Gifford's greatest changes are in the stage
directions
and
side notes of the 1631 edition.
side notes of the 1631 edition.
Ben Jonson - The Devil's Association
88 phantsie] phantasie; makes new
elisions: e. g. , 1. 6. 226 I ha'] I've; changes in wording: e. g. ,
2. 1. 97 O'] O! ; and in assignment of speeches: e. g. , 4. 4. 17. He
usually omits parentheses, and the following changes in contracted
words occur, only exceptions being noted in the variants: fro']
from; gi'] give; h'] he; ha'] have; 'hem] them (but often 'em); i']
in; o'] on, of; t'] to; th'] the; upo'] upon; wi'] with, will; yo']
you.
Gifford's greatest changes are in the stage directions and
side notes of the 1631 edition. The latter he considered as of 'the
most trite and trifling nature', and 'a worthless incumbrance'. He
accordingly cut or omitted with the utmost freedom, introducing new
and elaborate stage directions of his own. He reduced the number of
scenes from thirty-six to seventeen. In this, as Hathaway points out,
he followed the regular English usage, dividing the scenes according
to actual changes of place. Jonson adhered to classical tradition,
and looked upon a scene as a situation. Gifford made his alterations
by combining whole scenes, except in the case of Act 2. 3, which
begins at Folio Act 2. 7. 23 (middle of line); of Act 3. 2, which
begins at Folio Act 3. 5. 65 and of Act 3. 3, which begins at Folio
Act 3. 5. 78 (middle of line).
elisions: e. g. , 1. 6. 226 I ha'] I've; changes in wording: e. g. ,
2. 1. 97 O'] O! ; and in assignment of speeches: e. g. , 4. 4. 17. He
usually omits parentheses, and the following changes in contracted
words occur, only exceptions being noted in the variants: fro']
from; gi'] give; h'] he; ha'] have; 'hem] them (but often 'em); i']
in; o'] on, of; t'] to; th'] the; upo'] upon; wi'] with, will; yo']
you.
Gifford's greatest changes are in the stage directions and
side notes of the 1631 edition. The latter he considered as of 'the
most trite and trifling nature', and 'a worthless incumbrance'. He
accordingly cut or omitted with the utmost freedom, introducing new
and elaborate stage directions of his own. He reduced the number of
scenes from thirty-six to seventeen. In this, as Hathaway points out,
he followed the regular English usage, dividing the scenes according
to actual changes of place. Jonson adhered to classical tradition,
and looked upon a scene as a situation. Gifford made his alterations
by combining whole scenes, except in the case of Act 2. 3, which
begins at Folio Act 2. 7. 23 (middle of line); of Act 3. 2, which
begins at Folio Act 3. 5. 65 and of Act 3. 3, which begins at Folio
Act 3. 5. 78 (middle of line).
