307:
1704 and then had to wait for another six years before being taken back into the performance circuit in 1710. There was a large increase of the number of performances of this play from the year 1710. The popularity of the play is also reflected by the presence of the Prince and
Princess at the performance on 27 January 1715 in Drury Lane Theatre. The adaptation therefore did not suffer of being a failure for too long: only a few years later the play became a huge success, which it remained for nearly two hundred years up to the nineteenth century. This is also reflected in the editions of the play published in the eighteenth century. After 1731 the play was frequently reprinted and published, reflecting a significant demand. In 1714–1749 it was performed at least 170 times in different theatres. The quantity of performances rose even further after 1749. According to Frances M. Kavenik, who concentrated on collecting information on
352:
1838:
445:
422:, shows the halting steps by both actors and artists to achieve an historically exact rendering of the past. Though such an accessory as armour, specially loaned from the Tower of London, is included in the left foreground, and Garrick is shown without his wig, his vaguely Elizabethan costume points to the relatively approximate sense of period which still dominated the British stage. Famed for his naturalistic acting style, Garrick is displayed frozen with fear in a pose familiar from pictorial manuals on gesture and expression, a source widely used by
224:
make sure that Edward and
Clarence are killed. A scene in the Tower shows the two princes scared to death in their chamber awaiting their fate. Tyrrell assigned Dighton and Forest to fulfil the killing and the two are shown entering the room of the princes. Even though they hesitate, they still murder both with daggers. Tyrrell makes sure that everything goes well and the dead bodies are thrown into the river Thames on Richard's demand. Cibber shows the tyrannical personality of King Richard, whereas Shakespeare does not present bloody deeds on stage.
431:
441:(1787–1833) was also celebrated for the role of Richard III. A frenetic and lively manner characterised Kean's style of performance, but his tendency to drink too much before coming to work caused rumour and criticism. Nevertheless, the audience adored him for creating entertaining theatre. He mostly played villains such as Richard III. Moreover, Kean performed this role outside Britain. On 29 November 1820 he played Richard III in New York.
171:, the daughter of the former Queen Elizabeth and the dead King Edward. Richmond and Richard finally meet in battle at Bosworth Field. The night before the fight Richard is haunted by ghosts of all the people he has killed. In the battle on the following morning, Richard is killed, and Richmond is crowned King Henry VII, which concludes the fifth act.
342:
It took two centuries to change critical and popular opinion and to make a staging of the original script possible again. The once discredited original now rules the stage unchallenged. Cibber's version, which was the most oft-produced "Shakespeare" play in nineteenth century
America, cannot be found
22:
223:
about the murders. Tyrrell is willing to kill the princes and leaves the stage. He reappears after the deed is done and gives an account of the deaths. The actual murder is not referred to and
Tyrrell only mentions that he has seen the dead bodies. Cibber shows the murder. The Duke orders Tyrrell to
214:
Both versions include the appearance of the ghosts of the murdered King Henry, Lady Ann, and the two princes. However, Cibber reduces the interplay between the dead and still living characters by allowing the ghosts to appear only before
Richard and not Richmond. With only Richard seeing the ghosts,
114:
Shakespeare's play summarises events around the year 1485, although the actual historical events of the play proceeded over a much longer period. In Cibber's version the years 1471–1485, during which
Richard gained power and was able to rise to the throne of England, are presented to the audience in
886:
At the Desire of several
Persons of Quality. Mainpiece: With the Famous Battle of Bosworth Field, between him and the Earl of Richmond, afterwards King Henry the Seventh. Written Originally by Shakespear, who in the true and lively Character of Richard has shewn his most Masterly Strokes of Nature.
338:
That Cibber's adaptation was performed on stages up to the latter half of the nineteenth century underlines this. In the later part of the century a gradual shift back to the original
Shakespearean version took place, probably due to audiences' increasing interest in original texts. From this point
306:
What is known for sure is that Cibber's play was first staged at Drury Lane. After the première the play was staged again in
February and March 1700 before its performance was discontinued. Cibber's version was not staged again for the next four years. It made its first reappearance on the stage in
1543:
218:
While
Shakespeare keeps violent scenes mainly off stage, Cibber includes more violent action, giving a more brutal picture of Richard as well as a more dramatic performance. Shakespeare never brings the two princes back to the stage after they have been guided to the Tower. He points out Richard's
426:
actors to achieve appropriate dramatic effect. Midway between a theatrical portrait and an historical rendering of an episode from the nation's past, Hogarth's work offers insight into 18th-century stagecraft. At the same time, it represents an important episode in the pictorial reconstruction of
70:
censored the entire first act and the production was a popular and commercial failure. Cibber published the script in 1700, including the problematic act, with a short note on its suppression. Ensuing performances from 1704 eventually risked the entire play in Cibber's new form. The play became a
411:
Hogarth painted the picture in commission for Mr. Duncombe of Duncombe Park who paid the then immense sum of ÂŁ200 for the work. This scene has become one of the most famous 18th-century dramatic images. In the same way that Garrick's performance marked an important step in the eighteenth-century
259:
But the Master of the Revels, who then licensed all plays for the Stage, assisted this reformation with a more zealous severity than ever. He would strike out whole scenes of a vicious or immoral character, though it were visibly shewn to be reformed, or punished; a severe instance of this kind
273:. Audiences were used to accept that someone would decide on what they were allowed to see and what would better remain in the dark. The plot which was allowed to be staged may have been cut short by the Master of Revels, but the playwrights were at least able to publish their work in writing.
276:
The prohibition to stage the play entirely caused its commercial failure, as well as a financial disaster for Drury Lane Theatre in the first years after the premier. However, the adaptation did not suffer of being a failure for too long: only about a decade later the play became a tremendous
237:
was printed in full and included all censored lines and words. The depiction on stage was thought to create parallels to actual life in England. The audience might become too deeply involved in the action due to the contemporary costumes which made scenes look like real life. Furthermore, the
463:
on 30 September 1783. The picture above shows him in the role of Richard III. In contradiction to David Garrick, Kemble's style was a return to a rather motionless performance. Kemble dominated the London stage for three decades both as an actor and a manager.
459:(1757–1823) played a large number of Shakespearian characters. Before he began to establish himself on the London stages he earned his living on the roads as a strolling actor, similar to the life his parents had led. In Hull he appeared for the first time as
382:, generally considered the most influential painter of his generation, painted Garrick in his role as Richard III. The role became the one Garrick was most famous for, and the painting one of the best known images of the 18th-century theatrical world.
260:
falling upon my self, may be an excuse for my relating it: when Richard the Third (as I altered it from Shakespeare) came from his hands to the Stage, he expunged the whole first act, without sparing a line of it. This extraordinary stroke of a
196:; that is not in Shakespeare's version. However, parts from the original first act are mentioned in the course of the play. One example is the conversation between Lady Anne and Richard in the second act, after the death of King Henry VI, in
232:
The adaptation started with a scandal. The entire first act of the play was censored and consequently not performed on stage. However, this censorship only applied to events presented on stage and not to the written text. The script of
943:
Containing Distresses and Death of King Henry the Sixth, the Murther of young King Deuard the Fifth and his Brother in the Tower, with the Landing of the Earl of Richmond, and the Memorable and Decisive Battle in Bosworth Field.
322:
attempted to reintroduce more of the original text into the play in 1821 but was unsuccessful. The disappointment of the audience forced him to return to Cibber's more familiar version of the play. Twenty-three years later,
164:, campaign to have himself crowned king. Richard then imprisons the young princes in the Tower and sends hired killers to murder both children. Rumours spread that a challenger to the throne is gathering forces in France.
264:
occasioned my applying to him for the small indulgence of a speech or two, that the other four acts might limp on, with a little less absurdity! No! he had no leisure to consider what might be separately
215:
the King is referred to as being a little wicked. Unlike Shakespeare's version, the ghosts of Rivers, Grey, Vaughan, Hastings—servants to the Queen—and Richard's brother Clarence, do not emerge on stage.
389:
is presented on stage in a luxurious tent in which Richard tries to find some peace and quiet. Instead of resting he is haunted and not even his comfortable bed can change the situation. He cries out:
343:
on stage any longer. Some directors thought it a good idea to preserve some of Cibber's most famous lines, such as "Off with his head! So much for Buckingham.", which fit well in the original version.
318:
Most performances were based on Cibber's adaptation, but in the 18th century, some directors tried to return to the original version. Their attempts were greeted with an outcry from audiences.
200:. Another is Tressel's lines, "Your Queen yet Lives, and many of your Friends, / But for my Lord your Son---", dealing with the report to King Henry VI of his son's death, are also taken from
126:
Shakespeare's first act begins with Richard secretly aspiring to the throne—during which process he decides to kill anyone he has to become king. In order to gain the throne he tricks
385:
The painting shows Richard III in the tent scene, in which he is haunted by the ghosts of people he has killed on his path to the throne. The night before the decisive battle at
123:. The play does not reflect the time frame in an obvious manner: it's not clear which actions take place at what specific time or how much time actually passes during the play.
179:
Even though Cibber takes fewer than 800 lines from Shakespeare, he stays for the most part with the original design, mainly adapting the plot to make it more suitable for the
434:
Edmund Kean (1787-1833) as Richard III. Engraving by Charles Turner (1774-1857) after John James Halls (1776-1834). "Mr. Kean in Richard the Third Act IV Scene 4". Mezzotint.
1093:, but as Sandford was not part of Drury Lane actors' repertory, he was not able to perform the role of Richard, and Cibber himself played the part in the first performance.
183:
stage, as well as performable in less than two hours. Cibber adds aspects and scenes and extends the plot, and leaves out several Shakespearean characters and passages.
1285:
An apology for the life of Colley Cibber, comedian, and late patentee of the Theatre-Royal. With an historical view of the stage during his own time. Written by himself
412:
revival of Shakespeare, so Hogarth's work represents a crucial development in the evolution of history painting during the period. Hogarth's portrayal, which draws on
2950:
167:
While Richard still tries to consolidate his power, his fellows are ready to welcome a new ruler. Richard has his wife Anne murdered, so that he can marry young
289:
and advertisements, which all appeared in February and March 1699/1700, show that the latest possible month for the production would have been January 1700. As
204:. There is a new scene between Lady Ann and Richard, after marriage, during which they have an argument; and seven newly designed soliloquies for Richard III.
160:, arrested and executed, which leaves the two young princes unprotected. In the fourth act, Richard has his political allies, particularly his right-hand man,
238:
depiction of brutality might bewilder the audience. Another reason for the censorship lies in the fear that the rewritten first act might show parallels to
2985:
1288:
2990:
2965:
2386:
286:
1442:
1909:
378:
began to establish himself at the London stages, and eventually became one of the most widely known actors for the role of Richard III. In 1745,
242:
and might create sympathy for him. The political fear behind this accusation is very clear, but the idea that Cibber used the play to strengthen
2679:
1571:
2033:
331:, but was equally unsuccessful. The public's opinion did not change until as late as the turn of the eighteenth century, and even then
2975:
2169:
2980:
2536:
2471:
2285:
1853:
251:
2336:
2164:
2017:
1705:
2960:
2591:
2446:
2351:
2290:
2220:
2205:
2149:
161:
131:
2754:
2305:
2270:
2184:
2154:
2038:
2027:
499:
printed for B. Lintott at the Middle Temple-Gate, in Eleet-street , and A. Bettesworth at the Red-Lyon on London-Bridge 1700
418:
370:
play. The king has just awakened from a nightmare. The painting was made in 1745, but based on Garrick's appearance in 1743.
2541:
2481:
2391:
2346:
2331:
2326:
2316:
2295:
2210:
66:
Cibber, a prominent theatre manager, first attempted to stage his version in 1699, but the performance was a disaster. The
2581:
2531:
2511:
2180:
2023:
1997:
1902:
1859:
2672:
2561:
2506:
2356:
2225:
2053:
2002:
1422:
576:
printed for W. Feales, R. Wellington, J. Wellington; and A. Bettesworth, and F. Clay, in trust for B. Wellington, 1736
1649:
532:
printed for W. Feales; R. Wellington; J. Wellington; and A. Bettesworth and F. Clay, in trust for B. Wellington, 1734
351:
2945:
2940:
2611:
2601:
2486:
2341:
2310:
2265:
2144:
2007:
1504:
1430:
1399:
1364:
1333:
828:
printed for the proprietors, and sold by Rachael Randall; and all booksellers in England, Scotland and Ireland, 1787
290:
1837:
2546:
1663:
1523:
285:
The date of the first performance is not known, but the dedication of the play (dated February 1699/1700) and the
2955:
2831:
2456:
2043:
1992:
2606:
2190:
1895:
2890:
1887:
2970:
2912:
2686:
2139:
1987:
1737:
2995:
2551:
2320:
2049:
1761:
1698:
2084:
2800:
2566:
2416:
1383:
444:
319:
1551:
2808:
2230:
1864:
1670:
1370:
328:
30:
2636:
1579:
386:
120:
2431:
1356:
2777:
2760:
2740:
2732:
2707:
2700:
2693:
2361:
2621:
2616:
2441:
2280:
2200:
1691:
197:
180:
153:, left in charge until Edward comes of age. Richard has powerful kinsmen of Edward's wife, the
92:
76:
60:
2246:
2120:
1973:
2897:
2853:
2064:
1875:
43:
2722:
2863:
2631:
2491:
2476:
2421:
2366:
2275:
2195:
1817:
1769:
1729:
1317:
270:
108:
67:
8:
2935:
2824:
2769:
2586:
2571:
2526:
2451:
2411:
2381:
2300:
2255:
2235:
2215:
2129:
1982:
1918:
460:
367:
243:
239:
187:
157:
135:
51:
2104:
2873:
2576:
2371:
1952:
1801:
1777:
1479:
1463:
1415:
456:
427:
British history which so preoccupied both Hogarth's contemporaries and his successors.
408:
The painting has had a significant impact on history painting ever since its creation.
150:
54:
2858:
2816:
2626:
2501:
2461:
2260:
2134:
2074:
1869:
1500:
1496:
1471:
1426:
1395:
1360:
1329:
308:
208:
168:
96:
1312:
Clark, Sandra (2013). "Shakespeare and Other Adaptations". In Owen, Susan J. (ed.).
2556:
2406:
2401:
2099:
1945:
1938:
1931:
1825:
1753:
1650:
https://web.archive.org/web/20070206054431/http://www.columbia.edu/~tdk3/cibber.txt
1455:
1387:
1352:
1321:
1296:
1292:
762:
printed for the proprietors, and sold by the booksellers in town and country, 1769
696:
printed for the proprietors, and sold by the booksellers in town and country, 1757
294:
192:
100:
2079:
1378:
Hughes, Derek (2006). "Restoration and settlement". In Fisk, Deborah Payne (ed.).
2748:
2664:
2496:
2396:
2109:
2094:
1809:
1785:
1451:
1348:
1300:
1090:
413:
379:
359:
116:
448:
John Philip Kemble as Richard III, from Act V, Scene 3 of William Shakespeare's
2159:
2089:
2012:
1664:
https://web.archive.org/web/20060722145234/http://www.r3.org/onstage/drunk.html
1567:
1539:
1405:
1391:
1325:
104:
2929:
2868:
2516:
2376:
1917:
1793:
1714:
1515:
1475:
1467:
1280:
430:
375:
363:
332:
324:
220:
154:
72:
47:
1304:
554:
printed for W. Feales; and the book-sellers of London and Westminster, 1735
2521:
2466:
2059:
685:
printed for W. Feales, and the booksellers of London and Westminster, 1756
423:
127:
211:
is ignored completely. In the original she appears in I.iii and in IV.iv.
2596:
2069:
438:
186:
Cibber contrives a completely new opening act, including the murder of
1483:
335:
called Cibber's version of the play the "acting version" of the plot.
2174:
303:
was also performed in the last month of 1699 to offer an equivalent.
142:
88:
21:
1440:
Kalson, Albert E. (1963). "The Chronicles in Cibber's Richard III".
1657:
English Drama of the Restoration and Eighteenth Century (1642–1780)
1459:
146:
1671:
http://www.theatredatabase.com/18th_century/david_garrick_001.html
1634:. Carbondale and Edwardsville: Southern Illinois University Press.
1609:
Booth, M. R., Southern, R., Marker F. & L., Davies, R.; 1975:
784:
printed for T. Lowndes, T. Caslon, W. Nicoll, and S. Bladon, 1774
773:
printed for T. Lowndes, T. Caslon, W. Nicoll, and S. Bladon, 1769
99:. The end of the play reflects the accession to the throne of the
39:
The Tragical History of King Richard Iii, Alter'd From Shakespeare
565:
printed for J. Tonson, and J. Watts, and sold by W. Feales, 1736
1683:
1625:
The Development of English Drama in the late Seventeenth Century
930:
Benefit Mrs Porter. At the Desire of several Ladies of Quality.
587:
printed for J. and R. Tonson and S. Draper, and J. Watts, 1745
474:
115:
five acts. The main events take place in London, mostly in the
1042:
By His Royal Highness's Command (Prince and Princess present)
806:
printed for T. and W. Lowndes, W. Nicoll, and S. Bladon, 1784
1611:
The Revels History of Drama in English, Volume VI – 1750–1880
1604:
English Drama: Restoration and Eighteenth Century, 1660–1789
1256:
1244:
510:
printed for W. Mears, and J. Browne, and W. Chetwood, 1718
219:
intent to kill his nephews by having the Duke talk to Sir
130:
into marrying him, even though she knows he murdered her
862:(Source: The London Stage 1660–1800, part 2, 1700–1729)
1111:
1109:
1380:
The Cambridge Companion to English Restoration Theatre
1150:
1148:
396:
Have mercy, Heaven! Ha!--- Soft!---'T was but a dream.
1417:
The Rakish Stage: Studies in English Drama, 1660–1800
1232:
1196:
1641:, Oxford World's Classics. Oxford: University Press.
1172:
1160:
1133:
1106:
1145:
145:) dies, passing the throne to his eldest son (King
1414:
1382:. Cambridge Companions to Literature. Cambridge:
1184:
904:of 30 March 1705 Richard III had been announced.
620:printed for J. and R. Tonson, and J. Watts, 1753
609:printed for J. and R. Tonson, and J. Watts, 1751
339:on Cibber's adaptation vanished from the stages.
2927:
269:The audience did not protest the methods of the
1566:
1538:
1262:
1250:
2951:Plays and musicals based on Richard III (play)
2905:The Tragical History of King Richard the Third
2048:Edmund Mortimer, Earl of March (conflation of
1495:. Twayne's critical history of British drama.
1903:
1699:
917:At the Desire of several Persons of Quality.
900:At this date Aesop was performed. But in the
374:Around the middle of the eighteenth century,
1493:British drama, 1660-1779: a critical history
1443:SEL: Studies in English Literature 1500–1900
2986:Cultural depictions of Henry VII of England
850:printed for W. Lowndes and S. Bladon, 1793
419:Family of Darius before Alexander the Great
1910:
1896:
1706:
1692:
1659:. New York: Cooper Square Publishers, Inc.
543:printed by M. Rhames; for R. Gunne, 1735?
362:(1745). The painting depicts a scene from
1678:English Theatre in Transition 1881 – 1914
1513:
1357:10.1093/acprof:oso/9780198119746.001.0001
1238:
521:printed by A. Rhames, for R. Gunne, 1731
393:Give me another horse! bind up my wounds!
299:in December 1699, it is very likely that
2991:Cultural depictions of Elizabeth of York
2966:Biographical plays about English royalty
1854:An Apology for the Life of Colley Cibber
443:
429:
399:But then so terrible it shakes my Soul!
350:
252:An Apology for the Life of Colley Cibber
149:). The third act sees Richard, then the
20:
1490:
1202:
1072:
473:(Source: English Short Title Catalogue
2928:
2733:The Life and Death of King Richard III
1439:
1377:
1342:
1279:
1178:
1166:
1139:
1115:
856:
25:Pamphlet promoting the performance of
2321:Edmund Beaufort, 4th Duke of Somerset
2185:Edmund Beaufort, 2nd Duke of Somerset
2028:Edmund Beaufort, 2nd Duke of Somerset
1891:
1687:
1662:Richard III Society, American Branch
1576:PeoplePlay UK: Theatre History Online
1548:PeoplePlay UK: Theatre History Online
1526:from the original on 13 February 2013
1450:(2, Elizabethan and Jacobean Drama).
1311:
1154:
1089:The new soliloquies were created for
674:printed for William Williamson, 1756
255:, Cibber wrote regarding censorship:
2317:Henry Beaufort, 3rd Duke of Somerset
1516:"Welcome to William Hogarth's Realm"
1412:
1190:
795:printed and sold by W. Oxlade, 1775
652:printed for Thomas Wilkinson, 1755?
87:The play opens in the reign of King
71:success with leading actors such as
2181:John Beaufort, 1st Duke of Somerset
2024:John Beaufort, 1st Duke of Somerset
1646:The Tragical History of Richard III
1632:The London Theatre World, 1600–1800
751:printed for J. and R. Tonson, 1766
718:printed for J. and R. Tonson, 1757
707:printed for J. and R. Tonson, 1757
467:
315:was staged 241 times in 1747–1779.
174:
13:
2054:Edmund Mortimer, 5th Earl of March
1639:The Oxford Shakespeare Richard III
1606:. Essex: Longman Group UK Limited.
1596:
1423:Southern Illinois University Press
91:before it represents the reign of
14:
3007:
1713:
1644:Keever, Tom Dale: Colly Cibber's
2976:Cultural depictions of Edward IV
2592:Ghost of Edward, Prince of Wales
2315:Duke of Somerset (conflation of
2179:Duke of Somerset (conflation of
2022:Duke of Somerset (conflation of
1836:
1613:. London: Methuen & Co. Ltd.
1314:A Companion to Restoration Drama
1064:Drury Lane / Lincoln Inn Fields
346:
2981:Cultural depictions of Edward V
2832:The True Tragedy of Richard III
1655:Nettleton, George Henry, 1968:
1421:. Carbondale and Edwardsville:
1220:
1208:
817:printed by H. Whitworth, 1785?
729:printed by Cusack Greene, 1762
663:printed for Brice Edmond, 1756
598:printed for James Dalton, 1750
82:
1121:
1083:
631:printed for James alton, 1753
327:launched a similar attempt at
1:
2961:Plays set in the 15th century
2492:Henry Tudor, Earl of Richmond
1921:'s first historical tetralogy
1618:Restoration Tragedy 1660–1720
1099:
227:
121:battlefield at Bosworth Field
2913:David Garrick as Richard III
2140:Humphrey, Duke of Gloucester
1988:Humphrey, Duke of Gloucester
1544:"Edmund Kean as Richard III"
1491:Kavenik, Frances M. (1995).
475:http://www.rlg.org/index.php
356:David Garrick as Richard III
280:
7:
2487:Lord Stanley, Earl of Derby
2281:Richard, Duke of Gloucester
1762:She Would and She Would Not
839:printed for P. Wogan, 1790
10:
3012:
2891:Let's kill all the lawyers
2801:The Mirror for Magistrates
2680:BBC Television Shakespeare
2417:Second Battle of St Albans
1627:. Oxford: Clarendon Press.
1620:. Oxford: Clarendon Press.
1392:10.1017/CCOL0521582156.008
1384:Cambridge University Press
1326:10.1002/9781118663400.ch16
1272:
740:printed in the year, 1766
641:Printed in the year, 1754
2882:
2846:
2792:
2720:
2656:
2649:
2430:
2244:
2231:First Battle of St Albans
2118:
1971:
1962:
1926:
1865:Theatre Royal, Drury Lane
1845:
1834:
1721:
1602:Bevis, Richard W., 1988:
1371:Oxford Scholarship Online
872:
869:
866:
487:
484:
481:
2946:Fiction set in the 1480s
2941:Fiction set in the 1470s
2637:Battle of Bosworth Field
2552:Archbishop of Canterbury
2472:George, Duke of Clarence
2286:George, Duke of Clarence
1676:Woodfield, James, 1984:
1514:McWilliam, Neil (n.d.).
1413:Hume, Robert D. (1983).
1287:(4th ed.). London:
1077:
141:The reigning king (King
2367:Henry, Earl of Richmond
2362:Edmund, Earl of Rutland
2291:Edward, Prince of Wales
2080:Reignier, Duke of Anjou
1630:Hume, Robert D., 1980:
1623:Hume, Robert D., 1976:
1520:William Hogarth's Realm
1345:English Drama 1660–1700
1297:2027/njp.32101067567899
2956:Plays by Colley Cibber
2809:Holinshed's Chronicles
2337:Earl of Northumberland
2160:Cardinal of Winchester
1616:Dobrée, Bonamy, 1929:
1343:Hughes, Derek (1996).
453:
435:
416:celebrated version of
371:
246:ideas is far-fetched.
119:, and in the camp and
34:
2898:Even a worm will turn
2673:The Wars of the Roses
2542:Countess of Salisbury
2532:Richard, Duke of York
2502:Sir Richard Ratcliffe
2266:Richard, Duke of York
2191:Duchess of Gloucester
2145:Richard, Duke of York
2008:Richard, Duke of York
1876:Susannah Maria Cibber
981:Benefit Mrs Bicknell
447:
433:
354:
52:William Shakespeare's
24:
16:Play by Colley Cibber
2864:House of Plantagenet
2632:Princes in the Tower
2622:Sheriff of Wiltshire
2597:Lord Mayor of London
2422:Battle of Tewkesbury
2013:Bishop of Winchester
1818:The Provoked Husband
1770:The Careless Husband
1648:ASCII Text Version
1637:Jowett, John, 2000:
1572:"John Philip Kemble"
1386:. pp. 127–141.
1320:. pp. 274–290.
1318:Blackwell Publishing
1263:Theatre Museum 2007b
1251:Theatre Museum 2007a
1073:Notes and references
477:, 27 November 2006)
291:Lincoln's Inn Fields
198:St. Paul's Cathedral
103:, descendant of the
68:Master of the Revels
2971:Plays set in London
2825:The Spanish Tragedy
2770:Looking for Richard
2612:Sir William Brandon
2497:Sir William Catesby
2412:Battle of Wakefield
2352:Earl of Westmorland
2332:Sir William Stanley
2201:Richard Plantagenet
2065:Charles the Dauphin
2050:Sir Edmund Mortimer
1919:William Shakespeare
1570:(10 October 2007).
863:
857:Performance history
478:
368:William Shakespeare
358:, oil on canvas by
158:Elizabeth Woodville
59:, but reworked for
2996:Disability theatre
2874:House of Lancaster
2854:Hundred Years' War
2847:Historical context
2755:"King Richard III"
2577:Robert Brackenbury
2567:Sir Thomas Vaughan
2557:Archbishop of York
2447:Duke of Buckingham
2372:Louis XI of France
2196:Edward Plantagenet
2170:Duke of Buckingham
2090:Bastard of Orléans
1778:The Double Gallant
1680:. Kent: Croom Helm
1582:on 10 October 2007
1542:(7 October 2007).
861:
472:
457:John Philip Kemble
454:
436:
372:
366:adaptation of the
151:Duke of Gloucester
107:family and future
35:
31:Drury Lane Theatre
2923:
2922:
2859:Wars of the Roses
2817:Richardus Tertius
2788:
2787:
2645:
2644:
2627:Wars of the Roses
2587:Ghost of Henry VI
2522:Lord Richard Grey
2517:Sir James Tyrrell
2512:Marquis of Dorset
2216:Margery Jourdayne
2150:Earl of Salisbury
2075:Margaret of Anjou
2039:Earl of Salisbury
1885:
1884:
1878:(Daughter-in-law)
1870:Theophilus Cibber
1730:Love's Last Shift
1669:Theatre Database
1554:on 7 October 2007
1497:Twayne Publishers
1289:R. and J. Dodsley
1070:
1069:
854:
853:
414:Charles Le Brun's
309:Restoration Drama
207:The character of
97:Wars of the Roses
50:. It is based on
3003:
2701:Henry VI, Part 2
2694:Henry VI, Part 1
2687:The Hollow Crown
2654:
2653:
2407:Battle of Barnet
2402:Battle of Towton
2387:Earl of Pembroke
2236:Peasants' Revolt
2105:Siege of Orléans
2095:Duke of Burgundy
2060:Sir John Fastolf
1969:
1968:
1946:Henry VI, Part 3
1939:Henry VI, Part 2
1932:Henry VI, Part 1
1912:
1905:
1898:
1889:
1888:
1840:
1826:Love in a Riddle
1754:Love Makes a Man
1708:
1701:
1694:
1685:
1684:
1591:
1589:
1587:
1578:. Archived from
1563:
1561:
1559:
1550:. Archived from
1535:
1533:
1531:
1510:
1487:
1436:
1420:
1409:
1374:
1339:
1308:
1266:
1260:
1254:
1248:
1242:
1236:
1230:
1224:
1218:
1217:, IV, last scene
1212:
1206:
1200:
1194:
1188:
1182:
1176:
1170:
1164:
1158:
1152:
1143:
1137:
1131:
1125:
1119:
1113:
1094:
1087:
1061:
1049:
1036:
1024:
1012:
1000:
999:27 February 1714
988:
975:
963:
962:26 February 1713
951:
950:14 February 1713
937:
924:
911:
894:
880:
864:
860:
479:
471:
468:Printing history
402:(Act V, Scene 2)
271:Master of Revels
202:Henry VI, Part 3
193:Henry VI, Part 3
175:Cibber's changes
101:Earl of Richmond
93:King Richard III
3011:
3010:
3006:
3005:
3004:
3002:
3001:
3000:
2926:
2925:
2924:
2919:
2878:
2842:
2784:
2749:The Foretelling
2716:
2665:An Age of Kings
2641:
2607:Sir James Blunt
2572:Sir Christopher
2547:Duke of Norfolk
2537:Earl of Warwick
2457:Duchess of York
2452:Queen Elizabeth
2426:
2347:Duke of Norfolk
2271:Earl of Warwick
2240:
2165:Duke of Suffolk
2155:Earl of Warwick
2114:
2110:Battle of Patay
2085:Duke of Alençon
2070:Joan la Pucelle
2034:Earl of Warwick
2018:Earl of Suffolk
2003:Duke of Bedford
1964:
1958:
1922:
1916:
1886:
1881:
1841:
1832:
1810:Caesar in Egypt
1786:The Rival Fools
1717:
1712:
1599:
1597:Further reading
1594:
1585:
1583:
1557:
1555:
1529:
1527:
1507:
1452:Rice University
1433:
1402:
1367:
1349:Clarendon Press
1336:
1275:
1270:
1269:
1261:
1257:
1249:
1245:
1237:
1233:
1225:
1221:
1213:
1209:
1201:
1197:
1189:
1185:
1177:
1173:
1165:
1161:
1153:
1146:
1138:
1134:
1126:
1122:
1114:
1107:
1102:
1097:
1091:Samuel Sandford
1088:
1084:
1080:
1075:
1059:
1048:6 December 1715
1047:
1035:27 January 1715
1034:
1023:15 October 1714
1022:
1010:
998:
987:1 February 1714
986:
973:
961:
949:
935:
922:
910:28 January 1710
909:
892:
878:
859:
470:
380:William Hogarth
364:Colley Cibber's
360:William Hogarth
349:
293:was performing
287:Term Catalogues
283:
230:
177:
162:Lord Buckingham
85:
33:on 14 May 1838.
17:
12:
11:
5:
3009:
2999:
2998:
2993:
2988:
2983:
2978:
2973:
2968:
2963:
2958:
2953:
2948:
2943:
2938:
2921:
2920:
2918:
2917:
2909:
2901:
2894:
2886:
2884:
2880:
2879:
2877:
2876:
2871:
2866:
2861:
2856:
2850:
2848:
2844:
2843:
2841:
2840:
2828:
2821:
2813:
2805:
2796:
2794:
2790:
2789:
2786:
2785:
2783:
2782:
2774:
2766:
2758:
2752:
2745:
2737:
2728:
2726:
2718:
2717:
2715:
2714:
2713:
2712:
2704:
2697:
2683:
2677:
2669:
2660:
2658:
2651:
2647:
2646:
2643:
2642:
2640:
2639:
2634:
2629:
2624:
2619:
2614:
2609:
2604:
2602:Earl of Oxford
2599:
2594:
2589:
2584:
2579:
2574:
2569:
2564:
2562:Earl of Surrey
2559:
2554:
2549:
2544:
2539:
2534:
2529:
2524:
2519:
2514:
2509:
2504:
2499:
2494:
2489:
2484:
2479:
2474:
2469:
2464:
2462:Queen Margaret
2459:
2454:
2449:
2444:
2438:
2436:
2428:
2427:
2425:
2424:
2419:
2414:
2409:
2404:
2399:
2394:
2389:
2384:
2379:
2374:
2369:
2364:
2359:
2354:
2349:
2344:
2342:Duke of Exeter
2339:
2334:
2329:
2324:
2313:
2311:Earl of Oxford
2308:
2303:
2298:
2293:
2288:
2283:
2278:
2273:
2268:
2263:
2261:Queen Margaret
2258:
2252:
2250:
2242:
2241:
2239:
2238:
2233:
2228:
2223:
2218:
2213:
2211:Young Clifford
2208:
2203:
2198:
2193:
2188:
2177:
2172:
2167:
2162:
2157:
2152:
2147:
2142:
2137:
2135:Queen Margaret
2132:
2126:
2124:
2116:
2115:
2113:
2112:
2107:
2102:
2097:
2092:
2087:
2082:
2077:
2072:
2067:
2062:
2057:
2046:
2041:
2036:
2031:
2020:
2015:
2010:
2005:
2000:
1995:
1993:Duke of Exeter
1990:
1985:
1979:
1977:
1966:
1960:
1959:
1957:
1956:
1949:
1942:
1935:
1927:
1924:
1923:
1915:
1914:
1907:
1900:
1892:
1883:
1882:
1880:
1879:
1873:
1867:
1862:
1857:
1849:
1847:
1843:
1842:
1835:
1833:
1831:
1830:
1822:
1814:
1806:
1798:
1790:
1782:
1774:
1766:
1758:
1750:
1742:
1734:
1725:
1723:
1719:
1718:
1711:
1710:
1703:
1696:
1688:
1682:
1681:
1674:
1667:
1660:
1653:
1642:
1635:
1628:
1621:
1614:
1607:
1598:
1595:
1593:
1592:
1568:Theatre Museum
1564:
1540:Theatre Museum
1536:
1511:
1505:
1488:
1460:10.2307/449298
1437:
1431:
1410:
1406:Cambridge Core
1400:
1375:
1365:
1340:
1334:
1309:
1281:Cibber, Colley
1276:
1274:
1271:
1268:
1267:
1255:
1243:
1231:
1219:
1207:
1205:, p. 119.
1195:
1183:
1181:, p. 150.
1171:
1169:, p. 432.
1159:
1157:, p. 282.
1144:
1142:, p. 258.
1132:
1120:
1118:, p. 135.
1104:
1103:
1101:
1098:
1096:
1095:
1081:
1079:
1076:
1074:
1071:
1068:
1067:
1065:
1062:
1060:1 January 1717
1056:
1055:
1053:
1050:
1044:
1043:
1040:
1037:
1031:
1030:
1028:
1025:
1019:
1018:
1016:
1013:
1007:
1006:
1004:
1001:
995:
994:
992:
989:
983:
982:
979:
976:
970:
969:
967:
964:
958:
957:
955:
952:
946:
945:
941:
938:
932:
931:
928:
925:
919:
918:
915:
912:
906:
905:
898:
895:
889:
888:
884:
881:
875:
874:
871:
868:
858:
855:
852:
851:
848:
845:
841:
840:
837:
834:
830:
829:
826:
823:
819:
818:
815:
812:
808:
807:
804:
801:
797:
796:
793:
790:
786:
785:
782:
779:
775:
774:
771:
768:
764:
763:
760:
757:
753:
752:
749:
746:
742:
741:
738:
735:
731:
730:
727:
724:
720:
719:
716:
713:
709:
708:
705:
702:
698:
697:
694:
691:
687:
686:
683:
680:
676:
675:
672:
669:
665:
664:
661:
658:
654:
653:
650:
647:
643:
642:
639:
637:
633:
632:
629:
626:
622:
621:
618:
615:
611:
610:
607:
604:
600:
599:
596:
593:
589:
588:
585:
582:
578:
577:
574:
571:
567:
566:
563:
560:
556:
555:
552:
549:
545:
544:
541:
538:
534:
533:
530:
527:
523:
522:
519:
516:
512:
511:
508:
505:
501:
500:
497:
494:
490:
489:
486:
483:
469:
466:
406:
405:
404:
403:
397:
394:
387:Bosworth Field
348:
345:
282:
279:
267:
266:
229:
226:
209:Queen Margaret
176:
173:
109:King Henry VII
84:
81:
15:
9:
6:
4:
3:
2:
3008:
2997:
2994:
2992:
2989:
2987:
2984:
2982:
2979:
2977:
2974:
2972:
2969:
2967:
2964:
2962:
2959:
2957:
2954:
2952:
2949:
2947:
2944:
2942:
2939:
2937:
2934:
2933:
2931:
2915:
2914:
2910:
2907:
2906:
2902:
2899:
2895:
2892:
2888:
2887:
2885:
2881:
2875:
2872:
2870:
2869:House of York
2867:
2865:
2862:
2860:
2857:
2855:
2852:
2851:
2849:
2845:
2838:
2834:
2833:
2829:
2827:
2826:
2822:
2819:
2818:
2814:
2811:
2810:
2806:
2803:
2802:
2798:
2797:
2795:
2791:
2780:
2779:
2775:
2772:
2771:
2767:
2764:
2763:
2759:
2756:
2753:
2750:
2746:
2743:
2742:
2738:
2735:
2734:
2730:
2729:
2727:
2725:
2724:
2719:
2710:
2709:
2705:
2703:
2702:
2698:
2696:
2695:
2691:
2690:
2689:
2688:
2684:
2681:
2678:
2675:
2674:
2670:
2667:
2666:
2662:
2661:
2659:
2655:
2652:
2648:
2638:
2635:
2633:
2630:
2628:
2625:
2623:
2620:
2618:
2617:Bishop of Ely
2615:
2613:
2610:
2608:
2605:
2603:
2600:
2598:
2595:
2593:
2590:
2588:
2585:
2583:
2580:
2578:
2575:
2573:
2570:
2568:
2565:
2563:
2560:
2558:
2555:
2553:
2550:
2548:
2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2527:Prince Edward
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2493:
2490:
2488:
2485:
2483:
2482:Lord Hastings
2480:
2478:
2475:
2473:
2470:
2468:
2465:
2463:
2460:
2458:
2455:
2453:
2450:
2448:
2445:
2443:
2440:
2439:
2437:
2435:
2434:
2429:
2423:
2420:
2418:
2415:
2413:
2410:
2408:
2405:
2403:
2400:
2398:
2395:
2393:
2392:Lord Stafford
2390:
2388:
2385:
2383:
2382:Prince Edward
2380:
2378:
2377:Bona of Savoy
2375:
2373:
2370:
2368:
2365:
2363:
2360:
2358:
2355:
2353:
2350:
2348:
2345:
2343:
2340:
2338:
2335:
2333:
2330:
2328:
2327:Lord Hastings
2325:
2322:
2318:
2314:
2312:
2309:
2307:
2304:
2302:
2299:
2297:
2296:Lord Clifford
2294:
2292:
2289:
2287:
2284:
2282:
2279:
2277:
2274:
2272:
2269:
2267:
2264:
2262:
2259:
2257:
2254:
2253:
2251:
2249:
2248:
2243:
2237:
2234:
2232:
2229:
2227:
2224:
2222:
2219:
2217:
2214:
2212:
2209:
2207:
2206:Lord Clifford
2204:
2202:
2199:
2197:
2194:
2192:
2189:
2186:
2182:
2178:
2176:
2173:
2171:
2168:
2166:
2163:
2161:
2158:
2156:
2153:
2151:
2148:
2146:
2143:
2141:
2138:
2136:
2133:
2131:
2128:
2127:
2125:
2123:
2122:
2117:
2111:
2108:
2106:
2103:
2101:
2100:Jacques d'Arc
2098:
2096:
2093:
2091:
2088:
2086:
2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2055:
2051:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2029:
2025:
2021:
2019:
2016:
2014:
2011:
2009:
2006:
2004:
2001:
1999:
1996:
1994:
1991:
1989:
1986:
1984:
1981:
1980:
1978:
1976:
1975:
1970:
1967:
1961:
1955:
1954:
1950:
1948:
1947:
1943:
1941:
1940:
1936:
1934:
1933:
1929:
1928:
1925:
1920:
1913:
1908:
1906:
1901:
1899:
1894:
1893:
1890:
1877:
1874:
1871:
1868:
1866:
1863:
1861:
1860:Poet Laureate
1858:
1856:
1855:
1851:
1850:
1848:
1844:
1839:
1828:
1827:
1823:
1820:
1819:
1815:
1812:
1811:
1807:
1804:
1803:
1799:
1796:
1795:
1794:The Non-Juror
1791:
1788:
1787:
1783:
1780:
1779:
1775:
1772:
1771:
1767:
1764:
1763:
1759:
1756:
1755:
1751:
1748:
1747:
1743:
1740:
1739:
1735:
1732:
1731:
1727:
1726:
1724:
1720:
1716:
1715:Colley Cibber
1709:
1704:
1702:
1697:
1695:
1690:
1689:
1686:
1679:
1675:
1672:
1668:
1665:
1661:
1658:
1654:
1651:
1647:
1643:
1640:
1636:
1633:
1629:
1626:
1622:
1619:
1615:
1612:
1608:
1605:
1601:
1600:
1581:
1577:
1573:
1569:
1565:
1553:
1549:
1545:
1541:
1537:
1525:
1521:
1517:
1512:
1508:
1506:9780805745337
1502:
1498:
1494:
1489:
1485:
1481:
1477:
1473:
1469:
1465:
1461:
1457:
1453:
1449:
1445:
1444:
1438:
1434:
1432:9780809311002
1428:
1424:
1419:
1418:
1411:
1407:
1403:
1401:9780511999369
1397:
1393:
1389:
1385:
1381:
1376:
1372:
1368:
1366:9780198119746
1362:
1358:
1354:
1350:
1346:
1341:
1337:
1335:9781118663400
1331:
1327:
1323:
1319:
1315:
1310:
1306:
1302:
1298:
1294:
1290:
1286:
1282:
1278:
1277:
1264:
1259:
1252:
1247:
1240:
1239:McWilliam n.d
1235:
1228:
1223:
1216:
1211:
1204:
1199:
1193:, p. 71.
1192:
1187:
1180:
1175:
1168:
1163:
1156:
1151:
1149:
1141:
1136:
1129:
1124:
1117:
1112:
1110:
1105:
1092:
1086:
1082:
1066:
1063:
1058:
1057:
1054:
1051:
1046:
1045:
1041:
1038:
1033:
1032:
1029:
1026:
1021:
1020:
1017:
1014:
1011:27 April 1714
1009:
1008:
1005:
1002:
997:
996:
993:
990:
985:
984:
980:
977:
974:27 April 1713
972:
971:
968:
965:
960:
959:
956:
953:
948:
947:
942:
939:
934:
933:
929:
926:
923:27 March 1710
921:
920:
916:
913:
908:
907:
903:
902:Daily Courant
899:
896:
893:31 March 1705
891:
890:
885:
882:
877:
876:
865:
849:
846:
843:
842:
838:
835:
832:
831:
827:
824:
821:
820:
816:
813:
810:
809:
805:
802:
799:
798:
794:
791:
788:
787:
783:
780:
777:
776:
772:
769:
766:
765:
761:
758:
755:
754:
750:
747:
744:
743:
739:
736:
733:
732:
728:
725:
722:
721:
717:
714:
711:
710:
706:
703:
700:
699:
695:
692:
689:
688:
684:
681:
678:
677:
673:
670:
667:
666:
662:
659:
656:
655:
651:
648:
645:
644:
640:
638:
635:
634:
630:
627:
624:
623:
619:
616:
613:
612:
608:
605:
602:
601:
597:
594:
591:
590:
586:
583:
580:
579:
575:
572:
569:
568:
564:
561:
558:
557:
553:
550:
547:
546:
542:
539:
536:
535:
531:
528:
525:
524:
520:
517:
514:
513:
509:
506:
503:
502:
498:
495:
492:
491:
480:
476:
465:
462:
458:
451:
446:
442:
440:
432:
428:
425:
421:
420:
415:
409:
401:
400:
398:
395:
392:
391:
390:
388:
383:
381:
377:
376:David Garrick
369:
365:
361:
357:
353:
347:Famous actors
344:
340:
336:
334:
333:Samuel French
330:
329:Sadler's Well
326:
325:Samuel Phelps
321:
316:
314:
310:
304:
302:
298:
297:
292:
288:
278:
274:
272:
263:
258:
257:
256:
254:
253:
247:
245:
241:
236:
225:
222:
221:James Tyrrell
216:
212:
210:
205:
203:
199:
195:
194:
189:
188:King Henry VI
184:
182:
172:
170:
165:
163:
159:
156:
155:Queen consort
152:
148:
144:
139:
137:
136:father-in-law
133:
132:first husband
129:
124:
122:
118:
112:
110:
106:
102:
98:
94:
90:
80:
78:
74:
73:David Garrick
69:
64:
62:
58:
57:
53:
49:
48:Colley Cibber
45:
41:
40:
32:
28:
23:
19:
2911:
2904:
2903:
2836:
2830:
2823:
2815:
2807:
2799:
2776:
2768:
2761:
2751:" (1983; TV)
2739:
2731:
2721:
2706:
2699:
2692:
2685:
2671:
2663:
2467:Lady Neville
2432:
2397:Lord Bourbon
2245:
2119:
1972:
1951:
1944:
1937:
1930:
1852:
1824:
1816:
1808:
1800:
1792:
1784:
1776:
1768:
1760:
1752:
1745:
1744:
1736:
1728:
1677:
1656:
1645:
1638:
1631:
1624:
1617:
1610:
1603:
1584:. Retrieved
1580:the original
1575:
1556:. Retrieved
1552:the original
1547:
1528:. Retrieved
1519:
1492:
1447:
1441:
1416:
1404:– via
1379:
1369:– via
1344:
1313:
1284:
1258:
1246:
1234:
1226:
1222:
1214:
1210:
1203:Kavenik 1995
1198:
1186:
1174:
1162:
1135:
1127:
1123:
1085:
901:
879:4 April 1704
455:
449:
437:
417:
410:
407:
384:
373:
355:
341:
337:
317:
312:
305:
300:
295:
284:
275:
268:
265:inoffensive.
261:
250:
248:
234:
231:
217:
213:
206:
201:
191:
185:
178:
166:
140:
125:
113:
86:
83:Plot summary
65:
55:
44:history play
42:(1699) is a
38:
37:
36:
26:
18:
2778:Richard III
2762:Richard III
2741:Richard III
2723:Richard III
2708:Richard III
2507:Lord Rivers
2442:Richard III
2433:Richard III
2357:Lord Rivers
2226:Lord Scales
2044:John Talbot
1998:Lord Talbot
1953:Richard III
1802:The Refusal
1746:Richard III
1738:Woman's Wit
1454:: 253–267.
1227:Richard III
1215:Richard III
1179:Cibber 1756
1167:Hughes 1996
1140:Kalson 1963
1128:Richard III
1116:Hughes 2006
1052:Drury Lane
1039:Drury Lane
1027:Drury Lane
1015:Drury Lane
1003:Drury Lane
991:Drury Lane
978:Drury Lane
966:Drury Lane
954:Drury Lane
936:13 May 1710
897:Drury Lane
883:Drury Lane
450:Richard III
439:Edmund Kean
313:Richard III
301:Richard III
235:Richard III
190:taken from
95:during the
77:Richard III
63:audiences.
56:Richard III
46:written by
27:Richard III
2936:1699 plays
2930:Categories
2757:(1994; TV)
2711:(2016; TV)
2682:(1983; TV)
2676:(1965; TV)
2668:(1960; TV)
2582:Lord Lovel
2247:3 Henry VI
2121:2 Henry VI
1974:1 Henry VI
1965:and events
1963:Characters
1673:12.11.2006
1652:12.11.2006
1586:27 January
1558:27 January
1530:27 January
1347:. Oxford:
1316:. Oxford:
1155:Clark 2013
1100:References
737:Edinburgh
296:1 Henry IV
228:Censorship
61:Williamite
2657:Tetralogy
2650:On screen
2477:Edward IV
2301:Lady Grey
2276:Edward IV
2221:Lord Saye
2175:Jack Cade
1476:0039-3657
1468:1522-9270
1305:23416731M
1283:(1756) .
1191:Hume 1983
485:Location
281:Reception
277:success.
169:Elizabeth
143:Edward IV
128:Lady Anne
89:Edward IV
2306:Montague
2256:Henry VI
2130:Henry VI
1983:Henry VI
1666:29.11.06
1524:Archived
1229:, V.iii.
940:Queen's
927:Queen's
914:Queen's
873:Comment
870:Theatre
488:Imprint
424:Georgian
320:Macready
262:Sic volo
244:Jacobite
240:James II
147:Edward V
134:and her
75:playing
2883:Related
2793:Sources
1273:Sources
847:London
836:Dublin
825:London
814:London
803:London
792:London
781:London
770:London
759:London
748:London
726:Dublin
715:London
704:London
693:London
682:London
671:Dublin
660:Dublin
649:Dublin
628:Dublin
617:London
606:London
595:Dublin
584:London
573:London
562:London
551:London
540:Dublin
529:London
518:Dublin
507:London
496:London
461:Macbeth
2916:(1745)
2908:(1699)
2820:(1580)
2812:(1577)
2804:(1559)
2781:(2007)
2773:(1996)
2765:(1995)
2744:(1955)
2736:(1912)
1829:(1729)
1821:(1728)
1813:(1724)
1805:(1721)
1797:(1717)
1789:(1709)
1781:(1707)
1773:(1704)
1765:(1702)
1757:(1700)
1749:(1699)
1741:(1697)
1733:(1696)
1503:
1484:449298
1482:
1474:
1466:
1429:
1398:
1363:
1332:
1303:
811:1785?
646:1755?
537:1735?
181:Orange
2839:1590)
1872:(Son)
1846:Other
1722:Plays
1480:JSTOR
1464:eISSN
1130:, I.i
1078:Notes
867:Date
844:1793
833:1790
822:1787
800:1784
789:1775
778:1774
767:1769
756:1769
745:1766
734:1766
723:1762
712:1757
701:1757
690:1757
679:1756
668:1756
657:1756
636:1754
625:1753
614:1753
603:1751
592:1750
581:1745
570:1736
559:1736
548:1735
526:1734
515:1731
504:1718
493:1700
482:Year
117:Tower
105:Tudor
2319:and
2183:and
2052:and
2026:and
1588:2018
1560:2018
1532:2018
1501:ISBN
1472:ISSN
1427:ISBN
1396:ISBN
1361:ISBN
1330:ISBN
1456:doi
1388:doi
1353:doi
1322:doi
1293:hdl
249:In
29:at
2932::
2837:c.
1574:.
1546:.
1522:.
1518:.
1499:.
1478:.
1470:.
1462:.
1446:.
1425:.
1394:.
1359:.
1351:.
1328:.
1301:OL
1299:.
1291:.
1147:^
1108:^
311:,
138:.
111:.
79:.
2900:"
2896:"
2893:"
2889:"
2835:(
2747:"
2323:)
2187:)
2056:)
2030:)
1911:e
1904:t
1897:v
1707:e
1700:t
1693:v
1590:.
1562:.
1534:.
1509:.
1486:.
1458::
1448:3
1435:.
1408:.
1390::
1373:.
1355::
1338:.
1324::
1307:.
1295::
1265:.
1253:.
1241:.
452:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
