ABSTRACT
In modernising the texts, where there has been a choice, I have followed the folio, largely because the stage directions seem to reflect general stage practice, although their inexactness suggests they were not culled from prompt-books. Even though various editors have criticised these directions as unnecessary guides to actions already clear from the dialogue, the likelihood is that Jonson inserted them recognising that many readers have difficulty visualising actions that actors or frequent theatre-goers might think too obvious to mention. In fact, Jonson's failure to insert directions that might strike the novice play-reader as vital (such as the precise moment when Lady Would-be embraces Volpone during 4.6.20-57, or the exact point at which Celia appears in the window during 2.2) actually reveals, not how limiting, but how liberating familiarity with theatrical practice can be. A good playwright builds flexibility into the text, so that many production choices are possible. I have attempted, nevertheless, to control the flexibility by expanding or
56Generalintroduction
addingstagedirectionsinsquarebracketstogivesupporttothedialogueandto makefurtherannotationirrelevant.Butreadersshouldrememberthatmystage directionsarenottheonlyactingchoicesvalidatedbythetext.
