Canonising Shakespeare : stationers and the book trade 1640 1740 Machine generated contents note: 1. Introduction Emma Depledge and Peter Kirwan; Part I. Selling Shakespeare: 2. Shakespeare for sale 1640 1740 Emma Depledge; 3. Royalist Shakespeare: publishers politics and the appropriation of The Rape of Lucrece (1655) Adam G. Hooks; 4. Henry Herringman Richard Bentley and Shakespeares Fourth Folio (1685) Francis X. Connor; 5. Shakespeare without rules: the fifth Shakespeare folio and market demand in the early 1700s Lara Hansen and Eric Rasmussen; 6. The 1734 5 price wars Antony and Cleopatra and the theatrical imagination Anthony Brano. Part II. Consolidating the Shakespeare Canon: 7. Consolidating the Shakespeare canon 1640 1740 Peter Kirwan; 8. John Bensons 1640 poems and its literary precedents Faith Acker; 9. Cupids Cabinet Unlockt (1662) ostensibly by W. Shakespeare in fact partly by John Milton Lukas Erne; 10. Discovering Shakespeares personal style: editing and connoisseurship in the eighteenth century Edmund G. C. King; Part III. Editing Shakespeare: 11. Editing Shakespeare 1640 1740 Emma Depledge and Peter Kirwan; 12. Dramatic typography and the restoration quartos of Hamlet Claire M. L. Bourne; 13. The 1709 11 editions of Shakespeares poems Paul D. Cannan; 14. Alexander Pope interventionist editing and The Taming of the Shrew (1725) Jonathan H. Holmes; 15. Editorial annotations in Shakespeare editions after 1733 Adam Rounce; 16. Afterword Patrick Cheney Canonising Shakespeare offers the first comprehensive reassessment of Shakespeares afterlife as a print phenomenon demonstrating the crucial role that the book trade played in his rise to cultural pre eminence. The period 1640 1740 was the period inthe time in which Shakespeares canon was determined in which the poems resumed their place alongside the plays in print and in which artisans and named editors crafted a new contemporary Shakespeare for Restoration and eighteenth century consumers. A team of international contributors highlight the impact of individual booksellers printers publishers and editors on the Shakespearean text the books in which it was presented and the ways in which it was promoted. From radical adaptations of the Sonnets to new characters in plays and from elegant subscription volumes to cheap editions churned out by feuding publishers this period was marked by eclecticism contradiction and innovation as stationers looked to the past and the future to create a Shakespeare for their own times