By Francis X. Connor (auth.)
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Additional info for Literary Folios and Ideas of the Book in Early Modern England
27 Tottel’s portrait of courtly hoarders appeared in every edition of his miscellany, and, in its wake, printers and authors of sonnet sequences of the 1590s would offer similar justifications for publishing courtier literature. T. Gentleman” on the title page—that he did not know “what the Gentleman was that wrote these Verses,” but because the work is “ful of choice & change” and will “delight in euery way,” he prints it despite the possible opprobrium from the “foule-mouther Iackes” who want to keep it private.
Here, the printer argues that printing privately circulated poetry is an act of heroic rescue, and books like Diana, Laura, and Songes and Sonets can provide a literary foundation for the nation comparable, however hyperbolically, to Aeneas founding Rome. The description of manuscript coteries in prefaces to printed books indicates that the relationship between manuscript and print was often Manuscript to Print in Arcadia M 31 understood as mutually productive, and some early modern readers would come to understand print as a result and a continuance of manuscript social textuality.
His first literary publications are two romances by Robert Greene, Mamillia in 1583 and Gwydonius in 1584, neither of which evince an impulse toward literary discrimination, although they may have helpfully provided a secure and necessary financial return for a young publisher. 65 His lucky break seems to have come from an early contact with Fulke Greville. ”67 Although this is currently the only archival evidence suggesting a collaborative working relationship between Ponsonby and the Sidneys, he does obtain the right to print Arcadia in 1588—not long after the letter—and his 1590 edition of Arcadia essentially begins his career as a literary publisher.
Literary Folios and Ideas of the Book in Early Modern England by Francis X. Connor (auth.)