Sammelband
Sammelband(German:[ˈzaml̩ˌbant];/ˈzæməlbænt/ZAM-əl-bant,pluralSammelbände,German:[ˈzaml̩ˌbɛndə]/ˌzæməlˈbɛndə/ZAM-əl-BEN-dəorSammelbands,German:[ˈzaml̩ˌbant͡s]),[1]or sometimesnonce-volume,is a book comprising a number of separately printed or manuscript[2]works that are subsequently bound together.[3]
In the German language as used in science and humanities, Sammelband refers to anedited volume.
Sammelbände and William Caxton
[edit]William Caxtonappeared to follow the established manuscript tradition of producing booklets orfasciclesof individual works or groups of works that would later be bought together for a patron or buyer.[4]
Nearly forty of these tract volumes have been reconstructed from the evidence of now separately bound parts. They indicate the nature of early readership of Caxton’s work, and they also allow historians to infer something about Caxton’s own sense of his projects.
Perhaps most famous and extensive of his sammelbände work was the collection made out of Caxton's 1476-8 productions, known since the time of Caxton scholarWilliam Bladesas “the volume purchased by KingGeorge Ifrom the estate of BishopJohn Moorein 1714.”[5]This volume is a compendium of Caxton’s first run of vernacular poetry, and the texts within appear as follows:
- John Lydgate,Stans ad Mensam
- Burgh,Cato’s Distichs
- John Lydgate,The Churl and the Bird(2nd edn)
- John Lydgate,Horse Goose and Sheep(2nd edn)
- John Lydgate,The Temple of Glas
- Geoffrey Chaucer,The Temple of Brass(The Parliament of Fowls), also containingHenry Scogan'sMoral Balad,and Chaucer’s balladsTruth,Fortune,and theEnvoy to Scogan
- The Book of Cutesye
- Geoffrey Chaucer,Anelida and Arcite,also containing theComplaint to his Purseand a collection of verses known as theSayings of Chaucer
Sammelbände from the Tudor Period
[edit]Modern students of earlyTudorliterature only rarely encounter extantSammelbände,most of which were disbound in the nineteenth century.
Yet printed editions of works by (or ascribed to) Geoffrey Chaucer, John Lydgate,Richard Rolle,Margery Kempe,Stephen Hawes,John Skelton,and writers involved in Tudor religious controversy fromJohn WycliffetoWilliam Tyndalemay all be traced to such composite volumes.[3]
Effects on literature
[edit]In Caxton’s case specifically, he presents a Lydgatenized[6]Chaucer, even to the point of giving theParliament of Fowlsa unique new title,The Temple of Brass,to follow Lydgate’sTemple of Glas.It is a testimony both to Caxton’s understanding of vernacular poetry and to the tastes of his clientele. It is a volume centered on a particular publishing event, a volume that contains not only the key texts by canonical authors, but the critical instruction for their understanding:The Book of Curtesye.
Generally, the creation of sammelbände can have various effects on the readership of texts. It offers people a larger framework for the understanding of texts within the volumes; these volumes also usedprologuesandepiloguesin order to provide a further framework for readership. These explanatory additions and the use of advertisements, such as Caxton’s “new and improved edition” ofThe Canterbury Talesshows the movement away from privileged, aristocratic readership towards the readership of the middle class, solidifying printing as a business and a social progression.
References
[edit]- ^ALA ACLR RBMS BSC.Provenance Evidence Terms
- ^Beal, Peter.A Dictionary of English Manuscript Terminology 1450–2000.Oxford University Press,online publication 2011.
- ^abGillespie, Alexandra. Print Culture and the Medieval Author: Chaucer, Lydgate, and Their Books 1473–1557. Oxford English Monographs. Oxford: Oxford University Press, 2006.
- ^Needham, Paul. The Printer and the Pardoner. From The English Historical Review. Oxford University Press, 1989.
- ^Blades, William. The Life and Typography of William Caxton, vol. II, pp. 51-2.
- ^Lerer, Seth. “William Caxton.” From The Cambridge History of Medieval Literature. Cambridge: Cambridge UP, 1999.
| Authority control databases:National |
|---|
