Selimus: Collations
Witnesses
[Q1]:
Anonymous. The first part of the tragicall raigne of Selimus,
sometime Emperour of the Turkes, and grandfather to
him that now raigneth.
London: Thomas
Creede, 1594. STC 12310a. ESTC S124196. DEEP 203.
[Allott]:
Allott, Robert. Englands Parnassus: or the choysest
flowers of our moderne poets.
London: Nicholas
Ling, Cuthbert Burby, and Thomas Hayes,
1600. STC 379.
ESTC S1431.
[Grosart]:
Grosart, A.B., ed., The First Part of the Tragical Reign of
Selimus. The Life and
Complete Works in Prose and Verse of Robert
Greene. Vol. 14. New
York: Russell &
Russell, 1881–1886. 189–291.
[Grosart 1898]:
Grosart, A.B., ed., The Tragical Reign of Selimus.
London: J.M.
Dent, 1898.
[Bang]:
Bang, Willy. The Tragical Reign of Selimus 1594.
London: Malone
Society Reprints,
1908.
[Hopkinson]:
Hopkinson, A.F., ed. The Tragical Reign of Selimus Sometime
Emperor of the Turks.
London: M.E. Sims
& Co., 1916.
[Jacquot]:
Jacquot, Jean.
RaleghʼsModern Language Review 48:1 (1953): 1–9.Hellish Versesand theTragicall Raigne of Selimus.
[Riad]:
Riad, Nadia Mohamed.
A Critical Old-Spelling Edition of The Tragicall Raigne of Selimus.Queen’s University. PhD dissertation, 1994.
[Vitkus]:
Vitkus, Daniel J., ed. Three Turk Plays from Early Modern
England. New York,
Chichester: Columbia
University Press,
2000.
[Ed]: This edition, edited by Kirk Melnikoff
Ed:
implacable
Q1:
unplacable
unplacable
unplacable
unplacable
—would I had ne’re begun—
Q1:
, would I had nere begunne
—would I had ne’re begun!
—would I had ne’re begun!
Ed:
spirit
Q1:
spright
spright
spright
spright
Ed:
Did take
Q1:
Tooke
Take
Took
Took
Ed:
In losing Alemshae poor, I
Q1:
In leesing Alemshae poore, I
In leesing Alemshae, poor I
In losing Alemshae, poor I
In losing Alemshae, poor I
Selim
Q1:
Selmi
Selim
Selim
Selim
Ed:
hearts
Q1:
hart
heart
heart
heart
Ed:
Enter again [Mustaffa, Cherseoli, and the Janissaries].
Q1:
Enters againe.
[Mustaffa, Cherseoli, and the Janissaries] enter again.
Re-enter Mustapha, Cherseoli, and the Janissaries
Q1:
past
passed
passed
Q1:
guide
guide
gird
rebel
Q1:
rebell
rebellious
Q1:
Sound within.
Sound [a trumpet] within.
Sound within.
Ed:
To which
Q1:
Into which
Into which
Into which
Into
Ed:
Selim’s
Q1:
Selimus
Selimus’
Selimus’
Selimus’
Q1:
when
when
where
where
Perhaps, my Lord, Selimus
Q1:
Perhaps my Lord Selimus
Perhaps my Lord Selimus
Perhaps, my lord Selimus
Q1:
Sound within.
Sound [trumpets] within.
Sound within.
Sound within.
Q1:
him
it
Riad:
him
it
it
Occasion
Q1:
occasion
Occasion
Occasion
Ed:
I, like a lion, look not worth a leek,
Q1:
I like a Lions looke not worth a leeke,
Aye, like a lion’s look—not worth a leek—
I like a lion’s look—not worth a leek—
I like a lion’s look—not worth a leek,
guard
Q1:
gard
guard
guard
Q1:
Then euery man of his owne dition was,
Then every one his owne director was,
Then every man of his own dition was,
Then every man of his own dition was,
Q1:
share
shore
share
share
share
Q1:
entred
dared
entered
entered
entered
Q1:
There needed them no iudge nor yet no law / Nor any King of whom to stand in awe.
they neided then nothing of whom to stand in awe
There needed them no judge, nor yet no law, / Nor any king of whom to stand in awe.
There needed then no judge, nor yet no law, / Nor any king of whom to stand in awe:
There needed then no judge, nor yet no law, / Nor any King of whom to stand in awe:
Q1:
vnknowne
uncouthe
unknown
unknown
unknown
Q1:
warray
array
worry
warray
array
Q1:
Did then to set possessours first obey
did yeld themselves and likewise did obey
Did then to set possessors first obey.
Did then to set possessors first obey.
Did then to set possessors first obey.
Q1:
Then they estblisht lawes and holy rites, / To maintaine peace, and gouerne bloodie
fights.
did yeld themselves and likewise did obey / and with a common muttering discontent
/ gave that to tyme which tyme cannot prevent.
Then they established laws and holy rites / To maintain peace and govern bloody fights.
Then they established laws and holy rites, / To maintain peace, and govern bloody
fights.
Then they established laws and holy rites, / To maintain peace, and govern bloody
fights.
Q1:
And gan of paines, and faind rewards to tell,
and gaine of paines and fair rewardes to tell
And ’gan of pains and feigned rewards to tell:
And ’gan of pains, and feigned rewards to tell:
And ’gan of pains, and feign’d rewards, to tell:
Ed:
were just mere
Q1:
were meere
were mere
were mere
were mere
were mere
religious
Q1:
religions
religious
religious
Riad:
religious
religious
bauble
Q1:
bable
fable
fable
bauble
lyke
Q1:
loue
love
Riad:
loue
Bang:
like
love
love
Q1:
heauenly
noble
heavenly
heavenly
heavenly
Q1:
glorious
ritch
glorious
glorious
glorious
Q1:
That hath no bounds
which is not knowne
That hath no bounds
That hath no bounds
That hath no bounds
Q1:
Of actions tearmed by vs good or ill:
as affections termeth us be it good or ill
Of actions, termed by us good or ill:
Of actions, termed by us good or ill:
Of actions, term’d by us good or ill:
others
Q1:
other
other
others
Q1:
Parricides
paradice
parricides
parricides
parricides
as [have] the best
Q1:
as the rest
even as the best
as have the best
as [have] the best
Death’s … Night
Q1:
deaths … night
deathes … night
Death’s … Night
Death’s … Night
Q1:
man
soule
man
man
man
Q1:
snatch
fetch
snatch
snatch
snatch
Q1:
vnmanured
unmaturèd
unmanured
unmanurèd
No no
Q1:
Now
No, no!
Riad:
No
No, no!
leaue
Q1:
leane on
leave
Riad:
lean on
leave
Bang:
leaue
but [the] nettes
Q1:
but nettes
but the nets
but [as] nets
Ed:
[Aside]
Q1:
Ed:
spirit
Q1:
spright
sprite
spright
spright
steeped
Q1:
sleept
steeped
steep’d
Q1:
him
them
him
him
runnag[at]es
Q1:
runnages
runagates
runnagates
Cherseo[li], go
Q1:
Cherseo. Go
Cherseoli, go
Riad:
Cherseoli, go
Cherseoli, go
Bang:
Cherseoli, go
Ed:
fetched
Q1:
fet
fet
fet
fet
Ed:
Acomat and Corcut
Q1:
Corcut and Acomat
Corcut and Acomat
Corcut, and Acomat
Corcut, and Acomat
Q1:
light steeds
steeds
light steeds
light steeds
Q1:
to reaue
to rive
to reave
to reave
Q1:
thy
the
the
the
Ed:
West
Q1:
East
East
east
East
Q1:
while
whilst
whilst
whilst
sword [and shield]
Q1:
sword
sword and shield
sword and shield
sonne
Q1:
sonnes
son
Riad:
sonne
son
Bang:
sonne
Ed:
auctor
Q1:
author
author
author
author
Ed:
Alarum. [Enter Mustaffa and Selimus at diverse doors.] Mustaffa beat[s] Selimus in,
then Ottrante and Cherseoli enter at diverse doors.
Q1:
Alarum, Mustaffa beate Selimus in, then Ottrante and Cherseoli enter at diuerse doores
Alarum. Mustaffa beats Selimus in, then Ottrante and Cherseoli enter at diverse doors.
Alarums. Mustapha beats Selimus in. Ottrante and Cherseoli enter at divers doors.
Alarum. Mustaffa beats Selimus in, Ottrante and Cherseoli enter at divers doors.
Ed:
This sword, ne’er drunk
Q1:
This swoord nere drunke
This sword here, drunk
Riad:
this swoord here, drunke
This sword here, drunk
Bang:
This swoord here drunke
This sword here, drunk
tower
Q1:
Tour
tour
tower
Q1:
dulcet
dullest
dulcet
dulcet
now
Q1:
low
now
Riad:
now
now
Bang:
now
Ed:
for long enough
Q1:
long inough
long enough
long enough
long enough
What lets me from this vain slumber rising
Q1:
What lets me then from this vaine slumber rise
What lets me, then? From this vain slumber rising
What let me then from this vain slumber rising
Q1:
arts
arts
Riad:
arts
parts
arts
Q1:
obedience
disobedience
Riad:
disobedience
disobedience
[dis]obedience
But
Q1:
By
But
Riad:
But
But
Bang:
But
Q1:
But in the green and unripe blade is pent
But in the green and unripe blade is pent;
But in the green and unripe blade is pent;
Ed:
[Aside] Advise thee, Acomat
Q1:
Aduise thee Acomat
Advise thee, Acomat
Advise thee, Acomat
Advise thee, Acomat
Q1:
will
wile
wile
Bang:
wile
wile
Ed:
a timely
Q1:
timely
timely
timely
timely
Q1:
premunition
premonition
premunition
premunition
Ed:
he will think
Q1:
he thinke
he’ll think
Riad:
he thinke
he’ll think
Bang:
he’ll
he’[ll] think
Ed:
insolence
Q1:
insolentnesse
Insolentness
insolentness
insolentness
Q1:
assay
essay
assay
assay
f[e]are
Q1:
fare
fear
Riad:
feare
fear
Bang:
fear
Ed:
so many
Q1:
many
many
many
many
lest
Q1:
least
lest
lest
Q1:
that
that
that
the
that
Ed:
did suck
Q1:
sucked
sucked
sucked
suckèd
Ed:
vilely
Q1:
vildly
vildly
vildly
vildly
Riad:
unreasonable
Q1:
unreasonables
unreasonablest
unreasonablest
unreasonablest
[a]gainst
Q1:
gainst
against
against
Ed:
Selim’s
Q1:
Selimus
Selimus’
Selimus’
Selimus’
Ed:
Selim
Q1:
Selimus
Selimus
Selimus
Selimus
Q1:
Empire
empery
empery
empery
Q1:
Empire
empery
empery
empery
peere[s]
Q1:
peere
peers
Riad:
peeres
peers
Bang:
peeres
Q1:
and speakes the rest to himselfe.
and speaks to himself [while Mustaffa reads].
and speaks aside.
and speaks the rest to himself.
Ed:
Sound. [Enter] a messenger from Corcut.
Q1:
Sound. A Messenger from Corcut.
Sound [trumpets]. A Messenger from Corcut [arrives].
Sound within. Enter a Messenger from Corcut.
Sound. A messenger from Corcut.
Ed:
But Corcut, mind free
Q1:
But Corcuts mind free
But Corcut’s mind, free
But Corcut’s mind free
But Corcut’s mind, free
Ed:
Aside
Q1:
Ed:
sailing without the stars
Q1:
Sayling without starres
sailing without stars’ sight
sailing without stars’ [light]
sailing without stars’ [sight]
Q1:
betwixt
between
between
between
realme
Q1:
raigne
realm
realm
Ed:
great puissance
Q1:
puissance
puissance
puissance
puissance
Ay, and perchance
Q1:
I and perchance
Ay, and perchance
Ay, and perchance
lords
Q1:
Lord
lords
Riad:
Lords
lords
Bang:
Lords
Ed:
and then rent[s it.]
Q1:
and then renting it say:
and then [tears it up].
and then rending it, say;
and then rending it say:
crown?
Q1:
crown,
crown?
crown;
Q1:
henceforth be
be henceforth
be henceforth
be henceforth
subiect [vn]to
Q1:
subiect to
subject onto
subject[ed] to
Bang:
subject unto
Soldiers
Q1:
the souldiers
the Soldiers
the soldiers
Ed:
[Enter] all [to] a parley, Mahomet, Beylerbey, and soldiers on the walls.
Q1:
All. A parley Mahomet, Belierbey, and souldiers on the walles.
[They] all [hold] a parley. Mahomet, Beylerbey, and Soldiers [appear above] on the
walls [of the city.
A Parley. Mahomet, Belierbey, and Soldiers [appear] on the walls.
All. A parley. Mahomet, Belierbey, and soldiers on the walls.
Ed:
e’en
Q1:
euen
even
even
even
Ed:
kin
Q1:
kinsman
kinsman
kinsman
kinsman
Ed:
Why, I am thy nephew; doest thou frown?
Q1:
Why for I am thy nephew doest thou frowne?
Why, for I am thy nephew dost thou frown?
Why, for I am thy nephew, dost thou frown?
Why, for I am thy nephew, dost thou frown?
his
Q1:
thy
his
Riad:
his
his
Bang:
his
Acomat
Q1:
Mahomet
Acomat
Riad:
Acomat
Acomat
Bang:
Acomat
Ed:
[They] scale the walls. [Exit all above. Re]enter
Q1:
Scale the walles. Enter
[They] scale the walls. Enter
They scale the walls, and exeunt
Scale the walls. Enter
Q1:
captaine
captive
captain
captain
Ed:
kin
Q1:
a kin
a kin
akin
akin
Ed:
Mustaffa, [Aga,] and the Janissaries.
Q1:
Mustaffa, and the Ianissaries.
Mustaffa, and the janissaries.
Mustapha, and the Janissaries.
Mustaffa, and Janissaries.
Q1:
Natolia?
Natolia!
Natolia;
Natolia,
Q1:
ayrie
airy
airy
airy
Zonara, [lucklesse maid]
Q1:
Zonara,
Zonara, luckless maid
Zonara,
swoon
Q1:
sownd
swound
swoon
Ed:
and [then] recovers.
Q1:
and being recouered say:
[He recovers and then speaks.]
and being recovered say.
Ed:
prevented
Q1:
preuentedst
preventedst
preventedst
preventedst
nephews’
Q1:
nephews
nephew’s
nephews’
Ed:
doth stand before, ready to strike.
Q1:
stands before readie to strike.
stands before, ready to strike.
stands before [me] ready to strike.
stands before ready for to strike
Q1:
Taenarus
Tartarus
Taenarus
Taenarus
Ed:
induce
Q1:
endue
endure
endure
Bang:
endure
endure
his
Q1:
thy
his
Riad:
thy
his
Bang:
his
Ed:
perceant
Q1:
piersant
piercant
piersant
piersant
murdring
Q1:
murthring
murth’ring
murd’ring
Ed:
Just sent
Q1:
Sent
Sent
Sent
Sent
Ed:
Wonders why your Grace, whom he loved so much
Q1:
Wonders your grace whom he did loue so much
Wonders your grace whom he did love so much
Wonders your grace, whom he did love so much,
Wonders your Grace whom he did love so much
Ed:
Honor’s
Q1:
honours
honor’s
Riad:
owners
earer’s
Bang:
earers
earers’
Ed:
with his teeth
Q1:
with my teeth
with my teeth
with my teeth
with my teeth
Ed:
color his strong hands
Q1:
colour my strong hands
color my strong hands
colour my strong hands
colour my strong hands
Ed:
did hear
Q1:
heard
heard
heard
heard
[Acomat] pulls out his eyes.
Q1:
Puls out his eyes.
Pulls out his eyes.
Pulls out his eyes.
[Acomat] opens [Aga’s] bosom
Q1:
Opens his bosome
Opens his bosom
Opens his bosom
Bang:
raine
Q1:
ruine
rain
Riad:
runne
run
run
Pull
Q1:
Puld
Pulled
Pull
Q1:
Those sends he to the
Those sends he to thee,
These sends he to the
Those sends he to the
so [to] cut
Q1:
so cut
so to cut
so [to] cut
Bang:
so to cut
[Tis] that
Q1:
That
’Tis that
[And] that
Q1:
the thing that I
the thing I
the thing that I
the thing that I
Ed:
Aside
aside
[Aside
[Aside
Ed:
Exit
Q1:
Exeunt
Exeunt both
[Exeunt
[Exeunt both
Ed:
Offer to me
Q1:
Offer me
Offers me
Offers me
Offers me
Bang:
When
Q1:
Then
When
Riad:
When
Then
Then
Q1:
that
that
that
Bang:
the
that
Ed:
he’s
Q1:
he is
he is
he is
he is
fetch [here]
Q1:
fetch
fetch here
fetch
Ed:
necromancy
Q1:
Negromancie
negromancy
negromancy
Negromancy
Ed:
And hearest thou, Hali? Do strangle him.
Q1:
And hear’st thou, Hali? strangle him.
And hear’st thou, Hali? Strangle him.
And, hearest thou, Hali?—strangle him.
And hear’st thou, Hali? strangle him.
As to your
Q1:
As your
As your
As your
they’re
Q1:
th’are
Th’are
th’are
Ed:
I’ll make
Q1:
I take
I take
I take
I take
in a cage
Q1:
in cage
in a cage
in a cage
in a cage
Ed:
than I am now.
Q1:
then I am
then I am now
than I am
Bang:
then I am now
than I am
Ed:
great scourge
Q1:
scourge
scourge
scourge
scourge
Ed:
And cruel wrath; within me rage is rife.
Q1:
And cruell wrath within me rages rife.
And cruel wrath within me raging rise
Riad:
And cruell wrath within me rages rife
And cruel wrath within me raging rife.
Bang:
And cruell wrath within me raging rife.
And cruel wrath within me raging rife.
Ed:
It shall soon be wracked on sandy shallows.
Q1:
Shall soone be wrackt vpon the sandie shallowes.
Shall soon be wracked upon the sandy shallows.
Shall soon be wrecked upon the sandy shallows.
Shall soon be wrecked upon the sandy shallows.
Ed:
lead … stirreth
Q1:
leaud … stirreth
lewd … steereth
lewd … stirreth
Bang:
lewd … steereth
lewd … stirreth
Ed:
vails the sea
Q1:
vales the sea
vails the seas
Riad:
vales the seas
rules the seas
Bang:
rules the sea
rules the seas
thrillant
Q1:
chrillant
thrillant
Riad:
thrillant
thrillant
Bang:
thrillant
steepe
Q1:
sleepe
steep
Riad:
steepe
steep
Bang:
steepe
Q1:
For who art thou
And who art thou
Riad:
For who art thou
And who art thou
And who art thou
[Aside.
[aside]
[Aside.
Q1:
?
!
:
:
Q1:
must
may
must
must
Ed:
did it behold
Q1:
did behold
did behold
did behold
did behold
Ed:
an
Q1:
and
and
and
and
Q1:
fro
from
from
from
Q1:
our
out,
our
our
Ed:
cammock
Q1:
cramuk
crammock
cramuk
cramuk
Ed:
Who gape
Q1:
And gape
To gape
And gape
Bang:
To gape
And gape
companie[s]
Q1:
companie
company
companies
Ed:
should have befell me
Q1:
should haue befell to me
should have befell to me
should have befel to me
should have befel to me
Q1:
Selims
Selimus’
Selim’s
Selim’s
than
Q1:
then
then
than
’tence
Q1:
tence
tense
’tence
[aside]
Q1:
Ed:
famines
Q1:
samines
’samines
zamines
’samines
Ed:
an it please you
Q1:
and it please you
and it please you
and it please you
and it please you
Baiazet
Q1:
Mustaffa
Bajazet
Riad:
Bajazet
Bajazet
Bang:
Baiazet
aside
Q1:
[Aside] Why thus
Q1:
Why thus
Why, thus
Why, thus
Ed:
I made of him away
Q1:
I made him away
that I made him away
I made him away
I made him away
mortuary.
Q1:
mortarie. (To himselfe
mortuary
mortuary. [To himself
indeed. [Selimus speaks] to the corses.
Q1:
indeed. To the courses.
in deed. [Aside. [To the corses.
indeed. [To the corses.
Ed:
[Bajazeth placed in]
Q1:
Suppose
Suppose
[Suppose]
Ed:
And didst thou die
Q1:
And diedst
And diedst
And diedst
And diedst
Ed:
Mounteth highest heaven
Q1:
Mounteth to highest heauen
Mounteth to highest heaven
Mounteth to highest heaven
Mounteth to highest heaven
Q1:
due to so
to so
due to so
due to so
sorrow’st
Q1:
sorrowest
sorrowest
sorrowest
since it must be so
Q1:
since it is must be so
since it must be so
since it must be so
since it must be so
Bang:
from
Q1:
to
to
to
to
Tiburne
Q1:
Tiburne
tribune
Tyburn
can. Hereafter, I’ll
Q1:
can hereafter, Ile
Riad:
can, hereafter, Ile
can; hereafter I’ll
can hereafter, I’ll
Q1:
Sound within.
Sound [trumpet] within.
Sound within.
Sound within.
Q1:
flocke
stock
flock
flock
Q1:
slandring
slandering
slandering
slandering
Ed:
Ay,
Q1:
Nay
Nay,
Nay,
Nay,
Q1:
please
’pease
Riad:
please
appease
Bang:
pease
please
seems
Q1:
seeme
seem
seem
Ed:
But it is
Q1:
But is
It is but
Riad:
But is
’Tis
It is
Ed:
[Selimus] strangles him.
Q1:
(Strangles him.
[They] strangle him.
They strangle him.
Strangles him.
souls
Q1:
soul
souls
souls
Ed:
all save [Mustaffa and a Janissary].
Q1:
saue one.
save one.
except one.
all save one.
Ed:
at a rest
Q1:
at rest
at rest
at rest
at rest
Ed:
do put them
Q1:
put them
put them
put them
Q1:
Exitone to
Exit one [janissary, going] to
Exit one to
Exit one to
Ed:
[and a] messenger.
Q1:
the messenger.
Messenger
and the Messenger.
the messenger.
Ed:
did move them
Q1:
moued them
moved them
moved them
movèd them
him
Q1:
them
him
Riad:
him
Bang:
him
them
Ed:
abye
Q1:
abie
abuy
aby
aby
lessen
Q1:
lesson
lessen
lessen
Ed:
Janissars do mourn
Q1:
Ianizars mourne
janissaries mourn
Janissaries mourn
janissaries mourn
Q1:
after liue
after-live
live after
live after
her! [Sinam strangles her.]
Q1:
her.
her.
her:
Q1:
into
in
into
into
Q1:
the
thee
thee
thee
Ed:
A parley: [the Q]ueen of Amasya and her soldiers on the walls.
Q1:
A parley: Queene of Amasia, and her souldiers on the walles.
[Selimus’ men sound] a parley. The queen of Amasia and her Soldiers [appear] on the
walls.
A parley. The Queen of Amasia and Soldiers appear on the walls.
A parley: Queen of Amasia and soldiers on the walls.
Ed:
your robberies
Q1:
robberies
robberies
robberies
robberies
Ed:
of all thy dearest friends,
Q1:
of thy dearest friends:
of thy dearest friend!
of thy dearest friend;
of all thy dearest friend;
Ed:
Alarum[. Selimus] beats them off the walls. Alarum. [Exeunt].
Q1:
Allarum, beats them off the walles. Allarum.
Alarum. [Selimus] beats them off the walls. [Exeunt.] Alarum.
[Alarum. Beats them off the walls. Exeunt.
[Alarum, beats them off the walls. Alarum.
though [you] brau’d vs
Q1:
though brau’d vs
though you braved us
though [you] braved us
Bang:
though you brav’d vs
Bang:
steer
Q1:
stir
steer
stir
stir
more.[Hali strangles her.
Q1:
more.
more.
more.
Ed:
since
Q1:
sith
sith
sith
sith
Q1:
sought
fought
sought
sought
that resolv’st
Ed:
resolvest
Q1:
that resoluest
that resolvest
that resolvest
Ed:
Alarum. Tonombey beats Hali [Bassa] and Cali [Bassa] in. Selimus beats Tonombey in.
Alarum. [Reenter] Tonombey. [Exeunt all but Tonombey.]
Q1:
Allarum, Tonombey beates Haliand Cali in. Selimbeats Tonombeyin. Allarum, Exit Tonombey.
Alarum. They fight. Tonombey beats Hali Bassa and Cali Bassa in. Selimus beats Tonombey
in. Alarum. [Enter] Tonombey.
[Alarum. Tonombey beats Hali and Cali in. Selimus beats Tonombey in. Re-enter Tonombey
Bang:
Allarum. Tonombey beates Hali and Cali in. Selim beats Tonombey in. Allarum, Enter
Tonombey.
Alarum. Tonombey beats Hali and Cali in. Selim beats Tonombey in. Alarum. Enter Tonombey.
Q1:
their swords
their swords
Riad:
their swords
his sword
their swords
Q1:
occision
occasion
occasion
occasion
Q1:
raving
raving
Riad:
ravning
ravening
rav’ning
Ed:
rev’rence
Q1:
reuerence
reverence
reverence
reverence
Ed:
him. [Sinam Bassa strangles Acomat.]
Q1:
him.
him:
him. [Strangles him.
him:
Q1:
monster-garden
monster-guarded
Riad:
monster-garded
monster-guarded
Bang:
monster-guarded, possibly monster-guarden
monster-guarded
Ed:
sweltring
Q1:
soultring
soultring
soultering
soultring
Ed:
lifted ungracious hands
Q1:
lifted his vngratious hands
lifted his ungracious hands
lifted his ungracious hands
lifted his ungracious hands
Q1:
greatly
gently
Riad:
greatly
gently
Bang:
gently
gently
his
Q1:
their
his
Riad:
his
his
Bang:
his
Ed:
Giving
Q1:
And give
And give
And give
And give
Prosopography
Andrew Griffin
Andrew Griffin is an associate professor in the department of English and an affiliate
professor in the department of Theater and Dance at the University of California,
Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early
modern drama and early modern historiography while serving as the lead editor at the
EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the
anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.
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 Queenʼs 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 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.
Kirk Melnikoff
Kirk Melnikoff is Professor of English at UNC Charlotte and a past president of the
Marlowe Society of America. His research interests range from sixteenth-century British
Literature and Culture, to Shakespeare in Performance, to Book History. His essays
have appeared in a number of journals and books, and he is the author of Elizabethan Book Trade Publishing and the Makings of Literary Culture (U Toronto P, 2018). He has also edited four essay collections, most recently Christopher Marlowe, Theatrical Commerce, and the Book Trade (Cambridge UP, 2018), and published an edition of Robert Greene’s James IV in 2020. He is currently co-editing a collection of early modern book-trade wills
which will be published by Manchester UP, editing Marlowe’s Edward II for the Oxford Marlowe: Collected Works project, and working on a monograph on bookselling in early modern England.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs 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.
Navarra Houldin
Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
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.
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.
Queenʼs 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/Witnesses
Allott, Robert. Englands Parnassus: or the choysest
flowers of our moderne poets.
London: Nicholas
Ling, Cuthbert Burby, and Thomas Hayes,
1600. STC 379.
ESTC S1431.
Anonymous. The first part of the tragicall raigne of Selimus,
sometime Emperour of the Turkes, and grandfather to
him that now raigneth.
London: Thomas
Creede, 1594. STC 12310a. ESTC S124196. DEEP 203.
Bang, Willy. The Tragical Reign of Selimus 1594.
London: Malone
Society Reprints,
1908.
Grosart, A.B., ed., The First Part of the Tragical Reign of
Selimus. The Life and
Complete Works in Prose and Verse of Robert
Greene. Vol. 14. New
York: Russell &
Russell, 1881–1886. 189–291.
Grosart, A.B., ed., The Tragical Reign of Selimus.
London: J.M.
Dent, 1898.
Hopkinson, A.F., ed. The Tragical Reign of Selimus Sometime
Emperor of the Turks.
London: M.E. Sims
& Co., 1916.
Jacquot, Jean.
RaleghʼsModern Language Review 48:1 (1953): 1–9.Hellish Versesand theTragicall Raigne of Selimus.
Riad, Nadia Mohamed.
A Critical Old-Spelling Edition of The Tragicall Raigne of Selimus.Queen’s University. PhD dissertation, 1994.
This edition, edited by Kirk Melnikoff
Vitkus, Daniel J., ed. Three Turk Plays from Early Modern
England. New York,
Chichester: Columbia
University Press,
2000.
Metadata
Authority title | Selimus: Collations |
Type of text | Apparatus |
Short title | Sel: Collations |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queenʼs Men Editions |
Source |
Collations prepared by Kirk Melnikoff to accompany his modern text of Selimus
|
Editorial declaration | Edited according to the ISE Editorial Guidelines |
Edition | Released with Queenʼs Men Editions 2.0 |
Sponsor(s) |
Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
|
Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published, peer-reviewed |
Licence/availability | Intellectual copyright in this edition is held by the editor, Kirk Melnikoff. The critical paratexts, including this Collation, are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden. |