ABSTRACT
Though he was not the first author to be identified on the title-page of a play from the early modern professional theatre, Shakespeare was the first editor to be named on one. In fact, the birth of Shakespeare the author was coterminous with the birth of Shakespeare the editor, the guarantor of a 'correct' text. For all of its provocation, Marcus's approach ultimately produces a somewhat paradoxical outcome. In spite of Marcus's recognition of the networks necessary to produce texts, she focuses less on network processes than on their products, printed documents, without much concern for how printed texts may have been shaped and altered in their transmission through various collaborative networks. Honigmann, though, does draw heavily on New Bibliographic theories, and, as a result, his work is instructive for its insights on how editors view the printed documents with which they work and on the issues they must confront in preparing a critical edition.
