First folio othello1/23/2024 ![]() The present edition also offers its readers the lines and part-lines and many of the words that are to be found only in the Quarto, marking them as such (see below). 1 But our text offers an edition of the Folio because it prints such Quarto readings and such later editorial emendations as are, in our judgment, necessary to repair what may be errors and deficiencies in the Folio. This edition is based directly on the Folio printing of Othello rather than on any modern edition. Since these editors are led by their hypothesis to prefer the Folio, their speculations have made little difference to the kind of editions they have produced.)įor the present edition we have reexamined these early printed texts. ![]() According to this view, the Quarto offers Shakespeare’s unrevised version, the Folio his revised version. (Following a recent fashion in Shakespeare editing, some editors have speculated that there were once two distinct Shakespearean versions of the play. Therefore almost all recent editors have relied, for the basis of their editions, upon what they regard as the more accurate text, namely, the Folio’s. In the case of Othello, however, there has emerged no consensus among editors about what kind of manuscripts can be imagined to lie behind the two early printed texts. Usually twentieth-century editors of Shakespeare made the decision about which version of a play to prefer according to their theories about the origins of the early printed texts. These two versions also differ from each other in their readings of hundreds of words. The Folio also lacks a scattering of about a dozen lines or part-lines that are to be found in the Quarto. Some of these cluster together in quite extensive passages. Entitled simply The Tragedie of Othello, the Moore of Venice, the Folio play has about 160 lines that do not appear in the Quarto. The second version to be printed is found in the First Folio of Shakespeare’s plays, published in 1623. Written by VVilliam Shakespeare, a quarto or pocket-size book that provides a somewhat shorter version of the play than the one most readers know. As it hath beene diuerse times acted at the Globe, and at the Black-Friers, by his Maiesties Seruants. In 1622 appeared The Tragœdy of Othello, The Moore of Venice. ![]() If the results of this research are to be accepted, they will correct two particularly enduring statements made about the font by Horace Hart in 1902: The font appears to be of French origin, not Dutch, and it was not commissioned specifically for the printing of the Folio but rather had been in use for fifteen or twenty years by 1623.The play we call Othello was printed in two different versions in the first quarter of the seventeenth century. The font was old and in poor condition when it was used to print the Folio, which supports the view that Jaggard and his pressmen did not see the Folio as an unusually important book. Vervliet in The Palaeotypography of the French Renaissance), cast for Jaggard’s use probably around 1603 or 1608 by an unknown typefounder who likely inherited the matrices from Pierre’s nephew Jerome Haultin. Visual and historical evidence have led me to suggest that the font is the second pica roman of the Huguenot punchcutter Pierre Haultin (as described by H.D.L. I measured the dimensions of the text font in a copy of the First Folio at the Beinecke Rare Book & Manuscript Library, Yale University, New Haven, Conn., finding twenty lines of type to measure 82.7 mm. Here's an excerpt from Reed Relbstein's research:ĭespite an extensive analysis of its distinctive sorts, few Folio scholars (including Hinman) have examined the origins and characteristics of the font itself, and the limited information available in the literature to date is more a result of generalization than of detailed scrutiny. There's been some fascinating work around trying to determine the font used in the First Folio. ![]()
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