Editions of Macbeth which relate to specific productions of the play.
A quarto edition printed for William Cademan in 1673 (Wing S2929). The title-page is disingenuous: this is not the play that was being performed at the Duke’s Theatre. The text was copied from the ‘First Folio’ edition; the only original elements are a list of the cast and lyrics for some of the songs. (I do not know whether the bookseller William Cademan was related to the actor Philip Cademan (who played Donalbain in this production).)
A quarto edition printed for Philip Chetwin in 1674 (Wing S2930). This is the first edition of Sir William Davenant’s adaptation of Macbeth. It seems to have been produced in a hurry (the work was distributed among three compositors), and numerous mistakes – some silly, some obvious, some both – were allowed to go uncorrected. Subsequent editions are all derived from this one, and most of its errors persist. (This is the quarto used by Furness (1873).) Some copies have a different title-page (Wing S2930A).
Chetwin’s quarto edition reprinted for Andrew Clark in 1674 (Wing S2931).
A farce staged by the King’s Men, printed in 1674 (Wing D2446). I reproduce only the so-called ‘Epilogue’, a spoof of the witch scenes in Macbeth as they were being performed at the Duke’s Theatre. The jokes have mostly lost their point, but some are still amusing. (‘By the itching of my bum’ has to be worth a smile.)
Clark’s quarto edition of Davenant’s Macbeth reprinted for Henry Herringman in 1687 (Wing S2932). I reproduce only the title-page. (This is the quarto used by Maidment and Logan (1874.).) Some copies have different title-pages (Wing S2933–4).
Herringman’s quarto edition of Davenant’s Macbeth reprinted for him and Richard Bentley in 1695 (Wing S2935)). I reproduce only the title-page
Herringman and Bentley’s quarto edition of Davenant’s Macbeth reprinted for Jacob Tonson in 1710. This is the only edition which shows any sign of having been checked against a manuscript, presumably the prompt-book. (I have marked all the differences between this and the Chetwin quarto which might be thought significant: if the change was made in one of the intervening editions, I have given the date.) Nevertheless, numerous errors remain. (Macbeth is still ‘this Dire Friend of Scotland’ (page 44), just as he was in 1674.) For anyone who might think of producing a critical edition of the play, collating the quartos would be the easy part. (But my advice would be to drop the whole idea.)
This is the last London edition of Davenant’s Macbeth. (It was reprinted in Edinburgh in 1731, ‘as it is now Acted at the New Theatre’.) But the play continued to be performed, at least until the 1760s.
A 12mo edition of Shakespeare’s Macbeth published by Jacob Tonson (the younger) in 1729, reprinted from the 12mo reprint of Pope’s edition (1728). This is the first separate edition of the play; it is not of any interest in any other respect. I reproduce only the title-page.
A 12mo edition of Shakespeare’s Macbeth published by Robert Walker in 1734, in defiance of the copyright claimed by Jacob Tonson. The text of the play was stolen from one of the 12mo reprints of Pope’s edition; there is no interest in that. At the back, however, are four unnumbered pages giving the lyrics of the songs as they were being performed in Davenant’s Macbeth. I reproduce only the title-page and the songs.
A 12mo edition of Shakespeare’s Macbeth published by Tonson in 1734, with an advertisement at the front denouncing Walker’s impudence. The text of the play is taken from Theobald’s edition. At the back, just as in Walker’s edition, there are four unnumbered pages giving the lyrics of the songs from Davenant’s Macbeth. I reproduce only the title-page, the advertisement and the songs.
Further 12mo editions, substantially the same as this one, were published in 1745 and 1755. (I have not seen the 12mo edition published in 1776.)
The first edition of the music for Macbeth, published by John Johnston in 1770. (The date was determined by Moore (1961:27).) I reproduce the title-page and the dedication to Garrick; the music itself I have reproduced as a collection of MIDI files (plus a songsheet).
An edition of the play as it was being performed at the Theatre Royal in Drury Lane, with David Garrick as Macbeth and Ann Barry as Lady Macbeth.
Another printing of Bell’s edition, differing in many details from the first. As far as the text is concerned, there is only one large discrepancy: two lines omitted in 1773 have been reinstated here (‘know That it was he … so under fortune’).
A 12mo edition published by a consortium of London booksellers in 1785. Abnormally for an acting edition, it gives the entire text (with the words of the songs spliced in at the proper places), using inverted commas to cancel the passages which are ‘omitted in the Representation at the Theatre’. (The only copy which I have seen lacks the last page and has some other blemishes; but these defects do not prevent it from being useful.)
Another 12mo edition published in 1785 – ‘Printed for the Proprietors, and sold by R(achael) Randall’ – seems to have been reprinted from this one: it omits the cancelled passages, but in every other respect is almost identical with it.
An edition of the play as it was performed at the opening of the new Theatre Royal in Drury Lane on 21 April 1794, with John Philip Kemble as Macbeth and Sarah Siddons as Lady Macbeth. Famously, this is the production in which Banquo’s Ghost became invisible to the audience (in the banquet scene, not in the cauldron scene). It is notable too that the lords bring their ladies to the banquet, All in all, Kemble’s adaptation is a very thoughtful piece of work: one can learn a lot about the play by asking why Kemble made the changes that he did.
A good-looking 6mo edition published by the firm of Longman, Hurst, Rees and Orme. This was one of a series of 125 matching booklets, designed to be sold separately, but also eventually to be bound in batches of five to make a set of 25 volumes, with the overall title ‘The British theatre’. (When that happened, Macbeth became the third item in volume 4.) Like the other booklets, it has an angraved frontispiece (‘Painted by Cook. / Engrav’d by Raimbach. / Publish’d by Longman & Co. 1806’) and a short introduction by Elizabeth Inchbald. The script is basically the same as in Kemble’s edition, but there are numerous differences in detail. Banquo’s Ghost reappears in the banquet scene – just once, however, not twice. The ladies are not invited.