1. “What’s in a name? That which we call a rose by any other name would smell as sweet.” -William Shakespeare Romeo and Juliet II.ii

2. A Folio is a book with paper folded once; “’gatherings’ or ‘quires’” are groups of pages folded together. Because of its size, these were “expensive to make and therefore to buy”. Usually, Folio’s were only made for works such as “sermons, bibles, legal tomes” etc. (King, 2011) A Quarto is a book with paper “folded twice to produce a square-shaped book”. This allows four papers as compared to the Folio’s one. An Octavo is a book paper “folded four times to produce a smaller, pocket-sized volume” (de Grazia & Wells, 2010). This allows eight pages as compared to the others. TYPES OF TEXT Photo Credit: Me!

3. Because copyright laws did not exist in the Elizabethan age, authors and playwrights had to be careful with their manuscripts. In addition, paper and ink were expensive. Therefore, only one official copy of the text was kept by the acting company. Actors would receive only “their individual lines and cues” (Schwartz, 2005). This was known as a “roll” and there is only one known surviving example (de Grazia & Wells, 2010) SCRIPTS AND MANUSCRIPTS Photo Credit: [A Midsummmer Night’s Dream] wikipedia retrieved on 2/2/2015 from wikimedia.org

4. Foul Papers, or foul copies, are copies of a play that are the authors “hand-written working manuscript of the full play” (Schwartz, 2005). In other words, this would be the manuscript that Shakespeare himself would have written. It is believed that this authorial version would be copied by a scribe into a Fair Copy. This was kept by the acting company, used for the full stage production and turned into the prompt book. The Prompt Book was “the company’s official record of the play” (de Grazia & Wells, 2010). Often, Prompt Books would include “stage directions, instructions for sound effects, and the name of the actors” (Mabillard, 2004). These were the versions printed in the First and Second Folios. FOUL AND FAIR PAPERS Photo Credit: [First Folio Macbeth] wikipedia retrieved on 2/2/2015 from wikimedia.org

5. However, before the First and Second Folio were published, “nineteen of the thirty seven plays” that are considered to be Shakespeare’s had already “appeared in quarto format” (Mabillard, 2004). Bad Quartos are published editions of a play that differ from those found in the First or Second Folios. Bad Quartos are thought to come from a “single actor's partial script, with other passages reconstructed from memory or invented” (Schwartz, 2005). These are thought to have been printed without the consent of the author or the acting company. Many individuals consider these to be unreliable and inaccurate versions of the play. However, in more recent years, some scholars believe that some of the Quartos were in fact published by the author or acting company. These are known as Good Quartos. These editions tend to differ from the First and Second Folio editions only slightly. BAD AND GOOD QUARTOS Photo Credit: [Quarto Edition of Hamlet] wikipedia retrieved on 2/2/2015 from wikimedia.org

6. “The plays printed originally in quarto format were branded fraudulent by the editors of the First Folio, Heminge and Condell, who wrote in the Preface to their collection that fans of Shakespeare's works had been cheated by "diverse stolen and surreptitious copies, maimed and deformed by the frauds of injurious imposters that expos'd them." They believed that most of the quartos in circulation had been either stolen outright by unscrupulous printers who plagiarized the official prompt-books belonging to Shakespeare and his company or they had been horribly reconstructed from the memory of people who had seen the plays performed.” (Mabillard, 2004) “Thus, modern notions of "authenticity" do not apply to either the Shakespearean text or to the Elizabethan theatrical practice: the text of a play could vary from performance to performance, as passages were added, altered or deleted to incorporate references to current events; to please (or so as not to offend) a particular audience; to accommodate a change in the acting personnel, etc.” (Schwartz, 2005) Stolen FraudsFlexible and Changing Plays THE ARGUEMENTS

7. Juliet: Ah Romeo, Romeo wherefore art though Romeo? Denie thy Father, and refuse thy name, Or if thou wilt not be but sworne my loue And il’e no longer be a Capulet Romeo: Shall I heare more, or shall I speake to this? Juliet: Tis but thy name that is mine enemie. Whats Mountague? It is nor hand nor foote, Nor arme, nor face, nor any other part, Whats in a name? That which we call a Rose, By any other name would smell as sweet: So Romeo would, were he not Romeo cald, Retaine the diuine perfection he owes: Without that title Romeo part thy name, And for that name which is no part of thee, Take all I haue. Romeo: I take thee at thy word, Call me but loue, and il’e be new Baptisde, Henceforth I neuer will be Romeo Juliet: O Romeo, Romeo wherefore art thou Romeo? Denie thy father and refuse thy name: Or if thou wilt not, be sworne my loue, And ile no longer be a Capulet. Romeo: Shall I heare more, orshall I speake at this? Juliet: Tis but thy name that is my enemie; Thou art thy self, though not a Mountague. Whats Mountague? It is nor hand nor foote, Nor arme nor face, O be some other name Belonging to a man. Whats in a name that which we call a rose, By any other word would smell as sweete, So Romeo would wene he not Romeo cald, Retaine that deare perfection which he owes, Without that tytle, Romeo doffe thy name, And for thy name which is no part of thee, Take all my selfe. Romeo: I take thee at thy word: Call me but loue, and Ile be new baptizde, Henceforth I neuer will be Romeo. Quarto 1, 1597Quarto 2, 1599 COMPARING TEXTS Texts taken from http://internetshakespeare.uvic.ca/Library/Texts/Rom/

8. Juliet: O Romeo, Romeo, wherefore art thou Romeo? Denie thy Father and refuse thy name: Or if thou wilt not, be but sworne my Loue, And Ile no longer be a Capulet. Romeo: Shall I heare more, or shall I speake at this? Juliet: ‘Tis but thy name that is my Enemy: Thou art thy selfe, though not a Mountague, What’s Mountague? It is nor hnd nor foote, Nor arme, nor face, O be some other name Belonging to a man. What? In a names that which we call a Rose, By any other word would smell as sweete, So Romeo would, were he not Romeo cal’d, Retaine that deare perfection which he owes, Without that title Romeo, doffe thy name, And for thy name which is no part of thee, Take all my selfe. Romeo.: I take thee at thy word: Call me but Loue, and Ile be new baptiz’d, Hence foorth I neuer will be Romeo. Juliet: O Romeo, Romeo, wherefore art thou Romeo? Deny thy father and refuse thy name, Or if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet. Romeo: [Aside] Shall I hear more, or shall I speak at this? Juliet: ‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? It is nor hand nor foot, Nor arm nor face, nor any other part Belonging to a man. Oh, be some other name! What’s in a name? That which we call a rose By any other word would smell as sweet. So Romeo would, were he not Romeo Called, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for thy name, which is no part of thee, Take all myself. Romeo: I take thee at thy word. Call me but love, and I’ll be new baptized. Hencrefotrth I never will be Romeo. Folio 1, 1623 Modern Version COMPARING TEXTS Texts taken from http://internetshakespeare.uvic.ca/Library/Texts/Rom/

9. Allen, J., et al. (2008). McDougal Little Literature. Evanston, IL: McDougal Littel. British Library Board. Shakespeare in Quarto. The British Library. http:// www.bl.uk/treasures/shakespeare/playhamlet.html De Grazia, M., & Wells, S. (2010). The New Cambridge Companion to Shakespeare. Cambridge, UK: Cambridge University Press. King, R. (2011). Shakespeare: Beginner’s Guide. Oneworld Publications. Retrieved from https://books.google.com/books Mabillard, A. (2004). Shakespeare in Print. Retrieved on 2/2/2015 from http://www.shakespeare-online.com/biography/shakespeareinprint. html. Schwartz, D. B. (2005). Problems with Shakespeare’s Texts. California Polytechnic State University. Retreieved on 2/2/2015 from http://cla.calpoly.edu/ ~dschwart/engl339/problems.html REFERENCES