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• W1986929444 abstract "Click to increase image sizeClick to decrease image size Acknowledgments I would like to thank the Social Sciences and Humanities Research Council of Canada as well as the Renaissance Society of America for funding this research. Thanks also to Jaime Goodrich for her sage advice. Notes 1Unless otherwise specified, the readings and line numbers are taken from the Riverside Shakespeare, 2nd ed. 2The printed witnesses of the play, including the version Sancroft read, only vary in spelling: first quarto reads, “the Rauen rookt” ([E5]), and the folios have, “the Raven rook'd” (F1, 171; F2, 171; F3 2nd imprint, 507). Note that the pagination in the folios is not always sequential. All early print editions of Shakespeare's works were consulted on Early English Books Online (EEBO). We know that Sancroft used the third folio because he at times offered page numbers for the selections he copied; furthermore, he copied from plays that were only present in the third folio. 3As Helen Carron notes, Sancroft's library is being catalogued as part of the Private Libraries in Renaissance England project (290). 4Modern editors who gloss the word as rucked, crouched, couched, roosted, cowered, or squatted include David Bevington and David Scott Kastan, Randall Martin, John D. Cox, Barbara A. Mowat and Paul Werstine, William Montgomery, Andrew S. Cairncross, Michael Hattaway, and Herschel Baker (in The Riverside Shakespeare). 5In Love's Labour's Lost, rooks are again paired with jackdaws (choughs), though in a more uplifting Cuckoo song, “When turtles [turtledoves] tread, and rooks and daws, / […] / The cuckoo then on every tree / Mocks married men” (5.2.905–8). In The Merry Wives of Windsor, the Host uses the compound “bully-rook” (3.1.2; 2.1.193; 2.1.198; 2.1.205) as an affectionate term for other men in the play, probably playing on the second meaning of a rook as a cheat (OED n. 2). 6There is no transitive or reflexive use of “ruck” given in the Middle English Dictionary. 7Owls and ravens (noisy or quiet) represent negative omens and death in every play in the tetralogy. In 1 Henry VI, a general anticipates the upcoming bloodshed: “Thou ominous and fearful owl of death, / Our nation's terror and their bloody scourge!” (4.2.15–16). In 2 Henry VI, Henry compares Suffolk to a raven: “Came he right now to sign a raven's note, / Whose dismal tune bereft my vital powers?” (3.2.40–41). In Richard III, Richard lunges at a messenger, crying, “Out on [you], owls! nothing but songs of death?” (4.4.507). See Dent and Tilley for more instances of this imagery. 8W. A. Clouston documented further Renaissance examples of croaking ravens in the works of Spenser, Peele, and Marlowe (21). 9Unlike Bodleian MS Sancroft 29, which was copied from the second imprint of the third folio, in Bodleian MS Sancroft 97, the Archbishop copied from a quarto of the play. In Bodleian MS Sancroft 97, he titled the section “Yorke, & Lancaster” (80) and began with selections from 2 Henry VI, which was published in quarto as The First part of the Contention betwixt the two famous Houses of York and Lancaster. Sancroft notes in the margin that he is copying from the “2d pt [second part]” (80) when he begins copying from 3 Henry VI, which was published in octavo (known as Q1) and advertised as the sequel: The true Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the whole contention betweene the two Houses Lancaster and Yorke … . 10Consider Bodleian Rawlinson MS 117 (comp. Christopher Wase, and others, as yet unknown), which contains two versions of this couplet from Love's Labour's Lost (copied from the reprinted version in Walkington's Optick Glasse): “Full paunches have leane pates, and danty bitts / make rich the ribs but bankerout the witts” (f. 156 rev.) and “Fat paunches make lean witts, and grosser bits / Inrich the ribs, but bankrout quite the wits” (f. 276 rev.). 11While Arthur F. Marotti explains “Textual Instability and Malleability” as it relates to lyric poetry, the same holds true for extracts from drama in the archive (see esp. 135–147). 12I would like to thank the ANQ reader who pointed out that Sancroft's emendation to “croak'd” could perhaps be pronounced “crook'd,” in which case, it would reinforce the notion that the raven is crouching. I cannot, however, find an example of Sancroft substituting a synonym for one of Shakespeare's words; although he at times offers synonymous glosses, in those cases he offers both words. If Sancroft understood “rook” to mean undoubtedly “crouch,” then he might not have felt the need to change it in even one manuscript." @default.
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• W1986929444 date "2012-04-01" @default.
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• W1986929444 title "Archbishop William Sancroft's Emendation of3 Henry VI: Rereading “rook'd”" @default.
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