{"id":2986,"date":"2022-12-30T15:47:36","date_gmt":"2022-12-30T15:47:36","guid":{"rendered":"https:\/\/folio400.com\/?post_type=phernalia&p=2986"},"modified":"2022-12-30T16:08:35","modified_gmt":"2022-12-30T16:08:35","slug":"on-bears-tongues-sining-and-other-typos","status":"publish","type":"phernalia","link":"https:\/\/folio400.com\/phernalia\/on-bears-tongues-sining-and-other-typos\/","title":{"rendered":"On Bears, tongues, sining and other typos"},"content":{"rendered":"\t\t
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Professor \u00adTiffany Stern<\/strong><\/h4>

It\u2019s easy to think that the First Folio must be a well-constructed book because it is so important. Actually though, it is as subject to error and mistakes as any other book of the early modern period, perhaps more so (it is, after all, big); it is filled with blunders, and those fascinating slip-ups give us a glimpse into the habits and working practices of some of the people who put the book together.<\/p>

Let\u2019s start with typos. In Shakespeare\u2019s time, as you can read about elsewhere on this site, books were constructedin the printing house by \u2018compositors\u2019 who stood in front of two trays or \u2018cases\u2019 filled with pieces of metal type. The top case contained capital letters (that\u2019s why we sometimes call capitals \u2018upper case letters\u2019); the bottom one contained lower case letters plus spaces \u2013 spaces also being physical bits of type. Each letter, each piece of punctuation, and each space, had its own compartment in the tray, including \u2018i\u2019 and \u2018j\u2019 and \u2018v\u2019 and \u2018u\u2019, though at the time i\/j and v\/u were used interchangeably; the more popular letters, punctuation marksand spaces had the biggest boxes. <\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018White Beares have arm\u2019d their thin and hairelesse Scalps
Against thy Maiestie\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Richard II<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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It was the job of compositors to read manuscripts and render them into print. For this, they had their own version of \u2018touch typing\u2019; they would pick type from the compartments in the typecases in front of them by location and feel. But naturally, compositors made mistakes, just as touch typists make mistakes. The most obvious error was to take a letter from the compartment next to the one intended (the mistake might equally happen if letters from a page that had already been printed and then \u2018broken up\u2019, had had its type \u2018distributed\u2019 into a neighbouring box). In the Folio of Richard II<\/i>, we are told that \u2018White Beares have arm\u2019d their thin and hairelesse Scalps \/ Against thy Maiestie\u2019. It is highly unlikely, though, that balding polar bears have joined the uprising against Richard II. But another text survives of the play, from 1597, and that book tells us that it is \u2018white beards\u2019 (i.e., old men) who have, despite their age, joined the army. Probably the Folio compositor\u2019s hand slipped into the \u2018e\u2019 box, which is next to the \u2018d\u2019 box.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018Why in this Wooluish tongue should I stand heere\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Coriolanus<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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On other occasions, compositors had difficulty reading the manuscript that they were printing; this was particularly the case with plays which contained unusual or grandiose language. In the Folio, English words are sometimes substituted for Latin or Greek ones, probably because the compositors could not make sense of the passage they were setting. So there is a moment in the Folio text of Coriolanus<\/i> where the eponymous hero, unwilling to stand and humbly beg for approval, asks \u2018Why in this Wooluish tongue should I stand heere\u2019? But he is not wearing a wolf-like tongue; he is wearing a wolfish (because he is playing the hypocrite in it) toga<\/i>.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018Thou was\u2019t a Souldier
Euen to Calues wish, not fierce and terrible\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Coriolanus<\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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In that same play is the bit when Coriolanus is praised for having been \u2018a Souldier \/ Euen to Calues<\/i> wish\u2019. Calves, though, do not have an ideal model for soldiership; Cato <\/i>does (Coriolanus is praised in Shakespeare\u2019s source, North\u2019s translation of Plutarch, for having in his nature all that \u2018Cato required in a Warrior\u2019).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018from Eptons rising in the East,
Vntill his very downefall in the Sea\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Titus Andronicus<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Finally, there is the section in Titus Andronicus<\/i> where we hear about the progress of the day \u2018from Eptons<\/i> rising in the East, \/ Vntill his very downefall in the Sea\u2019. Epton is an English surname, however, and no such person is said to traverse the sky from dawn to dusk (it\u2019s Hyperion<\/i>, a personification of the sun, who does that).<\/p>

These mistakes \u2013 there are plenty of others that are similar \u2013 give us a glimpse into the moment when one or several busy compositors try to wrangle sense from an obscure, and quite possibly messy manuscript play. And, though these errors are spottable, even now their solutions are open to question: some editors have Coriolanus in the passage above in a \u2018woollen\u2019 rather than wolfish \u2018gown\u2019 rather than toga. We should remember, too, that many compositorial guesses will have slipped through entirely because they seem to make sense in context, or because they are right.<\/p>

As playscripts were not generally neat and tidy \u2013 they were written for theatre use, not for a printing house \u2013 a helper was sometimes hired to read them out loud and ease the compositors\u2019 job. That, at least, seems to be behind some of the mishearings in the Folio (though mishearing mistakes may also have come about earlier in the process: the manuscript may have been read out to a \u2018transcriber\u2019 who then wrote out the words in neat for the printers).<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018My heart was to thy Rudder tyed by\u2019th\u2019strings,
And thou should\u2019st stowe me after\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Antony and Cleopatra<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Antony\u2019s ships followed Cleopatra\u2019s because, says Antony in Folio, his heart was tied to Cleopatra\u2019s rudder, \u2018And thou should\u2019st stowe me after\u2019. But she did not stow<\/i> him, as she did not store or hide him; instead she towed<\/i> him, which is to say that she tugged his heart (and the ships that came with it) along behind her. \u2018Shouldst stow\u2019 and \u2018shouldst tow\u2019 are, though, aurally interchangeable; hence, it seems, the mistake.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018Her Pastors Grasse with faithfull English Blood\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Richard II<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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In Richard II<\/i>, a threat is made that blood will bedew the \u2018Pastors Grasse\u2019 of England: but it is the \u2018pasture\u2019s\u2019 grass that will be sprinkled with blood, the passage having nothing to do with church ministers. Or there is the stage direction in Much Ado About Nothing<\/i>, for the entrance of \u2018dumbe Iohn<\/i>\u2019. There is no one of that name in the play; there is, though, a character called Don John. This typo in particular shows a compositor responding to the words as heard without much sense of the story.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018Enter Prince, Pedro, Claudio, and Benedicke, and Balthasar,
or dumbe Iohn, Maskers with a drum.\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Much Ado About Nothing<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Mistranscription and mishearing remind us how many people helped to put the folio together, including compositors, transcribers and readers whose names we do not know. Only occasionally can we perhaps trace an error to an actual named person. We know, for instance, that the Jaggard printing house in which the Folio was composed had a new apprentice compositor whose name was John Leason (for more on him, read the section on \u2018compositors\u2019 on this website). Are some of the more egregious errors directly traceable to Leason as he learns his trade?<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018The poore Soule sat singing, by a Sicamour tree\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Othello<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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A few pages within particular surviving Folios show passages corrected with proofing marks (incorrect and proofed pages were often bound into books rather than discarded, as paper and the time to print it, were expensive). One proofed page is for Othello <\/i>and contains the passage in which the unhappy Desdemona sings the famous willow song. But the song starts, in this version, with Desdemona intoning \u2018The poore Sonle set sining, by a Sicamour tree<\/i>\u2019. Heavy manuscript corrections are made to the third, fourth and fifth words, and later settings of the page contain the improved \u2018The poore Soule sat singing, by a Sicamour tree<\/i>\u2019. Does this show young Leason at work? And was he responsible for any of the other sometimes amusing errors that have made their way through into the Folio, like the scene in Hamlet<\/i> in which Laertes exclaims, at the grave of his sister Ophelia, \u2018Oh terrible woer\u2019 (rather than, as the 1604 version of the play makes clear, \u2018oh, treble [i.e. three times] woe\u2019)? We cannot know for certain, and that is what is fascinating and frustrating about the Folio. It tells stories about itself, but what they are precisely and how we should interpret them are open to question.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2018Laer. Oh terrible woer,
Fall ten times trebble, on that cursed head\u2019<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Hamlet<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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What can be said is that imperfections throughout the wonderful Folio \u2013 and there are many, many more than the ones detailed here \u2013 give us an insight into the process of putting this large book together, under time constraints, and in a highly pressured environment. Crises in and around the printing house give personality to each Folio (as every one contains pages in different states of correction) and provide us with what is ultimately a highly compositorial take on the plays of Shakespeare, (added) warts and all.<\/p>

Tiffany Stern, FBA
<\/b>30th December 2022<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

It\u2019s easy to think that the First Folio must be a well-constructed book because it is so important. Actually though, it is as subject to error and mistakes as any other book of the early modern period, perhaps more so (it is, after all, big).<\/p>\n","protected":false},"featured_media":2987,"menu_order":0,"template":"","phernalia_types":[],"acf":[],"yoast_head":"\nOn Bears, tongues, sining and other typos » Folio 400 - Printing Shakespeare<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/folio400.com\/phernalia\/on-bears-tongues-sining-and-other-typos\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On Bears, tongues, sining and other typos » Folio 400 - Printing Shakespeare\" \/>\n<meta property=\"og:description\" content=\"It\u2019s easy to think that the First Folio must be a well-constructed book because it is so important. 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