Edition: True Tragedy of Richard IIICollation: True Tragedy of Richard III
Witnesses
[Quarto]:
The True Tragedie of Richard the third: Wherein is showne the death of Edward the
fourth, with the smothering of the two yoong Princes in the Tower: With a lamentable
ende of Shore’s wife, an example for all wicked women. And lastly, the coniunction
and ioyning of the two noble Houses, Lancaster and Yorke. As it was playd by the Queenes
Maiesties Players. London: Thomas Creede, 1594. STC 21009. ESTC S111104.
[Folger]: Folger Shakespeare Library copy, shelfmark STC 21009.
[Ransom]: Harry Ransom Center copy, Call Number PFORZ 901 PFZ.
[Huntington]: The Huntington Library copy, call number 69129 .
[Boswell 1821]:
Boswell, James the Younger, ed. The True Tragedy of Richard the Third. The Plays and Poems of William Shakspeare: with the Corrections and Illustrations
of Various Commentators: Comprehending a Life of the Poet, and Enlarged History of
the Stage, by the Late Edmond Malone, with a New Glossarial Index. Vol. 19. London: F.C. and J. Rivington, 1821. 251–299.
[Field 1844]:
Field, Barron, ed. The True Tragedy of Richard the Third: To which is Appended the Latin Play of Richardus
Tertius. London: Shakespeare Society, 1844.
[Hazlitt 1875]:
Hazlitt, William Carew, ed.
The True Tragedy of Richard the Third.Shakespeare’s Library. Vol. 1. London: Reeves and Turner, 1875.
[Greg 1929]:
Greg, W.W., ed. The True Tragedy of Richard the Third
1594: The Malone Society Reprints. Oxford University Press, 1929.
[This edition]: This edition, edited by Toby Malone.
Adopted reading (This edition):
Prologue
Adopted reading (This edition):
Enter
Adopted reading (This edition):
holding … shield
Adopted reading (This edition):
Cresce cruor! … Cresce
Cresse cruor Sanguinis, Satietur Sanguine cresse
Cresce cruor sanguis, satietur sanguine cresce (conjectured)
Adopted reading (This edition):
Quod spero … vendicta!
Quod spero scitio. O scitio, scitio, vendicta.
Quod spero citò. O citò, citò, vendictam. (conjectured)
Adopted reading (This edition):
Ghost … shield and
Adopted reading (Greg 1929):
attainted (conjectured)
Adopted reading (This edition):
Cresce cruor! … vendicta!
Cresse cruor
Sanguinis, Satietur Sanguine cresse,
Quod spero scitio. O scitio, scitio, vendicta.
Cresce cruor:
Sanguis satietur sanguine: cresce,
Quod spero citô. O cit citô, citô, vendicta!
Adopted reading (This edition):
He turns … audience
Adopted reading (This edition):
Gentles
Adopted reading (This edition):
To Poetry
Adopted reading (This edition):
Scene 1
Adopted reading (This edition):
Edward IV
Adopted reading (This edition):
sick … With him
Adopted reading (This edition):
comforting her father
Adopted reading (This edition):
From another … comes
Adopted reading (This edition):
duke of … events
Adopted reading (This edition):
Dorset
Q1 has Marcus, modernized Marquess. All subsequent speech-headings for this character
are adjusted to Dorset.
Adopted reading (This edition):
Edward IV
Adopted reading (This edition):
marquess
Adopted reading (This edition):
than
Corrected regularly throughout the edition. These words were often interchangeable.
Adopted reading (This edition):
an’t like
Adopted reading (Field 1844):
is contented
Adopted reading (This edition):
sovereign
suffereigne
Adopted reading (This edition):
He offers … Dorset
Adopted reading (This edition):
He takes … hand
Adopted reading (Field 1844):
have (conjectured)
Adopted reading (This edition):
Exeunt omnes
Adopted reading (This edition):
Scene 2
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Ay
Adopted reading (This edition):
Enter
Adopted reading (Ransom):
minoritie
innormitie
innormitie
innormitie
innormitie
Adopted reading (This edition):
Shore’s … distance
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Shore’s … Lodowick
Adopted reading (This edition):
Citizen
Adopted reading (This edition):
Shore’s … Morton
Adopted reading (This edition):
Scene 3
Adopted reading (This edition):
Richard’s
Adopted reading (This edition):
and Page … remains.
Adopted reading (This edition):
Catesby
Adopted reading (Greg 1929):
Plantagenet’s
Adopted reading (This edition):
bearing a letter
Adopted reading (This edition):
Page
Adopted reading (This edition):
Page
Adopted reading (This edition):
Percival … letter
Adopted reading (This edition):
To the Page
Adopted reading (This edition):
Aside
Adopted reading (This edition):
He accepts … reads
Adopted reading (This edition):
Aside
Adopted reading (This edition):
To Percival
Adopted reading (Boswell 1821):
hundred
hundredth
hundredth
Adopted reading (This edition):
Ay
Adopted reading (This edition):
Richard … coin
Adopted reading (This edition):
Enter Richard’s
Adopted reading (This edition):
To the audience
Adopted reading (This edition):
marquess
Adopted reading (This edition):
earls
Adopted reading (Greg 1929):
napping (conjectured)
Adopted reading (This edition):
Scene 4
Adopted reading (This edition):
King … letter
Adopted reading (This edition):
Earl Rivers,
While Richard, Duke of York is included in the original stage direction, it of course
makes little sense for the younger prince to be present at Ludlow, given that he is
with his mother, Elizabeth, and will feature in her flight to sanctuary. This dilemma
was noted by Jenny Parr, who confronted this logistical issue in the staging of the
play.
Adopted reading (This edition):
Richard
Adopted reading (This edition):
Edward V
Corrected to Edward V for all subsequent speech headings.
Adopted reading (This edition):
Rivers
Adopted reading (This edition):
Haute
Originally spoken by Rivers, this exit line has been reassigned to Haute because Rivers
has already exited the stage. This reassignment was suggested by Jenny Parr, who confronted
this logistical issue in the staging of the play, and gave this line to Haute in performance.
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 5
Adopted reading (This edition):
Enter
Adopted reading (This edition):
host
Adopted reading (This edition):
Ay
Adopted reading (This edition):
an
Adopted reading (This edition):
guests
Adopted reading (This edition):
guests … guests
Adopted reading (This edition):
Aside
Adopted reading (This edition):
an
Adopted reading (This edition):
To the Page
Adopted reading (This edition):
Aside
Adopted reading (This edition):
host
Adopted reading (This edition):
Exit Page
Adopted reading (This edition):
To the audience
Adopted reading (This edition):
Ah
Adopted reading (This edition):
Scene 6
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 7
Adopted reading (This edition):
host
Adopted reading (This edition):
penned
Adopted reading (This edition):
Rivers … off-stage
Adopted reading (This edition):
Calling
Adopted reading (This edition):
Good morrow … good morrow
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Ah
Adopted reading (This edition):
To Rivers
Adopted reading (This edition):
Upbraid
A brayd
A brayd
A brayd
Adopted reading (This edition):
unscarred
Adopted reading (Quarto):
now
, Field 1844:
not now (conjectured)
Adopted reading (Field 1844):
climbed (conjectured)
Adopted reading (This edition):
Aside to Richard
Adopted reading (This edition):
To Rivers
Adopted reading (This edition):
Officers … Rivers
Adopted reading (This edition):
them
Adopted reading (This edition):
Rivers, … officers
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 8
Adopted reading (This edition):
Edward V
Adopted reading (This edition):
Haute
Adopted reading (This edition):
juice
Adopted reading (This edition):
Haute
Hapc
Hapc
Hapc
Adopted reading (This edition):
To officers … train
Adopted reading (This edition):
Before … Grey
Adopted reading (This edition):
jostle
Adopted reading (This edition):
an
Adopted reading (This edition):
Haute
Adopted reading (This edition):
attached
Adopted reading (This edition):
To the officers
Adopted reading (This edition):
The officers … Vaughan
Adopted reading (This edition):
Exeunt Grey, … remain
Adopted reading (This edition):
London
Adopted reading (This edition):
coronation
Adopted reading (This edition):
an’t
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Sound trumpet. Exeunt.
Adopted reading (This edition):
Scene 9
Adopted reading (This edition):
Princess
Adopted reading (This edition):
coronation
Adopted reading (This edition):
Ah
Adopted reading (This edition):
Ah
Adopted reading (This edition):
presseth
Adopted reading (This edition):
Ah
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Ah
Adopted reading (This edition):
an
Adopted reading (This edition):
archbishop … letters
Adopted reading (This edition):
To messenger
Adopted reading (This edition):
Offers reward
Adopted reading (This edition):
She takes … it
Adopted reading (This edition):
To archbishop
Adopted reading (This edition):
To York
Adopted reading (This edition):
She takes … it
Adopted reading (Hazlitt 1875):
coronation
Adopted reading (This edition):
ambushed
Adopted reading (This edition):
Enter Catesby … armed
Adopted reading (This edition):
bankrupts
Adopted reading (This edition):
To York
Adopted reading (This edition):
Weeping
Adopted reading (This edition):
Exeunt … Elizabeth
Adopted reading (This edition):
To Catesby
Adopted reading (This edition):
Archbishop
Adopted reading (This edition):
Scene 10
Adopted reading (This edition):
watchmen followed by
Adopted reading (This edition):
To the audience
Adopted reading (This edition):
instead
Adopted reading (Field 1844):
clapped (conjectured)
Adopted reading (This edition):
To the Page
Adopted reading (This edition):
Exeunt … Catesby
Adopted reading (This edition):
To the audience
Adopted reading (This edition):
Stanley
Adopted reading (This edition):
Catesby, … officers
Adopted reading (This edition):
To Hastings
Adopted reading (This edition):
To his followers
Adopted reading (This edition):
Exeunt … officers
Adopted reading (This edition):
To the Page
Adopted reading (This edition):
Tyrrell
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 11
Adopted reading (This edition):
Aie
Adopted reading (This edition):
Ah
Adopted reading (Boswell 1821):
content
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Lodowick
Adopted reading (Field 1844):
Thames (conjectured)
Adopted reading (This edition):
He opens purse
Adopted reading (This edition):
He closes purse
Adopted reading (This edition):
an
Adopted reading (This edition):
Citizens
Adopted reading (This edition):
Lincoln
Adopted reading (This edition):
Brecknock
Adopted reading (This edition):
Aside
Adopted reading (This edition):
Morton
Adopted reading (This edition):
Enter Richard’s
Adopted reading (This edition):
Aside … Wife
Adopted reading (This edition):
Morton
Adopted reading (This edition):
An
Adopted reading (This edition):
Page
Adopted reading (This edition):
Shore’s Wife
Adopted reading (This edition):
Scene 12
Adopted reading (This edition):
Master James Tyrrell
Adopted reading (This edition):
with … keys
Adopted reading (This edition):
Brakenbury … Tyrrell
Adopted reading (This edition):
Calling off
Adopted reading (This edition):
Enter Myles Forrest
Adopted reading (This edition):
Slaughter
Adopted reading (This edition):
Calling offstage
Adopted reading (This edition):
Enter … Denton
Adopted reading (This edition):
Slaughter
All speech headings for Slaughter are used this way for the remainder of the scene.
Adopted reading (This edition):
Denton
Adopted reading (This edition):
Denton
Adopted reading (Boswell 1821):
it
Adopted reading (This edition):
Forrest, … aside
Adopted reading (This edition):
Forrest steps forward
Adopted reading (This edition):
Slaughter
Repeated at Sc12 Sp35.
Adopted reading (This edition):
Aside … Denton
Adopted reading (This edition):
asleep
Adopted reading (This edition):
ne’er ta’en
Adopted reading (This edition):
Forrest re-enters
Adopted reading (This edition):
Moving … boys
Adopted reading (This edition):
Slaughter … downstage
Adopted reading (This edition):
One … out
Adopted reading (This edition):
Calling from upstage
Adopted reading (This edition):
Slaughter … forward
Adopted reading (This edition):
Exeunt … bodies
Adopted reading (This edition):
Enter Tyrrell … Forrest
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 13
Adopted reading (This edition):
Ralph … master
Adopted reading (This edition):
Ay
Adopted reading (This edition):
Banastre
Adopted reading (This edition):
Buckingham … Banastre
Adopted reading (This edition):
with his men
Adopted reading (This edition):
bloodsucker
Adopted reading (This edition):
armed
Adopted reading (This edition):
Brittany
Corrected to Brittany throughout this edition.
Adopted reading (This edition):
thus is
Adopted reading (This edition):
Falling … knees
Adopted reading (This edition):
Aside
Adopted reading (This edition):
ne’er
Adopted reading (This edition):
To Banastre
Adopted reading (This edition):
ne’er
Adopted reading (This edition):
Ixion
Adopted reading (This edition):
Rising, … supporters
Adopted reading (Boswell 1821):
my
Adopted reading (This edition):
To Buckingham’s followers
Adopted reading (This edition):
Scene 14
Adopted reading (This edition):
crowned
Adopted reading (This edition):
To himself
Adopted reading (This edition):
passed
Adopted reading (Boswell 1821):
Stygian (conjectured)
Adopted reading (This edition):
If’t … i’this
Adopted reading (This edition):
Nay!
Adopted reading (This edition):
E’en
Adopted reading (This edition):
To the audience
Adopted reading (This edition):
Thy
Adopted reading (This edition):
To himself
Adopted reading (Quarto):
pace … valance
Adopted reading (This edition):
To Catesby
Adopted reading (This edition):
Catesby approaches
Adopted reading (This edition):
called
Adopted reading (This edition):
To himself
Adopted reading (This edition):
To Catesby
Adopted reading (This edition):
Outlive … strange.
Adopted reading (This edition):
Henry IV
Adopted reading (Boswell 1821):
sorceress
Adopted reading (Boswell 1821):
bewitch
Adopted reading (This edition):
Landais
Corrected to Landais throughout this edition.
Adopted reading (This edition):
Stanley
Repeated at Sc14 SD9 and continuing throughout the remainder of the play.
Adopted reading (This edition):
were’t
Adopted reading (This edition):
To Stanley
Adopted reading (This edition):
An’t
Adopted reading (This edition):
An’t
Adopted reading (This edition):
Aside
Adopted reading (This edition):
To Stanley
Adopted reading (This edition):
Aside
Adopted reading (This edition):
accept
Adopted reading (This edition):
To Richard
Adopted reading (This edition):
An’t
Adopted reading (This edition):
Richard … approach
Adopted reading (This edition):
Aside
Adopted reading (This edition):
To Richard
Adopted reading (This edition):
To George
Adopted reading (This edition):
George … blesses him
Adopted reading (This edition):
Stanley … Exit Stanley
Adopted reading (This edition):
To an attendant
Adopted reading (This edition):
Exeunt … Stanley
Adopted reading (This edition):
Enter
Adopted reading (This edition):
willed
Adopted reading (This edition):
heard
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Exeunt … Catesby
Adopted reading (This edition):
Blount
This edition corrects all subsequent spellings of Blount’s name in this way.
Adopted reading (This edition):
complex
Adopted reading (Greg 1929):
arm me (conjectured)
Adopted reading (This edition):
Exeunt
Adopted reading (This edition):
Scene 15
Adopted reading (This edition):
Pierre Landais
Adopted reading (This edition):
Blount
Adopted reading (This edition):
passed
Adopted reading (This edition):
daunted
Adopted reading (Field 1844):
arms
Adopted reading (This edition):
Blount
Adopted reading (This edition):
Pierre Landais
Adopted reading (Field 1844):
this
Adopted reading (This edition):
sheltered
Adopted reading (This edition):
daunt
Adopted reading (This edition):
Someone knocks
Adopted reading (This edition):
Blount
Adopted reading (This edition):
Blount … returns
Adopted reading (This edition):
Blount
Adopted reading (This edition):
Enter
Adopted reading (This edition):
with letters
Adopted reading (This edition):
Talbot
Adopted reading (This edition):
Shrewsbury’s
Shreuesbury
Adopted reading (This edition):
Pembroke’s
Adopted reading (This edition):
Rhys ap
Adopted reading (This edition):
ap
Adopted reading (This edition):
Arnold
Adopted reading (This edition):
Richmond … purse
Adopted reading (This edition):
Exit Messenger
Adopted reading (This edition):
Shall have
Adopted reading (This edition):
Blount
Adopted reading (Quarto):
by
Adopted reading (This edition):
Blount
Adopted reading (This edition):
bravado
Adopted reading (This edition):
Atherstone
Adopted reading (This edition):
Exeunt.
Adopted reading (This edition):
Scene 16
Adopted reading (This edition):
Richard’s
Adopted reading (This edition):
center
Adopted reading (This edition):
Enter
Adopted reading (This edition):
traveling
Adopted reading (This edition):
1 Man
Adopted reading (This edition):
2 Man
Adopted reading (This edition):
Exeunt Men
Adopted reading (This edition):
Ah
Adopted reading (This edition):
Exit
Adopted reading (This edition):
Scene 17
Adopted reading (This edition):
Exit Oxford
Adopted reading (This edition):
Stanley
Corrected to Stanley for the remainder of the play.
Adopted reading (This edition):
a captain … army
Adopted reading (This edition):
Exit Captain
Adopted reading (This edition):
Stanley
Adopted reading (This edition):
Stanley’s
Adopted reading (This edition):
gristle
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Exeunt … Messenger
Adopted reading (Field 1844):
Quisquam … bonum. (conjectured)
Quisquam regno gaudet, ô fallax bonum.
Adopted reading (This edition):
Exit
Adopted reading (This edition):
Scene 18
Adopted reading (This edition):
Enter King Richard
Adopted reading (This edition):
shrieking
Adopted reading (Quarto):
damnèd death
Adopted reading (This edition):
should’ve
Adopted reading (This edition):
Lovell
Adopted reading (This edition):
To himself
Adopted reading (This edition):
To himself
Adopted reading (This edition):
To himself
Adopted reading (This edition):
To Lovell
Adopted reading (This edition):
Enter
Adopted reading (This edition):
with the Page, a messenger and attendant lords.
Adopted reading (This edition):
haunt
Adopted reading (This edition):
verdicts
vardits
Adopted reading (Quarto):
past
Adopted reading (This edition):
To the Page
Adopted reading (This edition):
The Page … move
Adopted reading (This edition):
Lovell … Catesby
Adopted reading (This edition):
Catesby … move
Adopted reading (This edition):
To Catesby … Lovell
Adopted reading (This edition):
To Catesby … Lovell
Adopted reading (This edition):
Catesby … himself
Adopted reading (This edition):
To … lords
Adopted reading (This edition):
Richard, … lords
Adopted reading (This edition):
Scene 19
Adopted reading (This edition):
Ah
Adopted reading (This edition):
To the skies
Adopted reading (This edition):
roll
Adopted reading (This edition):
daunted
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Exeunt … body.
Adopted reading (This edition):
Scene 20
Adopted reading (This edition):
Norfolk
Adopted reading (This edition):
lieutenant
Adopted reading (This edition):
spurred
Adopted reading (This edition):
ne’er
Adopted reading (This edition):
Exit … remains
Adopted reading (This edition):
Scene 21
Adopted reading (This edition):
They pray
Adopted reading (This edition):
To Lord Stanley
Adopted reading (Greg 1929):
Tully
Adopted reading (This edition):
distressed
Adopted reading (This edition):
enforced
Adopted reading (This edition):
Stanley … head
Adopted reading (This edition):
’turn in safe
turn in safe
Adopted reading (This edition):
Ah, no
Adopted reading (This edition):
Enter
Adopted reading (This edition):
Lord … embrace
Adopted reading (This edition):
center
Adopted reading (This edition):
George … emotion
Adopted reading (This edition):
Lord … more.
Adopted reading (This edition):
Epilogue
Adopted reading (This edition):
The Mother … stage.
Adopted reading (This edition):
Blackheath
black health
Adopted reading (This edition):
Thérouanne and Tournai
Adopted reading (This edition):
Morlaix
Adopted reading (This edition):
Boulogne
Adopted reading (This edition):
e’er
Adopted reading (This edition):
All exeunt
Notes
1.While Richard, Duke of York is included in the original stage direction, it of course
makes little sense for the younger prince to be present at Ludlow, given that he is
with his mother, Elizabeth, and will feature in her flight to sanctuary. This dilemma
was noted by Jenny Parr, who confronted this logistical issue in the staging of the
play.↑
2.Originally spoken by Rivers, this exit line has been reassigned to Haute because Rivers
has already exited the stage. This reassignment was suggested by Jenny Parr, who confronted
this logistical issue in the staging of the play, and gave this line to Haute in performance.↑
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.
Anonymous
Dimitry Senyshyn
Dimitry Senyshyn (Clyomon and Clamydes, text) has current research focusing on Shakespeare’s tragicomic romances and their
relation to a native tradition of popular romance. He has co-edited an old-spelling
edition of The True Tragedie of Richard the Third for QME with Jennifer Robert-Smith. He contributed to the preparation of the REED Inns of Court volume, and he has published in Theatre Research in Canada, Early Theatre, and the Encyclopedia of the Bible and its Reception. He can be contacted at dimitry.senyshyn@gmail.com.
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.
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.
Kate LeBere
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.
Mahayla Galliford
Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant,
2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria
with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s
undergraduate research explored early modern stage directions and civic water pageantry.
Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding
early modern girls’ manuscripts, specifically Lady Rachel Fane’s May Masque 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.
Navarra Houldin
Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual
remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major
in history and minor in Spanish at the University of Victoria in 2022. Their primary
research was on gender and sexuality in early modern Europe and Latin America. They
are continuing their education through an MA program in Gender and Social Justice
Studies at the University of Alberta where they will specialize in Digital Humanities.
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 iArts (Integrated Arts) program at
McMaster University. He is the co-editor, with Melinda Gough, of Engendering the Stage in the Age of Shakespeare and Beyond (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance
as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor
(performance), and technical co-ordinating editor of Queen’s Men Editions. His PaR directing credits include King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006), Clyomon and Clamydes (2010), and Three Ladies of London (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind
the 2006 productions is documented in depth on the project website Performing the Queen’s Men. 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.
Samuel 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. Note: Samuel now
works for LEMDO as the Assistant Project Manager, much to his bike’s chagrin.
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.
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.
QME Editorial Board (QMEB1)
The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text); and Janelle Jenstad General Editor (Text).
University of Victoria (UVIC1)
https://www.uvic.ca/Witnesses
Boswell, James the Younger, ed. The True Tragedy of Richard the Third. The Plays and Poems of William Shakspeare: with the Corrections and Illustrations
of Various Commentators: Comprehending a Life of the Poet, and Enlarged History of
the Stage, by the Late Edmond Malone, with a New Glossarial Index. Vol. 19. London: F.C. and J. Rivington, 1821. 251–299.
Field, Barron, ed. The True Tragedy of Richard the Third: To which is Appended the Latin Play of Richardus
Tertius. London: Shakespeare Society, 1844.
Folger Shakespeare Library copy, shelfmark STC 21009.
Greg, W.W., ed. The True Tragedy of Richard the Third
1594: The Malone Society Reprints. Oxford University Press, 1929.
Harry Ransom Center copy, Call Number PFORZ 901 PFZ.
Hazlitt, William Carew, ed.
The True Tragedy of Richard the Third.Shakespeare’s Library. Vol. 1. London: Reeves and Turner, 1875.
The Huntington Library copy, call number 69129 .
The True Tragedie of Richard the third: Wherein is showne the death of Edward the
fourth, with the smothering of the two yoong Princes in the Tower: With a lamentable
ende of Shore’s wife, an example for all wicked women. And lastly, the coniunction
and ioyning of the two noble Houses, Lancaster and Yorke. As it was playd by the Queenes
Maiesties Players. London: Thomas Creede, 1594. STC 21009. ESTC S111104.
This edition, edited by Toby Malone.
Metadata
| Authority title | Collation: True Tragedy of Richard III |
| Type of text | Apparatus |
| Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
| Series | Queen’s Men Editions |
| Source | |
| Editorial declaration | Edited according to the ISE Editorial Guidelines |
| Edition | Released with Queen’s Men Editions 2.1 |
| Sponsor(s) |
Queen’s Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until
2026); and Janelle Jenstad, General Editor (Text; 2026–)
|
| Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
| Document status | published, peer-reviewed |
| Funder(s) | Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE Mitacs Globalink Research Internship Program |
| License/availability |
Intellectual copyright in this edition is held by the editor, Toby Malone. The critical apparatus, including this
Collation,is licensed under a CC BY-NC_ND 4.0 license, which means it is 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.
|