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Griffin, .Un-Honierie" Elements in the Story of Troy -."" 1K2 y Jb&EPH ^uIncy Adams, Js.: ) Timtm of Athens iund the ? Irregularities in: c - J ~: theorist Folio ...,-,. 'v' ].;.." . !■ '. •"." ...--. _....' ,-..,""? .- 53 Tenney FEANE^On CoristrUcifioris of Indirect Discourse in Early Get- "■:'. manic Dialects. ■).,'•- :.;;... , -., .;•. "—7 -s. . •» . ' -* ; ,-; '.64.- .Frederick ^Morgan Padelford, Sidney's Jndebtedness'to Sihifet v.. ^ "81 JEqward C6auncey Baldwin, An Instance of Milton's Debt to Virgil. "85. Robert H'raiTlNGTON'FLEjteHER,' Tto$'Metrieal, Forms used .by Certain -~~ Victorian Poets ' : / '. , ' '".,.- : '.'.»' /. . .--87. ■ W. Strunk, Jr., Two; Notes on Words". ... . ■'?_ "92 EleAnor!'. Pke'scott Hammond, The Lover's Mass '95 — a"* A Parliament of Birds .. .: . . V.' 105^ Allen R. BenhaM)'C&% 117 and; 125b*-i27a. . tlQ ' I'Robert'Max Garrett, King Lear li. 1. '^77-.,. ". 1.14 ._"{ ^ REVIEWS. U- v ,,GeqrGe O. CtiRME ^Deibriick, Syfthvti/s&m r 1.13 ; Neil C. 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In attempting to solve the problem scholars have made much of two extraneous facts: (1) that although the play (Shakespeare's part, at least) was written as early as 1 606-7, it was nowhere mentioned until the publishers of the First Folio entered it upon the Stationers' Registers, November 8, 1623, as one of the plays "not formerly entred to other men;" (2) that when the play did appear in the Folio, it was accompanied by curious, and apparently significant, irregularities in the printing. The latter fact, in particular, has given rise to much speculation. If the typographical irregularities of the Folio Timon have any bearing on the question of authorship, they are important. If they do not, they are — like all things connected with Shake- speare — interesting. In any case it is well for us to know exactly what these irregularities are, and how they came about. Mr. Fleay's generally accepted interpretation of the case 1 is materially incorrect. Mr. Lee's interpretation, 2 although it avoids some of the grosser blunders of Mr. Fleay, is still unsatisfactory. I shall try to present the case as clearly as possible, and draw from the facts the simplest explanation. In order to follow the reasoning, the reader should have at hand a facsimile of the First Folio. At the outset we must understand the mechanical make-up of the book. Three folios were combined by the printers into a quire of six leaves. The first leaf of each folio bore on its x NewShak. Soe. Trans., 1874, pp. 136-7. 2 Facsimile of the First Folio, 1902. M 54 Adams, [Vol. VII recto, or front, a signature, the sequence being a, a„ a s . Folio a 2 was placed within folio a, and folio a 3 within folio a 2 . Thus a normal quire consisted of six sheets, each of the first three having a signature on the front. Each folio-sheet contained a single water-mark. "When the sheet was folded, this water-mark came in the center of one of the pages. Evidently, if the water-mark came on the page bearing the signature, it could not appear on the other page of that folio, and vice versa} Thus, by consulting enough copies of the First Folio we may determine whether a certain page is a single sheet, or a half of a folio. Beginning now with that division of the book entitled Tragedies, we find that the pagination, the signatures, and the quires run smoothly through Coriolanus, Titus Andronicus, and Romeo and Juliet as far as page 73. At this point the regular arrangement was thrown into confusion. Page 73 should begin a new quire (gg, gg 2 , gg 3 ) consisting of the remaining five pages of Romeo and Juliet and the first seven pages of the following play. For some reason, however, the printing of this following play was interrupted. A jump in pagination to 109, and in signatures to kk was made, and the printing was then resumed with Julius Ooesar and was continued without interruption to the end of the book. What play caused the printers this trouble ? The answer is unmistakable. The editors originally intended to follow Romeo and Juliet with Troylus and Cressida. If we examine Troylus and Oressida as it appears in the First Folio, we find that it is placed between the Histories and the Tragedies, and that its name is omitted entirely from the "Catalogue" at the front of the book. The prologue of the play occupies the first page; the next three pages bear the title The Tragedy of Troylus and Cressida; and the third and fourth pages retain the pagination 79, 80. Now if we place Troylus and Oressida after Romeo 1 The four copies in the British Museum (all of which I have examined) are sufficient to decide every case in question. No - !] Timon of Athens. 55 and Juliet, allowing the last page of Romeo and Juliet to occupy the page over which the prologue is spread, we find that the pagination of the third and fourth pages would have been 79, 80, and that the heading of the pages would originally have been "Tragedy." On no other hypothesis can we account for these curious facts than that originally the play was intended to follow Romeo and Juliet. This is conclusively proved by the Sheldon Folio, thus described by Mr. Lee i 1 "A peculiar feature is a mutilated cancelled leaf containing concluding lines of ' Romeo and Juliet ' on front and opening lines of ' Troylus ' at back ; this leaf, half of which has been torn away, precedes a normal leaf afterwards inserted, which supplies prologue of ' Troylus ' in the front and opening page of that play at the back ; " and by the Morgan Folio : " The leaf containing prologue and first page of ' Troylus ' is from a smaller original. A cancelled leaf at beginning of Tragedies section, forming an original part of the copy, contains the last lines of ' Romeo and Juliet ' on its obverse page (numbered 77 with a signature which is stated to read gg 3 ) 2 and the opening lines of ' Troylus ' on the reverse page. The sigs. of ' Troylus ' differ from those in other copies." 3 We may take it as proved, therefore, that Troylus and Cressida originally followed Romeo and Juliet. In the final form of the book, however, the space thus origi- nally intended for Troylus and Cressida is occupied by Timon of Athens. Troylus and Cressida, as I have stated, appears by itself between the History section and the Tragedy section. This modification of the original plan gave rise to all the irreg- ularities. For the sake of convenience, I have classified as follows the facts involved in the case. 1 Facsimile of the First Folio. 2 Should be gg 3 ? "Facsimile of the First Folio. See also Mr. Lee's A Life of William Shakespeare, pp. 309-10. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013142553 No. 1] Timon of Athens. 57 Not anticipating any trouble, they gave to page 73 the regular signature gg, to page 75, gg 2 , and to page 77, gg 8 . On page 78 they began Troylus and Oressida. Pages 79 and 80 of Troylus and Cressida were set up and printed off. At this point came some hitch in the printing of Troylus and Cressida. The printers, however, seems to have expected ultimately to con- tinue with the play. Therefore they shrewdly calculated the length of Troylus and Cressida, and jumping quires hh and ii, began the next play, Julius Ccesar, on page 109, with the signature kk. 1 From this point to the end of the book the printing moved smoothly. Then it became imperative to fill the gap, pp. 77-109, left for Troylus and Cressida. Evidently there was still a hitch in the printing of that play. What this was we do not know. It could hardly have been lack of copy, for the quarto edition of 1609 was at their command. It seems more probable that the editors of the Folio were having trouble over the copyright. 2 Anyhow, it was decided to fill the space with Timon of Athens. When the printers came to fill the gap, they found on their hands the incomplete quire, gg, already described. This con- tained pages 73, 74, 75, 76, and 77 of Romeo and Juliet; pages 78, 79, and 80 of Troylus and Cressida ; and two blank leaves (the second halves of folios gg and gg 2 ). The printers saw that they could use pp. 73-74, and 75-76 by tearing off the blank pages attached to each. This accounts for II and III. Evidently the inner folio, gg 3 , containing the concluding page of Romeo and Juliet and the three opening pages of Troylus and Cressida, was worthless. Hence at this point the printers began their new quire. Carelessly overlooking the signatures on the two single leaves, and referring back to the preceding quire (ff), they began the new quire with the signature gg. This S: - T \ The Publications di? the Modern Language Association of America' ".^ODERN LANGUAGE KqTES 1 - ' ,-jig^,;. ^ ''■'-' - The XIatholjc University "Bulletin •.- , t ->..'. - ... • An&Miyiy, Other fyorks of 'Similar Character SPECIAL ATTENTION GIVEN TO. THE PRINTING OF - „ DOCTORS' DISSERTATIONS In Greet, Latin, Anglo-Saxon, Old English, and the Romance and Germanic Languages CORRESPONDENCE INVITED J. H. IfUBST COMPANY ^ 23 S. Hanover. Street/ > . BALTIMORE^ MD. \ The Journal ^ ; .of .$>-■ - :; ;%';,- ^■:"#NGLISH ;AND GERMANIC PHILOLOGY ^7 ^" ". (CONTINUING THE JOURNAL OF GlCRMANIC PHILOLOGY) A Quarterly Devoted to Jtlie J?£udy and,; -Teaching pf the-' English, German, and Scandinavian Languages and Literatures ''J'- ''x-l' . '~~ GCstaf E.Karstkn, Managing- Editor, '-. " . -' - . , ' sjpditedby Gustaf E. 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Cornell University Library PR 2834.A81T5 Timon of Athens and the irregularities i 3 1924 013 142 553 SEfcj DbrM\NSrcOKTion DATE DUE s GAYLORD PRINTED IN U.S.A. %mK: P*'«H§p9 ■ StSSSOHi rr'* ■">, "•