How Sir Anthony Woodville was Imprisoned Author William Baldwin Editor Toby Malone Conversion and Remediation LEMDO Team Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).

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 University of Victoria on the Linked Early Modern Drama Online Platform

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This file has been converted from IML, the SGML markup language of the Internet Shakespeare Editions platform. IML files do not indicate the copy or copytext transcribed. LEMDO acknowledges that we are not the main source of transcription, and that we do not know the witness transcribed in this transcription. As time permits, we will compare this transcription to an open-access digital surrogate and align the transcription that surrogate. If you have worked on ISE and/or may have an idea as to the source of this file, please contact lemdo@uvic.ca.

Prepared by Toby Malone for the Queen’s Men Editions.

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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.

 Tracey El Hajj 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.

 Mahayla Galliford 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

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.

 Janelle Jenstad 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.

 Kate LeBere Kate LeBere KL

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 at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History 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.

 Toby Malone 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.

Helen Ostovich 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.

 Jennifer Parr 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

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.

 Sam Seaberg 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.

 Joey Takeda Joey Takeda

Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.

 Nicole Vatcher Nicole Vatcher NV

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.

 Anonymous William Baldwin William Baldwin Baldwin, William. How Sir Anthony Woodville, Lord Rivers and Scales, Governor of Prince Edward, was with his Nephew, Lord Richard Grey, and Other Causeless, Imprisoned and Cruelly Murdered. Mirror for Magistrates. London: for Thomas Marshe, 1563. L4r-M7r. STC 1248. OED: The Oxford English Dictionary. 2nd ed. Oxford: Oxford University Press, 1989. Segar, Francis. How Richard Plantagenet Duke of Gloucester Murdered His Brother’s Children, Usurping the Crown and in the Third Year of His Reign Was Most Worthily Deprived of Life and Kingdom, in Bosworth Plain, by Henry, earl of Richmond, after called King Henry the VII, the 22 of August 1485. Mirror for Magistrates. Ed. J. Haslewood. London: Lackington, Allen, and Co., 1815. Wilson, J. Dover. Shakespeare’s Richard III and The True Tragedy of Richard the Third, 1594. Shakespeare Quarterly 3.4 (1952): 299–306. LEMDO Team 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. University of Victoria https://www.uvic.ca/ Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
Source

Modernized excerpts of How Sir Anthony Woodville, lord Rivers and Scales, governor of prince Edward, was with his nephew, lord Richard Grey, and other[s] causeless, imprisoned and cruelly murdered. Anno 1483. prepared from Mirror for Magistrates (Baldwin).

The king was bent too much to foolish pleasure: In banqueting he had so great delight, This made him grow in grossnessSize, bulkiness (OED grossness, n. 1). out of measure. Which as it kindleth carnal appetite, So quencheth it the liveliness of the spirit Whereof ensue such sickness and diseases, As none can cure, save death, that all displeases. The duke of Gloucester, that incarnate devil, ConfederedAligned, allied (OED confeder, v. 1.a). with the duke of Buckingham, With ekeAlso, as well as (OED eke, n.1 4). lord Hastings, hasty both to evil, To meet the king, in mourning habit came, (A cruel wolf, though clothed like a lamb) And at Northampton, whereas then I baited, They took their inn, as they on me had waited. The king that night at Stony Stratford lay, A town too small to harbor all his train: This was the cause why he was gone away. While I with other did behind remain: But will you see how falsely friends can feign? Not SinonThe crafty Greek spy who allowed himself to be captured during the Trojan War in order to deliver misinformation about the nature of the wooden horse. sly, whose fraud best fame rebukes, Was half so subtle as these double dukes. First to mine inn cometh in my brother false, Embraceth me: Well met, good brother Scales, And weeps withal. The other me enhalesGreets, welcomes. With, welcome cousin, now welcome out of Wales: O happy day, for now all stormy gales Of strife and rancor utterly are ’ssuaged, And we your own to live, or die, unwaged! This proffered service, sauced with salutations Immoderate, might cause me to suspect, For, commonly, in all dissimulationsFeigning, concealed hypocrisy (OED dissimulation, n. 1.a)., Th’ excess of glaveringFlattery (OED glaver, v. 1). doth the guile detect. Reason refuseth falsehood to direct: The will therefore, for fear of being spied, Exceedeth mean, because it wanteth guide. This is the cause why such as feign to weep Do howl outright, or wailing cry, ah, ah! Tearing themselves, and straining sighs most deep: Why such dissemblers as would seem to laugh, Breathe not sigh, but bray out Ha! Ha! Ha! Why beggars feigning bravery are the proudest: Why cowards bragging boldness wrangleQuarrel, dispute (OED wrangle, n. 1). loudest. For commonly all that do counterfeit In anything exceed the natural mean, And that for fear of failing in their feat: But these conspirers couchedConcealed, hid. all so cleanExpertly.. Through close demeanor, that their wiles did wean My heart from doubts, so many a false device, They forged fresh, to hide their enterprise. They supped with me, propounding friendly talk Of our affairs, still giving me the praise, And ever among the cups to me-ward walk: I drink to you, good coz, each traitor says: Our banquet done, when they should go their ways, They took their leave, oft wishing me good night, As heartily as any creature might. These glaverersFlatterers. gone, myself to rest I laid, And doubting nothing, soundly fell asleep. But suddenly my servants, sore afraid, Awaked me, and drawing sighs full deep: Alas, quoth one, my lord, we are betrayed. How so, quoth I, the dukes are gone their ways. Th’ have barred the gates, and borne away the keys. When I had opened the window to look out, There might I see the streets each were beset. My inn on each side compassed about With armed watchmen, all escapes to let: Thus had these NeroesMen resembling the Roman emperor Nero in displaying cruelty, tyranny, or profligacy (OED Nero, n. 1). caught me in their net, But to what end, I could not throughly guess. Such was my plainnessInnocence., such their doubleness. My conscience was so clear, I could not doubt Their deadly drift, which less apparent lay Because they caused their men return the route That rode toward Stony Stratford, as they say, Because the dukes will first be there today. For this (thought I) they hinder me in jest, For guiltless minds do easily deem the best. By thisBy this time. the dukes were come into mine inn, For they were lodged in another by. I got me to them, thinking it a sin Within my chamber cowardly to lie, And merrily I asked my brother why He used me so. He, stern, in evil sadness, Cried out: I arrest thee, traitor, for thy badness. How so, quoth I, whence riseth your suspicion? Thou art a traitor quoth he, I thee arrest. Arrest, quoth I, why, where is your commission? He drew his weapon, so did all the rest, Crying, yield thee, traitor! I, so sore distressed, Made no resistance, but was sent to wardPrison., None save their servants assigned to my guard. This done, they sped them to the king in postGreat haste., And after their humble reverence to him done, They traitorously began to rule the roost. They picked a quarrel to my sister’s son Lord Richard Grey: the king would not be won T’ agree to them, yet they, against all reason, Arrested him, they said, for heinous treason. Sir Thomas Vaughan and Sir Richard Haute, Two worthy knights, were likewise apprehended. These all were guilty in one kind of fault: They would not likeSupport, endorse. the practice then pretended: And seeing the king was herewith sore offended, Back to Northampton they brought him again, And thence discharged most part of his train. There, lo! Duke Richard made himself protectorRivers accuses Richard of illegally appointing himself, but this decision was supported by council, as Baldwin himself notes in his Mirror for Magistrates entry from Richard’s perspective that The lords and commons all with one assent, / Protector made me both of land and king (Segar 382), which removes the question of a coup. More and Hall place the nomination of protector at a council meeting prior to Edward’s arrival from Ludlow (Wilson 302), while in The True Tragedy, the playwright adds Edward IV’s imprimatur. Of king and realm, by open proclamation, Though neither king nor queen were his elector. Thus he presumed by lawless usurpation: But will you see his deep dissimulation? He sent me a dish of daintiesDelicious treats, delicacies (OED dainty, n. 6). from his boardPlate. That day, and with it, this false friendly word: Commend me to him, all things shall be well, I am his friend, bid him be of good cheer. These news I prayed the messenger go tell My nephew RichardThe young Richard of York., whom I loved full dear: But what he meant by well, now shall you hear. He thought it well to have us quickly murdered, Which not long after, thoroughly he furthered. For straight from thence we closely were conveyed From jail to jail northward, we wistKnew. not whither. Where, after a while, we had in sunderSeparately. stayed, At last we met at Pomfret altogether. Sir Richard Ratcliffe bade us welcome thither, Who openly, all law and right contemned, Beheaded us, before we were condemned.