DOCSLIB.ORG

The Shakespeare First Folios

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Shakespeare First Folios Th e Shakespeare First Folios This page intentionally left blank Th e Shakespeare First Folios A Descriptive Catalogue edited by Eric Rasmussen Professor of English, University of Nevada, USA and Anthony James West Honorary Research Fellow, University College London, UK with Donald L. Bailey, Mark Farnsworth, Lara Hansen, Trey Jansen, and Sarah Stewart © Eric Rasmussen and Anthony James West 2012 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their right to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2012 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-59786-4 ISBN 978-0-230-36034-1 (eBook) DOI 10.1007/978-0-230-36034-1 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 21 20 19 18 17 16 15 14 13 12 We dedicate this book to our wives, Victoria Hines and Serena Patience West This page intentionally left blank Contents Preface by Paul Werstine viii Acknowledgements ix Introduction xi User’s Guide xv Abbreviations xix Short Titles xx CATALOGUE OF FIRST FOLIOS WORLDWIDE 1 Addendum 1 to the Catalogue: 52 Sutro Library, California State Library 858 Addendum 2 to the Catalogue: Unfound, Untraced, and Destroyed Copies 866 Copies in Lee, Census, and Lee, 1906, at Present Unfound 866 Other Unfound Copies 866 Copies in Lee, Census, ‘Untraced’ (and Still Untraced) 867 Copies in Lee, Census, Destroyed 867 Annexe 1: A Summary Catalogue 868 Annexe 2: Concordance of West/Lee Numbers 873 Appendix 1: Press Variants in the First Folio 875 Appendix 2: First Folio Watermarks Inventory 883 Manuscripts and Works Cited 891 Index of First Folio Owners 909 Index 919 vii Preface It is an honour to be asked to write a preface to such a remarkable work of scholarship as Th e Shakespeare First Folios: A Descriptive Catalogue. One cannot yet imagine the many uses to which succeeding generations will put its store of information about each known and accessible copy of the Shakespeare First Folio, or Mr. William Shakespeares Comedies, Histories, & Tragedies. Published according to the True Originall Copies, of 1623. Th is catalogue celebrates the 1623 Folio by making each of its copies the object of the most meticulous description. Anthony James West and Eric Rasmussen, the Catalogue’s creators, thereby take their place beside Charlton J. K. Hinman, whose two-volume Th e Printing and Proof-Reading of the First Folio of Shakespeare (Oxford: Clarendon, 1963), another celebration of the 1623 collection, was the most detailed account of the printing of a book yet accomplished. Having examined each accessible copy worldwide in situ, West and Rasmussen are able to describe all leaves of all extant volumes (recording their condition, losses and replacements, annotations, and watermarks), as well as providing descriptions of each copy’s binding and lively narratives about previous owners. Th is new information adds hugely to what we know about the history of the First Folio, an important goal of the First Folio Project. As an editor and reader of Shakespeare, I am particularly grateful to West and Rasmussen for bringing us closer to the words that Shakespeare wrote, however impossible it may be ever to attain that long-desired objective. A contribution that I would single out as their greatest gift to Shakespeareans is their signifi cant expansion of our knowledge of the extent to which press correctors have interposed themselves between manuscript printer’s copy (whether in Shakespeare’s handwriting or another’s) and the early printed texts of the plays. We have understood for some time that such knowledge would remain limited until every copy of the early printed texts had been examined and every variation in printing had been found and recorded. Th e present study of all the known and accessible copies of the First Folio takes us far down the road toward achieving such a goal because, among the early printed texts, the Folio looms so large, containing within its pages the fi rst printing of about half of playtexts we read as Shakespeare’s. Research has shown that uncorrected sheets are often very few in comparison to the (mis)corrected ones, and it has been almost impossible to fi nd and identify the uncorrected copies of sheets that display press variants. Only by examining all the known accessible copies of the First Folio, as West, Rasmussen and their team have done, could we be sure that we have recovered as many as possible of the uncorrected states of its sheets. Now that this monumental labour is complete, editors can provide Shakespeare’s readers with editions of the Folio plays based on fully informed decisions about which printed variant has the highest probability of refl ecting the manuscript from which the text was printed. Th anks to West and Rasmussen, we are closer to achieving the goal expressed by Shakespeare’s fellow actors John Heminge and Henry Condell in their preface to the First Folio: ‘To the great Variety of Readers’ – the goal of off ering readers Shakespeare’s plays ‘cur’d, and perfect of their limbes …, as he [Shakespeare] conceiued them’. Paul Werstine viii Acknowledgements Th e editors wish to acknowledge with gratitude the assistance and support of an infi nite variety of friends, colleagues, librarians, archivists, and owners: Hardin Aasand, Bob Allison, John F. Anderies, Anna Lou Ashby, Nicolas Barker, William P. Barlow, Jr., Timothy Barrett, Michael Basinski, Jonathan Bate, Harold Batie, Peter Beal, Terru Belanger, Abel Berland, Cynthia Becht, Charles Benson, Michael Best, David Bevington, Tom Bishop, Lois Black, Julia Blakely, Peter W. M. Blayney, Anthony Bliss, Simon Blundell, Phil Boardman, Rachel Bond, Charles Cutter Brandeis, Janice Braun, Alvan Bregman, Susan Brock, Scott P. Brown, Doug Bruster, John A. Buchtel, Sam Burridge, Joanna Byles, Suzanne Callaghan, Rebecca Cape, Jane Carr, Roger Chartier, Christopher Clarkson, Nick Clary, Helen Clish, Chris Coake, Melissa Cook, David Corson, Michael Crump, Tracey Dando, Geoff rey Day, LuEllen DeHaven, Jo Ellen McKillop Dickie, Mark Diminution, Ann Morgan Dodge, Rachel Doggett, Peter Donaldson, Ian A. Doyle, Katherine Duncan-Jones, Inge Dupont, Lars Engle, Elizabeth Ennion, Stephen Enniss, Philip Errington, Arthur Evenchik, Sherry Farnsworth, Donald Farren, Lynne Farrington, David Fenimore, Christine Ferguson, Steve Ferguson, Christine Finn, Erin Fockler, Harold Forbes, Margaret Ford, David K. Frasier, Eric Frazier, Arthur Freeman, Janet Ing Freeman, Elizabeth E. Fuller, Wayne Furman, Steven Galbraith, Valerie Gillispie, Moira Goff , Warwick Gould, Jan Graffi us, Anthony Grafton, Stephen Grant, Genie Guerard, Werner Gundersheimer, Anette I. Hagan, Carter Hailey, Wayne Hammond, Marianne Hansen, James Harmer, Kate Harris, Sarah Hartwell, Christianne Henry, Richard High, Brian Hillyard, Sheila Hingley, Pam Hines, Vicky Hines, Th eodore Hoff man, Ernst Hongimann, Valerie Hotchkiss, Trevor Howard-Hill, Rachel Howarth, Marvin Hunt, Clive Hurst, Scott Jacobs, Mary Kay Johnsen, Peter Jones, Stephen C. Jones, Lucy Kamenova, Bob Karrow, David Scott Kastan, Paula Kennedy, Arthur Kinney, Bernice W. Kliman, Jamie P. Kohler, Jim Kuhn, Richard Kuhta, Th omas Lamb, Rosalind Larry, Daniel Larsen, Caryn Lazzuri, Ad Lerrintveld, Robert Lerner, Michelle Light, Karen Limper-Herz, Richard Linenthal, Katharine Liu, Willilam H. Loos, Stephan Loewentheil, Robert MacLean, Brian Maggs, Giles Mandelbrote, James Mardock, Philippa Marks, Sonia Massai, Stephen Massey, David McKitterick, Gordon McMullan, Ralph Maud, James Maynard, Andrea Mays, Renate Mesmer, Sylviane Messerli, Emilie Meyer, Rick Michaelson, Robert G. Minte, Maria Isabel Molestina, Th omas J. Morrissey, Frank Mowery, Barbara Mowett, Andrew Murphy, Paul Needham, Rupert Neelands, Mitsuo Nitta, William Noel, Erica Nordheimer, Lord Northhampton, Nancy Nuzzo, Stephen Orgel, Harold Otness, Ricard Ovenden, Susan Palmer, Marilyn Palmeri, Susan Park, Stephen Parks, Gail Kern Paster, Maggie Patton, David Pearson, Carl Peterson, Dee Anna Phares, Amy Pickard, Oliver Pickering, J. R. Piggot, Karma Pippin, Maggie Pogue, Nicholas Poole-Wilson, John Powell, Sue Povey,
Load more

Recommended publications
  • Shakespeare First Folio Sells for $8.4M – the Oldest Undergraduate by Alex Capon College for Women in the Western US, Founded in 1852
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2464 | antiquestradegazette.com | 24 October 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Shakespeare first folio sells for $8.4m – the oldest undergraduate by Alex Capon college for women in the western US, founded in 1852. The First An ‘original and complete’ Folio had come to the US in 1961 copy of William Shakespeare’s when it was sold by London First Folio of plays set an dealership Bernard Quaritch to auction record in the the real estate investor Allan Exceptional sale at Christie’s Bluestein. New York. Estimated at $4m-6m, the Fifth copy for US dealer copy drew competition on Loewentheil, whose 19th October 14 from three phone Century Rare Book and bidders. After six minutes it was Photograph Shop in Brooklyn, knocked down to US book New York, bid £1.5m for another dealer Stephan Loewentheil at First Folio at Sotheby’s in 2010, $8.4m (£6.46m), a sum that surpassed the previous auction Continued on page 4 high of $6.16m/£3.73m (including premium) for a First Right: the copy of Folio sold in the same saleroom Shakespeare’s First Folio in October 2001. that sold for a record $8.4m It was consigned by Mills (£6.46m) at Christie’s New College in Oakland, California York on October 14.
    [Show full text]
  • First Folio Table of Contents the Tragedie of Cymbeline
    THE TRAGEDIE OF CYMBELINE. by WILLIAM SHAKESPEARE Based on the Folio Text of 1623 DjVu Editions E-books © 2001, Global Language Resources, Inc. Shakespeare: First Folio Table of Contents The Tragedie of Cymbeline . 1 Actus Primus. Scoena Prima. 1 Scena Secunda. 3 Scena Tertia. 6 Scena Quarta. 7 Scena Quinta. 8 Scena Sexta. 12 Scena Septima. 14 Actus Secundus. Scena Prima. 20 Scena Secunda. 21 Scena Tertia. 22 Scena Quarta. 26 Actus Tertius. Scena Prima. 32 Scena Secunda. 34 Scena Tertia. 36 Scena Quarta. 38 Scena Quinta. 43 Scena Sexta. 47 Scena Septima. 48 Scena Octaua. 50 Actus Quartus. Scena Prima. 51 Scena Secunda. 51 Scena Tertia. 62 Scena Quarta. 63 Actus Quintus. Scena Prima. 65 Scena Secunda. 66 Scena Tertia. 67 Scena Quarta. 69 Scena Quinta. 74 - i - Shakespeare: First Folio The Tragedie of Cymbeline The Tragedie of Cymbeline zz3 Actus Primus. Scoena Prima. 2 Enter two Gentlemen. 3 1.Gent. 4 You do not meet a man but Frownes. 5 Our bloods no more obey the Heauens 6 Then our Courtiers: 7 Still seeme, as do’s the Kings. 8 2 Gent. But what’s the matter? 9 1. His daughter, and the heire of’s kingdome (whom 10 He purpos’d to his wiues sole Sonne, a Widdow 11 That late he married) hath referr’d her selfe 12 Vnto a poore, but worthy Gentleman. She’s wedded, 13 Her Husband banish’d; she imprison’d, all 14 Is outward sorrow, though I thinke the King 15 Be touch’d at very heart. 16 2 None but the King? 17 1 He that hath lost her too: so is the Queene, 18 That most desir’d the Match.
    [Show full text]
  • Shakespeare in Geneva
    Shakespeare in Geneva SHAKESPEARE IN GENEVA Early Modern English Books (1475-1700) at the Martin Bodmer Foundation Lukas Erne & Devani Singh isbn 978-2-916120-90-4 Dépôt légal, 1re édition : janvier 2018 Les Éditions d’Ithaque © 2018 the bodmer Lab/université de Genève Faculté des lettres - rue De-Candolle 5 - 1211 Genève 4 bodmerlab.unige.ch TABLE OF CONTENts Acknowledgements 7 List of Abbreviations 8 List of Illustrations 9 Preface 11 INTRODUctION 15 1. The Martin Bodmer Foundation: History and Scope of Its Collection 17 2. The Bodmer Collection of Early Modern English Books (1475-1700): A List 31 3. The History of Bodmer’s Shakespeare(s) 43 The Early Shakespeare Collection 43 The Acquisition of the Rosenbach Collection (1951-52) 46 Bodmer on Shakespeare 51 The Kraus Sales (1970-71) and Beyond 57 4. The Makeup of the Shakespeare Collection 61 The Folios 62 The First Folio (1623) 62 The Second Folio (1632) 68 The Third Folio (1663/4) 69 The Fourth Folio (1685) 71 The Quarto Playbooks 72 An Overview 72 Copies of Substantive and Partly Substantive Editions 76 Copies of Reprint Editions 95 Other Books: Shakespeare and His Contemporaries 102 The Poetry Books 102 Pseudo-Shakespeare 105 Restoration Quarto Editions of Shakespeare’s Plays 106 Restoration Adaptations of Plays by Shakespeare 110 Shakespeare’s Contemporaries 111 5. Other Early Modern English Books 117 NOTE ON THE CATALOGUE 129 THE CATALOGUE 135 APPENDIX BOOKS AND MANUscRIPts NOT INCLUDED IN THE CATALOGUE 275 Works Cited 283 Acknowledgements We have received precious help in the course of our labours, and it is a pleasure to acknowl- edge it.
    [Show full text]
  • Shakespeare's First Folio
    SHAKESPEARE’S FIRST FOLIO DR. SARAH HIGINBOTHAM GEORGIA INSTITUTE OF TECHNOLOGY OVERVIEW Fall 2016 F2 9:35-10:55 TR Clough 325 D4 1:35-2:55 TR Clough 127 Seven years after William Shakespeare died, one of the world’s most N 12:05-1:25 TR Skiles 308 important books was published: a collection of thirty-six of his plays E-Mail: [email protected] that we now call the “First Folio.” Without the First Folio, we would Office: Stephen C. Hall Building 009 not have Julius Caesar, Macbeth, The Taming of the Shrew, or two plays that have profoundly changed the way that I think, Measure for Measure and Twelfth Night. We also wouldn’t have the iconic stage direction, “exit, pursued by a bear” (The Winter’s Tale). As Georgia Tech phases out its MATERIALS physical library, and as the world celebrates the 400th anniversary of Shakespeare’s death with a First Folio tour, this course will investigate what the First Folio affords us in the twenty-first century. REQUIRED But while Shakespeare is our topic, our goals concern communication Henry V Folger Shakespeare Library, 2009 skills and critical thinking: you will learn to identify relevant questions Hamlet about an issue, synthesize multiple perspectives, assess the soundness of Folger Shakespeare Library, 2005 a position, revise your work based on feedback, and apply your research King Lear to real world issues. The course will also help you formulate and defend Modern Library Classics, 2009 your point of view via written essays, oral presentations, visual analysis, WOVENText and through electronic and nonverbal communication.
    [Show full text]
  • Romeo-And-Juliet-1596480840.Pdf
    Romeo and Juliet by Rebecca Olson is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License, except where otherwise noted. Contents ACKNOWLEDGEMENTS v PREFACE vii INTRODUCTION x LIST OF MAIN CHARACTERS xvi ACT 1 1 ACT 2 43 ACT 3 80 ACT 4 122 ACT 5 146 GLOSSARY 169 CREATIVE COMMONS LICENSE 180 RECOMMENDED CITATIONS 181 VERSIONING 183 ACKNOWLEDGEMENTS Many thanks to Open Oregon State for publishing and funding this edition, and the OSU School of Writing, Literature, and Film for financial and administrative support. The Oregon Shakespeare Festival made our field trip to Ashland to see Othello both feasible and memorable. And we are much indebted to the teachers and students who took the time to answer our questions and share experiences and lesson plans—thank you! Tessa Barone, Justin Bennett, Ethan Heusser, Aleah Hobbs, and Benjamin Watts served as lead editors for the project. Shannon Fortier, a recent OSU graduate, donated her time and talents. Jac Longstreth (a Biochemistry and Biophysics major!) provided a great deal of research and editing support, funded by the URSA Engage program at OSU. Jessie Heine was our graduate intern extraordinaire. Emily Kirchhofer designed the cover (deftly incorporating an abundance of ideas and opinions). Michelle Miller and Marin Rosenquist completed much of the late-stage editing and also promoted the project at the 2018 OSU Undergraduate Humanities Research Conference. The editors drew on editing work completed by their peers in ENG 435/535 (Fall 2017). And special thanks to Dr. Lara Bovilsky, who in January 2016 generously donated her time to lead ENG 435 students through the University of Oregon’s exhibit devoted to the First Folio (now an online exhibit Time’s Pencil); the student projects that resulted from that class inspired this textbook.
    [Show full text]
  • |||GET||| King Henry IV Part 2 Third Series 3Rd Edition
    KING HENRY IV PART 2 THIRD SERIES 3RD EDITION DOWNLOAD FREE William Shakespeare | 9781904271376 | | | | | King Henry IV Part 2: Third Series See more. King Henry IV Part 2 Third Series 3rd edition landmark new edition by textual expert and General Editor of the Arden Shakespeare, Richard Proudfoot, offers a full account of the play's text and Namespaces Article Talk. Please keep the receipt. Namespaces Article Talk. James C. Each edition features facing-page notes, short definitions of words, guidance on metre and punctuation, large font for easy reading, and plenty of blank space to write notes. Macbeth is one of Shakespeare's most performed King Henry IV Part 2 Third Series 3rd edition studied tragedies. One unusual aspect of this series was its edition of Hamletwhich presents the play in two separate volumes. This major new Arden edition offers students detailed on-page commentary notes highlighting meaning and theatrical ideas and themes, as well as an illustrated, lengthy introduction setting the play in its Stock photo. It presents fully edited modern-spelling editions of the plays and poems, with lengthy introductions and King Henry IV Part 2 Third Series 3rd edition commentaries. Bulman is Henry B. Cymbeline: Third Series. Hardcover William Shakespeare Collectibles. The Passionate Pilgrim To the Queen. Its first publication was Edward Dowden 's edition of Hamletpublished in The play was published in quarto the same year printing by Valentine Simmes. Thank you for shopping at our store. We ship within Three business days of payment, usually sooner. Loved Henry the IV's speech about sleep, or the lack thereof.
    [Show full text]
  • The Nature of Stage Directions in the First Folio
    THE NATURE OF STAGE DIRECTIONS IN THE FIRST FOLIO OF SHAKESPEARE -..L.c..:'~ / .~ A Thesis Submitted to the Faculty of the Department of English and the Graduate Council of the Kansas State Teachers College of Emporia In Partial Fulfillment of the Requirements for the Degree Master of Arts by Joan E. VanSickle ::::::" November 8, 1972 , ,< ,~. T), c.~ I .. '.i (I "! { I , Iii, / \'-i co~_~ vedJr t.he/C)' partment ----..r-' /'\­ . 0.­ (~,.,'/ ' / ;';--'; A­ I:' L-~_ L ~ J __ Graduate Council 331.815 / PREFACE As is readily apparent to any reader of Shakespeare's folio or quarto plays, stage directions are minimal and, at times, almost entirely absent. Quite wisely, therefore, modern editors of Shakespeare have added stage directions to assist readers to an understanding of the stage action. It is not the purpose of this author to comment further upon these editorial additions~ many scholars have already widely discussed and deliberated the accuracies, and inaccuracies, of these later emendations to Shakespeare's own directions. It is, rather, the intent of this author to pursue a study of the stage directions written in Shakespeare's First Folio (1623). Because there are so few stage directions printed, the matter of interpretation and definition of stage action in these plays has become a matter of scholastic concern. Naturally, the study of staging involves more than simply a direct textual study of the stage directions. One must also consider Shakespeare's life and its influence on his plays, the nature of his acting companies and actors, the physical iv and psychological composition of Elizabethan audiences, and 'the structure of the theatres--especially the Globe Theatre, where most of the plays were enacted.
    [Show full text]
  • The Other W.S., William Stanley, Sixth Earl of Derby
    The Other W.S., William Stanley, Sixth Earl of Derby John Raithel n the following, I hope to provide a reasonable summary of the evidence I that I believe points to William Stan- ley, the sixth earl of Derby, as the author of the works generally attributed to Shake- speare. I do not intend, of course, to pre- sent all the material here, but do hope to give a reasonable history of the Derbyite conviction, and in so doing point to some of the sources, compilers, and interpreters of this information, and then bring it up to date with recent discoveries and publica- tions. Beginning with the referenced works, I believe the interested reader will find much to flesh-out the skeleton sketched here. There are good reasons for suspecting that the traditional assignation of the authorship of Shakespeare’s works is misplaced. These are based on statements made about the works at the time of their appearance, evidence concerning the traditional candidate, and inferences derived from the works themselves. There are also good reasons for suspecting the true author to be William Stanley, the sixth earl of Derby. Some of these, too, are based on statements made about the author of the works, and inferences derived from the works themselves. And some are based on evidence concerning William Stanley. None of the statements, evidence, or inferences is conclusive—for Stanley or anyone else—or there would be no controversy. The case for Derby is made by examining the available material and attempting to weight it appropriately, assigning, for example, less weight to inferences drawn from the plays by a Derbyite—where there must be a natural bias toward interpreting the evidence in support of Derby—and more weight to a contemporary’s comments about the author, or to modern research by a non-Derbyite scholar.
    [Show full text]
  • An Introduction to William Shakespeare's First Folio
    An Introduction to William Shakespeare’s First Folio By Ruth Hazel Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. 2 Brush up your Shakespeare The comic gangsters in Kiss Me Kate, Cole Porter’s 1948 musical based on Shakespeare’s The Taming of the Shrew, offer Shakespeare’s poetry – by which they actually mean his plays – as a guaranteed way to a woman’s heart: quoting Shakespeare will impress her and be a sure-fire aphrodisiac. Today, Shakespeare has become a supreme icon of Western European high culture, which is ironic since in his own day Shakespeare’s craft – jobbing playwright – was not a well-regarded one. Indeed, those who wrote plays to entertain the ‘groundlings’ (as the people who paid just one penny to stand in the open yard round the stage in public playhouses were called) were often considered little better than the actors themselves – who, in their turn, were only one level up, in the minds of Puritan moralists, from whores. Shakespeare himself did not seem eager to advertise authorship of his plays by seeing them into print, and when some of his plays were printed, in the handy quarto-sized editions for individual consumption, his name was not always on the title page. (The terms ‘folio’ and ‘quarto’ refer to the size of the pages in a book: in a Folio, each sheet of paper was folded just once, with a page height of approx.
    [Show full text]
  • A Rare Torah in the Library of Congress Gary A
    COURTESY OF THE HEBRAIC SECTION, AFRICAN AND MIDDLE EAST DIVISION, LIBRARY OF CONGRESS CONGRESS OF OF LIBRARY LIBRARY DIVISION, DIVISION, EAST EAST MIDDLE MIDDLE AND AND AFRICAN AFRICAN SECTION, SECTION, HEBRAIC HEBRAIC THE THE OF OF COURTESY COURTESY 46 NOVEMBER/DECEMBER 2019 A Rare Torah in the Library of Congress Gary A. Rendsburg In January 2018, the Library of Congress announced that it had obtained a c. 1,000-year-old Torah scroll sheet. What makes this Torah scroll sheet so important? Where is it from? And how did it reach the halls of the de facto national library of the United States? Here is the story, though fi rst some background. As readers of BAR know, in ancient Israel and during the Greco- Roman period, biblical books were written on scrolls, made either from papyrus (in the earlier period) or from parchment (in the later period). Our most important testimony, of course, stems from the more than 200 biblical manuscripts found amongst the Dead Sea Scrolls at Qumran, dated from the third through fi rst centuries B.C.E. In the scroll format, the text was written on only one side of the available writing surface, what we may call the inside surface. With the rise of Christianity, the written text took a new form, the codex, the forerunner of the modern book. In this format, the text was written on both sides of the parchment sheet, and then the sheets were piled one on top of the other and sewn together—again, consider the modern book. The most famous exemplar is probably Codex Sinaiticus,* a complete (or nearly so) manuscript of the Greek Bible (including both * See “Who Owns the Codex Sinaiticus?” BAR, November/December 2007.
    [Show full text]
  • Romeo and Juliet First Folio
    FIRST FOLIO: TEACHER CURRICULUM GUIDE by William Shakespeare directed by David Muse September 9–October 12 FIRST FOLIO Teacher Curriculum Guide Table of Contents Page Number Welcome to the About the Play Shakespeare Theatre Company’s Synopsis of Romeo and Juliet….... ……..…..2 production of The Elizabethan Stage: The Tradition of Romeo and Juliet All-Male Casts.………………………....3 by William Shakespeare! An Interview with Director David Muse.…....4 Family Feud: Montagues vs. Capulets and This season, the Shakespeare Theatre Who’s Who……………………...…..….5 Company presents seven plays by William Shakespeare’s Italy.………….………..……..6 Shakespeare and other classic playwrights. Consistent with the Shakespeare Theatre Classroom Connections Company's central mission to be the leading Before and After the Performance………….7 force in producing and preserving the highest quality classic theatre , the Education Resources and Standards of Learning Department challenges learners of all ages Resource List and Standards of Learning…8 to explore the ideas, emotions and principles Theatre Etiquette……………………………..9 contained in classic texts and to discover the connection between classic theatre and our modern perceptions. We hope that this First The First Folio Teacher Curriculum Guide for Folio Teacher Curriculum Guide will prove Romeo and Juliet was developed by the useful as you prepare to bring your students Shakespeare Theatre Company Education to the theatre! Department and compiled and edited by Caroline Alexander. “Shakespeare’s Italy” For the 2008-09 season, the Education was written by Wendy Leibowitz. Cover Department will publish First Folio Teacher photo of James Davis by Scott Suchman. Curriculum Guides for our productions of Romeo and Juliet, Twelfth Night and Ion.
    [Show full text]
  • Reshape Our Future
    Header here Reconnect With Your Past. Reshape Our Future. October 3-5, 2018 baltimorehomecoming.com #bmorehome#baltimorehome 1 Header here PHOTO BY ISAAC GUERRERO @S_ISAAC_GUERRERO #baltimorehome 2 #baltimorehome 3 WELCOME DEAR FRIENDS, Welcome home! We are so excited to have you back in Charm City for the first annual Baltimore Homecoming. We are grateful to the hundreds of leaders from across Baltimore – reverends and educators, artists and business executives, activists and philanthropists – who joined together to organize this event. We each have our own memories of Baltimore – a humid summer afternoon or spring ballgame, a favorite teacher or a first job. We hope that you take time while you’re home to reconnect with your past and savor the city – catch up with friends and family, drop by a favorite restaurant, or visit an old neighborhood. Reconnecting is the first step. But our deeper hope is that you begin to forge a new relationship to the city. Whether you left five years ago or fifty, Baltimore has evolved. The Baltimore of today has a dynamic real estate market and budding technology sector. Our artists are leading the national conversation on race and politics. Our nonprofit entrepreneurs are on the cutting-edge of social change. The Port of Baltimore is one of the fastest growing in the U.S. The city’s growth has emerged from and complemented our historic pillars of strength – a rich cultural heritage, world-class research institutions, strategic geographic location, and beautiful waterfront. Baltimore faces significant challenges that we cannot ignore: segregation, entrenched poverty, crime and violence.
    [Show full text]