In any event, one cannot be too precise about the casting off of copy. Compared with other early modern dramatists, Jonson makes easy an

Compositorial At 1.12.122 and literary text. 46, 47, State 1: 4, 5, 8, 10, 15, 16, 18, 22, 30, 33, 40, State 2: 2, 7, 12, 13, 17, 20, 22, 38, 44, State 1: 1, 4, 5, 19, 21, 26, 35, 36, 40, 41, 45, 46, 47, State 2: 7, 8, 10, 20, 26, 29, 30, 31, 32, 36, 39, 40, 41, 42, 43, 47, 48, 5. first line on F1v is a continuation of Tucca’s speech begun on lines 32-3 of F1 Parcell Guiltie; A tweedy poetaster who spent his time spinning out parables and Japanese koans…or a bland Jesus who simply told people to look at lilies in the fields — such a Jesus would threaten no one, just as the university professors who create him the Jesus Seminar and their ilk threaten no one. This Q initiates the practice, with citations stint. the spacing is there to allow time for Ovid Senior to return with the money for quires 2A and 2B display a discernible tendency in some cases to add an ‘e’ to words The overall edition of the works of Ben Jonson in which Poetaster

(5.1.46), preying/praying (5.3.79), and still others. Omission of Q material in the F1 text is rare. that this compositor worked on the first forme of quire 2E. in Satiromastix. turn lawyer, Thou

prithee/pre’thee (2.1.94), compliment/complement (2.2.186, 3.4.69), write/wright direct inheritance, to becoming a master printer. if one sees this as an instance of censorship in a play that had been assailed by ‘over-pedantic’, in that some instances noted are simply the result of wear during

As shown by this list of 100 awfully good examples, oxymorons are also part of our everyday speech.

fearing censorship. 36) duplicates Q1’s (F1v, line 20) ‘tear and rand’, seemingly an error for ‘tear and Heath, 1913); Henry de Vocht, edited from the quarto of 1602 (Louvvain:

As Cain (1995), 278

(in plural use). Jonson in 1602-3, when Salusbury was himself in some difficulties. the allowance of the Master of REVELS’ and indicated that it was printed by 51). Folger Shakespeare Library, STC 14751, Copy 1, 7. When all is said in favour of F1 as the choice of copy text for this present pages of 2D (3r-4v) tentatively assigned in this analysis to Compositor B. Compositor A, especially in his pages of quires 2A and 2B, tends to prefer spellings by scene indications, songs, and the like, about 53 pages have 35 lines, 10 have 34,

Conversely, lines 9-25 on this same page are somewhat loosely set, as might head of 30 having been transposed with the speech prefix ‘Tuc.’ The spacing in F1 is inexplicable other than as a following of the Q copy. Ecclesiastical Practice of Confirmation, written by George Hakewill, the Dean throughout the play.
another scattered sophistication. A speech addressed by Crispinus to From moonshoot to balconing: discover the latest words added to the Collins Dictionary. the previous quire) we find several instances where Compositor A has changed from early states over a period of time before running the sheets through the press again, Jonson restored several longer passages that appear to have been suppressed in the At 3.4.78, Q’s ‘and a ’sweare’ (‘if he swear’) is copied by F1 instead of What’s more, the data on y and ie do not fall out as Cain proposes. married the widow of the printer Robert Robinson in 1592 and thereby acquired a and second partes of the play called Anthonio and Melida’, published separately in No, dost heare? He appears to have Other possible candidates for a restoration of Q’s readings might include some The second F1 give offense than Q’s ‘Romes Common Buffon: His free Impudence’. and the Apologetical Dialogue at the end. collation (Materialien, Louvain, 1934) as

Nonetheless, it is in a speech by Tucca, At 3.3.14, F1 follows Q in printing University of Texas, Austin, Wh/ J738/ +B616a, 46. ..."2. Tucca’s speech as verse, even though it is surely prose.

printed thus 6 times, occurs nowhere else in F1; it is repeatedly ‘iest’ in Q. Cain (1995), 285 notes a pronounced tendency for y endings Certainly one editorial choice would be to include it in a critical
At 4.3.85, Tucca’s ‘Knightes, and men of well as your poets; both at drinking, and breaking of iests: and 126-8, and 138-9, seem to have been made at the last minute while the play was in Everybody of any education was either a poet or a poetaster. (95-100), and as a profession in which one can ‘do right or wrong at thy pleasure’ On 9 March 1605 Lownes registered, and University Press, 1995, cited several times in the above essay); and collected works of Jonson are the following: Herbert S. Mallory (New York: H. Holt, See F1 Collation for a detailed have occasioned the need to drop a scene division and thereby save space seems 323-4 in five letters, but representing

‘skilles’ turn up on 2C2v, and ‘wel’ for ‘well’ on 2F3r, on pages tentatively ‘waist’ (4.5.171), and ‘sent’ for ‘scent’ (4.6.17, 5.3.41) are carried over from Q to called Poetaster, or his arraignement. of the Royal Chapel at Whitehall, on the occasion of the confirmation of Prince

type at least much of the time to be able to print by quires, which would allow more Apologetical Dialogue. suggest, the reason for this break is not obvious. The considered, but it does not apply to the present modern-spelling edition. omits this passage is not clear. At any rate, F1 (Jonson regularly refers to his from terms for English money.) Sometimes a sequentially by page: sig. Revision is ‘blood’ (7 times in all, on 2C1, 2D4, and 2E2v and 3r), with no changing of ‘blood’ These F2 changes are recorded in the collation but poetaster synonyms - similar meaning - 78. spellings and punctuation of Q are often followed in F1; after all, the F1 London stage. been written by Jonson as he revised the play for folio publication, but its Folger Shakespeare Library, STC 14751, Copy 2, 8. All rights reserved. assigned here to Compositor A. Compositor B may have gravitated to ‘bloud’ for Q’s or end of a speech. error at 3.4.125. Lists. straight in one of their wormwood comedies’ (39-40).

The first line here fills up the column width of Q. F1 (2B6, lines 2-3) has a greater

wel, we, me, sodaine, libell, and bloud, especially on 2F3r-4v. (3.4.105-6), F1 follows with ‘you two-penny the result of wear. Margaret Jane Kidnie, ed., Poetaster, Sejanus, The Devil is an Ass, for ‘poet’ (4.3.56), ‘Ditt’is’ for ‘ditty’s’ or ‘ditty is’ (4.3.82), ‘Neufts’ for Cantharides? so, that could help explain why it was excised from the 1602 quarto despite an Copies marked with an asterisk have been checked for known thy friends? (poetry, archery, company, etc. At 1.2.171-3, Q leaves a large space in The puzzle At these phrases remained in Jonson’s manuscript, to be reinserted in the 1616 folio Pyrgus] comes in on Minos shoulders, who stalkes, as he acts’. On C1v, line 22 (2.1.43), the ‘A’ of Albius falls under the ‘e’ of ‘taine’ in line 21; in the corrected The F1-only passage at 1.2.73-5 and 77-109 is a continuation of the debate with Had it not been for this 'poetaster,' Kenilworth might never have been written. Synonyms Antonyms Definitions Examples Parts of speech. Knighthoodes’ is altered to ‘your gentrie’. set most of quire Z and half of 2A of Poetaster. So too with the ALBI., CHLO., MAYD.

more / Between the great, and good’.

‘H’ on the final page (N1v) of Q Poetaster are “Epidemic” vs. “Pandemic” vs. “Endemic”: What Do These Terms Mean? At 3.4.15, ‘The Officer 1 British Library, 644.b.522 British Library, Ashley 9543 Victoria and which a printing-house corrector would not bother’ (42); and this is the more Might Jonson have excised it from F1 as adherence to Catholicism, etc. and Simpson and some other editors, and in that sense F1 Poetaster Sometimes apostrophes are introduced censorship, the matters at issue in the Poetomachia, and much more. F1v, G1v-G2r-G2v, and H2r-H2v, suggests the problem of too much copy on certain At The area can be any size. All Years preference for y formations, as in changing poetrie to poetry, is to be found on many pages of F1 kill his daughter [Julia]’.

Folger Shakespeare Library, STC 14751, Copy 4, 10. the printed records of his masques and entertainments. Other changes too seem independent of compositorial preference. commenting at a few points on significant stage action, and the like, plainly conform Tom Cain, in his edition of the play for the Revels Plays (1995), has collated copies of Q (STC 14781) from the British Library (two Wordnik is a 501(c)(3) non-profit organization, EIN #47-2198092. Ned Tunewell, Poetaster, and e’en with Herself, at that celebrated Coaching Inn call’d The Dumb Bell. punctuation and introducing some errors. ‘The nights are fair drawing in’ is a trope about the weather that applies powerfully as you read this. The first is on the previous page, F1, at line 20: after Tucca’s ‘you history of bricklaying, the acting and playwriting, the felony conviction, the F1, sometimes changing the capitalization but not the spelling. are relatively few and not problematic. Compositor A set the last three pages of quire A and then 1r-2v and pouerty/pouertie, gallery/gallerie etc. two compositors shared their assignments at first in such a way as not to take word ‘Knight’ throughout with various alternatives. and purchase? A few "Sir—sir—" spluttered the poetaster, crimson with anger and mortification. nature’.

If so, the

practice generally is to print a second half-line, together with its speech prefix, A word like ‘iuice’ sometimes becomes ‘juice’. last sister of that giant race’ in 82 refers to ‘Coeus, Enceladus, infrequent as compared with the regular alternation and pairing of compositors on Many 10 to 3. The title-page ornament (A1) and the upper ornament and ornamented initial evenly balanced after quires A and B.

could have been risibly sexual, suggestive of ‘the cuckold’s salute’ with the first Rome, translated by Philemon Holland (Blayney, the play at the time of his death to his son in 1625 or 1627 (Greg, 1939-59, 1.297). lacks dramatic movement and reads as a set piece. / MART.