THE REVELS PLAYS

NOTES FOR THE USE OF EDITORS

These notes are based on those prepared, and revised, by Clifford Leech. They have been rewritten to take account of recent work in the series, the views of the new General Editors, the most recent guidelines for the Cambridge Jonson (2012) and the Oxford Shirley, and house style at Manchester University Press.

A good introduction to editing a play for the Revels may be found in two pieces of writing by Clifford Leech: his General Editor’s Preface to volumes in the series (modified since 1971 by David Hoeniger, and now printed in a curtailed form only) and his article ‘On Editing One’s First Play’ in Studies in Bibliography 23 (1970), 61-70. Even experienced editors are urged to read through these pieces as a valuable preliminary to working on a play for Revels. Much sound advice is offered, based on long experience as an editor and General Editor, together with clear statements on the scholarly aims of the Revels. We further recommend E.A.J. Honigmann's 'Re-Enter the stage direction: Shakespeare and some contemporaries', Shakespeare Survey, 29(1976): 117-25.

You should remember that Revels aim to produce editions of a scholarly and critical kind, based on recent research into textual and bibliographical problems; at the same time, we aim to make our plays available to a fairly wide public. Our readers will mainly be college and university and sixth-form teachers, teachers of the final years of high school in North America, and undergraduates and graduate students, together with fellow specialists in Elizabethan (and related) drama. We hope that the series can also provide volumes for use by theatre directors and actors. You should write your introductions and annotations, and prepare your texts, with such readers in mind. Remember too that, in the case of ‘minor’ plays, the Revels editions may be the only ones this century; and even in the case of better-known plays, Revels have a reputation of providing the most authoritative editions.

A useful practice when embarking on a Revels edition is to read carefully though a number of published Revels Plays, noting the scope of the introduction, the nature of the commentary, the extent of the collation, the detailed textual practices and the type of appendices. See, for example, Epicene, or The Silent Woman, ed. Richard Dutton (2003), A Game At Chess, ed. T.H. Howard-Hill (1992), Every Man Out of His Humour, ed. Helen Ostovich (2001), Campaspe and Sappho and Phao, ed. G.K. Hunter & D. Bevington (1991; rpt 1999). Each Revels edition varies slightly from the others, in response to the nature of the play being edited, the interests and abilities of the editor, and altering practices at the printers and the press (the change from Methuen to Manchester brought some changes, but even earlier there were variations in practice). Nevertheless, the published editions do define, better than notes can, the style and scope of Revels. Consistency is of the greatest importance. Conformity to established use will also cut down wasteful re-editing by the General Editor and at the Press.

A. PRESENTATION OF COPY TO THE GENERAL EDITOR

(1) You will work directly with one of the four General Editors. You should communicate with your General Editor at every stage of your work, and not directly with the MUP Press representative. (This applies especially to galley proofs and page proofs, which must be sent after checking to the General Editor and not straight to the Press). You should report on progress and problems once a year, at an agreed time, to your General Editor, so that General Editor can advise the Press.

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(2) When printing out, always use a good laser printer, and do not use the printer in draft mode. The final printout you send to the Press and the copy for yourself should be identical, including page numbering. We encourage and indeed prefer electronic submission of files.

(3) You should send a sample of the work in progress at an early stage to your General Editor for comment. Take up major points of difficulty with the General Editor, and discuss departures from standard method (eg, lineation changes listed in an appendix rather than the collation; asides in italic, as in the copy-text). Liaison over such matters will avoid possible time-wasting alterations later; the General Editor welcomes involvement in the progress of the edition. The General Editor will be glad to see and review various portions of the project as they proceed: introduction, a portion of the text with commentary, etc. Of course, the General Editor will also need to see the whole manuscript, when all is assembled, in order to be able to check the edition in its entirety.

(4) In the completed files you should keep the following sections separate (they are set up separately by the printer): introduction with notes for introduction [save as Endnotes], text, collation, commentary, appendices. Double-space everything. Key cross-references in introduction, collation, and commentary with a reference to ‘(00.00)’ when referring to the introduction and with a reference to ‘(1.1.34-5)’ or ‘(35)’ as appropriate when referring to your text; when changes in line numbers occur as a result of typesetting they can be substituted when proofs arrive. If you prefer, you can refer to your own page numbers in the introduction as well and then change them when the proofs arrive. Use a distinctive colour for these temporary references so that they stand out. Number your notes to the introduction in sequence throughout. Gather them at the end of the introduction, since they will be presented in this form in the edition: that is, use endnotes, not footnotes.

(5) Send the digital file of your copy-text to the General Editor along with the files of your edition.

(6) In plays containing both prose and verse, indicate all prose passages by a red 'ALERT PROSE' at the beginning and end of a prose section. This practice will allow the printer to distinguish easily between verse and prose and avoid mistaken setting.

(7) You must check your play text verbatim et literatim before sending it to the General Editor. Check all quotations in the introduction, etc. and ensure that your files conform with Revels ‘style’ as outlined in this document. Press-correction is now so costly that at the proof stages improvements (as distinct from corrections) cannot be considered.

(8) The General Editor will return the files to you with comments and requests for correction or revision. When a final file has been agreed upon, the General Editor will send this file to the Press. In due course the printers will draw up a proofing timetable, which the Press will pass on to you and your General Editor. The first proofs will be galleys, but the procedure will vary for (a) plays containing prose, or (b) plays entirely in verse.

(a) The line numbering of prose passages will not be exactly the same in print as in your file. To avoid the cost of correcting cross-references in proof, you may receive two sets of galleys of the text only. They will be accompanied by the complete e-file. You should check the galleys, and then insert on the e-file all cross-references to lines of prose and subsequent verse in the light of the printed version. The Press’s editorial staff will raise any minor queries they may have

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about the file, and these should be cleared up (in consultation with your General Editor if necessary) at this stage. You should then send one corrected set of galleys to the General Editor together with the latest e-file. The General Editor will then send them to the Press.

Alternatively, the printer may choose to set the entire manuscript and ask you to change line numbers as necessary in proofs; if so, these will not be charged as author’s alterations.

(b) If there is no prose there should be no changes in line numbering between your text's e-file and text set for print, unless the printer misinterprets the manuscript. You will receive two complete galley proofs, together with the e-file. (Press staff will have raised their queries earlier.) Send one corrected set to the General Editor with the e-file, along with an index you will have prepared at this point. (See Section I below on ‘Index’).

(9) In case (a), plays containing prose, page proofs of the complete volume should be received two or three months later, together with the corrected galleys, and e-file. You should check and correct page proofs, and send one set to the General Editor, together with the e-file and a copy of the index which you will have prepared at this point. In case (b), plays in verse only, page proofs should arrive on five or six weeks. Efficiency at each stage of proof correction will depend on good liaison between the editors and the Press. The importance of keeping punctually to the timetable, and allowing for reasonable time of delivery, cannot be over-stressed. You should tell the Press well beforehand of any periods when you will not be able to deal with proofs because you are examining, on holiday, etc. Even after the timetable has been received, it is better to ask for extended dates than be late – even if only by a day or two – in returning the proofs. Because printing is capital-intensive, printers’ work is tightly scheduled, and if a book slips from its allocated slot in their programme it is put aside to wait until another slot comes along. The delay in production of the book is often out of proportion to the delay in returning proofs. Printers themselves may be late with the proofs, of course, in which case the Press will immediately pass on news of the altered schedule.

B. PREPARATION OF THE EDITION

(1) Double-space the files throughout on standard A4 paper or US 8’1/2” x 11”, numbering pages continuously from the first page in Arabic numerals. The e-file should contain the following sections:

preliminary matter text of the introduction endnotes for introduction, numbered consecutively for reference list of the characters in the play and notes on the list Text textual notes (collation notes) commentary appendix or appendices to contain such matter as: notes too long to fit

conveniently at the foot of the page of text; reprints of source material; lineation of disputed verse passages; facsimile of a ‘bad’ quarto, and a doubling chart\

index: to be prepared at page proof stage for plays with prose, or with the completed manuscript of the play if wholly in verse

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(2) If your account of the text is too long and detailed to fit into the introduction, you can present some of the details as an appendix.

(3) Please ensure that all italics, bold, small caps, etc. are clear on your printout. Computers allow you to print italic, bold, small caps, etc. so that they are clearly distinguishable; we expect computerised copy. Always send your General Editor the digital copy along with hard copy, if the latter is requested. Please set out the textual (collation) notes with each note on new line. (This is to avoid cluttered galley proofs).

C. PRELIMINARY MATTER

This may include the following:

(1) title page(2) dedication / acknowledgements(3) table of contents(4) General Editors’ preface (provided by General Editors)(5) your preface(6) abbreviations(7) list of illustrations

D. TEXT(1) Determining the Copy Text

(a)Please make every attempt to achieve as clear an awareness as possible of the process of translation from manuscript copy (usually lost) to surviving printed edition(s). Matters which will affect the treatment of text include:

The identification of compositors (and, in a few instances, scribes) and study of their ascertainable habits of work;

The sequence of setting of pages and the casting-off of copy; The sequence of imposition and printing of the forms; Whatever evidence survives of proofing and correction, in the form of proof

pages or press variants.

(b)State succinctly your findings of investigation of these matters in the text section of the introduction, in such a manner as to indicate their likely significance and the nature and degree of their importance for the editing of the text. Where appropriate (eg, where you have substantial new findings to report), you may wish to present a fuller and more detailed consideration in a note on the text, as an appendix.

(c )The copy text is likely to be the earliest surviving printed edition (or manuscript) of the play unless a later text shows evidence of authorial revision. When such a later text survives that is wholly or partially independent of its predecessor (eg, Bussy D’Ambois), special problems will arise. You should consider such matters and resolve them as far as possible in the introduction.

(d)Preserve the readings of the copy-text in substantive matters, except where there is a manifest probability of corruption or authorial revision. Where the text is merely suspect,

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you may offer conjecture(s) in the commentary or may simply indicate that there is suspicion of corruption. All emendations and conjectures should be consistent with the proposed history of the text as outlined in the introduction, and you should fully understand, and explain, how the reading of the copy-text may have come into existence (eg, misreading, mechanical error, scribal sophistication, authorial revision).

(e)In order to detect press variants, you should collate as many examples of the edition used as copy-text as are readily available; unless an unusually large number is involved, this should involve all the copies in major British and North American libraries. You should also attempt a compositor analysis of your copy-text. If complex problems are disclosed, you may wish to consider them in a separately published article. The introduction will in any case offer brief conclusions on the work of the compositor(s).

(f)Specialised studies that may be helpful in cases involving complex or obscure transmission of the text can be found listed in T.H. Howard-Hill, Shakespearean Bibliography and Textual Criticism: A Bibliography (Oxford, Clarendon Press, 1971), and the discussions of text in T.H. Howard-Hill, ed., Middleton’s ‘Vulgar Pasquin’: Essays on ‘A Game at Chess’ (Newark: University of Delaware Press, 1995). Periodical articles published between 1933 and 1985 can be found in the Bibliographical Society’s Index to Selected Bibliographical Journals 1933-1970 (1982); and in J. Feather, An Index of Selected Bibliographical Periodicals 1971-1985 (Oxford Bibliographical Society, 1991). For more recent publications see the annual review of ‘Textual Studies’ in Shakespeare Survey, the relevant section of the Shakespeare chapter in The Year's Work in English Studies. See also William Shakespeare: A Textual Companion, eds S.Wells, G. Taylor, et al. (Oxford University Press, 1987).

(2) Modernisation of Spelling

(a)Be thorough in your modernisation of spelling, bringing the text, wherever possible, into line with current correct English usage. The practice of earlier editors may prove a helpful guide but should not be allowed to stand as an inhibiting precedent. Avoid, for example, random retention of forms like ‘murther’ on the unargued grounds that they represent distinct phonetic variants, where much variation is otherwise systematically ignored, or retention of copy-text forms deemed distinctively Elizabethan, eg, ‘heycfor’ for ‘heifer’ or ‘twelft’ for ‘twelfth’.

(b)Any compromise between full modernisation and total retention of copy-text forms creates a text which represents no known stage in the development of English orthography. The attempt to preserve the phonetic values of a few words (even if we could be confident of knowing what they were) is anomalous in a text whose standard of English spelling is that of the late twentieth-century or early twenty-first century. Spellings inviting discussion may be collated, and may be considered in the commentary.

(c )An obvious exception will occur when characters are given to the use of non-standard or incorrect forms: these should, of course, be retained, in whatever spelling best conveys their point.

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(d)Words or passages in foreign languages should be given in correct standard modern form, unless, again, there is reason to believe the inaccuracies are intentional and are designed to characterise the speaker. In all such cases, the matter should be discussed in the commentary.

(e) Words and passages in foreign languages should be in italic. Digraphs representing diphthongs in words or names of classical origin should be normalised as ‘ae’, ‘oe’, etc.

(f)Emphasis capitals, freely used in the early editions, should be reduced to lowercase. If you find them of sufficient interest, you may collate them, with or without comment in the commentary. Retain or introduce emphasis capitals for titles only when individual and identifiable title-bearers listed with the title in the list of characters in the play are meant; eg, King Edward in Edward II will probably be referred to as ‘the King’, but Lussurioso in The Revenger’s Tragedy will be ‘the prince’ because he is not titled ‘Prince Lussurioso’; ‘the Duke is coming’ (but ‘the king’s peace’). In cases of real uncertainty, you should consider whether the reference is specific or general and capitalise or not accordingly. Where context indicates reference to a particular holder of the office, capitalise ‘the Pope’, and where reference is to the corporate institution, ‘the Church’.

(g)The principal issues involved in modernisation are surveyed by Stanley Wells, in S. Wells and G. Taylor, Modernizing Shakespeare's Spelling (Oxford: Clarendon Press, 1979), 3-36, and in Re-editing Shakespeare for the Modern Reader (Oxford: Clarendon Press, 1984), 5-31. His discussion should be of value to all future editors of modernised Renaissance drama, not least in drawing attention to some of the words which will face editors with their most difficult decisions and in indicating how uncertain is the line that divides the categories of ‘genuine forms’ (to be retained) and ‘variant spellings’ (to be reduced to standard modern form). Textual notes to the Oxford Complete Works which discuss modernisation of particular forms are indexed in the Textual Companion, 666-7.

(h)Preferred forms include ‘more’ not ‘mo’; ‘enough’ not ‘enow’; ‘diverse’ not ‘divers’; ‘a one’ not ‘an one’; ‘’a’ (=he); ‘a’’ (=have) not ‘ha’’; ‘ho’ not ‘hoa’, ‘hoo’; ‘ta’en’ (=taken) not ‘tane’ (first instance should be annotated in the commentary); but the familiarity of the usage recommends ‘an’ not ‘and’ (=if). The form ‘Oh’ should be used for emotional outbursts, cries of surprise, pain or vexation, and should be followed by a comma. For vocative, use ‘O’ without comma. Particular instances may occur where editors wish to depart from these general recommendations, eg, where rhyme or dialect requires the other form. Sometimes a phrase is both vocative and a cry of surprise, etc. Please specify your position on Oh, and O as needed.

(i) The forms ‘neer(e)’ and ‘farr(e)’ may represent either the positive forms ‘near’ and ‘far’ or the comparatives ‘nearer’ and ‘farther’. As no modern spelling of the comparatives as monosyllables exists, use ‘near’ and ‘far’ and discuss the matter in the commentary.

(j) Retain archaic forms only when (a) rhyme or metre requires them, or (b) a modernised form would not give the required sense, or would obscure a play on words. Use elisions within a word only in verse, and only when metre demands them. (If in doubt over metre, you may use the copy-text form.) Elisions should take the following forms:

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Verbal forms in ‘ed’: ‘-ed’, when non-syllabic; ‘-èd’, when clearly syllabic.

Verbal forms in ‘ied’: ‘-ied’, when monosyllabic; ‘-ièd’, when disyllabic.

When elisions involve two words pronounced as one, the modernised form should have the same number of syllables as the copy-text with no space between the words; eg ‘i’faith’, ‘y’are’, ‘’twas’, ‘is’t’, ‘i’th’’, ‘by’r’, ‘do’t’. When elisions involve more than two words, normally close up the first two but not the last: eg, ‘i’th’ midst’.

In the second person singular of verbs, follow consistently your own preferred practice in the treatment of the ‘-est’ termination. If the copy-text chooses ‘-est’ or ‘-st’ throughout, you may wish to follow it, except where metrical considerations dictate otherwise. When the ‘-st’ termination is used, there should be no apostrophe unless an ‘e’ is part of the verb stem (hence ‘wouldst’, ‘standst’, but ‘dar’st’, ‘com’st’). You should include a brief statement explaining your practice in the textual introduction. This rule does not apply to superlatives. In the case of superlatives, do not elide the ‘-est’ termination, whether the termination is syllabic or not.

Where the copy text abbreviates, or where metre requires abbreviation, use the forms ‘I’d’, ‘he’d’, etc., for ‘I should’, ‘he would’, etc., and not ‘I’ld’, ‘he’ld’, etc.

(4) Punctuation

(a) Do not preserve the punctuation of the copy-text when it conflicts with modern usage (eg, ‘?’ in place of modern ‘!’; brackets for vocatives; the colon merely indicating a pause).

(b) Your modernised punctuation can generally be a good deal lighter than the more formal punctuation employed by nineteenth-century editors. On occasion, however, you may wish to retain your copy-text’s punctuation for the sake of its dramatic or rhetorical significance. Your respect for the punctuation of the copy-text will be conditioned by your theory of the text’s transmission. You should collate any change in punctuation that involves a change in meaning.

(c) Do not over-use exclamation marks or dashes.

(d) Use a dash – in typescript – to indicate change of character addressed within a speech.

(e) Do not leave extra spaces after punctuation marks, even after full stops at the end of sentences. Please use only one space between words.

(f) For a useful and comprehensive standard of reference as to what constitutes ‘modern practice’, see Randolph Quirk, S. Greenbaum, G. Leech and J. Svartvik, A Grammar of Contemporary English (New York, Seminar Press, 1972), 1053-81.

(5) Scene Division

(a) Preserve scene divisions in the copy-text as central headings (emended if necessary). Where there is an authoritative scene division (or act or scene division) but some

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divisions have been omitted from the copy-text, you should supply these omissions as central headings, but enclosed in square brackets, eg, ‘[Scene 3]’. The form used within the square brackets should accord with the form the copy-text employs elsewhere.

(b) If the copy-text offers no act and scene divisions, you should supply such a division in square brackets at the left-hand side of the page, thus ‘[2.2]’. You must, however, decide whether there is evidence that the play is constructed in five units. If there is no such evidence, in place of act and scene division, you should offer scene division only, thus ‘[Sc.8]’.

(c) Note that the headings for all acts and scenes will be printed in Arabic numerals – Act 1 Scene 3 (not ‘I.iii’). This applies also to act/scene references printed with the running titles (1.3).

(6) Stage Directions

(a) Omit from the text editorial statements of location (or setting), but you should discuss location in the commentary, because such information is useful for readers.

(b) Retain the wording of original stage directions, unless emendation or substitution is essential. Collate such emendations or substitutions. Indicate additions to stage directions by square brackets, and collate substantive additions, including names of editors who introduced them.

(c) Enclose stage directions translated from a foreign language in square brackets.

(d) Latin in stage directions. With the exception of Exit and Exeunt, Latin words in stage directions, such as Ambo and Manet, may be translated, enclosed in brackets and collated. Manet may be rendered as ‘s/he remains/stays behind’, or else the stage directions may be rephrased as ‘Exeunt all but’, enclosed in brackets and collated. Omnes may be retained in the formula Exeunt omnes, but may be translated elsewhere in stage directions, and also when used as a speech heading, either as ALL, or with indication of the group in question. If you prefer, and if no confusion is likely to arise, you may retain the Latin forms like Ambo and Manet.

(e) Entrances and exits: Centralise all entries, and set exits to the right. The exit of a character then speaking should be on the same line as the last line of his speech; that of another character, or an ‘exeunt’ (except at the end of scene), on a different line. In entries and exits print proper names in small caps (eg, BIANCA); print common nouns referring to minor characters (‘Servant’, ‘Lord’) or used as prefixes (eg, ‘Lady FIDGET’) in roman with an initial capital; print common nouns referring to major (ie individualised) characters in capitals (eg, ‘DUKE’, ‘MOTHER’ in Women Beware Women). Print all other words in entries and exits in italic. These instructions also refer to the dramatis personae.

(f) Print all words in other stage directions in italic. All stage directions should begin with an initial capital (whether the stage directions occur within a speech or separately).

(g) Stage directions (other than entries) too long for one line can be arranged as two or more shorter centred lines: that is, centralise non-entry SDs starting on a separate line, when you cannot run the SD in the text of the speech itself. Very long stage directions should be arranged with the first line ranged left and the following lines indented by two spaces.

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(h) When action or stage business is simultaneous with dialogue, place stage directions in what seems the most convenient place and explain any resultant difficulty in the commentary. You must decide where to place entry or exit stage directions in relation to lines referring to arrival or departure of the characters in question (eg, how long a time elapses between visible entry and arrival at downstage positions). See E.A.J. Honigmann’s ‘Re-enter the Stage Direction: Shakespeare and some contemporaries’, Shakespeare Survey 29 (1976), 117-25.

(i) Editorial stage directions and editorial additions to stage directions of the basic text(s) should be enclosed in square brackets. Do not use square brackets for expansion of abbreviations. Comment on additions and alterations of substance to the stage directions of the basic text(s) in the commentary.

(j) Original punctuation of stage directions to which additions are made should remain outside the square brackets, editorial punctuation within them. Stage directions that form complete sentences should end with a full stop; otherwise, not.

(k) Asides should be indicated by ‘[Aside]’ immediately before the relevant words if there is no doubt that they are an aside; the following words of the speech, if not spoken aside, should be preceded by ‘[To them]’ or whatever is appropriate. Where a text has its own method of indicating an aside, you may retain this method, provided you have good grounds for so doing. Such a departure from normal practice should be negotiated with the General Editor and explained in the introduction.

(l) Mid-speech SDs: When a stage direction occurs in the middle of a speech in prose, the direction should be run in without starting a new line. When stage directions occur in the midst of a line of verse, the direction should be run in without starting a line unless it is of an awkward length, in which case put the direction below the first part of the interrupted verse line and then print the second half of the verse line below the direction, indenting it to the point where the first half-line ends.

(m) Moving an SD: When you find it necessary to move a stage direction from its position in the copy-text, use no square brackets, but do collate the emendation.

(n) On numbering stage directions in the commentary, collations and introduction, see ‘lineation’, para. D.8.b.

(7) Speech Headings

(a) Normalise speech headings silently throughout a play. Use the full form of a character-name in your e-files. (There may be reason to abbreviate some names at a later stage). Use italics, followed by a full stop. Collate significant variations in the copy-text, and note the matter in the commentary; you may also wish to discuss the issue in the introduction.

(b) Give speech headings in the shortest unambiguous form of the name or description of the speaker: Canterbury or Archbishop rather than Archbishop of Canterbury. Where rank and title changes during the action, you may change speech headings to reflect the fact, unless confusion is likely to result.

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(c) Speech headings for groups of characters should use numerals: 1, 2, 3 etc., rather than first, second, third, as in 1 Soldier, 2 Servant.

(d) Where characters of the same name are distinguished by epithets, usually ‘old’ and ‘young’, treat these epithets as part of the name, using small caps in entry stage directions and italics in speech headings.

(e) Where characters are named in the dialogue but not in stage directions or speech headings, you may, if you wish, use their names in the stage directions and speech headings (provided there is no doubt about their identity).

(f) Do use brackets [ ] in the text for altered or supplied speech prefixes, but do not collate. Where major innovation is involved in assignment of speeches, you should discuss the matter in the commentary.

(g) You should normally draw attention to the adoption of disguise by adding in square brackets the assumed name of a disguised character after the regular name in entry stage directions, separated by italic as. Use only the first name as the speech heading for such characters. Collate assumed names of disguised characters in entry stage directions in accordance with the normal procedures for stage directions variants.

(h) Do not introduce disguise names unused, or rarely used in dialogue into the stage directions. Use the commentary for fuller discussion of any point of difficulty, or where disguise identities change within a scene.

(8) Lineation

(a) Insert line numbering (in fives), even where the text is wholly or partly in prose (references will be corrected by you on receipt of galley proofs as explained earlier). Complete verse lines are counted as one unit, even when divided between two or more speakers, or broken by a stage direction. Indent the second (and subsequent) speaker’s portion of the line, to indicate that a single line is being shared (see para.8d below).

(b) Numbering SDs: In collation, commentary, and introduction, line references to stage directions at the beginning of a scene should take the form 0.1, 0.2, 0.3, etc. (1, 2, 3 refer to the lines in the stage direction). Similarly, stage directions on separate lines should take the number of the last preceding line of the text, followed by a decimal point and 1, 2, 3, etc. (157.1, 157.2, etc.). If the stage direction occurs between two half-lines or is run in in the midst of a verse line, or is in a passage of prose, refer to the line without decimal addition (eg, 157).

(c) Emend demonstrable mislineation in the copy-text, and collate the emendation. Very frequent mislineation may more easily be recorded in an appendix.

(d) Shared lines. Where verse lines are divided between speakers, later sections of the line are indented to start one space beyond the end of the previous speech unless this results in the last word or words of the line over-running the right-hand margin. To avoid this, the half-lines may overlap slightly.

(e) Verse and prose. Consider carefully whether or not lines conventionally represented as divided verse lines are best so represented. Valuable discussions of this issue will be found in the ‘Textual Analysis’ in Anthony and Cleopatra ed. D. Bevington (Cambridge

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University Press, 1990), 266-70, on the handling of three consecutive half-lines which admit of more than one possible lining (in which case, you may be well advised to indent none of the three), and more generally in G.T. Wright, Shakespeare’s Metrical Art (Berkeley & Los Angeles, 1988). The Oxford Textual Companion, 640-65, gives a detailed list of problems of lineation in all the plays.

(f) Prose. Turn off hyphenation. Do not split words at the ends of prose lines. Your computer programme will automatically move full words to the next line.

(g) Songs and poems sung, read or recited are in roman type, normally centred in relation to the longest line, with indentation of lines as in the basic text, but normalised. Octosyllabic verse and other short-lined verse passages are also normally centred in relation to the longest line. Letters, plays within the play, recited speeches, proclamations and other such quoted passages are in italic but not indented. All words and passages in foreign languages are in italic.

(9) Insertions in the text

Use square brackets only for insertions in marking of scene divisions and in stage directions. Do not place any insertion of a letter or word in the text itself in square brackets. Collate all such insertions.

(10) List of the characters in the play

Place a list of characters’ names before the start of the text. Where such a list exists in the basic text(s), retain this form, supplementing as necessary. For other plays (the majority), arrange the list for ease of reference; do not follow editorial convention if good reasons exist for departure from it. You need not observe social or political hierarchies if other systems, eg, order of appearance or relationship (family, national or factional), make for greater clarity. The practice of segregating female roles at the foot of the list should be abandoned (except in the case of your retaining the list from the original text), though notes on casting and doubling of roles should make it clear which roles would, or might, have been played by boys. We suggest that the list be titled ‘Characters in the Play’, but other formulations, including Dramatis Personae, are allowable.

Notes on the list of characters in the play should include discussion of variant forms of speech headings or changes in designation of characters in the course of the action, including disguises. Other matters that may best be considered here include pronunciation of names and information about historical characters.

COLLATION

(1) The collation should record all editorial departures from the copy-text, as far as substantive readings are concerned. This applies to stage directions, as well as text. That is, include

speech prefixes disguise names emendation of SDs emended lineation all substantive insertions positions of SDs from margin to text, and relocation from one position in the text to another.

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Minor stylistic corrections to the stage directions in square brackets, such as ‘Draw[s] his sword’, ‘Enter [the] Doctor’, etc., need not be collated; the editorially added matter will be clearly marked by the brackets.

All collation notes must be in a separate file, not on the text page. The printer will move them into the text as he sets it.

(2) Where there are two early texts of independent authority, the collation must record all cases in which the text not chosen as copy-text departs, in substantive matters, from the copy-text. As a general rule, do not collate more substantive additions to the SDs (such as [Aside] or [To Kitely]; or [He draws his sword]); such editorial additions are to be in square brackets, which will signal to the reader that they are not authorial. Do, however, collate

a bracketed SD when it is derived from another primary text (eg to indicate in EMI (F) when a bracketed SD follows the example of Q);

bracketed entry and exit directions (BUT not other bracketed stage business).

(3) Collate changes in spelling only when modernisation entails a choice between two meanings possible in the original, or when the spelling bears on a textual choice or argument. Spelling variants are normally not to be regarded as substantive, but you may wish to collate if the original spelling is arresting or problematic in some way, especially if the circumstance leads to a commentary note. The correct style for such collation notes is as follows, referring here to the folio text of The Alchemist, 5.1,2 and 5:

15 baboons] F1 (babiouns) 24 window] F1 (windore) 56 harquebusier] F1 (hargubuzier)

Note the italic parentheses. The style of these notes signals that the readings are proposed not as emendations but as modernizations of earlier forms. However, a judgement call is involved in deciding whether such collations are useful for the reader. Generally, avoid collation notes that are simple modernizations, as in ‘hether’ to ‘hither’ or ‘cossen’ to ‘cousin’. Collate modernizations only when it seems undeniable to you that something potentially meaningful has been lost, or where there might be an issue of metre. The examples given above might warrant a collation note if the choice of modern spelling is uncertain or if the original spelling is defensible as something that should be retained. If these instances lead in the commentary to a discussion of possible dialect forms, the collation would be self-evidently useful.

(4) Collate changes in punctuation only when they bear on a textual argument when modernisation entails a choice between two senses possible in the original when punctuation is altered to correct the sense of the copy-text.

(5) Insignificant typographical errors need not be collated. Use your judgement, and think of what a reader will want to know. It is not necessary, for example, to collate such readings as the following in Poetaster, 3.4: 12 are proud] F1; are ptoude Qsince the choice of ‘t’ from the fount is one of mistakenly choosing a letter that looks very like an ‘r’. If you have an argument on carelessness of compositors, then retain.

(6) Collate subsequent editions of importance, particularly twentieth-century collected editions, whenever you seriously consider the earlier choice worthy of scrutiny along

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with the one you yourself have chosen. Collation is of course mandatory when you discuss a previous editor’s reading or conjecture in the commentary.

(7) In Revels, it is not desirable to give the full textual history of a reading; cite only the earliest source of a reading (eg, where a text went into several quartos, and the later quartos are not of independent authority, do not record these later readings, nor of course the readings of subsequent editors when these readings are mistaken or misconceived).

(8) When in doubt whether or not to include a collation, include it, with a marginal comment or email your query to the General Editor.

(9) Sample collations (from Poetaster 3.4 [line nos. from Tom Cain’s Revels edition], EMI, and Queens); these samples are based on the choice of Q as copy-text:

34 disgust] F1; disgeste Q 88 shall] F2; ’shall Q, F1 114 SD] Cain; not in Q 130-1 you . . . tearmouth?] F1; not in Q 227 SH SECOND PYRGUS] Cain (subst), conj H&S; 1. Pyr. Q, F1 260-2] verse as in G; prose, Q , F1 340 SD] Cain; Demetrius comes forward. / G, after 343 123 your] F1u; you F1c [ie, corrected) vs uncorrected: see (14) below] 4.11.0 SD] Q, subst.; BRAYNE-WORME, MATTHEW, BOBADIL, STEPHEN, DOWNE-/RIGHT. F1 138-40] as prose, Wh; verse F1, dividing shee?/ . . . sir./ . . . gone./ . . . brother. 5.3.40 SD BOBADILLA] Bobadillo Q; SD following 41 in Q 37, 50, 61, 82 SH FIRST WITCH] this edn; not in Q, F

For particularly complex occurrences of early variants, you may add a cross-reference to your full collation of stop-press variants.

Style of collation notes(a) Line reference in bold, no full stop. Include SD in bold, if that is the line

reference, or SH if you refer to a speech-heading.(b) Quotation from the present text, using the same fount of type (roman or italic) as

in the text itself, and the same capitals or lowercase. Where you collate a complete line , give the line reference only before the square bracket, thus: 290] Q; not in F

(c) Square bracket(d) The source of the reading chosen for the present text. In the first example this is Q

(the copy-text); in the second, it is the nineteenth-century editor, W. Shone (the abbreviation list indicates that the abbreviation ‘Shone’ is used in collation and commentary, and is included in the list of abbreviations); in the third, the reading originates in this edition. Use italic type for all non-quoted words and punctuation in the collation.

(e) Semi colon (italic)(f) The reading of the copy-text, if this is not the source of the present text (see

examples 2 and 3).(g) Readings of comparable acceptability from editions earlier than the present

edition (Francis Cunningham in the first example, Isaac Reed in the second).(h) Do not end the collation note with a full stop but do end with one space. In your

file, start each item on a separate line.

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(10) Use the form ‘not in Q’ where the collation note refers to an editorial insertion in the text (see ‘Insertions in the text’ above). Similarly, use ‘not italic in Q’ to indicate an editorial change of type font, where that change bears on a textual argument.

(11) Indicate former editors’ conjectures, as distinct from emendations, by ‘conj’, before the editor’s last name. No full stop appears after the abbreviation.

(12) Indicate line breaks, here and in the commentary and introduction, by a virgule or slash, thus: / (with a space before and after it). A slash (/) in italic may be useful to separate elements of a collation note that might otherwise seem run together, as in: 340 SD] Cain; Demetrius comes forward. / G, after 343

(13) Use ‘subst’ in parenthesis after the editor’s name to indicate that an emendation accepted into the text, or recorded in the collation, is substantially that offered by a previous editor: eg, Cunningham (subst). No full stop appears after the abbreviation.

(14) Use the forms Qu, Qc, Fu, Fc, for uncorrected (u) and corrected (c) readings in the original Q and F texts.

E. COMMENTARY

Explain whatever seems to you to demand explanation, bearing in mind the expected audience for the volume. Avoid over-lengthy annotation. Normally, you should avoid glossing difficult words more than once, but you may, however, use your discretion (eg, if many pages intervene between two or more uses; or if the sense of the word has shifted). Often the difficulty lies in a whole phrase, not in a single word. Inverted word order can create uncertainties. Try to be inclusive in meaning where appropriate, suggesting resonances of double meaning. Do not avoid sexual meanings or suggestions, but do try to word your glosses gracefully.

Annotations will generally be of the following kinds and should be concise and exact:

(1) Explanations of text: Notes explanatory of the text or collations. Where the text contains obscurities which you can neither explain nor emend, do not hesitate to say ‘unexplained’, but give the best guesses when matters are uncertain, rather than simply passing over a difficulty in silence. In an edition that aspires to be a major new piece of scholarship based on fresh and independent research, we should challenge, verify, modify, extend, and where appropriate refute the notes of earlier editions.

(2) Staging: Necessary explanations of what happens on the stage, where it has not seemed advisable to insert stage directions or when further clarification is useful. Often the production or performance choices are many, and imply different meanings: giving a brief illustration from stage history can spur the reader's imagination into seeing the moment in new ways. That is, when options exist, lean towards being inclusive rather than exclusive in your interpretation.

(3) Language: Comments on vocabulary and syntax, where usage differs from the modern or seems especially characteristic of the author. Vocabulary with technical (eg legal, medical) associations usually requires explanation.

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For stresses in pronunciation, use the commentary to note pronunciation with stress on syllables in lines of verse where a stress would not be expected today; eg, 211 complete fully equipped. Stressed on the first syllable.

(4) History: Explanations of reference to customs, events, etc., such as are not likely to be understood by a first-year university student. Foreign-language passages should normally be translated, and classical and biblical allusions glossed. Include references that may be familiar in Britain that might not be clear to readers overseas, eg districts in London. We want to encourage commentary notes on matters of sources, iconography, locations of places, medical conditions, political and religious controversy, theatrical rivalries, staging, etc. that provide factual background. When citing previous editors, find out who gave the information first. Be generous with giving credit in a way that does not fill up the page, especially in recognition of an ingenious piece of sleuthing, or when, for valid reasons, you are unable to check the information given by some annotator.

(5) Parallel passages from Elizabethan literature to illustrate references, vocabulary, syntax, usage, etc. Cite such passages only when OED does not provide adequate information; reference to OED will normally be sufficient. Quotations from Shakespeare should be from a current scholarly edition, with indication of what edition is used in the list of abbreviations. For classics, check the Loeb Library.

Parallel passages from classical authors, Shakespeare, proverbial lore, the Bible, etc., should normally provide some quotation, not simply the reference. Quotations from classical or other non-English authors should normally be in the original language, in italics, followed by a translation.

(6) Multiple meanings: If you provide alternative meanings of a word or phrase – usually a good idea – indicate which is the primary meaning and which is innuendo or association. Bawdy innuendo, especially in an extensively bawdy scene, requires tactful handling but should not be ‘glossed over’ or dealt with so circumspectly that meanings are obscure. For analysis of sexual allusiveness, use Gordon Williams, A Dictionary of Sexual Language and Imagery in Shakespeare and Stuart Literature, 3 vols (London: Ashgate, 1994), and Eric Partridge, Shakespeare’s Bawdy (New York: Dutton, 1955; rpt Routledge, 2001), among others, but be careful to avoid the too common mistake of assuming that because a certain word has a sexual resonance somewhere in early modern literature that it must then have that resonance in any situation one chooses to discover. Frankie Rubinstein’s A Dictionary of Shakespeare’s Puns and Their Significance (1984; 2nd edn, Basingstoke: Palgrave Macmillan 1989) is often too ready to free-associate.

(7) Biblical quotations should be from the Renaissance Bible most directly relevant to the play being edited. Editors should also consult the copious notes and other extra matter in the Geneva Bible, preferably in folio editions subsequent to the revision of the NT by Laurence Tomson, 1576, whose completely new marginalia, full of suggestiveness, tend to be badly cropped in quartos.

(8) Headnotes: A headnote at the beginning of each scene may be used for brief comment on such matters as: editorial notes of location; dramatic significance of the sequence and juxtaposition of scenes; relation of the scene to particular sections of known sources. Number such a headnote as, for instance, ‘2.3.0]’ (for a general note on act 2, scene 3).

(9) Idiomatic paraphrases of sentences or phrases offered in the notes, as opposed to literal renderings, may be presented within single quotation marks for clarity.

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(10) Proverbial usage often deserves commentary, although generally you might try to make a critical point rather than simply observing, ‘Proverbial’. RW Dent, Proverbial Language in English Drama Exclusive of Shakespeare, 1495-1616 (Berkeley: University of California Press, 1984), provides a useful starting point for plays down through 1616, though ‘Drama’ does not appear to include the masques in this instance. Dent’s index allows one to check all the proverbial uses he has identified in any given play, including a collaborative play like Eastward Ho!

(11) Style of commentary notes: Where a commentary note is not a complete sentence, it should begin with a

lowercase letter. The lemma (citation from the text) should be in bold font, without a bracket. See

(3) above for example. The lemma must be grammatically consonant with the gloss; that is, the gloss must retain the same parts of speech as the lemma, whether a single adverb, a phrase, or a sentence.

Whenever possible, make your paraphrase consonant with the lemma in point of view; keep the pronouns I, he, she, you, we, they the same in your paraphrase as in the original (except for modernizing forms like thee, thou, etc.).

When a phrase (or more) is cited, only the first and last words, separated by three dots, need be given. The dots should be separated by a space from the surrounding words, without internal spaces … like this.

Where a commentary note refers to a complete line (or group of lines), it is sufficient to cite in the lemma the line reference only, thus: ‘129’ or ‘129-36’.

Line references (here and throughout) use the fewest numbers possible, and take these forms: 20-6 (not 20-26), 120-6 (not 120-126 or 120-26), 106-9, but 112-13, etc.; teen numbers alone require the collective form.

Cross-references: When cross-referencing stage directions in your commentary (or introduction), style the cross-reference as follows, for example: ‘See 3.5.1.1-2 SD above’, meaning that the stage direction in question follows the dialogue at act 3, scene 5, line 1, and occupies two lines. The use of ‘SD’ should avoid any confusion as to whether you might be referring to the dialogue. Within a scene, you can say ‘See 5 SD above’, meaning a stage direction within line 5, not following it, or ‘See 5.1-2 SD’ where the stage direction follows the line of dialogue. To refer to a stage direction at the start of a scene, say, for example ‘See 3.5.0.1-2 SD’.

All commentary notes should end with a full stop.

F. INTRODUCTION

A full introduction should not exceed 18,000 words (including quotations but not footnotes). Avoid lengthy notes, especially substantive ones, and be moderate in your documentation, since notes will add to length and cost. If you have 24,738 words, you need to tighten up by cutting out 6000 words if you can.

The introduction should include the following, which need not all be treated in separate sections:

(1) A brief account of the dramatist and his work. When a play by the same dramatist has already appeared in the Revels, you should refer to the previous introduction, and provide only a brief outline of the dramatist’s career. You may of course wish to bring up to date, or modify, the earlier account. In some cases you may wish to consider a problem of

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authorship, but full and detailed discussion of authorship problems may be published elsewhere.

(2) Date of the play, and its relation to the dramatist’s work as a whole.

(3) The theatre of first performance: Where this information is known, it may be valuable to discuss briefly the audience and/or stage conditions at that theatre.

(4) The text. You must indicate prominently the copy-text you have chosen and your reasons for doing so. You should construct a presumed history of the copy-text from the author’s autograph to the latest substantive edition, and discuss what is known of printing shop work on the text. State clearly the editorial principles of the present edition, based on these findings. Give a list of important modern editions. See ‘Text’, section D, above.

(5) Sources. Undertake some discussion of the play’s sources, where these are known or can be discovered. Emphasise the dramatist’s handling of the sources in relation to the play.

(6) A critical account of the play, with reasonable full reference to previous accounts, beginning with sixteenth- or seventeenth-century comments. You will find it useful to set the play within the context of other Elizabethan plays of the same genre or kind. Sub-headings may prove useful.

(7) Stage history. Give such a history as fully as possible, though concisely.

Introductions will vary somewhat from volume to volume, but you will need to cover the above topics in something like the order in which they are here listed.

Number the notes to the introduction as endnotes in one sequence throughout, gathering them at the end of the introduction, as your computer will do automatically. Use the program for notes, instead of manual insertions, to avoid problems when notes are changed, added, or deleted.

G. APPENDICES

Consult your General Editor well before submitting your typescript about the number, kind and length of appendices. These may include:

(1) Source material, abbreviated where necessary by omission or summary (in square brackets). You may use old spelling if you prefer, with a minimum of editorial alteration (collated where necessary), but you should modernise u/v, i/j and long s; expand contractions; and normalise unusual typography. Given foreign language sources in translation, with an indication where the original may be found. Modern spelling may be the best choice unless old spellings are at issue.

(2) Settings for songs, when available. It is your responsibility to submit the setting in final, camera-ready copy form to the Press.

(3) Matters related to the play and its history, when these cannot conveniently be included in introduction or commentary. Such appendices should neither be long nor numerous.

(4) Recording of the copy-text lineation, where that is frequently different from the editor’s. If an appendix is used for this purpose, the information should not be duplicated in the collation.

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H. INDEX

(1) The Index to the commentary should include a glossarial listing as well as judiciously selected names and topics found in the introduction, commentary, and (if you have them), appendices. These index items can include proper names of persons, places, important historical events, and topics such as imagery, compositors, and Neoplatonism.

(2) Each entry should begin with the word that you are indexing, in regular typeface, not boldface, and capitalised when the term is normally capitalised. Reverse names of persons to begin with the last name when you are indexing persons. Follow the entry with a space, no punctuation, except as noted below in (6). In indexing glossed terms, precede the entry item with an asterisk (*) if you are supplementing or correcting information relating to sense, usage or date provided by the latest edition of the OED.

(3) Follow the indexed term by act-scene-line reference (eg, 1.4.23;) when you are glossing words from the play, and with page reference when your item is from the introduction, commentary or appendix. Separate more than one act-scene-line or page reference with a comma.

(4) The entry should end without a full-stop.

(5) Individual works by authors to which you refer can normally be grouped under that author’s name and abbreviated. See example in next paragraph.

(6) Samples:

cabin 5.4.82*colour 3.1.16-17humours, theory of, pp.14, 19, 25Ralegh, Sir Walter, pp. 37, 42rocket 4.1.43-4, 5.1.16Shakespeare, William: Err. p. 34, 2H4 p. 41, MAdo p. 43

Use a comma after a inverted construction, like ‘humours, theory of,’ and a colon when followed by titles as in the Shakespeare example; otherwise, no punctuation. The use of ‘p.’ and ‘pp.’ is intended to clarify the distinction between references to the text and to the introduction.

I. ILLUSTRATIONS

It has usually been possible to include one or two or more illustrations in each volume. These may take the form of the title page of the earliest (or another) edition, a page of the copy-text, or manuscript, or of a portrait of the author (or one of the historical characters represented in the play) or of a modern stage production. You are invited to make your wishes known to the General Editor on this matter. If illustrations are agreed, forward a copy of the letter(s) of permission to use the print(s) to MUP. See below, para. K27, for a note on photographs, etc.

J. ABBREVIATIONS AND MINOR POINTS OF STYLE

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All editors will be sent, or should request, a copy of the general MUP house style guide. Please refer to this if you are unsure of particular style conventions, which are not covered in this document.

(1) A list of abbreviations should precede the introduction. List all the abbreviations employed in the introduction, collation and commentary, apart from familiar usages such as ‘ed.’, ‘fol.’, and ‘conj’.

(2) Abbreviate titles of periodicals and standard works of reference without internal stops: RES, TLS, SQ, etc., not R.E.S., T.L.S., S.Q.. Use standard abbreviations found in the PMLA Bibliography, for example, and list in the Abbreviations. Use Canadian, US, and Australian abbreviations for provinces or states as in postal (zip) codes; eg, NSW = New South Wales.

(3) Indicate the text of Shakespeare and translation of the Bible you use, and the text (or texts) of other works by the author of the play being edited.

(4) Avoid or replace unusual characters or symbols which might present difficulties to the printer. With texts printed in black-letter, explain your method of collation in the textual introduction.

(5) In referring to authors, editors, etc., use the full name, without any honorific, on the first occurrence, and the surname only thereafter, thus: ‘Muriel Bradbrook’ (first occurrence; not Prof.); ‘Bradbrook’ (thereafter). This rule need not apply to formal acknowledgements in the preliminary matter, etc.

(6) Avoid full stops with all abbreviations including Mr, Dr, Mrs/Ms, St (saint), OED, MS (manuscript), play directions like SH and SD (‘speech heading’ and ‘stage direction’), and plays like 2H4 (Henry IV, part 2).

(7) Specific abbreviations you may use (but which are not to be listed in the list of abbreviations):

adj. (adjective)

adv. (adverb)

c. (circa)

ch. (chapter)

ed., edn, and eds, edns (editor, edition; editors, editions)

f. (following page or line); ff. (following pages or lines)

fol. and fols (folio, folios)

eg (to be followed by comma) (= for example)

ie (to be followed by comma) (that is)

n. (note) Thus: line 63n. line 63n.5

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no. (number)

OED (Oxford English Dictionary)

sb. (noun)

SD (stage direction)

SH (speech heading)

st. (stanza)

UP (University Press)

v. (verse)

vb (verb)

vol. and vols (volume, volumes)

Do not abbreviate ‘cited’; do not use v. (for ‘vide’); where necessary use ‘see’. Do not use sv. Generally avoid Latin terms.

(8) For abbreviated titles of works by Jonson, use the Cambridge Jonson (2012); for Shakespeare, please use the following abbreviations and list them in your list of abbreviations:

A&C Anthony and CleopatraAWW All’s Well That Ends WellAYL As You Like ItCor. CoriolanusCym. CymbelineErr. The Comedy of ErrorsHam. Hamlet1H4 The First Part of King Henry the Fourth2H4 The Second Part of King Henry the FourthH5 King Henry the Fifth1H6 The First Part of King Henry the Sixth2H6 The Second Part of King Henry the Sixth3H6 The Third Part of King Henry the SixthH8 King Henry the EighthJC Julius CaesarJohn King JohnLear King LearLC A Lover’s ComplaintLLL Love’s Labour’s LostLuc. The Rape of LucreceMAdo Much Ado About NothingMac. MacbethMM. Measure for MeasureMND A Midsummer Night’s Dream

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MV The Merchant of VeniceMWW The Merry Wives of WindsorOth. OthelloPer. PericlesPP The Passionate PilgrimPT The Phoenix and the TurtleR2 King Richard the SecondR3 King Richard the ThirdR&J Romeo and JulietSon. SonnetsSTM Sir Thomas MoreT&C Troilus and CressidaTemp. The TempestTGV Two Gentlemen of VeronaTim. Timon of AthensTit. Titus AndronicusTwN Twelfth NightTNK The Two Noble KinsmenTS The Taming of the ShrewVA Venus and AdonisWT The Winter’s Tale

For abbreviations of plays not by Shakespeare, use generally recognised abbreviations, eg, SMT (Second Maiden’s Tragedy), SpT (The Spanish Tragedy), etc., and list them in the abbreviations.

(9) Other common forms of abbreviation:

Dent W241 (no comma where the number refers to a section or item)Tilley C696Abbott 334North, 306 (include the comma where the number is a page reference)Marlowe, 1 Tamburlaine, PrologueWells, Re-Editing, 87 (book)Hunter, ‘Flatcaps’, 18-20 (article)2 Peter, 3.13 (Bible)Ovid, Met. (Metamorphoses), 13.640-78

(10) The abbreviations (‘sb’, ‘v.’, etc.) in OED citations should be roman, not italic.

(11) DO NOT USE commas in abbreviated references, thus: ‘…in SMT, 3.4.5, it is…’ (not ‘…in SMT 3.4.5 it is…’).

(12) Note the form of line references in act.scene.line: 3.4.5. No additional spaces.

(13) Recto and verso folios (etc.) should be designated by ‘r’ and ‘v’, using roman, not italic, letters; and should not be superior (raised) – unless a type facsimile is being attempted for special reasons. Thus: ‘fol. 6v’. If you prefer, ‘r’ can be omitted in a recto citation as understood.

(14) Use –’s for the possessive in names ending in –s, thus: Davis’s (not Davis’). In foreign multisyllabic names, the final ‘s may be omitted, thus: Descartes’, Archimedes’, though

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even here one simple way to achieve consistency is to use –s’s throughout. (In the play-text, metre may sometimes call for modification of this rule.)

(15) References to date and place of publication are given in parenthesis (round brackets). When the citation is itself already in parentheses, use commas (no square brackets). It is permissible to use round brackets within round brackets, where this may be necessary. Do not use square brackets for this purpose. Use round (not square) brackets for textual references in the introduction, etc.

(16) In citing titles of articles and books, use initial capitals for the main words.

(17) Use three dots (spaced from the previous and following words and not spaced between the dots … ) to indicate an omission in text or quotations (a fourth dot is used for a full stop before or after the omitted material.)

(18) Use single quotation marks. Use double quotation marks only within material set off by single quotation marks. Place punctuation after the concluding single quotation marks if the quotation is not a complete sentence, but before the mark if it is.

(19) Number the pages of the file and print-out right through before submission. This has to be done for the printer at some stage anyway, and a common system of consecutive numbering makes it easier to locate particular pages in a hurry; eg, for last-minute Manchester University Press queries by phone.

(20) Where a lowercase initial has to be changed to capital, in proofs use triple underlining, since to a printer, double underlining means small capitals, and has to be changed throughout to avoid any possibility of misunderstanding in certain contexts.

(21) Where a small correction has to be made in a file, please highlight it and add a clear comment in the margin. For proof-reading, make it wherever possible in the actual text, with a caret mark, above the line. . (If a correction has to be made prominent, eg, for general-editor scrutiny, do it in a distinctive colour.) You can thus keep the margin free for longer insertions. When making corrections of any kind, please ensure that a punctuation mark is not separated spatially from the preceding word. Avoid taking corrections to the edge of the page if it is to be photocopied.

(22) Bibliographical references should give place of publication and name of publisher followed by date (eg New Haven: Yale UP, 1992) unless the place and name are duplicatory (eg Princeton UP, 1989 rather than Princeton, Princeton UP, 1989). So, too with (Cambridge UP, 1987).

(23) The form for citing articles is as follows: David Hoeniger, ‘On Editing One’s First Play’, Studies in Bibliography 23 (1970), 61-70. If using initials for scholars, put no spaces between initials: W.W. Gregg, E.A.J. Honigmann.

(24) Where whole sentences have to be inserted, particularly in a small space, remember that the names of Elizabethan writers, scholars, etc. will not be as familiar to the compositor as to, say, the General Editors. Please ensure that such insertions, especially names, are very clearly written or if possible typed. This is a frequent source of proof alterations.

(25) Check alphabetical order where it is used, for example in the index to annotations. Mistakes surprisingly often occur here and are easily overlooked.

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(26) A methodical procedure is essential to ensure that all quotations and references in the typescript are accurate. We recommend that you check every quotation and reference against the original before you send the typescript to the General Editor, ticking the left-hand margin in pencil when you have done your checking.

(27) It is your responsibility to obtain photographic digital prints (and permissions to reproduce them) for any illustrations or facsimiles that may have been approved for inclusion by the General Editor. They should be black and white glossy photographs, preferably 10” x 8” or similar; for digital, at least 300 dpi. Xeroxes and reproductions of photographs in other books are not suitable at all, though photographs of line drawings may be adequate. For facsimile title pages, digital photographs are preferable; enlargements from microfilm are acceptable where unavoidable but give less good results.

K. GENERAL EDITORS

You should feel welcome to call on any of the General Editors and to contact editors of other plays in the series to discuss points of common interest.

General Editors

David BevingtonDepartment of EnglishUniversity of Chicago1050 East 59th StreetChicagoIllinois 60637USATel: (312) 288 7905Fax: (312) 702 9861email: bevi@uchicago.edu

Richard DuttonDepartment of EnglishOhio State University421 Denney Hall164 West 17th AvenueColumbusOhio 43210USAemail: dutton42@osu.edu

Alison FindlayDepartment of EnglishUniversity of LancasterLancasterLA1 4YTemail: a.g.findlay@lancaster.ac.uk

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Helen OstovichEnglish and Cultural StudiesMcMaster UniversityHamiltonOntarioL8S 4L9CANADATel. (416) 929 7646email: ostovich@mcmaster.ca

Martin WhiteEmeritus ProfessorUniversity of BristolOffice Drama DepartmentCantock's Close,Clifton, Bristol BS8 1UPMartin.White@bristol.ac.uk

Matthew FrostManchester University PressRenold Building, J FloorOxford RoadMANCHESTERM13 9PLTel: 0161 275 2310Fax: 0161 274 3346email: m.frost@manchester.ac.uk

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