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　　This is the first modernized and edited version of the 1622

Othello. By taking this earliest published version of Othello as a

book in its own right, Scott McMillin accounts for the mystery of

its thousands of differences from the Folio version by arguing that

the Quarto was printed from a theatre * reflecting cuts and

actors' interpolations made in the playhouse. McMillin explains

that the playhouse * was apparently taken from dictation by a

scribe listening to the actors themselves, and thus reveals how

Othello was spoken in seventeenth-century performance. This

edition, which consists of a detailed introduction, quarto text,

select collation and textual notes, is an important book for

scholars in Shakespeare and Elizabethan-Jacobean drama, with wide

ramifications for other Shakespeare textual studies and for

students of early theatre history.

· The first modernized and edited version of the 1622 Othello ·

Accounts for the mystery of why the Othello Quarto differs from the

better-known Folio version on thousands of points · An important

book for scholars in Shakespeare and Elizabethan-Jacobean drama

Acknowledgements

Abbreviations and conventions

Introduction: The textual problem

Q1 and foul papers

Greg sets the standard

Economy in the New Bibliography

Revision or abridgement

New evidence of foul papers?

Grounds for doubt

Walkley, Okes and the 'Cameron Group'

Punctuation

Compositorial prudence

Scribal punctuation and the Barnavelt Manuscript

Other King's-Men plays, 1619–22

Actors' interpolations

Listening

Dictation in the theatres

Mislineation

Playhouse scripts

Summary

Date of the Q1 playscript

Editorial procedure

The Play

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书籍介绍

This 2001 book presents the first modernized and edited version of the 1622 Othello. By taking this earliest published version of Othello as a book in its own right, Scott McMillin accounts for the mystery of its thousands of differences from the Folio version by arguing that the Quarto was printed from a theatre script reflecting cuts and actors' interpolations made in the playhouse. McMillin explains that the playhouse script was apparently taken from dictation by a scribe listening to the actors themselves, and thus reveals how Othello was spoken in seventeenth-century performance. This edition, which consists of a detailed introduction, quarto text, select collation and textual notes, is an important book for scholars in Shakespeare and Elizabethan-Jacobean drama, with wide ramifications for other Shakespeare textual studies and for students of early theatre history.