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Shakspere 
 
 & 
 
 Typography 
 
 By 
 
 JVilliam Blades 
 
 NEW YORK : Edited & Reprinted 
 
 by The Winthrop Press for The 
 
 American Type Founders Company 
 
 MD CCC XC VII 
 

 ^INTRODUCTION 
 
 N the good old 
 days when 
 printing was 
 better recog- 
 nized as a mystery than 
 as an art, one could call 
 a printer ' a man of let- 
 ters ' without being guil- 
 ty of a pun. Books 
 were for the few then, 
 and the man who would 
 print them must be 
 somewhat of a scholar 
 himself. 
 
 128 
 
The INTRODUCTION 
 
 To-day, amid the 
 whirr of many presses, 
 and the hurrying to and 
 fro of the printing office, 
 the printer finds little or 
 no time for literary pur- 
 suits, despite the fact 
 that printing is, in very 
 truth, the handmaid of 
 literature. It is the 
 more admirable, there- 
 fore, when a successful 
 printer attains to a degree 
 of scholarship — particu- 
 larly scholarship in mat- 
 ters that enlighten and 
 dignify his own handi- 
 craft. 
 
 Such a printer was 
 William Blades. During 
 
The INTRODUCTION 
 
 fifty years of active bus- 
 iness life he contributed 
 to the history of printing, 
 a goodly number of 
 books and a mass of 
 miscellaneous articles. 
 Among these is the most 
 complete and author- 
 itative life of Caxton, 
 England's first printer, 
 representing an immense 
 amount of study and re- 
 search. 
 
 The book from which 
 the following pages are 
 reprinted is perhaps the 
 least familiar of Blades' 
 works, and it evidently 
 was written as a literary 
 recreation. The thought 
 
The INTRODUCTION 
 
 that reading it may afford 
 recreation to those busied 
 about the making of 
 books, and the com- 
 parative scarcity of the 
 only edition, are the ex- 
 cuses for reprinting the 
 more interesting portion. 
 The first chapter 
 (merely a resume of the 
 theories that have been 
 advanced by various pro- 
 fessions and callings to 
 claim Shakspere for their 
 own) has been omitted; 
 likewise the appendix, 
 which is a suggestion that 
 many of the obscurities 
 in the text of Shakspere 
 may be cleared up by a 
 
The INTRODUCTION 
 
 study of the typograph- 
 ical errors in the first 
 editions. With these ex- 
 ceptions, the work is 
 given here entire, and, 
 it is hoped, in such form 
 as accords with the spirit 
 of the author, whose 
 tastes were those of the 
 scholarly printer. 
 
 Editorial Dept. 
 
 The Winthrop Press, 
 
 32 Lafayette Place, N. Y* 
 
 November, l8Q7 
 
 "*SJP 
 
The PREFACE 
 
 rHE First Chapter of this Tractate is 
 designed to show, in a succinct maimer , 
 the numerous and contradictory theories con- 
 cerning Shakspere'' 's special knowledge, the 
 evidence for which has been created 'by 'se- 
 lecting ' certain words and phrases from the 
 mass of his writings. 
 
 The Second and Third Chapters, erected 
 on a similar basis of ' selection ' , are intend- 
 ed to prove that Shakspere had an intimate 
 and special knowledge of Typography. 
 
 Old Printers can still call to mind that 
 period of our history when a stalwart Press- 
 man, on his way to work, ran considerable 
 risk in the streets of London of being seized 
 by another kind of pressmen, viz. , the Press- 
 gang, and forced nolens volens into the service 
 of the King. Some readers {not Printers*) 
 may think that I have exercised over quota- 
 tions from Shakspere'' s works a similar com- 
 pulsion, by pressing into my service passages 
 whose bearing is by no means in a typo- 
 graphical direction. They may even go so 
 far as to strain somewhat the self-accusation 
 
The PREFACE 
 
 of Falstaff (Hairy IV, iv, 2), and bring 
 against me the charge that 
 
 I have misused the King s press most damnably 
 
 by printing such evidences. 
 
 I can only reply that if notwithstanding 
 a careful consideration of the proofs here laid 
 before him, the reader should consider my 
 case l not proven'', I must submit with all 
 humility to his penetration and judgment. 
 
 At the same time } since my proofs that 
 Shakspere was a Printer are at least quite as 
 conclusive as the evidence brought forward by 
 others to demonstrate that he was Doctor, 
 Lawyer, Soldier, Sailor, Catholic, Atheist, 
 Thief, I would claim as a right that my op- 
 ponent, having rejected my theory that he was 
 a Printer, should be consistent, and at once, 
 reject all theories which attribute to him 
 special knowledge, and repose upon the simple 
 belief that Shakspere, the Actor and Play- 
 wright, was a man of surpassing genius, of keen 
 observation, and never- failing memory. 
 
 W. B. 
 
I. SHAKSPERE IN THE 
 PRINTING OFFICE 
 
 IN November, 1589, the company acting 
 at the Blackfriars Theatre thought it 
 would be advantageous to their interests to 
 send in to the Privy Council a memorial, 
 certifying that they had never given cause of 
 displeasure by introducing upon the stage 
 ' matters of State or Religion ' . The actors 
 who signed this memorial styled themselves 
 'Her Majesty's Poor Players', and among 
 them appears the name of William Shaks- 
 pere. We here meet the Poet's name for 
 the first time after he had left his home at 
 Stratford-on-Avon, about four years pre- 
 viously. What his employment had been 
 in the intervening period is a question which 
 few of his biographers have cared to ask, 
 and which not one has answered. 
 
 It is usually supposed that immediately 
 upon his arrival in London he became in 
 some way associated with the Stage, — but 
 there is no evidence of this. On the con- 
 trary, we shall give reasons for believing 
 that coming to London poor, needy, and in 
 
 1 1 
 
SHAKSPERE AND TYPOGRAPHY 
 
 search of employment, he was immediately 
 taken into the service of Vautrollier the 
 Printer. 
 
 Thomas Vautrollier, entitled in his 
 patents ' typographus Londinensis, in claus- 
 tro vulgo Blackfriers commorans ', was a 
 Frenchman who came to England at the 
 commencement of Queen Elizabeth's reign. 
 He was admitted a brother of the Stationers' 
 Company in 1564, and commenced busi- 
 ness as Printer and Publisher in Blackfriars, 
 working in the same premises up to the 
 time of his death, which occurred in 1588. 
 His character as a scholar stands high, and 
 his workmanship is excellent. He had a 
 privilege, or monopoly, for the printing and 
 sale of certain books, as all the chief Print- 
 ers then had. Shortly before his death he 
 married his daughter to Richard Field, who 
 for this reason, and because he succeeded to 
 the premises and business of the widow, is 
 erroneously supposed by Ames to have 
 served his apprenticeship to Vautrollier. 
 But whv bring in the name of Richard 
 Field ? The replv is important. Field 
 was Shakspere's own townsman, and being 
 of about the same age and social rank, the 
 boys probably grew up together as playfel- 
 lows. Field's father, Henry Field, was a 
 
 1 2 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Tanner at Stratford-on-Avon, and Halliwell 
 says 'a friend of Shakspere's family'. 
 Early in 1578 young Field came up to Lon- 
 don, and at Michaelmas was apprenticed for 
 seven years to George Bishop, Printer and 
 Publisher. Being in the same trade as 
 Vautrollier, Field would naturally become 
 acquainted with him; and in 1588, a year 
 after he was out of his time, he married 
 Vautrollier' s daughter. Here, then, we 
 seem to have a missing link supplied in the 
 chain of Shakspere's history. In 1585 
 Shakspere came up to London in a ' needy ' 
 state. To whom would he be more likely 
 to apply than to his old playmate Richard 
 Field. Field, a young man nearly out of 
 his apprenticeship, on terms of intimacy 
 with Vautrollier, could do nothing better 
 than recommend him to the father of his 
 future wife. Once introduced we may be 
 sure that Shakspere, with his fund of wit 
 and good humour, would always be a wel- 
 come guest ; and that this friendly feeling 
 was maintained between him and the Vau- 
 trollier-Field families receives confirmation 
 from the fact that Richard Field, who suc- 
 ceeded to the shop and business soon after 
 the death of his father-in-law, actually put 
 to press the two first printed works of the 
 
 13 
 
SHAKSPERE AND TYPOGRAPHY 
 
 great Poet, the ' Venus and Adonis', 1593, 
 and the 'Lucrece', 1594. 
 
 Here then, in Vautrollier's employ, per- 
 haps as a Press-reader, perhaps as an 
 Assistant in the shop, perchance as both, we 
 imagine Shakspere to have spent about three 
 years upon his first arrival in the metropolis. 
 Placed thus in Blackfriars, close to the 
 Theatre, close to the Taverns, close to the 
 Inns of Court, and in what was then a 
 fashionable neighbourhood, Shakspere en- 
 joyed excellent opportunities of acquiring a 
 knowledge of men and manners. 
 
 Field did not succeed Vautrollier imme- 
 diately upon his death. His widow endea- 
 voured for some time to carry on the busi- 
 ness alone ; but for some unknown reason 
 the Stationers' Company withheld their 
 license ; and after a fruitless effort to obtain 
 it, she was succeeded by her son-in-law. 
 These business changes would probably be 
 the occasion of which Shakspere eagerly 
 availed himself to join the Players at the 
 neighbouring theatre. 
 
 The Sonnets, although not printed until 
 1609, are generally acknowledged to be 
 among Shakspere' s earliest efforts, and we 
 cannot help imagining that Sonnet XXIV 
 was written while in the employment of 
 
 H 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Vautrollier; or at any rate, while the shop, 
 hung round with prints, was fresh in the 
 Poet's memory. May be some of their 
 warmth was inspired by the charms of the 
 buxom widow herself who was apostro- 
 phised by the Poet when wishing her 
 To find where your true image pictured lies, 
 Which in my bosom's shop is hanging still, 
 That hath his ivindoivs glazed with thine eyes. 
 
 Sonnet xxiv. 
 
 At any rate, we have here in three lines as 
 many metaphors, and all derived from just 
 such employment as we suppose Shakspere 
 at that time to have been engaged in. 
 
 Then, again, to a Printer's widow, not 
 over young, what more telling than the fol- 
 lowing reference ? 
 
 Or what strong hand can hold Time's swift foot back ? 
 
 Or who his spoil of beauty can forbid ? 
 
 O, none, unless this miracle have might, 
 
 That in black ink my love may still shine bright. 
 
 Sonnet lxvi. 
 
 Note here, that the jet black ink which 
 everybody admires in old manuscripts was 
 much too thick for a running hand, and had 
 long been superseded by a writing fluid 
 which, in the 1 6th century, was far from 
 equalling the bright gloss of Printing Ink. 
 
 Before turning to the internal evidence 
 supplied by Shakspere' s writings in support 
 
 J5 
 
SHAKSPERE AND TYPOGRAPHY 
 
 of our theory, let us glance at the list of 
 works printed and published by Vautrollier, 
 and see if Shakspere reflected any trace of 
 their influence upon his mind. 
 
 From Herbert's 'Typographical Anti- 
 quities ' we find that in the * Shop ' would 
 be the two following works : 
 
 A brief Introduction to Mufic. Collected 
 by P. DeIamote y a Frenchman ; Licenfed. 
 
 London, 8vo., i 5 74. 
 
 Difcurfus Cantiones ; qua ab argumento 
 facr<£ vocantur, quinque et fex partivm. 
 Autoribus Thoma Tallijio et Guilielmo Bir- 
 do. Cum Privilegio. 
 
 London , oblong quarto, 1575. 
 
 Delamote's Introduction, as well as the 
 Sacred Songs by Tallis and Bird, were 
 Vautrollier' s copyright, and we have already 
 seen how intimate an acquaintance Shak- 
 spere had with music. Might not the above 
 works have been the mine from which he 
 obtained his knowledge ? 
 
 Of religious works, Vautrollier printed 
 and published several, all in accordance 
 with the principles of the great Reforma- 
 tion, and the writer who argued that from 
 his intimate knowledge of the tenets of 
 Calvin, Shakspere must have been himself a 
 Calvinist, would have found sufficient 
 
 16 
 
SHAKSPERE AND TYPOGRAPHY 
 
 explanation of his special knowledge in the 
 following books from Vautrollier's press : 
 
 The Neu Teflament, with diverfities of 
 Reading and profitable annotations. An 
 epiftle by J. Calvin, prefixed. 
 
 4 to., 1575: 
 
 Injlitvtio Chrifliance Religionis, Joanne 
 Caluino author'e. 
 
 8vo., London, 1576 : and 
 
 The Infiitution of Chrifiian Religion [not 
 in Herbert's Ames] written in Latine, by 
 Mr. John Calvine, and tranflated into Eng- 
 UJh by Thomas Norton. Imprinted at 
 London, by Thomas Vautrollier. 
 
 8vo., 1578. 
 
 This last contains an Epistle to the Reader 
 by John Calvin, as well as an address headed 
 Typographies Lectori. Of each of the above 
 works several editions were published. 
 
 In one of his pedantic speeches Holo- 
 fernes exclaims : 
 
 Venetia ! Venetia ! 
 
 Chi non te vede non ti pretia. 
 Old Mantuan ! Old Mantuan ! who understandeth 
 thee not, loveth thee not. 
 
 Love's Labour Lost, iv, 2. 
 
 Where did Shakspere learn his Italian, 
 which, although then a court language, he 
 
SHAKSPERE AND TYPOGRAPHY 
 
 quotes but rarely, and in an awkward man- 
 ner ? Surely at second-hand, and probably 
 quoting the phrases current at the period, or 
 still more probably from conning in his 
 spare moments : 
 
 An Italian Grammer, written in Latin by 
 M. Scipio Lentulo : and turned into Englijbe 
 by Henry Grantham. Typis Tho. Vautro- 
 lerij. London, i6mo., 1578. 
 
 This was put to press again in 1587. In 
 Vautrollier's * shop ' he would also have 
 often in his hands : 
 
 Campo di Fior ; or elfe the Flourie field 
 of four e Languages, for the furtherance of 
 the learners of the Latine, French, Englijh, 
 but chiefly of the Italian tongue. Imprinted 
 at London, by Thos. Vautrollier, dwelling in 
 the Black Friers by Ludgate. 
 
 i6mo., 1583. 
 Here, again, we have a very extensive 
 Italian vocabulary upon all common subjects 
 quite sufficient for an occasional quotation ; 
 as to the plots taken from Italian sources, 
 such as ' Romeo and Juliet', it seems to be 
 now generally admitted that Shakspere in 
 every instance followed the English transla- 
 tions. 
 
 But Shakspere knew also a little French, 
 and uses a few colloquial sentences here and 
 
SHAKSPERE AND TYPOGRAPHY 
 
 there. In one play indeed, Henry V, in. 4, 
 there is a short scene between the Princess 
 and her attendant, in alternate French and 
 English, which reads almost like a page of a 
 Vocabulary. Shakspere's knowledge of 
 Latin was apparently about the same in ex- 
 tent ; and for the uses to which he has ap- 
 plied both tongues, the Flourie Field of 
 Four Languages, already quoted as the 
 source of his Italian, would be quite suffi- 
 cient. If not, he had the opportunity of 
 consulting under his master's roof 
 
 A Treatife on French Verbs. 
 
 8vo., 1580. 
 
 A moft eajte, perfecl, and abfolute way to 
 learne the Frenche tongue. 
 
 8vo., 1 581 ; and 
 
 Phrafes Lingua Latin ce. 8vo., 1579 ; 
 the last compiled from the writings of that 
 great Printer, Aldus Manutius. 
 
 Some of Shakspere's biographers have 
 maintained that he must have been acquainted 
 with Plutarch and other classical writers, 
 because he quotes from their works. Dr. 
 Farmer in his masterly essay on the learn- 
 ing of Shakspere, has shown that the Poet 
 took all his quotations, even to the blunders, 
 from the edition of Plutarch, in English, 
 printed and published by Vautrollier, a year 
 
 19 
 
SHAKSPERE AND TYPOGRAPHY 
 
 or two before we suppose that Shakspere 
 entered into his service : 
 
 Plutarch's Lives, from the French of 
 Amyott, by Sir Tho. North. Licenfed. 
 
 Folio, 1579. 
 
 Moreover, Vautrollier, who was a good 
 scholar, appears to have had a great liking 
 for Ovid. He printed Ovid'' s Metamor- 
 phoses, Ovid's Epistles, and Ovid's Art of 
 Love. Now it is a notable fact that al- 
 though Shakspere, unlike contemporary 
 writers who abound in classical allusions, 
 scarcely ever mentions a Latin poet, and 
 still more seldom a Greek poet, yet he 
 quotes Ovid several times : 
 
 As Ovid, be an outcast quite abjured. 
 
 Taming of the Shreiv, i, I. 
 
 Tit. Lucius, what book is that she tosseth so ? 
 Luc. Grandsire, 'tis Ovid's Metamorphoses. 
 
 Titus, iv, 1. 
 
 I am here with thee and thy goats as the most 
 capricious poet, honest Ovid was among the Goths. 
 
 As You Like It, iii, 3. 
 
 Ovidius Naso was the man. 
 
 Love'' s Labour Lost, iv, 2. 
 
 Of Cicero's Oration Vautrollier issued 
 several editions, and had the privilege ' ad 
 imprimendum solum ' granted him ; and to 
 
 20 
 
SHAKSPERE AND TYPOGRAPHY 
 
 this work also, on at least two occasions, 
 
 Shakspere refers : 
 
 Hath read to thee 
 Sweet poetry and Tully's Orator. 
 
 Titus, iv, i. 
 
 Sweet TuUy. 
 
 2 Henry VI, iv, I. 
 
 The fact to be noted with reference to 
 these classical quotations is this : Shakspere 
 quotes those Latin authors, and those only, 
 of which Vautrollier had a ' license ' ; and 
 makes no reference to other and popular 
 writers, such as Virgil, Pliny, Aurelius, and 
 Terence, editions of whose works Vautrol- 
 lier was not allowed to issue, but all of 
 which, and especially the last, were great 
 favorites in the sixteenth century, as is shown 
 by the numerous editions which issued from 
 the presses of Vautrollier' s fellow-craftsmen. 
 
 Among other publications of Vautrollier 
 was an English translation of Ludovico 
 GuicciardinV s Description of the Low 
 Countries, originally printed in 1567. In 
 this work is one of the earliest accounts of 
 the invention of printing at Haarlem, which 
 is thus described in the Batavia of Adrianus 
 Junius, 1575. 'This person [Coster] dur- 
 ing his afternoon walk, in the vicinity of 
 Haarlem, amused himself with cutting 
 
 21 
 
SHAKSPERE AND TYPOGRAPHY 
 
 letters out of the bark of the beech tree, 
 and with these, the characters being inverted 
 as in seals, he printed small sentences.' 
 The idea is cleverly adapted by Orlando : 
 
 these trees shall be my books 
 And in their barks my thoughts I '11 character. 
 As Tou Like It } iii, 2. 
 
 Lastly, it would be an interesting task to 
 compare the Mad Folk of Shakspere, most 
 of whom have the melancholy fit, with 
 
 A Treatife of Melancholie : containing the 
 Caufes thereof and Reafons of the Strange 
 Effecls it worketh in our Minds and Bodies. 
 
 London, 8vo., I 586. 
 This was printed by Vautrollier, and prob- 
 ably read carefully for press by the youth- 
 ful Poet. 
 
 The disinclination of Shakspere to see his 
 plays in print has often been noticed by his 
 biographers, and is generally accounted for 
 by the theory that reading the plays in print 
 would diminish the desire to hear them at 
 the theatre. This is a very unsatisfactory 
 reason, and not so plausible as the supposi- 
 tion that, sickened with reading other 
 people's proofs for a livelihood, he shrunk 
 from the same task on his own behalf. His 
 contemporaries do not appear to have shared 
 in the same typographical aversion. The 
 
 22 
 
SHAKSPERE AND TYPOGRAPHY 
 
 plays of Ben Jonson and Beaumont and 
 Fletcher were all printed in the life-time of 
 their authors. Francis Quarles had the 
 satisfaction and pride of seeing all his works 
 in printed form, and showed his appreciation 
 and knowledge of Typography by the fol- 
 lowing quaint lines, which we quote from 
 the first edition, literatim : 
 
 On a Printing-houfe. 
 
 THE world *s a Printing-houfe : our words, our 
 thoughts. 
 Our deeds, are Characters of sev'rall (izes : 
 Each Soule is a Compof'ter 5 of whofe faults 
 The Levits are Correctors : Heav'n revifes j 
 Death is the common Prefs ; fr° whence, being driven, 
 W are gathered Sheet by Sheet } & bound for Heaven. 
 From Divine Fancies 1 632, lib. iv, p. 1 64. 
 
 23 
 
II. THE TECHNICALITIES 
 OF PRINTING, AS USED 
 BY SHAKSPERE 
 
 NATURE endows no man with knowl- 
 edge, and although a quick apprehen- 
 sion may go far toward making the true 
 lover of Nature a Botanist, Zoologist, or 
 Entomologist, and although the society of 
 'Men of Law', of Doctors, or of Musi- 
 cians may, with the help of a good memory, 
 store a man's mind with professional phrase- 
 ology, yet the opportunity of learning must 
 be there ; and no argument can be required 
 to prove that, however highly endowed 
 with genius or imagination, no one could 
 evolve from his internal consciousness the 
 terms, the customs, or the working imple- 
 ments of a trade with which he was unac- 
 quainted. If, then, we find Shakspere's 
 mind familiar with the technicalities of such 
 an art as Printing — an art which, in his day, 
 had no such connecting links with the com- 
 mon needs and daily pleasures of the people, 
 as now — if we find him using its terms and 
 referring frequently to its customs, our 
 claims to call him a Printer stand upon a 
 
 25 
 
SHAKSPERE AND TYPOGRAPHY 
 
 firmer base than those of the Lawyer, the 
 Doctor, the Soldier, or the Divine ; and we 
 have strong grounds for asking the reader's 
 thoughtful attention to some quotations and 
 arguments, which, if not conclusive that 
 Shakspere was a Printer, afford indubitable 
 evidence of his having become at some 
 period of his career practically acquainted 
 with the details of a Printing Office. We 
 propose, then, to carefully examine the 
 works of the Poet for any internal evidence 
 of Typographical knowledge which they 
 may afford. 
 
 But here, at the outset, we are met by 
 obvious difficulties. Would Shakspere, or 
 any poet have made use of trade terms and 
 technical words, or have referred to cus- 
 toms peculiar to and known by only a very 
 small class of the community in plays ad- 
 dressed to the general public ? They might 
 have been familiar enough to the mind of 
 the writer, but would certainly have sounded 
 very strange in the ears of the public. 
 Shakspere was too artistic and too wise to 
 have committed so glaring a blunder. His 
 technical terms are used unintentionally, 
 and with the most charming unconsciousness. 
 Therefore, when we meet with a word or 
 phrase in common use by Printers, it is so 
 
 26 
 
SHAKSPERE AND TYPOGRAPHY 
 
 amalgamated with the context, that although 
 some other form of expression would have 
 been chosen had not Shakspere been a 
 Printer, yet the general reader or hearer is 
 not struck by any incongruity of language. 
 What simile could be more natural for a 
 Printer-poet to use or more appropriate for 
 the public to hear than this : 
 
 Your mother was most true to wedlock, prince ; 
 
 For she did print your royal father off, 
 
 Conceiving you. 
 
 Winter"" s Ta/e, v, I. 
 
 Here, surely, the Printer's daily experience 
 of the exact agreement between the face of 
 the type and the impression it yields must 
 have suggested the image. 
 
 Printers in Shakspere' s time often had 
 patents granted them by which the monopoly 
 of certain works was secured ; and unscru- 
 pulous printers frequently braved all the 
 pains and penalties to which they were liable 
 by pirating such editions. It is this care- 
 lessness of consequences which is glanced at 
 by Mistress Ford when debating with 
 Mistress Page concerning the insult put 
 upon them by the heavy old Knight, Sir 
 John Falstaff: 
 
 He cares not what he puts into the Press when he 
 
 would put us two. 
 
 Merry Wi-ves, ii, I. 
 
 27 
 
SHAKSPERE AND TYPOGRAPHY 
 
 What printer is there who has put to 
 press a second edition of a book working 
 page for page in a smaller type and shorter 
 measure but will recognise the Typographer's 
 reminiscences in the following description of 
 Leontes' babe by Paulina : 
 
 Behold, my Lords, 
 Although the print be little, the whole matter 
 And copy of the father 
 The very mould and. frame of hand, nail, finger. 
 
 Winter's Tale, ii, 3. 
 
 Is it conceivable that a sentence of four 
 lines containing five distinct typographical 
 words, three of which are especially tech- 
 nical, could have proceeded from the brain 
 of one not intimately acquainted with Ty- 
 pography. Again, would Costard have so 
 gratuitously used a typographical idea, had 
 not the Poet's mind been teeming with 
 them r 
 
 I will do it, sir, in print. 
 
 Lo-ve' s Labour Lost, iii, 1. 
 
 The deep indentation made on the re- 
 ceiving paper when the strong arm of a 
 lusty pressman had pulled the bar with too 
 great vigour is glanced at here : 
 
 Think when we talk of horses that you see them 
 Printing their proud hoofs i' the receiving earth. 
 
 Henry V, Chorus. 
 
 28 
 
SHAKSPERE AND TYPOGRAPHY 
 
 The frequency with which the words 
 print or imprint are used is very noticeable: 
 
 The story that is printed in her blood. 
 
 Much Ado about Nothing, iv, I. 
 
 I love a ballad in print. 
 
 Winter' s Tale, iv, 4. 
 
 She did print your royal father off conceiving you. 
 
 Winter's Tale, v, I. 
 
 You are but as a. form in wax, by him imprinted. 
 
 Midsummer-Night' s Dream, i, I. 
 
 His heart . . . with vour print impressed. 
 
 Love's Labour Lost, ii, 1. 
 
 I will do it, sir, in print. 
 
 Love's Labour Lost, iii, 1. 
 
 This weak impress of love. 
 
 Tivo Gentlemen of Verona, iii, 2. 
 
 To print thy sorrows plain. 
 
 Titus Andronicus, iv, I. 
 
 Sink thy knee i' the earth ; 
 Of thy deep duty, more impression show 
 
 Coriolanus, v, 3. 
 
 Some more time 
 Must wear the print of his remembrance out. 
 
 Cymbe/ine, ii, 3. 
 
 The impressure. 
 
 Twelfth Night, ii, 5. 
 
 He will print them, out of doubt. 
 
 Merry Wives of Windsor, ii, 1. 
 
 We quarrel in print, by the book. 
 
 As You Like It, v, 4. 
 
 29 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Let it stamp wrinkles in her brow. 
 
 Lear, i, 4. 
 His sword death's stamp. 
 
 Coriolanus, ii, 2. 
 
 Hear how deftly Title-pages are treated : 
 
 Sim. Knights, 
 To say you 're welcome were superfluous. 
 To place upon the 'volume of your deeds, 
 As in a title-page, your worth of arms, 
 Were more than you expect, or more than 's fit. 
 
 Pericles, ii, 3. 
 
 Hear, too, Northumberland, who thus 
 addresses the bearer of fearful news : 
 
 This man's brow, like to a title-leaf, 
 Foretells the nature of a tragic 'volume. 
 
 2 Henry IV, \, 1. 
 
 Evidently Shakspere had a good idea of 
 what a Title-page should contain. 
 
 From Title to Preface is but a turn of 
 the leaf, and its introductory character is 
 thus noticed: 
 
 Is but a Preface of her worthy praise, 
 The chief perfections of that lovely dame. 
 
 I Henry VI, v, 5. 
 
 We must not forget a well-known passage 
 about the introduction of Printing to Eng- 
 land, which has caused much discussion. It 
 is where Jack Cade accuses Lord Saye : 
 
 Thou hast most traitorously corrupted the youth of 
 the realm in erecting a grammar-school : and whereas, 
 before, our forefathers had no other books but the 
 
 30 
 
SHAKSPERE AND TYPOGRAPHY 
 
 score and the tally, thou hast caused printing to be 
 used 5 and, contrary to the king, his crown, and 
 dignity, thou hast built a paper mill. 
 
 2 Henry VI t iv, 7. 
 
 The early-invented fable of Faustus, and 
 the assistance given him by the Devil in the 
 multiplication of the first printed bibles (cer- 
 tainly a most short-sighted step on the part 
 of his Satanic Majesty) had got fixed in the 
 minds of the populace, and created among 
 the ignorant a prejudice against the Printing- 
 press, and it was to this feeling Jack Cade 
 appealed. All our Chroniclers place the 
 erection of a Printing-press in England some 
 years too early, but no one except Shakspere 
 has put the date so far back as 1450, the 
 date of Jack Cade's insurrection : it is simply 
 a blunder ; but it was the Printing-press and 
 its introduction to this country that was in 
 the Author's brain, and the exact date of 
 that event was unknown, being probably as 
 difficult to arrive at then as it is now.* 
 
 * The exact date ivas probably as difficult to arrive 
 at then as now. The arrival of William Caxton in 
 England may, with a certainty of being near the truth, 
 be placed in 1475-6, the date 1474 given by most 
 writers being a misconception of the language used by 
 Caxton in the Preface to the Chess-book. The Art 
 on its first introduction was looked upon suspiciously by 
 
 31 
 
SHAKSPERE AND TYPOGRAPHY 
 
 We have already noticed in how simple a 
 manner originated that grand discovery 
 which, instead of one perishable manuscript, 
 produced numberless printed books, and 
 thus enabled mankind to perpetuate for ever 
 the knowledge they had gained. The real 
 superiority of the Press over the pen was 
 the easy multiplication of copies, and this 
 was the idea in the Poet's brain when he 
 wrote : 
 
 She carved thee for her seal and meant thereby 
 Thou shouldst print more nor let that copy die. 
 
 Sonnet xi. 
 
 the people, few of whom could read, its chief patrons 
 being a few of the more educated among the nobles and 
 the rich burghers of London. Another mistake is to 
 suppose that Caxton printed in Westminster Abbey. 
 His printing-office was a tenement to the south-east of 
 the Abbey Church; its sign was the ' Red-pale', and 
 Caxton rented it of the Abbot. There is evidence to 
 show that Caxton and the Abbot were on distant 
 terms of amity — none to show that the Ecclesiastic 
 encouraged or patronised the Printer, notwithstanding 
 Dean Stanley's assertions in a sermon lately preached 
 by him in Westminster Abbey. The only occasion 
 upon which Caxton mentions the Abbot is to this 
 effect — that the Abbot, not being able himself to read 
 a passage in old MS., sent it to Caxton, with a request 
 that he would translate it. (See The Life and Ty- 
 pography of William Caxton, by William Blades. 2 
 vols., 4to. London, 1861-63.) 
 
 32 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Type-founding has in these days arrived 
 at such perfection, that most of the blemishes 
 and faults common in Shakspere's time are 
 now unknown. Under the old system of 
 hand moulds a type founder was sure when 
 commencing work to cast a certain number 
 of imperfect letters, because until the 
 mould by use got warmed, the liquid metal 
 solidified too soon, and the body or shank of 
 the type was shrunk, and became no inap- 
 propriate emblem of an old man's limbs 
 whose hose would be 
 
 A world too wide for his shrunk shank. 
 
 As Ton Like It, ii, 7. 
 
 The names of the various sizes of type 
 in the sixteenth century were few compared 
 with our modern list ; Canon, Great Primer, 
 Pica, Long Primer, and Brevier almost com- 
 plete the catalogue ; and however familiar 
 Shakspere may have been with their names, 
 it is difficult to imagine any scene in which 
 these technical names could be introduced 
 with propriety. Yet, of one, Nonpareil, a 
 new small type first introduced from Holland 
 about 1650, and which for its beauty and 
 excellence was much admired, Shakspere 
 seems to have conceived a most favorable 
 idea. Prospero, praising his daughter, calls 
 her 'a Nonpareil' ( Tempest, Act iii, Sc. 2) ; 
 
 33 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Olivia is the ' Nonpareil of beauty ' 
 ( Twelfth Night, Act i, Scene 5); and Post- 
 humus speaks of Imogen as the ' Nonpareil 
 of her time' (Cymbeline, Act ii, Scene 5). 
 The exactitude and precision of every- 
 thing connected with the arrangement of 
 printing from types is curiously hinted at by 
 Touchstone, when describing the precise- 
 ness of the Courtiers' quarrels : 
 
 We quarrel in print by the book. 
 
 As You Like It, v, 4- 
 
 that is, no step was taken except according 
 to acknowledged rules. 
 
 It often happens when a book comes to 
 its last sheet that the text runs short, and 
 two or three blank or vacant pages remain 
 at the end. In the middle of one of these 
 it is usual to place the typographer's imprint. 
 What compositor is there who has rejoiced 
 in such fat pages * but will not at once rec- 
 ognise the following allusion : 
 
 The •vacant leaves thy mind's imprint will bear, 
 And of this book this learning mayst thou taste. 
 
 Sonnet lxxvii. 
 
 * Fat Pages. l Fat ' as a conventional word is 
 not confined to Printers. ' A yiz* living ' is a phrase 
 not unknown among churchmen, and is used in the 
 same sense by the compositor, who charges the master- 
 printer for the fat pages, in which no work appears, 
 at the same rate as if they were full. 
 
 34 
 
SHAKSPERE AND TYPOGRAPHY 
 
 People with a grievance write now-a-days 
 to the Newspapers, in hope of redress. In 
 Shakspere's time the only method to make 
 wrongs public and to show up abuses was 
 by the Broadside, in prose or rhyme, pass- 
 ing from hand to hand. Many of these 
 have survived to the present day, and are 
 treasured up as curious relics of a by-gone 
 age. They were frequently libellous and 
 grievously personal, and hence the point of 
 Pistol's remark : 
 
 Fear we broadsides ? 
 
 2 Henry IV, ii, 4. 
 
 We must not think here that the naval 
 ' broadside ' — a volley of guns from the 
 broadside of a ship — is meant. Shakspere 
 does not use the word once in that sense, 
 nor was it a conversational word in his 
 time. That Pistol was indeed thinking of a 
 printed broad sheet is evident from the 
 whole sentence, which, although composed 
 of disjointed exclamations continues with the 
 following expressions, both strongly sug- 
 gestive of the Composing room or Reader's 
 closet : 
 
 Come we to full points here ? and are etceteras 
 nothing ? 
 
 2 Henry IV, ii, 4. 
 
 35 
 
SHAKSPERE AND TYPOGRAPHY 
 
 ' Come we to full points here ? ' This 
 question is often a puzzler for both Com- 
 positor and Reader. Indeed, few things 
 cause more disagreements between Author 
 and Printer than the very loose ideas held 
 by the former concerning punctuation. 
 Some writers, like Dickens in his early days, 
 insist upon ornamenting their sentences with 
 little dashes and big dashes, with colons 
 where commas should be, and with 
 
 Points that seem impossible. 
 
 Pericles, v, I . 
 
 In vain does the Printer declare that in al- 
 tering the Author's unregulated punctuation, 
 
 No levelled malice infests one comma, 
 
 Timon, \, i, 
 
 the irate Author exclaims, that he 
 
 Puts the period often from his place, 
 
 Lucrece, 1 565, 
 
 and adds, 'Follow 
 
 My point and period ... ill or well. 
 
 Lear, iv, 7. 
 
 You find not the apostrophes, and so miss the accent. 
 Love's Labour Lost, iv. 2. 
 
 Wherefore stand you on nice points ? 
 
 3 Henry VI, iv, 7. 
 
 36 
 
SHAKSPERE AND TYPOGRAPHY 
 
 The Printer has no resource but compliance, 
 which, however, unless the affront be very 
 severe, will soon 
 
 Stand a comma 'tween their amities, 
 
 Hamlet, v, 2, 
 
 and thus heal the breach, and end all hap- 
 pily with mutual 
 
 Notes of Admiration. 
 
 Winter 1 's Tale, v, 2. 
 
 ' And are etceteras nothing ? ' What a 
 typographical question ! and probably the 
 only occasion on which so unpoetical a 
 figure has done duty in any drama. The 
 &c. makes an insignificant appearance in 
 either MS. or type, and yet how often it 
 stands for whole pages of matter. Hence 
 the point of the question. 
 
 If a book is folio, and two pages of type 
 have been composed, they are placed in 
 proper position upon the imposing stone, and 
 enclosed within an iron or steel frame called 
 a 'chase', small wedges of hard wood 
 termed ' coigns ' or ' quoins ' being driven 
 in at opposite sides to make all tight. 
 
 By the four opposing coigns, 
 Which the world together joins. 
 
 Pericles, iii, I. 
 
 This is just the description of a forme in 
 folio where two quoins on one side are 
 
 37 
 
SHAKSPERE AND TYPOGRAPHY 
 
 always opposite to two quoins on the other, 
 
 thus together joining and tightening all the 
 
 separate stamps. In a quaint allegorical 
 
 poem, published anonymously about the 
 
 year 1700, in which the mystery of man's 
 
 redemption is symbolised by the mystery of 
 
 Printing, the author commences thus : 
 
 Great blest Master Printer, come 
 Into thy Composing-room ; 
 
 and after * spiritualising ' the successive 
 
 operations of the workman thus touches 
 
 upon the quoins : 
 
 Let the Quoins be thy sure Election, 
 Which admits of no Rejection ; 
 With which our Souls being joined about, 
 Not the least Grace can then fall out. 
 
 Here, the idea of joining togteher by quoins 
 
 so that nothing shall fall out, is just the 
 
 same as in the couplet quoted from Shak- 
 
 spere. 
 
 The tightening of these quoins by means 
 
 of a wooden-headed mallet, 
 
 (There -is no more conceit in him than is in a mallet, 
 
 2 Henry IV, ii, 4), 
 
 is called 'locking up', an exclusively tech- 
 nical term. The expression, however, oc- 
 curs in 'Measure for Measure', IV, 2, 
 
 Fast locked up in sleep, 
 where the idea conveyed is the same. 
 
 38 
 
SHAKSPERE AND TYPOGRAPHY 
 
 The * Forme ' worked off and the metal 
 chase removed, leaving the pages 'naked', 
 affords the Poet the following simile, which , 
 although not carrying to the popular ear any 
 typographical meaning, was doubtless sug- 
 gested by Shakspere's former experience of 
 the workshop : 
 
 And he but naked though locked up in steel. 
 
 2 Henry VI, iii, 2. 
 
 The primary idea of ' locking up ' had, 
 doubtless, reference to ' armour ' ; the 
 secondary to printing, as shown by the use 
 of the word * naked \ 
 
 The forme then went to the Press-room, 
 where considerable ingenuity was required 
 to make * register'; that is, to print one 
 side so exactly upon the other, that when 
 the sheet was held up to the light the lines 
 on each side would exactly back one another. 
 The accuracy of judgment required for this 
 is thus glanced at : 
 
 Eno. But let the world rank me in register 
 A master-leaver and a fugitive. 
 
 Antony and Cleopatra, iv, 9. 
 
 When the green-eyed Othello takes his 
 
 wife's hand and exclaims : 
 
 Here 's a young and sweating devil, 
 
 Othello, iii, 4, 
 
 we fail at first to catch the idea of the Poet 
 
 39 
 
SHAKSPERE AND TYPOGRAPHY 
 
 in calling a hand a * devil ' ; but take the 
 word as synonymous with ' messenger', and 
 .we see at once how the moist plump palm 
 of Desdemona suggested to the intensely 
 jealous husband the idea of its having been 
 the lascivious messenger of her impure de- 
 sires. In this sense of 'messenger', the 
 word c devil ' has a special fitness ; for it is, 
 and always has been among Printers, and 
 Printers only, another word for c errand- 
 boy'. In olden times, when speed was re- 
 quired, a boy stood at the off-side of the 
 press, and as soon as the frisket was raised, 
 whipped the printed sheet off the tympan. 
 When not at work, he ran on messages be- 
 tween printer and author, who, on account 
 of his inky defilement, dubbed him 'devil'. 
 All Printers' boys go now by the same 
 name : 
 
 Old Lucifer, both kind and civil, 
 To ev'rv Printer lends a Devil ; 
 But balancing accounts each winter, 
 For ev'ry Devil takes a Printer. 
 
 Moxon, in 1683, quotes it as an old trade 
 word, and it was doubtless the same in 
 Shakspere's time, a centurv earlier, as it is 
 now two centuries later. But where could 
 Shakspere have picked up the word if not in 
 the Printing-office ? 
 
 40 
 
SHAKSPERE AND TYPOGRAPHY 
 
 Any one accustomed to collate old MSS. 
 must have noticed how very seldom the 
 copyist would, in transcribing, add nothing 
 and omit nothing. If what the scribe con- 
 sidered a good idea entered his mind while 
 his pen was travelling over the page, he was 
 a very modest penman indeed, if he did not 
 incorporate it in the text. From this cause, 
 and from genuine unintentional blunders, 
 the texts of all the old authors had become 
 gradually very corrupt — a source of great 
 trouble to the early Printers. With this in 
 his mind Shakspere defines it as one of the 
 qualities of Time 
 
 To blot old books and alter their contents. 
 
 Lucrece. 1 948. 
 
 Many of Vautrollier's publications must 
 have been printed from discolored old manu- 
 scripts ; and these papers Shakspere, if he 
 read ' proof for his employer, would have 
 to study carefully. Does he call this to 
 mind in Sonnet XVII ? 
 
 My papers yellowed with their age. 
 
 Was it, after admiring some beautifully il- 
 luminated Horae, that he wrote : 
 
 4* 
 
SHAKSPERE AND TYPOGRAPHY 
 
 O that record could with a backward look, 
 E'en of five hundred courses of the sun j 
 
 Show me your image in some antique book, 
 Since mind at first in character was done. 
 
 Sonnet lix. 
 
 Does the Poet refer to its wonderfully bur- 
 nished gold initials, and the red dominical 
 letters which he must often have seen in the 
 printed calendars, when he exclaims in tones 
 of admiration : 
 
 My red dominical — my golden letter ! 
 
 Love's Labour Lost, v, 2. 
 
 The old calendar had a golden number and 
 a dominical letter, but not a golden letter, 
 which last must refer specifically to the 
 practice of gilding important initials. ' Gold- 
 en Letters' are mentioned in 'King John', 
 III, i, and in * Pericles', IV, 4, while the 
 red initials, which were common to both 
 manuscripts and printed books of the 
 fifteenth century, are made by Shakspere the 
 death warrant of the unfortunate Clerk of 
 Chatham, against whom is brought the fatal 
 accusation that he 
 
 Has a book in his pocket with red letters in 't. 
 
 2 Henry VI, iv, 2. 
 
 In Shakspere' s time, as we have already 
 noticed (p. 41, ante), the press laboured 
 under great restrictions. All books with a 
 
 42 
 
SHAKSPERE AND TYPOGRAPHY 
 
 profitable circulation were monopolised by- 
 favored stationers or printers who held 
 special patents or licenses from the Crown. 
 Thus Reynold Wolfe, in 1543, held a mo- 
 nopoly of all books printed in Hebrew, 
 Greek, or Latin. Seres was privileged to 
 print all psalters, primers, and prayer books ; 
 Denham might print the New Testament in 
 Welch ; others held grants for scholastic or 
 legal books, for almanacs, and even for 
 broadsides, or as the grant says ' for any 
 piece of paper printed on one side of the 
 sheet only '. In these favored books it was 
 customary to place the patent granting the 
 monopoly at the end, as a * caveat ' for 
 other printers, and occasionally the phrase 
 * Cum privilegio ad imprimendum solum ' 
 would appear in a conspicuous part of the 
 title. Among the printers in London, who 
 secured such special privileges, was Vau- 
 trollier, Shakspere's presumed employer. 
 'In the sixteenth year of Elizabeth, 19th 
 June, 1574', says Ames, 'a patent or li- 
 cense was granted him which he often 
 printed at the end of the New Testament ' ; 
 this was a monopoly of Beza's New Testa- 
 ment which Vautrollier had the privilege 
 'ad imprimendum solum', for the term of 
 ten years. We have already seen the 
 
 43 
 
SHAKSPERE AND TYPOGRAPHY 
 
 curious connection between the products of 
 Vautrollier's press and the writings of Shak- 
 spere, and we now plainly perceive what 
 was floating in the Poet's brain when he 
 placed the following speech in Biondello's 
 mouth, who urges Lucentio to marry Bianca, 
 while her father and the pedant are discuss- 
 ing the marriage treaty : 
 
 Luc. And what of all this ? 
 
 Bion. I cannot tell; expect they are busied 
 about a counterfeit* assurance: Take your assurance of 
 her cum pri-vilegio ad imprimendum solum : to the 
 church ; — take the priest, clerk, and some sufficient 
 honest witnesses. 
 
 Taming of the Shreiv, iv, 4. 
 
 These protective privileges, * ad imprimen- 
 dum solum', instead of a benefit were a 
 great hindrance to the growth of Printing. 
 Many master-printers even then felt them 
 to be so, and by all legal and sometimes il- 
 legal means, tried to procure the abolition of 
 laws which were oppressive and restrictive. 
 They saw works 'of merit die out of memory 
 
 * This word ' counterfeit ' in the sense of ' reprint ' 
 or 'duplicate', is certainly not used now-a-days by 
 English printers; yet I find this in Marahren's Parallel 
 List of technical Typographical terms : — ' Counterfeit, 
 to, or to Reprint, v., Nachdrucken. — Re-imprimer.' 
 With Bibliographers the word is still retained ; e.g. 
 ' Lyons counterfeits of the Aldine editions.' 
 
 44 
 
SHAKSPERE AND TYPOGRAPHY 
 
 for want of enterprise in the patentee — 
 they saw folly, in the shape of a Star-cham- 
 ber, controlling skill; or as Shakspere him- 
 self expresses it, 
 
 Art made tongue-tied by authority, 
 
 And Folly (doctor-like),* controlling skill. 
 
 Sonnet lxvi. 
 
 Shakspere abounds in kisses of every hue, 
 from shadowy, frozen, and Judas kisses, to 
 holy, true, gentle, tender, warm, sweet, 
 loving, dainty, kind, soft, long, hard, zealous, 
 burning, and even the unrequited kiss : 
 
 But my kisses bring again 
 Seals of love, but seal'd in vain. 
 
 Measure for Measure, iii, I. 
 
 The ' burning ' kiss might be thought pas- 
 sionate and even durable enough for any 
 extremity — yet Shakspere prefers, perhaps 
 from an unconscious association of ideas, 
 the durability of which Printing is the em- 
 blem when he makes the Goddess of Love 
 exclaim : 
 
 Pure lips, sweet seals on my soft lips imprinted. 
 
 Venus and Adonis, 1. 511. 
 
 * And Folly [doctor-like) controlling skill. It is 
 worth noting, that in none of the various volumes 
 written to show Shakspere' s knowledge of medicine 
 and medical men, has the truth of this passage been 
 brought forward in evidence. 
 
 45 
 
SHAKSPERE AND TYPOGRAPHY 
 
 The same idea of durability is expressed in 
 the cry of Henry's guilty Queen, when 
 parting with Suffolk : 
 
 Oh, could this kiss be printed on thy hand ! 
 
 2 Henry VI y iil, 2. 
 
 The idea has been still further developed in 
 the following anonymous quatrain : 
 
 a printer's kisses. 
 
 Print on my lips another kiss, 
 
 The picture of my glowing passion 
 
 Nay, this wont do — nor this } nor this 5 
 But now — Ay, that *S a proof impression. 
 
 Many of Vautrollier's publications went 
 through several editions. In the ' Merry 
 Wives', II, 1, Mistress Page says : 
 
 These are of the second edition, 
 
 and well can we imagine Shakspere handing 
 
 '"■ volumes to a buyer with the same remark, 
 
 or asking some patron with whom he was a 
 
 favourite : 
 
 Com' st thou with deep premeditated lines, 
 With written pamphlet studiously devised ? 
 
 I Henry VI, iii, 1, 
 
 as the author entered with a roll of ' copy ' 
 in his hand. 
 
 In the deep mine from which the fore- 
 going quotations have been dug, many oth- 
 ers would doubtless reward a more careful 
 
 46 
 
SHAKSPERE AND TYPOGRAPHY 
 
 search. As it is, numerous allusions, 
 which, though plain to a printer, would 
 seem too forced to the general public, have 
 been passed over. Enough, however, has 
 probably been brought forward to justify 
 the belief pourtrayed in the title-page, viz.:* 
 That Sbakspere must have passed some of 
 his early years in a Printing-office. 
 
 M 
 
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