Richard II (play)
On the 9th of December 1595, Sir Robert Cecil watched a performance of King Richard at the home of Edward Hoby in Canon Row. This private showing marked one of the earliest recorded stagings of Shakespeare's history play about the English monarch who ruled from 1377 to 1399. The event occurred during the final years of Queen Elizabeth I's reign when succession anxieties were mounting among England's political elite. Scholars debate whether this specific evening represented the first public or private presentation of what would become known as Richard II. The play entered the Stationers Company Register on the 29th of August 1597 under bookseller Andrew Wise's name. Valentine Simmes printed the initial quarto edition that same year. Two additional quartos followed in 1598, making this the only Shakespeare play published three times within two calendar years. A fourth quarto appeared in 1608 and a fifth in 1615 before the work reached its First Folio publication in 1623.
Shakespeare drew upon Raphael Holinshed's Chronicles of England, Scotlande, and Irelande for his primary historical material. The second edition of Holinshed's work published in 1587 provides the earliest possible date for composition. Jean Froissart's Chroniques offered another source through John Bouchier's translation of fourteenth-century accounts regarding the Hundred Years War. Edward Hall's Union of the Two Illustrious Families of Lancaster and York also appears to have influenced the playwright. Samuel Daniel's poem about civil wars may have provided additional context. An anonymous manuscript titled Thomas of Woodstock exists at the British Museum and treats events preceding Shakespeare's narrative. Some scholars attribute portions of this text to Shakespeare while others view it as secondary influence. The first three quarto editions lack what became known as the deposition scene. The 1608 quarto includes a shorter version likely derived from a prompt book used during actual performances. The First Folio presents yet another variation of this crucial moment. Traditional explanations suggest censorship by Edmund Tylney prevented early inclusion but no external evidence confirms this hypothesis. Title pages from 1608 reference a deposition scene that had been recently performed despite earlier restrictions.
Ernst Kantorowicz described medieval kingship through the concept of two bodies: a natural body subject to human weakness and a political body representing spiritual authority. Richard II embodies both aspects throughout his tragic arc from exile to death. At Flint Castle the unity between these bodies disintegrates as rebellion spreads. The king loses his jewels and military capacity while attempting to maintain divine status. Biblical references compare the humbled monarch to Christ with Judas and Pilate names extending the parallel. Before execution Richard shatters a mirror symbolizing his relinquishment of royal identity. Bolingbroke represents emerging modern statecraft contrasting with Richard's medieval divine right beliefs. An English translation of Machiavelli's The Prince may have existed since 1585 influencing contemporary rulers. Irving Ribner identified Machiavellian philosophy in Bolingbroke's actions including destruction of faithful supporters like Bushy Green and Earl of Wiltshire. The new king maintains legality while erasing doubt about rightful succession. Even Bolingbroke's final statement about making a voyage to the Holy Land follows Machiavellian principles requiring rulers to appear pious. This transition marks England entering an era dominated by more commanding leadership compared to Richard's rule.
The Globe Theatre hosted a commissioned performance on the 7th of February 1601 paid for by supporters of Robert Devereux Earl of Essex. Eleven attendees included Charles and Joscelyn Percy brothers of Northumberland who paid forty shillings above standard rates. Elizabeth reportedly remarked I am Richard II know ye not that during document review though no evidence confirms this anecdote. The Lord Chamberlain's Men performed before the Queen on Shrove Tuesday 1601 one day before Essex's execution. Captain William Keeling's crew allegedly presented the play aboard The Red Dragon off Sierra Leone on the 30th of September 1607 but authenticity remains doubtful. Nahum Tate suppressed his 1680 adaptation called The Sicilian Usurper at Drury Lane due to political implications. Lewis Theobald achieved success with his 1719 version at Lincoln's Inn Fields while Shakespeare's original returned to Covent Garden in 1738. John Gielgud delivered definitive performances as Richard at Old Vic Theatre starting in 1929 and returning through 1953. Maurice Evans created sensation with his 1937 Broadway production later immortalizing it on television for Hallmark Hall of Fame in 1954. Paul Scofield became the modern definitive Richard after playing at Old Vic in 1952. Ian McKellen broke new ground opposite Timothy West in Prospect Theatre Company productions touring Britain and Europe including Edinburgh Festival 1969 and BBC TV broadcast 1970.
Supporters of Robert Devereux Earl of Essex commissioned a special performance at the Globe Theatre on the eve of their armed rebellion against Queen Elizabeth I. Augustine Phillips reported that conspirators paid forty shillings above ordinary rates to stage this play which players considered too old to attract large audiences. Eleven attendees included Charles and Joscelyn Percy younger brothers of Northumberland who participated in planning the uprising. Lawyers investigating John Hayward's historical work The First Part of the Life and Raigne of King Henrie IV made connections between Shakespeare's play and contemporary political tensions. Samuel Daniel contested chronological accuracy suggesting hypothetical manuscripts resolved awkwardness since Hayward claimed writing completion years before publication. Hayward dedicated his version to Robert Devereux and faced imprisonment when Essex was arrested for rebellion in February 1601. The association strengthened cases against the earl regarding incitement to depose the Queen. Shakespeare escaped similar consequences despite potential liability through favorable circumstances surrounding Hayward's prior dedication. Elizabeth herself reportedly recognized parallels between her situation and Richard II during document reviews though no corroborating evidence exists for such conversations with archivist William Lambarde. The Lord Chamberlain's Men avoided punishment while being commanded to perform before the Queen on Shrove Tuesday 1601.
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Common questions
When was the play Richard II first performed?
The earliest recorded performance of Richard II occurred on the 9th of December 1595 at the home of Edward Hoby in Canon Row. This private showing marked one of the earliest documented stagings of Shakespeare's history play about the English monarch who ruled from 1377 to 1399.
What historical sources did William Shakespeare use for Richard II?
Shakespeare drew upon Raphael Holinshed's Chronicles of England Scotlande and Irelande as his primary historical material with the second edition published in 1587 providing the earliest possible date for composition. Jean Froissart's Chroniques offered another source through John Bouchier's translation while Edward Hall's Union of the Two Illustrious Families of Lancaster and York also appears to have influenced the playwright.
Why was a special performance of Richard II commissioned by Robert Devereux Earl of Essex?
Supporters of Robert Devereux Earl of Essex commissioned a special performance at the Globe Theatre on the 7th of February 1601 on the eve of their armed rebellion against Queen Elizabeth I. The conspirators paid forty shillings above ordinary rates to stage this play which players considered too old to attract large audiences.
How many quarto editions were printed before the First Folio publication of Richard II?
The play entered the Stationers Company Register on the 29th of August 1597 under bookseller Andrew Wise's name followed by two additional quartos in 1598 making it the only Shakespeare play published three times within two calendar years. A fourth quarto appeared in 1608 and a fifth in 1615 before the work reached its First Folio publication in 1623.
What is the significance of the deposition scene in different versions of Richard II?
The first three quarto editions lack what became known as the deposition scene while the 1608 quarto includes a shorter version likely derived from a prompt book used during actual performances. Title pages from 1608 reference a deposition scene that had been recently performed despite earlier restrictions and traditional explanations suggest censorship by Edmund Tylney prevented early inclusion but no external evidence confirms this hypothesis.