The Queen’s Men Editions: Selimus: Textual Introduction

Selimus: Textual Introduction

Para1The only early modern edition of Selimus was first published and printed by the London printer Thomas Creede in 1594 with the full title: The First part of the Tragicall raigne of Selimus, sometime Emperour of the Turkes, and grandfather to him that now raigneth. Creede had only opened his first printing house the previous year near London Bridge, this after working as a journeyman printer in London for well over a decade (Gants). While a majority of printed titles in the period were also entered into the Stationers’ Register, the acquisition of Selimus by Creede is not recorded there. Creede did, however, enter six other professional-play titles in the Register in 1594, and three of these entered in May and June (The Famous Victories of Henry V, James IV, and The True Tragedy of Richard III) were also likely Queen’s Men plays. His Selimus quarto consists of ten gatherings (collating A-K3) with the C3 signature mistakenly signed A3. Its title page includes two blurbs, an advertisement describing how the play was playd by the Queenes Maiesties Players, Creede’s woodcut device, and an imprint listing the address of Creede’s stock warehouse (A1r). No author, however, is ascribed. Creede’s first blurb outlines how Selimus most vnnaturally raised warres against his owne father Bajazet, and preuailing therein, in the end caused him to be poysoned, while the second describes the muthering of his two brethren, Corcut, and Acomat (A2r). The quarto is printed with both Roman and italic type, the former used for the text, stage directions, and running headers while the latter is used for the prologue, speech prefixes, and proper names.

Para2Creede’s trove of Queen’s Men copyrights (which would include Clyomon and Clamydes, published without entry in 1599) has led some commentators to suppose that Creede directly and opportunistically acquired his theatrical copies from what was a waning, desperate company. Gerald Pinciss, for example, has argued that Creede happily reached an agreement with the failing Queen’s Men to buy plays in block (322) after the company suffered serious financial setbacks due to the closing of London’s professional theatres in June 1592. Selimus was a part of this agreement. A significant sign of their dire financial straits was, according to Pinciss, a loan that Philip Henslowe made to his nephew and Queen’s Men sharer Francis Henslowe in April, 1594. Other commentators like E.K. Chambers have pointed to the company’s touring focus after 1594 as further evidence of the company’s decline in the 1590s.

Para3This narrative of the Queen’s Men, however, has recently been called into question in a number of ways. Thanks to the REED project and books like the The Queen’s Men and their Plays, theatre historians no longer regard touring as a stop-gap measure for the professional playing companies. Book historians have called into question a twentieth-century critical orthodoxy that insisted on cross purposes for the playing companies and the book trade, play texts procured by publishers either by hook and crook or from reluctant companies after box-office failures. Instead, it is now thought that the professional plays were not necessarily money-spinners (Blayney) and that playbook publication was driven by box-office success and advertising. And books like Locating the Queen’s Men 1583–1603 have revised our understanding of the Queen’s Men’s fortunes in the 1590s, pushing back on a critical orthodoxy that has long assumed that the company declined, even broke in the 1590s (Gurr 41). It still may have been that Creede had acquired Selimus as part of a larger agreement, but if so it likely was a mutually beneficial one, Creede able to acquire a set of stage offerings whose popularity would potentially fuel print-market sales and the Queen’s Men able to publicize through print their vitality as a company and their appealing repertory.

Para4Six years after Creede brought his edition of Selimus to the press in 1600, Nicholas Ling, Cuthbert Burby, and Thomas Hayes published an octavo edition of Robert Allott’s England’s Parnassus, an extensive collection of what the title page calls the choysest Flowers of our Moderne Poets. Financed in order to take advantage of what was a contemporary fashion for printed sententiae volumes and poetry miscellanies, England’s Parnassus reproduces verse from a variety of contemporary material, particularly professional drama. These passages are organized by alphabetically by topic or theme and are all ascribed. The six Selimus passages attributed to Greene appear under the categories Feare; Delaie; Hate; Kings (2), and Phoenix. Most of these lines are almost identical to those in Creede’s 1594 edition, suggesting that this was their copytext. However, as mentioned above, the first of two lines in Allott’s Hate passage—Hate hits the hie, and windes force tallest towers / Hate is peculiar to a Princes state K1r)—is not to be found in Creede’s edition. A version of this Ovidian line— Hate climes vnto the head: winds force the tallest towers—can be found on its own in Lodge’s 1596 pamphlet Wit’s Misery (I3r). This omission might suggest that the copytext for England’s Parnassus was not Creede’s edition of Selimus, that whoever transcribed these lines was possibly working from a manuscript version of the play. England’s Parnassus, then, is potentially a significant textual witness of the copytext underlying the 1594 edition of Selimus.

Para5More lines connected to Selimus materialized in 1603, and these likely were put into circulation around the time that Sir Walter Ralegh was arrested for treason. Ascribed to Ralegh, these hellish verses are almost identical to a sixty-three line passage (Sc2 Sp1) spoken by Selimus in seven stanzas of rhyme royal at the beginning of the play. In this long early speech, Selimus argues that kings, laws, god, and family were invented to keep men quiet (Sc2 Sp1) and in awe (Sc2 Sp1). In the absence of heaven and hell, he then resolves to have a snatch at all (Sc2 Sp1). The manuscript version of this speech was almost certainly produced in what at the time was a widespread effort to discredit Ralegh as an atheist and rebel in the months preceding his November trial. Pointing to their stanzaic form and their content, Jacquot and others have suggested that the manuscript lines were possibly taken from an original, now-lost poem by Ralegh and that this poem was also a source for Selimus. Most commentators, though, have assumed that these lines were originally derived from the play. As Jacquot has also pointed out, rhyme royal recurs throughout Selimus (meaning that the verse form was not an isolated borrowing), and the manuscript’s and if they were not yet (I thinke) they were (Jacquot 1) does read like an amateurish rewriting of the play’s And if they were not, Selim thinks they were (Sc2 Sp1).

Para6In 1638, copies of Creede’s first edition of Selimus were re-issued by John Crooke and Richard Sergier, bookselling partners who by 1638 ran shops in both Dublin and London (Goldie). Crooke and Sergier excised the prologue from their reissue, and the printer Nicholas Okes inked a new title page for it with the slightly revised full title The Tragedy of Selimus Emperour of the Turkes. This title page is a more spartan affair than its predecessor. Gone are the blurb summaries, the Queen’s Men advertisement, and Creede’s printer’s device. In their place is an ornament above the title and the attribution Written T. G above a new imprint. In mid 1670s, Edward Phillips in his Theatrum Poetarum identified the playwright Thomas Goffe as the T.G of the 1638 edition, and this ascription was adopted by William Winstanley and Gerald Langbaine in the following decades. Some commentators have suggested that this is exactly what Crooke and Sergier intended. Goffe’s Ottoman plays The Raging Turk and The Courageous Turk had both been printed for the first time in the 1630s, and the two booksellers were trying to take advantage of this market. Recognizing, though, that Goffe was born in 1591 and thus could not have possibly written Selimus, Grosart at the end of the nineteenth century suggested that T.G, was possibly a misprint for R.G, Crooke and Sergier intending to ascribe the play to Robert Greene.

Para7As there is no record of the play in the Stationers’ Register, the course of Crooke and Sergier’s acquisition of Selimus can only be a matter of speculation. Creede would continue to run his business (which included a bookshop after 1599) until his death in November 1616 (Gants). A few years earlier, he took Bernard Alsop on as partner, and Creede turned his enterprise over to the journeyman printer at his death. As part of this handover, Alsop would have taken over Creede’s rights-to-copy and his publication stock. Selimus would likely have been included in this transaction. In 1637 or possibly in the early months of 1638, Crooke and Sergier might have directly acquired unsold copies of Selimus from Alsop along with some kind of permission to re-issue them. The rights to and copies of Selimus might also have made their way to Crooke and Sergier by way of the London printer Nicholas Okes. In 1623 and 1630, Okes had shared a printing job with Alsop, and it is conceivable that he acquired Selimus as part of these collaborations. In 1637 or early 1638, Okes might have come to Crooke and Sergier with a plan to move his unsold copies of Selimus, he producing a new title page and Crooke and Sergier distributing copies of the re-issued play. Okes had worked with Crooke’s bookseller brother Andrew in 1637, and he might have come to know Crooke at that time.

Para8But what can be said of the copy text behind Creede’s 1594 edition of Selimus? There are, as Riad has exhaustively noted (77–81), many signs pointing to an authorial manuscript, from ghost characters to descriptive stage directions (e.g. Enter … Zonara, sister to Mahomet) to ambiguous speech prefixes (e.g. Baia./Ba.; Mustaf./Must.; Cor./Corcut; etc.) to indefinite (e.g. Enter … one or two souldiers) or missing stage directions (mainly asides and directions for strangling). Also present are signs of a book-keeper’s hand: anticipatory stage directions, directions indicating theatrical endeavors within, and imperative directions like say (E2r), Scale (E3v), Reade (D4v), and Suppose (H3r). Together, this evidence can be taken to suggest that Creede’s manuscript was authorial, most likely a foul-papers copy possibly with emendations added by the Queen’s Men. The problem with this conclusion, though, is that these signs, derived as they mostly are from the work of W.W. Greg and his heirs, cannot be consistently found in the theatrical play manuscripts that we do have from the period. They too contain ghost characters, descriptive stage directions, ambiguous speech prefixes, etc, etc. And it is possible, as Riad does, also to find authorial motives behind anticipatory, within, and imperative stage directions. What we are left with, as Paul Werstine (2013) and many others have similarly argued about a number of professional plays, is the conclusion that Creede’s 1594 edition of Selimus may or may not have been based on an authorial manuscript that may or may not have been revised by the author or the Queen’s Men for theatrical performance.

Para9As far as Creede’s printing-house procedures go, Selimus appears to have been set by formes with cast-off copy. Five strands of evidence support this conclusion. W. Craig Ferguson has observed that the inner and outer formes used to print the C and D gatherings were set with different founts of roman type. This strongly suggests setting by formes. Other evidence has to do with blank lines. In four instances (A3r, C3r, H1v, and H4r), these are added to a scene in order to fill a page out to thirty-six lines. Each addition occurs before or after prose passages, suggesting casting-off errors in estimating their line lengths. The first occurs after the prologue below the ornament, half title, and opening stage direction on A3r; the second after a relatively long stage direction on C3r; the last two before prose speeches by Bullithrumble on H1v and H4r. These additions would have been unnecessary if the play was set page by page, from beginning to end. More evidence is to be found in the I and K gatherings. There, an underestimation of lines in casting off led to four exit directions (on I2r, I2v 2, and K1r) not being allotted their own lines, each instead crammed into the right margin alongside an ending line of verse. This underestimation also led to I2r being set with an extra line, giving the page thirty seven rather than thirty six. Perhaps the best evidence has to do with the setting of italic lower-case zs beginning in the C gathering. There, the compositor uses a lower-case roman z in the place of an italic z throughout the second (C2r), third (C3v), and fourth (C4r) pages of the inner forme in a total of six instances. The best explanation for this is that after first setting seven italic zs in the outer forme and sending it to press, the compositor, after using two more italic zs on the first page (C1v) of the inner gathering, ran out of lower- case italic zs. Instead of waiting for these zs to be freed up after the pressmen finished with the outer forme, he elected to use roman lower-case zs. After this, having added a number of roman zs to his italic z compartment, he then uses italic and lower-case roman zs indiscriminately in the remaining formes. Setting type by forme as opposed to setting type seriatim is now thought to have been the preferred method in early modern printing houses. It gave Creede more flexibility in bringing Selimus to press, enabling him to print its formes in any order (e.g. printing the A gathering last), and it allowed him to be more economical with his type, limiting the number of pages that had to be set (i.e. four rather than seven) before being inked by his pressmen.

Para10Riad has argued that the quarto was most likely set by two different compositors, one producing the full gatherings A through H and a second taking over midway through the I gathering. Her evidence consists entirely of four instances of Aladin being transposed to Alinda and of eight instances of Solyma being changed to Solima after signature I2r. This claim, however, is not very compelling, called into question by, as Riad admits, an instance of Solima on signature D4r and by other instances of inconsistent spelling (i.e. Ianissaries A3r-G4v, Ianizaries F2v-K1v in the play. Given that the text’s spelling and punctuation are mostly consistent throughout, it makes the most sense to conclude that the same compositor set the entirety of Selimus.

Para11In some cases like the first quartos of Andrew Wise’s The Tragedy of King Richard the Second (1597) and Valentine Simmes’s An Humorous Day’s Mirth (1599), stop-press corrections were made to formes while they were being inked. Because uncorrected sheets were not discarded, copies of stop-press corrected play editions often differ in a number of minor details. Today, twelve copies of Creede’s 1594 Selimus edition and four copies of Crooke and Sergier’s 1638 re-issue are still extant. Collation of these sixteen copies has identified no press variants, strongly suggesting that Creede’s edition of Selimus was not stop-press corrected. In the Dyce collection held by the Victoria and Albert Museum in London is a copy with modern reprints of A4r-v with penned-in italics. Though these pages contain a number of variants, it is unlikely these reproduce now-lost pages with stop-press corrections; instead, these variants are most probably the result of transcription errors.

Para12The QME versions of Selimus (both old-spelling and modernized) are based on the copy of Thomas Creede’s 1594 edition held at the Beinecke Rare Book Library at Yale University (Ig Se48 594). This copy has been collated both with the eleven other know copies of this edition and with the four extant copies of the 1638 reissue. Of the twelve remaining copies of the 1594 edition, this is the only one that includes the A1 signature. This fine copy has been rebound in crimson levant morocco with marbled end leaves, gilt edges, and gilt lettering attributing the play to Robert Greene on both the front cover and the spine. Louis B. Rabinowitz gave the quarto as a gift to Yale in 1950.

Para13In the modern edition of Selimus, spelling has been modernized and punctuation silently amended in order to clarify meaning. Obselete words have for the most part been replaced with synonyms, and these substitutions have been glossed. Throughout, grave accents have been silently added and lines have been emended in order to regularize meter. The first edition and first reissue of Selimus divide the play neither into Acts nor Scenes. Scene divisions have been added when an exit stage direction leaves the stage empty, and these are indicated with brackets. These early printed versions also routinely fail to indicate self directed speech. The addition of asides and other stage-direction emendations are indicated with brackets. Speech prefixes have been silently standardized.

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.

Kim Shortreed

Kim is a PhD Candidate in Media Studies and Digital Humanities, through UVicʼs English Department. Kim has worked for years in TEI and XML, mostly through the Colonial Despatches website, and in a number of roles, including technical editor, research and markup, writing and editing, documentation, and project management. Recently, Kim worked with a team of Indigenous students to find ways to decolonize the Despatches projectʼs content and encoding practices. Part of Kimʼs dissertation project, Contracolonial Practices in Salish Sea Namescapes, is to prototype a haptic map, a motion-activated topography installation that plays audio clips of spoken toponyms, in SENĆOŦEN and English, of the W̱SÁNEĆ Territory/Saanich Peninsula, respectively.

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.

Bibliography

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.

Blayney, Peter W.M. The Publication of Playbooks. A New History of English Drama. Ed. John D. Cox and David Scott Kastan. New York: Columbia University Press, 1997.

Chambers, E.K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923; rpt. 1967.

Ferguson, W. Craig. Thomas Creede’s Pica Roman. Studies in Bibliography: Papers of the Bibliographical Society of the University of Virginia 23 (1970): 148–153.

G., T. The tragedy of Selimus Emperour of the Turkes. London: John Crooke and Richard Sergier, 1638. STC 12310b. ESTC S103417. DEEP 204.

Gants, David. Creede, Thomas (b. in or before 1554, d. 1616), printer. Oxford Dictionary of National Biography. Oxford University Press, 2004.

Gurr, Andrew. The Shakespearean Stage, 1574–1642. 4th ed. Cambridge: Cambridge University Press, 2009. WSB aay77.

Jacquot, Jean. Raleghʼs Hellish Verses and the Tragicall Raigne of Selimus. Modern Language Review 48:1 (1953): 1–9.

Lodge, Thomas. VVits miserie, and the vvorlds madnesse: discouering the deuils incarnat of this age. London: Cuthbert Burby, 1596. STC 16677. ESTC S109635.

Oxford Dictionary of National Biography. Oxford: Oxford University Press, 2004–2013. http://www.oxforddnb.com/.

Pinciss, Gerald. Thomas Creede and the Repertory of the Queen’s Men 1583–1592. Modern Philology 67.4 (1970): 321–330.

Riad, Nadia Mohamed. A Critical Old-Spelling Edition of The Tragicall Raigne of Selimus. Queen’s University. PhD dissertation, 1994.

Werstine, Paul. Early Modern Playhouse Manuscripts and the Editing of Shakespeare. Cambridge: Cambridge University Press, 2013. WSB aaac5.

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/

Metadata

Authority title	Selimus: Textual Introduction
Type of text	Critical
Short title	Sel: Text Intro
Publisher	University of Victoria on the Linked Early Modern Drama Online Platform
Series	Queenʼs Men Editions
Source	Written by Kirk Melnikoff. Sent by QME to LEMDO as a PDF. Encoded by Janelle Jenstad, Kim Shortreed, and the LEMDO Team.
Editorial declaration	n/a
Edition	Released with Queenʼs Men Editions 2.0
Sponsor(s)	Queenʼs Men Editions The 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
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