It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.
Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.
The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.
I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.
Michael Witmore
Director, Folger Shakespeare Library
Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of
Hamlet
, two of
King Lear
,
Henry V
,
Romeo and Juliet
, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.
Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See
The Tempest
, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.
The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from
Othello
: “
If she in chains of magic were not bound,
”), half-square brackets (for example, from
Henry V
: “With
blood
and sword and fire to win your right,”), or angle brackets (for example, from
Hamlet
: “O farewell, honest
soldier.
Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.
Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.
As
Richard III
opens, Richard is Duke of Gloucester and his brother, Edward IV, is king. Richard is eager to clear his way to the crown. He manipulates Edward into imprisoning their brother, Clarence, and then has Clarence murdered in the Tower. Meanwhile, Richard succeeds in marrying Lady Anne, even though he killed her father-in-law, Henry VI, and her husband.
When the ailing King Edward dies, Prince Edward, the older of his two young sons, is next in line for the throne. Richard houses the Prince and his younger brother in the Tower. Richard then stages events that yield him the crown.
After Richard’s coronation, he has the boys secretly killed. He also disposes of Anne, his wife, in order to court his niece, Elizabeth of York. Rebellious nobles rally to Henry Tudor, Earl of Richmond. When their armies meet, Richard is defeated and killed. Richmond becomes Henry VII. His marriage to Elizabeth of York ends the Wars of the Roses and starts the Tudor dynasty.
Richard
, Duke of Gloucester, later King Richard III
Lady Anne
, widow of Edward, son to the late King Henry VI;
later wife to Richard
King Edward IV
, brother to Richard
Queen Elizabeth
, Edward’s wife, formerly the Lady Grey
Prince Edward
Richard, Duke of York
their sons
George, Duke of Clarence
, brother to Edward and Richard
Clarence’s
Boy
Clarence’s
Daughter
Duchess of York
, mother of Richard, Edward, and Clarence
Queen Margaret
, widow of King Henry VI
William, Lord Hastings
, Lord Chamberlain
Lord Stanley
, Earl of Derby
Earl Rivers
, brother to Queen Elizabeth
Lord Grey
Marquess of Dorset
sons of Queen Elizabeth by her
former marriage
Sir William Catesby
Sir Richard Ratcliffe
Lord Lovell
Duke of Norfolk
Earl of Surrey
Richard’s supporters
Earl of Richmond
, Henry Tudor, later King Henry VII
Earl of Oxford
Sir James Blunt
Sir Walter Herbert
Sir William Brandon
Sir Christopher
, a priest
Richmond’s supporters
John Morton, Bishop of Ely
Sir Robert Brakenbury
, Lieutenant of the Tower in London
James Tyrrel
, gentleman
Gentleman
, attending Lady Anne
Two
Murderers
Keeper
in the Tower
Three
Citizens
Lord Mayor
of London
Pursuivant
Sir John
, a priest
Scrivener
Page
Sheriff
Seven
Messengers
Ghosts
of King Henry VI, his son Prince Edward, Clarence, Rivers, Grey, Vaughan, the two Princes, Hastings, Lady Anne, and Buckingham
Guards, Tressel, Berkeley, Halberds, Gentlemen, Anthony Woodeville and Lord Scales (brothers to Queen Elizabeth), Two Bishops, Sir William Brandon, Lords, Attendants, Citizens, Aldermen, Councillors, Soldiers