I begin with the Globe Theatre's Facebook page on February 4, 2013, the day of the press release from the University of Leicester announcing the discovery of Richard Ill's body: "Our neighbours Southwark Cathedral have a beautiful stained glass window depicting the death of Richard III. Next time you are on your way to us stop off and have a look." Providing a link to the Cathedral's own website, they "shared" this image, part of Christopher Webb's Shakespeare Window, unveiled in 1954 as a replacement for the war-damaged memorial window, originally installed in 1897: "This is the Cathedral's version of the death of #RichardIII, which is shown in our Shakespeare Window. Come and see it for yourself." (1) A typical online chat followed, by turns banal and witty: "Where's the car park?"; "The cathedral has a lot of interesting and beautiful memorials--worth the trip"; "I thought he was missing a horse when he was slain?" This last comment gives me the starting point for the argument in this essay: the thing everyone knows about Richard III is that when he died he was "missing a horse:" 5.7 Alarum, excursions. Enter CATESBY Catesby: Rescue, my lord of Norfolk! Rescue, rescue! The King enacts more wonders than a man, Daring an opposite to every danger. His horse is slain, and all on foot he fights, Seeking for Richmond in the throat of death. Rescue, fair lord, or else the day is lost! Enter [KING] RICHARD. King Richard: A horse! A horse! My kingdom for a horse! Catesby: Withdraw, my lord. I'll help you to a horse. King Richard: Slave, I have set my life upon a cast, And I will stand the hazard of the die. I think there be six Richmonds in the field. Five have I slain today, instead of him. A horse! A horse! My kingdom for a horse! [Exeunt]. (2) As Catesby makes clear, however, Richard is not just "missing a horse": he's missing his horse, White Surrey, to whom we are introduced at 5.3.62 in the immediate run-up to the battle ("Saddle white Surrey for the field tomorrow" [5.5.17]), and who continues to hold his place in the events that follow, up to this point, where we learn of his death. In this essay, I want to consider the implications of the fact that Richard's death is so closely associated with this animal. How is the curious fact that we are sympathetic to this notoriously "monstrous" character tied to his relationship to White Surrey? [FIGURE 1 OMITTED] It may seem an unnecessary question. Surely, since horses were a pervasive feature of everyday life in the society of which Shakespeare's theatre was also a part, we should not be surprised that they make their presence felt in his plays, albeit only in a (necessarily) offstage capacity. But White Surrey is a member of a very elite group of Shakespearian horses: named horses; a fact, as I have argued elsewhere, that demonstrates a significant nexus between the defining values of the action and those of the "worlds" in which their respective plays are embedded, either at the point of writing, or in successive contexts of production. (3) Commissioned in 1952 in the aftermath of World War II, Webb's window is a particularly interesting context of production. It brings together the visual cultures of the stained-glass window, medieval and Renaissance painting, and London's Shakespearian theatrical community, (4) all combined in Webb's own highly personal vision of the possibilities of his medium. (5) [FIGURE 2 OMITTED] [FIGURE 3 OMITTED] The Richard III image is part of a triplet presenting characters from Shakespeare's plays. Prospero is in the middle; Richard and White Surrey are on the upper right. The window is positioned above a statue of Shakespeare, installed in 1912 as a complementary feature of the original memorial. While our immediate response to this statue might be to see it as some kind of funerary monument, closer inspection reveals that the niche framing it includes images of Stratford, the Globe Theatre, and Shakespeare's contemporary London. …

中文翻译：

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想念一匹马：理查德和怀特萨里

我从 2013 年 2 月 4 日环球剧院的 Facebook 页面开始，当天莱斯特大学宣布发现理查德·伊尔的尸体：“我们的邻居南华克大教堂有一个美丽的彩色玻璃窗，描绘了理查德三世的死亡. 下次你去我们的路上停下来看看。他们提供了指向大教堂自己网站的链接，并“共享”了这张图片，这是克里斯托弗·韦伯 (Christopher Webb) 的莎士比亚之窗的一部分，于 1954 年揭幕，以替代最初于 1897 年安装的战争损坏的纪念窗：“这是大教堂的版本#RichardIII 之死，这在我们的莎士比亚之窗中展示。快来亲眼看看吧。” (1) 一个典型的在线聊天，然后是平庸和诙谐：“停车场在哪里？”；“大教堂有很多有趣而美丽的纪念馆——值得一游”；“我以为他被杀的时候丢了一匹马？” 最后一条评论为我提供了本文论点的出发点：每个人都知道理查三世去世时他“丢了一匹马”：5.7 Alarum，远足。凯茨比上 凯茨比：救援，我的诺福克大人！救救救救！王行奇事多于人，敢于逆来顺受。他的马被杀，他全靠步行战斗，在死亡的喉咙里寻找里士满。救命啊，公公，要不然就白送了！[国王]理查德上。理查王：一匹马！一匹马！我的马王国！凯茨比：撤退，殿下。我帮你骑马。理查王：奴隶，我把我的生命放在了演员身上，我会承受死亡的危险。我认为该领域有六个里士满。我今天杀死了五个人，而不是他。一匹马！一匹马！我的马王国！[退出]。(2) 然而，正如 Catesby 所明确指出的，Richard 不仅仅是“缺少一匹马”：他还缺少他的马 White Surrey，我们在 5.3.62 在战斗开始前立即介绍给他（“Saddle white萨里明天参加比赛”[5.5.17]），并且他继续在接下来的事件中占据一席之地，直到现在我们得知他的死讯。在这篇文章中，我想考虑理查德的死与这种动物密切相关这一事实的含义。我们对这个臭名昭著的“怪物”表示同情这个奇怪的事实是什么？性格与他与怀特萨里的关系有关？[图 1 省略] 这似乎是一个不必要的问题。当然，在莎士比亚的戏剧也参与其中的社会中，马是日常生活的普遍特征，我们不应该感到惊讶，他们在他的戏剧中感受到它们的存在，尽管只是（必然）在舞台下的能力。但是怀特萨里是一个非常精英的莎士比亚马群的成员：有名的马；一个事实，正如我在别处论证过的那样，这表明了行动的定义价值与他们各自的戏剧所嵌入的“世界”的价值之间存在重要的联系，无论是在写作时，还是在连续的制作环境中。(3) 于 1952 年在二战结束后投入使用，韦伯的窗户是一个特别有趣的生产环境。它将彩色玻璃窗的视觉文化、中世纪和文艺复兴时期的绘画以及伦敦的莎士比亚戏剧界 (4) 都结合在 Webb 对他的媒介可能性的高度个人化的视野中。(5) [图 2 省略] [图 3 省略] 理查德三世的图像是呈现莎士比亚戏剧中人物的三重奏的一部分。普洛斯彼罗在中间；理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 和伦敦的莎士比亚戏剧界，(4) 所有这些都结合了韦伯对他的媒介可能性的高度个人看法。(5) [图 2 省略] [图 3 省略] 理查德三世的图像是呈现莎士比亚戏剧中人物的三重奏的一部分。普洛斯彼罗在中间；理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 和伦敦的莎士比亚戏剧界，(4) 所有这些都结合了韦伯对他的媒介可能性的高度个人看法。(5) [图 2 省略] [图 3 省略] 理查德三世的图像是呈现莎士比亚戏剧中人物的三重奏的一部分。普洛斯彼罗在中间；理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 他对他的媒介的可能性有着高度个人的看法。(5) [图 2 省略] [图 3 省略] 理查德三世的图像是呈现莎士比亚戏剧中人物的三重奏的一部分。普洛斯彼罗在中间；理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 他对他的媒介的可能性有着高度个人的看法。(5) [图 2 省略] [图 3 省略] 理查德三世的图像是呈现莎士比亚戏剧中人物的三重奏的一部分。普洛斯彼罗在中间；理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。… 理查德和怀特萨里在右上角。窗户位于莎士比亚雕像上方，该雕像于 1912 年安装，作为原始纪念馆的补充特征。虽然我们对这座雕像的直接反应可能是将它视为某种葬礼纪念碑，但仔细观察会发现它的壁龛框架包括斯特拉特福、环球剧院和莎士比亚当代伦敦的图像。…