“Colon” was originally a term for a unit of thought in an argument. The semicolon was a new unit of punctuation (some of the Quartos lack them altogether). We have modernized punctuation throughout, but have given more weight to Folio punctuation than many editors, since, though not Shakespearean, it reflects the usage of his period. In particular, we have used the colon far more than many editors: it is exceptionally useful as a way of indicating how many Shakespearean speeches unfold clause by clause in a developing argument that gives the illusion of enacting the process of thinking in the moment. We have also kept in mind the origin of punctuation in classical times as a way of assisting the actor and orator: the comma suggests the briefest of pauses for breath, the colon a middling one, and a full stop or period a longer pause. Semicolons, by contrast, belong to an era of punctuation that was only just coming in during Shakespeare’s time and that is coming to an end now: we have accordingly only used them where they occur in our copy texts (and not always then). Dashes are sometimes used for parenthetical interjections where the Folio has brackets. They are also used for interruptions and changes in train of thought. Where a change of addressee occurs within a speech, we have used a dash preceded by a full stop (or occasionally another form of punctuation). Often the identity of the respective addressees is obvious from the context. When it is not, this has been indicated in a marginal stage direction.

Entrances and Exits are fairly thorough in Folio, which has accordingly been followed as faithfully as possible. Where characters are omitted or corrections are necessary, this is indicated by square brackets (e.g. “[and Attendants]”). Exit is sometimes silently normalized to Exeunt and Manet anglicized to “remains.” We trust Folio positioning of entrances and exits to a greater degree than most editors.

Editorial Stage Directions such as stage business, asides, indications of addressee and of characters’ position on the gallery stage are only used sparingly in Folio. Other editions mingle directions of this kind with original Folio and Quarto directions, sometimes marking them by means of square brackets. We have sought to distinguish what could be described as directorial interventions of this kind from Folio-style directions (either original or supplied) by placing them in the right margin in a smaller typeface. There is a degree of subjectivity about which directions are of which kind, but the procedure is intended as a reminder to the reader and the actor that Shakespearean stage directions are often dependent upon editorial inference alone and are not set in stone. We also depart from editorial tradition in sometimes admitting uncertainty and thus printing permissive stage directions, such as an Aside? (often a line may be equally effective as an aside or a direct address—it is for each production or reading to make its own decision) or a may exit or a piece of business placed between arrows to indicate that it may occur at various different moments within a scene.

Line Numbers are editorial, for reference and to key the explanatory and textual notes.

Explanatory Notes explain allusions and gloss obsolete and difficult words, confusing phraseology, occasional major textual cruces, and so on. Particular attention is given to nonstandard usage, bawdy innuendo, and technical terms (e.g. legal and military language). Where more than one sense is given, commas indicate shades of related meaning, slashes alternative or double meanings.

Textual Notes at the end of the play indicate major departures from the Folio. They take the following form: the reading of our text is given in bold and its source given after an equals sign, with “Q” indicating that it derives from the First Quarto and “Ed” that it derives from the editorial tradition. The rejected Folio (“F”) reading is then given. Thus, for example, at 2.1.108 “at = Q. F = and” means that the Folio compositor erroneously printed “and,” which does not make sense in context, so we have adopted Quarto “at.”

KEY FACTS

MAJOR PARTS: (with percentage of lines/number of speeches/scenes on stage) Richard III/Duke of Gloucester (32%/301/14), Duke of Buckingham (10%/91/11), Queen Elizabeth (7%/98/6), Queen Margaret (6%/33/2), George, Duke of Clarence (5%/33/3), Lady Anne (5%/51/3), Lord Hastings (4%/47/8), Duchess of York (4%/43/4), Henry, Earl of Richmond (4%/14/3), Lord Stanley, Earl of Derby (3%/32/9), King Edward IV (2%/ll/l), Sir William Catesby (2%/31/9), Earl Rivers (2%/24/5), Edward, Prince of Wales (l%/19/2), Richard, Duke of York (l%/21/2).

LINGUISTIC MEDIUM: 98% verse, 2% prose.

DATE: 1592? 1594? Must follow the Henry VI plays, so perhaps written shortly before the theaters were closed due to plague in June 1592. Alteration of the chronicle sources to flatter Lord Stanley, Earl of Derby, has led some scholars to suppose that the play was written for the acting company of Lord Strange’s Men, active at this time, whose patron was Stanley’s descendant. Alternatively, Shakespeare might have been writing for Pembroke’s Men in 1592: the text also includes brief praise of the Pembroke family name. Some scholars, by contrast, suppose the play to be Shakespeare’s first work for the Lord Chamberlain’s Men, the company formed after the post-plague reopening of the theaters in summer 1594. Support for this view might come from the way in which the play was clearly written as a showcase for Richard Burbage, the Chamberlain’s leading man.

SOURCES: The main source for the representation of Richard as a hunchbacked villain is Sir Thomas More’s History of King Richard III (c.1513). Since More was writing at the court of King Henry VIII, son of Henry VII, who defeated Richard at Bosworth Field, he had a vested interest in portraying Richard as unfavorably as possible.