The traditional view of Shakespeare's mastery of the English language is
alive and well today. This is an effect of the eighteenth-century
canonisation of his works, and subsequently Shakespeare has come to be
perceived as the owner of the vernacular. These entrenched attitudes
prevent us from seeing the actual substance of the text, and the various
types of error that it contains and even constitute it. This book argues
that we need to attend to error to interpret Shakespeare's disputed
material text, political-dramatic interventions and famous literariness.
The consequences of ignoring error are especially significant in the
study of Shakespeare, as he mobilises the rebellious, marginal, and
digressive potential of error in the creation of literary drama.