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Another revealing instance is provided by the publication of the First Folio of Shakespeare's plays in 1623. As writings intended for the commercial theater, Shakespeare's plays were a collaborative enterprise in which textual changes and insertions could be made by various hands at all stages of production; the resulting products were not Shakespeare's property, but that of his theatrical company. Furthermore, as Stephen Greenblatt remarks in the Introduction to The Norton Shakespeare (1997), there is no evidence that Shakespeare himself wanted to have his plays printed, or that he took any "interest in asserting authorial rights over a script," or that he had any legal standing from which to claim such rights.

Among the other archetypal themes, images, and characters that have been frequently traced in literature are the journey underground, the heavenly ascent, the search for the father, the Paradise-Hades image, the Promethean rebel-hero, the scapegoat, the earth goddess, and the fatal woman. In his remarkable and influential book Anatomy of Criticism (1957), Northrop Frye developed the archetypal approach—which he combined with the typological interpretation of the Bible and the conception of the imagination in the writings of the poet and painter William Blake (1757-1827)—into a radical and comprehensive revision of traditional grounds both of the theory of literature and the practice of literary criticism.

Huncamunca, Huncamunca, oh! Thy pouting breasts, like kettle-drums of brass, Beat everlasting loud alarms of joy; As bright as brass they are, and oh! as hard; Oh! Huncamunca, Huncamunca, oh! Fielding points out in a note that this passage was a parody of James Thomson's lines in The Tragedy ofSophonisba (1730): 25 26 BOWDLERIZE · BURLESQUE Oh! Sophonisba, Sophonisba, oh! Oh! Narva, Narva, oh! "Bombast" originally meant "cotton stuffing," and in Elizabethan times came to be used as a metaphor for an over-elaborate style.

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