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CLASS GLOSSARY

Folger Shakespeare Library
https://shakespeare.folger.edu/
Front
Matter
From the Director of the Folger Shakespeare
Library
Textual Introduction
Synopsis
Characters in the Play
ACT 1
Scene 1
Scene 2
Scene 3
ACT 2
Scene 1
Scene 2
Scene 3
ACT 3
Scene 1
Scene 2
Scene 3
Scene 4
ACT 4
Scene 1
Scene 2
Scene 3
ACT 5 Scene 1
Scene 2
Contents
Michael Witmore
Director, Folger Shakespeare Library
It is hard to imagine a world without Shakespeare. Since their
composition four hundred years ago, Shakespeare’s plays and poems
have traveled the globe, inviting those who see and read his works to
make them their own.
Readers of the New Folger Editions are part of this ongoing process
of “taking up Shakespeare,” finding our own thoughts and feelings
in language that strikes us as old or unusual and, for that very reason,
new. We still struggle to keep up with a writer who could think a
mile a minute, whose words paint pictures that shift like clouds.
These expertly edited texts are presented to the public as a resource
for study, artistic adaptation, and enjoyment. By making the classic
texts of the New Folger Editions available in electronic form as The
Folger Shakespeare (formerly Folger Digital Texts), we place a
trusted resource in the hands of anyone who wants them.
The New Folger Editions of Shakespeare’s plays, which are the basis
for the texts realized here in digital form, are special because of their
origin. The Folger Shakespeare Library in Washington, DC, is the
single greatest documentary source of Shakespeare’s works. An
unparalleled collection of early modern books, manuscripts, and
artwork connected to Shakespeare, the Folger’s holdings have been
consulted extensively in the preparation of these texts. The Editions
also reflect the expertise gained through the regular performance of
Shakespeare’s works in the Folger’s Elizabethan Theatre.
I want to express my deep thanks to editors Barbara Mowat and Paul
Werstine for creating these indispensable editions of Shakespeare’s
works, which incorporate the best of textual scholarship with a
richness of commentary that is both inspired and engaging. Readers
who want to know more about Shakespeare and his plays can follow
the paths these distinguished scholars have tread by visiting the
Folger either in-person or online, where a range of physical and
digital resources exists to supplement the material in these texts. I
commend to you these words, and hope that they inspire.
From the Director of the Folger Shakespeare
Library
Until now, with the release of The Folger Shakespeare (formerly
Folger Digital Texts), readers in search of a free online text of
Shakespeare’s plays had to be content primarily with using the
Moby™ Text, which reproduces a late-nineteenth century version of
the plays. What is the difference? Many ordinary readers assume that
there is a single text for the plays: what Shakespeare wrote. But
Shakespeare’s plays were not published the way modern novels or
plays are published today: as a single, authoritative text. In some
cases, the plays have come down to us in multiple published
versions, represented by various Quartos (Qq) and by the great
collection put together by his colleagues in 1623, called the First
Folio (F). There are, for example, three very different versions of
Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others.
Editors choose which version to use as their base text, and then
amend that text with words, lines or speech prefixes from the other
versions that, in their judgment, make for a better or more accurate
text.
Other editorial decisions involve choices about whether an
unfamiliar word could be understood in light of other writings of the
period or whether it should be changed; decisions about words that
made it into Shakespeare’s text by accident through four hundred
years of printings and misprinting; and even decisions based on
cultural preference and taste. When the Moby™ Text was created,
for example, it was deemed “improper” and “indecent” for Miranda
to chastise Caliban for having attempted to rape her. (See The
Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not
take,/Being capable of all ill! I pitied thee…”). All Shakespeare
editors at the time took the speech away from her and gave it to her
father, Prospero.
The editors of the Moby™ Shakespeare produced their text long
before scholars fully understood the proper grounds on which to
make the thousands of decisions that Shakespeare editors face. The
Folger Library Shakespeare Editions, on which the Folger
Shakespeare texts depend, make this editorial process as nearly
transparent as is possible, in contrast to older texts, like the Moby™,
which hide editorial interventions. The reader of the Folger
Shakespeare knows where the text has been altered because editorial
interventions are signaled by square brackets (for example, from
Othello: “ If she in chains of magic were not bound, ”), half-square
brackets (for example, from Henry V: “With blood and sword and
fire to win your right,”), or angle brackets (for example, from
Textual Introduction
By Barbara Mowat and Paul Werstine
Hamlet: “O farewell, honest soldier. Who hath relieved/you?”). At
any point in the text, you can hover your cursor over a bracket for
more information.
Because the Folger Shakespeare texts are edited in accord with
twenty-first century knowledge about Shakespeare’s texts, the Folger
here provides them to readers, scholars, teachers, actors, directors,
and students, free of charge, confident of their quality as texts of the
plays and pleased to be able to make this contribution to the study
and enjoyment of Shakespeare.
In Venice, at the start of Othello, the soldier Iago announces his
hatred for his commander, Othello, a Moor. Othello has promoted
Cassio, not Iago, to be his lieutenant.
Iago crudely informs Brabantio, Desdemona’s father, that Othello
and Desdemona have eloped. Before the Venetian Senate, Brabantio
accuses Othello of bewitching Desdemona. The Senators wish to
send Othello to Cyprus, which is under threat from Turkey. They
bring Desdemona before them. She tells of her love for Othello, and
the marriage stands. The Senate agrees to let her join Othello in
Cyprus.
In Cyprus, Iago continues to plot against Othello and Cassio. He
lures Cassio into a drunken fight, for which Cassio loses his new
rank; Cassio, at Iago’s urging, then begs Desdemona to intervene.
Iago uses