The many scripts of Othello

Quarto 1 (1622)

One significant difference between a modern day script of Othello and this Quarto 1 is the quality of the print. Although illustrations are scarce, their appearances are always marked with a sign of superior craftsmanship.  The first page of this script has an illustration that modern day printers could not hope to replicate. Of course, the differences in quality is understandable. Scripts and books during 1622 were significantly more expensive in comparison to our modern day print, so the effort that went into making these was perhaps tenfold.

Another significant difference between Quarto 1 and a modern day script is the overall vocabulary utilized by the writers. Instead of purse, purle is used instead. I can imagine how difficult it must be for a person who has never read Othello to read a Quarto 1 version of the play. Words we consider common are now increasing more complex through the addition of extra vowels. Luckily as someone who has already read Othello navigating the wording is not as difficult as a dry run through the script would be.

First Folio (1623)

I think a significant discussion point is the only one year different between the versions. As a result, the difference between these two prints cannot be extremely significant. However, while the words, I think, were mostly the same, the style of the script was different in that while the Quarto had all its lines in one large column on a page, the Folio divided its page into two columns. This resulted in a more contemporary feel because it looked so similar to a modern day play script.

One minor detail that this version had was the Latin used to signal a new scene: “Segunda.”

Overall, the play has not changed between these two print, however, the style in which they were produced varied significantly. This is understandable because different printers were probably used.


David Bowie

Artist: David Bowie

Song: Space Oddity (1969), Single

Ground Control to Major Tom
Ground Control to Major Tom
Take your protein pills
and put your helmet on

Ground Control to Major Tom
Commencing countdown,
engines on
Check ignition
and may God’s love be with you

Ten, Nine, Eight, Seven, Six, Five, Four, Three, Two, One, Liftoff

This is Ground Control
to Major Tom
You’ve really made the grade
And the papers want to know whose shirts you wear
Now it’s time to leave the capsule
if you dare

This is Major Tom to Ground Control
I’m stepping through the door
And I’m floating
in a most peculiar way
And the stars look very different today

For here
Am I sitting in a tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do

Though I’m past
one hundred thousand miles
I’m feeling very still
And I think my spaceship knows which way to go
Tell my wife I love her very much
she knows

Ground Control to Major Tom
Your circuit’s dead,
there’s something wrong
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you hear me, Major Tom?
Can you….

Here am I floating
round my tin can
Far above the Moon
Planet Earth is blue
And there’s nothing I can do.


Have No Fear Shakespeare is Here

SCENE III. A council-chamber.

The DUKE and Senators sitting at a table; Officers attending


There is no composition in these news
That gives them credit.

First Senator

Indeed, they are disproportion’d;
My letters say a hundred and seven galleys.


And mine, a hundred and forty.

Second Senator

And mine, two hundred:
But though they jump not on a just account,–
As in these cases, where the aim reports,
‘Tis oft with difference–yet do they all confirm
A Turkish fleet, and bearing up to Cyprus.


Nay, it is possible enough to judgment:
I do not so secure me in the error,
But the main article I do approve
In fearful sense.


[Within] What, ho! what, ho! what, ho!

First Officer

A messenger from the galleys.
Enter a Sailor


Now, what’s the business?


The Turkish preparation makes for Rhodes;
So was I bid report here to the state
By Signior Angelo.


How say you by this change?

First Senator

This cannot be,
By no assay of reason: ’tis a pageant,
To keep us in false gaze. When we consider
The importancy of Cyprus to the Turk,
And let ourselves again but understand,
That as it more concerns the Turk than Rhodes,
So may he with more facile question bear it,
For that it stands not in such warlike brace,
But altogether lacks the abilities
That Rhodes is dress’d in: if we make thought of this,
We must not think the Turk is so unskilful
To leave that latest which concerns him first,
Neglecting an attempt of ease and gain,
To wake and wage a danger profitless.


Nay, in all confidence, he’s not for Rhodes.

First Officer

Here is more news.
Enter a Messenge


Duke of Venice: There is no proof to back up these reports

First Senator: These reports are definitely skewed. I heard that they have one hundred and seven ships (galleys)

Duke of Venice: You right. My report says one hundred and forty.

Second Senator: What a coincidence my report says two hundred. It does matter anyways because they are estimates. What is important is that they all say a Turkish fleet is heading towards Cyprus.

Duke of Venice: All I understand is that we should be afraid.

Sailor: Hello! (What, ho!)  Who is there!

First Officer: Look, a messenger from the ships (galleys).

Duke of Venice: What’s up?

Sailor: The Turkish fleet (preparation) is heading towards Rhodes. So Mr. Angel (Signior Angelo) sent me.

Duke of Venice: What do you think about this change?

First Senator: This can’t be right. It does not make sense. They’re probably trying to screw with us to keep us on our toes. We need to think about the importance of Cyprus to the Turks. I mean Cyprus is not as well protected as Rhodes. I don’t think the Turks are going to do something so dangerous without a gain.

Duke of Venice: They are definitely not heading towards Rhodes.

First Officer: More news is here.

Through out this section of Othello, there is a pretty obvious use of personification. I think by doing this Shakespeare can collectively group the Turkish people together for easier use. Unfortunately there were not too many other literary device that I could find in this section of the play.

However it is worth mentioned that I did have to look up several words and translate them from modern English to even more modern English. These instances are noted with bold print. One example is galley, which is another word to describe ship.





My Comprehensive Review of Steve Jobs (The Book)

Walter Isaacson is an experienced biographer who has written accounts on Benjamin Franklin and Albert Einstein. In my opinion, this book far outclasses those previous titles. Mainly this is due to the actual contact Isaacson had with Steve Jobs. Over forty interviews were conducted over a period of two years. All of these accounts are clearly and truly presented in the book.

Unsurprisingly, Steven Jobs is written chronologically. However, the beginning of this novel actually revolves around Jobs’ parents. Readers find out how their situation would go on to affect their only son, Steve (whom they did not even name).

As the story progresses, Job matures both physically, mentally, and emotionally. Not only does this provided a window for spectators to observe the events that led to one of the greatest minds of all time, but also even those placed on a pedestal are not without their flaws. Furthermore, while the story progresses, Isaacson includes quotes from Jobs he was able to hear from various interviews.