The Golden Age: Annotations GldA: Annotations Author Janelle Jenstad Digital Renaissance Editions DRE

Anthology Leads and Co-Coordinating Editors: Brett Greatley-Hirsch, Janelle Jenstad, James Mardock, and Sarah Neville.

 Social Sciences and Humanities Research Council of Canada Jamie Cassels Undergraduate Research Award (UVic)

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Digital Renaissance Editions

Preliminary annotations prepared by Janelle Jenstad

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 Document Types All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file. Born-digital Born-digital documents are anything other than primary texts Annotation Notes, glosses, and other annotations. Responsibilities Responsibilities Author A person, family, or organization responsible for creating a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs). Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator such that the modification has substantially changed the nature and content of the original or changed the medium of expression. LEMDO uses the term author in two contexts: (1) to indicate the author of a primary work or document (such as Hamlet), and (2) to indicate the author of a secondary text (such as the Critical Introduction to <title level="m">Hamlet, by David Bevington). vertical-align: super; font-size: smaller; Updated metadata, changed status to draft, and licensed for inclusion in Classroom anthology. Created annotations file. Brett Greatley-Hirsch Brett Greatley-Hirsch

Brett Greatley-Hirsch is Professor of Renaissance Literature and Textual Studies at the University of Leeds. He is a coordinating editor of Digital Renaissance Editions, co-editor of the Routledge journal Shakespeare, and a Trustee of the British Shakespeare Association. He is the author (with Hugh Craig) of Style, Computers, and Early Modern Drama: Beyond Authorship (Cambridge, 2017), which brings together his interests in early modern drama, computational stylistics, and literary history. His current projects include editions of Hyde Park for the Oxford Shirley (with Mark Houlahan) and Fair Em for DRE, a history of the editing and publishing of Renaissance drama from the eighteenth century to the present day, and several computational studies of early modern dramatic authorship and genre. For more details, see notwithoutmustard.net.

 Janelle Jenstad Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

 James D. Mardock James Mardock

James Mardock is Associate Professor of English at the University of Nevada, Associate General Editor for the Internet Shakespeare Editions, and a dramaturge for the Lake Tahoe Shakespeare Festival and Reno Little Theater. In addition to editing quarto and folio Henry V for the ISE, he has published essays on Shakespeare, Ben Jonson, and other Renaissance literature in The Seventeenth Century, Ben Jonson Journal, Borrowers and Lenders, and contributed to the collections Representing the Plague in Early Modern England (Routledge 2010) and Shakespeare Beyond Doubt (Cambridge 2013). His book Our Scene is London (Routledge 2008) examines Jonson’s representation of urban space as an element in his strategy of self-definition. With Kathryn McPherson, he edited Stages of Engagement (Duquesne 2013), a collection of essays on drama in post-Reformation England, and he is currently at work on a monograph on Calvinism and metatheatrical awareness in early modern English drama.

 Sarah Neville Sarah Neville

Sarah Neville is an associate professor of English and Theatre, Film and Media Arts at the Ohio State University. She specializes in early modern English literature, bibliography, theories of textuality and Shakespeare in performance, chiefly examining the ways that authority is negotiated in print, digital and live media. She is an assistant editor of the New Oxford Shakespeare (2016-17), for which she edited five plays in both old and modern-spelling editions, as well as an associate coordinating editor of the Digital Renaissance Editions. She regularly publishes on textual theory, digital humanities, pedagogy, and scholarly editing. Neville’s book, Early Modern Herbals and the Book Trade: English Stationers and the Commodification of Botany (Cambridge, 2022), demonstrates the ways that printers and booksellers of herbals enabled the construction of scientific and medical authority in early modern England. A theatre director and film artist who is a great believer in experiential learning, Neville is the founder and creative director of Ohio State’s Lord Denney’s Players, an academic theatre company that enables students to see how technologies of textual transmission have shaped the reception of Shakespeare’s plays.

 Cameron Stirling Cameron Stirling

Cameron Stirling is an English Honours student at the University of Victoria and the holder of a 2024–2025 Jamie Cassels Undergraduate Research Award.

 Thomas Heywood Thomas Heywood OED: The Oxford English Dictionary. 3rd ed. Oxford: Oxford University Press, 2022. LEMDO Team The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors. University of Victoria https://www.uvic.ca/ Digital Renaissance Editions DRE

Anthology Leads and Co-Coordinating Editors: Brett Greatley-Hirsch, Janelle Jenstad, James Mardock, and Sarah Neville.
1.1 The 1611 quarto is divided into acts. Gaines was the first scholar to divide the play into scenes. See Textual Introduction for a discussion of scene divisions in this edition. crares small boats Gaines emends to crayers but the one-syllable crares fits the meter better. The examples in the OED show that both crayer and crare were early modern spellings (OED crayer|crare noun). Aside This aside is marked in Q1 after Diana’s What can you do?. Collier places it in the margin after To bright Diana and her train I’ll stand, perhaps suggesting that this line, with its sexual pun on stand, as well as More than the best here can are spoken as asides. Gaines places the aside before That’s more than I can promise and indicates that Well, proceed and subsequent lines are spoken To them (Gaines 2.6.113). (That’s … proceed. The compositor has wrongly put parentheses around the part of the line that is spoken to Atlanta. Collier and Gaines recognize the error and correct it in their respective ways. Jupiter alone his life defended Jupiter merely defended his own life his Saturn’s He … force Jupiter is the subject here his father Jupiter’s father (i.e., Saturn); Jupiter drove his father from Crete leaving him ceasing to speak of him (i.e., Saturn) father, double tyrannous double tyrannous / To prosecute the virtues of his son is a subordinate clause modifying our unkind father. I have followed Collier’s punctuation instead of Gaines’. fost’ress foster parent jennet horse Specifically a small Spanish horse (OED n.1) riched enriched yet Possibly a compositorial misreading of yt (a common abbreeviation for that) in the manuscript. Both Collier and Gaines retain Q1’s yet. Nay, … lords This dialogic stage direction indicates that Pluto and Neptune have not taken Arcas’s hands. She … strumpet Gaines marks this line as an aside. One might experiment in performance with this moment of strife between Juno and Jupiter. Jupiter hears Juno’s denigration of Callisto. Does Juno hear Jupiter’s resolve woo and win all the beauteous maids on earth? What is happening on stage during this lengthy aside? It was … star The quarto sets each of these three half lines on their own compositorial lines. I have tagged the second and third as a shared verse line, because of the isocolon on She was/shall be a. One might experiment in performance with the rapidity of responses. Does Juno make a speedy rejoinder to Jupiter’s It was before your time? Does she take a moment to formulate her response? snaffle in bridle snaffle is a transitive verb meaning to put a bit on a horse. See OED v1 1. transhapes changes of shape, metamorphoses; see OED trans-shape | transhape, where all three examples come from Heywood. Heywood appears to be the only early modern writer to use transhape as a noun. In addition to OED’s examples from The Golden Age, The Silver Age, and Love’s Mistress, Heywood uses the term as a noun in Gynaikeion. He also accounts for more than half of the uses of transhape as a verb in the EEBO-TCP corpus up to 1640. Transhape is a more common spelling than trans-shape. Argos king king of Argos mure wall novel piece of news (Gaines). beldams an aged woman (OED n.2). Unlike Gaines, we treat this term as a generic noun rather than a proper name. Unsensible of Incapable of being affected by (Gaines). obdur’s obdurate is (i.e., is stubborn) That fort … fail Gaines marks these two lines as an aside. We … behold Gaines marks this concluding couplet as an aside. tow flax. barricadoed barricaded pleasure … All Collier offers a plausible alternative punctuation of this passage. He puts a question mark after pleasure and treats For thy taste and curious palate as the dependent opening clause of All the chiefest cates / Are Fetched to content thee. durance forced confinement record remember, take to heart (Gaines). child give birth to obdur obdurate gem virginity (metaphoric) off Go off, discharge (Gaines). The Clown, punning on the double meaning of charge (responsibility; munition), continues the verbal play with fire and off. sooth to support, or back up, (a person) in a statement or assertion (OED verb 3). The OED cites this line from The Golden Age as an example of this now-obsolete meaning. Gaines unnecessarily emends the spelling to soothe. Now, gold, Jupiter apostrophizes (speaks to) the gold Gaines marks this speech as an aside. 1 Beldam Q, Collier, and Gaines all assign both and to 1 Beldam. However, one of the two speeches might be assigned to another beldam. The speaker of orders one of the other beldams to Keep the peddler company while she shows the peddler’s gift to Danae; the speaker of orders you that have the best legs to run to Danae. Assigning both speeches to the same speaker may open up comic possibilities, with 1 Beldam feigning lameness and staying behind when she recognizes that the peddler has more presents. that that which Exit 2, 3, and 4 Beldam. This edition adds an exit for three of the beldams, on the grounds that each beldam is given one jewel and the subsequent original stage direction has Danae looking upon three several jewels. 1 Beldam remains behind. —Sweet, your ear. The compositor of Q used italics and an opening parenthesis to signal the aside here. 4.6 This edition adds a scene break here. The Q1 stage direction reads The bed is drawne in, and enter the Clowne new wak’t. Both Collier and Gaines split this two-part paratactic stage direction into its two component parts and drop the and. Collier does not provide scene divisions; even though Gaines does provide scene divisions, he does not add one here, even though the stage is technically cleared. Jove … way I follow Gaines in assigning this line to Arcas, on the grounds that it seems unlikely that Jupiter would invoke Jove (i.e., himself) to guide us in our way (Gaines 77n). Trojans Q1’s Troians could equally well be modernized as Troyans, a more common early modern name for the inhabitants of Troy, from whom Londoners imagined themselves to be descended. 5.3 Gaines does not begin a new scene here. I do, on the grounds that this scene is one of the rest and regroup scenes so common in early modern battle sequences. a on