Volumes II and III of the Collected Works of John Ford contain the
six plays that Ford wrote at the beginning of his theatrical career
in collaboration with other dramatists: The Laws of Candy (1619-20)
with Massinger, The Witch of Edmonton (1621) with Dekker and
Rowley, The Welsh Ambassador (1623) with Dekker, The Spanish Gypsy
(1623) with Dekker, Rowley, and Middleton, The Sun's Darling (1624)
with Dekker, and The Fair Maid of the Inn (1626) with Massinger and
Webster. This is the first time that Ford's co-authored works have
been collected. In Volume II the General Editor, Sir Brian Vickers,
contributes two Introductions, 'Co-authorship in Jacobean and
Caroline Drama', and 'Identifying Co-Authors'. In the first he
reviews collaborative authorship (practiced by every dramatist of
this period), in terms of theatrical conditions, the competing
companies, the need for new repertoire, the process of assigning
individual contributions and assembling the whole play. In the
second he discusses the methods that have been applied over the
last two centuries to identify co-authors. He then provides
separate discussions of the authorship problem in each play,
evaluating previous attributions and bringing new evidence to bear.
A special feature of this volume is the introduction of a new
methodology, based on computer software programs that identify
student plagiarism. Used in combination with high-speed search
engines and a large electronic database of contemporary plays, this
method permits for the first time accurate identification of each
co-author's contribution. Volume III contains the text of the
plays, edited by a team composed of established and younger
scholars. Five of the plays - The Laws of Candy, The Witch of
Edmonton, The Spanish Gypsy, The Sun's Darling and The Fair Maid of
the Inn - have been freshly edited from the original editions,
surviving copies of which have been collated to identify press
corrections. The sixth, The Welsh Ambassador, has been edited from
the sole extant manuscript. For each work the editors provide an
introduction that discusses the play's date and theatrical genesis,
its sources, dramaturgy and other features. A full commentary is
provided for all texts, giving historical explanations of the
vocabulary, parallel passages in other works by Ford, and
theatrical annotation, where relevant. This volume provides a
unique opportunity for everyone interested in the career of a major
playwright to appreciate how he learned his trade by collaborating
with more experienced dramatists, a process in which his own
distinctive voice was formed.
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