ABSTRACT
In the case of King Leir, the edited playtext is traditionally New Bibliographic in a digital mode: it attempts to correct for errors in the text inspired by printing-house practice. The innovations of Queen’s Men Editions (QME) digital editions are clearest when set against the two strands of debate with which editors of early modern plays necessarily engage when they produce the documents they publish. The first is a series of debates centering primarily on bibliographical questions that Gabriel Egan has recently characterized as the "struggle" over the early modern playtext and its meaning for modern readers. The second set of debates queries the theatricality of edited plays when asking about the questions of performance and text. In both sets of debates, QME editions exploit the affordances of the digital interface to provide novel solutions to the problems that their editors have produced when making editions.
