Shakespeare in Print

Andrew Murphy is 1867 Professor of English at Trinity College Dublin. His authored books include Ireland, Reading and Cultural Nationalism, 1790–1930 (Cambridge, 2018) and Shakespeare for the People: Working-class Readers, 1800–1900 (Cambridge, 2008). He has been the recipient of fellowship awards from the British Academy and the Leverhulme Trust.

• List of Illustrations; List of Tables; Preface; Acknowledgements; List of Abbreviations; Part I: Text; Introduction; 1. Bringing Shakespeare to Print; 2. Collecting Shakespeare; 3. The Tonson Era 1: Rowe to Warburton; 4. The Tonson Era 2: Johnson to Malone; 5. Copyright Disputes: English Publishers; 6. Copyright Disputes: Scottish and Irish Publishers; 7. American Editions; 8. Nineteenth-Century Popular Editions; 9. Nineteenth-Century Scholarly Editions; 10. The New Bibliography; 11. Shakespeare in the Modern Era; 12. Shakespeare Beyond Print; Part II: Introduction to the Chronological Appendix; Chronological Appendix; Index 1: By Play/Poem Title; Index 2: By Series/Edition Title; Index 3: By Editor/Creator; Index 4: By Publisher/Printer/Host; Index 5: By Place of Publication (excluding London); Notes; Bibliography; Main Index.

'Andrew Murphy's Shakespeare in Print was already a decisive, even-handed, knowledgeable and smart survey of publishing Shakespeare over four centuries. This second edition is even better. In a testament to the energy of this field, and his own immersion in it, Murphy has substantially recast his work - not just by adding a necessary and revealing chapter on digital Shakespeares and the fascinating story of nineteenth-century editions in the formation of twenty-first century technologies. In addition, Shakespeare in Print has revisited and revised earlier parts of the story, drawing on new scholarship about Shakespeare's stationers and early print history, on what parts of the 'new textualism' have been mainstreamed into editing and what elements of the New Bibliography still hold sway, and on the relative importance of debates about authorial revision and collaboration. The result is a brilliant collation of scholarship on textual history, the history of print and publishing, and the impact of the social, cultural, and biographical on editing Shakespeare. In a field sometimes characterised by heat rather than light, it is luminescent: a wonderful book, like no other.' Emma Smith, University of Oxford