799 Emma Smith and Shakespeare's First Folio (Revisited)
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In this revisited episode of The History of Literature, host Jack Wilson sits down with Professor Emma Smith of Oxford University to explore the legacy and significance of Shakespeare's First Folio, published in 1623—four centuries ago. The conversation delves into the folio’s origins as a collaborative effort between Shakespeare’s fellow actors, John Heminges and Henry Condell, and London publishers Isaac Jaggard and Edward Blunt. Smith emphasizes how the folio preserved 18 plays that would otherwise have been lost, including Macbeth, The Tempest, and Julius Caesar, and how it transformed Shakespeare’s works from ephemeral stage scripts into enduring literary texts. She discusses the folio’s physical form—its size, weight, and serious appearance—as a deliberate signal of scholarly value, marking a pivotal moment in the separation of theater from literature. The episode also unpacks the challenges of textual authenticity, including the fact that the folio was not proofread uniformly, with corrections made mid-printing, and that some plays were excluded due to rights disputes or authorship ambiguity. Smith reflects on the folio’s journey from a practical, secondhand book to a revered collector’s item, and shares her deep appreciation for the personal annotations and marginalia found in surviving copies, which reveal how readers engaged with Shakespeare over centuries. Finally, she reflects on the emotional and intellectual value of owning the original folio over modern editions, despite its impracticality for performance or study.
Shakespeare's First Folio (1623) preserved 18 plays that would have otherwise been lost, including Macbeth, The Tempest, and Julius Caesar.
The folio was a collaborative project between actors Heminges and Condell and publishers Jaggard and Blunt, driven by both affection and business motives.
The folio’s large, heavy format signaled scholarly seriousness, marking a shift from performance-based scripts to literary texts.
Many plays in the folio were based on theater scripts that were fluid and revised during performances—unlike modern fixed manuscripts.
Proofreading was done mid-printing (stop press corrections), resulting in a mix of corrected and uncorrected pages across all copies.
…and 3 more takeaways available in PodZeus
Introduction and Context
Jack Wilson introduces the episode as a revisit of a 2023 conversation with Emma Smith, marking the 400th anniversary of Shakespeare's First Folio. He sets the stage with a brief tour of London and Oxford, framing the discussion within the podcast's broader literary journey.
What Is the First Folio?
“We absolutely do. The majority of plays from this whole period of theatrical history have not survived, and that's because their life, you know, their purpose was to be performances, not to be books.”
The Making of the Folio: Collaboration and Commerce
“They are, I think, betraying a little bit of nervousness about whether this is an absolutely sort of sale-worthy object at this point.”
The Folio as a Cultural Artifact
“It also begins the divorce between these plays and the theatre. And that really takes a step to establish them as things to read, study, enjoy, dwell on, but also perhaps find hard work rather than an afternoon at the theatre.”
How the Plays Were Collected
Smith details the process of gathering the plays, noting that for half of them, no prior printed version existed. She explains that Heminges and Condell likely used theater scripts—working documents that were fluid and revised during performances—rather than final manuscripts.
“We've come to think that Shakespeare did revise his own plays. Whereas what Heming and Condell tell us in the beginning of the first folio is that he didn't and that he wrote like a genius. It just popped fully formed out of his head onto the paper.”
“They're old ladies now and they've got great stories to tell. And some have had a bit of work done and don't look quite as old as they really are.”
“We absolutely do. The majority of plays from this whole period of theatrical history have not survived, and that's because their life, you know, their purpose was to be performances, not to be books.”
Host
Guest
Shakespeare's First Folio
book
Emma Smith
person
Jack Wilson
person
John Heminges
person
Henry Condell
person
Ben Jonson
person
King Lear
other
Bodleian Library
organization
Isaac Jaggard
person
Edward Blunt
person
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