Edition: True Tragedy of Richard IIIExcerpts from The Union of the Two Noble and Illustre Families of Lancaster and York
Modernized excerpts from The Union of the Two Noble and Illustre Families of Lancaster and York (Hall).
Para1
My kingdom also, I leave in your governance, during the minority of my children, charging you on your honors, oaths, and fidelity, made and sworn to me, so indifferently1 to order and govern, the subjects of the same, both with justice and mercy, that the wills of malefactors2 have not too large a scope, nor the hearts of the good people, by too much extremity, be neither sorrowfully daunted, nor unkindly kept under. Oh I am so sleepy, that I must make an end3, and now before you all I commend my soul to almighty God, my savior and redeemer: my body to the worms of the earth, my kingdom to the prince my son, and to you my loving friends my heart, my trust, and my whole confidence.And even with that, he fell on sleep: after divers such charitable monitions4 and exhortations (as the pangs and fits of his sickness would permit him) sometime to his nobility, sometime to his familiar friends, made and declared, his malady suddenly increased, and grew to so painful an extremity, that short death was sooner of him required than longer life desired, wishing rather departing out of this world than to abide the painful smart of his dolorous pangs. Wherefore, Atropos5 having compassion, of his continual languishing, and daily agony, disrupted and broke the thread6 of his natural life, the 9th day of April, in the year of our Lord, 1483 and in the fiftieth year of his bodily age, when he had reigned over this realm more in trouble than perfect quietness.
Para2The young king at the death of his father kept household at Ludlow7, for his father had sent him thither for justice to be done in the Marches of Wales8, to the end that by the authority of his presence, the wild Welshmen and evil-disposed
persons should refrain from their accustomed murders and outrages. The governance
of this young prince was committed to lord Anthony Woodville, earl Rivers and lord
Scales, brother to the queen, a wise, hardy and honorable personage, as valiant of
hands as politic of counsel and with him were associate other of the same party, and
in effect everyone as he was nearer of kin unto the queen, so was he planted next
about the prince. That drift by the queen seemed to be devised, whereby her blood
might of right in tender youth be so planted in the princes’ favor, that afterward
it should namely be eradicated out of the same.
Para3The queen being thus persuaded, sent word to the king and to her brother, that there
was no cause nor need to assemble any people, and also the duke of Gloucester and
other lords of his bend9, wrote unto the king so reverently and to the queen’s friends there so lovingly,
that they nothing earthly mistrusting, brought the young king toward10 London with a sober company in great haste (but not in good speed) till he came to
Northampton11, and from thence he removed to Stony Stratford. On which day, the two dukes and their
bend came to Northampton, feigning that Stony Stratford12 could not lodge them all, where they found the earl Rivers, intending the next morning to have followed the
king, and to be with him early in the morning. So that night, the dukes made to the
earl Rivers friendly cheer, but as soon as they were departed very familiar with great
courtesy in open sight and the earl Rivers lodged13: the two dukes with a few of their privy14 friends fell to council, wherein they spent a great part of the night, and in the
dawning of the day they sent about privily to their servants in their lodgings to
haste to horseback for their lords were in manner ready to ride, whereup15 all their servants were ready ere the lord Rivers’ servants were awake. Now had the
dukes taken the keys of the inn into their possession, so that none should issue out16 without their consent. And over this in the highway toward Stony Stratford, they
set certain of their folks that should cause and compel to return again all persons
that were passing from Northampton to Stony Stratford, saying that the dukes themselves
would be the first that should come to the king from Northampton: thus they bare folks
in hand. But when the earl Rivers understood the gates closed and the ways on every
side beset, neither his servants, neither himself suffered17 to go out, perceiving so great a thing without his knowledge, not begun for naught,
comparing this present doing with the last night’s cheer, in so few hours so great
a change, marvelously misliked it.
Para4For James Tyrrell devised18 that they should be murdered in their beds, and no blood shed; to the execution whereof, he appointed Myles Forrest, one of the four that before
kept19 them, a fellow flesh-bred20 in murder before time: and to him he joined one John Dighton, his own horse-keeper21, a big broad square and strong knave. Then all the other being removed from them,
this Myles Forrest and John Dighton about midnight, the sely22 children lying in their beds, came into the chamber and suddenly lapped them up amongst
the clothes and so bewrapped them and entangled them, keeping down by force the featherbed
and pillows hard unto their mouths, that within a while they smored23 and stifled them, and their breaths failing, they gave up to God their innocent souls
into the joys of Heaven, leaving to the tormentors their bodies dead in the bed, which
after the wretches perceived, first by the struggling, with the pangs of death, and
after long lying still to be throughly dead, they laid the bodies out upon the bed,
and fetched James Tyrrell to see them, which when he saw them perfectly dead, he caused
the murderers to bury them at the stair foot, meetly deep in the ground under a great
heap of stones.
Para5Then rode James Tyrrell in great haste to king Richard, and showed him all the manner
of the murder, who gave him great thanks, and as men say, there made him knight, but
he allowed not their burial in so vile a corner, saying, that he would have them buried
in a better place because they were a king’s sons: lo the honorable courage of a king,
for he would recompence a detestable murder with a solemn obsequy24. Whereupon a priest of Sir Robert Brakenbury’s took them up and buried them in such
a place secretly as by the occasion of his death (which was very shortly after) which
only knew it, the very truth could never yet be very well and perfectly known. For
some say that king Richard caused the priest to take them up and douse them in lead
and to put them in a coffin full of holes hooked at the ends with two hooks of iron,
and so to cast them into a place called the Black-deeps25 at the Thames mouth, so that they should never rise up nor be seen again. This was ye very truth unknown by reason that the said priest died so shortly and
disclosed it never to any person that would utter it.
Para6Whether this Banastre bewrayed26 the duke more for fear than covetise27 many men do doubt: but sure it is, that shortly after he had betrayed the duke his master, his son and heir waxed28 mad and so died in a boar’s sty, his eldest daughter, of excellent beauty, was suddenly
stricken with a foul leprosy, his second son very marvelously deformed of his limbs
and made decrepit, his younger son in a small puddle was strangled and drowned, and
he being of extreme age arraigned and found guilty of a murder and by his clergy saved29. And as for his thousand pound, king Richard gave him not one farthing, saying that
he which would be untrue to so good a master would be false to all other, howbeit
some say he had a small office or a farm to stop his mouth30 withal.
Para7After that the earl31 had made his humble petition, and devout prayer to almighty God, beseeching him not
only to send him most prosperous wind and sure passage in his journey, but32 also effectively desiring his goodness of aid [and] comfort in his necessity and
victory and supremacy over his enemies, only accompanied with 2,000 men and a small
number of ships, weighed up his anchors and hauled up his sails and in the calends33 of August he sailed from Harfleet34 with so prosperous a wind that the 7th day after his departure he arrived in Wales
in the evening at a port called Milford Haven35, and incontinent36 took land and came to a place called Dale37, where he heard say that a certain company of his adversaries were laid in garrison
to defend his arrival all the last winter. And the earl, at the sun rising removed
to Haverfordwest38, being distant from Dale not fully ten mile, where he was applauded and received
of the people with great joy, and he arrived there so suddenly that he was come and
entered the town at the same time when the citizens had but knowledge of his coming.
Here he heard news which were as untrue as they truly were reported to him in Normandy,
that Rhys ap Thomas and John Savage with body and goods were determined to aid king
Richard. While he and his company were somewhat appalled of town of Pembroke that
refreshed and revived their frozen hearts and daunted courages. For Arnold Butler
a valiant captain, which first asking pardon for his offences before time committed
against the earl of Richmond, and that obtained, declared to him that the Pembrokians
were ready to serve and give their attendance39 on their natural and immediate lord, Jasper earl of Pembroke.
Para8King Richard as the fame40 went might have escaped and gotten safeguard by flying41. For when they which were next about his person saw and perceived at the first joining
of the battle the soldiers faintly and nothing courageously to set on42 their enemies, and not only that, but also that some withdrew themselves privily43 out of the press and departed. They began to suspect fraud and to smell treason, and not only exhorted but determinately
advised him to save himself by flight: and when the loss of the battle was imminent and apparent, they brought to him a
swift and a light horse to convey him away. He which was not ignorant of the grudge
and ill-will that the common people bore toward him, casting away all hope of fortunate
success and happy chance to come, answered (as men say) that on that day he would
make an end of all battles or else there finish his life. Such a great audacity and
such a stout stomach44 reigned in his body, for surely he knew this to be the day in the which it should
be decided and determined whether he should peaceably obtain and enjoy his kingdom
during his life, or else utterly forgo and be deprived of the same, with which to
much hardiness he being overcome hastily closed his helmet and entered fiercely in
to the hard battle, to the intent to obtain that day a quiet reign and regiment or
else to finish there his unquiet life unfortunate governance. And so this miser at
the same very point had like chance and fortune, as happeneth to such which in place
of right Justice honesty following their sensual appetite, love, use, and embrace,
mischief, tyranny, and unthriftiness. Surely these be examples of more vehemency than
man’s tongue can express, to fear and astun45 such evil persons as will not live one hour vacant from doing and exercising cruelty
mischief or outrageous living.
Notes
3.Come to a conclusion (both in speech and in life).↑
5.One of the three Moirai, the Fates who determined the fate of every human.↑
6.Atropos cut the thread of life at the point of death.↑
7.The prince of Wales and duke of York lived at Ludlow Castle in Shropshire until their
father’s death.↑
8.The borderland between England and Wales.↑
10.Bondage, custody,↑
11.Northampton is a halfway point between Ludlow Castle and London.↑
12.A small town in Buckinghamshire where Edward V rested the night before arriving in
London for his coronation.↑
13.Retired to bed.↑
14.Secret, subtle.↑
16.Leave.↑
17.Permitted.↑
18.Planned, determined.↑
19.Watched over.↑
20.Hardened, experienced.↑
24.Funeral, ceremony.↑
25.The Black Deep is a channel in the Thames estuary which is an important shipping route
used to navigate the shoals that lead into the North Sea.↑
28.Increasingly became.↑
29.Was spared by proving his literacy. An accused offender who was able to prove their
literacy by reading from the Bible could avoid the full weight of the law.↑
30.Prevent him from speaking the truth.↑
31.Richmond.↑
32.No, little.↑
33.First days.↑
34.The port of Harfleur.↑
35.This encompasses the Milford Haven Estuary Waterway in Pembrokeshire, on the southwest
coast of Wales.↑
36.Immediately.↑
37.A small village in Pembrokeshire.↑
38.The village of Haverfordwest.↑
39.Support in battle.↑
40.Rumor, story.↑
41.Running away.↑
42.Refusing to fight properly against.↑
43.Secretly, stealthily.↑
44.Bravery.↑
Prosopography
Anonymous
Edward Hall
Helen Ostovich
Helen Ostovich, professor emerita of English at McMaster University, is the founder
and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series
Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge),
and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several
works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published
many articles and book chapters on Jonson, Shakespeare, and others, and several book
collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to
essays; video; link to Queen’s Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605,
Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of Victoria, Director
of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.
Jennifer Parr
Jennifer Parr holds a Masters degree in European and Renaissance Drama from the University
of Warwick. She is an independent scholar and professional director and dramaturge
based in Toronto. As an undergraduate at the University of Toronto she became involved
as an actor with the P.L.S. Medieval and Renaissance Players’ productions of the Medieval
Mystery Cycles returning later to direct an all female company in the York Cycle Fall
of the Angels for the international full cycle production in 1998. Her recent productions
as director and dramaturge include an all female Julius Caesar and an experimental all female adaptation of Richard III: RIchard 3, Queens 4. Her ongoing research into the historical Richard III and the various theatrical
interpretations led to her joining the company of TTR3 as an observer and historical
resource for the cast. She also writes a monthly column on music theatre and dance
for The WholeNote magazine.
Jennifer Roberts-Smith
Jennifer Roberts-Smith is an associate professor of theatre and performance at the
University of Waterloo. Her interdisciplinary work in early modern performance editing
combines textual scholarship, performance as research, archival theatre history, and
design in the development of live and virtual renderings of early modern performance
texts, venues, and practices. With Janelle Jenstad and Mark Beatrice Kaethler, she
is co-editor of Shakespeare’s Language in Digital Media: Old Words New Tools (2018). Her most recent work has focused on methods for design research that deepen
interdisciplinary understanding and take a relational approach. She is currently managing
director of the qCollaborative (the critical feminist design research lab housed in the University of Waterloo’s Games Institute, and leads the SSHRC-funded Theatre for Relationality and Design for Peace projects.
She is also creative director and virtual reality development cluster lead for the
Digital Oral Histories for Reconciliation (DOHR) project. She can be contacted at
jennifer.roberts-smith@uwaterloo.ca.
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Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020
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Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator
and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English
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Conference (2020), and the Digital Humanities Summer Institute’s Project Management
in the Humanities Conference (2021). While her primary research focus was sixteenth
and seventeenth century England, she completed her honours thesis on Soviet ballet
during the Russian Cultural Revolution. She is currently a student at the University
of British Columbia’s iSchool, working on her masters in library and information science.
Mahayla Galliford
Project manager, 2025-present; research assistant, 2021-present. Mahayla Galliford
(she/her) graduated with a BA (Hons with distinction) from the University of Victoria
in 2024. Mahayla’s undergraduate research explored early modern stage directions and
civic water pageantry. Mahayla continues her studies through UVic’s English MA program
and her SSHRC-funded thesis project focuses on editing and encoding girls’ manuscripts,
specifically Lady Rachel Fane’s dramatic entertainments, in collaboration with LEMDO.
Martin Holmes
Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media
Centre for over two decades, and has been involved with dozens of Digital Humanities
projects. He has served on the TEI Technical Council and as Managing Editor of the
Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020.
He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.
Nicole Vatcher
Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.)
in English at the University of Victoria in 2021. Her primary research focus was women’s
writing in the modernist period.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Sam Seaberg
Samuel Seaberg, a University of Victoria English undergrad, enjoys riding his bike.
During the summer of 2025, he began working with LEMDO as a recipient of the Valerie
Kuehne Undergraduate Research Award (VKURA). Unfortunately, due to his summer being
spent primarily in working to establish an edition of Thomas Heywood’s If You Know Not Me, You Know Nobody, Part 2 and consequently working out how to represent multi-text works in a digital space,
his bike has suffered severely of sheltered seclusion from the sun.
Toby Malone
Toby Malone is an Australian/Canadian academic, dramaturg, and librarian. He is a
graduate of the University of Toronto (PhD, 2009) and the University of Western Australia
(BA Hons, 2001), and the University of Western Ontario (MLIS, 2023). He has worked
as a theatre artist across the world, with companies including the Stratford Festival,
Canadian Stage, Soulpepper, Driftwood Theatre Group, the Shaw Festival, Poorboy Theatre
Scotland, Pittsburgh Public Theatre, Arizona Theatre Company, CBC, BT/A, and Kill
Shakespeare Entertainment. He has published in Shakespeare Survey, Literature/Film Quarterly, Canadian Theatre Review, Borrowers and Lenders, Oxford Research Encyclopedia of Literature, appears in published collections with Routledge, Cambridge, and Oxford. Publications
include two monographs: dapting War Horse (Palgrave McMillan) and Cutting Plays for Performance: A Practical and Accessible Guide (Routledge), and is currently co-writing an updated version of Shakespeare in Performance: Romeo and Juliet with Jill L. Levenson for Manchester UP. Toby has previously taught at the University
of Waterloo and the State University of New York at Oswego, is currently Research
Impact Librarian at Toronto Metropolitan University.
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
Bibliography
Hall, Edward. The Union of the Two Noble and Illustre
Families of Lancastre and Yorke.
London: J.
Johnson, 1809.
OED: The Oxford English Dictionary. 2nd ed. Oxford: Oxford University Press, 1989.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Queen’s Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
| Authority title | Excerpts from The Union of the Two Noble and Illustre Families of Lancaster and York |
| Type of text | Primary Source |
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