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THIS tragedy, though called, in the original edition, "The Life and Death of King Richard the Third," comprises only fourteen years. The second scene commences with the funeral of king Henry VI., who is said to have been murdered on the 21st of May, 1471. The imprisonment of Clarence, which is represented previously in the first scene, did not, in fact, take place till 1477-8.

Several dramas on the present story had been written before Shakspeare attempted it. There was a Latin play on the subject, by Dr. Legge, which had been acted at St. John's College, Oxford, some time before the year 1588. And a childish imitation of it, by one Henry Lacey, exists in MS. in the British Museum; (MSS. Harl. No. 6926;) it is dated 1586. In the books of the Stationers' Company are the following entries:-"Aug. 15, 1586, A Tragical Report of King Richard the Third: a ballad." June 19, 1594, Thomas Creede made the following entry: "An enterlude, intitled the Tragedie of Richard the Third, wherein is shown the Deathe of Edward the Fourthe, with the Smotheringe of the Two Princes in the Tower, with the lamentable Ende of Shore's Wife, and the Contention of the Two Houses of Lancaster and Yorke." A single copy of this ancient Interlude, which Mr. Boswell thinks was written by the author of Locrine, unfortunately wanting the title-page, and a few lines at the beginning, was in the collection of Mr. Rhodes, of Lyon's Inn, who liberally allowed Mr. Boswell to print it in the last Variorum edition of Shakspeare.* It appears evidently to have been read and used by Shakspeare. In this, as in other instances, the bookseller was probably induced to publish the old play, in consequence of the success of the new one in performance, and before it had yet got into print.

Shakspeare's play was first entered at Stationers' Hall, Oct. 20, 1597, by Andrew Wise; and was then published with the following title:"The Tragedy of King Richard the Third: Containing his treacherous Plots against his Brother Clarence; the pitiful Murther of his innocent Nephewes; his tyrannical Usurpation: with the whole course of his

* A complete copy of Creede's edition of this curious Interlude (which upon comparison proved to be a different impression from that in Mr. Rhodes's collection) was sold by auction by Mr. Evans very lately. The title was as follows:-"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 end of Shore's wife, an example for all wicked women; and lastly, the conjunction of the two noble Houses Lancaster and Yorke, as it was playd by the Queenes Maiesties players. London, printed by Thomas Creede; and are to be sold by William Barley at his shop in Newgate Market, neare Christ Church door, 1594; 4to." It is a circumstance sufficiently remarkable, that but a single copy of each of the two editions of this piece should be known to exist.

detested Life, and most deserved Death. As it hath been lately acted by the Right Honourable the Lord Chamberlaine his servants. Printed by Valentine Sims, for William Wise, 1597." It was again reprinted, in 4to, in 1598, 1602, 1612 or 1613, 1622, and twice in 1629.

This play was probably written in the year 1593 or 1594. One of Shakspeare's Richards, and most probably this, is alluded to in the Epigrams of John Weever,* published in 1599, but which must have been written in 1595.


Honie-tong'd Shakespeare, when I saw thine issue,
I swore Apollo got them, and none other;
Their rosie-tainted features clothed in tissue,
Some heaven-born goddesse said to be their mother.
Rose-cheeckt Adonis with his amber tresses,
Faire fire-hot Venus charming him to love her,
Chaste Lucretia, virgine-like her dresses,

Proud lust-stung Tarquine, seeking still to prove her,
Romeo, Richard, more whose names I know not,
Their sugred tongues and power attractive beauty,
Say they are saints, althogh that saints they shew not,
For thousand vowes to them subjective dutie,
They burn in love thy children Shakspeare let them,
Go wo thy muse more nymphish brood beget them.

27th Epig. 4th Weekc.

The character of Richard had been in part developed in the last parts of King Henry VI., where, Schlegel observes, "his first speeches lead us already to form the most unfavorable prognostications respecting him: he lowers obliquely like a thunder-cloud on the horizon, which gradually approaches nearer and nearer, and first pours out the elements of devastation with which it is charged when it hangs over the heads of mortals.” "The other characters of the drama are of too secondary a nature to excite a powerful sympathy; but in the back ground, the widowed queen Margaret appears as the fury of the past, who calls forth the curse on the future; every calamity which her enemies draw down on each other, is a cordial to her revengeful heart. Other female voices join, from time to time, in the lamentations and imprecations. But Richard is the soul, or rather the demon, of the whole tragedy, and fulfils the promise, which he formerly made, to

set the murderous Machiavel to school.'

Besides the uniform aversion with which he inspires us, he occupies us in the greatest variety of ways, by his profound skill in dissimulation, his wit, his prudence, his presence of mind, his quick activity, and his valor. He fights at last against Richmond like a desperado, and dies the

This very curious little volume, which is supposed to be unique, is in the possession of Mr. Comb, of Henley. The title is as follows:-" Epigranimes in the oldest Cut and newest Fashion. A twise seven Houres (in so many Weekes) Studie. No longer (like the Fashion) not unlike to continue. The first seven, John Weever. Sit voluisse sit valuisse. At London printed by V. S. for Thomas Bushele; and are to be sold at his shop, at the great north doore of Paules. 1599. 12°." There is a portrait of the author, engraved by Cecill, prefixed. According to the date upon this print, Weever was then twenty-three years old; but he tells us, in some introductory stanzas, that, when he wrote the Epigrams which compose the volume, he was not twenty years old; that he was one

"That twenty twelvemonths yet did never know." Consequently, these Epigrams must have been written in 1595.

honorable death of the hero on the field of battle."-But Shakspeare has satisfied our moral feelings:-"He shows us Richard in his last moments already branded with the stamp of reprobation. We see Richard and Richmond, on the night before battle, sleeping in their tents; the spirits of those murdered by the tyrant ascend in succession, and pour out their curses against him, and their blessings on his adversary. These apparitions are, properly, merely the dreams of the two generals made visible. It is no doubt contrary to sensible probability, that their tents should only be separated by so small a space; but Shakspeare could reckon on poetical spectators, who were ready to take the breadth of the stage for the distance between the two camps, if, by such a favor, they were to be recompensed by beauties of so sublime a nature as this series of spectres, and the soliloquy of Richard on his awaking."*

Steevens observed that the favor with which the tragedy has been received on the stage in modern times "must in some measure be imputed to Cibber's reformation of it." The original play was certainly too long for representation, and there were parts which might, with advantage, have been omitted in representation, as "dramatic encumbrances;" but such a piece of clumsy patchwork as the performance of Cibber, was surely any thing but "judicious;" and it is only surprising, that the taste which has led to other reformations in the performance of our great dramatic Poet's works, has not given to the stage a judicious abridgment of this tragedy in his own words, unencumbered with the superfluous transpositions and gratuitous additions which have been so long inflicted upon us.

* Schlegel's Lectures on Dramatic Literature, vol. ii. p. 246.



KING EDWArd the Fourth.

EDWARD, Prince of Wales, afterwards

King Edward V.

RICHARD, Duke of York,

GEORGE, Duke of Clarence,

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RICHARD, Duke of Gloster, afterwards Brothers to the King.

King Richard III.

A young Son of Clarence.

HENRY, Earl of Richmond, afterwards King Henry VII.
CARDINAL BOUCHIER, Archbishop of Canterbury.

THOMAS ROTHERAM, Archbishop of York.

JOHN MORTON, Bishop of Ely.

Duke of Buckingham.

Duke of Norfolk: Earl of Surrey, his Son.
EARL RIVERS, Brother to King Edward's Queen.
Marquis of Dorset, and LORD GREY, her Sons.
Earl of Oxford. LORD HASTINGS.



SIR ROBERT BRAKENBURY, Lieutenant of the Tower.
CHRISTOPHER URSWICK, a Priest. Another Priest.
Lord Mayor of London. Sheriff of Wiltshire.

ELIZABETH, Queen of King Edward IV.
MARGARET, Widow of King Henry VI.

Duchess of York, Mother to King Edward IV., Clarence, and

LADY ANNE, Widow of Edward, Prince of Wales, Son to King Henry VI.; afterwards married to the Duke of Gloster.

A young Daughter of Clarence.

Lords, and other Attendants, two Gentlemen, a Pursuivant, Scrivener, Citizens, Murderers, Messengers, Ghosts, Soldiers, &c.

SCENE. England.



SCENE I. London. A Street.


Gloster. Now is the winter of our discontent
Made glorious summer by this sun1 of York;
And all the clouds, that lowered upon our house,
In the deep bosom of the ocean buried.

Now are our brows bound with victorious wreaths;
Our bruised arms hung up for monuments;
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures."
Grim-visaged war hath smoothed his wrinkled front;
And now, instead of mounting barbed3 steeds,
To fright the souls of fearful adversaries,―
He capers nimbly in a lady's chamber,
To the lascivious pleasing of a lute.

But I, that am not shaped for sportive tricks,
Nor made to court an amorous looking-glass;

I, that am rudely stamped, and want love's majesty,
To strut before a wanton, ambling nymph;
I, that am curtailed of this fair proportion,
Cheated of feature by dissembling nature,"


1 The cognizance of Edward IV. was a sun, in memory of the three suns which are said to have appeared at the battle which he gained over the Lancastrians at Mortimer's Cross.

2 Dances.

3 i. e. steeds caparisoned or clothed in the trappings of war.

The word

is properly barded, from equus bardatus, Latin of the middle ages.

4 Feature is proportion, or beauty, in general. By dissembling is not meant hypocritical nature, but nature that puts together things of a dissimilar kind, as a brave soul and a deformed body.

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