![]() Greg notes that 17 reprinted sheets are found in some copies these sheets are in their original state here. Three issues of the Fourth Folio have been identified, differing only in the title-page the present copy is the first issue, before Chiswell’s name was added to the imprint. A Fourth Folio associated personally with Nicholas Rowe and his family, and in such fresh condition, would be a monument in the history of Shakespeare studies. Charlotte Rowe (who was christened "Charlot") is buried with her father in Poet's Corner, Westminster Abbey, just steps from the monument to Shakespeare. This practice was followed by subsequent editors for about fifty years until Samuel Johnson established the textual primacy of the First Folio with his edition published in 1765. Rowe based his text on that of the most recent comprehensive edition, the Fourth Folio. It was the first edition to be illustrated and Rowe also introduced (for every play) act and scene divisions character exits and entrances and dramatis personae. His six-volume edition of the plays appeared in 1709. Nicholas Rowe was a dramatist, England's poet laureate, and considered the first professional editor of Shakespeare's plays. Tantalizingly, this copy bears the ownership inscription of Charlot Rowe, plausibly Charlotte Rowe (c.1718-1739), the only daughter of Nicholas Rowe (1674-1718). In common with the Third, the Fourth Folio dropped the final “e” from Shakespeare’s name, a habit which persisted until the beginning of the 19th century. Herringman and his co-publishers decided on a larger paper size to increase the number of lines per page and decrease the bulk of the book. It was set from the second issue of the Third Folio, containing the additional plays (of which only Pericles is now regarded as authentic) but now in a grander presentation, printed on larger paper with a larger type font and more with more liberal spacing. It was the first collected edition of Shakespeare to appear in over twenty years, meeting a renewed interest in the Bard’s work and becoming part of Herringman’s series of folio publications of the pre-Restoration “Triumvirate of Wit”: Shakespeare, Jonson, and Fletcher. The Fourth Folio remained the preferred edition, regarded by editors, readers, and collectors as textually superior until Samuel Johnson and Edward Capell established the primacy of the First Folio text in the mid-18th century. The Fourth Folio, the last of the 17th-century editions of Shakespeare's works. 1627), except for Pericles and six other plays added by the publisher of the Third Folio, Philip Chetwind (d. ![]() Unto which is added, Seven Plays, never before Printed in Folio … The Fourth Edition. Published according to the true Original Copies. A most handsome set.SHAKESPEARE, William (1564-1616). Scattered foxing (as usual) volumes 1 and 4 with leather a little darker than the others usual offsetting on preliminaries from turn-ins. Quarto, original publisher's full tan morocco gilt. ![]() London and New York: The Nonesuch Press Random House, Inc., 1929-33. This is the finest of all editions of our greatest poet" ( Nonesuch Century, 58). The best of ancient and modern conjectural emendations are unobtrusively set in the margin for the benefit of a glancing eye. a model of careful proof reading and imaginative setting. The Nonesuch Shakespeare is "the chef d'oeuvre of the Nonesuch Press, and. Very handsomely bound and elegantly printed. Limited edition, one of only 1600 copies, of one of the most famous and desireable editions of Shakespeare's works. "The finest of all editions of our greatest poet" The text of the First Folio with Quarto variants and a selection of modern readings: edited by Herbert Farjeon
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