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7.5 X 11 Long Title.P65 Cambridge University Press 978-0-521-11103-4 - Shakespeare Survey: Close Encounters with Shakespeare’s Text Edited by Peter Holland Excerpt More information SHAKESPEARE, TEXT AND PARATEXT SONIA MASSAI ‘Reader, . Introth you are a stranger to me; why should liography. One crucial aspect of this legacy is the I Write to you? you neuer writ to mee.’ common tendency to identify the printer’s copy (Nathaniel Field, A Woman is a Weather-Cock, rather than the printed text as the ultimate source v STC 10854, 1612,A3 ) of textual authority. As a result, all those features ‘To the onely rewarder, and most iust poiser of ver- that were added to the printer’s copy as the dra- tuous merits, the most honorably renowned No-body, matic manuscript was transmitted into print and bounteous Mecænas of Poetry, and Lord Protector of transformed into a reading text tend to be over- oppressed innocence.’ looked. The paradox of course is that no dramatic (John Marston, Antonio and Mellida, manuscripts used as printer’s copy to set up early STC 17473, 1602,A2) modern playbooks have survived.1 Scholars inter- ested in Shakespeare and performance often criti- The early modern dramatic paratext is a rich cize the ‘tyranny of print’.2 Ironically, the study of and varied repository of tributes to patrons and Shakespeare in print has also been deeply affected readers, where dramatists negotiated or parodied by the ‘tyranny of the lost manuscript’. This under- their attitudes towards dramatic publication and standing of the printed text as a misrepresentation their reliance on the medium of print as a source of the printer’s copy, combined with the absence of income and literary reputation. However, the of any address or dedication signed by Shakespeare, lack of signed dedications or addresses to the has in turn led to a near-universal misconception reader in the early editions of Shakespeare’s plays of the paratext as marginal, dispensable, occasional, has deflected critical and editorial attention from fundamentally different and ultimately detachable early modern dramatic paratexts and from the sig- from the text. nificance of other paratextual features in Shake- Even the more familiar types of theatrical para- speare, including title-pages, head titles, running texts, such as prologues, epilogues, presenters and titles and act and scene divisions. This article choruses, are regarded as inherently different and shows that a close analysis of some of these fea- separate from the main body of the dramatic tures and a contrastive analysis of Shakespearian and non-Shakespearian early modern playbooks 1 No dramatic manuscripts or printed editions were for exam- lend fresh insight into what we mean by ‘Shake- ple identified as printer’s copies used to set up extant early speare’ and ‘text’ and how the texts of Shakespeare’s modern playbooks by J. K. Moore in Primary Materials Relat- plays are edited and re-presented to the modern ing to Copy and Print in English Books of the Sixteenth and reader. Seventeenth Centuries (Oxford, 1992). 2 See, for example, Margaret Jane Kidnie, ‘Where is Hamlet? Critical and editorial neglect of paratextual fea- Text, Performance, and Adaptation’, in Barbara Hodgdon tures in the early editions of Shakespeare’s plays is andW.B.Worthen,eds.,A Companion to Shakespeare and also due to the enduring legacy of the New Bib- Performance (Oxford, 2005), pp. 101–20;p.104. 1 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11103-4 - Shakespeare Survey: Close Encounters with Shakespeare’s Text Edited by Peter Holland Excerpt More information SONIA MASSAI dialogue, or the text of the play. Early modern as presenter, or prologue: ‘Other stately pac’t Pro- theatrical paratexts may indeed have been detach- logues vse to attire themselues within: I that haue able from the plays in performance. According to a toy in my head, more then ordinary, and vse Tiffany Stern, prologues and epilogues were meant to goe without money, without garters, without ‘for new plays and, more specifically, for new plays girdle, without a hat-band, without poynts to my before their benefit performance’.3 But prologues hose, without a knife to my dinner, and make so and epilogues, along with title-pages, dedications, much vse of this word without,ineuerything,will addresses, dedicatory poems, lists of dramatis per- here dresse me with-out’ (B1). The actor is most sonae and errata, postscripts and colophons, were obviously ‘without’ the fictive world of Nashe’s certainly not detachable, nor were they meant to be masque when he, ‘a foole by nature’, playing Will detached from the printed playbooks which origi- Sommers, a fool ‘by arte’, proclaims to be speak- nally included them. It is certainly true that prelim- ing to the audience ‘in the person of the Idiot our inaries were often printed last and on independent Playmaker’ (my emphasis, B1) The actor contin- units or sub-units of paper. This practice was, how- ues to stay ‘without’ the masque by acting as a ever, driven by the practical challenge of casting- disparaging commentator – he calls the masque a off the printer’s copy before the presswork started ‘dry sport’ (D1) and confesses half way through rather than by any difference in the perceived sta- that ‘I was almost asleep; I thought I had bene at tus of prefatory materials when compared to the a Sermon’ (C1v). But he also interacts with the rest of the text. And it is certainly true that early characters, most memorably when Bacchus forces modern playwrights occasionally maximized their him to drink and knights him by dubbing him with chances to secure patronage by adding dedications his ‘black Iacke’(D2). Will Sommers is simultane- only to presentation copies4 or by using the same ously within and without Nashe’s masque, he is edition to woo different patrons.5 But the presence simultaneously text and paratext. or absence of a dedication or any other paratextual Drawing a distinction between text and paratext feature has a significant impact on how the play- is just as difficult in plays written for the commer- book presents itself to the reader. Well known is cial stage. The Chorus in the First Folio edition the alternative presentation of Troilus and Cressida ‘As it was acted by the Kings Maiesties seruants at the 3 Tiffany Stern, ‘“A small-beer health to his second day”: Globe’ or as ‘a new play, neuer stal’d with the Stage, Playwrights, Prologues, and First Performances in the Early neuer clapper-clawd with the palmes of the vulger’(¶2) Modern Theatre’, in Studies in Philology, 101 (2004), 172–99; in the two issues of the 1609 edition. As John Jowett p. 174. has most recently put it, the two issues of Troilus 4 A dedication to the ‘intire friends to the familie of the Sher- and Cressida turn the play into ‘a cultural object leys’, signed by John Day, William Rowley and John Wilkins, was, for example, added to only a few copies of the 1607 edi- that exists in relation to posited readers . the reg- tion of The Travels of the Three English Brothers (STC 6417). ular purchaser of plays from the Globe [and] the Interestingly, the dedication attempts to reconcile the ten- coterie readership that the reset preliminaries seem sion between the wide circulation ensured by print and the to court’.6 authors’ wish to present their play only to friends of the fam- Even more crucially, early modern theatrical ily: ‘wee wish all to peruse, and yet none but friends, because wee wish all should be friends to worth and desert’(A1). paratexts cannot always be disentangled from the 5 An autograph epistle ‘To my Honorable Freinde Sr Francis text. In Summers Last Will and Testament (STC Foliambe knight and Baronet’, signed by Philip Massinger, 18376, 1600), the opening stage direction reads as was inscribed on X2v in one copy of the 1623 quarto edition follows: ‘Enter Will Summers in his fooles coate but of TheDukeofMilan(STC 17634), although all extant copies already include a printed dedication ‘To the Right Hon- halfe on, comming out’(B1). The actor is half-dressed ourable and much esteemed . Lady Katherine Stanhope’. and not quite ready to play Tudor jester Will Som- 6 John Jowett, Shakespeare and Text, Oxford Shakespeare Topics mers. The actor is also reluctant to play his role (Oxford, 2007), pp. 61, 64. 2 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11103-4 - Shakespeare Survey: Close Encounters with Shakespeare’s Text Edited by Peter Holland Excerpt More information SHAKESPEARE, TEXT AND PARATEXT of Shakespeare’s Henry V, for example, fulfils both (Q2,G3v, STC 22276)7 – is delivered in character textual and paratextual functions. Conventionally and half-way through the play. However, both dis- paratextual is the classical trope of the authorial tinctions – within or without the fictive world of invocation of divine inspiration in its opening the play, within or without the printed text of the lines: ‘O For a Muse of Fire, that would ascend / play – are often unhelpful. The brightest Heauen of Inuention’. Similarly Our readiness to endorse these distinctions is paratextual is the Chorus’s prologue-like appeal intimately connected to the etymology of the very to the audience – ‘let vs, Cyphers to this great word we use to describe the paratext. The etymol- Accompt, / On your imaginarie Forces worke’ – ogy of the word ‘paratext’ implies a spatial dislo- and the explicit instruction to ‘Suppose within cation, meaning ‘next to, by the side of, beside’ the Girdles of these Walls / Are now confin’d (OED)thetext.Gerard´ Genette’s influential defi- two mightie Monarchies’ (STC 22273,h1).
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