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Tables of Contents for Shakespeare's First Texts
Chapter/Section Title
Page #
Page Count
Table of Contents
i
PART ONE
Preface
ix
BACKGROUND
The Two Texts
1
5
Background
1
1
The Printing of the Plays
1
1
Reshaping the Original Texts into the First Modern Editions
1
1
How the Handwritten Manuscripts Were Prepared
2
1
Why the Manuscripts were Created
2
1
Why and How the First Modern Texts were Created
2
2
The Argument of the `Interfering Hands'
3
1
Readers Choice
4
2
Using Both Texts
4
2
THE THEATRICAL IMPLICATIONS OF THE RESHAPINGS
Reshaping By Being Tidy
6
10
Adding Punctuation
6
1
Which Sir Toby?
Standardising Prefixes
7
3
Who and what is Capulet's Wife?
The Two sides of Puck
Creating Grammar
10
3
Which Shylock?
Changing Stage Directions
13
3
Is Petruchio a thoughtless bully?
Reshaping Through Poetry: Balance/Harmony Versus the Messier Human Moments
16
16
Poetic Reshapings
16
1
Irregular Lines
17
1
Irregular Lines Maintained by the Modern Texts
18
2
Irregular Lines Not Maintained by the Modern Texts
20
4
An exuberant Romeo, or a reverend one?
Macbeth affected by the `weird' sisters' disappearance
How easy is it for Macbeth to be two-faced?
Lenox the calm reporter, or the emotionally involved?
Prose Versus Verse
24
2
King Henry, Titania and Bottom, Caliban and Stephano
Changing the Speaking Style of a Character
26
3
Mercutio, romantic or chaotic?
The Shared Verse Line
29
3
ELIZABETHAN THINKING
Elizabethan Thinking
32
11
Problems for the Modern Reader/Actor
32
1
The Special Qualities of the Elizabethan Texts that Can Help
32
1
Analysing
33
1
Organising
33
1
The Need for Deftness and Flexibility
34
1
Organising by Using the First Two Methods of Training
35
1
How the Modern Texts Remove Some of the Important Clues of Content/Matter: a Brief introduction to chapters 7-11 and 15-16
36
1
The Art of Rhetoric
36
2
Words, Words, Words
38
1
Surprises
39
1
Word Games
40
1
Hamlet's games
Macbeth's enjoyment
Modern Texts' Inadvertent Removal of Puns and Double Meanings
41
1
How the Modern Texts Remove Some Important Clues of Style a brief introduction to chapters 12-13, and 17-19
41
2
Elizabethan Thinking and the Modern Reader/Actor: Ideas to Help Develop a Deft, Sensual Memory
43
13
Asking `What Happens Next?'
43
3
The Image of the Serpent and Its Coils Hamlet's famous speech
44
1
The Inner Dialogue Game
45
1
The Sculpture Image
45
1
The Ability to Keep Shifting Focus
46
3
Sensual Memory: Focusing On Different People Juliet's tug of war
46
1
The Image of the Room: Focusing on Different Objects
47
1
Sensually Imaging the Abstract: Focusing on Different People Brutus dilemma
48
1
Fixation: Returning to the Same Point Over and Over Again Shakespeare's love triangle
49
2
Combining Real Things, People, Objects, Events, & the Abstract lago's enemies
51
3
PART TWO
Introduction to Part Two
54
1
The Battle between Emotions and Thoughts
54
1
The Image of the Emotional Volcano
54
1
Don't Get Swamped
54
1
Concentrating On One Moment of the Text At a Time
55
1
Dullness Warning
55
1
The Shakespearean Detective Comparing The Two Texts
56
5
Using The Two Texts
56
2
The Five `Maps'
56
2
Warning: Scholarly Objections
58
1
The Shakespearean Detective
58
1
The Expected and Unexpected (Peculiarities) of the Old Texts
59
2
THE SENTENCE
Three Types of Sentence and the Inner Volcano
61
9
How to Use the Sentence Structure
61
1
Three States of the Volcano
61
1
The Three Different Sentences
61
1
Transitions
62
1
The Grammatical Sentence
62
2
The Struggles of Portia
Anthony's struggles
The Non-Grammatical Sentence
64
2
Hamlet's need to know
Touchstone's surprise
The Half-and-Half Sentence
66
4
The Duke's gratitude
Comparing Sentences: The Number & The Transitions
70
9
Comparing Sentence Structures
70
1
Extra Sentences in the Old Texts
70
4
Cassius' determination
Lucio's wicked ways
Helena's desperation
The `And There's Something Else: Large Scale Change' Exercise
74
1
Fewer Sentences in the Old Texts
74
4
Too Much Passion, Fixation on a Large Scale Orlando in a desperate state
75
2
No Time for Transitions: Fixation Over A Quicker Time-Frame Olivia hopelessly in love
77
1
Summary of the Sentence
78
1
MAJOR PUNCTUATION
A Logical Demand Upon Speaker/Listener Alike
79
8
Recognising How the Old Texts Use the Major Punctuation
79
1
Discovering Thoughts that Demand Attention
79
3
Olivia In Love
Oliver's Manipulations
Demands at the Beginning of a Sentence
82
2
Pinponting The What and The Why
82
1
In public: Hotspur's widow attacks her father-in-law In a soliloquy: Macbeth wasfes no words
83
1
Demands at the End of a Sentence
84
1
The Window Hotspur continues her attack
The Double-Duty Demand
84
1
Widow Hotspur continues to attack
Macbeth comes straight to the point
Modern Texts Replacing Major Punctuation
85
2
Rosalind's flourish somewhat reduced
Major Punctuation as a Sign of the Unusual: Emotion and Passion Getting in the Way
87
9
The Non-Grammatically Peculiar
87
1
lago's hatred
When Major Punctuation `Clusters' Together
88
2
Portia's superb finish
Leontes' exploding mind
Julia's dismay
When Major Punctuation Suddenly Stops
90
2
Charles gains control
A Sudden Cluster of Major Punctuation for a Character Who Normally Doesn't Use Them
92
1
Don Pedro as leader
Special Small Clusters
93
3
The root of Orlando's problem
Adam's pain
The Swamping Effect: When the Demand on the Speaker is Almost Too Much
96
6
The Role of the Semi-Colon
96
1
Adam's dilemma
Difference in Impact Between the Semi-Colon and the Colon
97
1
lago's delight
The Modern Texts' Removal of the Semi-Colon
98
1
The First Folio rebirth of Le Beau
Protheus in love, again
`Clusters' of Semi-Colons: When the Swamping Becomes Excesive
99
2
Summary of Major Punctuation
101
1
THE SMALLEST THOUGHT
The Speedy Dance of Everchanging Thought
102
8
The Quick, Deft Dance
102
1
Comparing the `Old' Punctuation and the `New'
102
1
How to `Dance'
103
1
The Peculiar Dance
104
1
Coriolanus neat or bloody?
The Deft Dance
105
1
Rosalind in full cry
The Stumbling Dance
106
2
Hermione's awkwardness
How the Dance Starts and How it Finishes
108
2
Which introduction, rational or emotional love?
Hermione's extra care and understanding
Patterns of the Smallest Thought
110
9
When the Two Texts Match
110
1
When Modern Texts Set Less Phrasing Than the Original Printings
111
2
Shakespeare's beloved friend at risk
Brutus takes care his points are felt as well as heard
Julia's excessive passion
Warning #1
113
1
When Modern Texts Set More Phrasing Than the Original Printings
114
4
Orlando's pain
Ariel's joy
Sonnet #146, Shakespeare's need to be loved
Warning #2
118
1
Summary: The Need for Deftness
118
1
OTHER PUNCTUATION, ETC
Question and Exclamation Marks, & Four Rarities
119
7
The Question Mark [?] and the Exclamation Mark [!]
119
1
Two Different Types of Question
119
1
Celia's pain
When a Question/Exclamation Mark Ends a Line
120
1
Peculiar Positioning of Question/Exclamation Marks
121
1
Murellus' anger
When is a Question Mark not a Question Mark
122
1
Anthony's response
When is an Exclamation Mark not an Exclamation Mark
122
1
Caesar's demand
The Question Mark Rather Than the Exclamation Mark
123
1
How rude is Brutus?
The Rarity of the Exclamation Mark
123
1
Henry's passions
Four Rarities
124
2
CAPITAL LETTERS
The Need to Make a Point
126
12
The Facts, or `Points of Focus'
126
1
Lucio's mischief
Cassius' need
Using the Capitals
127
1
The `Capital Letter' Game
128
1
Capitals Indicating the Stepping Stones
128
6
With a Single Partner
128
1
Portia clearly spells matters out for Brutus
Within the Private Self-Examination or Solo Debate
128
2
Leontes' nightmare
Within A Scene
130
4
The battle to control the Citizens of Rome
The Extra-Special Capitals
134
2
The 1st Citizen's `tuming' point
Imogen's realisation
Imogen's enthusiasm
Brutus' need to convince himself
Portia's enormous act supplication
Imogen's wish to die
The Capital at the Beginning of the Verse Line
136
1
Capital Letters and Real Names
137
1
Shifting Worlds as Capitals Appear & Disappear
138
10
The Shifting Map
138
3
Hermione's public struggle to put aside the unwarranted change of treason
Capitals as Entertainment
141
3
The close friendship of Touchstone, Rosalind and Celia
Changes of Energy
144
3
What is the matter with Jaques?
Rosalind's deftness
Summary of the Capital Letters
147
1
SPELLINGS
As Energetic & Sensual Language, & Active Speech
148
9
Using the Variable Spellings
148
1
Speaking Aloud
149
1
Objections
149
1
The Same Word
150
1
Another Fight in Rome
Control and Release/Release and Control
151
1
Within a Single Character
151
1
Rosalind's fight with Duke Frederick
Between Characters
152
1
Orlando and Duck Frederick
The Large-Scale, Easily Noticeable Patterns
152
2
Shakespeare and the Earl of Southampton
When Variable Spellings Hardly Exist
154
2
Olivia at last being able to speak directly of her love
Le Beau hastily dispensing dangerous advice
Menenius trying not to antagonise the dangerous citizens
Protheus plotting desperate measures
The Quickly Released Moment Which can Easily Slip by
156
1
Duke Frederick begins to crack
Release & Excess, Withholding & Control
157
8
The `Long'-or `Short' Spelling Exercise
157
1
Exploring Moments of Release
158
2
lachimo would like to let loose but can't
Exploring Moments of Excess
160
1
Julia's self-created crisis
(The Special Problems of) Prose
161
2
Jaques helps out
Corin's `philosophy'
Touchstone's delight
Normal Spelling as a Longer from of the Word
163
1
Rosalind finally decides to act
Caution: The Ordinary Spelled Word
164
1
Three Peculiarities
164
1
Spellings as the Dance of Spoken Language
165
8
Build and Release
165
1
Touchstone's naughty hopes
Deftness in Language Dancing
165
2
Leontes' attempts to remain in control
Touchstone's `proposal'
The Physicality Involved in Releasing the Dance of the Language
167
1
Rosalind's delight
Summary
168
3
PART THREE
Introduction to Part Three
171
1
The Five Comparative Maps That are Always Available
171
1
Other Maps Also Available
171
1
Putting it Altogether
171
2
PUTTING IT ALTOGETHER
When the Sentences Markedly Differ: Viola
173
6
Comparing the Sentence Structures of the Two Texts
The Steps of the Journey: Henry the Sixth
179
11
The Second (Internal) Comparison
179
2
The Harmonic Line, the Plateau
181
9
The Smaller Details: Lady Macbeth
190
9
The Accidentals
190
9
Lady Macbeth welcomes Duncan
190
3
Lady Macbeth communes with spirits that tend on `mortal thoughts'
193
6
Which Texts?
199
23
The Two Sets of `First' Printings
199
1
Which Old Printing to Turn to
200
1
Selected Other Photographic Reproductions
201
1
Modern Texts Based on the First Printings
201
1
Modern Text Comparisons
202
2
APPENDICES, ETC
Appendix A: Shakespearean Rhythms and the Broken Heart-Beat
204
1
Appendix B: The Split-Verse Line, and the Problems Sometimes Created by the Modern Texts
205
3
Who's is the Short Line?
205
1
When Joining of the Split-Line Creates Irregular Lines
206
1
Short lines, Pauses, and Speaking all at Once
207
1
Appendix C: The Six Steps of Persuasion
208
3
The Theatrical Implications of the Six Steps
209
2
Appendix D: Viola's Ring Speech: A Detailed Analysis of the Speech from Twelfth Night, Act Two Scene 2
211
6
Appendix E: Folio Scripts©
217
5
Bibliography
222
2
Index of Plays, of Scenes, and of Characters
224