The brilliant Ben Jonson was an assiduous proofreader of his printed work, his attitude toward a dirty compositor was ruthless. It is known that when proofs were read by Jonson of his Cynthia’s Revels in 1601, he made 192 changes in the text, many of which indicated much more than a cursory knowledge of professional proofreading.

Proofreading and Copy-Preparation: A Textbook for the Graphic Arts Industry (New York, 1954)

Jonson’s reputation as a textbook example of a ‘ruthless’ reader of proofs rests largely on the remarkable number of press variants in the first quarto (1601) of Cynthia’s Revels. Our collation of the fourteen known copies of Q1 — nine more than were collated for the Herford and Simpson edition — now reveals 275 press variants, more than are found in any other early English dramatic quarto. However, only about a dozen of these variants were the result of stop-press correction; the vast majority are minor changes that resulted when three formes were completely reset into type. Moreover, fresh examination of the type used for one of the reset sheets reveals that it was produced by a second print shop, perhaps years after the original printing. In the case of Cynthia’s Revels, then, press-variant analysis is significant not for what it tells us about an author’s proofreading habits, but rather for what it may reveal about the early reception history of his play.

Cynthia’s Revels was entered in the Stationers’ Register by Walter Burre on 23 May 1601 as ‘a booke called Narcissus, the Fountaine of Self Love’ (oddly invoking Narcissus, who does not figure in the title of the play as printed). A quarto appeared in the same year with the title-page:

THE | FOVNTAINE | OF SELFE-LOUE. | Or | CYNTHIAS | REVELS. | As it hath beene sundry times | priuately acted in the Black- | Friers by the Children | of her Maiesties | Chappel. | Written by Ben: Iohnson. | Quod non dant Proceres, dabit Histrio. | Haud tamen inuideas vati, quem pulpita pascunt. | [double rule] | Imprinted at London for Walter Burre, and are to be | solde at his shop in Paules Church-yard, at the signe | of the Flower de-Luce and Crowne. 1601.

This is the first time that the Blackfriars theatre is mentioned on the title-page of a play quarto. The printer was unidentified until 1970, when J. A. Lavin observed that the ornamental initials on B1 and B1v were part of the stock used by Richard Read and subsequently by George Eld (Lavin, 1970, 331-8) . Read is a rather shadowy figure: although he apparently printed more than thirty books, his name is never mentioned on any of their title-pages. Apprenticed to Richard Jugge, the Queen’s printer, and freed on 18 January 1580, Read eventually acquired the shop of Gabriel Simson – one of his fellow apprentices with Jugge – following Simson’s death. We know that Read married the widowed Frances Simson in 1601, but the precise date at which he took over the shop is uncertain; therefore, some books printed in that year, including Cynthia, should perhaps be assigned to Frances Simson. In any event, Read’s tenure as owner of the shop was short-lived: George Eld took over following Read’s death in 1603 – by marrying the twice-widowed Frances.

The quarto, which collates A-L⁴ M², consists of forty-six unnumbered pages. All pages have thirty-six lines of type save for D2, D3v, and D4, which have thirty-seven; the last line of text and the catchword on D4 are cropped off in many of the extant copies. There are two copies in which special dedications have been inserted on a single leaf added after A1: the Huntington copy has a dedication to William Camden; the Clark copy at the University of California has a dedication to Lucy Countess of Bedford. Cancel slips with the words ‘C ynthias Reuells’ were pasted over the running-titles on outer forme B where the original running-title had been mistakenly printed as ‘The Fountaine of Selfe-loue’. (The cancel slip on B2v is present in the Huntington, Bodleian, and Clark Library copies; the cancel slip on B4v is present in the Bodleian and Clark copies; the Clark copy preserves the sole instance of the cancel on B3; and the cancel slips have left traces in the Smith College copy.) Three formes exist in two distinct settings: the resetting of outer C is preserved in the Huntington, British Library (copy 1), Victoria and Albert, Clark, Yale, Harvard, Smith, Pierpont Morgan, Library of Congress, National Library of New Zealand, and Petworth House copies; the reset inner and outer F are preserved only in the Victoria and Albert copy.

Percy Simpson accounted for the large number of press variants in Q1 Cynthia by assuming that the inexperienced Read produced a text riddled with errors. In Simpson’s vivid fantasy, the printer, ‘unless he was a very earnest Christian’, must have ‘made the printing-house ring with his curses when he got the proofs’ (Simpson, 1935, 11-12) since Jonson had insisted that hundreds of changes be made, including ‘such minutiae as setting right wrong-fount colons and marks of interrogation’ (H&S, 4.5) . The recent discovery of a proof-sheet of Neptune’s Triumph, possibly in Jonson’s hand, in which a mere handful of literals are corrected, may call for a rethinking of the view of Jonson as a manic reader of proofs who would demand that wrong-font marks of punctuation be corrected (Gerritsen, 1984) . Moreover, Q1 Every Man In His Humour (1601), sheets A and H-L of which were printed by Read in the same year as Cynthia and for the same publisher (see EMI, Textual Essay), affords no evidence of the printer’s ineptitude or the playwright’s fastidiousness: no one imagines that Jonson hovered over the proofs of Q1 Every Man In His Humour, in which there are only five minor press variants, and he may not have done so with Q1 Cynthia either.

Of the 275 press variants in Cynthia, 261 appear in the three reset forms. Of these variants, only a very few, confined to outer C, appear to represent corrections (‘States-men’ is corrected to ‘States-man’ C1r25, ‘satified’ to ‘satisfied’ C2v1, ‘bnrning’ to ‘burning’ C2v25, ‘Ssr’ to ‘Sir’ C3r4). There are no corrections whatsoever in the reset sheet F of any errors in the original – and the resetting actually introduces a number of errors. Given the meticulous care taken over the running-titles in Read’s shop, in which many hours must have been spent pasting delicate cancel slips over the incorrect running-titles on outer B, it is surprising to find the egregious running-title error ‘CYMTHIAS’ in reset F (F1v and F2v), along with the equally glaring errors at the foot of the reset pages: the signature error ‘E2’ (for ‘F2’) and 'Fxit' for 'Exit' (F2v35). Moreover, the three substantive variants in sheet F all appear to be errors in the resetting: ‘Houres’ for ‘Houers’ (F2v13), ‘take’ for ‘talke’ (F2r3), and ‘Cart’ for ‘Court’ (F4v1).

The question of whether the readings in the unique sheet F preserved in the V&A copy represent the first or the second state of the text particularly vexed Simpson, and his filling and backfilling on the issue is an unfortunate embarrassment in the great Herford and Simpson edition. In the textual introduction to the play, Simpson asserted that the majority of the readings in the V&A sheet F represented the corrected state of the text, and the accompanying distribution charts listed the first- and second-state readings in separate columns (H&S, 4.8-11) . But in the wake of a withering review by W. W. Greg who asserted that ‘the tables as printed make bibliographical nonsense’ (1933, 103) , Simpson reversed himself. A bizarre erratum printed in the subsequent volume stated that all of those readings originally listed as representing the second state ‘should be transposed to the first column’ and now be understood as representing the first state (H&S, 5.552) . Greg was not amused: ‘In sheet F the great majority (in all 138) of what were previously declared to be corrections are now classed as original errors. If literary judgment is prepared thus to reverse its verdict in textual matters, one cannot help wondering what authority it can claim’ (Greg, 1938, 218) . Although Greg had initially agreed with Simpson that ‘the minute correction’ of Q1 Cynthia was done ‘presumably by Jonson himself’, he later came to believe that the reset pages proved that ‘Jonson had nothing whatever to do with these variants’ and, in fact, called into question the ‘myth’ of ‘the care which Jonson is alleged to have bestowed upon his proofs’. Greg concluded, ‘The simple fact is that for some reason sheet F was set up in duplicate and that the differences are mere printer’s errors and irregularities’ (Greg, 1938, 218) .

The specific reason for the resetting, as Greg noted, is not immediately obvious. Forme-replacements were occasionally necessitated by printing-shop accidents such as a dropped chase or pied type (see, for example, Fredson Bowers’ analysis of the resetting of inner forme I of Q1 The Roaring Girl, in Dekker (1953-61), 3.4-5) ; the resetting of outer C seems to be an instance of this. Whole-sheet replacements were less common, and the resetting of sheet F is proved to be unique by the discovery that it was printed not by Read but by a second printer, Valentine Simmes. Font analysis reveals that whereas Read’s identifiable type is used throughout the original sheet, Simmes’ distinctive Guyot pica italic ‘M’s and ‘P’s appear on the reset sheet. If sheet F had been ruined in Read’s shop, presumably Read himself would have undertaken the reprinting. How, then, can we explain the fact that the resetting of a complete sheet was done at another printing-house – a practice unprecedented in early modern English printing? Henry de Vocht, in a self-proclaimed ‘momentous’ solution to the problem, proposed that F represented a proof-sheet. But the discovery that sheet F was printed in another shop causes the proof-sheet hypothesis to lose most of its momentum. See de Vocht (1950) .

A possibly analogous case may be the Shakespeare Fourth Folio (1685), where seventeen sheets of the book were reprinted in a different shop; the reprinted sheets are easily identified by the absence of side rules and foot rules. Giles Dawson conjectured that some years after the original printing of F4, it was noticed that seventeen of the warehoused stacks of ungathered sheets were nearly exhausted, while the vast majority of stacks had a few hundred sheets remaining. In Dawson's scenario, a calculation of costs and of the probability of future sales indicated that it would be profitable to go to the expense of reprinting the seventeen sheets required to make the remaining stock good (Dawson, 1951; for a collation of the reset pages, see Rasmussen, 1998).

Could a similar scenario help to explain the resetting of Q1 Cynthia? If Read had short-sheeted Burre (intentionally or accidentally) and Burre had noticed the discrepancy in the pile of F sheets when the print-job was first delivered to him, he no doubt would have insisted that Read reprint the sheets to fulfill the contract. The fact that F was reprinted by Simmes suggests that Read may have been out of the picture, which would have been the case if the sheet was reprinted in 1603 or after; there is, moreover, evidence of collaboration between the two print-shops during this period in that Simmes and Eld shared the printing of Jonson’s King’s Entertainment in 1604. It is worth observing that the V&A copy preserves the first state of the outer forme of K and the first of three states of outer L; if one assumes that the earlier states of a forme (having been printed first) would be found towards the bottom of a warehoused stack of sheets, the early states of outer K and L may provide evidence that the V&A copy was gathered from some of the remnants of the warehoused stock supplemented by the reprinted sheet F. (For a detailed study of the evidence that early states tended to be bound with other sheets containing early states, see Dane, 1996).

We do not know whether Burre commissioned Simmes to undertake the reprinting, or whether, as Adrian Weiss has suggested to me, Burre sold the incomplete books to Simmes, who then went to the trouble of making up the lacking sheets himself. What we do know is that at some point after the original printing of Q1 Cynthia, a bookseller took the unprecedented step of reprinting an entire sheet of the quarto in another printing-house, presumably because he believed that the market for the play would justify the not inconsiderable expense. Thus, the reprinting may attest to the continuing popularity and marketability of Cynthia’s Revels — a manifestation, perhaps, of the wave of nostalgia for Queen Elizabeth that seems to have pervaded early Jacobean England (see Perry, 1997, 153-87) .

Save for the reprinting of sheet F in the early 1600s, the play was not reprinted again until the 1616 Jonson folio where it appears in an expanded version, occupying signatures P5r-Z3v, pages 177-270. Whereas the title-page of Q1 read ‘THE FOVNTAINE OF SELFE-LOUE. Or CYNTHIAS REVELS’, F1 inverts the two titles:

[short rule] | CYNTHIAS | REVELS, | Or | The Fountayne of selfe-Loue. | A Comicall Satyre. | Acted, in the yeere 1600. | By the then Children of Queene | Elizabeths | Chappell. | The Author B. I. | Mart. | Nasutum volo, nolo polyposum. || LONDON, | Printed by W. Stansby. 1616.

The title-page is surrounded by a woodcut border (McKerrow & Ferguson 224). A variant title-page, without the border, reads:

CYNTHIAS | REVELS, | OR | The Fountayne of selfe-Loue. [‘self-loue’ in some copies] | A Comicall Satyre. | Acted, in the yeere 1600. By the then | Children of Queene Elizabeths | Chappel. | The Author B. I. | Mart. | Nasutum volo, nolo polyposum. || London, | Printed by William Stansby . | [short rule] | M. DC. XVI.

The variant title-page with the border appears only in small-paper copies, whereas the variant without the border appears in other small-paper copies and in all of the large-paper copies (the variant title-pages in the large-paper copies of F1 Every Man Out of His Humour and Poetaster preserve the identical reading, ‘London, | Printed by William Stansby . | [short rule] | M. DC. XVI’). Alexander Judson (1912) , xxii, suggests that the fact that Q1’s ‘Quod non dant Proceres dabit Histrio’ is absent on the F1 title-page may be ‘an expression of Jonson’s disappointment’ that the play did not result in his hoped for preferment at court. For a collation of F1, see Appendix C below.

The folio text was reprinted in 1640, 1692, and 1716. Peter Whalley’s text of 1756 reprints that of 1716, despite the title-page claim to have been ‘collated with all the former editions and corrected’. William Gifford’s 1816 edition was the first to incorporate quarto readings into the folio text (such as ‘coaches’ for ‘carroches’ at 4.2.29) , although he appears to have used Whalley’s edition as his primary copy-text. Gifford’s text was reprinted without change by Cunningham in 1875 . Brinsley Nicholson’s 1893-5 edition in the Mermaid Series also relies heavily on Gifford’s text, without acknowledgment . W. Bang produced a reprint of F1 in 1905 and of Q1 in 1908 in his Materialien zur Kunde des alteren Englischen Dramas series. In 1912, Judson produced the first critical edition to return to F1 as control text. Herford and Simpson also used F1 as copy-text. The 1601 Q1 has not served as the copy-text for a modernized edition until now.

Appendix A - Collation of Q1

Collation of the fourteen extant copies was undertaken in situ by Donald L. Bailey, Dee Anna Phares, and Karen Britland, with the assistance of Lara Hansen, Mark Dunagan, Sonia Massai, and Eric Rasmussen. For descriptions of each copy, see Appendix B.

1 British Library, London
2 British Library, Ashley Collection, London
3 Bodleian Library, Oxford
4 University of California, Los Angeles (Clark Library)
5 Cambridge, King’s College
6 Library of Congress, Washington, D.C.
7 Huntington Library, San Marino, California
8 Harvard University, Houghton Library, Cambridge, Mass.
9 National Trust, Petworth House Archives
10 Pierpont Morgan Library, New York, N.Y.
11 Smith College, Mortimer Rare Book Room, Northampton, Mass.
12 National Library of New Zealand, Alexander Turnbull Library, Wellington
13 Victoria And Albert Museum, Dyce Collection, London
14 Yale University, The Elizabethan Club, Yale University, New Haven, Conn. 

Sheet B, cancel slips

B2v		State 1		State 2
rt		The Fountaine of Selfe-loue.		CYNTHIAS Reuells.

State 2: 3, 4, 7 [11 has a rectangular impression with heavier foxing around the running title, a trace left by the cancel slip]

B3		State 1		State 2
rt		The Fountaine of Selfe-loue.		CYNTHIAS Reuells.

State 2: 4 [11 has a rectangular impression with heavier foxing around the running title, a trace left by the cancel slip]

B4v		State 1		State 2
rt		The Fountaine of Selfe-loue.		CYNTHIAS Reuells.

State 1: 1, 2, 5, 6, 7, 8, 9, 10, 12, 13, 14

State 2: 3, 4 [11 has a rectangular impression with heavier foxing around the running title, a trace left by the cancel slip]

B outer
B4v		State 1		State 2
1		heare		here

State 1: 2, 3, 4, 5, 7, 10, 11

State 2: 1, 6, 8, 9, 12, 13, 14

C outer
		SETTING A		SETTING B
		STATE 1		STATE 2		STATE 3
C1
3		Echo		Eccho		~
13		Digreſſion		digreſſion		~
19		garbe,		~ ;		~
20		illiterate,		~ ;		~
23		knowing		( ~		~
24		Trauaile :		~ ;		~
		gesture ,		~ ;		~
25		States-men		States-man		~
26		language :		~ ;		~
30-1		reſided, / and		reſi- / ded, and		~
C2v
rt		Reuells.		Reuells.		Reuels.
1		ſatified		ſatiſfied		~
2		&		and		~
6		Aſot.		~ ,		~
7		i’le		il’e		~
13		inuentiŏ,		inuention;		~
15		would		ſhould		~
18		feare.		~ ^		~
25		bnrning		burning		~
30		lifetime		life time		~
34		himselfe		him selfe		~
C3
4		Ssr		Sir		~
11		humor		humour		~
14		our		your		~
17		Spring.		~ :		~
20		Sir.		~ ,		~
32		only		onely		~
33		virendi		vi rendi		~
C4v
13		(ike		like		~
26		Inſpight		In ſpight		~
31		once		~ ,		~
34		auoyde		auoy de		~

State 1: 2, 3, 5

State 2: 11, 12, 14

State 3: 1, 13, 4, 6, 7, 8, 9, 10

C inner
C3v		State 1		State 2
1		alltimes		all times

State 1: 2, 3, 5, 12

State 2: 1, 4, 6, 7, 8, 9, 10, 11, 13, 14

D inner
		State 1		State 2
D4
37		mouth,		~ .

State 1: 1, 3, 5, 12, 13

State 2: 2, 9

[Note: no data for 4, 6, 7, 8, 10, 11, 14 – the bottom of the page is cropped in all copies resulting in the loss of the line]

F outer
		Setting A		Setting B
		State 1		State 2
F1
1		particulerly		particularly
2		carry		carrie
		paſſion!		paſsion,
4		’Slid		Slid
4		Enuy		Enuie
7		Marry		Marie
9		Ieſts.		~ :
10		Vſhers;		~ ,
12		thinkes, they,		thinks they
		ſhould		ſhoulde
		their		the ir
14		’hem		them
15		ſmooth		ſmoothe
		gentile Society		gentle Societie
19		miſcheiuously he		miſchieuouslyhe
22		reſolu’d,		~ ^
24		Marry		Marie
25		euery		euerie
26		Courtly		Courtlie
27		any		anie
28		done		~ ,
29		publique;		~ ,
		ſlightly		ſlightlie
30		any		anie
31		iudgement,		~ ^
31		inſuſpect		in ſuſpect
32-3		thou hea-/r’ſt		thouhea-/reſt
33		receiud		receiu’d
33-4		extraordina-/ry		extraordina-/rie
34-5		parti-/culerly		parti-/cularlie
35		waye		waie
36		dos		~,
cw		i’s		is
F2v
rt		CYNTHIAS		C Y M T H I A S
1		fore-top		foretop
2		only		onlie
7		himſelfe;		~ ,
11		vary		varie
12		any		anie
13		Houers		Houres
15		deuided		diuided
16		eyther		either
17		worthy		worthie
18		body		bodie
19		Satyriſt		Satyreſt
		truly		trulie
22		nothing.		~ ;
29		away		awaie
30		Action		action
31		Playes		Plaies
		paps,		~ ^
		pomps		pumps
34		onely		onelie
35		ſhew		ſhewe
35		Exit		Fxit
36		ſtreight		ſtrait
F3
1		ſixth		ſixt
		then		than
		Reſt.		~ ;
2		Eye		Eie
4		fifth		fift
5		ſixth		ſixt
		euery		euerie
		lim		limbe
9		down		downe
12		commonſt		common’ſt
14		Criticus.		~ :
16		Cynthias		Cinthiaes
17		Deity		Deitie
19		howers		houres
20		honor’d		honord
22		ſweet,		~ ^
		choyſe		choiſe
23		ſerious,		~ ^
		Eyes		Eies
25		Deſier’d		Deſierd
26		Cynthia:		Cinthia
28		louers		Louers
32		choyſe		choiſe
33		Reguard purſew		Regard purſue
36		vowe		vow
		thee,		~ ^
F4v
rt		Reuells.		Reuells ^
1		Court		Cart
2		laterally		laterallie
3		coulored		coloured
3		dye		die
4		hayre		haire
5		you.		~ ,
5		then,		~ ^
6		plyant body		pliant bodie
8		proude		prowde
8		exceedingly		exceedinglie
11		Lady ;		~ :
12		beginnings		beginings
13		holde		houlde
15		No,		~ ^
16		Courtly		Courtlie
17		pretty Commodity		prettie Commoditie
23		body		bodie
25		any		anie
27		do		doe
27		Sir		ſir
28		purſewd		purſude
29		What		~ ,
30		alone.		~ ?
31		Sir		ſir
32		appointment		appoyntment
32		bright		Bright
35		more then		More than

Setting 1: all except copy 13

Setting 2: 13

F inner
		Setting A		Setting B
		State 1		State 2
F1v
rt		CYNTHIAS		C Y M T H I A S
1		ha’me		ha me
2		ſtoale		ſtole
3		guilty		guiltie
4		hart		heart
		ſhifts;		ſhifts,
5		any		anie
9		Criticus.		~ ^
16		ſtroake		ſtroke
17		euery		euerie
19		wrong’d;		~ ^
25		dispraiſ’d		dispraiſd
27		cenſur’d		cenſurd
		Chreſtus,		Chrestus.
28		words		wotds
29		cal’d		cald
30		Actions		actions
33		ſtir’d		ſtirr’d
34		Reueller		Reueler
F2
3		talke		take
5		iudgment		iudgement
7		who’ld		whol’d
		angry		angrie
9		affects		affect
11		minde carry		mind carrie
13		ſweet		ſweete
15		that’s		thats
16		Patience		patience
17		ayme		aime
19		Enuy’s		Enui’s
20		4.		4
22		day		daie
24		honor’d		honord
25		faſhion’d		faſhioned
26		dreamp’t		dreampt
		ſaw		ſawe
		diffuſ’d		diffuſd
27		pyed		pied
28		eyther		either
30		Memory		Memorie
		thrifty Roome.		thriftie Roome
33		proud		prowd
sig.		F2		E2
F3v
rt		Reuells.		Reuells ^
1		SCENA. 5.		SCENA QVINTA.
3		Amo.A little		Amorp. Alittle
3		diſ-cloake		diſcloake
4		Taylor;		~ ,
		vpon		vppon
6		wel enter’d Sir. Stay		well enterd ſir. Stay,
8		pleaſ’d		pleaſde
9		her		~ ,
10		ſuppoſ’d		ſuppoſde
10-11		Paſſion / hath		paſſion hath /
11		Face?		face:
11-12		two, / and		two, and /
12		boldneſſe		boldeneſſe
13		terror;		~ ,
15		Sir		ſir
15		god		God
15		Here		Heere
15-16		in you / ſay		in / you ſay
16		ſelfe ?		~ .
18		ſpy		ſpie
18		off ?		~ .
20		ſtiflle,		ſtifle
		forward^?		forward.
		aduance		aduaunce
22		Aſot.		Aſo.
		Sir,trembling.		ſir,trembling,
		ſweete		ſweet
25		her )		~ ;
27		Sir		ſir
		againe;		~ :
be				~ ,
30		Alicandro’s Daughter		Alicandroes daughter
32		been		bin
F4
1		Hiſtory:		Hiſtorie:
3		thinkes		thinks
4		Melancholy		Melancholie
6		Aſot.		~ :
		My		My
8		variety		varietie
		choyſe		choiſe
9		Muſique		Muſike
		thoughts,		~ ^
10		Beauty		Beautie
11		prerty		pretie
12		choyſe		choiſe
13		Beauty		Beautie
14		then,offring		then offering
14		ſhall coyly		ſhal coilie
15		recoyle		recoile
15		to re-enforce		t o re-inforce
16		Lady		Ladie
17		courſly		courſlie
17		with-all		withall
18		her		hir
18		onely		onelie
22		Act		act
23		Will		Wil
24		Muſique		Muſicke
24-5		Beds, and /		Beds, / and
26		Sir		ſir
27		then		than
28-9		I proteſt you are / the only		I protest you / are the onely
29		un-aparailed		unappareled
30		Amo. Vn-paraleld		Amor. Vnparaleld
31		Un-paraleld		Vnparaleld
31		do		doe
32		kingdome		Kingdome
33		now ;		~ ,
put				putte
34		ſhould		ſhoulde
35		ther’after		thereafter
		vpon		vppon
		Nimph		Nymph

Setting 1: all except copy 13

Setting 2: 13

G inner
G1v		State 1		State 2
27		ſeru nt		ſeruant
G3v
1		Hedon)		He )

State 1: 1, 4, 6, 7, 9, 10, 11, 14

State 2: 2, 3, 5, 8, 12, 13

K outer
K3		State 1		State 2
28		teturne		returne
32		themſelues ) more		themſelues (more
K4v
32		markes, which		markes, to which

State 1: 1, 2, 3, 5, 6, 8, 9, 10, 11, 12, 13, 14

State 2: 4, 7

L outer
L2v		State 1		State 2		State 3		State 4
37		dotard		Dotard		~		~
L3
14-15		any / one ſhot proofe againſt thee		~		any one ſhot proofe proofe againſt / thee		~
SD		set after line 14		~		set after line 15		~
29		But are		~		~		But as
35		preſum’d,		~		~		preſum’d)

State 1: 2, 3

State 2: 5, 6, 8,9, 12, 13

State 3: 10, 11, 14

State 4: 1, 4, 7

[Additionally, in L2v line 29, because of poor inking, copy 13 reads ‘Your wes’ for ‘Your Arrowes’]

Note: The above tables record all changes of reading, spelling, and punctuation, but not the multiple changes in font in the reset formes. Italic letters in the original formes are reset using swash letters at C1r11, C3r35, F3r28, F3v24; conversely, swash letters are reset as italic at C1r15, C2v2, C2v14, C2v36, C3r9, C3r10, F1r11, F1r16, F1v17, F2r1, F2r27, F2v23, F2v25, F2v35, F3r12, F3r27, F3r35, F3v3, F3v7, F3v15, F3v20, F3v24, F3v27, F3v30, F3v33, F4r27, F4v20, F4v22, F4v26, F4v27, F4v31, F4v36, F4v(cw)

Appendix B

Descriptions of the extant copies of Q1

Copy 1: British Library, London (Herford and Simpson copy A)

Examined by KB, 21 October 2001

Re-examined by DLB and DP, 16 January 2003

Call no: C.34.d.1

Tan leather binding. T-p = A1r; A1v = number and names of actors. D4 badly cropped. Ends at M2v.

Copy 2: British Library, Ashley Collection, London (Herford and Simpson copy D)

Examined by KB, 21 October 2001

Re-examined by DLB and DP, 16 January 2003

Call no: Ashley 953

Red leather binding, gold embossed. Bookplate of Thomas James Wise. Note in pencil on inside front cover: ‘Some leaves extended, headlines restored’.

On the C signature pages, the paper appears to be of a different stock (thinner with different chain lines); D4 page is longer, and has been folded to fit inside the volume. Ends M2v.

Copy 3: Bodleian Library, Oxford (Herford and Simpson copy B)

Examined by KB, 9 April 2002

Call no: Malone 193(1)

Brown leather binding. Pasted inside the front cover is the spine binding of an older book bearing the title: ‘OLD PLAYS vol 36. M. 193’. Three blank leaves before the title page, on the verso of the second of which is written in a modern hand: ‘The original edition. This play, as old Ben himself has told us, was first acted in 1600’.

On the facing page, in the same hand:

‘Cynthias Revels – 1601

Faithful Shepherdess – 1665

Fair Maid of the Exchange – 1607

Fair Maid of Bristow – 16(?)5

Fortunate Isles –

Fatal Dowry – 1632

Fancies – 1638’

Collation: A2r-M2v. Title page bears the circular stamp of the Bodleian Library: ‘BODLEIANA BIBLIOTHECA’. A1v bears the same stamp.

Copy 4: University Of California, Los Angeles (Clark Library)

Examined by DP, 21 June 2002

Call no: PR 2609 A1.

Vellum binding, hand-sewn, with gold embossing on spine and front and back covers. Stamp of goat on front and back covers. Bookplate of ‘William Andrews Clark, Jr’ inside front cover. One blank leaf before the title page. T-p = A1r; A1 v = number and names of actors;one unsigned leaf ‘Author ad Librum’ appears to be pasted to A2r; ends at M2v; two blank leaves at end.

‘A V T H O R / ad Librum./ ----------- / Goe little Booke, Goe little Fable / vnto the bright, and amiable / LVCY of BEDFORD; she, that Bounty/ appropriates still vnto that Country^: / Tell her, his Muse that did inuent thee / to CYNTHIAS fayrest Nymph hath sent thee, / And sworne, that he will quite discard thee / if in any way she do rewarde thee / But with a Kisse, (if thou canst dare it) / of her white Hand; or she can spare it.’

Copy 5: Cambridge, King’s College

Examined by MD, 23 June 2003

Examined by LH, 24 June 2003

Call no: C.7.17 (Archives)

Brown board binding with marbling. Black leather hinge and corner pieces. Embossed in gold on the spine: ‘Cynthia’s Revels 1601’. Inside front cover of green paper,in pencil: ‘C.7.17’ and, in the upper right corner, ‘1102’; sticker at bottom : ‘Kings College/Keynes/Bequest/1946’. First blank leaf verso has in pencil in a cursive hand: ‘very rare £10/wants title page only-supplied/in MS by Edmund Malone (1741-1812)/pje(?)/270 ct: 1980/ Greg (?) no 181 (a 1)/common (?) on F1 1’s’; t-p written in ink (allegedly Malone’s hand) but minus the line: ‘Quod non dant Proceres, dabit Histrio’. 3lv in pencil upper right: ‘SR 14773’.

Copy 6: Library Of Congress, Washington, D.C.

Examined by DP, 21 August 2002

Call no: PR 2603.A1 1601.

Rebound in ½ morocco and board binding with red and brown marbled pattern. Gold lettering on the spine ‘JOHNSON-The FOUNTAINE OF SELF LOVE-1601’. Pasted onto larger sheets (7 ½ x 9 ½). On title page, handwritten in ink ‘Given me by Mr. Heber-June 13^th 19(8?).J.P.K.’ Extended page, right-hand margin ‘Collated & perfect J.P. K. 1814’. On the extended page, top left, in a different hand ‘The end in J.P. Kimble’s hand-writing.’ T-p = A1r; A1v = number and names of actors. A2 cropped when pasted to larger paper, glosses cropped at left-hand margin. D4r cropped, but on right-hand border of leaf is written ‘toothe in her mouth, Hee’s Dei? (?)’. D4v right edge obscured by a repair. E4v, hand-written ‘BC’ in pen, obscured by repair. Leaves M1-M2 missing; have been handwritten in ink—follows all of the spelling and punctuation of H. Ends at M2v.

Copy 7: Huntington Library (Herford and Simpson copy E)

The control copy

Call no: 60512

Kemble-Devonshire copy with stamp of Roxburghe arms on the verso of A2. Unique leaf containing the dedication to William Camden inserted between A1 and A2. D4 cropped by a binder with the loss of the final line of text.

Copy 8: Harvard University, Houghton Library, Cambridge, Mass.

Examined by DLB, 7-8 August 2002

Call no: 14427.24.80. 

Bound in green crushed morocco, gilt-edged, marbled inside pages, and gold-embossed by F. Bedford. Embossed in gold on the spine: ‘JONSON FOUNTAINE OF SELFE-LOVE LONDON 1601’.  A bookplate with Harvard's seal stating that the volume was from a collection formed by William Augustus White, of the Class of 1863, and given to Harvard in 1928-1929. Pasted in back is a hand-written letter from Percy Simpson on Oriel College stationary dated 26 March 1929—requesting ‘an uncorrected sheet E’ for his work on the fourth volume of the OUP Jonson.

Copy 9: National Trust, Petworth House Archives

Examined by MD, 25 June 2003

Call no: NT/PET/MISC/15.10

Bound in brown leather together with nine other quartos. Front and back covers have a gold-embossed border, with a gold-embossed seal of Northumberland in the center. Embossed in gold on the spine: ‘Old Plays’. Inside front cover bears a sticker: ‘Earl of Egremont,/ Petworth’, with a notation in a cursive hand ‘2:6:20’. First blank leaf verso has a handwritten table of contents for the volume; ‘Cynthia’s Revels’ is the ninth play.

Copy 10: Pierpont Morgan Library, New York, N.Y.

Examined by DP, 16 August 2002

Call no: W 04 C. Accession No: PML 6411 Board and ½ brown morocco leather binding (rebound). Gold lettering on spine: ‘JOHNSON — FOUNTAINE OF SELFE-LOVE’. Three blank leaves added before the title page. A note in pencil on the verso of the third page: ‘First edition.-(Not in Huth or Hoe collections.)’. T-p = A1r; A1v = number and names of actors; A2 appears to be cropped—the glosses ‘Gelaia’ and ‘Moria’ present in the left-hand margin of other copes are not visible in A2v of Morgan; D4 badly cropped. Ends at M2v. Three blank leaves added to the end.

Copy 11: Smith College, Mortimer Rare Book Room, Northampton, Mass.

Examined by DLB, 9 August 2002
Bound in maroon straight-grain morocco with ‘CYNTHIAS REVELS
BEN. JONSON. 1601.’ embossed in gold on a black background on the
spine.  The volume is part of the Vanston Collection at Smith and has been on
deposit (but not catalogued) since 1980. Inside board, written in pencil: ‘First Edition Very Rare’ and signed G.F. Richardson (?); A1r, upper right corner: Nico (Theo?): Atkinson signed in brown ink. Marginal annotations in brown ink on A1v, including ‘asioaor(?)’ for Criticus, ‘foaio(?)’ for Moria, and ‘a grindr(?) in pages attire’ for Gelaia.

Stains present on G3 and G4; L4r has a stain at top center and evidence of a tear repair. Leaves M1-M2 are missing and have been replaced by a hand-written manuscript transcription in brown ink.

Copy 12: National Library Of New Zealand, Alexander Turnbull Library, Wellington

Call no: R Eng. JON. Fount. 1601; Micro 760.

Microfilm copy examined.

Copy 13: Victoria And Albert Museum, Dyce Collection, London (H&S copy C)

Examined by KB, 20 October 2001

Re-examined by DLB and DP, 14 January 2003

Call no: Dyce collection 5346 (Shelfmark: D.25.A.78)

Board binding. Bookplate of ‘Thos. Jolley Esqr. F.S.A.’

A note in pencil on the first page: ‘Take out title and remend it’.

T-p is mended (it appears to be reinforced with a border of new paper on the verso side);

T-p = A1r; A1v = number and names of actors; F2r is mistakenly foliated E2. F pages printed on different paper stock (thinner with more prominent chain lines). Ends at M2v.

Copy 14: Yale University, The Elizabethan Club Yale University, New Haven, Conn. 

Examined by DLB, 12-13 August 2002

Call no: Eliz. 106; Ih J738 606. 

Bound in red goatskin, gilt-edged, and gold-embossed by
Riviere & Son.  ‘THE FOUNTAINE OF SELFE-LOVE BEN. JOHNSON-1601’
embossed in gold on the spine.  Bookplates of The Elizabethan Club Yale University.

APPENDIX C: Collation of F1
(based on data from David L. Gants)

P2:5 (i)
P5	177		[Compartment t-p]	[Plain t-p]	---
		3	Or	OR	---
		4	ſelfe-Loue.	ſelfe-loue.	ſelfe-Loue.
		5	Satyre.	Satyre>.	---
		6	1600. | By	then | Children	---
		7	Queene | Elizabeths Chappell	Elizabeths | Chappel	---
		13	LONDON	London	---
		14	W. Stansby	William Stansby	---
		15	1616.	M. DC. XVI.	---
Q1:6 (o)			State 1	State 2
Q1	181		it[inked quad]?	~?
Q2:5 (o)
Q2	183	2	then. … wiſh,	~, … ~.
		6	that . I	that (I
			SETTING A	SETTING B
Q3:4 (o)			State 1	State 2
Q3	185	3	3.	2.
		15	downe	down
		17	juggler … was | here	iuggler … Monsievr | was here
		18	bee	be
		24	wee	we
		25	ſenſe	ſence
		33	authour	author
		37	braine.	~,
Q4v	188	5	bee lawfull	be lawlull
		6	varietie	variety
		14	ſhafts	ſhaft s
		24	Nymph	[swash ‘N’]ymph
		42	Nymph	Nympth
			SETTING A	SETTING B
Q3:4 (i)			State 1	State 2
Q3v	186	11	VV [drop cap]	W [drop cap]
		15	Farewell.	~-
		24	trident?	~ ?
		39	imploiments	imployments
		40	marſhalling	marſhaling
Q4	187	5	Hercvles .	~ ,
		18	Olympian … applause	Olympyan … applause
		19	particular	pertiular
		22	hee	he
		31	gallants … ſtrangely	gallands … ſtrangly
		38	bee	be
		39	too … mee	two … me
		45	Queene	queene
R2:5 (o)			State 1	State 2
R2	195	rt	Reuels	Reuells
R5v	202	11	you [inked quad] ſhall	you ſhall
R3:4 (o)			State 1	State 2	State 3
R3	197	3	il-affected	---	ill-affected
		4	follies:	---	~.
		12	woe	woo	---
		15	betray .	---	~,
		31	by	---	my
		41	eaſineſſe .	---	~,
		42	mine;	---	~:
R4v	200	10	Cioppini	---	cioppini
		11	Cioppini	---	cioppini
		15	Rogue	---	rogue
		18	them … e- | nough	---	‘hem … ~:
		22	ſtratagems	---	ſtrangenes
		26	ordinarie	---	ordinarie
		29	laughter .	---	~,
		38	healths;	---	~,
		44	cockatrice .	---	~,
R1:6 (i)			State 1	State 2	State 3	State 4
R1v	194	1	As	---	as	---
		3	Benefactor? | or	Benefactor? Or |	---	---
		4	church .	~,	---	---
		13	curious . … band .	~, … ~,	---	---
		22	gentile .	~,	---	---
		24	clothes .	~,	---	---
		27	vn . trauel’d	vn-trauel’d	---	---
		33	‘ſir,	~.	---	---
		38	enamore’d	inamor’d	---	---
R6	203	1	clockes;	~:	---	---
		2	whetſtone .	~,	---	---
		5	anchouies	ænchouies	---	anchouies
		7	clothes .	~,	---	---
		23	cholericke;	~,	---	---
		24	and … nature	& … Nature	---	---
		31	injurie	iniurie	---	---
		39	prayſes;	~:	---	---
R2:5 (i)			State 1	State 2
R2v	196	4-5	[6mm baseline-to-baseline]	[8mm baseline-to-baseline]
		5-6	[8mm baseline-to-baseline]	[9mm baseline-to-baseline]
		7-8	[7mm baseline-to-baseline]	[9mm baseline-to-baseline]
S1:6 (i)			State 1	State 2	State 3
S1v	206	12	metaphyſically;	~:	---
		23	cheape:	~.	---
		24	too .	~,	---
		33	knowledge;	~:	---
S6	215	9	in this court … kingdome	in this court … kingdome	---
		10	all .	~,	---
		24	Nymph	[swash ‘N’]ymph	Nymph
		37	Lindabrides .	~ .	---
		41	exoticks	exoticke	---
T1:6 (o)			State I	State II
T1	217	4	he … Mercvry … me	hee … mercurie … mee
		20	be;	~:
		22	truneſſe … hee’s	trewneſſe … he’s
		27	propitious .	~,
		33	them	‘hem
		39	venetian	Venetian
T6v	228	11	loues	loues
		23	judgement .	~,
		32	you .	~,
		36	hope .	~,
		38m	[note]	[note on line 37m]
		40	vpon	vpo’
			SETTING A	SETTING B
T2:5 (o)			State 1	State 2
T2	219	6	ieſt	jeſt
		11	occaſion	occſion
		15	ſpeak … mine | owne	ſpeake … as | mine
		17	very march-pane	verie march-bane
		23	wiſewoman	wiſe-woman
		24	citie,	~ .
		26	what by coach	what coach
		27	owne	own
		30	Nymph … be … childe	Nympth … bee … child
		33	Madame … [swash ‘M’] onſieur	madame … monſieur
		34	huſband	hnſband
		45	he	hee
T5v	226	5	protraction!	~!
		8	page:	~ :
		20	‘t is	t’ is
		26	muſike … Ambition, | reach	muſicke … Ambi- | tion,
		27	thelyra	the lyra
		36	[indent 55mm]	[indent 44mm]
			SETTING A	SETTING B
T2:5 (i)			State 1	State 2
T2v	220	4	bee	be
		7	maide	mayde
		11	deyrie wnech, I would dance at	[omit]
			may-poles, and make ſillabubbes; As a
		14	bee	13 be
		18	bee	17 be
		27	object	26 obiect
		30	letting … gallant	29 leting … galland
T5	225	2	well . taken	well-taken
		12	thing	thinge
		13	Argvrion	Arcvrion
		14	2 done; … Philavtia, | What	~, … Philav- | tia
		15	done | it	would | haue
		18	who	Who
		19	me?	~ .
		24	the>	the
		26	heate	heat
		37	thing	thinge
T1:6 (i)
T1v	218	25	Ar- | gvion,	~ .
		32	faſhion;	~:
T6	227	4	dye .	~,
		7	ayre,	~!
		8	die-note	dic-note
		17	kings … dukes	Kings … Dukes
		18	Brunſwicke, the Lantgraue, Count	Brunſwick, ~ Lantgraue, Connt
		38	him;	~,
		43	lords that	lords who
V1:6 (o)			State 1	State 2	State 3
V1	229	2	tuff	---	tuft
		5	chinne;	---	~,
		14	Mor. … hee	---	Morv. … he
		17	Mor.	---	Morv.
		22	Mor.	---	Morv.
		24	Mor. Yes, maſter	---	Morv. ~ . Maſter
		29	Mor.	---	Morv.
V6v	240	1	retrogade	retrograde	---
		3	Encounter	---	Encount’rer
		12m	accoſt	---	accoſt
		32	prizer,	---	~:
		33	too chooſe	to chooſe	---
		41	Anor.	Amor.	---
V3:4 (o)			State 1	State 2
V3	233	4	twice .	~,
		20	alter this	alter all this
V4v	236	14	your	your own
		16	alwaies[inked quad]turn’d	always turn’d
		24	greene, and yellow	greene, ~ yellow
		33	greene	greene
		38	trueneſſe;	~,
V2:5 (i)
V2v	232	8	Phantaste, Philavtia, Moria	Moria, Phantaste, Philavtia
		24	inuentife	inuentiue
V5	237	2	No	no
		13	ſmiles,	~;
		20	paſſage, and imbroccata	paſſages, ~ imbroccata’s
		20	bob	Bob
		24	whiſper, here … him:	~ . (here … him)
X1:6 (o)
X1	241	9	Courtling	courtling
		12	elixi’r	elixi’r
		14	court:	court:
		21	pothecarie … reciprick	pothecary … reciprock
		22	commerce;	~,
X6v	252	7	taxe,	~ .
		19	fee’t	fee it
X2:5 (o)
X2	243	14	comely.	~!
		34	Bird … 1ſir	bird … ~ .
		44	bane	bare
X5v	250	3	remou’d	~ ____
		4m	[omit]	[note]
		15m	[omit]	[note]
		25	lady . feeles,	~, ~ .
		30	Signior	Signior
		31m	A flouriſh	[omit]
X1:6 (i)			State 1	State 2	State 3
X1v	242	11	prelude	prælude	---
		14	ieſt,	~:	---
		16	ha’s[inked quad]no	ha’s ~	---
		26	Signior . Your	~, your	---
X6	251	10	dare.	~?	---
		23	Monſieur	Monſieur	---
		24	doe want as they ſay,	do want (as they ſay)	---
		24	Signior	Signior	---
		29	good	(appeare	. appeare
		29	give reaſon	give you reaſon	---
		29	bee ~ other- | wiſe,	be ~ | otherwiſe,	---
		34	vs;	~:	---
		40	Apolloes	Apollo’s	---
		42	diall,	diall,	---
X2:5 (i)			State 1	State 2
X2v	244	26m	[omit]	[note]
		32	ſo,	ſo!
		33	reguard	Reguard
		46	vna- | dored,	~ :
X5	249	26	And .	~,
		28	iudges.	~,
		33	Dor	dor
Y1:6 (o)
Y6v	264	27	comtemn’d	contemn’d
Y2:5 (o)
Y2	255	27	Yet .	~,
Y3:4 (i)
Y3v	258	1	thus .	~,
		2	natural affection	naturall Affection
		3	Storge, and	Storge, &
		4	allowable ſelfe-loue	allowable ſelfe-loue
		5	perfection	Perfection
		6	perpendicular leuell	perpendicular Leuell
		7	Cube, or Square	Cube, or Square
		10	delectable and pleaſant Conuerſa- | tion	delectable and pleaſant Conuerſati-
				| on
		14	Word	word
		14	Al- | legorie	alle- | gorie
		18	wittineſſe	Wittineſſe
		20	Word	word
		23	ſimplicitie	Simplicitie
		26	Siluer	ſiluer
		30	Quaternion	quaternion
Y4	259	4	wane.	~!
		7	pall our thankes	paule ~ thanks
		29	praiſe;	~ .
		38	my’ndeuours	m’indeuours
Y2:5 (i)			State 1	State 2	State 3
Y2v	256	6	Loue;	~.	~,
		11	Any .	~,	---
		31	argument .	~,	---
		38	hyperbole	hyperbole	---
Y5	261	6m	The Maſkes | ioyne,	The Maſques | ioyne,	---
			and | dance.	And they | dance.
		12	comedie	comædie	---
		14	comedie>	comædie>	---
		19	little .	~,	---
		42m	They hauc dan- | ced the firſt | ſtraine.	The firſt ſtraine done.	---
Z3:4 (o)
Z3	269	12	iubet	rubet	---
			[rules bracket ‘THE END’]	---	[rules bracket quote]
Z1:6 (i)			State 1		State 2
Z1v	266	7	ARETE;		~,
		18	vnpuniſhed		~:
		21	doome;		~,
		34	Weeping		weeping

(For the rest of this forme, see Textual Essay to Poetaster)

DISTRIBUTION OF VARIANTS

P 2:5 (i)
State 1: the rest
State 2: 6, 19
State 3: 1, 2, 3, 7, 12, 13, 16, 17, 20, 21, 28, 31, 33, 36, 37, 38, 41, 42, 44, 46
Q 1:6 (o)
State 1: 6, 19, 33
State 2: the rest
(missing in copy 8)
Q 2:5 (o)
State 1: 32, 43
State 2: the rest
(missing in copy 8)
Q 3:4 (o)
State 1: the rest
State 2: 5, 14
(missing in copy 8)
Q 3:4 (i)
State 1: the rest
State 2: 5, 14
(missing in copy 8)
R 2:5 (o)
State 1: 3, 4, 5, 7, 9, 10, 11, 20, 21, 23, 24, 27, 35, 36, 39, 48
State 2: the rest
(missing in copy 8)
R 3:4 (o)
State 1: 8, 9, 20, 47
State 2: 1, 16
State 3: the rest
R 1:6 (i)
State 1: 9, 20
State 2: the rest
State 3: 23, 25, 29, 39
State 4: 6, 8, 11, 15, 16, 19, 21, 22, 35, 37, 43, 46, 49
R 2:5 (i)
State 1: 8, 10, 19, 23, 27, 35, 36, 48
State 2: the rest
S 1:6 (i)
State 1: 9, 10, 11, 20, 30, 35, 40
State 2: 8, 43
State 3: the rest
T 1:6 (o)
State 1: 3, 7, 11, 18, 19, 24, 28, 33, 35, 36, 39, 41, 42, 47
State 2: the rest
T 2:5 (o)
State 1: the rest
State 2: copy 5
T 2:5 (i)
State 1: the rest
State 2; copy 5
T 1:6 (i)
State 1: the rest
State 2: 2, 4, 6, 8, 9, 10, 12, 13, 14, 16, 17, 20, 21, 22, 26, 27, 29, 31, 32, 34, 38, 40, 44
V 1:6 (o)
State 1: readings reported by W. Bang and A. C. Judson, not confirmed in the present collation (see H&S, 9.62)
State 2: the rest
State 3: 6, 7, 8, 9, 10, 11, 14, 15, 17, 18, 19, 20, 35, 38, 44, 49
V 3:4 (o)
State 1: 1, 6, 8, 10, 19, 20, 21, 23, 24, 26, 27, 31, 33, 36, 37, 39, 47, 48
State 2: the rest
V 2:5 (i)
State 1: 6, 19
State 2: the rest
X 1:6 (o)
State 1: 3, 7, 9, 18, 19, 21, 23, 28, 29, 30, 31, 33, 34, 36, 39, 40, 41
State 2: the rest
X 2:5 (o)
State 1: 28, 39, 41, 42
State 2: the rest
(Missing in copy 8)
X 1:6 (i)
State 1: 3, 19, 30, 40
State 2: 9, 15, 17, 18, 21, 23, 28, 31, 33, 36, 41, 49
State 3: the rest
(Missing in copy 8)
X 2:5 (i)
State 1: the rest
State 2: 28, 41
(Missing in copy 8)
Y 1:6 (o)
State 1: readings reported by W. Bang and A. C. Judson, not confirmed in the present collation (see H&S, 9.62)
State 2: the rest
(Missing in copy 8)
Y 2:5 (o)
State 1: copy 19
State 2: the rest
(Missing in copy 8)
Y 3:4 (i)
State 1: 4, 5, 7, 10, 11, 14, 19, 20, 23, 24, 26, 28, 29, 30, 37, 39, 40, 41, 46, 48
State 2: the rest
(Missing in copy 8)
Y 2:5 (i)
State 1: the rest
State 2: 2, 6, 7, 12, 13, 40
State 3: 1, 5, 14, 16, 17, 18, 20, 21, 23, 31, 33, 34, 38, 39, 42, 44, 48
(Missing in copy 8)
Z 3:4 (o)
State 1: the rest
State 2: 1, 2, 3, 6, 14, 15, 37, 43, 46, 48, 49
State 3: 7, 9, 10, 11, 12, 13, 16, 17, 18, 19, 20, 26, 27, 28, 41, 43, 44, 46, 48, 49, 51, 54, 57
(Missing in copy 8)
Z1:6 (i)
State 1: 3, 5, 8, 9, 14, 19, 20, 26, 27, 31, 34, 36, 47
State 2: the rest

COPIES COLLATED
1. Huntington Library, 62100
2. Huntington Library, 62101
3. Huntington Library, 62104
4. Huntington Library, 62105
5. Huntington Library, 495467 (Ford Copy ‘A’)
6. Folger Shakespeare Library, STC 14751, Copy 1
7. Folger Shakespeare Library, STC 14751, Copy 2
8. Folger Shakespeare Library, STC 14751, Copy 3
9. Folger Shakespeare Library, STC 14751, Copy 4
10. Folger Shakespeare Library, STC 14751, Copy 5
11. Folger Shakespeare Library, STC 14751, Copy 6
12. Folger Shakespeare Library, STC 14751.2, copy 1
13. Folger Shakespeare Library, STC 14751.2, copy 2
14. Library of Congress, Yorke W.4.4
15. Gants Personal Copy, Fenton bookplate
16. Gants Personal Copy, Everard Home bookplate
17. British Library, G. 11630 (Grenville copy)
18. Boston Public Library, XfG .3811 .5
19. Boston Public Library, XfG .3811 .5A
20. Boston University, YPR 2600 .C16
21. Wellesley College, qx - English Poetry
22. Bodleian Library, Douce I. 302
23. Huntington Library, 499968
24. Huntington Library, 499967
25. Huntington Library, 499971
26. Huntington Library, 606199
27. Huntington Library, 606202
28. Huntington Library, 606200
29. Huntington Library, 606574
30. Huntington Library, 606576
31. Huntington Library, 606599
32. Huntington Library, 606579
33. Huntington Library, 606582
34. Huntington Library, 606583
35. Brown University, Providence, PR 2600 - 1616
36. Texas Christian University, Fort Worth, Lewis PR2600 1616
37. University of Texas, Austin, Ah/ J738/ +B616a
38. University of Texas, Austin, Ah/ J738/ +B616ab
39. University of Texas, Austin, Ah/ J738/ +B616ad
40. University of Texas, Austin, Ah/ J738/ +B616af
41. University of Texas, Austin, Ah/ J738/ +B616ah
42. University of Texas, Austin, Ah/ J738/ +B616ak
43. University of Texas, Austin, Ah/ J738/ +B616am
44. University of Texas, Austin, AH/ J738/ +B616an
45. University of Texas, Austin, Wh/ J738/ +B616a
46. University of Texas, Austin, Pforz. 559
47. University of Texas, Austin, Woodward-Ruth 181
48. University of Texas, Austin, Stark 6431
49. University of Virginia, E 1616 .J64