Thomas Judson (fl. 1584-1600) was an Elizabethan printer, best known for printing William Jaggard's first two editions of The Passionate Pilgrim (1599), which Jaggard attributed to William Shakespeare. [1]
Floruit, abbreviated fl., Latin for "he/she flourished", denotes a date or period during which a person was known to have been alive or active. In English, the word may also be used as a noun indicating the time when someone "flourished".
The Elizabethan era is the epoch in the Tudor period of the history of England during the reign of Queen Elizabeth I (1558–1603). Historians often depict it as the golden age in English history. The symbol of Britannia was first used in 1572, and often thereafter, to mark the Elizabethan age as a renaissance that inspired national pride through classical ideals, international expansion, and naval triumph over Spain. The historian John Guy (1988) argues that "England was economically healthier, more expansive, and more optimistic under the Tudors" than at any time in a thousand years.
William Jaggard was an Elizabethan and Jacobean printer and publisher, best known for his connection with the texts of William Shakespeare, most notably the First Folio of Shakespeare's plays. Jaggard's shop was "at the sign of the Half-Eagle and Key in Barbican."
Thomas obtained his freedom of the Company by patrimony in January 1581. He was a son of the very prominent Tudor printer John Judson, Stationer in London from c. 1542 until his death in 1589. John was already a senior member of the Worshipful Company of Stationers at its incorporation by Queen Mary in 1557, and was Warden of the Company in 1560-61, 1562-63 and 1570-71, and Master of the Company in 1587-88. [2] In 1569 John Judson operated from the Sign of the Hedghogg in Paul's Churchyard. [3] In his will of 4 May 1588 John left his stock of money held by the Stationers for partnerships to his widow Alice for life, and then to descend to his son Thomas (notwithstanding that Thomas was the second-named of his two sons, and both were to be his Overseers). [4] On 6 May 1592 a dinner for Mistress Judson was held at Stationers' Hall, for which Thomas contributed forty shillings. [5]
Mary I, also known as Mary Tudor, was the Queen of England and Ireland from July 1553 until her death. She is best known for her aggressive attempt to reverse the English Reformation, which had begun during the reign of her father, Henry VIII. The executions that marked her pursuit of the restoration of Roman Catholicism in England and Ireland led to her denunciation as "Bloody Mary" by her Protestant opponents.
In business Thomas Judson was the partner of John Windet. They were in joint occupation of a house called the White Bear in Addle or Addling Hill, near Baynard's Castle, near to, or the same as, premisses later occupied by the printer Valentine Simmes. [6] In early 1600 he sold his business to the printer John Harrison III. [7]
John Windet was an English printer, notable for his music publications. He was a close business associate of fellow printer John Wolfe. After 1591, Wolfe ceased printing the lucrative metrical psalter of Thomas Sternhold and John Hopkins, and Windet succeeded him in becoming the sole printer of the work for patent-holder Richard Day. At some point, Windet succeeded Wolfe as London's City Printer. Wolfe passed on some of his printing ornaments to Windet after he decided to stop printing and focus solely on publishing in 1594. On Wolfe's death in 1601, Windet was appointed administrator of his estate.
Valentine Simmes was an Elizabethan era and Jacobean era printer; he did business in London, "on Adling Hill near Bainard's Castle at the sign of the White Swan." Simmes has a reputation as one of the better printers of his generation, and was responsible for several quartos of Shakespeare's plays. [See: Early texts of Shakespeare's works.]
The earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall volumes; quartos are smaller, roughly half the size. The publications of the latter are usually abbreviated to Q1, Q2, etc., where the letter stands for "quarto" and the number for the first, second, or third edition published.
Shakespeare's sonnets are poems that William Shakespeare wrote on a variety of themes. When discussing or referring to Shakespeare’s sonnets, it is almost always a reference to the 154 sonnets that were first published all together in a quarto in 1609; however there are six additional sonnets that Shakespeare wrote and included in the plays Romeo and Juliet, Henry V and Love's Labour's Lost.
The Passionate Pilgrim (1599) is an anthology of 20 poems collected and published by William Jaggard that were attributed to "W. Shakespeare" on the title page, only five of which are considered authentically Shakespearean. These are two sonnets, later to be published in the 1609 collection of Shakespeare's Sonnets, and three poems extracted from the play Love's Labour's Lost. Internal and external evidence contradicts the title page attribution to Shakespeare. Five were attributed to other poets during his lifetime, and two were published in other collections anonymously. While most critics disqualify the rest as not Shakespearean on stylistic grounds, stylometric analysis by Ward Elliott and Robert Valenza put two blocks of the poems within Shakespeare's stylistic boundaries. Jaggard later published an augmented edition with poems he knew to be by Thomas Heywood.
The Stationers’ Register was a record book maintained by the Stationers' Company of London. The company is a trade guild given a royal charter in 1557 to regulate the various professions associated with the publishing industry, including printers, bookbinders, booksellers, and publishers in England. The Register itself allowed publishers to document their right to produce a particular printed work, and constituted an early form of copyright law. The Company's charter gave it the right to seize illicit editions and bar the publication of unlicensed books.
Richard Pynson was one of the first printers of English books. The 500 books he printed were influential in the standardisation of the English language. Pynson, whose books make him technically and typographically the outstanding English printer of his generation, is credited with introducing Roman type to English printing.
John Benson was a London publisher of the middle seventeenth century, best remembered for a historically important publication of the Sonnets and miscellaneous poems of William Shakespeare in 1640.
False Folio is the term that Shakespeare scholars and bibliographers have applied to William Jaggard's printing of ten Shakespearean and pseudo-Shakespearean plays together in 1619, the first attempt to collect Shakespeare's work in a single volume. There are only two complete extant copies. One is part of the collection of the Folger Shakespeare Library in Washington, DC. The other is held in the Special Collections at Texas Christian University in Fort Worth, Texas.
Thomas Creede was a printer of the Elizabethan and Jacobean eras, rated as "one of the best of his time." Based in London, he conducted his business under the sign of the Catherine Wheel in Thames Street from 1593 to 1600, and under the sign of the Eagle and Child in the Old Exchange from 1600 to 1617. Creede is best known for printing editions of works in English Renaissance drama, especially for ten editions of six Shakespearean plays and three works in the Shakespeare Apocrypha.
Cuthbert Burby was a London bookseller and publisher of the Elizabethan and early Jacobean eras. He is known for publishing a series of significant volumes of English Renaissance drama, including works by William Shakespeare, Robert Greene, John Lyly, and Thomas Nashe.
Peter Short was a London printer of the later Elizabethan era. He printed several first editions and early texts of Shakespeare's works.
John Smethwick was a London publisher of the Elizabethan, Jacobean, and Caroline eras. Along with colleague William Aspley, Smethwick was one of the "junior partners" in the publishing syndicate that issued the First Folio collection of Shakespeare's plays in 1623. As his title pages specify, his shop was "in St. Dunstan's Churchyard in Fleet Street, under the Dial."
Thomas Cotes was a London printer of the Jacobean and Caroline eras, best remembered for printing the Second Folio edition of Shakespeare's plays in 1632.
Andrew Wise, or Wyse or Wythes, was a London publisher of the Elizabethan era who issued first editions of five Shakespearean plays. "No other London stationer invested in Shakespeare as assiduously as Wise did, at least while Shakespeare was still alive."
Thomas Millington was a London publisher of the Elizabethan era, who published first editions of three Shakespearean plays. He has been called a "stationer of dubious reputation" who was connected with some of the "bad quartos" and questionable texts of Shakespearean bibliography.
John Waterson was a London publisher and bookseller of the Jacobean and Caroline eras; he published significant works in English Renaissance drama, including plays by William Shakespeare, John Fletcher, John Webster, and Philip Massinger.
Thomas Pavier was a London publisher and bookseller of the early seventeenth century. His complex involvement in the publication of early editions of some of Shakespeare's plays, as well as plays of the Shakespeare Apocrypha, has left him with a "dubious reputation."
Thomas Heyes was the publisher-bookseller who published the first quarto edition of William Shakespeare’s Merchant of Venice, in London, in 1600. He traded from 'St Paul’s Churchyard at the sign of the Green Dragon’.
James Roberts, was an English printer who printed many important works of Elizabethan literature. F. G. Fleay says that "he seems to have been given to piracy and invasion of copyright".