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The Business of Revision The Business of Revision
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The Business of Shakespearean Revision The Business of Shakespearean Revision
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5 Revision
Get accessGrace Ioppolo is Professor of Shakespearean and Early Modern Drama in the Department of English Language and Literature at the University of Reading. Her publications include Dramatists and Their Manuscripts in the Age of Shakespeare, Jonson, Middleton and Heywood: Authorship, Authority and the Playhouse (2006), Revising Shakespeare (1991), and Shakespeare Performed: Essays in Honor of R. A. Foakes (2000). She has produced critical editions of Shakespeare's King Lear and Measure for Measure, and Middleton's Hengist, King of Kent. She is also the founder and director of the electronic archive www.henslowe‐alleyn.org.uk. She is the General Editor of The Complete Works of Thomas Heywood, 10 vols. (forthcoming from Oxford University Press).
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Published:18 September 2012
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Abstract
By the time Shakespeare came to write Hamlet he had spent about ten years in professional theatre as an actor and dramatist. He may have begun his career not only by rewriting and adapting old and seemingly authorless plays, but by cutting, adding to, and revising those of senior colleagues with whom he was directly collaborating. This article notes that Shakespeare was a very shrewd businessman, and that his revision of his own plays was a sound business investment, a fact which needs more emphasis because centuries of critics and admirers have burdened Shakespeare with the title of the world's greatest playwright, someone who was much too brilliant in the act of writing to need to revise then or later. The discussion considers the business in Shakespearean revision. Evidence in extant autograph foul-paper and fair-copied manuscripts suggests that playtexts took a circular path in revising.
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