writing for the theatre, afforded to many men of talent a means of
livelihood analogous to that offered by journalism among ourselves.
They were apt to work collectively, several hands hurrying out a
single play; and in twos or threes, or fours or fives, they often
collaborated.

As a general rule a play when finished was sold by the author or
authors to a company of players, or to a speculator like the
notorious Philip Henslowe, and the new owners, "the grand
possessors," were usually averse to the publication of the work, lest
other companies might act it. The plays were primarily written to be
acted. The company in possession could have the play altered as they
pleased by a literary man in their employment.

To follow Mr. Greenwood's summary of the situation "it would seem
that an author could restrain any person from publishing his
manuscript, or could bring an action against him for so doing, so
long as he had not disposed of his right to it; and that the
publisher could prevent any other publisher from issuing the work.
At the same time it is clear that the law was frequently violated . .
. whether because of the difficulty of enforcing it, or through the
supineness of authors; and that in consequence authors were
frequently defrauded by surreptitious copies of their works being
issued by piratical publishers." {33a}

It may appear that to "authors" we should, in the case of plays, add
"owners," such as theatrical companies, for no case is cited in which
such a company brings an action against the publisher of a play which
they own. The two players of Shakespeare's company who sign the
preface to the first edition of his collected plays (1623, "The First