I disagree with these three ideas. Indeed, my own assumptions - the frames of my critical practice - are in each case precisely the inverse of each one. To my mind, the circumstances of publication always bear upon literary meaning. The initial question posed to me, therefore, seems pertinent only as a procedural problem which
I would frame in this way: what are the most useful illustrations I could give of the way the 'circumstances of publication' make a difference to literary meaning?