By D. F. McKenzie
D.F. McKenzie indicates how the fabric type of texts crucially make certain their meanings. He demonstrates that as works are reproduced and reread, they tackle assorted varieties and meanings. this can be precise of all kinds of recorded info, McKenzie claims, together with sound, photos, movies, panorama and new digital media. The bibliographical abilities first built for manuscripts and books can, he indicates, be utilized to quite a lot of cultural files. This e-book bargains a unifying notion of texts that seeks to recognize their style and the complexity in their relationships.
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Each hand-marbled page is necessarily different and yet integral with the text. As an assortment of coloured shapes which are Peter de Voogd, ‘Laurence Sterne, the Marbled Page and “the use of accidents” ’, Word & Image I, no. 3 (July–September 1985), 279 – 87. 35 Bibliography and the sociology of texts completely non-representational, a marbled page as distinct from a lettered one might even be said to have no meaning at all. Most modern editions, if they do attempt to include them, and do not settle merely for a note of their original presence, will print a black-andwhite image of them which is uniform in every copy of the edition.
To extend that line of argument, I should like to comment briefly on the word ‘Scenes’. We recall first that Congreve’s ‘Scenes’ cost him ‘Pains’. Next, we should note that his editors and critics have, almost without exception, replaced his meaning of the word with a commoner one of their own. They have defined them by geography and carpentry, as when a scene shifts from a forest to the palace. For Congreve, by contrast, they were neoclassical scenes: not impersonal places in motion, but distinct groups of human beings in conversation.
If we think of the physical construction of Congreve’s text in the quarto of 1700 or the octavo edition of 1710, and its physical re-presentation in 1946, then at least we begin by seeing two simple facts. One gives us the historical perspective of an author directing one set of meanings in a transaction with his contemporaries. The other gives us an equally historical perspective of two I am indebted to Professor Albert Braunmuller for suggesting the probable source of the error. In fairness to Wimsatt and Beardsley, whose matching essay, ‘The Subjective Fallacy’, warns against readings uncontrolled by the formal limits of the words on the page, it should be said that they might well have welcomed and accepted as constituting a more acceptable text the lines as originally printed.