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Thomas Middleton and Early Modern Textual Culture
A Companion to the Collected Works
Edited by Gary Taylor and John Lavagnino
1,184 pages
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105 illustrations, 74 diagrams
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246x189mm
978-0-19-818570-3
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Hardback
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22 November 2007
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- Comprehensive scholarly companion to The Collected Works of Thomas Middleton - the two volumes are published together
- Begins with 11 original essays placing Middleton's career in the context of larger cultural patterns governing the creation, reproduction, circulation, and reception of texts
- Provides textual introductions and full editorial apparatus for each work in The Collected Works of Thomas Middleton, including an account of evidence for each work's authorship and date of composition
- Middleton provides an ideal focus for understanding the history of the book, and its relation to the larger history of culture, in this pivotal period
Thomas Middleton and Early Modern Textual Culture is not only a companion to The Collected Works of Thomas Middleton, which every scholar of Renaissance literature will find indispensable. It is also essential reading for anyone interested in the history of the book in early modern Europe.
The book is divided into three parts. The first part, on The Culture, situates Middleton within an historical and theoretical overview of early modern textual production, reproduction, circulation, and reception. An introductory essay by Gary Taylor (The
Order of Persons) surveys lists of persons written by or connected to Middleton, using the complex relationship between textual and social orders to trace the evolution of textual culture in England during the Middleton century (1580-1679). Ten original essays then focus on Middletons connections to different aspects of textual culture in that century: authorship (by MacD. P. Jackson), manuscripts (Harold Love), legal texts (Edward Geiskes), censorship (Richard Burt), printing (Adrian Weiss), visual texts (John Astington), music (Andrew Sabol), stationers and living authors (Cyndia Clegg), posthumous publishing (Maureen Bell), and early readers (John Jowett).
The rest of the volume, supplies the documentation for claims made in the first part. Part II, the author
includes detailed evidence for the canon and chronology of Middletons works in all genres, greatly extending previous scholarship, and using the latest corpus-based attribution techniques. This section situates individual authorial agency in the space between larger institutional forces and the material specificity of particular textual embodiments. Part III, The Texts, contains a full editorial apparatus for each item in The Collected Works: an Introduction, which summarizes and extends previous scholarship, is followed by textual notes, recording substantive departures from the control-text, variants between early texts, press-variants, discussions of emendations, and (for plays) an exact transcription of all original stage directions. Cross-references make it easy to move between the
two volumes.
This authoritative account of the early texts includes some extraordinarily complicated cases, which have never before been systematically collated: Hence, all you vain delights (the most popular song lyric from the Renaissance stage), The Two Gates of Salvation, The Peacemaker, and A Game at Chess (the most complex editorial problem in early modern drama, with eight extant texts and numerous reports of the early performances).Readership: Scholars and students of Middleton and his contemporary dramatists, including Shakespeare, and of the theatre and print culture of his day
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Edited by Gary Taylor, George Matthew Edgar Professor of English and Director of the program in the History of Text Technologies, and John Lavagnino, Senior Lecturer in Humanities Computing at King's College London Contributors:
<b>Associate General Editors</b>
MacDonald P. Jackson (University of Auckland)
John Jowett (Shakespeare Institute, University of Birmingham)
Valerie Wayne (University of Hawai`i at Manoa )
Adrian Weiss (Independent Scholar)
<b>Contributing Scholars</b>
Ilaria Andreoli (Florida State
University)
John H. Astington (University of Toronto)
Maureen Bell (University of Birmingham)
Alexandra G. Bennett (Northern Illinois University)
David M. Bergeron (University of Kansas)
Julia Briggs (De Montfort University, Leicester)
Douglas Bruster (University of Texas at Austin)
Richard Burt (University of Florida)
Swapan Chakravorty (Jadavpur University)
Cyndia Susan Clegg (Pepperdine University)
Ralph Cohen (Mary Baldwin College)
Lawrence Danson (Princeton University)
Celia R. Daileader (Florida State University)
Michael Dobson (Roehampton Institute, London)
Julia Gasper (Open University)
Edward Gieskes
(University of South Carolina)
Suzanne Gossett (Loyola University Chicago)
Donna B. Hamilton (University of Maryland, College Park)
Molly Hand (Florida State University)
Trish Henley (Florida State University)
Grace Ioppolo (University of Reading)
MacD. P. Jackson (University of Auckland)
John Jowett (Shakespeare Institute)
Coppelia Kahn (Brown University)
Ivo Kamps (University of Mississippi)
Lizz Ketterer (Shakespeare Institute, University of Birmingham)
Theodore B. Leinwand (University of Maryland, College Park)
Kate D. Levin (City College of New York)
Jerzy Limon (Uniwersytet Gdanski)
Harold Love (Monash
University)
Jeffrey Masten (Northwestern University)
Ted McGee (St. Jerome's University)
Paul Mulholland (University of Guelph)
Marion O'Connor (University of Kent at Canterbury)
Tony Parr (University of Western Cape, South Africa)
Neil Rhodes (University of St Andrews)
Andrew Sabol (Brown University)
Peter Saccio (Dartmouth College)
G. B. Shand (Glendon College, York University)
Malcolm Smuts (University of Massachusetts, Boston)
Leslie Thomson (University of Toronto)
Daniel J. Vitkus (Florida State University)
Wendy Wall (Northwestern University)
Valerie Wayne (University of Hawaii at Manoa)
Adrian Weiss
(University of South Dakota)
Stanley Wells (University of Birmingham)
Susan Wiseman (Birkbeck College, University of London)
Linda Woodbridge (Pennsylvania State University)
Paul Yachnin (McGill University)
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"...elaborately cross-referenced...a good deal of effort has gone into making the Companion as user-friendly as possibe..." - Michael Neill LRB "The Oxford Middleton is a monumental achievement. Gary Taylor and his team of scholars have managed to do for Thomas Middleton what Heminges and Condell did for Shakespeare in the 1623 First Folio: they've collected a great playwright's work in a landmark edition, one that enables us to appreciate afresh an extraordinary literary career. Taken together, The Collected Works of Thomas Middleton and its companion volume Thomas Middleton and Early Modern Textual Culture, provide an essential guide to matters at the heart of the English literary world in the early seventeenth century, from
authorship and collaboration to censorship, civic pageantry, and the London book trade." - James Shapiro, author of 1599: A Year in the Life of William Shakespeare and Professor of English, Columbia University "a monumental work of scholarship" - Jonathan Bate, Times Literary Supplement "It is not, I think, overstating the case to say that the release of this edition feels epochal, and the sense of recognition at what it has added, as well as what it will inspire over the ensuing decades, is already palpable. The Oxford Middleton is a truly momentous work, and it is now in the hands of you, the Great Variety of Readers." - Will Sharpe, The Shakespeare Bookshop Newsletter "All of us who care deeply about the
history of English drama welcome with great enthusiasm and excitement the publication of the Collected Works of Thomas Middleton, a major achievement in textual scholarship that represents the collective expertise and critical wisdom of scholars from all over the world. Gary Taylor and his many collaborators have given us a new and remarkably versatile Thomas Middleton-a great tragic playwright, a brilliant creator of sly and cynical urban comedies, a thoroughly gifted man of the theater and citizen of London. With this massive collected edition, the history of English drama is much more complete and we can hope for many more professional productions of these neglected plays." - Gail Paster, Director, Folger Shakespeare Library "It is hard to exaggerate the scale
of the Oxford Middleton particularly since this is the kind of scholarship which is--in its diversity and eclecticism--designed to open up debate rather than close it off. It is a colossal achievement representing a decisive expansion of Renaissanc studies which will percolate throughout scholarship and teaching. But what is, perhaps, most exciting, is that the collection must surely generate a rediscovery of these eminently stageable plays in the theatre." - Andrew James Hartley, Editor, Shakespeare Bulletin "The publication of The Complete Works of Middleton will be a major event for all those who care about the theatre of Shakespeare's time. The scholarship is meticulous, the commentary is fascinating and the international team of experts displays the field
of Renaissance Drama studies at its finest. In modern times, productions of The Changeling and Women Beware Women have shown the dark side of sex and power that Shakespeare touched on but never fully explored. The Complete Works now shows us the full range of Middleton's talent for comedy and social drama and, controversially, the full extent of his collaboration with and development of Shakespeare's plays." - Kathleen E. McLuskie, The Shakespeare Institute "Few editorial projects have been as eagerly anticipated as the Oxford Middleton, which will utterly transform how we understand early modern drama, both in the classroom and in our research. As with Shakespeare, Gary Taylor and his team have set a new gold standard for textual editing and interpretive
criticism, leaping from the 19th century to the 21st - finally an edition that captures Middleton's tremendous accomplishments." - Henry Turner, Rutgers University, New Jersey, author of The English Renaissance Stage: Geometry, Poetics, and the Practical Spatial Arts, 1580-1630 (Oxford, 2006)
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LIST OF ILLUSTRATIONS
Gary Taylor: "How to Use This Book"
Gary Taylor: "Preface: Textual Proximities"
Part I: The Culture
Gary Taylor: ""The Order of Persons"
MacDonald P. Jackson: "Early Modern Authorship: Canons and Chronologies"
Harold Love: "Thomas Middleton: Oral Culture and the Manuscript Economy"
Edward Gieskes: "'From Wronger and Wronged Have I Fee': Thomas Middleton and Early Modern Legal Culture"
Gary Taylor and Andrew J. Sabol: "Middleton, Music and Dance"
Richard Burt: "Thomas Middleton, Uncut: Castration, Censorship, and the Regulation of Dramatic Discourse in Early Modern England"
Adrian Weiss: "Casting Compositors, Foul Cases, and Skeletons: Printing in Middleton's Age"
John H. Astington: "Visual Texts: Middleton and Prints"
Cyndia Susan Clegg: "'Twill Much Enrich the Company of Stationers": Thomas Middleton and the London Book Trade, 1580-1627"
Maureen Bell: "Booksellers without an Author, 1627-1685"
John Jowett: "For Many of Your Companies: Middleton's Early Readers"
Part II: The Author
Gary Taylor: "Introduction: The Middleton Canon"
"Works Included in This Edition: Canon and Chronology"
MacDonald P. Jackson and Gary Taylor: "Works Excluded from this Edition"
Part III: The Texts
Textual Introductions, Textual Apparatus, and Works Cited for 70 items from The Collected Works
Trish Henley: Index to Notes on Modernization
Molly Hand: Select Topical Index
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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