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394:. 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:
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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.
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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 used
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Gillespie, Alexandra. Print
Culture and the Medieval Author: Chaucer, Lydgate, and Their Books 1473–1557. Oxford English Monographs. Oxford: Oxford University Press, 2006.
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shows the movement away from privileged, aristocratic readership towards the readership of the middle class, solidifying printing as a business and a social progression.
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in order to provide a further framework for readership. These explanatory additions and the use of advertisements, such as Caxton’s “new and improved edition” of
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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 scholar
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in 1714.” This volume is a compendium of Caxton’s first run of vernacular poetry, and the texts within appear as follows:
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82:
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Lerer, Seth. “William Caxton.” From The
Cambridge History of Medieval Literature. Cambridge: Cambridge UP, 1999.
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Needham, Paul. The
Printer and the Pardoner. From The English Historical Review. Oxford University Press, 1989.
191:, is a book comprising a number of separately printed or manuscript works that are subsequently bound together.
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In Caxton’s case specifically, he presents a
Lydgatenized Chaucer, even to the point of giving the
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of individual works or groups of works that would later be bought together for a patron or buyer.
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Yet printed editions of works by (or ascribed to) Geoffrey
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In the German language as used in science and humanities, Sammelband refers to an
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appeared to follow the established manuscript tradition of producing booklets or
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Blades, William. The Life and
Typography of William Caxton, vol. II, pp. 51-2.
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Sammelband of alchemical treatises printed by Samuel Emmel, ca.1568
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347:, most of which were disbound in the nineteenth century.
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A Dictionary of
English Manuscript Terminology 1450–2000
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202:Sammelbände and William Caxton
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228:from the estate of Bishop
434:Provenance Evidence Terms
339:Modern students of early
296:, and Chaucer’s ballads
450:online publication 2011
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176:[ˈzaml̩ˌbant͡s]
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323:Complaint to his Purse
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378:Effects on literature
264:Horse Goose and Sheep
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413:The Canterbury Tales
396:The Book of Curtesye
386:a unique new title,
432:ALA ACLR RBMS BSC.
388:The Temple of Brass
384:Parliament of Fowls
311:The Book of Cutesye
288:), also containing
280:The Temple of Brass
327:Sayings of Chaucer
318:Anelida and Arcite
315:Geoffrey Chaucer,
271:The Temple of Glas
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304:, and the
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