Give me the social pocket- books . . .'' ' thats Moseley' series of playtexts appealed to a Royalist read- ing public; similarly Arthur Marotti contends that `in the midst of the austere Commonwealth/Protectorate period, Moseley served to preserve the courtly and Royalist aesthetic' (Manuscript, Print, and the English Renais- sance Lyric, pp. 259±65 and 267±81); see also Thomas N. Corns, Uncloistered Virtue: English Political Literature, 1640±1660 (Oxford: Clarendon Press, 1992), p. 61. 43 On the development of the early modern titlepage see Eleanor F. Shevlin, ` ``To reconcile book and title, and make 'em kin to one another'': the evolution of the title's contractual functions', Book History 2:1 (1999): 42±77; on title-pages, the increasing importance of the author's name, Notes 227

and the development of editorial apparatus in quarto playtexts, see Jeffrey Masten, Textual Intercourse: Collaboration, Authorship, and Sexualities, pp. 113±17; and David Scott Kastan, Shakespeare and the Book (Cambridge: Cambridge University Press, 2001), pp. 31±44. 44 Kewes, ` ``Give me the social pocket-books . . .'', pp. 10±11; see also Jeffrey Masten, Textual Intercourse, pp. 123±5; Gary Spear, `Reading before the lines: typography, iconograpy, and the author in Milton's 1645 frontispiece', in New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill (Binghamton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 187±97, pp. 187±8. On the frontispiece portrait as a means of venerating the author see Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 240and 273±6; Marcus, Unediting The Renaissance, pp. 198±201; and Kevin Pask, The Emergence of the English Author: Scripting the Life of the Poet in Early Modern England (Cambridge: Cambridge University Press, 1996), pp. 115±20; on the construction of Shakespeare's authorship see also Peter Stallybrass, `Shakespeare, the Individual, and the Text', in Cultural Studies, eds. Lawrence Grossberg, Cary Nelson and Paula Treicher (London: Routledge, 1992): 593±612. 45 Colin Burrow, `Lucrece: the Politics of Reading', unpubl. paper presented at the Institute of English Studies (London) conference on `Shakespeare's Nar- rative Poems' (2000). 46 John Streater, A Glympse of that Jewel, Judicial, Just Preserving Libertie (1653), p. 9, cited by Nigel Smith, Literature and Revolution (London and New Haven: Yale University Press, 1994), p. 197; Steven Zwicker, `Reading the Margins: Politics and the Habits of Appropriation' in Kevin Sharpe and Steven Zwicker (eds.), Refiguring Revolutions: Aesthetic and Politics from the English Revolution to the Romantic Revolution (Berkeley: University of California N Press, 1998): 101±15, p. 102; see also p. 108. 47 Robert Filmer, Observations Upon Aristotle's Politiques (London, 1652), cited by Smith, Literature and Revolution in England 1640±1660, p. 109. 48 See Smith, Literature and Revolution, p. 244; see also p. 256. 49 Burrow, `Lucrece: the Politics of Reading'. Similarly, Heather Dubrow argues that Shakespeare's Lucrece `complicates and criticizes not only the ethical values raised by other complaints but also the ethical response they so often adduce, pious sententiae'; in `A Mirror for Complaints: Shakespeare's Lucrece and Generic Tradition', Renaissance Genres, eds. Barbara Lewalski (London: Harvard University Press, 1986): 399±417, p. 413. On Lucrece as an exemplar, see A. D. Cousins, `Subjectivity, Exemplarity, and the Establish- ing of Characterization in Lucrece', Studies in English Literature 1500±1800 38 (1998): 45±60, esp. pp. 49 and 58±9. 50G. K. Hunter, `The Marking of Sententiae in Elizabethan Printed Plays, Poems, and Romances', The Library series 5, vol. 6: 3±4 (1951): 171±88, pp. 172 and 175; see also pp. 180±1. Hunter also identifies the 1638 edition of Thomas Heywood's The Rape of Lucrece, the 1600 edition of Middleton's The Ghost of Lucrece, the 1603 and 1604 quartos of Hamlet, The famous historie of Troylus and Cressida (1609) and the Shakespeare First Folio as texts that contain gnomic pointing. More widely Hunter suggests that sententiae are marked (either by opening commas and inverted commas, typeface, asterisks, or hands in the margin) in literary works that seek academic virtues and/or 228 Notes

aspire to serious consideration: tragedies, classical translations, historical- narrative poems, mythological-narrative poems, philosophical poems and satires ± rather than comedies, romances or sonnet-sequences (p. 175). While acknowledging that his findings are `bound to be affected by personal bias' (p. 172), reading punctuation and typography as gnomic pointing has, potentially, far-reaching consequences for editors of early modern texts and warrants further research. 51 England's Parnassus: or the choyset Flowers of our Modern Poets, with their Poeti- call Comparisons (London, 1600), pp. 431±2. The compiler of England's Par- nassus is not averse to making the odd alteration to the Shakespearean text: here the compiler alters Shakespeare's phrase `death reproach's debtor' (1155) to `deaths reproches better'. 52 John Bodenham, Bel-uedere or The Garden of the Muses. Quem referent Muse uinet dum robora tellus. / Dum caelum stellas, dum uehet amnie aquae (London, 1600), sig. A3v. 53 England's Parnassus, pp. 311, 125, 279, 155 and 246; Belvedere, pp. 158, 205, 142±3 and 59. 54 For studies of early modern commonplacing, see Introduction, n.26. 55 W. B., The Philosophers Banqvet. Newly Furnished and Decked forth with much variety of many seuerall Dishes, that in the former Seruice were neglected (London, 1614). In addition the Player Queen's speech in Hamlet is cited as a model for `good Widdowes' (p. 150). The Shakspere Allusion-Book notes that The Philoso- phers Banqvet is based on Mensa Philosophica, seu Enchiridion . . . Lipsiae (London, 1603), attributed to Michael Scoto, but in fact by Anguilbertus and edited by N. Steinius, where the Shakespeare quotation does not appear. 56 W. B., The Philosopher's Banquet, p. 103. 57 For Shakespeare's poems in Robert Burton's library, see Nicolas K. Kiessling, The Library of Robert Burton (Oxford: The Oxford Bibliographical Society, n.s. XXII, 1988), p. 278, items 1468±9. For a brief account of Burton's deployment of literary texts in The Anatomy of Melancholy, see Hans Jordan Gottlieb, Robert Burton's Knowledge of English Poetry (New York: Graduate School of New York University, 1937), pp. 14±15. 58 Robert Burton, The Anatomy of Melancholy. . . . The second edition, corrected and augmented by the Author (Oxford, 1624): pp. 37 and 39. 59 Burton, The Anatomy of Melancholy (1624), p. 39. The extract from Lucrece is followed by a Latin quotation: `Velotius & citius nos / Corrumpunt uitiorum exempla domestica, magnis / Cum subeant animos authoribus'. 60Burton, The Anatomy of Melancholy (1624), Part 1. Sect 4. Memb 1. Subsect 1, p. 186. 61 Burton, The Anatomy of Melancholy (1624), Part 2. Sect 3. Memb 1. Subsec 1, p. 255. 62 Bodleian Rawl. poet. D. 954, fols. 4±15 and 17. Abbott does, however, com- monplace some miscellanous verses on `Loues Conceit' (fols. 47±52). 63 Abbott also transcribes a couplet from Loves Labours Lost in the volume ± `ffat Panches make leane pates, & dainty bitts / Make rich ye Ribs, but bankrupt quite ye witts' (2.1.26±7; Bodleian Rawl. poet. D. 954, fol. 44v). 64 Robert Baron, Pocula Castalia. The Authors MOTTO. Fortunes Tennis-Ball, ELIZA, Poems, Epigrams, &c. By R. B. Gen. OVID. Vilia miretur ulgus, mihi flavus Apollo, / POCULA CASTALIA plena ministret aqua (London, 1650), p. 50. Notes 229

65 Kerrigan, `The Editor as Reader', p. 117. 66 Sir John Suckling, Fragmenta Aurea. A Collection of all the Incomparable Peeces, written by Sir John Svckling. And published by a Friend to perpetuate his memory. Printed by his owne Copies. (London: Humphrey Moseley, 1646), pp. 29±30. Suckling was evidently intrigued by the Lucrece legend, praising Lord Lepin- ton `upon his translation of Malvezzi his Romulus and Tarquin'(Fragmenta Aurea, pp. 18±19). 67 Thomas Clayton (ed.), Sir John Suckling: The Non-Dramatic Works (Oxford: Clarendon Press, 1971), p. 228. The extract from Lucrece as it appears in Englands Parnassus (pp. 396±7) has no stanza divisions, but otherwise remains fairly close to the text of Q1, 386±413. 68 Gerard Langbaine, An Account of the English Dramatick Poets (Oxford, 1691), vol. 2, pp. 467±8; also cited in Shakspere Allusion-Book, vol. 2, p. 372.

Chapter 4

1 Helen Vendler, The Art of Shakespeare's Sonnets (1991; London and Cam- bridge, MA: Belknap Press of Harvard University Press, 1999), pp. xiii and 2. 2 Vendler, The Art of Shakespeare's Sonnets, pp. 13 and 40n.5. As Colin Burrow suggests, `the success of the Sonnets, depends on its refusal to offer sufficient grounds for applying it to any one circumstance' (`Life and Work in Shake- speare's Poems', Chatterton Lecture on Poetry, Proceedings of the British Acad- emy 97 (publ 1998): 15±50, pp. 46±7. 3 Roger Chartier, `Laborers and Voyagers: from the Text to the Reader', Diacrit- ics 22:2 (summer 1992): 49±61, p. 50. 4 Stephen Booth (ed.), Shake-speare's Sonnets (New Haven: Yale University Press, 1977), p. ix; John Kerrigan (ed.), Shakespeare, The Sonnets and A Lover's Complaint (Harmondsworth and New York: Penguin Books, 1986), p. 14. For a survey of editions of A Lover's Complaint see Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems (Philadelphia and London: J. B. Lippincott Company, 1938), pp. 584±5. 5 Daniel, Delia and Rosamond augmented. Cleopatra. By Samuel Daniel (1594) sig. E7. On the continuities between Daniel's Delia and the 1609 quarto of Shakespeare's Sonnets and A Lover's Complaint, see Kerrigan (ed.), The Sonnets and A Lover's Complaint, pp. 13±15; Katherine Duncan-Jones (ed.), Shake- speare, The Sonnets and A Lover's Complaint (Arden Shakespeare, London: Thomas Nelson, 1999), p. 89; Ilona Bell, Elizabethan Women and the Poetry of Courtship (Cambridge: Cambridge University Press, 1998), p. 147; and Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca and London: Cornell University Press, 1993), esp. pp. 250±60. Other volumes that follow a tripartite structure include Giles Fletcher the Elder's Licia (1593) and Richard Linche's Diella (1596); John Kerrigan also locates Spenser's Amoretti and Epithalamion in the trad- ition of the `tripartite Delian structure' (The Sonnets and A Lover's Complaint, p. 13). 6 See Katherine Duncan-Jones (ed.), Shakespeare's Sonnets, p. 91, and Kerrigan (ed.), The Sonnets and A Lover's Complaint, pp. 13±14. For verbal echoes of Venus and Adonis and Lucrece in Barnfield's Cynthia and the Legend 230 Notes

of Cassandra (1595), see The Shakspere Allusion-Book: A Collection of Allusions to Shakspere from 1591 to 1700 (eds.) C. M. Ingleby, L. Toulmin Smith and F. J. Furnivall (London: Oxford University Press, 1932), 2 vols., vol. 1, p. 19. 7 On verbal echoes between the sonnets and A Lover's Complaint, see Katherine Duncan-Jones (ed.), Shakespeare's Sonnets, pp. 92±4. 8 John Roe (ed.), Shakespeare, The Poems (Cambridge: Cambridge University Press, 1992), p. 63; see also Katherine Duncan-Jones, `Was the 1609 Sonnets really unauthorized?', RES n.s. 34: 134 (May 1983): 151±71, p. 170. 9 Mark Rasmussen, `Petrarchan Narrative in A Lover's Complaint', unpubl. paper given at the conference `Shakespeare's Narrative Poems', Institute of English Studies 2000. 10British Library C.39.a.37. Although the binding is modern the collection has the appearance of being original with manuscript notes on the front and back flyleaves that frame the printed texts; Arthur Marotti assumes the volume is integral in Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995), p. 328. For a useful survey of printed poetical miscellanies in the period, see Arthur E. Case, A Bibliography of English Poetical Miscellanies 1521±1750 (Oxford: Oxford University Press for the Bibliographical Society, 1935), and J. P. Collier (ed.), Seven English Poetical Miscellanies, printed between 1557 and 1602 (London: 1867). 11 Duncan-Jones (ed.), Shakespeare's Sonnets, p. 92; Ilona Bell, ` ``That which thou hast done'': Shakespeare's Sonnets and A Lover's Complaint', in Shake- speare's Sonnets: Critical Essays ed. James Schiffer (New York: Garland Publish- ing, 2000): 455±74, p. 471. 12 Duncan-Jones (ed.), Shakespeare's Sonnets, pp. 49±50; see also p. 6. 13 On the category of the female complaint as a patriarchal construct, see John Kerrigan, Motives of Woe: Shakespeare and `Female Complaint'. A Critical Anthol- ogy (Oxford: Clarendon Press, 1991), pp. 43±4. 14 Ilona Bell, ` ``That which thou hast done'': Shakespeare's Sonnets and A Lover's Complaint', p. 469. 15 Margareta De Grazia, `The Scandal of Shakespeare's Sonnets', Shakespeare Survey 46 (1994): 35±49, p. 48; repr. in Shakespeare's Sonnets: Critical Essays, ed. James Schiffer: 89±112. 16 Ilona Bell, ` ``That which thou hast done'', pp. 465±7. 17 As Colin Burrows suggests, the use of mysterious initials is `how erotic fictions make themselves spicily real in the period' (`Life and Work in Shake- speare's Poems', p. 39). 18 In one rare convincing case of a contemporary writer drawing directly from A Lover's Complaint, William Drummond (who owned no less than five Shake- speare quartos) borrows wholesale Shakespeare's image of the female com- plainant `Laund'ring the silken figures[of her napkin] in the brine' (17) in his sonnet on a lover weeping into a `Gift miserable' of an embroidered napkin: `I laundre thy fair Figures in this Brine' (Poems (1616), sig. H3v; see also Shakspere Allusion-Book, vol. 1, pp. 164 and 261; and Robert H Macdonald (ed.), The Library of Drummond of Hawthornden (Edinburgh: Edinburgh Uni- versity Press, 1971), p. 200). 19 Duncan-Jones, Shakespeare's Sonnets, p. 95; see also Bell, ` ``That which thou hast done'' ', p. 470. Notes 231

20Duncan-Jones, `Was the 1609 Shake-Speares Sonnets really unauthorized?', pp. 154±5 and 167±9. 21 Colin Burrow, `Life and Work in Shakespeare's Poems', pp. 48±50. 22 I am following Peter Blayney's estimate of average print runs and typical costs of playbook quartos in `The Publication of Playbooks', A New History of Early English Drama, eds. David Scott Kastan and John Cox (New York: Columbia University Press, 1999): 383±422, pp. 412 and note 62. 23 George Steevens first reprinted the 1609 Sonnets in a collection of early quartos in 1766 but, as Margreta de Grazia notes, `refused to edit them for his 1793 edition of Shakespeare's complete works' on the grounds of their literary defects; Malone edited the Sonnets in 1780and included them in the Shakespearean canon proper in his 1790edition of Shakespeare's Plays and Poems (`The Scandal of Shakespere's Sonnets', p. 37). For a survey of editions of The Passionate Pilgrim see Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems, pp. 524±38. 24 Arthur Marotti discusses the different versions of sonnets 138 and 144 in The Passionate Pilgrim as memorial reconstructions in `Shakespeare's Sonnets as Literary Property', in Soliciting Interpretation: Literary Theory and Seventeenth- Century English Poetry (Chicago and London: University of Chicago Press, 1990): 143±73, pp. 151±2. Poems 3, 5 and 16 of The Passionate Pilgrim are taken from Loves Labours Lost, 4.3.58±71, 4.2.105±18, and 4.3.99±118. John Roe argues that Bartholomew Griffith is the likely author of three sonnets on Venus and Adonis in the volume (poems 6, 7 and 9), despite the stylistic differences between them (p. 246), while Stanley Wells and Gary Taylor include poems 4, 6 and 9, along with 7, 10, 12±15 and 18 as possible Shakespearean works in William Shakespeare: The Complete Works. Original- Spelling Edition, eds. Stanley Wells and Gary Taylor with John Jowett and William Montgomery (Oxford: Clarendon Press, 1986), pp. 884±6. On The Passionate Pilgrim in the context of poetical miscellanies see Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca and London: Cornell University Press, 1993), pp. 98±100. The final five poems of the volume follow an internal titlepage headed `Sonnets to sundry notes of music'. 25 See, for instance, Bruce Smith, Homosexual Desire in Shakespeare's England: A Cultural Poetics (Ithaca and London: Cornell University Press, 1991), pp. 101±4. 26 Thomas Heywood, `To my approued good Friend, Mr. Nicholas Okes', An Apology for Actors. Containing three breife Treatises. 1 Their Antiquity. 2 Their ancient Dignity. 3 The true use of their quality. Written by Thomas Heywood (London, 1612), sig. G4; see also Marotti, `Shakespeare's Sonnets as Literary Property', p. 153, and Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems, pp. 533±8. 27 Adrian Johns, The Nature of the Book. Print and Knowledge in the Making (Chicago and London: University of Chicago Press, 1998), pp. 162, 371 and 446. While Mark Rose argues that `genuinely' unauthorised publication was rare (Authors and Owners. The Invention of Copyright (London and Cambridge, MA: Harvard University Press, 1993, pp. 20±1), Johns contends that piracy was `embedded' in the book trade, `both prosperous and poor Stationers alike finding it useful' (The Nature of the Book, pp. 161 and 168). Crucially, Johns' 232 Notes

analysis is focused less on questions of authorship than on stationers `pirat- ing' from each other. For an overview of developing notions of literary property in the seventeenth century and the Statute of Anne of 1710in which the principle of copyright was enshrined in law see Adrian Johns, The Nature of the Book, esp. pp. 161±77, 187±9, 215, 234, 353, 454 and 620; Mark Rose, Authors and Owners, pp. 12±23 and 36±48; and Peter Lindenbaum, `Authors and Publishers in the Late Seventeenth Century: New Evidence on their Relations', The Library, ser.6, vol. 17: 250±69, esp. pp. 260±1. Peter Blayney takes issue with the assumption that playtexts and literature more widely would have made piratical stationers a quick profit in `The Publication of Playbooks' in A New History of Early English Drama eds. John D. Cox and David Scott Kastan (New York: Columbia University Press, 1997): 383±422. 28 On the publishing practices of William and Isaac Jaggard and the revision of the title-page of the third edition of The Passionate Pilgrim in the light of Heywood's complaint see David Scott Kastan, Shakespeare and the Book (Cam- bridge: Cambridge University Press, 2001), pp. 55±61; Marotti, `Shakespeare's Sonnets as Literary Property', p. 153; Stanley Wells and Gary Taylor with John Jowett and William Montgomery, William Shakespeare: The Complete Works. Original-Spelling Edition (Oxford: Clarendon Press, 1986), p. 881, and Ernest A. J. Honigmann, Shakespeare's Impact on His Contemporaries (London: Mac- millan, 1982), p. 28. 29 Critical accounts of Benson's Peoms have often relied on H. E. Rollins' description of the volume in A New Variorum Edition of Shakespeare. The Sonnets. Vol. 2 (Philadelphia and London: J. B. Lippincott Company, 1944); see esp. pp. 18±41 and 113±16, and idem., A New Variorum Edition of Shakespeare. The Poems (Philadelphia and London: J. B. Lippincott Company, 1938), pp. 604±9. For recent studies of Benson's Poems, see Arthur Marotti, `Shakespeare's Sonnets as Literary Property' in Soliciting Interpretation: Literary Theory and Seventeenth- Century English Poetry, eds. Elizabeth D. Harvey and Katharine Eisaman Maus (Chicago: Chicago University Press, 1990): 143±73; Margreta de Grazia, `The Scandal of Shakespeare's Sonnets', and Shakespeare Verbatim: The Reproduction of Authenticity and the 1790 Apparatus (Oxford: Clarendon Press, 1991), pp. 49 (n.1), and 163±73; Paul Hammond, `Friends or Lovers? Sensitivity to Homo- sexual Implications in Adaptations of Shakespeare, 1640±1701' in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basingstoke and New York: Macmillan Press and St. Martin's Press, 1997): 225±47, pp. 228±33; Leah S. Marcus, Unediting The Renaissance: Shakespeare, Marlowe, Milton (London and New York: Routledge, 1996), pp. 201±4; and Josephine Waters Bennett, `Benson's Alleged Piracy of Shake- speares Sonnets and of some of Jonson's works', Studies in Bibliography 21 (1968): 235±48. 30Cowley cited by Marotti, Manuscript, Print and the English Renaissance Lyric, pp. 263±4. 31 See Mary Hobbs, Early Seventeenth-Century Verse Miscellany Manuscripts (Alder- shot: Scolar Press, 1992), p. 98. 32 Benson, `To the Reader', Poems: Written by Wil. Shake-Speare Gent. (1640), sigs.2±2v. 33 For the use of Benson's edition of Jonson as a copytext see for instance William B. Hunter (ed.), The Complete Poetry of Ben Jonson Notes 233

(New York: New York University Press, 1963), The Stuart Editions series, p. 274, fn. 1. 34 Benson, `To the Reader', The Poems, sigs.2±2v. Similarly, Blaikelocke claims that the reader of Carew's Poems will find `such gentle straines as shall recreate and not perplexe y[ou]r braine, no intricate or cloudy stuffe to puzzell the intellect, but perfect eloquence' (cited by Mary Hobbs, Early Seventeenth-Century Verse Miscellany Manuscripts (Aldershot: Scolar Press, 1992), p. 98). 35 Marotti, `The Sonnets as Literary Property', p. 161. 36 Paul Hammond, `Friends or Lovers? Sensitivity to Homosexual Implications in Adaptations of Shakespeare, 1640±1701', in Texts and Cultural Change in Early Modern England, eds. Cedric C. Brown and Arthur F. Marotti (Basing- stoke and New York: Macmillan Press and St. Martin's Press, 1997): 225±47, pp. 228±9; see also Margreta De Grazia, `Locating and Dislocating the ``I'' of Shakespeare's Sonnets', in William Shakespeare: His World, His Work, His Influ- ence ed. John F. Andrews, 3 vols (New York: Charles Scribner's Sons, 1985), vol. 3, p. 441. 37 Smith, Homosexuality in Shakespeare's England, p. 270. 38 De Grazia, `The Scandal of Shakespeare's Sonnets', p. 36. 39 The eight poems that follow `True Admiration' equate to sonnets 53±4, 57±8, 59, 1±3, 13±15, 16±17, 7, and 4±6 in the 1609 sequence; sigs. A4v±A8v. 40 The Tragedy of Brennoralt, 5.1, printed in Suckling, Fragmenta Aurea (London, 1646), p. 48; cited in Shakspere Allusion-Book, vol. 1, p. 387; see also Katherine Duncan-Jones, Shakespeare's Sonnets, pp. 73±4. 41 Duncan-Jones, Shakespeare's Sonnets, pp. 69 and 72; Paul Morgan, ` ``Our Will Shakespeare'' and Lope de Vega: an unrecorded contemporary document', Shakespeare Survey 16 (1963): 118±20. 42 Annotations to a copy of the 1609 quarto previously in the Rosenbach Library and to the Steevens-Huntington copy, cited by Duncan-Jones, Shake- speare's Sonnets, pp. 69±70. 43 Ilona Bell, Elizabethan Women and the Poetry of Courtship, p. 143. 44 Benson, Poems, sigs. A8v±B2v; Benson appeared to use The Passionate Pilgrim as a copytext for his version of sonnets 138 and 144, printing their textual variants and following the sonnets with poem 3 from The Passionate Pilgrim (`Did not the heavenly rhetoric of thine eye', from Loves Labours Lost, 4.3.58±71). 45 Stephen Orgel, `Marginal Maternity: Reading Lady Anne Clifford's Mirror for Magistrates', forthcoming in Printing and Parenting in Early Modern England, ed. Douglas A. Brooks (Aldershot: Ashgate, 2003). Similarly, Michael Bristol and Arthur Marotti point out that it was `assumed that readers would annotate by hand the books that they owned, thus preserving one of the interactive features of oral and manuscript culture' within the realm of print (Michael D. Bristol and Arthur F. Marotti, `Introduction', Print, Manuscript, Performance. The Changing Relations of the Media in Early Modern England eds. Arthur F. Marotti and Michael D. Bristol (Columbus: Ohio State University Press, 2000): 1±29, p. 6). 46 J. O. Halliwell, manuscript note on front flyleaf of Folger Shakespeare Library STC 22344 copy 2. 234 Notes

47 See also Bruce Smith, Homosexual Desire in Shakespeare's England, p. 227 for a facsimile of the annotation and p. 269. For Latin inscriptions in Folger STC 22344 copy 2 see for instance the note `Nulla e-iam dictu / qu-no-dictu-fuit priuis' which adapts the opening lines of sonnet 59, `If there be nothing new, but that which is / Hath been before' (sig. A6); for an example of the annotator's corrections see the emendment of `repaine' to `repair' in sonnet 3.3 (sig. A7). 48 Folger Shakespeare Library STC 22344 copy 10. The inscriptions `Elizabeth Gyles her Boock' appears on the back flyleaf, `Elizabeth Gyles' on sig.I3v, and `Ellizabeth' on sigs. L8v and M3v; Rose Meaks' autograph appears on sigs. M1v±M2. The volume also includes inscriptions by Robert Reed (sig.M1v), `John Welford. 1799' and `Sarah Welford' (sigs. A2±A2v). I am grateful to Laetitia Yeandle of the Folger Shakespeare Library for discussing the volume with me. 49 Folger MS V.a.148, pp. 22±23v; see also Marotti, `Shakespeare's Sonnets as Literary Property', p. 164; Tucker Brooke, Shakespeare's Sonnets (London and New York: Oxford University Press, 1936), pp. 68±9; and Raymond Macdo- nald Alden (ed.), The Sonnets of Shakespeare (Boston: Houghton Mifflin, 1916), p. 252; a facsimile of Folger MS V.a.148, fol. 22, is reproduced in Bertram Dobell sale catalogue, June 1902. 50After The Tempest and Othello, the most popular plays for manuscript tran- scription according to Beal's Index appeared to be The Winter's Tale and Hamlet (five apiece), and Loves Labours Lost and Romeo and Juliet (four transcriptions each); most of the remaining plays achieved two to three transcriptions apiece (see also ShW 116±17; Beal, Index, pp. 452±5). For overviews of Shakespeare's sonnets in manuscript see Marotti, `Shakespeare's Sonnets as Literary Property', Katherine Duncan-Jones, Shakespeare's Sonnets and A Lover's Complaint, pp. 453±62; Gary Taylor, `Some Manuscripts of Shakespeare's Sonnets', Bulletin of the John Rylands Library 68 (1985±6): 210± 46; and Bruce Smith, Homosexual Desire in Shakespeare's England, pp. 239±45. 51 Holgate verse miscellany, Pierpont Morgan Library, MA 1057, fol. 96; Robert Bishop's verse miscellany, Rosenbach Foundation, MS 1083/16, fols. 256±7. A facsimile of the sonnet from the Holgate miscellany can be found in Auto- graph Letters and Manuscripts: Major Acquisitions of the Pierpont Morgan Library 1924±1974 (New York, 1974), plate 12; for a study and transcript of the complete miscellany see Michael Roy Denbo, `The Holgate Miscellany (The Pierpont Morgan Library ± MA 1057). A Diplomatic Edition', 2 vols. (unpub- lished DPhil, City University of New York, 1997). For a transcript of the sonnet in Bishop's miscellany with collations ± though lacking the additional 18 lines by Herbert ± see Kerrigan, Sonnets, pp. 445 and 451; and Rollins, p. 260. 52 On the song tradition in manuscript miscellanies, see Mary Hobbs, Early Seventeenth-Century Verse Miscellany Manuscripts, pp. 93±5 and 111. 53 Manuscript music book, New York Public Library, Music Division, Drexel MS 4257, No. 33. The sonnet is transcribed in Duncan-Jones, Shakespeare's Sonnets, p. 465; and Kerrigan (ed.), The Sonnets, pp. 445±6 and 451±2; a facsimile appears in Willa McClung Evans, `Lawes' Version of Shakespeare's Sonnet CXVI', PMLA, 51.1 (1936): 120±2, and in Evans, Henry Lawes (New York and London, 1941), pp. 43±4. On the setting of Shakespeare's sonnets to Notes 235

music, see also Kerrigan The Sonnets, pp. 442±3, and Duncan-Jones, Shake- speare's Sonnets, pp. 458±9. Duncan-Jones notes that the lines added to sonnet 116 develop a sectarian religious metaphor with allusions to `Selfe blinded error', `hereticks', and the `flameing Martyr' (p. 459), and points out the possibility of a Shakespeare±Lawes±Pembroke connection; Pembroke quoted `love is not love' from sonnet 116 in his own poetry, and Pembroke's poems were acquired for publication in 1660from Henry Lawes (Shakespeare's Sonnets, pp. 68±9 and 459±60). 54 BL MS Ass. 15226, col. 4v; transcribed in Duncan-Jones, Shakespeare's Sonnets, p. 464 ; see also Raymond Macdonald Alden (ed.), The Sonnets of Shakespeare (Boston: Houghton Mifflin, 1916), pp. 33±4; and Tucker Brooke, p. 67. Duncan-Jones notes that the Latin title `gives the sonnet the air of belonging to an academic debate', in keeping with other poems in the manuscript (Shakespeare's Sonnets, p. 457). 55 On the opening flyleaf of Folger MS V.a.162 appear three names: Abraham Bassano, Stephen Welden and the tantalisingly incomplete inscription `Mrs Elizabeth if your'; the autograph `Elizabeth Welden' also appears on the back vellum cover (fol. 98) in italic seventeenth-century hand. Sonnet 71 is tran- scribed in a hand resembling Stephen Welden's autograph. The volume was originally in two parts. 56 Bodleian MS Rawl. poet. 152 is made up of a number of separate manuscripts and leaves of paper; its version of sonnet 128 appears on one discreet leaf of paper inserted into the volume (fol. 34±34v); for a transcription see Duncan-Jones, Shakespeare's Sonnets, pp. 458±9 and 466; and Kerrigan, The Sonnets, pp. 446 and 452. Duncan-Jones disputes Beal's dating of the verse miscellany, arguing that the presence of verses which first appeared in the period 1597±1611 ± John Dowland's First Booke of Songes or Ayres (1597, 1600, 1606, 1613), Williams Browne' Britannia's Pastorals (1613) and Francis Davison's A Poetical Rhapsody (1602, 1608, 1611) ± suggest a compiler collecting love lyrics from printed sources around 1613 (Shakespeare's Sonnets, pp. 460±2). 57 Gary Taylor and Stanley Wells (eds.), William Shakespeare: A Textual Compan- ion (Oxford: Clarendon Press 1987), p. 444; Duncan-Jones, Shakespeare's Sonnets, p. 453. 58 St John's College, Cambridge, MS S.23 (James 416), fols. 38r-v. The manu- script is collated in H. T. Price, `An Early Variant of a Shakespeare Sonnet', The Athenaeum (6 September 1913), p. 230, and recorded in Alden, The Sonnets of Shakespeare, p. 22, and Tucker Brooke, Shakespeare's Sonnets, p. 67. In Benson's Poems sonnet 2 is conflated with sonnets 1 and 3 and titled `Loves crueltie' (sigs. A5v±A6). 59 Verse miscellany (c.1630), University of Nottingham, Portland MS Pw V 37, fol. 69; the sonnet is reproduced from this manuscript in H. Harvey Wood, `A Seventeenth-Century Manuscript of Poems by Donne and Others', Essays and Studies, 16 (1930): 179±80, p. 180. Horatio Carey, verse miscellany (c.1638±42), Rosenbach Foundation, MS 1083/17, fols. 132v±3; the sonnet is recorded in Tucker Brooke, Shakespeare's Sonnets, p. 67; for a brief descrip- tion of the miscellany see Rosenbach Collection Guides and Lists: Common- place Books, p. 13. Carey's verse miscellany was also autographed by Thomas Arding, William Harrington, John Anthehope and Clement Poxall; it 236 Notes

contains 87 poems by Thomas Carew and several poems that appeared in Benson's Poems ± Basse's epitaph on Shakespeare, `Upon ye death of yt famous Actor R. Burbadge', Carew's `A Prayer to the winde', Strode's `A Blush', Grange's `An allegorical allusion', and `On a faire Lady walking in the fields' ± providing further testimony of the continuities between Benson's edition and contemporary manuscript culture. 60Gary Taylor, `Some Manuscripts of Shakespere's Sonnets', p. 224; see also Bruce Smith, Homosexual Desire in Shakespeare's England, p. 239. 61 Mary Hobbs, `Shakespeare's Sonnet II: A ``Sugred Sonnet''?', Notes and Queries ccxxiv (1979): 112±13; see also her The Stoughton Manuscript (Aldershot: Scolar, 1990), chapter 4. Jeremy Maule has suggested that the miscellany of George Morley (1598±1684), later Bishop of Winchester (Westminster Abbey MS 41), is the central text for the group (cited in Gary Taylor, `Some Manu- scripts of Shakespeare's Sonnets', p. 217). For transcriptions of sonnet 2 in Daniel Leare's miscellany (British Library Add MS 30982) see Tucker Brooke, Shakespeare's Sonnets, p. 66; in `I.A.'s verse miscellany (British Library Sloane MS 1792) see Charlotte C. Stopes, `An Early Variant of a Shakespeare Sonnet', The Athenaeum (26 July 1913), p. 89, Alden, The Sonnets of Shakespeare, pp. 21±2, and Tucker Brooke, Shakespeare's Sonnets, p. 66; and in the verse miscel- lany compiled by an Oxford man (Folger MS v.a.170) see Bertram Dobell, `An Early Variant of a Shakespeare Sonnet', The Athenaeum (2 August 1913), p. 112, Alden, The Sonnets of Shakespeare, p. 22, and Tucker Brooke, Shake- speare's Sonnets, p. 67 (e). Another version of the sonnet headed `To one that would die a maide' can be found in a verse miscellany dating from the mid-seventeenth century (Yale, Osborn Collection, b 205, fol. 54v) and is recorded by Laurence Witten in The Book Collector 8 (Winter 1959): 383±96, pp. 392±3. 62 Mary Hobbs, `Shakespeare's Sonnet II: A ``Sugred Sonnet''?'; `An Edition of the Stoughton Manuscript' (London, 1975), chapter 4; see also Gary Taylor, `Some Manuscripts of Shakespeare's Sonnets', p. 217, and Tucker Brooke, Shakespeare's Sonnets, p. 66. Another miscellany from the 1630s titles the sonnet `Spes Altera A song' (Folger MS V.a.345, p. 145; recorded in Tucker Brooke, Shakespeare's Sonnets, p. 67). Gary Taylor suggests that the title `Spes Altera' (which he traces to Virgil's Aeneid 12.168 in which Aeneas's son Ascanius is called the `second hope of great Rome') has a deftness typical of Shakespeare (`Some Manuscripts of Shakespeare's Sonnets', pp. 233±6), while Katherine Duncan-Jones argues that the Latin title is `uncharacteristic' of Shakespeare and `much more typical of the university and inns of court environment' (Shakespeare's Sonnets, p. 455). 63 Mary Hobbs, Early Seventeenth-Century Verse Manuscript Miscellanies, p. 26. 64 Versions of the anonymous and non-Shakespearean poems from The Passion- ate Pilgrim can be found in E. H.'s miscellany compiled c.1660(Folger MS V.a.148); versions of poem 4 (`Sweet Cytherea, sitting by a brook') are included in Folger MSS 1.8 and V.a.339; poems 6 and 7 in Folger MS V.a.339; poem 17 in British Library Harleian MS 6910attributed to `Ignoto'; and poem 18 in Folger MSS V.a.89 and V.a.339. 65 Hall's editorial interventions are much more prominent in his transcriptions from Shakespeare's plays than the poems; while he writes out the poems in full, he excerpts quotations from Richard II, Richard III and The Merchant of Notes 237

Venice, and appropriates them as aphorisms and sententiae under such head- ings as agreement, care, losses, love, silence, report and rage and time (sigs. 205v±207v). 66 Many of the poems are attributed in Hall's miscellany to `W. S.'; however, John Roe argues that this was the work of a later hand, probably J. P. Collier (The Sonnets and A Lover's Complaint, p. 241). 67 Francis Meres, Palladis Tamia. Wits Treasury, Being the Second Part of Wits Common wealth (London, 1598), fols.281±2; cited in Shakspere Allusion-Book, vol. 1, p. 46. 68 For studies of early modern women's participation in manuscript culture see, for instance, Arthur Marotti's discussion of `Women and the Manuscript System' in Manuscript, Print and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995): 48±61; Ian Moulton's discussion of `Female Readers of Erotic Manuscript Poetry' in Before Pornography: Erotic Writing in Early Modern England (Oxford: Oxford University Press, 2000): 54±64; Harold Love, Scribal Publication in Seventeenth Century England (Oxford: Clarendon Press, 1993), pp. 54±8; Jane Stevenson, `Women, Writing and Scribal Publication in the Sixteenth Century', English Manuscript Studies 1100±1700, vol. 9, Writings by Early Women, eds. Peter Beal and Margaret J. M. Ezell (London: The British Library, 2000): 1±32; Margaret J. M. Ezell, `Elizabeth Delaval's spiritual heroine: thoughts on redefining manuscript texts by early women writers', EMS 1100±1700 3 (1992); idem., Writing Women's Literary History (Baltimore and London: Johns Hopkins University Press, 1993): pp. 52±7; idem., The Patriarch's Wife: Literary Evidence and the History of the Family (Chapel Hill and London: University of North Carolina Press, 1987), pp. 64±83; Eve Rachele Sanders, Gender and Literacy on Stage in Early Modern England (Cambridge: Cambridge University Press, 1998), pp. 180ff; and Mary Ann O'Donnell, `A verse miscellany of Aphra Behn: Bodleian Library MS Firth c.16', EMS 1100±1700 2 (1990): 189±227. 69 Margaret Bellasis, verse miscellany (c.1630s), British Library MS Add 10309, fol. 148 (p. 183); for a transcription of the sonnet see Katherine Duncan- Jones, Shakespeare's Sonnets, p. 463. A version of Basse' epitaph also appears in a miscellany book c.1640that may have belonged to a woman, Lettice Barke (Folger V.a.319, first flyleaf). 70Gary Taylor, `Some Manuscripts of Shakespeare's Sonnets', pp. 222±3. Beal's ascription assumes that Margaret continued to use her maiden name after her marriage in 1610. 71 A comparison of the hands at the beginning and end of the volume reveal them to be practically identical. Gary Taylor argues that the absence of a catchword at the end of `Characterismes' indicates a break in scribal hand, but similar oversights occur later in the volume (such as on fol.47v, p. 92). I am grateful to Hilton Kelliher, Curator of Manuscripts at British Library, for discussing the volume with me (Personal Communication, 28 May 1998). 72 William Hutchinson, History and Antiquities of the County Palatine of Durham (1794), 3 vols., vol. 3; `Pedigree of the the family of Bellasis, of Morton, or Murton; and Oughton, or Owton, in the County of Durham', first and second statements. 73 J. T. Cliffe, The Yorkshire Gentry. From the Reformation to the Civil War (Univer- sity of London: Athlone Press, 1969), pp. 113 and 351. For the Bellasis 238 Notes

memorial in York Minster by the London sculptor Nicholas Stone, see Niko- laus Pevsner and David Neave, The Buildings of England: Yorkshire, York and the East Riding (1972; Harmondsworth: Penguin, 1995), pp. 60and 146. 74 For Henry Fairfax's Library Catalogue c.1660, see British Library Sloane MS 1872, p. 81 (see also Edward J. L. Scott, Athenaeum 5 March 1898, p. 32); for the provenance of BL Add MS 10309 see Thomas Thorpe, Catalogue of an Extraordinary Assemblage of Manuscripts (1833), lot 132 (BL MSS Room). 75 The Book of Metriculations and Degreees: a Catalogue of Those Who Have Been Metriculated or Been Admitted to any Degree in the University of Cambridge from 1544 to 1659, eds. John Venn and J. A. Venn (Cambridge: Cambridge Univer- sity Press, 1913), p. 9. Henry Bellasis, `An English Traveler's First Curiosity or The Knowledge of his owne Countrey by Henr[y] B[ellasis]', from the MSS of Sir George O. Wombwell, at Newburgh Priory, printed in Historical MSS Commission's Report on MSS. in Various Colections, vol. 2, 193; excerpted in The Shakspere Allusion-Book, vol. 2, p. 66. Sir Thomas Lord Fauconberg's son Henry died in 1647, and this would rule him out as an author of the piece. 76 David Norbrook notes the `republicanizing rhetoric' of responses to Buckin- gham's assassination in 1628, especially in `underground poetry of the 1620s, with [its] deliberately rough language and anti-courtly sentiments' in Writing the English Republic. Poetry, Rhetoric and Politics, 1627±1660 (Cambridge: Cam- bridge University Press, 1999), p. 53. 77 Margaret Ferguson, `A Room Not Their Own: Renaissance Women as Readers and Writers', The Comparative Perspective on Literature: Approaches to Theory and Practice (London: Cornell University Press, 1988): 93±116, pp. 94 and 96. 78 BL Mss Add 10309, fols.46, 89v±90 and 103. 79 As Jean Klene notes, for instance, for Lady Anne Southwell's c.1630manu- script miscellany, `her statements about the position of women vary. . . .she can be harsh in criticizing them, but in other places she emphasizes their equality with men or wittily exploits the topos of female superiority' (The Southwell-Sibthorpe Commonplace Book. Folger MS V.b.198 ed. Jean Klene (Tempe, Ariz.: Medieval and Renaissance Texts & Studies, 1997), p. xxvi). 80 BL MS 10309, fols. 78±9, 45v and 135v±139v. For an illuminating discussion of Bellasis' volume in the context of female readers of erotic manuscript poetry, see Ian Moulton, Before Pornography: Erotic Writing in Early Modern England, pp. 57±64. 81 For an astute study of the miscellany, see Arthur Marotti, `The Cultural and Textual Importance of Folger MS V.a.89', in English Manuscript Studies 1100±1700 11 (2002); see also Marotti's `Folger Library MSS V.a.89 and V.a.345: Reading Lyric Poetry in Manuscript' in The Reader Revealed (ed.) Sabrina Alcorna Baron et al. (Seattle and London: University of Washington Press for Folger Shakespeare Library, 2001), pp. 45±57; and Manuscript, Print, and the English Renaissance Lyric, pp. 57±9; William H. Bond, `The Cornwallis± Lyons Manuscript and the Poems of John Bentley', in Joseph Quincy Adams: Memorial Studies eds. James G. McManaway, Giles Dawson, and Edwin Willoughby (Washington DC, Folger Shakespeare Library, 1948): 683±93; and Henry Woudhuysen, Sir Philip Sidney and the Circulation of Manuscripts 1558±1640 (Oxford: Clarendon Press, 1996), pp. 258±9. I am grateful to Arthur Marotti for letting me see his articles in typescript. 82 Marotti, `The Cultural and Textual Importance of Folger MS V.a.89'. Notes 239

83 According to the Dictionary of National Biography Anne Cornwallis converted her husband to Catholicism, and he was later denounced as a rebel (vol. 3, pp. 770±1). For Anne Cornwallis' correspondence, see Jean Klene, `Recreating the letters of Lady Anne Southwell', New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991, ed.W. Speed Hill (Bingham- ton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 239± 52; for an overview of Sir Thomas Cornwallis's life and correspondence see Jason Scott-Warren, `News, Sociability, and Bookbuying in Early Modern England: The Letters of Sir Thomas Cornwallis', The Library ser.7, vol. 1 (2000): 381±402, pp. 386±7ff. 84 Kelliher, `Unrecorded Extracts from Shakespeare, Sidney, and Dyer', English Manuscript Studies 1100±1700 2 (1990): 163±87, pp. 173±4 and 182±3. Eliza- beth Cornwallis was married to Sir Thomas Kitson (d.1602). 85 William H. Bond, `The Cornwallis±Lysons Manuscript and the Poems of John Bentley', p. 685. For a transcription of the poem with collations to Folger V.a.339, British Library MS Harleian 7392 and The Passionate Pilgrim (1599 and 1612), see Marotti, `The Cultural and Textual Importance of Folger MS V.a.89'. Attributions to the poems in Cornwallis' miscellany are written in an italic hand strongly resembling Cornwallis's autograph, but Rollins and Adams argue that the attribution `W. S.' (William Shakespeare) in the volume was supplied by J. P. Collier who later owned the volume (see John Roe, Shakespeare: The Poems, The New Cambridge Shakespeare (Cambridge: Cam- bridge University Press, 1992), p. 255). 86 Gary Taylor and Stanley Wells include poem 18 from The Passionate Pilgrim in William Shakespeare: The Complete Works. Original-Spelling Edition (Oxford: Clarendon Press, 1986), p. 881. Dowden reports that a `parallel piece' to poem 18 occurs in canto XLIV of Willobie his Avisa (London, 1594), a volume which also includes an early possible allusion to Shakespeare. Written in the same metre, the poem develops the Ovidian ars amatoria theme of persisting with a coy woman until she relents; Dowden speculates that perhaps Shake- spere wrote poem 18 `in mockery of the advice put by Willobie (or Dorrell, if that was the author's name) into the mouth of W. S.' (pp. xvi±xvii). 87 Gary Taylor and Stanley Wells (eds.), William Shakespeare: A Textual Compan- ion (Oxford: Clarendon Press, 1987), p. 456; John Roe (ed.), The Poems, p. 255; see also Hyder Edward Rollins (ed.), A New Variorum Edition of Shakespeare. The Poems, pp. 553±4. 88 Marotti, `The Cultural and Textual Importance of Folger MS V.a.89'. 89 Thus `Thoughe I seem straunge' has been ascribed in other manuscripts to `vavaser' and one `La[dy] B to N'; Ilona Bell argues that it `is a veiled poem of courtship, written by Anne Vavasour to Henry Lee in 1590when she is planning to become his mistress' (Elizabethan Women and the Poetry of Court- ship, p. 93); see also Marotti, `The Cultural and Textual Importance of Folger MS V.a.89', and Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1994), pp. 57±8. Similarly `Sittinge alone upon my thought' has been ascribed to `vavaser', `ye Ealre of Ox[en]forde And Mrs. Ann uausor', and `E. Veer. count d'Oxford' (Arundel-Harington), while Ilona Bell conjectures, on circumstantial grounds, that the poem was in fact written by Sir Henry Lee (p. 81). For transcriptions of `Thoughe I seeme straunge', see Arthur Marotti, Manuscript, Print, and the English Renaissance 240 Notes

Lyric, p. 58, and The New Oxford Book of Sixteenth Century Verse ed. Emrys Jones (Oxford and New York: Oxford University Press, 1991), pp. 160±1, where the poem is provisionally ascribed to Edward de Vere; for a transcription of `Sitting alone upon my thought' see The New Oxford Book of Sixteenth Century Verse, pp. 159±60. 90Folger MS V.a.89, p. 8. Anne Vavasour was appointed a Gentlewoman of the Bedchamber in 1580; she was reputed to be the mistress of Edward de Vere, Earl of Oxford, and later lived with (but did not marry) Sir Henry Lee. Her affair with the Earl of Oxford became public scandal in 1581 when, as Walsingham reported in a letter to the Earl of Huntingdon on 23 March 1581, `Anne Vavysor was brought to bed of a son in the maidens' chamber. The E. of Oxeford is avowed to be the father, who hath withdrawn himself with intent, as it is thought, to pass the seas' (cited in E. K. Chambers, Sir Henry Lee: An Elizabethan Portrait (Oxford: Clarendon Press, 1936), pp. 156±7). 91 In 1611 Loues Martyr was reissued as The Anuals [sic] of great Brittaine; for an overview of the volume see John Roe (ed.), The Poems, pp. 41±9. On the pairing of Venus and Adonis and Lucrece, see the comments by John Weever (1595), Richard Barnfield (1598), Judicio in The Return from Parnassus (c.1600), John Lane (1600), and Thomas Freeman (1614) cited in the Shakspere Allusion-Book, vol. 1, pp. 24, 51, 69, 71 and 245. 92 Harold Love, Scribal Publication in Seventeenth-Century England, pp. 6±7.

Afterword

1 Randall Louis Anderson, ` ``The merit of a manuscript poem'': the case for Bodleian MS Rawlinson Poet. 85', in Print, Manuscript, Performance. The Changing Relations of the Media in Early Modern England, eds. Arthur F. Marotti and Michael D. Bristol (Columbus: Ohio State University, 2000): 127±71, p. 130. 2 Ian Frederick Moulton, Before Pornography: Erotic Writing in the English Renais- sance (Oxford: Oxford University Press, 2000), p. 40. Similarly, Steven May observes that the tastes of readers of poetry in manuscript at the Elizabethan court diverge from the poetic canon assumed in modern criticism in `Manu- script circulation at the Elizabethan court', New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill (Binghamton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 273±80, esp. p. 273. 3 T. A. Birrell, `Reading as Pastime: the Place of Light Literature in Some Gentlemen's Libraries of the 17th Century', in The Property of a Gentleman: The Formation, Organisation and Dispersal of the Private Library 1620±1920, eds. Robin Myers and Michael Harris (Winchester: St Paul's Bibliographies, 1991): 113±31, p. 113. 4 Anderson, `The Case for Bodleian MS Rawlinson Poet. 85', p. 131; on the intertextual dimensions of miscellanies, see also Harold Love, Scribal Publica- tion in Seventeenth Century England (Oxford: Clarendon, 1993), pp. 5±7; Arthur Marotti, `Malleable and fixed texts: manuscript and printed miscellanies and the transmission of lyric poetry in the English Renaissance', in New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill, pp. 159±73, p. 162; and Peter Beal, `Notions in garrison: the Notes 241

seventeenth-century commonplace book' in New Ways of Looking at Old Texts. Papers of the Renaissance English Text Society, 1985±1991 ed. W. Speed Hill (Binghamton, NY: Medieval and Renaissance Texts and Studies, vol. 107, 1993): 131±47, p. 133. Neil Fraistat argues for `contextural poetics' in `The Place of the Book and the Book as Place' (Poems in Their Place. The Intertext- uality and Order of Poetic Collections, ed. Neil Fraistat (Chapel Hill: University of North Carolina Press, 1986): 3±17, p. 4); see also Earl Miner, `Some Issues for Study of Integrated Collections' in Poems in Their Place, pp. 18±43; and David C. Greetham, `Textual and literary theory: redrawing the matrix', Studies in Bibliography 42 (1989): 1±24, and `[Textual] criticism and decon- struction', Studies in Bibliography 44 (1991): 1±30. 5 Peter Beal, Index of English Literary Manuscripts. Volume 1: 1450±1625. Part 2 (London and New York: Manswll and R. R. Bowker Co., 1980), pp. 452±5. We await an in-depth overview of how and why manuscript miscellanies changed in the course of early modern England, but for points of departure see Print, Manuscript, Performance. The Changing Relations of the Media in Early Modern England, eds. Arthur F. Marotti and Michael D. Bristol; Harold Love, Scribal Publication in Seventeenth Century England, pp. 8±9; Henry Woudhuy- sen, Sir Phillip Sidney and the Circulation of Manuscripts 1558±1640 (Oxford: Clarendon Press, 1996), pp. 8±9 and 391. 6 Moulton, Before Pornography, p. 35. Paul Hammond argues that government censorship of printing in the late seventeenth century resulted in a flourish- ing manuscript culture in which the most provocative political and erotic poems circulated (`Censorship in the manuscript transmission of Restoria- tion poetry', E&S NS 46 (1993): 39±62); Peter Beal argues against censorship as a dominant influence in manuscript culture in In Praise of Scribes: Manu- scripts and their Makers in Seventeenth-Century England (Oxford: Clarendon Press, 1998), pp. 19±20. 7 Nigel Smith, Literature and Revolution in England 1640±1660 (London and New Haven: Yale University Press, 1994), pp. 5, 11, 13. 8 See Arthur Marotti, `Folger Library MSS V.a.89 and V.a.345: Reading Lyric Poetry in Manuscript', in The Reader Revealed, (ed.) Sabrina Alcorn Baron et al. (Seattle and London: University of Washington Press, 2001), pp. 45±57; and Manuscript, Print, and the English Renaissance Lyric, pp. 31±7; and Peter Beal, `Notions in Garrison', p. 144. 9 Peter Beal, `Notions in Garrison', p. 143; see also Mary Hobbs, Early Seven- teenth-Century Verse Miscellany Manuscripts (Aldershot: Scolar Press, 1992), p. 149, and Harold Love, Scribal Publication in Seventeenth Century England (Oxford: Clarendon Press, 1993), p. 181. Hobbs points out that one reason why students of the 1640s and 1650s copied the out-of-date verse of earlier generations was the continued presence of some of the poets, particularly Corbett and Strode, as tutors within the universities (p. 150). Nigel Smith notes the ermergence of Royalist literature in `covert manuscript form' in the 1640s in Literature and Revolution, pp. 11 and 31±2. 10See Mary Hobbs, Early Seventeenth-Century Verse Manuscript Miscellanies, p. 149. 11 Paulina Kewes, ` ``Give me the social pocket-book . . . '': Humphrey Moseley's Serial Publication of Octavo Play Collections', Publishing History 38 (1995): 5±21; Parnassus Biceps (London, 1656), sigs. A2±A2v. Peter Beal has suggested 242 Notes

that printed verse miscellanies of the 1640s and 1650s indicate that Royalist supporters lost interest in transcribing poetry with the waning of Royalist fortunes (`Notions in garrison', p. 143); Mary Hobbs counters that since regular meetings with other poets and musicians were less easy to achieve in these decades `it was more a time to tidy up material for publication' (Early Seventeenth-Century Verse Miscellany Manuscripts, p. 150); see also Kevin Sharpe, Reading Revolutions: The Politics of Reading in Early Modern England (London and New Haven: Yale University Press, 2000), pp. 58±65. On the publication of single-authored editions of verse aimed at a Royalist reader- ship, see chapter 3, note 42, and Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 267±8. 12 Harold Love describes the Royal court as `not a place for deep or serious reading. The majority of texts in circulation were short and uncomplicated enough to be produced from pockets in idle intervals of wearisome cere- monies, or as a source of sociable amusement' (Scribal Publication in Seven- teenth Century England, p. 210); on manuscript transmission at the Royal court see also Marotti, Manuscript, Print, and the English Renaissance Lyric, pp. 37±40. Index

References in bold ˆ main discussion References in italics ˆ figures / captions

Manuscripts Cambridge University Library MS Mm.3.29 (Henry Colling), 84±5, Bodleian MS Rawl. poet 85, 219 n50 87, 218 n47 Bodleian MS Rawl. poet 116 (Paul and William Eylot), 195 Folger MS 1.8, 236 n64 Bodleian MS Rawl. poet 117 Folger MS V.a.89 (Anne Cornwallis), (Christopher Wasse), 90±1, 183±8, 236 n64, 238 n85 219 n56 Folger MS V.a.148 (E.H.), 170, 171, Bodleian MS Rawl. poet 152, 176, 236 n64 235 n56 Folger MS V.a.162 (Abraham Bassano, Bodleian MS Rawl. poet D.954 (John Elizabeth and Stephen Welden), Abbott), 8, 136, 228 n63 106, 174, 175 Bodleian MS Tanner 169 (Stephen Folger MS V.a.170, 177 Powle), 48 Folger MS V.a.319 (Lettice Barke), British Library Add MS 10309 237 n69 (Margaret Bellasis), 48, 176, Folger MS V.a.339 (Joseph Hall), 176±7, 179±83 184±6, 187, 188, 236 n64, 239 n85 British Library Add MS 15226, 173 Folger MS V.b.198 (Lady Anne British Library Add MS 21433, 177 Southwell), 44 British Library Add MS 24665 (Giles Folger MS X.d.177 (Elizabeth Clarke), Earle), 89 48 British Library Add MS 25303 (John Bowyer), 177, 192 New York Public Library Drexel MS British Library Add MS 27406 (Peter 4257/33 (John Gamble), 173, and Oliver Le Neve), 139, 140, 141 234 n53 British Library Add MS 30982 (Daniel Nottinghamshire Record Office MS Leare), 85±8, 86, 177 Hu.3 (Lucy Hutchinson), 195 British Library Add MS 52585 (Richard Waferer), 137, 138 Pierpont Morgan Library MA 1057 British Library Harleian MS 6910, (Holgate family), 173±4 236 n64 Portland MS Pw V 37, 176 British Library Harleian MS 7392, 239 n85 Rosenbach Foundation MS 1083/16 British Library Royal MS 8.S.XXI, 90 (Robert Bishop), 88, 88±9, 91, British Library Sloane MS 1792, 177 173±4, 219 n57

243 244 Index

Rosenbach Foundation MS 1083/17 Barkstead, William, 29 (Horatio Carey), 176, 235 n59 Barnfield, Richard, 28, 62, 100, 104, Rosenbach Foundation MS 239/27, 91, 146±7, 155, 221 n69 219 n57 Baron, Robert, 100, 141, 221 n69 Bassano, Abraham, 106, 174±5 St John's College Cambridge MS S.23, Basse, Christopher, 90 James 416, 176 Basse, William, 158, 180 bawdy literature; see erotic and bawdy Westminster Abbey MS 41, 177, literature 236 n61 Beal, Peter, 84, 87, 172, 176, 178, 180, 194±5, 241n6 and n11 Yale Osborn Collection b205, 236 n61 Beale, John, 124 Beaumont, Francis, 17, 37, 43, 49, 65, * 126, 158±9, 181, 193, 210n51 Bedford, E., 148 A., I.; see The Good Womans Champion Behn, Aphra, 56, 109 Abbott, John, 8, 136 Bell, Ilona, 146, 149±50, 164, 185, The Academy of Complements, 11, 239 n89 59±60, 100, 214 n94 Bellasis, Henry, 181; Bellasis, Sir Henry, agency; see readers; agency of 181; Bellasis, Richard, 181; Allen, Don Cameron, 105 Bellasis, William, 181 Allott, Robert, 93, 98, 131±2 Bellasis, Margaret, 16, 48, 176, 179±83 allusions; see Shakespeare's poems, Bellasis, Thomas, Lord Fauconberg, allusions to and named poems 180±1 Anderson, Randall Louis, 192, 194 Bellasis, Sir William, 181 Anton, Robert, 21 Belsey, Catherine, 94, 220n65 applied reading; see reading practices, Belt, Debra, 105 applied reading Belvedere, Or Garden of the Muses, 46, appropriation; see textual 64, 69, 92±9, 97, 130±3 appropriation Benson, John, 128, 160; Poems: Written Arber, Edward, 208 n31 by Wil. Shakespeare (1640), 7, 11, Aretino, 81 16, 17, 49, 125, 143±4, 153±4, Ariosto, Ludovico, 124±5 158±72, 188; manuscript Arria, 107 transmission of Poems (1640), 170, Astell, Mary, 56 171; marginalia to Poems (1640), Aubrey, Lady, 49 166, 167±9 Augustine, 105±8, 117±18, 129 Bentley, John, 183 authorship; construction of, 7, 9, Bevington, David, 24 16±17, 93, 100, 125±6, 145, 190, Bible, 116 192 Blaikelocke, Laurence, 160 Blakemore Evans, 158 B., W.; The Philosopher's Banquet, Bland, Mark, 17 133±4, 228 n55 Blayney, Peter, 17, 123, 157, 232 n27 Bacon, Francis, 27 Birrell, T. A., 4, 81, 123, 193 Index 245

Bishop, Robert, 88±9, 91, 173±4 Carew, Thomas, 9, 54, 125, 159±60, Bodenham, John, 28, 92±3, 96, 98, 172, 176 131±2 Carey, Henry, Earl of Monmouth, 128 Bodley, Sir Thomas, 14, 45 Carey, Horatio, 176 book, history of, 4±6, 18±19, 198 n8, Carr, Robert, 87 book trade, 17±18, 29±30, 33, 42, Cartwright, William, 158 66, 71, 77±8, 99, 157, Cavendish, Margaret, 55±6, 109 208 n31, 211 n64; and Chamberlaine, William, Love's Victory, women, 41±2, 48±9 52 Booth, Stephen, 12, 145±6 Chapman, George, 45, 52, 78, 123 Bosc, Jacques du; The Compleat Woman Charles I, 50, 128±9, 195; Henrietta (trans. N.N.), 107 Maria, 195 Bosvill, Ann, 49 Charles II, 128 Bowyer, John, 192 Chartier, Roger, 146 Boyle, Roger, 129 Chaucer, 67±9, 81, 125 Bradbrook, Muriel, 72 Chester, Robert, 52; Loves Martyr, or Brathwaite, Richard, 37, 39, 41; Rosalins Complaint, 52, 189, The English Gentleman, 35±6; 240n91 The English Gentlewoman, 34±5, Chudleigh, Lady Mary, 56 43; A Nursery for Gentry, 21; Churchyard, Thomas, 32 Strappado for the Divell, 209 n38 Civil War, 50, 195±6 Bristol, Michael 7, 9 Clarendon, Earl of, 78 Brocket, Elizabeth, 56 Clarke, Elizabeth, 48 Brome, Richard, 8, 51±2, 56 class, 5, 8, 14, 45, 63, 65, 71±2, 74, 83, Brooke, John, 48 85, 99, 193 Browne, Sir Anthony, 80 Clayton, Thomas, 142 Browne, Bridget, 80 Clifford, Lady Anne, 9 Browne, Lucy, 80 closet drama, 50 Buckingham, First Duke of (George collected works; see canon formation Villiers), 180±1, 195, 238 n76 Collier, J.P., 92 Burrow, Colin, 126, 130, 153, 229 n2 Colling, Henry, 84±5, 87, 183, Burton, Robert; The Anatomy of 219 n50 Melancholy, 134±6, 220n65 commonplace book; printed, 14, 28, Bury St Edmunds, 85, 183±4 59±60, 91, 92±100, 95, 97; see also Bush, Douglas, 27 Belvedere; England's Parnassus Byrd, William, 124 commonplacing, 10, 11±12, 99, 100±1, 103, 129±41, 169, 202 n26; see also canon formation, 10, 16, 43±5, 125±6, Lucrece, commonplacing of; 159, 191±2, 196; of Shakespeare's sententiae; Venus and Adonis, works, 3, 16±18, 43, 93, 103±4, commonplacing of 121, 154, 158, 160, 210 n51 complaint, 146, 150, 186, 189 A Catalogue of the Most Vendible Books in Compliments, books of, 40, 42, 60 England; see London, William composite volume; see intertextuality, Carew, Robert, 106, 158 composite volume 246 Index conduct literature, 36, 45, 48, 53, 59, D'Ewes, Simonds, 195 107, 182; see also Brathwaite, Digges, Leonard, 164 Richard; Cranley, Thomas Dodd, John, 52 Constable, Henry, 47, 85 Donaldson, Ian, 110 conventionality; see literary tastes, Donne, John, 9, 44±5, 90, 125, 159, conventionality 172, 174, 192, 194 Conway, Edward, second Viscount, Dowland, John, 124 81±2 Drake, Judith, 56 Corbett, Richard, 87, 192, 195, 241 n9 Drake, William, 8 Cornwallis, Anne, 16, 179, 183±8 drama, 17, 45, 80±1; see also Cornwallis, Elizabeth, 183; Cornwallis, Shakespeare's plays and named Lucy, 183; Cornwallis, Sir William, plays 183 Drayton, Michael, 45, 94 Cornwallis, Sir Thomas, 183 Drummond, William, 230n18 Cotes, Thomas, 159 Dryden, John, 55, 142 Cotton, Olivea, 58 Dubrow, Heather, 227 n49 court, royal; see royal court Duncan-Jones, Katherine, 11, 28, 146, Cowley, Abraham, 159 149, 152±3, 158, 162, 164, 176, Crane, Mary Thomas, 92, 98, 100 188 Cranley, Thomas, 41; Amanda, or the Durfey, Thomas, 78±9, 100 Reformed Whore, 36±7, 39, 43, 69 Dyer, Sir Edward, 84, 183 Crashaw, Richard, 170 critical practice, 3, 6±7, 11±12, 12, 27, Earle, Giles, 89 100±1, 103, 130, 188±90 L'Ecole des Filles,39 Croke, Thomas, 148 editorial apparatus, 6, 9, 15, 59, 103, Cromwell, Oliver, 51, 129 113±21, 124±5, 160, 225 n33; Crouch, Nathaniel (pseud. Richard chapter headings, 114, 115, 119, Burton); Female Excellency, 109, 124; marginal headings, 114±17, 223 n16 118, 124; see also frontispiece; Cupid's Messenger,52 title-pages; typeface effeminacy, 40±1, 62±3, 76 Daniel, Samuel, 67, 94, 159, 225 n33; Egerton, Frances, Countess of Delia . . . with the Complaint of Bridgewater, 49 Rosamon, 146, 148, 153, 164±5 Elizabeth I, 27, 44 Dante, 38 Elizabeth, Queen of Bohemia, 49 Darnton, Robert, 4 Elyot, Thomas, 123 Davenant, William, 22, 52 England's Helicon, 47, 93 Davies, John of Hereford, 29, 41; The England's Parnassus, 64, 91±4, 95, 98, Scourge of Folly, 32±4, 35, 208 n29 130±3, 228 n51 and n36 epyllia; see erotic literature, erotic De Grazia, Margreta, 151, 162 narrative poems Dee, John, 8 erotic and bawdy literature, 42, 47±8, Dekker, Thomas, 45 70, 76, 80, 83±4, 182, 191, 194±5; Deloney, Thomas, 122, 155 and the book trade, 29±30; erotic Index 247

narrative poems, 25, 62, 65; effeminacy; homoeroticism; reading of, 13±14, 16, 39; sexuality; women's reading see men's reading, trope of genre, 3±5, 13, 22, 34±5, 58, 60±1, 77, the eroticised male reader; 80, 87, 99, 122±3, 148, 192±3, 196 Ovid; Venus and Adonis; Glatzer, Paula, 72, 92 women's reading, of bawdy Golding, Arthur, 24 and erotic works; women's The Good Woman's Champion, 52±3, reading, trope of the 213 n80 eroticised woman reader Gordon, Sir Robert of Gordounstoun, Essex, Earl of (Robert Devereux), 66 52, 81±2 Estienne, Henri, 106 Gower, John, 67 Eylot, Paul, 195; Eylot, William, 195 Grafton, Anthony, 8 Greene, Robert, 32, 45, 65, 71, 85, Fairfax family, 181 123±4 female readers; see women readers; Grendon, John, 113 women's reading Greville, Fulke, 183 femininity; see sexuality, female; Griffiths, Bartholemew, 155, 231 n24 women's reading Gyles, Elizabeth, 7, 49, 169 Ferguson, Margaret, 181 Field, Richard, 113 H., E., 170, 171 Filmer, Robert, 129 Hackel, Heidi Brayman, 8, 51 Finkelpearl, Philip, 78 Hackett, Helen, 30 First Folio, 17, 20, 30, 49, 56, 57, 158, Haddock's Book of Painting, 124 191, 212 n68, 227 n50; Second Haec-Vir, Or the Womanish-Man, 40±1, Folio, 49, 158±9 76, 209 n46, 216 n23 Fletcher, Giles, 146, 229 n5 Hall, Joseph, 176±8, 184±6, 187, 188 Fletcher, John, 17, 43, 49, 52, 81, 126, Hallett Smith, 24 158±9, 181, 193, 210n51 Halliwell, James Orchard, 168 folios, 125; see also First Folio Halasz, Alexandra, 82 Ford, John, 551 Halpern, Richard, 22, 30 Forde, Emanuel, 123 Hammond, Charles, 50 Fraistat, Neil, 6 Hammond, Paul, 161±2, 170, 241 n6 Fraunce, Abraham, 65, 85 Harington, Sir John, 32 Freeman, Thomas, 13, 29, 65, 104 Harrison, John, 113 Freke, William, 80 Harvey, Gabriel, 8, 29, 65, 82, 207 n27 frontispieces, 16±17, 126, 127, 159±60 Hathway, R., 99 Fuller, Thomas, 170 Heath, Edward, 81 Herbert, George, 92, 125, 159, 173, 192 Gamble, John, 173 Herrick, Robert, 9, 92, 158, 172 Garrick, David, 59 Hervey, Bridget, 85 Gasgoigne, George, 45 Hervey, William, 85 gender, 5, 8, 14, 41, 49, 53±6, 63, 111, Hewit, Lady, 49 164; role reversals in literature, 25, Heywood, Thomas, 45, 51, 65, 190, 40±1, 67, 75, 86, 87, 90; see also 192; An Apology for Actors, 156±7; 248 Index

Heywood, Thomas (contd ) Kitson family of Hengrave, 183 Faire Maide of the Exchange, 72±4, Kolin, Philip, 22, 29 80, 85; Gunaikeion. Or, Nine Bookes Kyd, Thomas, 81 of Various History Concerninge Women, 54±5, 213 n84; The Rape of Lamb, Mary Ellen, 21, 48 Lucrece, 112; Troia Britanica, 156 Lane, John, 222 n3 History of Tarquin and Lucretia,109 Langbaine, Gerard, 114, 142 Hobbs, Mary, 87, 177, 242 n11 Latimer, Lord, 183 Hodgkinson, Elizabeth, 43 Latin, 37±8, 45, 58, 135, 182 Holgate family, 173±4 Lawes, Henry, 173, 234 n53 Homer, 69 Leare, Daniel, 85±8, 177 homoeroticism, 62, 154±5, 161±3, 167, Lee, Sir Henry, 185, 239 n89 170, 173 Leishman, J.B., 70 Hunter, G. K., 130, 227 n50 Lenton, Francis, 77 Hutchinson, Elizabeth, 58 Lever, J.W., 24 Hutchinson, Colonel John, 58 Levin, Richard, 104 Hutchinson, Lucy, 58, 195 Lewes, C.S., 24 Hutson, Lorna, 123 Lewis, Mary, 57±8, 57 libraries, 7, 18, 38; men's, 80±2, inns of court, 8, 14, 22, 65, 72, 76, 193, 217 n37; women's, 13, 77±8, 80±1, 84, 87, 92, 176±8, 185, 45±6, 48±9, 52±5, 212 n69 195±6 light literature, 14, 21, 34, 45±6, 50, intertextuality, 6±7, 173±5, 185, 52, 63, 68, 71±2, 79±82, 84, 188±90, 194, 200 n14, 240 n4; 98±9 composite volume, 15, 122, Linche, Richard, 229 n5 143±4, 146±53, 156, 189, 194 Lindheim, Nancy, 24 Ling, Nicholas, 92±3, 98 Jackson, Roger, 113, 123±5, 226 n39 Lintott, Bernard, 224 n26 Jaggard, William, 156±7, 190, 192 Lister, Lady, 49 Jardine, Lisa, 8 literacy, 8 Johns, Adrian, 7, 157, 231 n27 literary culture, 3, 5, 19, 54, 122, 145, Johnson, Francis, 30 191, 193, 196 Johnson, John, 41; The Academy of literary property, 9, 100, 108±9, 141±2, Love, 37±9 157, 159, 232 n27; see also textual Jonson, Ben, 9, 17, 43, 54, 81, 92, 114, appropriation 142, 158±9, 160, 172, 192±3, literary taste, 7, 10, 11±12, 14, 42, 46, 210n51 63, 66, 72, 88, 179, 181, 188±9, 191± 4, 216 n18, 240n2; and Kahn, Coppelia, 111 conventionality, 10, 11±12, 16, 90, Kastan, David Scott, 6 145, 161, 167, 170±5, 178, 180, Kelliher, Hilton, 84±5, 183, 192 189; in the 1630s, 10, 11, 13, 42, Kerrigan, John, 105, 141±2, 146, 158 90, 178, 194±5 Kewes, Paulina, 196, 226 n42 Littleton, Sir Thomas, 77 King, Henry, 9, 172, 192, 195 Lodge, Thomas, 65, 81, 146±7, 153 Index 249

London, 3, 48±9, 53±4, 76±8, 80, 85, 216 n18, 241 n5; and women 123, 184 readers, 16, 179±88, 237 n68 London, William; A Catalogue of the manuscript transmission; see Most Vendible Books in England,7, Shakespeare's poems, manuscript 14, 70, 100, 200 n17 transmission of and named poems Love, Harold, 9, 189 marginalia, 3, 5, 7±8, 112±13, 117, 120, A Lover's Complaint,3,6,16 , 144, 164, 166, 167±9, 200 n19, 233 n45; 146±53, 158±9, 163, 172, 186, 189, women's marginalia, 8±9, 13, 230n18 46±7, 49±53, 56±9, 57 Loves Martyr; see Chester, Robert Markham, Gervase, 124; The Dumbe Loves Victory,52 Knight, 74±6, 85 Lucrece legend, 15, 102, 105±9, Marlowe, Christopher, 45, 65, 155; 222 n4 Hero and Leander, 31, 44 Lucrece, 2±3, 15, 102±3, 110±12, 143±4, Marotti, Arthur, 7, 9, 87, 100, 125, 150, 172, 189; allusions to, 2, 158±9, 161±2, 183, 185, 192, 28±9, 65; borrowings from, 108±9; 226 n42 commonplacing of, 10±11, 93±4, Marston, John, 65; The Metamorphosis 120, 129±41, 138; deployment as of Pigmalions Image, 37, 76±7 amorous verse, 137±41; first Martin, Thomas, 139 quarto of, 7, 112±14, 122, 126, Marvell, Andrew, 192 130; 1616 (Q6) quarto of, 113±20, Massinger, Philip, 38, 45 115, 118, 123, 125±6, 224 n23; Masten, Jeffrey, 17 1655 (Q9) quarto of, 114±22, 119, materiality; see textual materiality 121, 126, 127; later quartos of, 14, May, Steven, 240n2 102±3, 113±27, 113, 139, 148; Mead, Joseph, 30 manuscript transmission of, 2, Mead, Robert; Combat of Love and 103; marginalia to, 15, 112, 117, Friendship,51 120, 224 n20; reception of, 104±5 meaning, construction of in poetry, Lydall, Mrs, 54 6±7, 9, 11, 12, 18±19, 64, 100, 129, Lyly, John, 65; Eupheus and His 133, 142, 145 England, 20±1, 30 Meeks, Rose, 7, 169 men's reading; constructions of, 20; of MacLean, Gerald, 51 drama, 77, 80±1, 181; of light Malone, Edmund, 16, 154, 231 n23 literature, 80±3; of romance, 77, Malvezzi, Virgilio, 128, 223 n15, 80±1; trope of the eroticised male 229 n66 reader, 14, 62±83, 85; see also manuscript culture, 3, 8, 9±10, 17, Venus and Adonis, male readers of 83±4, 92±3, 136, 172, 183, 191±6, Meres, Francis; Palladis Tamia, 28, 68, 201 n24, 241 n6; see also 70, 92, 178 manuscript miscellanies; Merrick, Lady Anne, 54±5 marginalia Middleton, Thomas; A Mad World My manuscript miscellanies, 6±7, Masters, 31±2,34 9±10, 42, 86, 85±91, 100, 148, Mills, Robert, 85, 219 n50 170, 173, 177±9, 189, 192±6, Milton, John, 125, 158, 168 250 Index miscellanies; see manuscript The Parnassus plays, 29, 66±72, miscellanies 74, 79±80, 193, 215 n14; First misogyny; see women's reading, of Return, 66±9; Second Return, misogynist and anti-feminist 69±70, 99 works Parsons, Robert; The First Book of Morgan, Paul, 45±7, 164 Christian Exercise Pertaining to Morley, George (Bishop of Resolution,31 Westminster), 87, 236 n61 The Passionate Pilgrim, 3, 16, 25, 143±4, Moseley, Humphrey, 125, 141, 196, 153, 154±8, 161, 163, 172, 177±9, 226 n42 188, 192, 206 n14, 231 n24, Moss, Ann, 10 236 n62, 239 n86; 1612 edition of, Moulton, Ian Frederick, 42, 48, 76, 84, 156±8; `When that thine eye hath 192, 194 chose the dame' (poem 18 of The Munday, Anthony, 98, 132 Passionate Pilgrim), 16, 178, 184±6, 188 Nashe, Thomas, 66, 85; Choyce of patriarchy, 13, 20±1, 36, 40±1, 48, 53, Valentines, 32, 48, 182 55±6, 111, 191 Neve, Peter Le, 139, 140, 141 Pavier, Thomas, 157 Neve, Oliver Le, 139, 140, 141 Pearce, Jacqueline, 22 Newcomb, Lori Humphrey, 72 Peele, George, 65, 79, 82, 94 New Historicism, 3±4, 24 Pembroke, Countess of, 147 The New Married Couple, 209 n45 Pepys, Samuel, 39 Niccholes, Alexander; A Discourse of `The Phoenix and the Turtle', 18, 52, Marriage and Wiving, 94, 100 144, 158, 172, 189 Norbrook, David, 238 n76 plagiarism; see literary property Poems: Written by Wil. Shakespeare Okes, Nicholas, 124, 156 (1640); see Benson, John Ong, Walter J., 113 poetry; see also canon formation; Orgel, Stephen, 8, 167 meaning; miscellanies originality, 10, 145, 189; see Portia, 107 also literary taste, and Powle, Stephen, 48 conventionality Prest, W. R., 78 Osborne, Sir Edmund, 180; Osborne, Prince, F. T., 123 Anne, 180 print; fixity of, 7±8 Overbury, Sir Thomas, 44±5 print culture, 7±8, 17, 83, 93, 157, 159, Ovid, 21, 28, 47, 68, 77±8, 81; 167, 192±3, 195 Art of Love, 21, 30, 32, 37, 67, printed commonplace book; see 69, 78, 81, 148; Metamorphoses, commonplace book, printed 24, 38, 48 printers, 33, 123±4 Oxford, 90; see also universities privacy, female, 22, 33±4, 36, 41 prose fiction, 122±3; see also romance pamphlets, 31, 36, 79, 82 provinces, 3, 48±9; Bedfordshire, 53; Parker, M., 52 Birmingham, 48; Coventry, 48; Parnassus Biceps, 196 Durham, 181; North Riding, 181; Index 251

Staffordshire, 45; Suffolk, 85, Roe, John, 111, 123, 147, 156, 184 183±4; York, 48, 181 romance, 21, 30, 48, 77, 80±1 Prynne, William, 42 Rose, Mark, 231 n27 Puckering, Elizabeth, 52 royal court, 85, 195±6, 240n2, 242 n12 Royalism, 51±2, 126, 128±9, 195±6, Quarles, Francis, 125 226 n42, 241 n9, 242 n11 Quarles, John, 122, 128, 223 n16 quartos; see Lucrece, later quartos of; St John's College Cambridge; see Shakespeare's poems, later quartos universities, St John's College of; Venus and Adonis, later quartos Cambridge of Salter, Thomas, Mirrhor of Modestie,21 Sanders, Eve Rachele, 35 Rabelais, 80 satire, 33±4, 66, 74, 76±7 Ralegh, Sir Walter, 9, 172, 174, 183 Schleiner, Louise, 44 Rasmussen, Mark, 148 Scott, John, 88 readers and readerships; see men's Selby, Sir George, 181 reading; women readers; women's Seneca, 123 reading sententiae, 64, 84, 90±100, 95, 97, 103, reading practices (early modern), 3±5, 129±36, 177±8, 220n59, 227 n49 9, 11±12, 154, 190; applied and n50, 237 n65 reading, 10, 15, 67, 120, 164, Serlio, 123 202 n27; oppositional reading, 15, sexuality; female, 21±2, 25, 33, 35±6, 49±50, 53, 64, 104±5, 112±13, 129, 191, 194; female chastity, 21, 23, 225 n31; see also commonplacing; 31, 34, 45, 110, 116, 122; male, 36, critical practice; recreational 63; see also homoeroticism reading Shakespeare Ladies Club, 59 reception history, 3, 18 Shakespeare, William; constructions recreational reading, 21, 23, 38, 42, 46, of, 14, 16, 22, 38, 43, 66, 70±1, 50, 63, 65, 80±2, 89±90, 160±1, 103±4, 120±1, 126, 127, 157±8, 192, 195; see also light literature 160, 191, 193, 203 n38, 208 n36, religious and pious literature, 17±18, 210n51; see also women readers, 21, 31, 34, 46, 50±2, 80, 123±4 of Shakespeare republicanism, 51, 58, 111, 126, 128±9, Shakespeare's plays, 17, 22, 43, 181, 181, 195, 238 n76 222 n4, 234 n50; Hamlet, 2, 29, Reshoulde, James, 85, 219 n50 57±8, 65, 84, 105, 227 n50; 1 Henry `resistant' reader; see reading practices, IV, 84, 93±4, 130; Henry V, 157; 3 oppositional; women's reading, Henry VI, 94; Julius Caesar, oppositional 223 n15; King John, 58; King Lear, Reynolds, William, 28 58, 84, 92, 157; Loves Labours Lost, Ridgway, Lady, 44 17, 84, 90, 93±4, 155, 228 n63, Rivers, George, 107±9, 117, 223 n15 234 n50; Macbeth, 58; Measure for Robarts, Henry, 123 Measure, 58, 158; Merchant of Robinson, Thomas; Anatomie of the Venice, 157, 178, 236 n65; Merry English Nunnery at Lisbon,79 Wives of Windsor, 58; A Midsummer 252 Index

Shakespeare's plays (contd ) 143; Dark Lady, 149±51, 154±5, Night's Dream, 157; Othello, 58, 81, 164±5, 167, 172, 176, 188; 172, 234 n50; Pericles, 81; Richard Fair Youth, 62, 90, 19, 149±51, II, 49, 58, 84, 93±4, 130, 158, 178, 154, 161, 165, 170, 172; first 236 n65; Richard III, 2, 93±4, 158, quarto (1609) of, 11, 15, 143, 178, 215 n14, 236 n65; Romeo and 146±7, 153±5, 159, 161, 163±4, Juliet, 26, 67, 81, 93±4, 130, 167, 186, 188; manuscript 234 n50; The Tempest, 172, transmission of, 10±11, 15±16, 234 n50; Titus Andronicus, 48, 83, 144±5, 172±9, 188±9, 57±8, 104, 222 n4; Troilus and 236 n62; marginalia to, 164; Cressida, 1±2, 29, 227 n50; Twelfth print transmission of, 15±16, Night, 84; The Winter's Tale, 58; see 144±5, 189; sonnet 2, 84, 87, also First Folio 176±80, 236 n62; sonnet 138, Shakespeare's poems; allusions to, 2, 5, 155±6, 161, 163, 165, 176; 18, 143, 191; later quartos of, 7; sonnet 144, 155±6, 161, 165; manuscript transmission of, 3, see also Benson, John, Poems 6±9, 17, 61, 172, 192, 194; (1640); intertextuality, readerships for, 3, 5, 7, 13; composite volume; The reception of, 3, 17; transmission in Passionate Pilgrim print of, 3, 61, 194; 1640edition Southwell, Lady Anne, 44±5, 54±5 of, see Benson, John, Poems (1640); Spenser, Edmund, 67±9, 81, 93, 94, see also named poems 125, 229 n5; Shepheardes Calendar, Shakspere Allusion-Book, 2, 5, 18, 22, 84 62, 114 `Shall I die?', 18, 83 Squyer, Scipio Le, 81±2 Sharpe, Kevin, 5±6, 8 Stationers' Company, 157 Sharpe, Lewis, 78 stationers, 33, 123±5, 157, 178 Sherman, William, 8 Stanley, William, 147 Shirley, James, 38, 78, 125 Steevens, George, 231 n23 Shrewsbury, Countess of, 147 Streater, John, 126 Sidney, Algernon, 128 Strode, William, 9, 87, 158, 169±70, Sidney, Lady Dorothy, 107 172, 192, 195, 241 n9 Sidney, Mary, 94 Stubbes, Philip, 52 Sidney, Sir Philip, 63, 84, 125, 183; Stuteville, Sir Martin, 30 Arcadia, 9, 30, 38; Astrophil and Suckling, Sir John, 54, 174; Aglaura, 51; Stella, 164 Brennoralt, 163±4; Fragmenta Simmons, Thomas, 48 Aurea, 125, 141±2, 229 n66 Sir John Oldcastle, Part One, 157 Swetnam, The Arraignment of Lewd, Slights, William, 114 Idle, Froward and Unconstant Smith, Bruce, 161±2 Women,52 Smith, Nigel, 129, 195±6, 241 n9 Snodham, Thomas, 113, 123±4 Taylor, Gary, 11, 83, 158, 176±7, 180, song, 89, 136±7, 173 184 Sonnets, 3, 6±7, 10, 12, 15±16, 146±53, Taylor, John, 41; Divers Crab-Tree 172, 188, 231 n23; allusions to, 28, Lectures, 39±40, 45, 53, 81±2 Index 253 textual appropriation, 8±9, 61, 136, Veerhoven, Countess of, 49 142, 171, 172, 192, 202 n27; see Vega, Lope de, 164 also literary property Vendler, Helen, 12, 144±5 textual authority, 7, 9, 61, 64, 83, 96, Venus and Adonis, legend of, 24, 156, 101, 114, 142, 154, 156, 158, 206 n14 190±1 Venus and Adonis, 1±3, 11, 13±14, textual materiality, 6, 102±3, 113, 146 23±30, 47, 63±5, 86, 88, 95, 97, textual transmission; see Shakespeare's 103, 130, 143±4, 156, 172, 183, poems, manuscript transmission 189, 191, 193; Adonis, 25±6, 28, of and transmission in print of, 62; allusions to, 2, 27±30, 220 n65, and named poems 221 n69; commonplacing of, theatre; acting profession, 66, 71; 10±11, 46, 59±60, 93±100, 131, audiences, 1, 3, 72±4; 134; first quarto of, 7, 45; later Chamberlain's Men, 71; King's quartos of, 35, 43, 63; male readers Men, 157; King's Revels Children, of, 14,30,62±91 ; manuscript 76; Whitefriars, 76 transmission of, 2, 14, 64, 83±91; Theobald, Lewis, 59 marginalia to, 46±7; `park' passage Thorpe, Thomas, 144, 153; see also (229±40), 25, 46±7, 73±5, 79, 84±7, Sonnets, 1609 (Q1) quarto 86; print transmission of, 84; title-pages, 16±17, 120, 121, 122, 126, reception of, 14, 27±30, 66; Venus, 157±9 24±6, 28±9, 41; women's reading Tofte, Robert, 124 of, 13±14, 21±23, 30±47, 62±3 Townsend, Aurelian, 192 Vere, Edward de (third Earl of Oxford), Tribble Evelyn, 116 183, 185, 240n90 typefaces and typography, 123, 130, Vere, John, 183 224 n23 Vickers, Brian, 154 Vives, Juan Luis, Instruction of a utilitarian and vocational literature, Christian Woman,21 18, 21, 52, 80, 90, 100, 131, 192 universities, 8, 14, 22, 37±8, 65, 72, 77, Waferer, Richard, 137, 138 80, 84, 88, 92, 176±9, 181, 185, Wasse, Christopher, 90±1 195±6, 241 n9; Altdorf, 106; Waterhouse, Edward, 81 Cambridge, 65, 72, 183, 195; Watson, Thomas, 65 Christ Church College Oxford, 80, Weatherill, Lorna, 48±9 87±8, 174, 177, 195; Oxford, 34, Welden, Elizabeth, 106, 174±5 65, 195±6; St Catherine's College Welden, Stephen, 106, 174±5 Cambridge, 181; St John's College Wells, Stanley, 83, 158, 184 Cambridge, 65±6, 70±1, 73, 85, 99, Weever, John, 27±8, 65, 104 176, 183; St John's College Oxford, Westminster School, 195 136 Whitney, Charles, 11 Willobie, Henry, 104, 221 n1, 239 n86 Vaughan, Thomas, 125 Wither, George, 45 Vavasour, Anne, 183, 185±8, 239 n89, Wits Common-wealth, 92, 98 240n90 Wits Theater of the Little World, 92 254 Index

Wits Treasury, 92 works, 21, 31, 34, 45±46, 50±3; Wolfreston, Frances, 7, 9, 13, 45±7, Restoration, 13, 49, 55±9; of 50±3, 114, 182 romances, 21, 30, 48; of women readers; see women's reading Shakespeare, 13, 45, 49±59, 68, and Bellasis, Margaret; Bosvill, 179±88, 204 n5; trope of the Ann; Cornwallis, Anne; Gyles, eroticised woman reader, 13, 21±2, Elizabeth; Meaks, Rose; Merrick, 30± 43, 59, 62±3; of utilitarian and Lady Anne; Puckering, Elizabeth; vocational works, 21, 45, 52; see Southwell, Lady Anne; also book trade, and women; Wolfreston, Frances libraries, women's; marginalia, women's reading, 8±9, 16, 20±61 women's; manuscript passim, 179±88, 196, 205 n8, miscellanies, and women readers; 211 n65; of bawdy and erotic Venus and Adonis, women's works, 13, 16, 21±2, 47±9, 169, reading of 179±83, 185; of drama, 38, 45, women's writing, 6, 23, 46, 50, 55, 49±50, 52±59; of misogynist and 213 n84 anti-feminist works, 16, 53, 174, Wright, Louis B., 98 176, 181±2, 185; oppositional Wriothesley, Henry, third Earl of reading, 49±50, 53, 55±6; of Southampton, 65±6, 71, 85, 98 poetry, 31, 34, 37±8, 44±5; A Yorkshire Tragedy, 157 recreational reading, 21, 23, 38, 42, 46, 50; of religious and pious Zwicker, Steven, 128