Abstract
N a recent article on the 'doubtful' quarto of King Lear, I suggested that the Folio text of that play was set up by its one compositor, B, from the two quartos (Qi and Q2), corrected from an authentic manuscript, and used alternately as copy.' I now propose to examine the other 'doubtful' quarto-Richard III-and to argue that the F text, set up by the two compositors, A and B, was printed from three of the six quartos then available-Qi, Q3, and Q6-used in some sort of rotation, and corrected with varying degrees of accuracy from an authentic manuscript. The implication, as in the case of Lear, is that the procedure arose, not from Heminge and Condell in the theatre (as usually supposed), but in the printing-house for the convenience of the compositors and the editorcorrector there.
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