An assortment of separate editions of Macbeth with extracts from other publicationss, mostly relating to specific productions of the play.
The lyrics for ‘Let’s have a dance upon the heath’, one of the songs in Davenant’s Macbeth, included in a collection of popular songs printed for Samuel Speed in 1669 (Wing N529).
There are two later editions of this book, published in 1671 and 1681 (Wing N530–1), and the lyrics can be found there too, with just slight variations.
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.)
In this slightly revised form, Davenant’s Macbeth was reprinted more than once – most recently, it seems, in Edinburgh in 1731, ‘as it is now Acted at the New Theatre’.) In London by that time, if one had gone into a bookshop and asked for a copy of Macbeth, one would probably have been offered a copy of Shakespeare’s play. But Davenant’s Macbeth 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 – the first, at least, of which copies are known to survive. 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 Tonson in 1734. The text of the play is taken from Theobald’s edition: that is not of any interest. At the back, however, there are four unnumbered pages giving the lyrics of the songs, ‘never printed in any of the former editions’, as they were being performed in Davenant’s Macbeth. I reproduce only the title-page and the songs.
Also in 1734, a 12mo edition of Shakespeare’s Macbeth (as edited by Pope) was printed by Robert Walker, in defiance of the monopoly claimed by Tonson and his associates. At the back, just as in Tonson’s edition, there are four unnumbered pages giving the lyrics of the songs. I assume that Walker stole them from Tonson, rather than vice versa, but I am not certain of that.
Further 12mo editions, substantially the same as the one printed for Tonson in 1734, were published in 1745, 1750, 1755, and at intervals after that. (To judge from the title and pagination, a 12mo edition printed for William Bowen in 1776 would seem to be the last in the series, but I have not seen it for myself.)
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.
Despite being much too old for the part, Charles Macklin insisted on starring in his own production of Macbeth at Covent Garden in October 1773. The script, I assume, was much the same as that being used by Garrick at Drury Lane (Bell 1773): where Macklin found scope for originality was in the staging of the play. Costumes, scenery, incidental music – all were designed to evoke a romantic idea of Scottishness. Even though there were only four performances of it (Genest 1832:414–15), this production exerted a powerful influence. Within thirty years, it had become the regular practice, ‘not only on the London boards, but in all the provincial and country Theatres’, for Macbeth to be made to look (and sound) distinctively Scottish.
This file is an account of Macklin’s production written long after the event by William Cooke. It appeared first, in April 1801, in one of a series of articles published in the European Magazine between November 1799 and March 1802; when those articles were turned into a book, this passage appeared there too (Cooke 1804:281–6). (A few small adjustments were made to the wording, but they are not of any significance. Like the articles, the book was published anonymously, but its authorship was never a mystery.) Cooke is one year wrong about the date, but in other respects, I take it, he is accurate enough.
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 printed for the firm of Longman, Hurst, Rees and Orme. One of a collection of matching booklets, 125 in all, published separately, but with the idea that they would eventually be bound up together to make a set of 25 volumes, under 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.
A sumptuous production of Macbeth starring Edmund Kean and Sarah Bartley was premiered at Drury Lane on Saturday 5 Nov. 1814. I have not seen the souvenir edition cited by Jaggard (1911:384): Macbeth ... Revived at the Theatre Royal, Drury Lane, November, 1814, under the superintendence of S. J. Arnold (London, 1814). This file contains transcripts of (1) the original playbill; (2) a review in the Morning Chronicle; and (3) an extract from the memoirs of the musical director, Michael Kelly.
A 12mo edition printed by William Oxberry in 1821. Published separately, but also as part of a 20-volume collection called ‘The new English drama’. (Macbeth is the second item in volume 14.) As with Longman’s edition, there is an engraved frontispiece (‘Mr. Macready, as Macbeth. / Engraved by W. Coutts from an original painting by Clint. / Published 1821 ...’) and a short introduction, supplied in this case by George Soane. There are numerous footnotes as well; but they are not of any usefulness that I can see, and I have omitted them all.
An edition of the play as it was staged by Charles Kean at the Princess’s Theatre in 1853. I have omitted all the annotation, with the exception of four footnotes which are in a category by themselves: they mark the places where Kean had swallowed some of the spurious emendations concocted by John Payne Collier.
An edition of the play as it was staged by Henry Irving at the Lyceum Theatre in 1888, with music specially composed by Sir Arthur Sullivan.
There exists at least one other impression of this booklet, dated 1889. Much of it is identical; but some further cuts are made, and the pagination differs in places for that reason.
The ‘Henry Irving Shakespeare’ was published in eight volumes between 1888 and 1890. It was mainly edited by Francis Albert (‘Frank A.’) Marshall. Irving lent his name and moral support; his only editorial contribution was to look through the proofs and cancel the passages which he thought should be omitted in performance. Towards the end, Marshall’s health began to fail (in fact he died before the last volume was published), and other editors had to help out. Macbeth was dealt with by Arthur Symons. This is his edition, minus the introduction and annotation. The passages cancelled by Irving are roughly – only roughly – the same as those omitted from the script of his acting edition.
An edition of the play as it was staged by Johnston Forbes Robertson at the Lyceum Theatre in 1898. There are two versions of this booklet, with or without illustrations. The illustrated version has five photographic portraits: two of Forbes Robertson as Macbeth, two of Mrs Patrick Campbell as Lady Macbeth, one of Robert Taber as Macduff.