The Winter's Tale Front Matter

Credits

The Winter’s Tale

Edited by
Robert Kean Turner
Virginia Westling Haas
with
Robert A. Jones
Andrew J. Sabol
Patricia E. Tatspaugh

Preface

The first New Variorum edition of The Winter’s Tale, the work of Horace Howard Furness, appeared in 1898. The present edition retraces Furness’s but does not replace it, for often the more recent scholarship and criticism reported here could be accommodated only by reducing Furness’s ampler treatment of the early material. The reader who finds this book useful is urged to consult Furness’s as well to obtain a fuller account of many subjects.

Patricia Tatspaugh wrote the section of this edition on performances and Andrew Sabol that on music. Robert Jones handled criticism in German. Although Virginia Haas worked primarily on the sections on criticism and the text on the stage, she had a hand throughout. Except for specific contributions acknowledged in their place, Robert Turner did the rest. Much of the work was done at the University of Wisconsin–Milwaukee, having been underwritten by its College of Letters and Science (William F. Halloran, dean, and Jessica R. Wirth, associate dean). The Research Committee of the university’s Graduate School provided generous support, as did its Golda Meir Library (William F. Roselle and Peter Watson-Boone, library directors), which created and fostered a Shakespeare collection rivaled by few universities in the United States and by hardly any recently established ones. The Memorial Library of the University of Wisconsin–Madison (Kenneth L. Frazier, director of libraries) maintains a similarly distinguished collection for the use of the general editors of the Variorum series. The support of both libraries has been invaluable.

Financial aid for this edition was provided by the National Endowment for the Humanities, the Folger Shakespeare Library, the John Simon Guggenheim Memorial Foundation, the American Philosophical Society, the American Council of Learned Societies, the Newberry Library Renaissance Consortium, and the Modern Language Association of America (Phyllis Franklin, executive director). Libraries at which research was done include the Folger Shakespeare Library; the Furness Memorial Library of the University of Pennsylvania; the New York Public Library; the British Library; the Bodleian Library; the Cambridge University Library; the Libraries of the Shakespeare Centre, Trinity College and Pembroke College, Cambridge; the University of London; the Research Services Department of the Theatre Museum (Victoria and Albert Museum); the Library of the Garrick Club; and the Hampden Booth Theatre Library. Their hospitality is greatly appreciated. The Beinecke Library, Yale University Library, and the Henry E. Huntington Library supplied information, and among the individuals who helped in various ways are Walter S. Achtert, Stephen Booth, Fredson Bowers, Gerry Flynn, Philip Gaskell, Joseph Gibaldi, Charlton Hinman, Cyrus Hoy, Taro Kusanagi, James G. McManaway, Barbara A. Mowat, Marvin Spevack, Judith Cook Svenheim, Roy Swanson, John Velz, George Walton Williams, and George T. Wright. I especially want to thank Patricia Rieselbach and James P. Hammersmith for their excellent assistance. Richard Knowles, the general editor of the New Variorum Shakespeare, made innumerable improvements, caught many mistakes, contributed his own critical ideas and evaluations, and in general shaped this edition much for the better. More recently, Paul Werstine, his fellow general editor, began to do the same. Virginia Haas and I are grateful to them both. We are also obliged to Susan Joseph, our copy editor, whose sharp eye saved us from error and sharp mind gave rise to a number of changes for the better.

Acknowledgements for the Digital Edition

The production of each NVS digital edition was conducted by a team of scholars and researchers and made possible by the Modern Language Association’s Executive Council that awarded the Center of Digital Humanities Research (CoDHR) at Texas A&M a grant to publish NVS editions online, making them freely available to scholars, educators, students, and performers via an open access, interactive web application. Each digital edition contains the complete text of each play along with a full collation of textual notes from the earliest editions to the present, including extensive previous commentary.

The physical Variorum volume includes a CD-ROM that contains an XML-encoded version of the contents, rendering the work as a PDF that is text-searchable with internal links for easy navigation. A special thanks to Julia Flanders, Professor of the Practice in English and the director of the Digital Scholarship Group in the Northeastern University Library, for XML-encoding the physical volume and for consulting with the NVS team at CoDHR who used the XML-encoded text to publish this edition online at https://newvariorumshakespeare.org/.

The NVS team at CoDHR includes Laura Mandell (PI and CoDHR Director), Katayoun Torabi (Project Manager), Anne Burdick (NVS site designer and Chair of Media Design Practices at Art Center College of Design in Los Angeles), Bryan Tarpley (Lead Developer at CoDHR and NVS back-end developer), Will McLean, (front-end developer and interaction design), and Kayley Hart and Lindsey Jones (Texas A&M graduate students). The NVS team worked closely with General Editors Paul Werstine and Eric Rasmussen and the NVS Board, led by NVS Board Chair Lena Cowen Orlin, to bring this edition online. For more information about those who made the digital edition possible, please visit our https://newvariorumshakespeare.org/contributors/ page.

Plan of the Work

This edition of The Winter’s Tale has four main parts: a text of the play reprinted with little change from that of the first edition in Mr. William Shakespeares Comedies, Histories, & Tragedies, the Folio of 1623 (F1); textual notes of significant departures from the F1 text in eighty-six editions of the play ranging in date from 1632 to 1988; commentary on the meaning or the artistry of the text drawn from editions, dictionaries, and critical works; and a collection of more general textual, historical, critical, and theatrical information about the play.

The text printed here derives from photocopies of one of the copies of F1 in the Folger Shakespeare Library. The transcript of these prints was compared with the WT texts of several other Folger copies, Sidney Lee’s Shakespeares Comedies, Histories, & Tragedies being a Reproduction in Facsimile of the First Folio Edition (Oxford, 1902), and Charlton Hinman’s The Norton Facsimile: The First Folio of Shakespeare (New York, 1968), the object being to make the Variorum text as accurate as possible. No F1 press variants affecting WT readings have as yet been found (see here). Silent alterations of the F1 text include the representation of roman long s by s; the printing of logotypes (at lines 1672 and 2146) and ligatures (e.g., roman ss and st) as two letters; the suppression or reduction of framing rules, display types, ornaments, printing space types, quads, and packing; the alignment of irregular letters and normalization of spacing (except in some instances noted below); the positioning of marginal stage directions to the right regardless of their placement in the F1 line; and the correction of wrong-font types, including alteration of italic punctuation marks to roman in a roman context and vice versa. Other errors are corrected when there is no doubt what the true reading should be. In a few instances missing punctuation is supplied, words turned up or down by F1 because the full line of text exceeded the measure of the column are printed in one line, and conventional closing punctuation is substituted for other marks at the end of completed speeches where no suspension seems intended. A list of these changes appears in the Appendix (see here). Also listed there are spellings probably adopted by F1 for justification. The line numbers of the text are the Through Line Numbers introduced by Charlton Hinman in The Norton Facsimile: The First Folio of Shakespeare (New York, 1968), but the headlines include, as well, the act-scene-line numbers of the 1974 Riverside WT, edited by G. Blakemore Evans. Riverside act and scene divisions are indicated by boldface numerals in the right margin. Also in the right margins, signature and column indicators of the beginning of each Folio column appear in parentheses.

The textual notes record alterations in the meaning or meter of the F1 text found in the editions collated; alteration of meaning was decided by the variant’s receiving separate listing in the Oxford English Dictionary and a different definition. Modernizations of form are ignored. So are misprints unless the misprint creates an English word or was taken for a word. Conjectural emendations are included in the textual notes if the reading has been adopted by one of the editions collated; others are in the list of unadopted conjectures (here). Alterations in punctuation and capitalization are ignored unless the alteration creates a different meaning. Stage directions added or altered in later editions appear only if the action implied by F1 is affected in a major way.

Variant lining affecting meter—verse as prose, prose as verse, verse as different verse—is noted. The elision or expansion of syllables is recorded only if the alteration shifts the word’s accent or alters the number of feet in a verse line. When words that may be elided must be elided to make regular verse (e.g., in the to one-syllable i’th) it is assumed that elision was intended and no note is provided. The expression one verse line indicates that part lines of verse shared by speakers have been arranged to indicate that taken together they constitute a pentameter. If the subject of the note is variant punctuation only, a word in the lemma that is repeated in the variant is represented there by a swung dash ( ~ ), and the absence of punctuation is indicated by an inferior caret (‸). Editions are represented by the sigla listed in this section (here) and on the endpapers of this book.

The basic form of the textual note may be illustrated by

which records the fact that in line 647—He ha’s discouer’d my Designe, and I—Rowe’s editions of 1709 and editions following through Johnson’s second edition of 1765 for ha’s in the Variorum text read hath. Capell’s edition of 1768 reads has, the equivalent of ha’s, and so is represented by an honorable absence, but the variorum edition of 1773 and those editions following through Malone’s of 1790 revert to hath. The variorum edition of 1793 restores the F1 reading and is followed by all other collated editions.

Another type of textual note employs the formula etc. For example:

Here the editions that read with the Variorum text (F1, bul, nlsn, sis, cln2, pen2, and all later editions collated) appear first, then those that read have been so, then those that read have been, F2 being the first to do so, and etc. means and all other editions collated but not already accounted for.

Still another type of note makes use of family sigla:

han here represents both of Hanmer’s editions (1743 and 1745) that were collated, but not Hanmer’s edition of 1770, which was only quoted from occasionally. cap also looks like a family siglum and it is, but the family has but a single member, Capell’s 1768 edition. Occasionally the family siglum will not be based on the editor’s name; cam, for example, indicates the Cambridge editions of 1863 (cam1) and 1931 (cam3). In this note the hyphen, as one might expect, represents through. Elsewhere a minus sign is used to indicate exclusion:

32 Vast] Vast Sea F2-pope2 (−F4), han, cap

means that F4 reads not Vast Sea but Vast, as does the lemma. Had F4 read Huge Sea the note would have been

32 Vast] Vast Sea F2, F3, pope, han, cap; Huge Sea F4

Although most variant readings originate in editions, some are found in other sources:

Here the variant originates in Styan Thirlby’s manuscript notes in a volume of Theobald’s edition of 1733 (see here), where it is considered a conjecture because it does not appear in a published edition. The reading does appear in Hanmer’s edition of 1743 (and it also occurs in his second edition of 1745 and in three later editions). The note does not mean, however, that Hanmer necessarily found the reading in Thirlby’s notes or that Dyce found it there or in one of Hanmer’s editions. Here and in similar notes the variant is given in the form in which it was first printed rather than in the sometimes eccentric form of its manuscript source.

Added stage directions calling for action clearly implied by the text are not recorded, nor are those calling in different words for essentially the same action as the stage direction of the text. The abbreviation subst. indicates that although their language differs, the collated stage directions have the same significance. For example:

There is no equivalent of Hanmer’s stage direction in F1; it is derived from Leontes’s Why that’s my Bawcock: what? has’t smutch’d thy Nose?

They say it is a Coppy out of mine. Come Captaine,

We must be neat; not neat, but cleanly, Captaine: Capell’s version of the stage direction is pulling the Boy to him, and wiping him; Wilson’s (cam3) is nearly identical to Hanmer’s. The note has no lemma because no direction appears in F1.

Beneath the textual notes is commentary on specific words or passages in the text. The glosses and explanatory notes of many editions of WT are quoted there, and definitions are drawn from works of reference and dictionaries, especially the Oxford English Dictionary but also dictionaries nearer Shakespeare’s time such as John Minsheu’s Ductor in Linguas, The Guide into Tongues (1617) and Henry Cockeram’s English Dictionarie (1623), as well as Samuel Johnson’s Dictionary of the English Language (1755). Foreign language dictionaries—John Florio’s English-Italian Queen Anna’s New World of Words (1611), for example—are sometimes used, as are specialized glossaries such as Henry Manwayring’s Sea-mans Dictionary (1644), B. E.’s Dictionary of the Terms . . . of the Canting Crew (1699), and Edward Sugden’s Topographical Dictionary (1925). Alexander Schmidt’s Shakespeare-Lexicon and C. T. Onions’s Shakespeare Glossary are the sources of many definitions, and E. A. Abbott’s Shakespearian Grammar and Wilhelm Franz’s Die Sprache Shakespeares are frequently alluded to. In general, the first comment to be made is quoted, but if a later one is clearer, more accurate, or more explicit, it appears instead. In these notes and elsewhere square brackets within quotations enclose corrections or comments made by the editors of this volume; the square brackets of the quotations themselves have been transformed to angle brackets (< >). The spelling and punctuation of the works cited are retained except that if the beginning or the end of a sentence has been omitted but a complete sentence remains, it is provided with a beginning capital or a final period. Initial capitals are also supplied for direct discourse. No notes are printed entirely in italics even though the source may have done so.

The remainder of the edition begins with a list of the F1 readings emended in the present text. Following that is another collection, a listing of proposed substantive emendations never adopted in the editions of WT collated. The subsequent sections are more general. Included are an essay on the text of the play—its authenticity, the printing of the F1 version, the scribal copy from which the compositors worked, and the copy from which the scribe worked and his fidelity to it. A second essay considers the date of the play’s composition; a third examines the play’s sources, primarily Robert Greene’s Pandosto but also minor sources and analogues. Imitations are also mentioned. Following is a selection of the literary criticism of the play and then a stage history that includes a record of how the text has been altered for the theater, an account of important performances, and a discussion of the actors who have taken major roles, as well as of directors responsible for significant interpretations. Finally, there is an account of the songs and dances that embellish the play’s dialogue and action.

The versions of WT published in the following editions were collated for substantive differences from F1. Each title is preceded by the siglum that identifies the edition in the textual notes and other textual apparatus. The place of publication of these and all other books mentioned throughout the edition is London unless otherwise specified.

The editions, books, and manuscripts listed below are also referred to. Although all editions mentioned in the textual notes have been fully collated, only readings that they first print or, in a few instances, revive after long disuse are reported. Readings from revised editions (n&h, k&r, and pel2) appear only when those editions differ from their predecessors.

The following sources are occasionally quoted in the commentary or critical discussion:

Unless otherwise specified, quotations of authors other than Shakespeare are drawn from these editions:

In addition to others commonly employed, the following abbreviations occur:

• a
  in a signature, left-hand column
• a.
  adjective
• ad.
  added, additionally
• Ado
  Much Ado about Nothing
• AEB
  Analytical and Enumerative Bibliography
• AI
  American Imago
• ALitASH
  Acta Litteraria Academiae Scientiarum Hungaricae
• Anon.
  Anonymous
• Ant.
  Antony and Cleopatra
• app.
  appendix
• Archiv
  Archiv für das Studium der Neueren Sprachen und Literaturen
• Assn.
  Association
• attrib.
  attributed to
• aug.
  augmented
• AWW
  All’s Well That Ends Well
• AYL
  As You Like It
• b
  in a signature, right-hand column
• BJRL
  Bulletin of the John Rylands University Library of Manchester
• BL
  British Library
• BLC
  British Library General Catalogue of Printed Books
• BSUF
  Ball State University Forum
• Bull.
  Bulletin
• BuR
  Bucknell Review
• c.
  circa, century
• CahiersE
  Cahiers Elisabéthains
• C&L
  Christianity and Literature
• CE
  College English
• CentR
  Centennial Review
• cf.
  compare
• ch.
  chapter
• CLAJ
  College Language Association Journal
• CLS
  Comparative Literature Studies
• CML
  Classical and Modern Literature: A Quarterly
• CompD
  Comparative Drama
• Comp. Lit.
  Comparative Literature
• comp(s).
  compiler(s)
• conj.
  conjecture, conjectural
• ConR
  Contemporary Review
• Cor.
  Coriolanus
• CritQ
  Critical Quarterly
• Cym.
  Cymbeline
• degr.
  degraded (usually to a note)
• diff.
  different
• diss.
  dissertation
• DNB
  Dictionary of National Biography
• DR
  Dalhousie Review
• DUJ
  Durham University Journal
• EA
  Etudes Anglaises
• EAA
  Estudos Anglo-Americanos (São Paulo)
• E&S
  Essays and Studies (London)
• Eccles.
  Ecclesiastes
• ed(s).
  edited by, editor(s), edition(s)
• EDD
  The English Dialect Dictionary, ed. Joseph Wright, 6 vols. 1898–1905
• EIC
  Essays in Criticism
• EIE
  English Institute Essays
• EigoS
  Eigo Seinen
• EIRC
  Explorations in Renaissance Culture
• EiT
  Essays in Theatre
• ELH
  the title per se; formerly Journal of English Literary History
• ELN
  English Language Notes
• ELR
  English Literary Renaissance
• EM
  English Miscellany
• Eng.
  English
• enl.
  enlarged
• Err.
  The Comedy of Errors
• ES
  English Studies (Netherlands)
• ESC
  English Studies in Canada
• ESn
  Englische Studien
• et al.
  and others
• etc.
  (in a textual note) and all other collated editions
• Exod.
  Exodus
• Expl
  Explicator
• Ezek.
  Ezekiel
• f.
  folio (leaf or page number)
• F, F1
  First Folio (1623)
• F2, F3, F4
  Second (1632), Third (1663–4), Fourth (1685) Folios
• Ff.
  Folios
• FQ
  Faerie Queene
• Fr.
  French
• Gen.
  Genesis
• Gent.
  Gentleman
• Gent. Mag.
  Gentleman’s Magazine
• Ger.
  German
• 1H4
  The First Part of Henry the Fourth
• 2H4
  The Second Part of Henry the Fourth
• H5
  Henry the Fifth
• 1H6
  The First Part of Henry the Sixth
• 2H6
  The Second Part of Henry the Sixth
• 3H6
  The Third Part of Henry the Sixth
• H8
  King Henry the Eighth
• Hab.
  Habakkuk
• HAB
  Humanities Association Bulletin (Canada)
• Ham.
  Hamlet
• HLB
  Harvard Library Bulletin
• HLQ
  Huntington Library Quarterly
• Idem
  the same commentator
• IJPP
  Interpretation: A Journal of Political Philosophy
• Isa.
  Isaiah
• ISJR
  Iowa State Journal of Research
• JAMS
  Journal of the American Musicological Society
• Jas.
  James
• JC
  Julius Caesar
• JEGP
  Journal of English and Germanic Philology
• Jer.
  Jeremiah
• JHI
  Journal of the History of Ideas
• Jn.
  King John
• Jour.
  Journal
• Jth.
  Judith
• l(l).
  line(s)
• L&P
  Literature and Psychology
• LanM
  Les Langues Modernes
• LC
  A Lover’s Complaint
• Lev.
  Leviticus
• Libr.
  Library
• LLL
  Love’s Labour’s Lost
• Lr.
  King Lear
• Luc.
  The Rape of Lucrece
• m
  with a siglum, a manuscript source
• Mac.
  Macbeth
• Mag.
  Magazine
• M&L
  Music and Letters
• Matt.
  Matthew
• MdF
  Mercure de France
• MED
  Middle English Dictionary
• Met.
  Metamorphoses
• MLN
  the title per se; formerly Modern Language Notes
• MLQ
  Modern Language Quarterly
• MLR
  Modern Language Review
• MLS
  Modern Language Studies
• MM
  Measure for Measure
• MND
  A Midsummer Night’s Dream
• MP
  Modern Philology
• MQ
  Midwest Quarterly
• MS(S)
  manuscript(s)
• MSE
  Massachusetts Studies in English
• MSpr
  Moderna Språk
• MSR
  Malone Society Reprint
• MV
  The Merchant of Venice
• n(n).
  note(s)
• N&Q
  Notes and Queries
• NCCH
  New Century Classical Handbook
• n.d.
  not dated
• n.p.
  place of publication unspecified
• NS
  new series
• NUC
  National Union Catalogue
• OCD
  Oxford Classical Dictionary
• Od.
  Odyssey
• OED
  Oxford English Dictionary
• om.
  omitted by
• Oth.
  Othello
• OUP
  Oxford University Press
• p(p).
  page(s)
• PBA
  Proceedings of the British Academy
• PBSA
  Papers of the Bibliographical Society of America
• PCLS
  Proceedings of the Comparative Literature Symposium (Lubbock, Texas)
• PCP
  Pacific Coast Philology
• Per.
  Pericles
• 1 Pet.
  1 Peter
• PhT
  The Phoenix and Turtle
• pl.
  plural
• PMLA
  Publications of the Modern Language Association of America
• PQ
  Philological Quarterly
• prep.
  preposition
• Preuss.
  Preussische (Prussian)
• Ps.
  Psalms
• pseud.
  pseudonym
• PsyR
  Psychoanalytic Review
• pt(s).
  part(s)
• pub., publ.
  published, publication
• Q
  quarto
• QQ
  Queen’s Quarterly
• R2
  King Richard the Second
• R3
  King Richard the Third
• RAA
  Revue Anglo-Américaine
• REL
  Review of English Literature
• RenD
  Renaissance Drama
• RenQ
  Renaissance Quarterly
• RES
  Review of English Studies
• Rev.
  Revelations
• Rev.
  Review
• rev.
  revised
• RMR
  Rocky Mountain Review of Language and Literature
• Rom.
  Romeo and Juliet
• rpt.
  reprint, reprinted
• RSC
  Royal Shakespeare Company
• RSTC
  Revised ed. (1986–91) of STC
• SAB
  South Atlantic Bulletin
• 1 Sam.
  1 Samuel
• sb.
  substantive (noun)
• SB
  Studies in Bibliography
• SCL
  Shakespeare Centre Library, Stratford-upon-Avon
• SD(s)
  stage direction(s)
• SEL
  Studies in English Literature, 1500–1900
• ser.
  series
• ShAB
  Shakespeare Association Bulletin
• ShakB
  Shakespeare Bulletin (New York Sh. Soc.)
• ShakS
  Shakespeare Studies
• Sh(n).
  Shakespeare(an) (any spelling)
• ShN
  Shakespeare Newsletter
• Shr.
  The Taming of the Shrew
• ShS
  Shakespeare Survey
• sig(s).
  signature(s)
• SJ
  Shakespeare-Jahrbuch
• SJH
  Shakespeare-Jahrbuch (Heidelberg)
• SJW
  Shakespeare-Jahrbuch (Weimar)
• SN
  Studia Neophilologica
• SoAR
  South Atlantic Review
• Soc.
  Society
• Son.
  Shakespeare’s Sonnets
• SoRA
  Southern Review (Adelaide)
• SP
  Studies in Philology
• SP(s)
  speech prefix(es)
• SPWVSRA
  Selected Papers from the West Virginia Shakespeare and Renaissance Association
• SQ
  Shakespeare Quarterly
• SR
  Sewanee Review
• Sr.
  Sister
• SSEng
  Sydney Studies in English
• STC
  A Short-Title Catalogue of Books Printed in England, Scotland, and Ireland . . . 1475–1640. (by A. W. Pollard and G. R. Redgrave; 2nd ed., rev. and enl. Ed. W. A. Jackson, F. S. Ferguson, & Katherine F. Pantzer. 3 vols. 1986–91)
• Stud.
  Studies
• subst.
  substantially
• supp.
  supplement
• s_v.
  sub verba
• TGV
  Two Gentlemen of Verona
• Th.
  Theater, Theatre
• ThS
  Theatre Survey
• THSt
  Theatre History Studies
• Tim.
  Timon of Athens
• Tit.
  Titus Andronicus
• TLN
  Through Line Number(s)
• TLS
  [London] Times Literary Supplement
• TM
  Theatre Museum, London
• Tmp.
  The Tempest
• TN
  Twelfth Night or Theatre Notebook
• TNK
  The Two Noble Kinsmen
• TPB
  Tennessee Philological Bulletin
• tr.
  translation, translated by
• Tro.
  Troilus and Cressida
• TSLL
  Texas Studies in Literature and Language
• UCrow
  The Upstart Crow
• UES
  Unisa English Studies
• UMSE
  University of Mississippi Studies in English
• Univ.
  University
• UTQ
  University of Toronto Quarterly
• v
  (in a signature, superscript) verso; (with a siglum) variorum edition
• v.
  verb
• Var.
  variorum edition
• Ven.
  Venus and Adonis
• vol(s).
  volume(s)
• Wiv.
  Merry Wives of Windsor
• WS
  Women’s Studies
• WT
  The Winter’s Tale
• WVUPP
  West Virginia University Philological Papers
• YES
  Yearbook of English Studies

Symbols used in the textual apparatus include

• ‸
  punctuation absent
•  ~ 
  corresponding word of the lemma is repeated
• -
  all collated editions between the two specified
• +
  all succeeding collated editions
• (− )
  except the editions specified, which read with the lemma (i.e., with F1)