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The Economist
April 22nd 2023
Culture
Harrington, the proprietor, called that a
“onceinageneration chance”. The po
ems, and the Fourth Folio of 1685, have just
been sold. (The First remains available.)
Thanks, in part, to his friends’ push to
celebrate the playwright’s legacy, Shake
speare’s First Folio is not especially rare
compared with other early 17thcentury
books. From the original print run of
around 750 copies, 235 are known to exist.
Most, however, lie in hushed, lowlit state
in libraries and museums. The Folger
Shakespeare Library in Washington,
DC,
has 82 copies, gems of the literary treasure
trove amassed by Henry Folger, the presi
dent of Standard Oil, and his wife, Emily.
America hosts 149, Britain 50, with the
others scattered around the world. Perhaps
27 remain in private hands, and few are
likely to enter the open market.
Your correspondent inspected the First
Folio now on sale in London. Inside its
handsome calfskin binding—not contem
porary, but dating from around 1700—the
large pages look, and feel, crisp, clean and
strong. Although four of the eight prelimi
nary pages, including poems, dedications
and Droeshout’s famous engraving, are
marked as facsimiles on this copy, the
pages containing the plays’ texts remain
intact and unrestored.
Sold in 1950 for £5,000 (then a steep
price tag), this Folio had perhaps rested in
the library of some proud but nottoo
bookish hunting squire in northern Eng
land. Its bright and legible leaves of im
ported French paper showcase the array of
crafts that blended to make the volume.
Professor Emma Smith of Oxford Universi
ty, whose study of the Folio’s creation has
been revised for the quatercentenary,
writes that it was “the product of many dif
ferent people with different amounts of
agency and investment—personal, intel
lectual and economic—in the project.”
Professor Smith’s book, and Mr Laouta
ris’s history of the interlinked careers be
hind the Folio scheme, bring that network
to life. Henry Condell and John Heminge,
two of Shakespeare’s actor colleagues from
the King’s Men company, coordinated the
project. Edward Blount, a publisherbook
seller known for his cosmopolitan, upmar
ket list, led a syndicate that included the
fatherandson printers William and Isaac
Jaggard, as well as fellow booksellers Wil
liam Aspley and John Smethwick.
Mr Laoutaris traces the tangled negotia
tions that led to their acquisition of print
ing rights for the 22 plays the King’s Men
did not control. His resourceful sleuthing
ties the Folio’s birth to the politics of its
time. Partisans of an AngloSpanish alli
ance—such as Blount and the poets who
praised Shakespeare in prefatory verses—
were in conflict with a more insular Protes
tant camp at James I’s court. Hedging their
bets, the Folio syndicate dedicated its book
to the Earl of Pembroke and his brother:
not only backers of the King’s Men, but
stalwarts of the antiSpanish faction.
The printing proved a slow, intricate
job, with source texts drawn from Shake
speare’s own manuscripts (none of which
survives), theatre prompt copies, old quar
to editions and cleanedup “fair copies”
recorded by a scribe. The team of around
ten compositors included both highly
skilled veterans and a notoriously error
prone teenage apprentice, John Leason.
Piecemeal corrections with the print run in
progress mean that “each copy is a unique
collation”, Professor Smith writes.
Yet the venture, which Mr Laoutaris
calls “a bold, gutsy and daring initiative”,
paid off. A costly 15 shillings unbound, the
Folio nevertheless reached its “elite” target
audience of buyers willing to treat an an
thology of modern plays as a token of “ex
clusivity, good taste and grandeur”. Soon a
“profitable undertaking”, the Folio did well
enough to trigger a revised update in 1632:
the Second Folio.
The First Folio carried Shakespeare
through what Professor Smith dubs his
“postpopular doldrum”: that awkward
posthumous patch when art is “neither
classic nor current”. Condell, Heminge and
colleagues managed to sprinkle the star
dust of luxury, glamour and prestige over
an assemblage of old plays. In doing so,
they ensured that Shakespeare—as Jon
son’s dedicatory poem puts it—“was not of
an age, but for all time”.
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