First Folio Quotes

Above my cradle loomed the bookcase where/ Latin ashes and the dust of Greece/ mingled with novels, history, and verse/ in one dark Babel. I was folio-high/ when I first heard the voices.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Johnstoune’s copy of the First Folio is now in Meisei University in Tokyo, but I can read it in London on my smartphone.

What we do have for Shakespeare are his plays—all of them but one or two—thanks in very large part to the efforts of his colleagues Henry Condell and John Heminges, who put together a more or less complete volume of his work after his death—the justly revered First Folio.

If the Chandos portrait is not genuine, then we are left with two other possible likenesses to help us decide what William Shakespeare looked like. The first is the copperplate engraving that appeared as the frontispiece of the collected works of Shakespeare in 1623—the famous First Folio.

We’ve upgraded our service, too!” Tempest boasted. I forced myself to focus on her eye sockets. “How?” “You can use our app!” she said. “You don’t have to summon us with gold coins anymore!” She pointed to a sign on the Plexiglas partition. Apparently, I could now link my favorite magic weapon to their cab and pay via virtual drachma using something called GRAY RYYD. I shuddered to think what the Arrow of Dodona might do if I allowed it to make online purchases. If I ever got back to Olympus, I’d find my accounts frozen and my palace in foreclosure because the arrow had bought every known copy of Shakespeare’s First Folio. “Cash is fine,” I said. Wasp grumbled to Anger, “You and your predictions. I told you the app was a stupid idea.” “Stopping for Apollo was stupider,” she muttered back. “That was your prediction.” “You’re both stupid!” snapped Tempest. “That’s my prediction!

When I worked in a second-hand bookshop — so easily pictured, if you don't work in one, as a kind of paradise where charming old gentlemen browse eternally among calf-bound folios — the thing that chiefly struck me was the rarity of really bookish people. Our shop had an exceptionally interesting stock, yet I doubt whether ten per cent of our customers knew a good book from a bad one. First edition snobs were much commoner than lovers of literature, but oriental students haggling over cheap textbooks were commoner still, and vague-minded women looking for birthday presents for their nephews were commonest of all.

The first is that I firmly believe that much of the quality we call intelligence is quantitative: he who finds the correct solution to a problem has simply tried out more things that he who does not.

This reasoning is based on the wishful thinking that genius can only be earned through education and hard work. It denies the time-proven truth that genius can strike like a random bolt of lightning, at any time in any place, even in a humble glover's home in a small town in Elizabethan England.

was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

No scientist before Leonardo had methodically shown how birds stay aloft. Most had simply embellished on Aristotle, who mistakenly thought that birds were supported by air the way ships were by water.12 Leonardo realized that keeping aloft in air requires fundamentally different dynamics than doing so in water, because birds are heavier than air and are thus subject to being pulled down by gravity. The first two folios of his Codex on the Flight of Birds deal with the laws of gravity, which he calls the “attraction of one object to another.” The force of gravity, he wrote, acts in the direction of “an imaginary line between the centers of each object.”13 He then described how to calculate the center of gravity of a bird, a pyramid, and other complex shapes.

Probably the first book that Hamilton absorbed was Malachy Postlethwayt’s Universal Dictionary of Trade and Commerce, a learned almanac of politics, economics, and geography that was crammed with articles about taxes, public debt, money, and banking. The dictionary took the form of two ponderous, folio-sized volumes, and it is touching to think of young Hamilton lugging them through the chaos of war. Hamilton would praise Postlethwayt as one of “the ablest masters of political arithmetic.” A proponent of manufacturing, Postlethwayt gave the aide-de-camp a glimpse of a mixed economy in which government would both steer business activity and free individual energies. In the pay book one can see the future treasury wizard mastering the rudiments of finance. “When you can get more of foreign coin, [the] coin for your native exchange is said to be high and the reverse low,” Hamilton noted. He also stocked his mind with basic information about the world: “The continent of Europe is 2600 miles long and 2800 miles broad”; “Prague is the principal city of Bohemia, the principal part of the commerce of which is carried on by the Jews.” He recorded tables from Postlethwayt showing infant-mortality rates, population growth, foreign-exchange rates, trade balances, and the total economic output of assorted nations.

adolescence; as never, surely, were the certain-coursed, dynamic roller-coasters of youth. For most men and women these thirty years are taken up with a gradual withdrawal from life, a retreat first from a front with many shelters, those myriad amusements and curiosities of youth, to a line with less, when we peel down our ambitions to one ambition, our recreations to one recreation, our friends to a few to whom we are anaesthetic; ending up at last in a solitary, desolate strong point that is not strong, where the shells now whistle abominably, now are but half-heard as, by turns frightened and tired, we sit waiting for death. At forty, then, Merlin was no different from himself at thirty-five; a larger paunch, a gray twinkling near his ears, a more certain lack of vivacity in his walk. His forty-five differed from his forty by a like margin, unless one mention a slight deafness in his left ear. But at fifty-five the process had become a chemical change of immense rapidity. Yearly he was more and more an "old man" to his family--senile almost, so far as his wife was concerned. He was by this time complete owner of the bookshop. The mysterious Mr. Moonlight Quill, dead some five years and not survived by his wife, had deeded the whole stock and store to him, and there he still spent his days, conversant now by name with almost all that man has recorded for three thousand years, a human catalogue, an authority upon tooling and binding, upon folios and first editions, an accurate inventory of a thousand authors whom he could never have understood and had certainly never read. At sixty-five he distinctly doddered. He had assumed the melancholy habits of the aged so often portrayed by the second old man in standard Victorian comedies. He consumed vast warehouses of time searching for mislaid spectacles. He "nagged" his wife and was nagged in turn. He told the same jokes three or four times a year at the family table, and gave his son weird, impossible directions as to his conduct in life. Mentally and materially he was so entirely different from the Merlin Grainger of twenty-five that it seemed incongruous that he should bear the same name. He worked still In the bookshop with the assistance of a youth, whom, of course, he considered

Rare books can be seen in Roorkee, in the University's old library. Here, not many years ago, a First Folio Shakespeare turned up and was celebrated in the Indian Press as a priceless discovery. Perhaps it's still there. Also

Earlier, when I made my coffee (after releasing my grateful geese), I sat at the big Northridge desk and got out the Edward Curtis portfolio for breakfast reading. When I untied the first folio there was a note—“Dalva & Ruth. Wash your hands. I love you. Grandpa.” A simple old note, brittle with age, but I was momentarily overcome with loneliness for her; at the same time, though, I knew in a deeper sense that I was totally out of the running. In the long and short of it, love is a more difficult subject than sex. Or history. I

By this edition of HAMLET I hope to help the student of Shakspere to understand the play—and first of all Hamlet himself, whose spiritual and moral nature are the real material of the tragedy, to

The Holy Bible. Encyclopedia Britannica. Mr. William Shakespeare’s Comedies, Histories, & Tragedies, otherwise known as the First Folio.

His purchase of the Vincent [First Folio] signaled his breakthrough as a great collector. He had learned the price of hesitation and quibbling. He had overcome the psychological hurdle that all beginning collectors confront: spending big money. Some collectors do not obtain their finest pieces until the summit of their careers. Folger achieved many of his greatest triumphs at the dawn of his quest. This was his seventh First Folio (W 59, F 1). Some collectors lose great objects because they take too long to hit their stride. They lack the confidence to recognize opportunities or the will to act decisively, even when they could afford the piece. They posses the financial resources but not the will to deploy them. Great opportunities come too early in their careers and they do not act. They fail to realize that falling stars are rare, that planets rarely align. Henry learned these lessons early in the game. 140 [Note: First offered at £5,000, Folger's quibbling led the owner to withdraw the Folio. We offered later for £10,000, Folger bought it immediately.]

His purchase of the Vincent [First Folio] signaled his breakthrough as a great collector. He had learned the price of hesitation and quibbling. He had overcome the psychological hurdle that all beginning collectors confront: spending big money. Some collectors do not obtain their finest pieces until the summit of their careers. Folger achieved many of his greatest triumphs at the dawn of his quest. This was his seventh First Folio (W 59, F 1). Some collectors lose great objects because they take too long to hit their stride. They lack the confidence to recognize opportunities or the will to act decisively, even when they could afford the piece. They possess the financial resources but not the will to deploy them. Great opportunities come too early in their careers and they do not act. They fail to realize that falling stars are rare, that planets rarely align. Henry learned these lessons early in the game. 140 [Note: First offered at £5,000, Folger's quibbling led the owner to withdraw the Folio. When offered later for £10,000, Folger bought it immediately.]

The Internet, however, is nothing like a library. Rather, it’s a giant repository where anyone can dump anything, from a first folio to a faked photograph, from a scientific treatise to pornography, from short bulletins of information to meaningless electronic graffiti. It’s an environment almost entirely without regulation, which opens the door to content being driven by marketing, politics, and the uninformed decisions of other laypeople rather than the judgment of experts. Can

As a literary authority with many years of academic experience Raymond Scott knows every First Folio of the Folger Library.

In 1640 an anthology of Shakespeare’s poems was published, irreverently questioning the Folio’s presentation of Shakespeare. It, too, featured a copy of the Droeshout portrait but added a bright light behind his subject’s head, suggesting the figure in front is but a shadow. To drive home the point, an accompanying poem called the figure a “shadow” and mimicked the language of Jonson’s famous tribute, sprinkling it with sarcastic question marks that contest the legitimacy of the image: This Shadow is renowned Shakespear’s? Soule of th’age The applause? Delight? The wonder of the stage. Some of the First Folio’s early readers apparently suspected that this was a false image of the author.

Out of 750 copies printed originally, 235 remain today. One was found in a French library in 2014, where it had lain undisturbed for two hundred years. Another surfaced in 2016 in a Scottish country house. In 2020 a First Folio sold at Christie’s fetched nearly $ 10 million,

Henry and Emily Folger were Gilded Age philanthropists who spent their fortune obsessively collecting First Folios.

Scholars have protested that the engraver was merely incompetent. “Droeshout’s deficiencies are, alas, only too gross,” sighed Professor Samuel Schoenbaum. But it is hard to believe that a professionally commissioned artist would be so inept as to accidentally make two left arms, two right eyes, a huge head, and all of the other alleged deformities. The First Folio was an expensive undertaking, several years in the making. The anti-theatrical puritan William Prynne complained that “Shakespeare’s plays are printed in the best crown paper, far better than most bibles.

The single most important text in the authorship debate is the First Folio, the authoritative collection of Shakespeare’s plays published in 1623, seven years after the Stratford man’s death. Until then, only half of the plays had been published, in individual, pamphlet-like editions called quartos. The Folio collected all thirty-six plays, half of which might have otherwise been lost, and set up Shakespeare as a figure of cultural prestige, hailing him in a series of prefatory pages as the triumph of Britain—a poet “not of an age but for all time!” Scholars argue that this praise of Shakespeare in the First Folio, seven years after his death, confirms the Stratford man’s authorship.

The largest collection of First Folios is held by the Folger Shakespeare Library in Washington, DC.

Shakespeare’s First Folio. Below the title sits the famous portrait of Shakespeare known as the Droeshout portrait, after its engraver, Martin Droeshout. It is a famously awful portrait. Critics over the years have complained that the head is huge—“ much too big for the body.” The skull is of “horrible hydrocephalus development.” The mouth is too small. The ear is malformed. The hair is lopsided, like a bad wig.

In 2016, to mark the four hundredth anniversary of Shakespeare’s death, the Folger busted out the Folios, touring first editions to all fifty states like a medieval show of saints’ bones.

Weyward is used in the First Folio edition of Macbeth. In later versions, Weyward was replaced by Weird.

The Droeshout engraving appeared seven years after Shakespeare’s death inside the 1623 First Folio, a collection of his plays without which some of those masterpieces would have perished. In the folio’s opening page the playwright Ben Jonson, a friend and rival of Shakespeare’s, approved this engraving of the author inside a poem in which Jonson lamented that the engraver, a twenty-two-year-old artist named Martin Droeshout, had been unable to capture Shakespeare’s wit as well as he had his face. To my knowledge that face has not been complimented since.

In 1834 William IV, England’s “sailor king,” had obtained the portrait, understood to be Shakespeare, from the descendants of the Sidney clan at Penshurst Place. Could there be a better provenance for Shakespeare than Penshurst? The Sidney family was, after all, the only family ever rumored to have had “the man Shakespeare” pay them a social visit. Mary Sidney even stood accused of having written, or coauthored, the plays of Shakespeare due in part to the elite literary salon she fostered known as the Wilton Circle. Mary’s husband had founded Pembroke’s Men, the first acting troupe to perform Shakespeare’s plays. The hallowed 1623 First Folio was dedicated to their two sons.

The emptiness of that monument in front of me was another reason the locals thought Greville wrote Shakespeare. Inside the First Folio, Ben Jonson had called Shakespeare “a monument without a tombe,” and here was just such a monument. Jonson had also described Shakespeare as the “Sweet Swan of Avon.” Greville’s heraldic beast was the swan—he’d even worn a swan-topped helmet into the tilts—and Warwick Castle, where Greville had been living when the First Folio was published, was perched directly over the Avon River.

Ben Jonson, who knew Shakespeare well enough not to underestimate him as a writer, also knew that part of his greatness was bound up in his gift for second thoughts. Jonson’s praise of Shakespeare’s craft in the First Folio, largely overlooked today, is worth recalling: he Who casts to write a living line, must sweat,