The Workes of Benjamin Jonson. Imprinted at London by Will. Stansby, 1616, folio.
THE FIRST FOLIO OF BEN JONSON'S PLAYS, SECOND IN IMPORTANCE TO 17th CENTURY ENGLISH DRAMA ONLY TO SHAKESPEARE'S FIRST FOLIO; ONE OF THE EARLIEST BOOKS TO MENTION SHAKESPEARE BY NAME.
POSSIBLY A ROYAL COPY (see provenance, below)
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The first folio of Ben Jonson is notably scarce. It stood as the bibliographical precedent for Shakespeare's first folio which followed a few years later in 1623, as well as that of Beaumont & Fletcher in 1647. "Jonson began the preparation of this definitive edition in 1612. He used the quarto texts wherever available but scrupulously and systematically revised them, cutting out many marginal notes, altering spelling, typography, and punctuation in accordance with a consistent and somewhat pedantic plan of introducing considerable editorial matter. The result is that this folio edition may be regarded as authoritative. Moreover, Jonson attended the press while it was being printed and introduced many corrections and alterations at that time" (Pforzheimer). Consequently, there are many bibliographical variations of this work, but Pforzheimer (very) generally classes them into the small and larger paper copies.
Significantly for Shakespearean history, the name of William Shakespeare appears for one of the earliest times in print in this book. It appears twice: once as among the principal players for Every Man in his Humour, and again for Sejanus. Indeed, this first folio of Ben Jonson can be said to be intimately linked to that of Shakespeare, as when Heminges and Condell came to prepare the first folio of Shakespeare, Ben Jonson himself provided commendatory verses. Moreover, the publication of this book was essential to the establishment of theatre as an institution with genuine literary credentials. This was a very audacious printing by Jonson, and clearly proved to be very successful.
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Provenance:
Neat inscription of Ann Hyde, to head of pp.524 (colophon for The Foxe), being a fascinating instance of early modern female book ownership; this is identified by a previous owner as Ann Hyde (1637-1671) in pencil to a preliminary blank. If this is a correct attribution, her ownership of this book is very significant. Her father, Edward Hyde, the 1st Earl of Clarendon, was in Ben Jonson's circle. Anne Hyde was the first wife of James, Duke of York and Albany who became King James II of England. His brother was King Charles II. They met while in exile in the Netherlands in 1660. Two of her children were future English monarchs, becoming Queen Mary II and Queen Anne. She was originally Anglican but converted to Catholicism soon after her marriage to James. Historian John Callow claims Anne "made the greatest single impact" in the process that led to James becoming a Catholic. Aside from her many links to the important figures of the time, she was herself an important figure in English history. Following her death, she was interred in the vault of Mary Queen of Scots at Westminster Abbey. It was generally only noblewomen who would own books such as this in 17th century England, especially of a secular nature, and so it seems quite possible that this attribution is correct.
Inscription of "John" in outer margin of pp.540 (unidentified).
Inscription of William Collingwood to contents leaf recto, circa early 18th century.
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Size: 181 x 285 mm (approx.)
Condition:
[(2), t.p., A-Z6, Aa-Bb6, [Cc1], Cc2-6, Dd-Zz6, Aaa-Ooo6, Ppp1, [Ppp2], Ppp3-4, [Ppp5], Ppp6, Qqq-Zzz6, Aaaa-Ffff6, Gggg1-4, Gggg6, Hhhh6, Iiii1-4, Kkkk2-6, Llll-Nnnn6, Oooo1-5, (3)]
18th century full marbled calf decorated in gilt, rebacked circa the mid 19th century, hinges reinforced, thus with both boards securely attached, the binding is secure and stands without shelf lean. Binding rubbed, some loss to tooled morocco label. Lacks main engraved title and original blanks, 7 leaves throughout the text (2C1, 3P2, 3P5, 4G5, 4I5-6, 4K1), and all after 4O5 (i.e. 4O6 and 4P1-6), i.e. the final few leaves of The Masques. 2C1, 3P2, and 3P5 are provided in circa 18th century neat MS facsimile. Our copy ends with pp.994 but a complete copy would end at pp.1015.
Scattered dampstaining, generally heavier to each end of the text block as typical, though largely clean through the majority of the text. A1 with an early repair to lower corner, slightly catching a letter of text on the verso. G1 is the beautiful engraved title for Every Man out of His Humour. Ink stain to Y4 covering a few words of text but still legible underneath. Some ink stains and writing to 4A1-2. Leaf 4O5 defective lacking a third of the leaf at the right hand side, including some text, though the loss is mostly marginal blank space. 2F3-2G6 with some loss at the foot of the leaves, not touching any text. Loss of bottom outer corner of 3H2, slightly catching a few letters of text on the verso. Tape repairs to A3 and G6.
[Pforzheimer 559; STC 14741; ESTC S111817; Pollard & Redgrave 14751; USTC 3007069, 3007070, 3007071].
