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soldiers at their beck" (1.1.67β68). Both Hall and
Holinshed report that the Yorkists invaded the parliament house, but only Hall reports that Henry chose not to engage them because the majority of the people supported York's claim to the throne. Rutland's death scene (1.3) is also based on Hall rather than Holinshed. Although Clifford is reported as having murdered Rutland in both Hall and Holinshed, only in Hall is Rutland's tutor present, and only in Hall do Rutland and Clifford engage in a debate about revenge prior to the murder. The depiction of Edward's initial meeting with Lady Grey (3.2) is also based on Hall rather than Holinshed. For example, Hall is alone in reporting that Edward seemingly offered to make her his queen merely from motives of lust; Edward "affirming farther that if she would thereunto condescend , she might so fortune of his paramour and concubine to be changed to his wife and lawful bedfellow." Later, Holinshed does not mention any instance in which George and Richard express their dissatisfaction with Edward's decision (depicted in the play in 4.1), or their questioning of Edward as to why he is favouring the relations of his wife over his own brothers. Such a scene occurs only in Hall, who writes that Clarence declared to Gloucester that, "We would make him know that we were all three one man's sons, of one mother and one
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Warwick proclaiming "This is the palace of the fearful king" (1.1.25). The opening scene also differs from the play insofar as
Clarence is present from the start whereas in the play he is only introduced in Act 2, Scene 2 (Clarence was introduced, along with Edward and Richard, in the final scene of the preceding adaptation). As well as the opening twenty-four lines, numerous other lines were cut from almost every scene. Some of the more notable omissions include, in Act 1, Scene 1, York's "Stay by me my lords,/And soldiers stay and lodge by me this night" (ll.31β32) is absent, as are all references to Margaret chairing a session of parliament (ll.35β42). Also absent from this scene is some of the dialogue between Warwick and Northumberland as they threaten one another (ll.153β160) and Margaret's references to the pains of child birth, and Henry's shameful behaviour in disinheriting his son (ll.221β226). Absent from Act 1, Scene 3 is Rutland's appeal to Clifford's paternal instincts; "Thou hast one son: for his sake pity me,/Lest in revenge thereof, sith God is just,/He be as miserably slain as I" (ll.41β43). In Act 2, Scene 1, all references to Clarence's entry into the conflict (l.143; ll.145β147) are absent, as he had already been introduced as a combatant at the end of
6031:, presents everything from Act 3, Scene 3 onwards, beginning with Margaret's visit to Louis XI in France. With each episode running one hour, a great deal of text was necessarily removed, but aside from truncation, only minor alterations were made to the original. For example, in "The Morning's War", the character of Edmund, Earl of Rutland is played by an adult actor, whereas in the text, he is a child and Margaret is present during the murder of Rutland, and we see her wipe his blood on the handkerschief which she later gives to York. Additionally, Richard fights and kills Clifford during the Battle of Towton. In the text, they fight, but Clifford flees and is mortally wounded off-stage when hit by an arrow. In "The Sun in Splendour", Edward is rescued from his imprisonment by Richard and Lord Stafford, whereas in the play, he is rescued by Richard, Lord Hastings and William Stanley. Also, the end of the episode differs slightly from the end of the play. After Edward expresses his wish that all conflict has ceased, a large celebration ensues. As the credits role, Richard and George stand to one side, and George almost slips into a barrel of wine, only to be saved by Richard. As George walks away, Richard thinks to himself and then smiles deviously at the camera.
4235:, which officially brought England into the conflict, with the promise of 6,500 troops (which was then changed to 8,000 troops) for the Dutch. As such, to supply these troops, mobilisation was needed and the government thus replaced the traditional feudal system, whereby local nobles raised armies from among their own tenantry, with national conscription. This was not without controversy, and the incident involving the fathers and sons allude to both practices; the feudal system and the national system. Upon discovering he has killed his father, the son laments "From London by the king was I pressed forth./My father, being the Earl of Warwick's man,/Came on the part of York, pressed by his master" (2.5.64β66). The son had left the family home and travelled to London, where he had been conscripted into the king's army upon the outbreak of war. The father had stayed at home and had been compelled to join the army of the local noble (i.e. Warwick). Thus they ended up on opposite sides in the conflict, as regional stability gives way to national discord and social breakdown, and the war begins quite literally to tear families apart.
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be on that hateful Duke,/Whose haughty spirit, wing'd with desire,/Will cost my crown, and like an empty eagle/Tire on the flesh of me and my son" (1.1.267β270); Exeter's "And I, I hope, shall reconcile them all" (1.1.274); the entirety of York's soliloquy in Act 1, Scene 4; Warwick's pause to get his breath during the Battle of Barnet (2.3.1β5); all of Act 2, Scene 5 (including dialogue from Henry, the father and the son) up to the entry of Prince Edward at line 125; all of Henry's monologue in Act 3, Scene 1, prior to his arrest (ll.13β54); Richard's entire soliloquy in Act 3, Scene 2 (ll.124β195); Margaret's "Ay, now begins a second storm to rise,/For this is he that moves both wind and tide" (3.3.47β48); Warwick's soliloquy at the end of the Act 3, Scene 3 (ll.257β268); Richard's "I hear, yet say not much, but think the more" (4.1.85) and "Not I, my thoughts aim at a further matter:/I stay not for love of Edward but the crown" (141.124β125); Warwick's "O unbid spite, is sportful Edward come" (5.1.18); the entirety of
Richard's soliloquy in Act 5, Scene 6, after killing Henry (ll.61β93) and Richard's "To say the truth, so
3258:. This is introduced in the opening scene when Margaret chastises Henry for yielding to York's demands and relinquishing the throne to the House of York; "Such safety finds/The trembling lamb environ'd with wolves" (ll.243β244). Later, as York watches his army lose the Battle of Wakefield, he laments "All my followers to the eager foe/Turn back and fly, like ships before the wind/Or lambs pursued by hunger-starv'd wolves" (1.4.3β5). After being captured by the Lancastrians, York then refer to Margaret as "She-wolf of France, but worse than wolves of France" (1.4.111). During the Battle of Tewkesbury, as Richard and Clifford fight, they are interrupted by Warwick, and Clifford flees. Warwick attempts to pursue him, but Richard says, "Nay Warwick, single out some other chase,/For myself will hunt this wolf to death" (2.4.13). Prior to the battle of Barnet, Margaret rallies her troops by claiming Edward has destroyed the country and usurped the throne, then pointing out "And yonder is the wolf that makes this spoil" (5.4.80). Finally, upon being left alone with Richard in the Tower, Henry proclaims "So flies the reckless
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Holinshed (although in the chronicle, the crown is made of sedges, not paper); "The duke was taken alive and in derision caused to stand upon a molehill, on whose head they put a garland instead of a crown, which they had fashioned and made of sedges or bulrushes." More evidence that
Shakespeare used Holinshed is found in the scene is which Warwick is in France after joining the Lancastrians (3.3), and King Louis assigns his Admiral, Lord Bourbon, to aid Warwick in assembling an army. In Holinshed, the Admiral is referred to as "Lord Bourbon", as he is in the play (and as he was in reality), whereas in Hall the Admiral is erroneously called "Lord Burgundy". Another aspect of the play found only in Holinshed is Edward's offer of peace to Warwick prior to the Battle of Barnet; "Now Warwick, wilt thou ope the city gates,/Speak gentle words and humbly bend thy knee?/Call Edward king, and at his hands beg mercy,/And he shall pardon thee these outrages" (5.1.21β24). This offer from Edward is not reported in Hall, who makes no reference to a Yorkist attempt to parley with Warwick. This incident is found only in Holinshed.
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to Louis to seek his aid in the conflict in
England. Just as Louis is about to agree to supply Margaret with troops, Warwick intervenes, and convinces Louis that it is in his interests to support Edward and approve the marriage. Back in England, however, the recently widowed Lady Grey (Elizabeth Woodville) has come to King Edward requesting her late husband's lands be returned to her. Edward is captivated by her beauty and promises to return her husband's lands to her if she becomes his mistress, but Lady Grey refuses. The two exchange sexually-charged banter, but Lady Grey continues to refuse Edward on the grounds of preserving her honor. Edward declares that, besides being beautiful, she is also clever and virtuous, and decides to marry her against the advice of both George and Richard. Upon hearing of this, Warwick, feeling he has been made to look a fool despite service to the House of York, denounces Edward, and switches allegiance to the Lancastrians, promising his daughter
6239:. Others changes include the transferral of lines to characters other than those who speak them in the Folio text, particularly in relation to Clarence, who is given numerous lines in the early part of the play. For example, in Act 2, Scene 1, it is Clarence who says Edward's "I wonder how our princely father scaped,/Or whether he be scaped away or no/From Clifford and Northumberland's pursuit" (ll.1β3). Clarence also speaks Richard's "Three glorious suns, each one a perfect sun,/Not separated with the racking clouds/But severed in a pale clear-shining sky" (ll.26β28); Edward's "Sweet Duke of York, our prop to lean upon/Now thou art gone, we have no staff, no stay" (ll.68β69); and Richard's "Great lord of Warwick, if we should recount/Our baleful news, and at each word's deliverance/Stab poniards in our flesh till all were told,/The words would add more anguish than the wounds" (ll.96β100). Also worth noting is that Elizabeth's son, the
6062:, the plays were presented as more than simply filmed theatre, with the core idea being "to recreate theatre production in televisual terms β not merely to observe it, but to get to the heart of it." Filming was done on the RSC stage, but not during actual performances, thus allowing cameras to get close to the actors, and cameramen with hand-held cameras to shoot battle scenes. Additionally, camera platforms were created around the theatre. In all, twelve cameras were used, allowing the final product to be edited more like a film than a piece of static filmed theatre. Filming was done following the 1964 run of the plays at Stratford-upon-Avon, and took place over an eight-week period, with fifty-two BBC staff working alongside eighty-four RSC staff to bring the project to fruition. In 1966, the production was repeated on BBC 1 where it was re-edited into eleven episodes of fifty minutes each. The fifth episode,
6208:; "where Messina saw the history plays conventionally as orthodox Tudor historiography, and employed dramatic techniques which allow that ideology a free and unhampered passage to the spectator, Jane Howell takes a more complex view of the first tetralogy as, simultaneously, a serious attempt at historical interpretation, and as a drama with a peculiarly modern relevance and contemporary application. The plays, to this director, are not a dramatisation of the Elizabethan World Picture but a sustained interrogation of residual and emergent ideologies in a changing society This awareness of the multiplicity of potential meanings in the play required a decisive and scrupulous avoidance of television or theatrical naturalism: methods of production should operate to open the plays out, rather than close them into the immediately recognisable familiarity of conventional Shakespearean production."
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3040:;/The next degree is England's royal throne" (l.192β193). After decapitating York, Margaret points out the head to Henry, saying, "Yonder's the head of that arch-enemy/That sought to be encumbered with your crown" (2.2.2β3). Later, Edward asks Henry, "Wilt thou kneel for grace/And set thy diadem upon my head?" (2.2.81β82). Edward then says to Margaret, "You that are king, though he do wear the crown" (2.2.90). Later, in Act 2, Scene 6, when Edward is blaming Margaret for the civil war, he says to Henry that if she hadn't provoked the House of York "thou this day hadst kept thy chair in peace" (l.19). He then says to Warwick, "For in thy shoulder do I build my seat" (l.99). In Act 3, Scene 1, Henry then debates with the gamekeepers the importance of the crown to the role of kingship;
6231:. In Act 1, Scene 1, for example, four lines are added at the beginning of Henry's declaration that he would rather see civil war than yield the throne. Between lines 124 and 125, Henry states "Ah Plantagenet, why seekest thou to depose me?/Are we not both Plantagenets by birth?/And from two brothers lineally descent?/Suppose by right and equity thou be king...". Also in Act 1, Scene 1, a line is inserted between lines 174 and 175. When York asks Henry if he agrees to the truce, Henry replies "Convey the soldiers hence, and then I will." In Act 2, Scene 6, a line is inserted between lines 7 and 8; "The common people swarm like summerflies." Most significant however is Act 5, Scene 1, where the entirety of Clarence's return to the Lancastrians is taken from
2795:(as he is for the rest of the production). His first line in this scene however, "But I have reasons strong and forcible" (l.3) is reassigned to Clarence. Later, when York is giving his men instructions, his order to Montague, "Brother, thou shalt to London presently" (l.36) is changed to "Cousin, thou shalt to London presently", and York's reiteration of the order "My brother Montague shall post to London" (l.54) is changed to "Hast you to London my cousin Montague." Additionally, Montague's "Brother, I go, I'll win them, fear it not" (l.60) is changed to "Cousin, I go, I'll win them, fear it not." This all serves to establish a single figure who is York's cousin and Warwick's brother (i.e. John Neville).
3594:, Clifford makes it clear that nothing has changed in his desire to revenge his father's death. When Warwick mentions his father, Clifford responds "Urge it no more, lest that instead of words,/I send thee, Warwick, such a messenger/As shall revenge his death before I stir" (1.1.99β101). Later, refusing to bow to York, Clifford exclaims "May that ground gape and swallow me alive/Where I shall kneel to him that slew my father" (1.1.162β163). The murder of Rutland is particularly important in terms of Clifford's pursuit of vengeance, as the scene is punctuated with a debate about the limits and moral implications of exacting revenge on someone who did no wrong in the first place;
2639:). However, if Montague here represents John Neville, his and York's references to one another as 'brother' are inaccurate. Subsequently, at 2.1.168, Warwick refers to Montague as brother, and he is also called Marquis for the first time, neither descriptions of which could be applied to Salisbury or to any character who describes himself as a brother to York. As such, in 1.1 and 1.2, Montague seems to be York's brother-in-law, and Warwick's father, Richard Neville (i.e. Salisbury), but from that point forward, after his re-introduction in Act 2, he seems to represent Salisbury's son and Warwick's younger brother, John Neville. Salisbury is a major character in
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the country, and his desire for personal vengeance seems to outweigh any sense he has of aiding the House of
Lancaster because he believes it to be the right thing to do. Similarly, Warwick's later actions in the play, as he himself acknowledges, have nothing to do with ensuring Henry remain king, but are based wholly on his personal feelings towards Edward; he is more concerned with bringing down the House of York than elevating the House of Lancaster. As such, "the York-Warwick alliance degenerates into an inter-family feud, even more petty in its tit-for-tat predictability than York and Lancaster's squabbles." Although the conflicts depicted in the play
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to attain it. Later, echoing
Warwick's statement about his reasons for joining the Lancastrians, Richard outlines why he has remained loyal to the Yorkists; "I stay not for the love of Edward but the crown" (4.1.125), again showing the attraction of power and the subversion of all other concerns, including familial relations. Another example is when Prince Edward is killed in Act 5, Scene 5. His death is brought about because he taunts the Plantagenet brothers, and they lose their temper with him, not because they are exacting revenge for an ongoing feud with his family. Similarly, when Richard kills Henry, his
689:(1471), the Yorkists rout the Lancastrians, capturing Margaret, Prince Edward, Somerset and Oxford. Somerset is sentenced to death, Oxford to life imprisonment, Margaret is banished, and Prince Edward is stabbed to death by the three Plantagenet brothers, who fly into a rage after he refuses to recognise the House of York as the legitimate royal family. At this point, Richard goes to London to kill Henry. At Richard's arrival at the Tower, the two argue, and in a rage Richard stabs Henry. With his dying breath, Henry prophesies Richard's future villainy and the chaos that will engulf the country.
5607:. The opening lines of the film are Edward's "Once more we sit in England's royal throne,/Repurchased with the blood of enemies./Come hither Bess, and let me kiss my boy./Young Ned, for thee, thine uncles and myself/Have in our armours watched the winter's night,/Went all afoot in summer's scalding heat,/That thou mightst repossess the crown in peace/And of our labours thou shalt reap the gain" (this is a truncated version of ll. 1β20). Apart from the omission of some lines, the most noticeable departure from the text of 5.7 is the inclusion of two characters who do not appear in the play; the
3383:,/And thine Lord Clifford, and you both have vowed revenge/On him, his sons, his favourites and his friends" (1.1.54β56). Northumberland responds to this with "If I be not, heavens be revenged on me" (1.1.57). Later, after Henry has resigned the crown to the House of York and has been abandoned by Clifford, Westmorland and Northumberland, Exeter explains, "They seek revenge and therefore shall not yield" (1.1.191). Later, after Edward has been installed as king, Oxford refuses to acknowledge him, arguing "Call him my king, by whose injurious doom/My elder brother the
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almost immediately after his deal with Henry, York's family is torn apart. Act 1, Scene 2 symbolically begins with Edward and
Richard arguing; "No quarrel but a slight contention" (l.6). Act 1, Scene 3 then depicts the murder of York's youngest son, whilst in Act 1, Scene 4, York himself is tortured and murdered, with the knowledge that Rutland is already dead. In this sense, York functions as a symbolic character insofar as "the personal losses underlining York's political 'tragedy' the play's theme of civil war's destruction of family relationships."
827:(1559; 2nd edition, 1578), a well-known series of poems spoken by controversial historical figures who speak of their lives and deaths, and to warn contemporary society not to make the same mistakes they did. Three such figures are Margaret of Anjou, King Edward IV and Richard Plantagenet, 3rd Duke of York. York's final scene, and his last speech in particular (1.4.111β171), are often identified as being the 'type' of scene suitable to a traditional tragic hero who has been defeated by his own ambition, and this is very much how York presents himself in
6220:. In Act 2, Scene 2, two lines are missing from Henry's rebuke of Clifford's accusation that he has been unnatural by disinheriting the Prince; "And happy always was it for that son/Whose father for his hoarding went to hell" (ll.47β48). During the ensuing debate between the Yorkists and the Lancastrians, Richard's "Northumberland, I hold thee reverentially" (l.109) is absent. In Act 2, Scene 3, Clarence's plans to rouse the army are absent "And call them pillars that will stand to us,/And if we thrive, promise them such rewards/As victors wear at the
6224:" (ll.51β53). In Act 3, Scene 3, Oxford and Prince Edward's speculations as to the contents of the newly arrived letters is absent (ll.167β170), as is Warwick's reference to Salisbury's death and the incident with his niece, "Did I forget that by the House of York/My father came untimely to his death?/Did I let pass th'abuse done to my niece" (ll.186β188). All references to Lord Bourbon are also absent from this scene (ll.253β255). In Act 4, Scene 4, the first twelve lines are absent (where Elizabeth reports to Rivers that Edward has been captured).
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6196:, everyone fights in similarly coloured dark costumes, with little to differentiate one army from another. The scene where Richard kills Henry has three biblical references carefully worked out by Howell; as Richard drags Henry away, his arms spread out into a crucified position; on the table at which he sat are seen bread and wine, and in the background, an iron crossbar is faintly illuminated against the black stone wall. Graham Holderness saw Howell's non-naturalistic production as something of a reaction to the BBC's adaptation of the
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576:. Threatened with violence by Warwick, who has brought part of his army with him, the King reaches an agreement with York which will allow him to remain king until his death, at which time the throne will permanently pass to the House of York and its descendants. Disgusted with this decision, which would disinherit the King's son, Prince Edward, the King's supporters, led by his wife, Margaret, abandon him, and Margaret declares war on the Yorkists, supported by Clifford, who is determined to exact revenge for the death of
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capturing York, Clifford wants to execute him immediately, but is prevented from doing so by
Margaret, who wishes to talk to, and taunt, York prior to killing him. When Margaret tells York that he will die soon, Clifford quickly points out, "That is my office, for my father's sake" (l.109). Clifford remains relatively silent throughout most of the scene, speaking only immediately prior to his stabbing of York, and again, citing revenge as foremost in his mind; "Here's for my oath, here's for my father's death" (l.175).
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6183:. Stanley Wells wrote of the set that it was intended to invite the viewer to "accept the play's artificiality of language and action," Michael Hattaway describes it as "anti-illusionist," Susan Willis argues that the set allows the productions "to reach theatrically toward the modern world" and Ronald Knowles writes "a major aspect of the set was the subliminal suggestion of childlike anarchy, role-playing, rivalry, game and vandalism, as if all culture were precariously balanced on the shaky foundations of
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5168:, prior to his abdication. Bogdanov also employed frequent anachronisms and contemporary visual registers, in an effort to show the relevance of the politics in the fifteenth century to the contemporary period. The production was noted for its pessimism as regards contemporary British politics, with some critics feeling the political resonances were too heavy handed. However, the series was a huge box office success. Alongside Watson and Brennan, the play starred
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2377:, Margaret, Oxford and Somerset are introduced initially, and subsequently Prince Edward is led into the camp (l.11; "And lo where youthful Edward comes"). This separate capture of Edward follows Holinshed, who outlines that Edward fled the field, was captured in a nearby house, and then brought to the camp alone to be with his fellow Lancastrians, who were already prisoners there. Again, the implication is that Shakespeare initially used Hall when composing
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591:(1460). During the conflict, Clifford murders York's twelve-year-old son, Rutland. Margaret and Clifford then capture and taunt York himself; forcing him to stand on a molehill, they give him a handkerchief covered with Rutland's blood to wipe his brow, and place a paper crown on his head, before stabbing him to death. After the battle, as Edward and Richard lament York's death, Warwick brings news that his own army has been defeated by Margaret's at the
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to violence was less celebratory than Hall's, his patriotic fervour less pronounced, and his attitude to carnage more ambiguous; i.e. Shakespeare had become less enamoured of the Tudor view of history, and altered his play accordingly. As Paola
Pugliatti puts it, "Source manipulation and sheer invention may be read as a distinctly critical gesture, in that they show the need to question the official historiographical tradition."
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joining the Lancastrians, not devotion to their cause; "I'll be the chief to bring down again,/Not that I pity Henry's misery,/But seek revenge on Edward's mockery" (3.3.264β266). It is perhaps Warwick who sums up the revenge ethic of the play; in Act 2, Scene 6, upon finding Clifford's body, Warwick orders that Clifford's head replace York's at the gates of the city, declaring "Measure for measure must be answer'd" (l.54).
3916:. The degradation of chivalric customs and human decency is emphasised when York responds to Richard's arrival by 'talking' to the head itself; "But is your grace dead, my lord of Somerset" (1.1.18). Michael Hattaway sees this scene as an important prologue to the play insofar as "the act of desecration signifies the extinguishing of the residual chivalric code of conspicuous virtue, the eclipsing of honour by main force."
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the cruelty in the play. Revenge is cited many times by different characters as a guiding force behind their actions; Northumberland, Westmorland, Clifford, Richard, Edward and Warwick all declare at some point in the play that they are acting out of a desire for vengeance on their enemies. Revenge, however, plays little part in Holinshed, who hardly mentions the word, and never offers it as a major theme of the war.
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5513:, directed by and starring F.R. Benson. Filmed as part of a series intended by Benson to promote the Shakespeare Memorial Theatre at Stratford, the piece was pure filmed theatre, with each scene shot on-stage in a single take by an unmoving camera. Each single shot scene is prefaced by a scene-setting intertitle and a brief quotation from the text. Of thirteen scenes in total, the first two are taken from
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3282:" (2.5.74β75). Lions and lambs are again combined when, just before his second capture, Henry is wondering why the people prefer Edward to him; "And when the lion fawns upon the lamb,/The lamb will never cease to follow him" (4.8.49β50). Warwick later combines lions and birds during his death speech, "I must yield my body to the earth/And by my fall, the conquest to my foe./Thus yields the
1381:(1591). Paola Pugliatti, however, argues that the case may be somewhere between Wilson and Taylor's argument; "Shakespeare may not have been the first to bring English history before the audience of a public playhouse, but he was certainly the first to treat it in the manner of a mature historian rather than in the manner of a worshipper of historical, political and religious myth."
606:(1461), Clifford is killed and the Yorkists are victorious. During the battle, Henry sits on a molehill and laments his problems. He observes a father who has killed his son, and a son who has killed his father, representing the horrors of the civil war. Following his victory, Edward is proclaimed king and the House of York is established on the English throne. George is proclaimed
2559:, and the rest/Whom we have left protectors of the King,/With powerful policy strengthen themselves" (ll.55β58). Montague duly leaves, and when Warwick returns in Act 2, Scene 1, he is accompanied by a character called Montague, but who he introduces as an apparently new character; "...Therefore Warwick came to seek you out,/And therefore comes my brother Montague." (ll.166β167).
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revenge as part of his reason for joining the Lancastrians; "Did I let pass th'abuse done to my niece?" (3.3.188 β this is a reference to an incident reported in both Hall and Holinshed where Edward attempted to rape either Warwick's daughter or his niece; "Edward did attempt a thing once in the Earl's house which was much against the Earl's honesty (whether he would have
3203:/That nothing sung but death to us and ours" (2.6.55β56). Bird imagery continues to be used contemptuously in France, where Margaret says of Edward and Warwick, "both of you are birds of selfsame feather" (3.3.161). Prior to the Battle of Barnet, as Somerset attempts to rally the troops, he says "And he that will not fight for such a hope,/Go home to bed, and like the
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3191:'s piercing talons" (1.4.40β41). After the news of York's death has reached them, Richard encourages Edward to take York's place; "If thou be that princely eagle's bird" (2.1.91). Later, Warwick points out that Henry has been compelled to rescind his oath to yield the throne to the House of York; "Clifford and the Lord Northumberland/And of their
4404:. Mitchell cut all on-stage violence, resulting in York, Rutland, Prince Edward and Henry all being killed off-stage. The introduction of the head of Somerset was also removed, with the play beginning instead at line 25, "This is the palace of the fearful king." Also removed was much of Margaret's speech to rouse her army prior to Tewkesbury.
3278:" (2.1.13β14). As Clifford chastises Henry for disinheriting Prince Edward, he asks "To whom do lions cast their gentle looks?/Not to the beast that would usurp the den" (2.2.11β12). Lions are then mentioned in conjunction with lambs during the Battle of Tewkesbury; "While lions roar and battle for their dens/Poor harmless lambs abide their
1985:, or both. Taken together, the name of Bonfield "in two historically unrelated texts performed by companies that shared scripts and personnel indicates that the name is a non-authorial interpolation by players." That this could be the case is further supported by the fact that reported texts often use material from other plays. For example,
3199:" (2.1.169β171). When Clifford is urging Henry to protect the Prince's birthright, he attempts to illustrate to Henry that doing the right thing for his children should be a natural course of action; "Doves will peck in safeguard of their brood" (2.2.18). During the debate about the rightful king, Edward refers to Clifford as "that fatal
2960:/And all that poets feign of bliss and joy" (1.2.29β31) and Edward's battle cry, "A crown or else a glorious tomb,/A sceptre, or an earthly sepulchre" (1.4.16). Also significant is the torture of York in Act 1, Scene 4, where he is forced to wear a paper crown, whilst Margaret alludes to both the real crown and the throne numerous times;
2635:, at 1.1.14, 1.1.117β118 and 1.2.60, Montague refers to York as his 'brother'. Similarly, at 1.2.4, 1.2.36 and 1.2.55, York refers to Montague as his 'brother'. If Montague here represents Salisbury, their reference to one another as 'brother' makes sense, as Salisbury was York's brother-in-law (York was married to Salisbury's sister,
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he had been made arbiter between them, first rode to and with him communed very secretly; from him he came to King Edward and with like secretness so used him that in conclusion no unnatural war but a fraternal amity was concluded and proclaimed and both the brethren lovingly embraced, and familiarly communed together."
5574:, and this speech had been singled out by critics as the best in the entire production. As such, when offered the chance to perform on film, Barrymore chose to reproduce it. Film critics proved just as impressed with the speech as had theatrical critics, and it was generally regarded as the finest moment of the film.
2531:, Act 5, Scene 5 begins with "Alarms to the battle, York flies, then the chambers be discharged. Then enter the King, Clarence and Gloucester and the rest, and make a great shout, and cry "For York, for York", and then the Queen is taken, and the Prince and Oxford and Somerset, and then sound and enter all again."
2555:), and he accompanies York, Richard, Edward, Warwick and Norfolk from the battlefield to London in pursuit of Henry, Margaret and Clifford. In Act 1, Scene 2, upon realising that Margaret is set to attack, York sends Montague to London to get Warwick; "My brother Montague shall post to London./Let noble Warwick,
2072:, the reporter was thinking ahead, anticipating the arrival of the others and anachronistically having a character aware of their inevitable arrival. Again, as with the omission of important information, this illogical foreknowledge of events is the type of mistake which characterises the bad quartos in general.
2952:"was prejudicial to his crown?" (l.145) to which Exeter responds "No, for he could not so resign his crown" (l.146). York then demands that Henry "Confirm the crown to me and to mine heirs" (l.173), to which Henry reluctantly agrees, "I here entail/The crown to thee and to thine heirs forever" (ll.195β196).
3164:"Warwick, although my head still wear the crown,/I here resign my government to thee" (l.24). Finally, upon meeting Richmond (the future Henry VII), Henry proclaims, "His head by nature framed to wear a crown,/His hand to wield a sceptre, and himself/Likely in time to bless a regal throne" (ll.72β74).
6215:
was based on the folio text rather than the octavo, it departed from that text in a number of places. For example, it opens differently from the play, with the first twenty-four lines absent. Instead it begins with Edward, Richard, Clarence, Warwick and Norfolk hacking down the door of parliament and
4796:
party rise to power. Changes to the text include a new, albeit silent scene just prior to the Battle of Wakefield where York embraces Rutland before heading out to fight; an extension of the courtship between Edward and Lady Grey, and the edition of two subplots; one concerning a mistress of Edward's
4557:
was staged by the Macedonian company National Theatre Bitola, directed by John Blondell, and starring Petar Gorko as Henry, Gabriela Petrusevska as Margaret, Nikolche Projchevski as Edward and Martin Mirchevski as Richard. In 2013, Nick Bagnall directed another production of the trilogy at the Globe.
4303:
as Richard. Although little was removed from the text, it did end differently from the written play. After Edward has spoken his last lines, everyone leaves the stage except Richard, who walks towards the throne, then turns and looks out to the audience, speaking the first thirty lines of his opening
3961:
This concentration on the personal and familial aspects of the war leads to another major theme in the play; the dissolution of Family. Throughout the play, family ties are shown to be fragile and constantly under threat. The first breach of familial bonds comes when Henry agrees to pass the crown to
3877:
Despite the prevalence of revenge in the earlier parts of the play, it loses significance as a motivating factor as the nature of the conflict changes and develops into a pursuit of power, without recourse to past antagonisms. Revenge ceases to be the primary driving force for many of the characters,
2790:
adaptation, Montague is not present in either the persona of Salisbury or that of John Neville. As such, his first two lines, "Good brother, as thou lov'st and honour'st arms,/Let's fight it out and not stand cavilling thus" (ll.117β118), are reassigned to Clarence and altered to "Set it on your head
2780:
It is generally agreed amongst critics that the differences between these two passages represents authorial revision as opposed to faulty reporting, leading one to ask the question of why Shakespeare removed the references to Salisbury, and why he wrote the preceding lines where Warwick re-introduces
1461:
violence was crude, appealing only to the ignorant masses, and was therefore low art. On the other hand, any play which elevated itself above such direct representation of violence and instead relied on the writer's ability to verbalise and his skill for diegesis, was considered artistically superior
759:
On the other hand, some aspects of the play are unique to Holinshed rather than Hall. For example, both Hall and Holinshed represent Margaret and Clifford taunting York after the Battle of Wakefield (depicted in 1.4), but Hall makes no mention of a crown or a molehill, both of which are alluded to in
755:
descended, which should be more preferred and promoted than strangers of his wife's blood He will exalt or promote his cousin or ally, which little careth for the fall or confusion of his own line and lineage." A more general aspect unique to Hall is the prominence of revenge as a motive for much of
617:
After Towton, Warwick goes to France to secure for Edward the hand of Louis XI's sister-in-law, Lady Bona, thus ensuring peace between the two nations by uniting in marriage their two monarchies. Warwick arrives at the French court to find that Margaret, Prince Edward and the Earl of Oxford have come
6250:
A notable stylistic technique used in the adaptation is the multiple addresses direct to camera. For example, Henry's "I know not what to say, my title's weak" (1.1.135), "All will revolt from me, and turn to him" (1.1.152), "And I with grief and sorrow to the court" (1.1.211), and "Revenged may she
3891:
is likely to feel that individual ambition rather than family honour is what fuels the vendettas that inform the play. Both seem to have forgotten that the quarrel between originally was a dynastic one: their claims to legitimacy and authority in this play are now validated only by the forces they
3881:
For example, when Edward and Richard are urging York to break his oath to Henry, Edward says, "But for a kingdom, any oath may be broken;/I would break a thousand oaths to reign one year" (1.2.16β17), thus showing the attraction that power has for the characters, and what they would be willing to do
2939:
to the crown" (l.80), to which York replies "Exeter, thou art a traitor to the crown" (l.81). Also during the debate, Henry asks York, "And shall I stand, and thou sit in my throne?" (l.85). York next asks Henry, "Will you we show our title to the crown? (l.103), to which Henry says "What title hast
2878:
From this point forward, the character remains consistent as Warwick's brother, and there is no further alteration of the text. As such, in this adaptation, the character is presented as one figure throughout β that of John Neville, Warwick's brother, Salisbury's son and York's cousin, and any lines
2499:
Some critics, however, such as Henry Ansgar Kelly, A.P. Rossiter, A.L. French, David Frey, J.P. Brockbank, David Riggs, Michael Hattaway, Michael Taylor, Randall Martin and Ronald Knowles, argue that this is the main reason Shakespeare chose to use Holinshed rather than Hall, as Holinshed's attitude
1900:
corresponds closely to the chronicle material found in Hall ("the heir of the Lord Scales hath married to his wife's brother, the heir also of the Lord Bonville and Harrington he hath given to his wife's son, and the heir of the Lord Hungerford he hath granted to the Lord Hastings"). In relation to
1527:
In line with this thinking, recent scholarship has tended to look at the play as being a more complete dramatic text, rather than a series of battle scenes loosely strung together with a flimsy narrative. Certain modern productions in particular have done much to bring about this re-evaluation (such
4170:
York's deal with Henry doesn't just have implications for Henry's family however, it also has implications for York's. York willingly sacrifices personal glory for the sake of his heirs, electing not to become King himself with the promise that his sons and grandsons will be kings instead. However,
3953:
Another example of a character who also personalises the national conflict and turns it from a political struggle into a personal quest is Clifford, whose desire for revenge for the death of his father seems to be his only reason for fighting. Clifford seems unconcerned with Henry's ability to lead
3163:
from his seat by war" (l.206), and promises "I'll uncrown him ere't be long" (l.232). He also muses to himself "I was the chief that raised him to the crown,/And I'll be chief to bring him down again" (ll.263β264). In Act 4, Scene 6, after Warwick has successfully deposed Edward, Henry says to him,
2256:
In this version of the scene, Richard is shown as primarily responsible for turning Clarence back to the Yorkist side; whatever he says during their parley convinces Clarence to rejoin his brothers. This is how the incident is represented in Hall; "Richard Duke of Gloucester, brother to , as though
1923:. Bonfield is never mentioned in the chronicles, and there is no known historical personage of that name. Bonville on the other hand is mentioned numerous times by both Hall and Holinshed, and is a known historical figure. However, there is a minor character named Bonfield in the Robert Greene play
3935:
trilogy; "The second part had showed us the murder of Duke Humphrey of Gloucester, the rise of York, the destruction of two of Humphrey's murderers and the enmity of the two survivors, York and Queen Margaret. Through these happenings the country had been brought to the edge of chaos. In the third
3354:
One of the most obvious themes in the play is revenge, which is cited numerous times by various different characters as the driving force for their actions. At different points in the play, Henry, Northumberland, Westmorland, Clifford, Richard, Edward and Warwick all cite a desire for revenge as a
1252:
The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinal of Winchester, with the notable Rebellion of Jack Cade: and the Duke of
750:
For example, when Henry is urged by Clifford, Northumberland and Westmorland to engage the Yorkists in combat in the parliamentary chambers, he is reluctant, arguing that the Yorkists have greater support in London than the Lancastrians; "Know you not the city favours them,/And they have troops of
5938:
is also used in the film; Edward's "For here I hope begins our lasting joy" appears as a subtitle after the coronation of Edward and is altered to read "And now, they hope, begins their lasting joy", with "they" referring to the House of York. The film then moves on to the coronation of Edward IV
5235:
in 1991, using the same cast as on the touring production. All eight plays from the history cycle were presented over a seven night period, with each play receiving one performance only, and with only twenty-eight actors portraying the nearly five hundred roles. Whilst the other five plays in the
3919:
Another example of barbarism perpetrated by the Yorkists is the abuse of Clifford's body in Act 2, Scene 6, where Edward, Richard, Clarence and Warwick all speak to the corpse in derision, sardonically wondering why it doesn't answer them. Richard's treatment of Henry's body in the final scene is
1332:
in 1588 dared to put upon the public stage a play based upon English history so far as we know, Shakespeare was the first." However, not all critics agree with Wilson here. For example, Michael Taylor argues that there were at least thirty-nine history plays prior to 1592, including the two-part
3949:
in 1460, which Shakespeare chose not to dramatise. Furthermore, the legal settlement whereby Henry agreed to relinquish the crown to the House of York upon his death came about due to lengthy parliamentary debate, not a personal agreement between Henry and York, as it is depicted in the play. As
4673:
as Henry, Candace Thompson as Margaret, Sky Seals as Edward and Ben Newman as Richard. It was noted as being a rare opportunity to see the play on its own and was well received β particularly for its staging of the conclusion, in which Henry's corpse remained onstage, doused in a steady rain of
4112:). By disinheriting his son, Henry seems to think he is protecting the Prince, ensuring that he will never suffer the hardships he himself experienced when he was left a usurped inheritance by his own father ("I'll leave my son my virtuous deeds behind and would my father had left me no more");
3852:
Even at the point of his own death, Clifford cannot let go of revenge, transferring his own obsession onto his enemies, and assuming that in his death, they will have a measure of the revenge he so yearns for; "Come York and Richard, Warwick and the rest,/I stabbed your father's bosom, split my
3455:
his daughter or his niece, the certainty was not for both their honours openly known) for surely such a thing was attempted by King Edward"). Only a few lines later, Warwick then exclaims, "I will revenge wrong to Lady Bona" (3.3.197). He also acknowledges that revenge is his primary motive in
3035:
Another example of language foregrounding authority by references to the crown and throne is found in Act 2, Scene 1, as Edward laments the death of his father; "His dukedom and his chair with me is left" (l.90), to which Richard answers, specifically foregrounding the issue of language and the
2334:
This version of the scene corresponds to Holinshed, where Richard plays no part in Clarence's decision; "the Duke of Clarence began to weigh with himself the great inconvenience into the which as well his brother King Edward, as himself and his younger brother the Duke of Gloucester were fallen
3944:
Just as revenge gives way to a desire for power, so too does national political conflict give way to a petty interfamily feud. For example, the play opens in the aftermath of the First Battle of St Albans (1455), and immediately dramatises the agreement between Henry and York that the House of
3794:
Clifford subverts all notions of morality and chivalry in his dogged pursuit of revenge, determined to visit onto the House of York the same type of suffering as it delivered onto him with the death of his father. This culminates during the torture of York in Act 1, Scene 4. Only moments after
3450:
Similarly, upon hearing of the death of his brother, Warwick vows, "Here on my knee I vow to God above/I'll never pause again, never stand still,/Till either death hath closed these eyes of mine/Or fortune given me measure of revenge" (2.3.29β32). During his time in France, Warwick again cites
5975:
in its poster campaign β "I can smile and murder whiles I smile" (3.2.182), although "whiles" was changed to "while." This line is also included in the film β after Richard concludes his opening speech to Edward, he enters the men's room and continues in soliloquy form to line twenty-seven of
5332:(Stephen Flett), which was broadcast live for the audience. The 'match' itself was refereed by 'Bill Shakespeare' (played by Coculuzzi), and the actors (whose characters names all appeared on their jerseys) had microphones attached and would recite dialogue from all four plays at key moments.
4218:
Also important to the theme of family dissolution is Act 2, Scene 5, where a father unwittingly kills his son, and a son unwittingly kills his father. Stuart Hampton-Reeves argues that this scene is a symbolic one referring to the conscription debate in England during the 1580s and 1590s. The
2112:
of the chronicle history." Urkowitz argues that "such fine-tuning of dramatic themes and actions are staples of professional theatrical writing." As such, the differences in the texts are exactly the types of differences one tends to find in texts which were altered from an original form, and
843:(1582β1591) may also have served as a minor influence. Of specific importance is the handkerchief soaked in Rutland's blood which Margaret produces during York's torture in Act 1, Scene 4. This could have been influenced by the recurring image of a bloody handkerchief in the immensely popular
4352:
was a study in power politics: its central image was the conference table, and Warwick, the scheming king-maker, was the central figure. But that's not Shakespeare. Shakespeare goes far beyond politics. Politics is a very shallow science." Aside from Howard and Mirren, the production starred
4103:
Henry however, disagrees with Clifford, arguing that passing on the burden of kingship is not necessarily the natural thing for a father to do, as it brings no reward when that title was unlawfully obtained in the first place ("things ill got, had ever bad success": Henry is referring to the
4255:
in a production of Shakespeare's two tetralogies, performed over eight nights. As far as can be ascertained, this was not only the first performance of the octology, but was also the first definite performance of both the tetralogy and the trilogy. Benson himself played Henry and his wife,
5386:, Hall used a cast of only thirteen actors to portray the nearly one hundred and fifty speaking roles in the four-hour production, thus necessitating doubling and tripling of parts. Although a new adaptation, this production followed the Jackson/Seale method of eliminating almost all of
4531:
in 2006/2007), wearing all red, would walk onto stage and approach the body. The actor playing the body would then stand up and allow himself to be led off-stage by the figure. The production was also particularly noted for its realistic violence. According to Robert Gore-Langton of the
4186:
The dissolution of the House of York however doesn't end with the death of York himself. Later, in Act 3, Scene 2, Richard further dissolves the family by revealing his ambition to usurp Edward's throne, and thereby disinherit Edward's children, his own nephews; "Ay, Edward, use women
2030:, after realising that the Battle of Towton is lost, Exeter, Margaret and Prince Edward urge Henry to flee, with Exeter exclaiming, "Away my Lord for vengeance comes along with him" (l.1270). However, this is totally unqualified β there is no indication whatsoever of who "he" is. In
6132:
to argue that the productions were "probably purer than any version given in the theatre since Shakespeare's time." Michael Mannheim was similarly impressed, calling the tetralogy "a fascinating, fast paced and surprisingly tight-knit study in political and national deterioration."
8924:
5283:, but rather than attempt to present the violence realistically (as most productions do), Hall went in the other direction; presenting the violence symbolically. Whenever a character was decapitated or killed, a red cabbage was sliced up whilst the actor mimed the death beside it.
1524:, Michael Goldman has argued that battle scenes are vital to the overall movement and purpose of the play; "the sweep of athletic bodies across the stage is used not only to provide an exciting spectacle but to focus and clarify, to render dramatic, the entire unwieldy chronicle."
4187:
honourably./Would he were wasted, marrow, bones, and all,/That from his loins no hopeful branch may spring/To cross me from the golden time I look for" (ll.124β127). After murdering Henry, Richard then outlines his plan to bring this about, vowing to turn Edward against Clarence:
1392:
has traditionally been seen as one of Shakespeare's weakest plays, with critics often citing the amount of violence as indicative of Shakespeare's artistic immaturity and inability to handle his chronicle sources, especially when compared to the more nuanced and far less violent
3962:
the House of York after his death. This disinherits his son and renders the crown a piece of transferable property, rather than a symbol of dynastic heritage or monarchic succession. All of Henry's followers are aghast at this decision, none more so than Margaret, who exclaims,
3886:
have nothing to do with the conflict between his family and Henry's. He murders him simply because Henry stands in the way of his attempts to gain the throne. As Michael Hattaway writes, "family loyalties may have been the initial cause of the feuds, but an audience watching
2626:
Montague however, seems to represent two different people at different times in the play; i.e. the character himself changes identities during the play. Initially he seems to represent Salisbury, Warwick's father (Richard Neville, 5th Earl of Salisbury β a major character in
4522:
Boyd's production garnered much attention at the time because of his interpolations and additions to the text. Boyd introduced a new character into the trilogy. Called The Keeper, the character never speaks, but upon the death of each major character, the Keeper (played by
2955:
Although not all subsequent scenes are as heavily saturated with references to monarchical power as is the opening scene, the imagery does recur throughout the play. Other notable examples include Richard's "How sweet a thing it is to wear a crown,/Within whose circuit is
813:
is the only known pre-seventeenth century text containing a scene in which a son unknowingly kills his father, and a father unknowingly kills his son, and as such, almost certainly served as the source for Act 2, Scene 5, in which Henry witnesses just such an incident.
673:
Edward reorganises his forces and confronts Warwick's army. Before the walls of Coventry, George betrays Warwick, and rejoins the Yorkists; this is lauded by Edward and Richard, and furiously condemned by the Lancastrians. The Yorkists achieve a decisive victory at the
2373:, Margaret, Prince Edward, Oxford and Somerset are all introduced together, all taken captive at the same time, which is how the incident is reported in Hall; all the Lancastrian leaders were captured in the field and brought to the Yorkist camp together. However, in
5405:
Outside England, a major European adaptation of the tetralogy took place in 1864 in Weimar under the direction of Franz von Dingelstedt, who, seven years previously had staged the play unedited. Dingelstedt turned the trilogy into a two-parter under the general name
4308:(from "Now is the winter of our discontent" to "I am determin'd to prove a villain"), at which point the curtain falls. Additionally, in this production, Boxall as Margaret fully participated in the Battle of Tewkesbury, which was considered a bold move at the time.
3936:
part, Shakespeare shows us chaos itself, the full prevalence of civil war, the perpetration of one horrible deed after another. In the second part there had remained some chivalric feeling But in the third part all the decencies of chivalric warfare are abandoned."
1901:
mistakes like this, it has been argued that "no one who understood what he was writing, that is β no author β could have made such error, but someone parroting someone else's work of which he himself had but a dim understanding β that is, a reporter β could have."
614:, although he complains to Edward that this is an ominous dukedom. King Edward and George then leave the court, and Richard reveals to the audience his ambition to rise to power and take the throne from his brother, although as yet he is unsure how to go about it.
2413:. The crux of the argument is that both the evidence for the bad quarto theory and the evidence for the early draft theory are so compelling that neither is able to completely refute the other. As such, if the play contains evidence of being both a reported text
595:(1461), and the King has returned to London, where, under pressure from Margaret, he has revoked his agreement with York. However, George Plantagenet, Richard and Edward's brother, has vowed to join their cause, having been encouraged to do so by his sister, the
2460:, and whilst many of the differences are simple aesthetic changes and alternate phraseology (much of which is easily attributable to inaccurate reporting), one major difference between the two that runs throughout is how they each handle violence. On the whole,
2791:
good father/If thou lov'st and honour'st arms,/Let's fight it out and not stand cavilling thus." Montague's second line, "And I unto the sea from when I came" (l.210), is entirely absent. As a character, Montague is then introduced in Act 1, Scene 2, played by
2781:
Montague as his brother. There is no definitive answer to this question, nor is there any answer to the question of why Shakespeare changed the character's name from Salisbury to Montague and then, after Act 1, equated him with another personage entirely.
4835:
was used as the source for Act 1, which dramatised Henry's lamentation about the burdens of Kingship (2.5), the battle of Tewkesbury (Act 5 β although Margaret's speech in Act 5, Scene 1 was replaced with Henry V's "once more unto the breach" speech from
5060:
in 1963. Hall allowed these events to reflect themselves in the production, arguing that "we live among war, race riots, revolutions, assassinations, and the imminent threat of extinction. The theatre is, therefore, examining fundamentals in staging the
2045:
A similar piece of evidence is found in Act 5, Scene 1. After Warwick and his troops have entered Coventry and are awaiting the arrival of Oxford, Somerset, Montague and Clarence, Richard urges Edward to storm the city and attack Warwick immediately. In
3269:
A third recurring image is that of the lion. This is introduced by Rutland in Act 1, Scene 3; "So looks the pent-up lion o'er the wretch" (l.174). Later, Richard, speaking of York, says "Methought he bore him in the thickest troop/As doth a lion in a
2034:, however, the line is "Away; for vengeance comes along with them" (l.124). In this case, "them" is Warwick, Richard and Edward, all of whom are mentioned by Prince Edward and Margaret in the lines immediately preceding Exeter's. As such, the line in
4811:), the other involving an attempt by Warwick to seduce Lady Grey after her husband's death at the Second Battle of St. Albans (this is later used as a rationale for why Warwick turns against Edward). Also worth noting is that the role of Margaret in
622:
hand in marriage to Prince Edward as a sign of his loyalty. Shortly thereafter, George and Montague also defect to the Lancastrians. Warwick then invades England with French troops, and Edward is taken prisoner and conveyed to Warwick's brother, the
2429:. Shakespeare wrote an early version of the play, which was staged. Shortly after that staging, some of the actors constructed a bad quarto from it and had it published. In the meantime, Shakespeare had rewritten the play into the form found in the
2909:
Perhaps the most obvious recurring linguistic motif in the play is that of state power as specifically represented by the crown and the throne. Both words occur multiple times throughout the play. For example, in Act 1, Scene 1 (which is set in
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aggression and power-mad possession." As the four plays progressed, the set decayed and became more and more dilapidated as social order became more fractious. In the same vein, the costumes became more and more monotone as the plays went on β
4570:. Each of the plays was edited down to two hours, and the entire trilogy was performed with a cast of fourteen actors. On several specific dates, the plays were performed at the actual locations where some of the original events took place and
2944:, Richard urges York, "Father, tear the crown from the usurper's head" (l.115). Henry refuses to yield however, declaring "Think'st thou that I will leave my kingly throne?" (l.125). Subsequently, during the debate about the conflict between
3912:, and both sides in the conflict are depicted as capable of atrocities in their pursuit of victory. For example, the opening moments of the play see Richard introduced carrying the head of the Duke of Somerset, whom he killed at the end of
2918:
these eyes shall never close" (ll.22β24). He then introduces the word "crown"; "Resolve thee Richard, claim the English crown" (l.49). Immediately after York sits in the throne, Henry enters, exclaiming, "My lords, look where the sturdy
1520:(1612), Heywood writes, "So bewitching a thing is lively and well-spirited action, that it hath power to new mould the hearts of the spectators, and fashion them to the shape of any noble and notable attempt." More recently, speaking of
4969:
was edited down, with most of Act 4 removed, thus reducing the importance of Edward in the overall play. Seale again directed, with Paul Daneman again appearing as Henry, Alan Bridges as Edward and Edgar Wreford as Richard, alongside
3950:
such, a wide-ranging political debate spanning five years, and involving virtually every peer in the country is telescoped in the play to an immediate agreement between two men, thus illustrating the personal nature of the conflict.
4339:
as Margaret. Although the production was only moderately successful at the box office, it was critically lauded at the time for Alan Howard's unique portrayal of Henry. Howard adopted historical details concerning the real Henry's
3900:
adaptation argues, "anarchy is loosed and you're left with a very different set of values β every man for himself. You're into a time of change in which there is no code except survival of the fittest β who happens to be Richard."
1505:
to the masses; in such plays "our forefather's valiant acts (that have lain long buried in rusty brass and worm-eaten books) are revived." Nashe also argued that plays which depict glorious national causes from the past rekindle a
5980:
before then referring back to the earlier play "Why, I can smile and murder while I smile/And wet my cheeks with artificial tears/And frame my face to all occasions" (ll. 182β185). The film then moves on to the arrest of George.
2388:
may be an early draft does not necessarily imply that it could not also represent a bad quarto as well. Traditionally, most critics (such as Alexander, McKerrow and Urkowitz) have looked at the problem as an either-or situation;
2154:
the use of Hall and Holinshed is roughly equal. The argument is that this difference cannot be accounted for by faulty reporting, and instead must represent revision on Shakespeare's part; "The nature of the differences between
3378:
The theme of revenge is introduced in the opening scene. Upon seeing York seated on the royal throne, Henry reminds his allies of their conflict with the Yorkists in an attempt to motivate them; "Earl of Northumberland, slew
3878:
with lust for power taking over, and past conflicts rendered unimportant as each side desperately races for victory; "the revenge ethic has been outstripped by expedient violence with no aim other than the seizure of power."
4166:
As such, while Margaret and Clifford argue that Henry has destroyed his family in his deal with York, Henry himself seems to feel that he has done his offspring a favour and prevented him from experiencing future suffering.
2433:. Martin argues that this is the only theory which can account for the strong evidence for both reporting and revision, and it is a theory which is gaining increased support in the late twentieth/early twenty-first century.
2063:
more regiments are coming ("we'll stay till be all be entered"), but in the context of the play, he has no way of knowing this, he should be unaware that Oxford, Somerset, Montague and Clarence are heading to Coventry. In
696:, who was born in sanctuary. Edward orders celebrations to begin, believing the civil wars are finally over and lasting peace is at hand. He is unaware, however, of Richard's scheming and his desire for power at any cost.
2550:
Another aspect of the play which has provoked critical disagreement is the character of Montague. He is introduced in Act 1, Scene 1 as a Yorkist supporter who fought at the Battle of St Albans (dramatised at the end of
5043:
as Richard. Barton and Hall were both especially concerned that the plays reflect the contemporary political environment, with the civil chaos and breakdown of society depicted in the plays mirrored in the contemporary
2562:
As such, the character of Montague seems to represent two separate historical personages in the play, and whilst this is not unusual in Shakespearean histories, the manner of the dual representation is. For example, in
6111:
series, although the episode didn't air until 1983. Directed by Jane Howell, the play was presented as the third part of the tetralogy (all four adaptations directed by Howell) with linked casting; Henry was played by
2163:
in terms of factual details, diction, and interpretive commentary by Hall and Holinshed reasonably suggests a direction of change, as well as the presence of an informed agency at work in revising the play reported by
3482:
Of all the characters who advocate revenge however, Clifford is by far the most passionate. His obsession with revenge for the death of his father takes root before the play even begins, in the penultimate scene of
6160:
flooring ("it stops the set from literally representing it reminds us we are in a modern television studio"), and in all four productions, the title of the play is displayed within the set itself (on banners in
5470:), who commented (with dialogue written by Strehler himself) on each of the major characters as they set about burying them. A major German adaptation was Peter Palitzsch's two-part adaptation of the trilogy as
3207:
by day,/If he arise, be mocked and wondered at" (5.4.55β57). When Richard visits Henry in the tower, Henry defends his suspicion of Richard's intentions; "The bird that hath been lim'd in a bush,/With trembling
4944:
The success of the 1951β1953 Douglas Seale stand-alone productions of each of the individual plays in Birmingham prompted him to present the three plays together at the Old Vic in 1957 under the general title
1170:
whilst mocking Shakespeare, to whom Greene refers as "an upstart crow, beautified with our feathers, that with his 'tiger's heart wrapped in a player's hide', supposes that he is as well able to bombast out a
4018:
Margaret is not alone in her efforts to convince Henry that his decision is wrong. Clifford also attempts to persuade him, arguing that fathers who do not pass on their successes to their sons are unnatural;
2369:, after Margaret rallies her troops, they exit the stage to the sounds of battle, followed by the entry of the victorious Yorkists. The difference in the two texts is in the presentation of this victory. In
2054:
however, Edward says, "So other foes may set upon our backs./Stand we in good array: for they no doubt/Will issue out again, and bid us battle" (ll.61β63). The difference between the two passages is that in
7550:
1560:'s in 2000 and 2006). Based upon this revised way of thinking, and looking at the play as more complex than has traditionally been allowed for, some critics now argue that the play "juxtaposes the stirring
5298:, doing much the same with the character of Margaret as Merivale had done with York. Margaret was played by Gloria Biegler, Henry by Richard Haratine, Edward by John Jurcheck and Richard by Chip Persons.
2083:
Steven Urkowitz has spoken at great length about the debate between the bad quarto theory and the early draft theory, coming down firmly on the side of the early draft. Urkowitz argues that the quarto of
5223:
as Edward and Anton Lesser as Richard, the production was extremely successful with both audiences and critics. This play ended with the line "Now is the winter of our discontent;" the opening line from
2914:, with York spending most of the scene sitting on the throne), Warwick introduces the imagery, saying to York "Before I see thee seated in that throne,/Which now the House of Lancaster usurps,/I vow by
730:
from Hall, even to the point of reproducing large portions of text from Hall verbatim. However, there are sufficient differences between Hall and Holinshed to establish that Shakespeare consulted both.
3167:
Another recurring motif is animal imagery, particularly, bird imagery. The first example is in Act 1, Scene 1, when Warwick says " dares stir a wing if Warwick shake his bells" (l.47), a reference to
1925:
3175:/Tire on the flesh of me and my son" (ll.269β270). Later, as York describes his failed attempts to win the recently concluded battle, he muses to himself, "We botched again, as I have often seen a
4344:
into his performance, presenting the character as constantly on the brink of a mental and emotional breakdown. Possibly as a reaction to a recent adaptation of the trilogy under the general title
2784:
Obviously, such a character discrepancy can create a problem for productions of the play. As an example of one way in which productions can resolve the problem, in Act 1, Scene 1 of the 1981
2538:
Taking all of these differences into account, the argument is that "Shakespeare reconceived the action, toning down the sound and fury, and thereby altering the overall effect and meaning of
782:
Although Shakespeare's main sources for factual material were Hall and Holinshed, he seems to have used other texts for thematic and structural purposes. One such source was almost certainly
3355:
major factor in guiding their decisions, and revenge becomes a shared objective between both sides of the conflict, as each seek to redress the apparent wrongs perpetrated by the other; "In
2108:"is dramatically defensible because it still supports Clarence's complaint against Edward and motivates his ensuing defection to the Lancastrians. This change therefore, gets across the
685:
Oxford and the Duke of Somerset now assume command of the Lancastrian forces, and join a second battalion newly arrived from France led by Margaret and Prince Edward. In the subsequent
4538:, in his review of the original 2000 production, "blood from a severed arm sprayed over my lap. A human liver slopped to the floor by my feet. An eyeball scudded past, then a tongue."
5934:) preparing for the forthcoming battle. However, a surprise attack is launched on their headquarters by Richard, and both are killed. This scene is without dialogue. The last line of
11243:
2480:
that the Wars of Roses were God's punishment for people straying from the path laid out for them, and His means of purging the country of evil and opening the way for the righteous
5027:
as the third play. In all, 1,450 lines written by Barton were added to 6,000 lines of original Shakespearean material, with a total of 12,350 lines removed. The production starred
4678:, before literally eating the throne. The play also featured a huge portrait of Henry V wallpapered to the upstage wall that was steadily torn apart over the course of the play.
2583:, another character called Somerset represents both Henry Beaufort, 3rd Duke of Somerset and his younger brother Edmund Beaufort, 4th Duke of Somerset. However, both Somerset in
3036:
importance of words, "For 'chair and dukedom', 'throne and kingdom' say" (l.93). Warwick says something similar later in the scene, calling Edward "No longer Earl of March, but
4871:, Colley appeared as Winchester. As had Crowne, Cibber created a new scene involving Rutland; after the death of York, he and Rutland are laid side by side on the battlefield.
8029:
2335:
through the dissension betwixt them (which had been compassed and brought to pass by the politic working of the Earl of Warwick)." The argument here is that the difference in
8002:
5093:, which was still a hugely influential text in Shakespearian scholarship, especially in terms of its argument that Shakespeare in the tetralogy was advancing the Tudor myth.
3945:
Lancaster will cede the throne to the House of York upon Henry's death. However, in reality, this agreement was brought about not by the First Battle of St Albans but by the
1189:
was well known by at least September 1592, which means it must have been staged prior to 23 June, as that was when the government shut the theatres to prevent an outbreak of
4702:
3920:
another example of the lack of reverence for the dead; after Henry's death, Richard stabs the corpse, proclaiming "Down, down to hell, and say I sent thee hither" (5.6.67).
1646:. The theory originated with Edmond Malone in 1790 as an alternative to Johnson's memorial reconstruction theory, and is championed today by critics such as Steven Urkowitz.
1093:
424:
418:
4227:
had begun in 1568, and although England and France were both supporting the Dutch, they had officially remained neutral for fear of angering the Spanish. However, in 1585,
6156:
staged the four plays in a single set resembling a children's adventure playground. However, little attempt was made at realism. For example, Bayldon did not disguise the
5321:
1706:
One of Alexander's main arguments hinged on the start of Act 4, Scene 1, where Richard and Clarence reproach Edward for favouring his wife's relatives over themselves. In
1261:
The Whole Contention betweene the Two Famous Houses, Lancaster and Yorke. With the Tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the sixt
7331:
5967:). Richmond will later go on to be Henry VII, and Elizabeth (King Edward's daughter) will become his queen. As with Jane Shore, Elizabeth is mentioned several times in
1472:
that showing battles on stage was only "for the vulgar, who are better delighted with that which pleaseth the eye, than contenteth the ear." Based upon these theories,
1457:
for showing too many battles and being too violent when it would have been more artistic to verbally represent such scenes. The belief was that any play which actually
1328:, and a more central role in Shakespearean criticism. According to F.P. Wilson for example, "There is no certain evidence that any dramatist before the defeat of the
6450:
2068:
however, he merely feels that attacking would be a bad idea as it would leave their rear defenceless ("so other foes may set upon our backs"). This suggests that in
7562:
5522:
8296:
Shakespeare at the Old Vic, Volume 4 (1957β1958): Hamlet, King Henry VI Parts 1, 2 and 3, Measure for Measure, A Midsummer Night's Dream, King Lear, Twelfth Night
3394:
Revenge, however, is not confined to the Lancastrians. Upon learning of the death of his father, Richard is almost overwhelmed with a manic thirst for vengeance;
5964:
5173:
4654:
1516:
630:
However, Edward is soon rescued by Richard, Lord Hastings and Sir William Stanley. Henry, having been restored to the throne, appoints Warwick and George as his
5943:
as an after-dinner toast to the new king. Like Olivier's film, Loncraine includes several characters in the coronation scene who are not present in the text of
5517:; the murder of Prince Edward and the banishment of Queen Margaret (Act 5, Scene 5) and Richard's murder of Henry in the Tower (Act 5, Scene 6). Similarly, the
5148:). Also like Barton and Hall, Bogdanov concentrated on political issues, although he made them far more overt than had his predecessors. For example, played by
3802:
with Richard at the Battle of Towton, Clifford attempts to evoke a desire for revenge in Richard by pointing out how he killed two members of Richard's family;
11253:
6374:
5161:
381:
Montague (two different 'versions' of the character appear in the play, each one representing a different historical figure. The Act 1 persona is that of the
1119:
The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the Whole Contention betweene the two Houses Lancaster and Yorke
3931:
and social breakdown; a once calm world is seen spiralling toward chaos as barbarism and immorality come to the fore. As E.M.W. Tillyard has written of the
1510:
fervour which has been lost in "the puerility of an insipid present," and that such plays "provide a rare exercise of virtue in reproof to these degenerate
11238:
9765:
6082:, presented Act 2, Scene 2 up to Act 3, Scene 3, concluding with Warwick's avowal to remove Edward from the throne and restore Henry. The seventh episode,
8649:
Rackin, Phyllis. "Foreign Country: The Place of Women and Sexuality in Shakespeare's Historical World", in Richard Burt and John Michael Archer (editors)
2798:
How the adaptation handles the report of the death of Warwick and Montague's brother Thomas Neville in Act 2, Scene 3 is also worth noting. The text from
2484:
to establish peace. Traditionally, this has been a common way of interpreting the entire octalogy; advocated and elaborated upon by critics as diverse as
11208:
7920:
Graham Holderness, "Radical potentiality and institutional closure: Shakespeare in film and television", in Jonathan Dollimore and Alan Sinfield (eds.),
4918:
3212:
misdoubteth every bush" (5.6.13β14). Birds also play an important part in Henry's prophecy of Richard's future evil reign, as he points out the many ill
658:
5554:-style production featuring extracts from numerous plays, musicals and novels. Richard's soliloquy from Act 3, Scene 2 was used in the film, recited by
809:, and he seems to have used it as his "model for exploring and representing the destruction of civil society by factional conflict." More specifically,
4682:
1892:
is completely nonsensical and probably came about because the reporter became confused about who was married whom. Furthermore, unlike the account in
1437:
in dialogue. This view was based on traditional notions of the distinction between high and low art, a distinction which was itself based partly upon
11213:
10634:
6144:
adaptation; note the similarity in the costumes of the two sets of combatants β it is virtually impossible to tell the Yorkists from the Lancastrians
4288:
3384:
2535:
begins with the far less grandiose "Flourish. Enter Edward, Gloucester, Clarence, and Soldiers, with Queen Margaret, Oxford and Somerset prisoners."
396:
6063:
5999:. The show comprised fifteen sixty- and seventy-five-minute episodes which adapted all eight of Shakespeare's sequential history plays. Directed by
3183:', may bring forth/A bird that will revenge upon you all" (1.4.35β36), to which Clifford replies "So cowards fight when they can fly no further,/So
11198:
4528:
4524:
1781:
This implies that Lord Hastings is set to marry the daughter of Lord Hungerford, and Lord Scales is set to marry the daughter of Lord Bonfield. In
6128:. Howell's presentation of the complete first historical tetralogy was one of the most lauded achievements of the entire BBC series, and prompted
6087:
6083:
2401:
an early draft, but recently there has been some argument that it may be both. For example, this is the theory supported by Randall Martin in his
2381:, but some time after 1594, and for whatever reason, he modified his thinking, and changed the scene to reflect the account in Holinshed instead.
634:. News of the escape reaches Henry's court, and the young Earl of Richmond is sent into exile in Brittany for safety. Richmond is a descendant of
10157:
9868:
6079:
4914:
3179:/With bootless labour swim against the tide" (1.4.19β20). Subsequently, as Clifford tells York he will soon die, York declares "My ashes, as the
2339:
could not simply be the result of faulty reporting, or even interpolation on the part of a reporter, but must represent authorial agency, hence,
2100:
offer particularly rich illustrations of textual variation and theatrical transformation." Urkowitz argues that the Bonfield/Bonville variant in
5631:, and although she never features as a character, she is often included in productions of the play. After the conclusion of Act 5, Scene 7 from
4689:, it was performed as the seventh part of the octology, with all eight plays staged over a ten-day period. A major production was staged at the
1915:
However, even more telling than the difference between the details of the proposed marriages is the contrast between the two names; Bonfield in
9921:
1077:
2631:) and subsequently, he seems to represent Salisbury's son and Warwick's brother, John Neville (1st Marquis of Montague β a new character). In
2092:
actually present scholars with a unique opportunity to see a play evolving, as Shakespeare edited and rewrote certain sections; "the texts of
9007:
6027:
covers Acts 1, 2 and Act 3, Scenes 1 and 2, concluding with Richard's soliloquy wherein he vows to attain the crown. The thirteenth episode,
5149:
4666:
1493:
1476:, with its four on-stage battles and multiple scenes of violence and murder, was considered a coarse play with little to recommend it to the
8887:
7280:
7955:
6345:, performed by the Cardiff Station Repertory Company as the third episode of a series of programs showcasing Shakespeare's plays, entitled
5317:
5287:
2932:
2138:
Urkowitz is not alone in finding evidence to support the early draft theory. One of the main arguments as to the early draft theory is how
1571:
has provoked. There are numerous other issues about which critics are divided, not the least aspect of which concerns its relationship to
4792:, used his adaptation to warn about the danger of allowing England to descend into another civil war, which would be the case should the
2205:
Sound a parley, and Richard and Clarence whisper together, and then Clarence takes his red rose out of his hat, and throws it at Warwick.
2050:, Edward refuses, arguing "No, some other may set upon our backs/We'll stay till all be entered and then follow them" (ll.2742β2743). In
10927:
6102:
1710:, after Edward has been informed of Warwick's allegiance with the Lancastrians, he is upbraided by his brothers for his recent actions;
10281:
9486:
9423:
9418:
8903:
7825:
Dennis Bingham, "Jane Howell's First Tetralogy: Brechtian Break-out or Just Good Television?", in J.C. Bulman and H.R. Coursen (eds.),
7406:
4641:
in California, directed by Gilmore Brown, as part of a production of all ten Shakespearean histories (the two tetralogies, preceded by
4247:
seems to have been very rarely acted. The first definite performance in England after Shakespeare's day did not occur until 1906, when
2891:, words and allusions occur time and again, serving to contrast characters and situations, and to foreground certain important themes.
1656:. This theory gained increasing support in the latter half of the 20th century, and is supported by several modern editors of the play.
11248:
10417:
9823:
6078:
Act 1 and Act 2, Scene 1, concluding with Warwick rallying Edward, Richard and George after their father's death. The sixth episode,
1491:
praised battle scenes in general as oftentimes being intrinsic to the play and not simply vulgar distractions for the illiterate. In
864:
7670:
3032:
Later, York takes off the crown and throws it at Margaret, exclaiming "There, take the crown, and with the crown my curse" (l.164).
1097:(1518), from which some of Richard's soliloquy in Act 5, Scene 6 is taken, especially the references to the need to play the actor.
564:(Duke of York, Edward, Richard, Warwick, Montague and Norfolk) pursuing Henry and Margaret from the battlefield in the wake of the
11258:
10784:
10719:
10533:
7384:
5394:
as Margaret, Tim Treloar as Edward and Richard Clothier as Richard. After a successful run at the Haymarket, the play moved to the
340:
2654:(which treats the character of Montague as one consistent persona throughout the play), Salisbury's death is reported by Richard;
2361:
Also important in this argument is the action which is implied as taking place between Act 5, Scene 4 and Act 5, Scene 5. In both
10584:
10412:
10265:
10099:
9777:
8216:
5104:. This touring production opened at the Old Vic, and subsequently toured for two years, performing at, amongst other places, the
5065:
plays." They were also influenced by politically focused literary theory of the time; both had attended the 1956 London visit of
4674:
blood, throughout Edward IV's final scene, after which a naked and feral Richard bolts onstage and delivers the opening lines of
3923:
As such, with power being seen by many of the characters as the ultimate goal, the play also deals with themes of disloyalty and
3380:
2468:
has more explicit and sustained on-stage combat and more royal processions and celebrations after combat. Much more so than does
2113:
Urkowitz cites Eric Rasmussen, E.A.J. Honigmann and Grace Ioppolo as supporting this view. He particularly refers to the case of
1877:
1629:
295:
86:
4729:. This production was unique insofar as a woman (Katharina Schmoelzer) played Henry. Margaret was played by Katharina von Bock.
1501:
element of drama which depicted battle and martial action, arguing that such plays were a good way of teaching both history and
11223:
10839:
10694:
10599:
10538:
10468:
10453:
10397:
9939:
9838:
5608:
5502:
itself has never been adapted directly for the cinema, extracts from it have been used in many of the cinematic adaptations of
4898:
included the opening few scenes involving York taking the throne from Henry, preparing for battle, and then the battle itself.
1324:
trilogy were the first ever plays to be based on recent English history, and as such, they deserve an elevated position in the
795:(1561), a play about a deposed king who divides his land between his children, and which Shakespeare also used as a source for
577:
382:
301:
266:
58:
6488:
series. Comprising three sixty-minute episodes aired a week apart, the adaptation was written by Vernon Radcliffe and starred
6292:
trilogy. Specifically focused upon is Act 2, Scene 5; the scene of the son killing his father and the father killing his son.
763:
678:(1471), during which both Warwick and Montague are killed. Meanwhile, Edward's forces have captured Henry and sent him to the
11233:
11002:
10553:
10518:
10432:
10402:
10286:
10275:
9934:
9366:
6515:
broadcast a heavily edited seventy-six-minute two-part adaptation of the octology adapted by Rolf Schneider, under the title
6024:
4890:
plays, but removed everything not directly related to York; the play ended with his death, which occurs in Act 1, Scene 4 of
2576:
1829:
1703:. Malone's view was the dominant one until 1929, when Peter Alexander re-established the dominance of the bad quarto theory.
775:
390:
369:
6028:
4831:(1699), one of the most successful Shakespearean adaptations of all time. The play was half Shakespeare, half new material.
10789:
10729:
10639:
10594:
10579:
10574:
10564:
10543:
10458:
9435:
8911:
6243:, is introduced just after the marriage of Elizabeth and Edward (Act 4, Scene 1). In the text, Dorset doesn't appear until
5442:). Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from
5153:
1869:
783:
413:
408:
402:
375:
285:
272:
65:
10829:
10779:
10759:
10428:
10271:
10245:
10150:
10012:
9515:
9374:
6240:
2572:
1873:
1421:). For example, critics such as E.M.W. Tillyard, Irving Ribner and A.P. Rossiter have all claimed that the play violates
1156:
However, there is evidence that the play may have been written several years earlier and was on stage by September 1592.
646:, and therefore a potential Lancastrian heir should anything happen to Henry and his son; hence the need to protect him.
512:
3286:
to the axe's edge,/Whose arms gave shelter to the princely eagle,/Under whose shade the ramping lion slept" (5.2.9β13).
225:
in 1485. It was the success of this sequence of plays that firmly established Shakespeare's reputation as a playwright.
11203:
10920:
10809:
10754:
10604:
10473:
10301:
10250:
8521:
4991:
1739:
1355:
1177:
442:
171:
7894:
Michèle Willems, "Verbal-Visual, Verbal-Pictorial, or Textual-Televisual? Reflections on the BBC Shakespeare Series",
7791:
Quoted in Graham Holderness, "Radical potentiality and institutional closure: Shakespeare in film and television", in
7303:
7009:(1976); or Dominique Goy-Blanquet, "Elizabethan Historiography and Shakespeare's Sources", in Michael Hattaway (ed.),
5089:
in 1964 prior to its publication in Britain. Both Barton and Hall were also supporters of E.M.W. Tillyard's 1944 book
4989:
and Peter Hall's 1963/1964 RSC production of the tetralogy, adapted into a three-part series, under the general title
11193:
11188:
10859:
10849:
10734:
10589:
10558:
10513:
10392:
10255:
10124:
9878:
9848:
9000:
8935:
8780:
Wells, Robert Headlam. "The Fortunes of Tillyard: Twentieth-Century Critical Debate on Shakespeare's History Plays",
7205:
6569:(Martin), based on the First Folio text of 1623. Under its referencing system, 4.3.15 means act 4, scene 3, line 15.
5398:. The American cast included Carman Lacivita as Henry, Scott Parkinson as Margaret, Fletcher McTaggart as Edward and
3388:
328:
307:
278:
105:
39:
5422:
plays. Following this structure, Alfred von Walzogen also produced a two-part play in 1875, under the general title
2643:, as he is in both Hall and Holinshed's chronicles, and in reality, as outlined in the chronicles, he was killed at
2448:
If one accepts that Shakespeare made a conscious decision to use Holinshed more frequently during his re-editing of
1193:. As such, for the play to have been on stage by 23 June, it had to have been written in either 1591 or early 1592.
72:
10794:
9916:
9911:
9843:
5057:
1695:
is a bad quarto, a memorial reconstruction. Edmond Malone challenged Johnson's theory in 1790, suggesting that the
11079:
10704:
10291:
10240:
9891:
9886:
9806:
4929:
4793:
4499:. At the end of the two-year programme, the entire octology was performed over a four-day period under the title
2636:
2556:
1557:
1377:
1162:
8942:
3798:
However, even with the death of his father's killer, Clifford seems to remain obsessed with revenge. During his
2042:. This type of anomaly, where vital pieces of qualifying information are omitted, is common in the bad quartos.
10854:
10438:
10143:
9858:
9630:
9445:
9405:
8756:
Urkowitz. Steven "If I mistake in those foundations which I build upon": Peter Alexander's textual analysis of
8378:
Goy-Blanquet, Dominique. "Elizabethan Historiography and Shakespeare's Sources", in Michael Hattaway (editor),
5340:
4985:
The production which is usually credited with establishing the reputation of the play in the modern theatre is
1185:, 1.4.138, where York refers to Margaret as a "tiger's heart wrapped in woman's hide". This parody proves that
235:
in all of Shakespeare (3.2.124β195) and has more battle scenes (four on stage, one reported) than any other of
184:
focuses on the King's inability to quell the bickering of his nobles, and the inevitability of armed conflict,
54:
43:
6192:
features brightly coloured costumes which clearly distinguish the various combatants from one another, but by
6086:, presented Act 3, Scene 4 to Act 5, Scene 5 (concluding with the death of Prince Edward). The eight episode,
5466:, and two gravediggers called Bevis and Holland (after the names of two of Cade's rebels in the Folio text of
5279:. This production was noted for how it handled the violence of the play. The set was designed to look like an
11218:
11138:
9759:
8408:
7765:
6317:
presented a filmed version of the first part of Peter Palitzsch's 1967 two-part adaptation of the trilogy in
5328:. Presented as if it were a live rugby match between York and Lancaster, the 'play' featured commentary from
5291:
4455:
1130:
516:
10135:
7253:
4840:
and is spoken by Warwick) and Richard's murder of Henry in the tower (5.6). Richard's soliloquy in Act 2 of
1624:, an attempt by actors to reconstruct the original play from memory and sell it. The theory originated with
11160:
10934:
10387:
10235:
10114:
9981:
9797:
9450:
9098:
9042:
8993:
8766:
8554: . ""A Woman's generall: what should we feare?": Queen Margaret Thatcherized in Recent Productions of
6264:
5599:
as Queen Elizabeth. The film begins with the coronation of Edward IV, which happens between 3.1 and 3.2 of
4828:
The Tragical History of King Richard the Third, containing the Distresses and Death of King Henry the Sixth
4815:
was removed almost entirely, reducing her to two scenes; the death of York and the death of Prince Edward.
4272:
3946:
201:
8832:
5566:
concerning Somerset's head. Barrymore had recently starred in a hugely successful five-hour production of
4323:
A production which made much of its unedited status came in 1977, at the Royal Shakespeare Theatre, where
3345:
from Act 1, Scene 4 (The Duke of York wipes away his tears with a handkerchief soaked in Rutland's blood).
211:
trilogy may not have been written in chronological order, the three plays are often grouped together with
10799:
10568:
10297:
9787:
9748:
9735:
9609:
9141:
8870:
5395:
5375:
5097:
4445:
2887:
Language has an extremely important role throughout the play, especially in terms of repetition. Several
1721:
1053:
notes the similarities between York's torture in Act 1, Scene 4 and the torture of Christ as depicted in
624:
289:
10332:
5179:
Another adaptation of the tetralogy by the Royal Shakespeare Company followed in 1988, performed at the
11048:
10814:
10664:
9955:
9673:
9501:
9440:
9400:
9091:
9070:
6107:
4802:
4611:
4348:, which was strongly political, Hands attempted to ensure his own production was entirely apolitical; "
2786:
2715:
878:, Friar Laurence advises Romeus to stand up to his troubles, and be brave in the face of great danger;
823:
666:
592:
6441:
played Henry, Barbara Jefford played Margaret and Ian McKellen played both York and Richard. In 1977,
1564:
appeal of martial action with discursive reflection on the political causes and social consequences."
11056:
10478:
9974:
9969:
9926:
9802:
9600:
8091:(Signet Classic Shakespeare; New York: Signet, 1968; revised edition, 1989; 2nd revised edition 2005)
7213:
6508:
into a one hundred and sixty-minute episode. There is no known cast information for this production.
6357:
series, a six-part adaptation of the eight sequential history plays, with linked casting. Adapted by
5915:
5533:
as Richard, opened with the same two scenes; the murder of Prince Edward and the murder of Henry VI.
5418:. This adaptation was unique insofar as both plays were created by combining material from all three
5184:
4937:
4868:
4603:
4373:
4369:
4316:
4252:
2114:
1872:) who was to marry Lady Grey's brother (Anthony Woodville, 2nd Earl of Rivers), and Lady Grey's son (
1366:
1208:
For a discussion of whether the three parts of the trilogy were composed in chronological order, see
1157:
1067:
722:
565:
188:
deals primarily with the horrors of that conflict, with the once stable nation thrown into chaos and
7527:
2802:
reporting the death of Neville is used, but it is altered so as the report becomes about Salisbury;
10884:
9833:
9782:
9772:
9753:
9740:
9480:
9112:
6536:
6059:
6000:
5926:
as Queen Elizabeth, the film begins prior to the Battle of Tewkesbury, with Henry VI (portrayed by
4950:
4408:
1672:
1269:
874:. Much of Margaret's speech to her army in Act 5, Scene 4 is taken almost verbatim from Brooke. In
818:
572:
in London, York seats himself in the throne, and a confrontation ensues between his supporters and
10679:
6401:
is "patchwork in which Shakespeare collaborated with inferior dramatists." The adaptation starred
4726:
3904:
The play depicts what happens when "a nation turns on itself in epic savagery, dissolving its own
2171:
An example of this can be found when Clarence returns to the Yorkist forces in Act 5, Scene 1. In
1295:
is unclear, although most critics tend to assume it was the invention of the First Folio editors,
1071:. Emrys Jones further suggests that Shakespeare may have been influenced in York's death scene by
11152:
11025:
11008:
10988:
10980:
10955:
10948:
10941:
10609:
9556:
9120:
8882:
8625:
8490:
5895:
5583:
5518:
5475:
5325:
5105:
4827:
4760:
4546:
2607:
does not represent John Beaufort sometimes and Edmund Beaufort at others; he is consistently the
2485:
1593:
illustration of the father and son tragedy from Act 2, Scene 5, engraved by John Ogborne for the
1468:
1349:
1142:
360:
32:
6445:
presented a 26-part serialisation of the eight sequential history plays under the general title
3159:
In Act 3, Scene 3, after Warwick has joined the Lancastrians, he vows to Margaret "to force the
3110:
During his lengthy soliloquy in Act 3, Scene 2, Richard also mentions the crown numerous times;
79:
10869:
10864:
10689:
10528:
10448:
9986:
9713:
9651:
9571:
9494:
9105:
9084:
9024:
8591:
7358:
6370:
6201:
5620:
5427:
5252:
5109:
4986:
4542:
4228:
4203:
In this ambition, Richard proves successful, utterly destroying his own family in the process.
3870:
3342:
3243:
2928:
2647:
in 1461 having been captured by Margaret at the Battle of Wakefield (depicted in 1.3 and 1.4).
2519:, he simply enters "wounded." In Act 4, Scene 3, when Warwick surprises Edward in his tent, in
2496:, and, most famously, E.M.W. Tillyard, with whom the phrase Tudor myth is now most associated.
2119:
1553:
1533:
1361:
1049:
350:
236:
10368:
10221:
5796:
5191:, the Barton/Hall structure was again followed, reducing the trilogy to two plays by dividing
3235:
2923:
sits,/Even in the chair of state. Belike he means,/Backed by the power of Warwick, that false
599:. Additionally, Warwick has been joined in the conflict by his own younger brother, Montague.
11145:
11101:
10312:
10078:
9992:
9961:
9863:
9526:
9257:
9167:
9148:
8630:
A Band of Arrogant and United Heroes: The Story of the Royal Shakespeare Company's Staging of
8616:
8519:
Lee, Patricia-Ann. "Reflections of Power: Margaret of Anjou and the Dark Side of Queenship",
8317:
8243:
8187:
8116:
6489:
6004:
5232:
5231:
Michael Bogdanov and the English Shakespeare Company presented a different adaptation at the
4902:
4747:
4686:
4662:
4105:
3471:
3463:
2911:
2792:
1995:
1942:
1529:
1443:
1134:
771:
643:
639:
569:
389:. From Act 2 onwards, the character represents Salisbury's son and Warwick's younger brother
153:
10970:
8897:
7414:
4553:
based company and offered as a commentary on the recent history of violence in that region.
2927:,/To aspire unto the crown and reign as king" (ll.50β54). During the subsequent debate over
11183:
11111:
10879:
10739:
10724:
10669:
10614:
10523:
10443:
9901:
9688:
9666:
9246:
9197:
9176:
9156:
9056:
9033:
8030:"Viz Media Adds JoJo's Bizarre Adventures: Battle Tendency, Requiem of the Rose King Manga"
7611:
6512:
6113:
5952:
5053:
5028:
4879:
4694:
4619:
4591:
4248:
2971:
2515:, the stage direction dictates that Clifford enter "with an arrow in his neck", whereas in
859:
686:
334:
312:
222:
8698:
Rossiter, A.P. "Ambivalence: The Dialectics of the Histories", in Russ McDonald (editor),
7598:
Shakespeare's History Plays: Performance, Translation and Adaptation in Britain and Abroad
5627:, where he is Richard's closest ally for a time. Jane Shore is mentioned several times in
831:, a tragic hero whose dynastic ambitions caused him to reach too far and led to his ruin.
8:
11072:
11017:
10834:
10819:
10774:
10699:
10659:
10629:
10548:
10503:
10483:
10463:
10377:
10230:
10166:
10072:
10054:
9853:
9695:
9659:
9592:
9549:
9508:
9077:
9016:
8974:
7947:
7658:
7336:
6583:
text, these two characters are called Sinklo and Humfrey; thought to refer to the actors
6480:
In America, in 1936, a heavily edited adaptation of the trilogy was broadcast as part of
6350:
6281:
6098:
Act 1, Scenes 1, 2 and 3 (concluding with Richard sending two murderers to kill George).
4658:
4599:
4332:
4109:
3180:
2945:
2493:
1990:
1567:
The question of artistic integrity, however, is not the only critical disagreement which
1334:
839:
693:
588:
448:
433:
254:
161:
157:
10352:
6997:, 50:1 (Spring, 1969), 37β43, "The Mills of God and Shakespeare's Early History Plays",
6136:
6054:) with David Warner as Henry and Peggy Ashcroft as Margaret. Directed for television by
5240:
plays were combined into two, using the Barton/Hall structure, with the first was named
4661:, mounted a stand-alone production of the play at the East 13th Street Theatre (home of
1209:
1065:. He also suggests a debt of influence for the murder of Rutland in Act 1, Scene 3 from
11121:
10824:
10619:
10200:
10066:
10024:
9906:
9644:
9542:
9347:
8794:
Williamson, Marilyn L. ""When Men Are Rul'd by Women": Shakespeare's First Tetralogy",
8498:
8123:
8111:
8033:
7792:
5766:
5260:
5124:, Australia. Following the structure established by Barton and Hall, Bogdanov combined
5078:
4928:
Henry VI (Jeffrey T. Heyer) and the young Earl of Richmond (Ashley Rose Miller) in the
4638:
3475:
3452:
1904:
1087:
1072:
847:, insofar as a handkerchief soaked in the blood of his son, Horatio, is carried by the
734:
611:
573:
492:
462:
354:
218:
212:
8862:
8660: . "Women's Roles in the Elizabethan History Play", in Michael Hattaway (editor)
6177:). Many critics felt these set design choices lent the production an air of Brechtian
5526:
4558:
All three plays were performed each day, beginning at midday, under the overall title
4449:(the first time the RSC had ever attempted to stage the eight plays as one sequence).
3666:
illustration of the murder of Rutland in Act 1, Scene 3; engraved by 'Cranston' (1800)
3216:
accompanying Richard's birth; "The owl shrieked at thy birth, an evil sign,/The night-
1880:). As such, based on the inconsistency between Scales marrying Bonfield's daughter in
11106:
11064:
10874:
10749:
10709:
10508:
10382:
10322:
10036:
9354:
9281:
9273:
8969:
8848:
8816:
8747:
8468:
8458:
8278:
Narrative and Dramatic Sources of Shakespeare (Volume 3): Early English History Plays
8266:
8070:
6306:
6269:
6227:
However, there were also some additions to the text, most noticeably some lines from
6179:
6149:
5960:
5931:
5891:
5546:
5379:
5256:
5157:
5117:
5070:
4852:
4649:
4460:
4232:
3928:
3663:
3337:
2888:
1946:
1399:
1384:
Another issue often discussed amongst critics is the quality of the play. Along with
727:
717:
505:
478:
260:
189:
175:
8622:(Oxford: Oxford University Press, 1953; 2nd edn. edited by Robert D. Eagleson, 1986)
4483:
wrapped in March 2007, the history plays remained on stage, under the shorter title
2350:
1933:
was published in quarto in 1599, and the title page states that it was performed by
11228:
10804:
10654:
10649:
10347:
10186:
10179:
10060:
10048:
10042:
9637:
9564:
9464:
9331:
9323:
9300:
9293:
9266:
9239:
9225:
8361:(Cambridge: Cambridge University Press, 1961; 2nd edn. edited by only Foakes, 2002)
6366:
6259:
5927:
5612:
5588:
5578:
5571:
5431:
5101:
4807:
4798:
4643:
4623:
4579:
4476:
4257:
2007:
1541:
1502:
1411:
1405:
1190:
870:
675:
607:
603:
596:
344:
180:
166:
10327:
8325:
The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660β1769
5603:, and then moves into a shortened version of Act 5, Scene 7; the final scene from
2527:, there is a short battle between Warwick's and Richard's soldiers. Similarly, in
217:
to form a tetralogy covering the entire Wars of the Roses saga, from the death of
10996:
10912:
10744:
10644:
10357:
10342:
9816:
9428:
9316:
9232:
8907:
8891:
8854:
8837:
8726:
8385:
8342:
Henry VI, Parts II and III: Their Relation to the Contention and the True Tragedy
8337:
8101:
7639:
Barbara Freedman, "Critical Junctures in Shakespeare Screen History: The Case of
6466:
6402:
6121:
5995:
5971:, although she never appears in the text. Loncraine's film also used a line from
5919:
5530:
5462:
5378:
presented a one-play all-male cast modern dress adaptation of the trilogy at the
5180:
4971:
4698:
4571:
3289:
Other animals referred to in the play include dogs (1.4.56, 2.1.15 and 2.5.129),
2354:
1934:
1929:(1587β1590), where he is a member of a group of staunch opponents of Edward III.
1453:
1235:
791:
679:
649:
631:
474:
123:
8949:
8167:
The Whole Contention, 1619; Part Two: The True Tragedie of Richard Duke of Yorke
6587:
and Humphrey Jeffes. In the octavo text, they are simply referred to as Keepers.
6540:
is a loose adaptation of the first Shakespearean historical tetralogy, covering
6353:
aired a one-hundred-and-fifty-minute adaptation of the trilogy as part of their
5930:) still in power. The opening scene depicts Henry and his son Edward (played by
4515:
plays on Saturday (two afternoon performances and one evening performance), and
4178:
H.C. Selous' illustration of the father and son tragedy in Act 2, Scene 5; from
2131:, and which he argues contain the same type of modifications as is found in the
10407:
10337:
10260:
9309:
9049:
8716:
8668:
8441:
8432:
8127:
6474:
6454:
6418:
6255:
kissed his master/And cried 'All hail', whenas he meant all harm" (5.7.33β34).
6252:
6205:
6204:
in the traditional and straightforward manner favoured by then series producer
6153:
5923:
5555:
5541:
5399:
5280:
5074:
5066:
5032:
5008:
4381:
4365:
4224:
2489:
2191:
2123:(1777), which existed in an earlier form, also by Sheridan, in a two-part play
1941:, which, according to the title page of the 1594 quarto, was also performed by
1664:
1625:
1590:
1549:
1484:
1477:
1417:
1371:
1329:
5845:
a final time, to Richard's soliloquy after murdering Henry in Act 5, Scene 6;
4693:
in Vienna in 1873. Jocza Savits directed a production of the tetralogy at the
11177:
11116:
10764:
10624:
10165:
10084:
10030:
9792:
9134:
8731:
Shakespeare on the Stage: An Illustrated History of Shakespearean Performance
8060:
7796:
6438:
6410:
6406:
6373:
as Richard. In 1952, Third Programme aired an adaptation of the tetralogy by
6277:
6221:
6129:
6055:
6020:
5948:
5596:
5371:
played Margaret, Rami Posner played Edward and Thom Marriott played Richard.
5368:
5212:
4822:
4631:
4534:
4488:
4472:
4420:
4412:
4311:
4300:
4264:
4174:
3364:
2481:
2196:
1953:, it was performed by Pembroke's Men. As such, Pembroke's Men performed both
1438:
1422:
1325:
1300:
1296:
1243:
787:
635:
627:, while heavily pregnant Lady Grey (now Queen Elizabeth) flees to sanctuary.
561:
468:
8148:(The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1993)
6313:. The cast list from this production has been lost. In 1969, German channel
4630:). The production starred Graham Butler as Henry, Mary Doherty as Margaret,
3659:
716:(1548). As with most of his chronicle histories, Shakespeare also consulted
10769:
10714:
10307:
10018:
9720:
9384:
8801:
8672:
Engendering a Nation: A Feminist Account of Shakespeare's English Histories
8354:
7666:
7619:
7308:
7258:
6481:
6458:
6280:. Episode one, "Dead Shepherd", focuses on Shakespeare's apprenticeship to
6117:
6012:
6008:
5956:
5911:
5899:
5592:
5391:
5216:
5188:
5169:
4358:
4354:
4336:
4296:
4284:
4220:
3958:
national, they are treated by many of the characters as personal quarrels.
3905:
3037:
2902:
2405:
edition of the play. It is also the theory advanced by Roger Warren in his
2357:
illustration of the death of Prince Edward; engraved by Augustus Fox (1824)
1680:
1676:
1545:
1488:
1344:
1044:
619:
8508:
Kay, Carol McGinis. "Traps, Slaughter and Chaos: A Study of Shakespeare's
7217:
5320:
and Chris Coculuzzi, and directed by Coculuzzi, the play was acted by the
3171:. Again in the opening scene, Henry claims that York will, "like an empty
1586:
1181:, is in his own conceit the only Shake-scene in a country." This parodies
160:
believed to have been written in 1591 and set during the lifetime of King
10844:
10317:
9811:
9623:
9379:
9127:
8422:
8015:
6888:
Steven Urkowitz, "Texts with Two Faces: Noticing Theatrical Revisions in
6862:
Steven Urkowitz, "Texts with Two Faces: Noticing Theatrical Revisions in
6584:
6442:
6414:
6285:
6016:
5635:, the film then moves on to the opening soliloquy from Act 1, Scene 1 of
5165:
5049:
5036:
4906:
4875:
4785:
4751:
4710:
4690:
4670:
4324:
3893:
3799:
3523:
3200:
1537:
1498:
1339:
1259:). In the False Folio the two plays were grouped under the general title
1239:
1172:
1082:
848:
739:
709:
133:
8963:
8842:
8584:
McAlindon, Tom. "Swearing and Foreswearing in Shakespeare's Histories",
8453:
The End Crowns All: Closure and Contradiction in Shakespeare's Histories
7583:
All information about non-UK productions is from Roger Warren (2003: 26)
6993:, 49:4 (Winter, 1968), 452β459, "Henry VI and the Ghost of Richard II",
6169:(where it is visible throughout the entire first scene), on a shroud in
5939:(again without dialogue), before Richard delivers the opening speech of
5699:
At this point, the film returns to lines twenty-four to twenty-eight of
4637:
Outside the UK, the first major American performance was in 1935 at the
2026:
More evidence of reporting is found in Act 2 Scene 5. In this scene, in
726:(1577; 2nd edition 1587). Holinshed took much of his information on the
9896:
9183:
8651:
Enclosure Acts: Sexuality, Property and Culture in Early Modern England
8485:
8395:
8001:
Unless otherwise noted, all information in this section comes from the
6470:
6358:
6152:
often seemed like playground squabbles, Howell and production designer
5782:
5616:
5537:
5509:
The first such adaptation was 1911 twenty-two-minute silent version of
5336:
4587:
4468:
4416:
4385:
4206:
3909:
3883:
3184:
2949:
2644:
2477:
1977:, and perhaps suggesting that either Sussex's Men could have performed
1621:
1561:
1511:
1507:
1463:
834:
535:
8985:
8601:
Myers, Norman J. "Finding a "Heap of Jewels" in "Lesser" Shakespeare:
8427:
The Union of the Two Noble and Illustre Families of Lancaster and York
8183:(The Pelican Shakespeare; London: Penguin, 1967; revised edition 1980)
6465:
comprised episodes 19 ("Warwick the Kingmaker") and 20 ("The Tower").
5324:
and staged outdoors at the Robert Street Playing Field as part of the
4714:
4443:) to form a complete eight-part history cycle under the general title
4423:
as Richard. The play was presented with the other five history plays (
4388:
as Edward, the play added dialogue (primarily anti-war material) from
1691:
Critical opinion originally favoured Samuel Johnson's theory that the
744:
The Union of the Two Noble and Illustre Families of Lancaster and York
714:
The Union of the Two Noble and Illustre Families of Lancaster and York
10422:
9828:
9680:
9616:
9204:
9063:
7049:
The adaptation was filmed in 1981, but it didn't broadcast until 1983
6527:
6496:
presented an adaptation of the trilogy by Andrew Allen, who combined
6493:
6397:. The reason for this was explained by Dover Wilson, who argued that
6342:
6318:
6273:
6157:
6071:
5220:
3510:
3322:
3255:
2920:
2714:
however, Richard reports the death of another of Warwick's brothers,
1286:
The third Part of Henry the Sixt, with the death of the Duke of Yorke
852:
797:
584:
437:
232:
129:
The third Part of Henry the Sixt, with the death of the Duke of Yorke
8787:
Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William.
8332:
Henry VI, Margaret of Anjou and the Wars of the Roses: A Source Book
8205:(Folger Shakespeare Library; Washington: Simon & Schuster, 2008)
7721:: A Television History in Four Parts", in Thomas A. Pendleton (ed.)
7687:: A Television History in Four Parts", in Thomas A. Pendleton (ed.)
4995:, at the Royal Shakespeare Theatre. The first play (entitled simply
4974:
as Margaret. As with Seale's 1953 Birmingham production, the end of
895:
Still stands not wailing present harm, but seeks his harm's redress.
21:
8930:
6125:
5772:
5760:
5486:, Palitzsch's adaptation concluded with the opening monologue from
5329:
5121:
5082:
5040:
4789:
4407:
Under the direction of Michael Boyd, the play was presented at the
4341:
3924:
3551:
3360:
3290:
3259:
3168:
1434:
1196:
498:
193:
8108:(The New Shakespeare; Cambridge: Cambridge University Press, 1952)
7933:
An analysis of the entire tetralogy can be found in Susan Willis.
7924:, 2nd edition (Manchester: Manchester University Press, 1984), 221
7803:, 2nd edition (Manchester: Manchester University Press, 1984), 222
6381:. The tetralogy was adapted into a trilogy but in an unusual way.
5160:, even to the point of having similar clothes and hair. Likewise,
2894:
2436:
1043:
It has also been suggested that Shakespeare may have used several
331:β Henry VI's second cousin once removed, asserts he should be King
315:(as a boy, later Henry VII, non-speaking role) - Henry VI's nephew
9585:
9578:
9410:
9218:
9211:
8098:(The New Penguin Shakespeare, 2nd edition; London: Penguin, 2007)
7332:"Henry VI: Battlefield Performances, Shakespeare's Globe, Towton"
6184:
6035:
5989:
The first television adaptation of the play was in 1960 when the
5790:
5754:
5456:
5113:
4905:
adapted all three plays into a single piece for a performance at
4550:
3861:
3368:
3314:
3192:
2957:
2941:
2936:
2924:
2833:
2741:
1949:. Furthermore, according to the title page of the 1595 octavo of
1430:
1394:
752:
197:
8807:(Oxford: Oxford University Press, 1969; edited by Helen Gardner)
6823:(1849β1852); translated into English in 1862 by F.E. Bunnett as
4924:
4909:
in 1923 as part of the celebrations for the tercentenary of the
4709:. Denis Llorca staged the tetralogy as one twelve-hour piece in
3459:
2940:
thou, traitor, to the crown?" (l.105). As the debate reaches an
2038:
can only be understood if one refers to the equivalent scene in
1675:
in 1849, and remained popular throughout the 19th century, with
1110:
1047:
as sources. Randall Martin, in his 2001 edition of the play for
939:
Thy cause of sorrow shall increase, thou cause of thy mischance.
9190:
8528:
Lull, Janis. "Plantagenets, Lancastrians, Yorkists and Tudors:
8271:
The New History of Literature (Volume 3): English Drama to 1710
8155:(The Oxford Shakespeare; Oxford: Oxford University Press, 2001)
7911:(North Carolina: University of North Carolina Press, 1991), 181
7829:(New Hampshire: University Press of New England, 1988), 221β229
7098:(North Carolina: University of North Carolina Press, 1991), 172
6148:
Inspired by the notion that the political intrigues behind the
4706:
4575:
4182:, edited by Charles Cowden Clarke and Mary Cowden Clarke (1830)
3689:
3541:
3535:
3496:
3372:
3294:
3283:
3279:
3275:
3229:
3195:
many more proud birds,/Have wrought the easy-melting King like
3188:
3160:
2988:
2915:
2879:
which seemingly contradict that have been changed accordingly.
1448:
1429:, which dictate that violence and battle should never be shown
1227:
1126:
902:
692:
Back at court, Edward is reunited with his queen and meets his
5312:
Another unusual 2001 adaptation of the tetralogy was entitled
4574:
live to the theatre; "battlefield productions" were staged at
4384:
as Henry, Ruth Mitchell as Margaret, Tom Smith as Richard and
1638:
is an early draft of Shakespeare's play published in the 1623
8366:
The First Tetralogy: Shakespeare's Scrutiny of the Tudor Myth
8162:(The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
7827:
Shakespeare on Television: An Anthology of Essays and Reviews
7007:
The First Tetralogy: Shakespeare's Scrutiny of the Tudor Myth
6531:
6302:
5778:
5551:
5301:
5294:. Condensing all fours plays into one, Markus named the play
4953:
adapted the text, altering the trilogy into a two-part play;
4884:
Richard Duke of York; or the Contention of York and Lancaster
4653:). In 2010 in New York City, the independent theatre company
3608:
3547:
3363:: this play contains some of the most horrific scenes in the
3302:
3298:
3251:
3225:
3221:
3172:
3058:
2503:
Examples of the difference in depictions of violence between
1616:
is a reconstructed version of a performance of Shakespeare's
1426:
1231:
1230:
in 1600 by William White for Millington. It was reprinted in
923:
The anchors lost, the cables broke, and all the tackle spent,
909:
The pilot bold at helm, cries, 'Mates, strike now your sail',
8700:
Shakespeare: An Anthology of Criticism and Theory, 1945β2000
7304:"Shakespeare on the battlefield: the Globe theatre step out"
6038:
broadcast all three plays from John Barton and Peter Hall's
6023:
as Edward and Paul Daneman as Richard. The twelfth episode,
3466:' illustration of the death of York in Act 1, Scene 4; from
3266:,/And next his throat, unto the butcher's knife" (5.6.7β9).
1652:
is both a reported text and an early draft of Shakespeare's
1601:
Over the years, critics have debated the connection between
919:
But yet he doth what lieth in him the perilous rock to shun.
8497:
Kastan, David Scott. "Shakespeare and English History", in
8307:
Shakespeare's English Histories: A Quest for Form and Genre
8301:
Conn Liebler, Naomi. "King of the Hill: Ritual and Play in
8265: . "Shakespeare: His Histories, English and Roman" in
6989:
See, for example, A.L. French, "Henry VI and Joan of Arc",
5914:
as Richard (reprising his role from the stage production),
5639:. However, after twenty-three lines, it then moves back to
5390:. The original cast included Jonathan McGuinness as Henry,
4681:
In Europe, unedited stagings of the play took place at the
4243:
After the original 1592 performances, the complete text of
4199:
And then to purge his fear, I'll be thy death. (5.6.84β88)
3865:
Illustration of the death of Henry in Act 5, Scene 6; from
3529:
3318:
3310:
3306:
3271:
3263:
3217:
3213:
3209:
3176:
3117:
2976:
2022:; "If our King Henry had shook hands with death" (1.4.103).
1888:, Alexander argued that the representation of the scene in
911:
And turns her stem into the waves that strongly her assail.
7734:
Alice V. Griffin, "Shakespeare Through the Camera's Eye",
7706:
The Cambridge Companion to Shakespeare and Popular Culture
6235:, which completely replaces the depiction of the scene in
6140:
The Battle of Tewkesbury from Act 5, Scene 4, in the 1982
5841:. At the conclusion of Act 1, Scene 2, it then returns to
5108:
in Tokyo, Japan (as the inaugural play of the arena), the
3262:
from the wolf,/So first the harmless sheep doth yield his
899:
And heave the foamy swelling waves up to the starry skies,
8309:(New York: Medieval & Renaissance Texts, 1996), 31β54
8179:
Turner Jr., Robert K. and Williams, George Walton (eds.)
6314:
5990:
5562:), who delivers the speech after the opening dialogue of
5558:(although Barrymore incorrectly attributes the speech to
3939:
3515:
3326:
3204:
3196:
1687:. The theory fell out of favour in the twentieth century.
1303:, as there are no references to the play under the title
1250:
which had been printed in quarto in 1594 under the title
931:
Begin to wring his hands, and lets the guiding rudder go,
805:
was reprinted in 1590, the year before Shakespeare wrote
11244:
Cultural depictions of Richard of York, 3rd Duke of York
8141:(The Arden Shakespeare, 1st Series; London: Arden, 1910)
8084:(The Arden Shakespeare, 3rd Series; London: Arden, 2001)
8077:(The Arden Shakespeare, 2nd Series; London: Arden, 1964)
2464:
is far more restrained in its depiction of war, whereas
1910:
The Most Lamentable Romaine Tragedie of Titus Andronicus
935:
And eke the coward drench'd is: So, if thou still beweep
915:
In greater danger to be wrecked than he had been before,
8198:(Oxford: Oxford University Press, 1986; 2nd edn., 2005)
8132:
The Norton Shakespeare: Based on the Oxford Shakespeare
7868:(London: Arden, 1999), 22. See also Edward Burns (ed.)
7778:
Michael Manheim, "The English History Play on screen",
6365:
starred John Byron as Henry, Gladys Young as Margaret,
5263:. Hall followed the Jackson/Seale structure, combining
4844:
was also based upon his soliloquy in Act 3, Scene 2 of
2492:, Georg Gottfried Gervinus, Irving Ribner, M.M. Reese,
1166:(registered on 20 September 1592) parodies a line from
927:
Doth win the long desir'd port, the stormy danger past.
8662:
The Cambridge Companion to Shakespeare's History Plays
8536:(Cambridge: Cambridge University Press, 2002), 106β125
8534:
The Cambridge Companion to Shakespeare's History Plays
8505:(Cambridge: Cambridge University Press, 2001), 167β183
8380:
The Cambridge Companion to Shakespeare's History Plays
8254:" in John Russell Brown and Bernard Harris (editors),
7990:
Shakespeare on the German Stage: The Twentieth Century
7979:(Cambridge: Cambridge University Press, 1979), 142β147
7763:
Stanley Wells, "The History of the Whole Contention",
7708:(Cambridge: Cambridge University Press, 2007), 134β149
7183:
Representing Shakespeare: England, History and the RSC
7011:
The Cambridge Companion to Shakespeare's History Plays
6105:
of the play was produced by the BBC in 1982 for their
6094:(beginning with Richard's murder of Henry) as well as
5643:, quoting from Richard's soliloquy in Act 3, Scene 2;
5343:
in Ontario. Using the Barton/Hall method of combining
4717:
in 1979. In 1999, director Ruediger Burbach presented
4507:
was staged on a Thursday evening, followed by the two
4180:
The Plays of William Shakespeare: The Historical Plays
3620:
Hath stopped the passage where thy words should enter.
3468:
The Plays of William Shakespeare: The Historical Plays
3220:
cried, aboding luckless time,/Dogs howled and hideous
2269:
Enter Clarence with Drum and Soldiers bearing colours.
8867:β scene-indexed, searchable HTML version of the play.
7992:(Cambridge: Cambridge University Press, 1998), 227232
7935:
The BBC Shakespeare Plays: Making the Televised Canon
7922:
Political Shakespeare: Essays in Cultural Materialism
7853:
The BBC Shakespeare Plays: Making the Televised Canon
7801:
Political Shakespeare: Essays in Cultural Materialism
7749:
The BBC Shakespeare Plays: Making the Televised Canon
4797:
whom he accidentally kills in battle (an allusion to
3980:
Thou wouldst have left thy dearest heart-blood there,
3814:
And cheers these hands that slew thy sire and brother
917:
He seeth his ship full right against the rock to run,
580:
at the hands of York during the battle of St Albans.
8664:(Cambridge: Cambridge University Press, 2002), 71β88
8382:(Cambridge: Cambridge University Press, 2002), 57β70
8176:(The New Penguin Shakespeare; London: Penguin, 1981)
8013:"Shakespeare's Chronicles of the War of the Roses",
7812:
Neil Taylor, "Two Types of Television Shakespeare",
6173:, and written on a chalkboard by Richard himself in
5023:, which was then followed by a shortened version of
3408:
And burns me up with flames that tears would quench.
1025:
More than with ruthless waves, with sands and rocks.
937:
And seek not how to help the changes that do chance,
907:
Despaireth of the happy haven, in danger to be lost.
858:
A minor source which Shakespeare certainly used was
8314:
A Time Analysis of the Plots of Shakespeare's Plays
6425:and an abridged version of the first three acts of
6200:in seasons one and two, which had been directed by
5719:And, whiles I live, t'account this world but hell,
5096:Another major adaptation was staged in 1986 by the
3732:
No cause? thy Father slew my Father: therefore die.
3250:Another commonly recurring animal motif is that of
2814:
Broached with the steely point of Clifford's lance,
2728:
Broached with the steely point of Clifford's lance,
1246:. This text was printed together with a version of
999:
From shelves and rocks that threaten us with wrack.
983:
Our slaughtered friends the tackles, what of these?
971:
And give more strength to that which hath too much,
955:
Great lords, wise men ne'er sit and wail their loss
897:
As when the winter flaws with dreadful noise arise,
451:β Elizabeth and Edward IV's son (non-speaking role)
46:. Unsourced material may be challenged and removed.
8721:Biblical References in Shakespeare's History Plays
8686:The English History Play in the Age of Shakespeare
8230:(Charlottesville: Virginia University Press, 1975)
7600:(Cambridge: Cambridge University Press, 2004), 143
6801:(Princeton: princeton University Press, 1972), 161
6691:
6689:
6625:
6623:
6417:presented a two-part adaptation of the trilogy by
6385:was simply removed, so the trilogy contained only
5747:And cry, 'content' to that which grieves my heart,
5731:That rents the thorns and is rent with the thorns,
5255:presented the trilogy as a two-part series at the
5195:in the middle. The resulting trilogy was entitled
4055:Should lose his birth-right by his father's fault,
4049:Offering their own lives in their young's defence?
4045:Which sometime they have used with fearful flight,
3618:In vain thou speak'st, poor boy: my father's blood
3400:Scarce serves to quench my furnace-burning heart,
2718:, who never features as a character in any of the
1876:) who was to marry the daughter of Lord Bonville (
1683:the leading candidates as possible authors of the
1578:
997:But keep our course, though the rough wind say no,
933:The ship rents on the rock or sinketh in the deep,
929:But if the master dread, and overpressed with woe,
921:Sometimes the beaten boat, by cunning government β
913:Then driven hard upon the bare and wreckful shore,
8713:(London: Longmans, 1961; edited by Graham Storey)
8711:Angel with Horns: Fifteen Lectures on Shakespeare
8560:Shakespeare and his Contemporaries in Performance
7842:(Cambridge: Cambridge University Press, 1990), 51
7647:(Cambridge: Cambridge University Press, 2007), 52
7592:James N. Loehlin, "Brecht and the Rediscovery of
7329:
7001:, 55:4 (Winter, 1974), 313β324; Edward I. Berry,
6565:, unless otherwise specified, are taken from the
5426:. Another European adaptation was in 1965 at the
4511:plays on Friday afternoon and evening, the three
4368:directed the play as a stand-alone piece for the
3982:Rather than have made that savage Duke thine heir
3812:And here's the heart that triumphs in their death
3402:Nor can my tongue unload my heart's great burden,
2996:Off with the crown; and with the crown, his head,
2726:Thy brother's blood the thirsty earth hath drunk,
2542:as a play whose attitude to war is more rueful."
1868:This explains that it was Lord Scales' daughter (
1023:That there's no hoped-for mercy with the brothers
292:, his younger brother) - Henry VI's second cousin
174:and the political machinations leading up to the
11175:
8228:Patterns of Decay: Shakespeare's Early Histories
8120:(Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
7003:Patterns of Decay: Shakespeare's Early Histories
6835:Wells, Taylor, Jowett and Montgomery (1987: 175)
5849:Clarence beware, thou keep'st me from the light,
4921:played Margaret. Atkins himself played Richard.
4191:Clarence beware, thou keep'st me from the light,
3908:." Significantly in this sense, the play has no
3810:And this the hand that slew thy brother Rutland,
3505:My heart is turned to stone; and while 'tis mine
3305:(1.4.138, 1.4.155 and 3.1.39), cattle (2.1.14),
3228:rooked her on the chimney's top,/And chatt'ring
2998:And whilest we breath, take time to do him dead.
2150:, Shakespeare uses Hall more than Holinshed, in
1884:and Scales' daughter marrying Grey's brother in
989:The friends of France our shrouds and tacklings?
925:The rudder smitten off, and overboad the |mast β
893:A wise man in the midst of troubles and distress
868:(1562), which was also Shakespeare's source for
546:Soldiers, messengers, drummers, attendants, etc.
8681:(Lexington: University Press of Kentucky, 1984)
8653:(Ithaca: Cornell University Press, 1994), 68β95
8051:
7937:(Carolina: North Carolina Press, 1991), 175β185
7909:The BBC Shakespeare: Making the Televised Canon
7413:. On Off Broadway. 17 July 2010. Archived from
7301:
7096:The BBC Shakespeare: Making the Televised Canon
6686:
6620:
6492:as Henry and Janet Nolan as Margaret. In 1954,
5290:directed an adaptation of the tetralogy at the
5140:into another, using the same titles as Barton (
5081:", and Hall had read an English translation of
4069:To hold thine own and leave thine own with him.
4047:Make war with him that climbed unto their nest,
4039:And though man's face be fearful to their eyes,
3644:It could not slake mine ire, nor ease my heart.
3507:It shall be stony. York not our old men spares;
3414:Richard, I bear thy name, I'll venge thy death,
3412:Tears then for babes, blows and revenge for me.
2983:Till our King Henry had shook hands with death.
2660:Cried full for Warwick, his thrice valiant son,
2285:Come Clarence, come: thou wilt if Warwick call.
1731:And what then? It was our will it should be so.
1013:Tread on the sand; why, there you quickly sink;
11153:The Tragical History of King Richard the Third
10296:Edmund Mortimer, Earl of March (conflation of
8067:(The RSC Shakespeare; London: Macmillan, 2012)
7645:The Cambridge Companion to Shakespeare on Film
6748:
6746:
6469:played Henry, Peggy Ashcroft played Margaret,
5857:And then to purge his fear, I'll be thy death.
5803:Tut! were it further off, I'll pluck it down.
5703:, before again returning to Act 3, Scene 2 of
5623:). Buckingham is a major character throughout
5536:The play was also used in one of the earliest
4568:Henry VI: The True Tragedy of the Duke of York
4283:would follow in 1953. All three plays starred
4051:For shame, my liege, make them your precedent.
3970:Seeing thou hast proved so unnatural a father.
3759:Congealed with this, do make me wipe off both.
3636:Had I thy brethren here, their lives and thine
2948:and Richard II, York asks Exeter if Richard's
2674:And with those words he tumbled off his horse,
2672:And still he cried 'Warwick revenge my death',
2277:And lo, where George of Clarence sweeps along.
2213:Come Clarence come, thou wilt if Warwick call.
2075:
1834:And leave your brothers to go speed elsewhere.
1826:Or else, you would not have bestowed the heir,
1811:And yet methinks your Grace hath not done well
1804:And for this once, my will shall stand as law.
1017:Or else you famish β that's a threefold death.
1001:As good to chide the waves as speak them fair;
973:Whiles in his moan the ship splits on the rock
967:Should leave the helm and, like a fearful lad,
11254:Cultural depictions of Richard III of England
10151:
9001:
8723:(London: Associated University Presses, 1989)
8695:(Cambridge: Cambridge University Press, 1971)
8632:The Wars of the Roses (London: Adelphi, 1991)
8455:(Princeton: Princeton University Press, 1991)
8258:(London: Hodder & Stoughton, 1961), 72β99
8223:(Cambridge: Cambridge University Press, 1929)
7956:British Universities Film & Video Council
7548:
7385:"The King lies bleeding with his throat slit"
6377:and John Dover Wilson under the general name
5721:Until my misshaped trunk that bears this head
5275:and following this with an edited version of
4059:'What my great-grandfather and grandsire got,
4043:Who hath not seen them, even with those wings
3972:Hath he deserved to lose his birthright thus?
3808:This is the hand that stabbed thy father York
3755:And this thy son's blood cleaving to my blade
3699:I never did thee harm, why wilt thou slay me?
3501:And in thy reverence and thy chair-days, thus
3121:Until my misshaped trunk that bears this head
2736:'Warwick revenge, brother, revenge my death.'
2676:And so the noble Salisbury gave up the ghost.
2615:of the play. The same is true of Somerset in
2281:With whom, in upright zeal to right, prevails
1817:She better would have fitted me, or Clarence,
1494:Piers Penniless his Supplication to the Devil
1015:Bestride the rock; the tide will wash you off
947:This is very similar to Margaret's speech in
385:, Warwick's father, and a major character in
8753:(London: The Athlone Press, 1944; rpt. 1986)
8373:Royal Shakespeare Theatre Company, 1960β1963
8250:Brockbank, Philip. "The Frame of Disorder β
8201:Werstine, Paul and Mowat, Barbara A. (eds.)
7251:
7203:
5717:I'll make my heaven to dream upon the crown,
5653:To shrink mine arm up like a withered shrub,
5651:She did corrupt frail nature with some bribe
5339:presented the tetralogy as a trilogy at the
4067:Successful fortune, steel thy melting heart,
4031:Thou being a king, blessed with a goodly son
4025:Thou smiling, while he knit his angry brows.
3725:Then let me die, for now thou hast no cause.
3503:To die in ruffian battle? Even at this sight
3404:For selfsame wind that I should speak withal
3114:I'll make my heaven to dream upon the crown,
3074:Your crown content and you must be contented
3072:Well, if you be a king crowned with content,
2985:And will you pale your head in Henry's glory
2966:Ay, this is he that took King Henry's chair,
2571:, the character of Somerset represents both
2292:Father of Warwick, know you what this means?
2220:Father of Warwick, know you what this means?
1813:To give the heir and daughter of Lord Scales
1745:Daughter of the Lord Bonfield, and left your
1307:, or any derivative thereof, prior to 1623.
993:For once allowed the skilful pilot's charge?
975:Which industry and courage might have saved?
965:Yet lives our pilot still. Is't meet that he
963:And half our sailors swallowed in the flood?
959:What though the mast be now blown overboard,
957:But cheerly seek how to redress their harms.
11239:Cultural depictions of Henry VII of England
9948:
8539:Martin, Randall. "Elizabethan Pageantry in
8473:Chronicles of England, Scotland and Ireland
8280:(Columbia: Columbia University Press, 1960)
8003:British Universities Film and Video Council
7885:(Oxford: Oxford University Press, 2003), 15
7751:(Carolina: North Carolina Press, 1991), 328
7517:(Oxford: Oxford University Press, 2003), 18
7469:(Oxford: Oxford University Press, 2003), 33
6743:
6595:
6593:
5837:The film then moves into Act 1, Scene 2 of
5745:Why, I can smile, and murder while I smile,
5649:And for I should not deal in her soft laws,
4467:plays again directed by Boyd, and starring
4124:I'll leave my son my virtuous deeds behind,
4122:Whose father for his hoarding went to hell?
4116:But Clifford tell me, didst thou never hear
4063:Ah what a shame were this! Look on the boy,
3976:Or felt that pain which I did for him once,
3974:Hadst thou but loved him half so well as I,
3717:Least in revenge thereof, sith God is just,
3642:And hung their rotten coffins up in chains,
3603:Sweet Clifford, hear me speak before I die:
3410:To weep is to make less the depth of grief;
3116:And whiles I live t'account this world but
3063:Nor to be seen: my crown is called content,
2523:, Richard and Hastings simply flee, but in
2456:is roughly one thousand lines shorter than
1743:Did well deserve at your hands, to have the
1029:'Twere childish weakness to lament or fear.
1019:This speak I, lords, to let you understand,
977:Ah what a shame, ah what a fault were this.
723:Chronicles of England, Scotland and Ireland
11209:Cultural depictions of Henry VI of England
10158:
10144:
9008:
8994:
8973:
8884:The true Tragedie of Richard Duke of Yorke
8419:(London: Ernest Benn, 1981; 2nd edn. 1998)
8196:The Oxford Shakespeare: The Complete Works
7855:(Carolina: North Carolina Press, 1991), 28
7656:
7609:
7067:Hall (1548: Hhvi); Holinshed (1587: Rrrii)
6305:presented an adaptation of the trilogy by
6268:, a 1978 six-part (heavily fictionalised)
5739:Torment myself to catch the English crown,
5713:But to command, to check, to o'erbear such
5711:Then since this earth affords no joy to me
5663:Like to a chaos, or an unlicked bear-whelp
5647:Why, love forswore me in my mother's womb,
5152:, Margaret was closely modelled after the
4549:, with each play performed by a different
4487:, as part of a two-year thirty-four actor
4130:As brings a thousandfold more care to keep
4118:That things ill got, had ever bad success?
3968:And never seen thee, never borne thee son,
3640:No, if I digged up thy forefathers' graves
3493:To lose thy youth in peace, and to achieve
3406:Is kindling coals that fires all my breast
3048:But if thou be a king, where is thy crown?
2279:Of force enough to bid his brother battle:
2264:however, the scene plays out differently;
1462:and therefore, high art. Writing in 1605,
1175:as the best of you, and being an absolute
1021:In case some one of you would fly from us,
995:We will not from the helm to sit and weep,
663:The Works of Shakespeare: Imperial Edition
8859:β scene-indexed HTML version of the play.
8773:Watkins, Ronald. "The only Shake-scene",
7387:. The Unbearable Banishment. 27 July 2010
5906:features considerably less material from
5855:That Edward shall be fearful of his life,
5741:And from that torment I will free myself,
5727:For many lives stand between me and home,
5577:Extracts from the play were also used in
4634:as Edward and Simon Harrison as Richard.
4197:That Edward shall be fearful of his life,
4035:Which argued thee a most unloving father.
3966:Ah, wretched man, would I had died a maid
3757:Shall rust upon my weapon, till thy blood
3627:Then let my father's blood open it again:
3398:I cannot weep, for all my body's moisture
2658:Thy noble father in the thickest throngs,
1699:could be an early draft of Shakespeare's
1483:On the other hand, however, writers like
1310:
1027:Why, courage then, what cannot be avoided
1009:All these the enemies to our poor barque?
979:Say Warwick was our anchor, what of that?
961:The cable broke, the holding-anchor lost,
865:The Tragical History of Romeus and Juliet
511:Lieutenant of the Tower (a conflation of
337:β later King Edward IV; York's eldest son
106:Learn how and when to remove this message
11214:Biographical plays about English royalty
8789:William Shakespeare: A Textual Companion
8688:(London: Routledge, 1957; 2nd edn. 1965)
8679:Crime and God's Judgement in Shakespeare
8571:The True Tragedy of Richard Duke of York
8273:(New York: Peter Bedrick, 1971), 148β181
8192:The True Tragedy of Richard Duke of York
8080:Cox, John D. and Rasmussen, Eric (eds.)
7759:
7757:
7185:(London: Harvester Wheatsheaf, 1994), 61
6590:
6135:
5749:And wet my cheeks with artificial tears,
5733:Seeking a way and straying from the way,
5725:And yet I know not how to get the crown,
5665:That carries no impression like the dam.
5300:
5048:, by events such as the building of the
4923:
4310:
4205:
4173:
4126:And would my father had left me no more,
4037:Unreasonable creatures feed their young,
3978:Or nourished him as I did with my blood,
3860:
3715:Thou hast one son: for his sake pity me,
3658:
3652:And leave not one alive, I live in hell.
3629:He is a man, and Clifford cope with him.
3458:
3336:
3234:
3125:And yet I know not how to get the crown.
3055:My crown is in my heart, not on my head,
2992:Now in his Life, against your holy oath?
2981:As I bethink me, you should not be king,
2975:Is crowned so soon and broke his solemn
2964:Ay, marry sir, now looks he like a King.
2893:
2830:So underneath the belly of their steeds,
2820:Like to a dismal clangor heard from afar
2818:And in the very pangs of death he cried,
2816:Until with thousand swords he was beset,
2738:So underneath the belly of their steeds,
2734:Like to a dismal clangor heard from afar
2732:And in the very pangs of death he cried,
2730:Until with thousand swords he was beset,
2670:'Richard, commend me to my valiant son',
2664:And many wounds made in his aged breast,
2662:Until with thousand swords he was beset,
2452:, one must ask why he may have done so.
2349:
2283:More than the nature of a brother's love
1926:George a Greene, the Pinner of Wakefield
1903:
1795:To have the heir of the Lord Hungerford.
1585:
1433:on stage, but should always be reported
1195:
1109:
1011:Say you can swim; alas 'tis but a while.
1005:What Clarence but a quicksand of deceit?
991:And, though unskilful, why not Ned and I
762:
733:
648:
122:
11199:Cultural depictions of English monarchs
9015:
8814:: Shakespeare, Tacitus and Parricide",
8791:(Oxford: Oxford University Press, 1987)
8736:Swandler, Homer D. "The Rediscovery of
8482:(Oxford: Oxford University Press, 1977)
8327:(Oxford, Oxford University Press, 1995)
8283:Candido, Joseph. "Getting Loose in the
5737:But toiling desperately to find it out,
5723:Be round impaled with a glorious crown.
5587:, starring Olivier himself as Richard,
5478:. Condensing the three plays into two,
5271:into one play which all but eliminated
4999:) featured a much shortened version of
4934:The Plantagenets: The Rise of Edward IV
4701:presented the unedited octology at the
4275:, following a successful production of
4132:Then in possession any jot of pleasure.
4128:For all the rest is held at such a rate
4065:And let his manly face, which promiseth
4041:Yet in protection of their tender ones,
4029:And raise his issue like a loving sire,
4027:He but a duke would have his son a king
4023:Ambitious York, did level at thy crown,
3806:Now Richard, I am here with thee alone,
3681:To thee I pray; sweet Clifford pity me.
3650:And till I root out their accurs'd line
3520:And beauty that the tyrant oft reclaims
3123:Be round impaled with a glorious crown.
2668:He waft his hand to me and cried aloud:
2595:are presented as consistent characters
1981:or Pembroke's Men could have performed
1819:But in your bride you bury brotherhood.
1802:What of that? It was my will and grant,
985:Why, is not Oxford here another anchor?
969:With tearful eyes add water to the sea,
11176:
10981:The Life and Death of King Richard III
8856:The Third part of King Henry the Sixth
8503:The Cambridge Companion to Shakespeare
8344:(Iowa: University of Iowa Press, 1928)
8221:Shakespeare's Henry VI and Richard III
8137:Hart, H.C. and Pooler, C. Knox (eds.)
8134:(London: Norton, 1997; 2nd edn., 2008)
6070:Act 5 (beginning with Henry pardoning
5853:For I will buzz abroad such prophecies
5851:But I will sort a pitchy day for thee,
5801:Can I do this, and cannot get a crown?
5729:And I, like one lost in a thorny wood,
5655:To make an envious mountain on my back
5132:into one play, and the second half of
4978:was altered to include the opening of
4376:theatre in Stratford, under the title
4195:For I will buzz abroad such prophecies
4193:But I will sort a pitchy day for thee,
4057:And long hereafter say unto his child,
4033:Didst yield consent to disinherit him,
3940:Family conflict and family dissolution
3856:
3745:Dii faciant laudis summa sit ista tuæ.
3721:Ah, let me live in prison all my days,
3679:O let me pray, before I take my death!
3605:I am too mean a subject for thy wrath;
3528:Henceforth I will not have to do with
3387:/Was done to death? And more than so,
3359:, we witness the final degradation of
3232:in dismal discords sung" (5.6.44β48).
3065:A crown it is that seldom kings enjoy.
2746:The noble gentleman gave up the ghost.
2417:an early draft, it must be both; i.e.
1996:The Tragical History of Doctor Faustus
1961:, whereas Sussex's Men performed both
1937:. In 1594, Sussex's Men had performed
1815:Unto the brother of your loving bride;
1659:Shakespeare was not the author of the
1003:And what is Edward but a ruthless sea?
981:And Montague our topmast, what of him?
817:Another thematic source may have been
10569:Edmund Beaufort, 4th Duke of Somerset
10433:Edmund Beaufort, 2nd Duke of Somerset
10276:Edmund Beaufort, 2nd Duke of Somerset
10139:
9760:Complete Works of William Shakespeare
8989:
8872:The third Part of King Henry the Sixt
8530:1β3 Henry VI, Richard III, Edward III
8169:(Montana: Kessinger Publishing, 2007)
7754:
7700:Emma Smith, "Shakespeare Serialized:
7673:from the original on 7 December 2014.
6409:as Margaret, John Glen as Edward and
5735:Not knowing how to find the open air,
5657:Where sits deformity to mock my body,
5199:, with the individual plays entitled
4886:, which used material from all three
4772:focusing on the death of Gloucester,
4742:Evidence for the first adaptation of
4471:as Henry, Katy Stephens as Margaret,
4419:as Margaret, Tom Beard as Edward and
4315:Edward IV (Travis Brazil), in a 2004
4061:My careless father fondly gave away'?
4053:Were it not pity that this goodly boy
3646:The sight of any of the House of York
3522:Shall to my flaming wrath be oil and
2577:Edmund Beaufort, 2nd Duke of Somerset
2300:Look here, I throw my infamy at thee.
1720:To have the daughter and heir of the
1055:The Buffeting and Scourging of Christ
1007:And Richard but a ragged fatal rock β
776:Pennsylvania Academy of the Fine Arts
347:; York's son and Warwick's son-in-law
290:Edmund Beaufort, 4th Duke of Somerset
10565:Henry Beaufort, 3rd Duke of Somerset
8954:on Tour", by Stuart Hampton-Reeves;
8209:
7977:Modern German Drama: A Study in Form
7435:More commonly known today simply as
6945:Ueber Shakspeare's dramatische kunst
6933:Γber dramatische kunst und literatur
5743:Or hew my way out with a bloody axe.
5715:As are of better person than myself,
5659:To shape my legs of an unequal size,
4697:in 1889 and again in 1906. In 1927,
4453:was revived in 2006, as part of the
4120:And happy always was it for that son
3867:The Works of Mr. William Shakespeare
3723:And when I give occasion of offence,
3375:to a remorseless ethic of revenge."
2994:O 'tis a fault too too unpardonable.
2968:And this is he was his adopted heir.
2201:A parley sir, to George of Clarence.
1785:, however, the lines are different;
1276:The text of the play known today as
881:
738:Title page from the 1550 edition of
587:, and the Yorkists lose the ensuing
286:Henry Beaufort, 3rd Duke of Somerset
172:loss of England's French territories
44:adding citations to reliable sources
15:
10429:John Beaufort, 1st Duke of Somerset
10272:John Beaufort, 1st Duke of Somerset
10120:
8598:(London: Routledge, 1977; rpt 2005)
8514:Studies in the Literary Imagination
8130:and Maus, Katharine Eisaman (eds.)
7549:Kenneth Jones (17 September 2004).
7281:"Henry VI Battlefield Performances"
7254:"Henry VI (Parts 1, 2, 3) β review"
6429:. Part 2 presented Acts 4 and 5 of
6288:), during which time he writes the
5787:I can add colours to the chameleon,
5751:And frame my face to all occasions.
4541:In 2012, the trilogy was staged at
4378:Henry VI: The Battle for the Throne
3638:Were not revenge sufficient for me:
3556:In cruelty will I seek out my fame.
2812:blood the thirsty earth hath drunk,
2666:As he tottering sat upon his steed,
2573:John Beaufort, 1st Duke of Somerset
2545:
2343:must represent an earlier draft of
2146:use Holinshed and Hall. Whereas in
1874:Thomas Grey, 1st Marquess of Dorset
1609:. Four main theories have emerged:
1375:(1591) and another anonymous play,
1315:
1253:Yorke's first claim unto the Crowne
1153:was written by 1595 at the latest.
513:John Tiptoft, 1st Earl of Worcester
361:Edmund Plantagenet, Earl of Rutland
13:
10302:Edmund Mortimer, 5th Earl of March
9935:Shakespeare's influence on Tolkien
8894:β HTML version of the 1595 octavo.
8702:(Oxford: Blackwell, 2004), 100β115
8596:The Sources of Shakespeare's Plays
8436:A Shakespeare Companion, 1564β1964
7691:(London: Routledge, 2001), 235β241
7330:Dominic Cavendish (15 July 2013).
6779:All quotes from Nashe (1592: i212)
6453:as part of the celebration of the
6323:Heinrich VI: Der Kreig der Rosen 1
5910:than had Olivier's film. Starring
5374:Also in 2002, Edward Hall and the
4961:were combined (with almost all of
4821:was also partly incorporated into
4665:). The production was directed by
3509:No more will I their babes. Tears
3240:The Flight of Henry VI from Towton
2899:King Henry VI of England at Towton
1356:The Troublesome Reign of King John
583:Margaret attacks York's castle at
427:β York's uncle (non-speaking role)
284:Duke of Somerset (a conflation of
14:
11270:
8825:
8334:(Stroud: Sutton Publishing, 2000)
8298:(London: A. & C. Black, 1958)
8181:The Third Part of Henry the Sixth
6449:(long live the King). Adapted by
6337:In 1923, extracts from all three
5753:I'll drown more sailors than the
5661:To disproportion me in every part
4754:created a two-part play entitled
3816:To execute the like upon thyself;
3416:Or die renown'd by attempting it.
2183:Clarence, Clarence for Lancaster.
1908:Title page of the 1594 quarto of
1738:Ay, and for such a thing too the
1280:was not published until the 1623
1137:. It has been theorised that the
987:And Somerset another goodly mast?
704:Shakespeare's primary source for
602:The Yorkists regroup, and at the
391:John Neville, Marquis of Montague
335:Edward Plantagenet, Earl of March
329:Richard Plantagenet, Duke of York
11249:Cultural depictions of Edward IV
10840:Ghost of Edward, Prince of Wales
10563:Duke of Somerset (conflation of
10427:Duke of Somerset (conflation of
10270:Duke of Somerset (conflation of
10119:
10110:
10109:
9463:
8965:The Third Part of Henry the Sixt
8919:
8693:Shakespeare's Heroical Histories
8558:", in Edward J. Esche (editor),
8532:", in Michael Hattaway (editor)
8139:The Third Part of Henry the Sixt
8022:
8007:
7995:
7982:
7969:
7940:
7927:
7704:", in Robert Shaughnessy (ed.),
6327:Eduard IV: Der Kreig der Rosen 2
6213:The Third Part of Henry the Sixt
6190:The First Part of Henry the Sixt
5765:I'll play the orator as well as
5367:. Michael Thierry played Henry,
5164:'s Henry was modelled after the
5058:assassination of John F. Kennedy
4104:deposition and assassination of
3984:And disinherited thine only son.
3753:Plantagenet, I come Plantagenet,
3648:Is as a fury to torment my soul,
3491:Wast thou ordained, dear father,
2623:, he is always the same person.
1644:The third Part of Henry the Sixt
1291:When the play came to be called
1100:
655:The Death of the Earl of Warwick
221:in 1422 to the rise to power of
196:are subverted in the pursuit of
20:
11259:Cultural depictions of Edward V
11080:The True Tragedy of Richard III
10494:
8820:, 230:4 (Winter, 1985), 468β473
8805:Shakespearian and Other Studies
8545:University of Toronto Quarterly
8146:The Third Part of King Henry VI
7914:
7901:
7888:
7875:
7858:
7845:
7840:The First Part of King Henry VI
7832:
7819:
7806:
7785:
7772:
7741:
7728:
7711:
7694:
7677:
7650:
7633:
7603:
7586:
7577:
7542:
7530:. Internet Shakespeare Editions
7520:
7507:
7494:
7481:
7472:
7459:
7450:
7441:
7429:
7399:
7377:
7365:. A Year of Plays. 21 July 2010
7351:
7323:
7302:Alfred Hickling (9 July 2013).
7295:
7273:
7245:
7232:
7197:
7188:
7175:
7166:
7149:
7137:
7128:
7119:
7110:
7101:
7088:
7079:
7070:
7061:
7052:
7043:
7034:
7025:
7016:
6983:
6974:
6962:
6950:
6938:
6926:
6917:
6908:
6899:
6882:
6873:
6856:
6847:
6838:
6829:
6813:
6804:
6791:
6782:
6773:
6764:
6755:
6734:
6725:
6716:
6707:
6698:
6677:
6668:
6608:Cox and Rasmussen (2001: 82β88)
6421:. Part 1 contained an abridged
5759:I'll slay more gazers than the
4756:Henry the Sixth, The First Part
1969:, thus creating a link between
1718:...Lord Hastings well deserves,
1378:The True Tragedy of Richard III
31:needs additional citations for
9940:Works titled after Shakespeare
8784:, 66:4 (Winter, 1985), 391β403
8770:, 18:2 (Summer, 1988), 230β256
8744:, 29:2 (Summer, 1978), 146β163
8547:, 60:1 (Spring, 1990), 244β264
8525:, 39:2 (Summer, 1986), 183β217
8291:, 35:4 (Winter, 1984), 392β406
8247:, 25:3 (Autumn, 1974), 323β334
8233:Born, Hanspeter. "The Date of
7780:Shakespeare on Film Newsletter
7725:(London: Routledge, 2001), 243
7561:. Playbill.com. Archived from
6659:
6650:
6641:
6632:
6611:
6602:
6573:
6511:In 1985, German radio channel
6355:Shakespeare's Historical Plays
5341:Stratford Shakespeare Festival
5015:) featured the second half of
4901:Following Merivale's example,
4732:
4566:was performed under the title
4495:was performed under the title
4238:
3927:, and outlines the results of
3719:He be as miserably slain as I.
3309:(2.1.15, 2.2.13 and 3.2.161),
2710:In the corresponding scene in
1793:...Lord Hastings well deserves
1747:Brothers to go seek elsewhere.
560:left off, with the victorious
366:Robert Aspell, Rutland's tutor
1:
11224:Plays set in the 15th century
10740:Henry Tudor, Earl of Richmond
10169:'s first historical tetralogy
10100:Shakespeare and other authors
8958:, 5:2 (September, 1999), 1β18
8956:Early Modern Literary Studies
8913:Internet Shakespeare Editions
8875:β PDF version, with original
8501:and Stanley Wells (editors),
8409:The Review of English Studies
8375:(London: Max Reinhardt, 1964)
8065:Henry VI, Parts I, II and III
7766:The Times Literary Supplement
7643:", in Russell Jackson (ed.),
7559:Trilogy in Full Bloody Bloom"
7163:, 5:2 (September, 1999), 1β18
7161:Early Modern Literary Studies
6551:
5984:
5581:'s 1955 filmic adaptation of
5292:Colorado Shakespeare Festival
5011:). The second play (entitled
4776:adapted the last two acts of
4737:
4210:Act 2, Scene 5 from the 1983
3057:Not decked with diamonds and
2012:
1999:
1671:. The theory originated with
1514:days of ours." Similarly, in
1447:(1579). Based on the work of
1114:Title page of the 1595 octavo
517:John Sutton, 6th Baron Dudley
242:
11234:Wars of the Roses in fiction
11161:David Garrick as Richard III
10388:Humphrey, Duke of Gloucester
10236:Humphrey, Duke of Gloucester
9982:Shakespeare Birthplace Trust
8777:, 54:1 (Spring, 1975), 47β67
8767:English Literary Renaissance
8305:" in John W. Velz (editor),
7717:Quoted in Patricia Lennox, "
7596:", in Ton Hoenselaars (ed.)
7491:(London: Arden, 1999), 12β13
7447:Cox and Rasmussen (2001: 14)
7252:Matt Trueman (16 May 2012).
6556:
5902:'s 1990 stage production of
5410:. The first play was called
5087:Shakespeare Our Contemporary
4273:Birmingham Repertory Theatre
4253:Shakespeare Memorial Theatre
2222:I throw mine infamy at thee.
1628:in 1765, and was refined by
1595:Shakspeare Gallery Pall Mall
1320:Some critics argue that the
1222:The 1595 octavo text of the
501:of York (non-speaking roles)
231:features one of the longest
7:
10735:Lord Stanley, Earl of Derby
10529:Richard, Duke of Gloucester
9788:English Renaissance theatre
9631:The Second Maiden's Tragedy
9610:The Merry Devil of Edmonton
9142:The Two Gentlemen of Verona
8946:. Accessed 30 October 2018.
8929:public domain audiobook at
8751:Shakespeare's History Plays
8635:Pendleton, Thomas A. (ed.)
8611:New England Theatre Journal
8465:(New York: Macmillan, 2000)
8063:and Rasmussen, Eric (eds.)
7782:, 11:1 (December, 1986), 12
5993:produced a serial entitled
5396:Chicago Shakespeare Theater
5365:Henry VI: Revolt in England
5361:Henry VI: Revenge in France
5098:English Shakespeare Company
5091:Shakespeare's History Plays
5073:, both were subscribers to
5019:and a shortened version of
4788:, Crowne, who was a devout
4497:Henry VI, Part 3: The Chaos
4451:This England: The Histories
4446:This England: The Histories
4411:in Stratford in 2000, with
4317:Carmel Shakespeare Festival
3514:Shall be to me even as the
2987:And rob his temples of the
2882:
2599:the play, i.e. Somerset in
2511:include Act 2, Scene 6; in
2421:represents a reported text
2175:, his turn is anticipated;
1395:second historical tetralogy
1094:History of King Richard III
551:
436:β later Queen Elizabeth to
323:Of the Duke of York's Party
192:as families break down and
10:
11275:
11139:Let's kill all the lawyers
11049:The Mirror for Magistrates
10928:BBC Television Shakespeare
10665:Second Battle of St Albans
9956:Folger Shakespeare Library
9502:The Phoenix and the Turtle
9092:The Merry Wives of Windsor
8980:BBC Television Shakespeare
8646:(New York: Palgrave, 1996)
8480:The Origins of Shakespeare
8463:Shakespeare: The Histories
8438:(Baltimore: Penguin, 1964)
8417:The Reign of King Henry VI
8351:(London: Hutchinson, 1951)
8158:Montgomery, William (ed.)
8106:The Third Part of Henry VI
7872:(London: Arden, 2000), 306
7738:, 17:4 (Winter, 1966), 385
7528:"Shakespeare's Rugby Wars"
6896:", in Pendleton (2001: 31)
6870:", in Pendleton (2001: 28)
6825:Shakespeare's Commentaries
6301:In 1964, Austrian channel
6258:The play also featured in
6194:The Tragedy of Richard III
6108:BBC Television Shakespeare
6011:, the production featured
5322:Upstart Crow Theatre Group
5236:cycle were unadapted, the
4855:wrote his own adaptation,
4612:Second Battle of St Albans
4251:presented the play at the
3349:
2970:But how is it, that great
2476:conforms to the so-called
1667:play as the basis for his
1497:(1592), Nashe praised the
1255:(referred to hereafter as
1129:in 1595 by the bookseller
1121:(referred to hereafter as
1068:Slaughter of the Innocents
1059:Second Trial Before Pilate
824:The Mirror for Magistrates
699:
593:Second Battle of St Albans
568:(1455). Upon reaching the
304:- Henry VI's second cousin
298:- Henry VI's second cousin
281:- Henry VI's second cousin
11204:English Renaissance plays
11130:
11094:
11040:
10968:
10904:
10897:
10678:
10492:
10479:First Battle of St Albans
10366:
10219:
10210:
10174:
10094:
10005:
9975:Royal Shakespeare Theatre
9970:Royal Shakespeare Company
9877:
9734:
9705:
9534:
9525:
9472:
9461:
9393:
9365:
9256:
9166:
9099:A Midsummer Night's Dream
9043:All's Well That Ends Well
9032:
9023:
8674:(London: Routledge, 1997)
8644:Shakespeare the Historian
8639:(London: Routledge, 2001)
8637:Henry VI: Critical Essays
8586:Review of English Studies
8579:Review of English Studies
8368:(The Hague: Mouton, 1976)
8186:Montgomery, William with
8117:The Riverside Shakespeare
7723:Henry VI: Critical Essays
7689:Henry VI: Critical Essays
6819:In his four-volume book,
6517:Shakespeare's Rosenkriege
5359:, the plays were renamed
5351:, and the second half of
5100:, under the direction of
4938:Pacific Repertory Theatre
4784:. Writing at the time of
4604:First Battle of St Albans
4370:Royal Shakespeare Company
4267:directed a production of
3713:But 'twas ere I was born.
3332:
2575:and his younger brother,
2384:However, the theory that
2115:Richard Brinsley Sheridan
1365:(1590 β also anonymous),
566:First Battle of St Albans
528:Nurse (non-speaking role)
525:Father that kills his son
522:Son that kills his father
11194:Fiction set in the 1470s
11189:Fiction set in the 1460s
10885:Battle of Bosworth Field
10800:Archbishop of Canterbury
10720:George, Duke of Clarence
10534:George, Duke of Clarence
9113:Pericles, Prince of Tyre
8890:6 September 2015 at the
8577:: Report and Revision",
8357:and Rickert R.T. (eds.)
8144:Hattaway, Michael (ed.)
7504:London: Arden, 1999), 27
7094:Quoted in Susan Willis,
6923:Holinshed (1587: Sssiii)
6537:Requiem of the Rose King
6522:
6341:plays were broadcast on
6332:
6329:, was screened in 1971.
6090:, presented the rest of
5947:; Buckingham (played by
5771:Deceive more slyly than
5519:1912 American adaptation
5434:it went under the title
5314:Shakespeare's Rugby Wars
5307:Shakespeare's Rugby Wars
4859:in 1723, using Act 5 of
4857:King Henry VI: A Tragedy
4108:by his own grandfather,
1673:Georg Gottfried Gervinus
1270:Pericles, Prince of Tyre
118:1591 play by Shakespeare
10615:Henry, Earl of Richmond
10610:Edmund, Earl of Rutland
10539:Edward, Prince of Wales
10328:Reignier, Duke of Anjou
9121:The Taming of the Shrew
8943:Shakespeare Illustrated
8899:Henry the Sixth, Part 3
8733:(London: Collins, 1973)
8562:(London: Ashgate, 2000)
8491:The Masque of Blackness
7838:Michael Hattaway (ed.)
7502:King Henry VI, Part Two
7437:The Misery of Civil War
7172:Halliday (1964: 216β18)
6647:Holinshed (1587: Qqqiv)
5493:
5476:Stuttgart State Theatre
5347:with the first half of
5326:Toronto Fringe Festival
5106:Panasonic Globe Theatre
4761:The Misery of Civil War
4547:Globe to Globe Festival
2486:August Wilhelm Schlegel
2018:) and even a line from
1945:(i.e. Derby's Men) and
1832:on your new wife's son,
1469:The Masque of Blackness
1350:The Wounds of Civil War
1217:
1105:
855:, throughout the play.
313:Henry, Earl of Richmond
267:Edward, Prince of Wales
11057:Holinshed's Chronicles
10585:Earl of Northumberland
10408:Cardinal of Winchester
9803:Lord Chamberlain's Men
9714:The Passionate Pilgrim
9487:comparison to Petrarch
9106:Much Ado About Nothing
9085:The Merchant of Venice
8950:"Alarums and Defeats:
8906:8 October 2012 at the
8775:Philological Quarterly
8677:Reed, Robert Rentoul.
8620:A Shakespeare Glossary
8398:"'The Bad Quartos' of
8172:Sanders, Norman (ed.)
8151:Martin, Randall (ed.)
7465:Michael Taylor (ed.),
7155:"Alarums and Defeats:
6713:Martin (2001: 106β112)
6145:
6029:"The Sun in Splendour"
5896:1995 filmic adaptation
5889:
5835:
5795:And set the murd'rous
5697:
5440:The Play of the Mighty
5430:in Milan. Directed by
5309:
5242:The House of Lancaster
5209:Richard III, His Death
5154:British Prime Minister
5128:and the first half of
5110:Festival dei Due Mondi
4941:
4768:comprised Acts 1β3 of
4657:, in association with
4320:
4319:production of the play
4215:
4201:
4183:
4164:
4101:
4016:
3929:political factionalism
3874:
3850:
3792:
3667:
3588:
3479:
3448:
3346:
3343:John Hamilton Mortimer
3301:(1.4.112 and 2.2.15),
3247:
3244:William Lindsay Windus
3224:shook down trees,/The
3157:
3108:
3030:
2906:
2876:
2778:
2708:
2358:
2332:
2296:He shows his red rose.
2254:
2120:The School for Scandal
1912:
1866:
1779:
1663:, but made use of the
1598:
1353:(1588), the anonymous
1311:Analysis and criticism
1205:
1115:
1050:The Oxford Shakespeare
1033:
943:
779:
747:
670:
653:T. Brown engraving of
570:parliamentary chambers
556:The play begins where
471:β Louis' sister-in-law
318:Somerville β messenger
296:Earl of Northumberland
138:
11146:Even a worm will turn
10921:The Wars of the Roses
10790:Countess of Salisbury
10780:Richard, Duke of York
10750:Sir Richard Ratcliffe
10514:Richard, Duke of York
10439:Duchess of Gloucester
10393:Richard, Duke of York
10256:Richard, Duke of York
9993:Shakespeare Institute
9962:Shakespeare Quarterly
9481:Shakespeare's sonnets
9149:The Two Noble Kinsmen
8864:King Henry VI, Part 3
8742:Shakespeare Quarterly
8603:The Wars of the Roses
8522:Renaissance Quarterly
8446:An Apology for Actors
8318:New Shakspere Society
8289:Shakespeare Quarterly
8244:Shakespeare Quarterly
8165:Praetorius, Charles.
8082:King Henry VI, Part 3
8075:King Henry VI, Part 3
8071:Cairncross, Andrew S.
8019:, (24 October 1952) 7
7870:King Henry VI, Part 1
7866:King Henry VI, Part 2
7864:Ronald Knowles (ed.)
7736:Shakespeare Quarterly
7489:King Henry VI, Part 2
7456:Martin (2001: 15, 83)
7283:. Shakespeare's Globe
7204:Nick Ashbury (2007).
6799:The Energies of Drama
6704:Jones (1977: 278β282)
6413:as Richard. In 1971,
6379:The Wars of the Roses
6139:
6048:The Rise of Edward IV
6040:The Wars of the Roses
5965:Kate Steavenson-Payne
5961:Elizabeth Plantagenet
5847:
5709:
5645:
5305:Poster from the 2001
5304:
5233:Swansea Grand Theatre
5205:The Rise of Edward IV
5146:The Rise of Edward IV
4992:The Wars of the Roses
4947:The Wars of the Roses
4927:
4687:Franz von Dingelstedt
4685:in 1857. Directed by
4663:Classic Stage Company
4655:Wide Eyed Productions
4560:Henry VI: Three Plays
4479:as Richard. When the
4314:
4209:
4189:
4177:
4114:
4021:
3964:
3947:Battle of Northampton
3864:
3853:breast" (2.6.28β29).
3804:
3662:
3596:
3538:of the house of York,
3489:
3472:Charles Cowden Clarke
3462:
3396:
3340:
3238:
3112:
3042:
2962:
2931:, Exeter tells York "
2897:
2836:in his smoking blood,
2804:
2744:in his smoking blood,
2724:
2656:
2353:
2266:
2177:
1907:
1787:
1712:
1589:
1536:'s in 1963 and 1964,
1517:An Apology for Actors
1444:An Apology for Poetry
1199:
1113:
953:
905:in cruel seas betost,
885:
772:Charles Robert Leslie
768:The Murder of Rutland
766:
737:
652:
363:β York's youngest son
126:
11219:Plays set in England
11112:House of Plantagenet
10880:Princes in the Tower
10870:Sheriff of Wiltshire
10845:Lord Mayor of London
10670:Battle of Tewkesbury
10261:Bishop of Winchester
9849:Spelling of his name
9689:Vortigern and Rowena
9667:Thomas Lord Cromwell
9247:Troilus and Cressida
9177:Antony and Cleopatra
9071:Love's Labour's Lost
9057:The Comedy of Errors
8667:Rackin, Phyllis and
8607:Richard Duke of York
8588:, 51 (2000), 208β229
8415:Griffiths, Ralph A.
8390:A Chronicle at Large
8276:Bullough, Geoffrey.
8174:Henry VI, Part Three
8153:Henry VI, Part Three
8096:Henry VI, Part Three
8089:Henry VI, Part Three
8087:Crane, Milton (ed.)
7881:Roger Warren, (ed.)
7816:, 39 (1986), 106β107
7181:Robert Shaughnessy,
7125:Tillyard (1944: 341)
7022:Pugliatti (1996: 54)
7005:(1975); David Frey,
6969:The Cease of Majesty
6879:Urkowitz (1988: 240)
6731:Pugliatti (1996: 52)
6513:Sender Freies Berlin
5436:Il gioco del potenti
5054:Cuban Missile Crisis
5007:(up to the death of
4746:is found during the
4695:Munich Court Theatre
4683:Weimar Court Theatre
4620:Monken Hadley Common
4592:Battle of Tewkesbury
4327:presented all three
3818:And so have at thee.
3607:Be thou revenged on
3076:To go along with us.
2828:, revenge my death.'
2437:Differences between
1451:, Sidney criticised
1265:The Whole Contention
1263:. Also printed with
1202:The Whole Contention
1163:A Groatsworth of Wit
1145:of a performance of
901:So that the bruis'd
687:Battle of Tewkesbury
491:Thomas of Beverley,
275:β military commander
40:improve this article
11073:The Spanish Tragedy
11018:Looking for Richard
10860:Sir William Brandon
10745:Sir William Catesby
10660:Battle of Wakefield
10600:Earl of Westmorland
10580:Sir William Stanley
10449:Richard Plantagenet
10313:Charles the Dauphin
10298:Sir Edmund Mortimer
10167:William Shakespeare
10073:Richard Shakespeare
10055:Gilbert Shakespeare
9987:Shakespeare's Globe
9892:Authorship question
9887:Attribution studies
9854:Stratford-upon-Avon
9696:A Yorkshire Tragedy
9674:Thomas of Woodstock
9660:The Spanish Tragedy
9601:Love's Labour's Won
9593:The London Prodigal
9550:The Birth of Merlin
9509:The Rape of Lucrece
9495:A Lover's Complaint
9375:Quarto publications
9078:Measure for Measure
9017:William Shakespeare
8817:Notes & Queries
8796:Shakespeare Studies
8323:Dobson, Michael S.
8124:Greenblatt, Stephen
8112:Evans, G. Blakemore
8094:Day, Gillian (ed.)
7975:Christopher Innes,
7769:, (4 February 1983)
7337:The Daily Telegraph
7194:Martin (2001: 22n2)
7116:Hattaway (1993: 14)
7085:Hattaway (1993: 12)
7058:Hattaway (1993: ix)
6683:Hattaway (1993: 61)
6351:BBC Third Programme
6325:. The second part,
6282:Christopher Marlowe
6025:"The Morning's War"
6007:, with a script by
5789:Change shapes with
5472:Der krieg der rosen
5116:, Italy and at the
4863:and Act 1 and 2 of
4659:Columbia University
4600:St Albans Cathedral
4543:Shakespeare's Globe
4519:on Sunday evening.
4501:The Glorious Moment
4260:, played Margaret.
3857:Power and barbarism
2832:That stained their
2740:That stained their
2494:Robert Rentoul Reed
1991:Christopher Marlowe
1989:uses material from
1870:Elizabeth de Scales
1335:Christopher Marlowe
1234:in 1619 as part of
1125:) was published in
840:The Spanish Tragedy
597:Duchess of Burgundy
508:(non-speaking role)
481:(non-speaking role)
430:Sir John Montgomery
414:Sir William Stanley
405:(non-speaking role)
399:(non-speaking role)
351:Richard Plantagenet
302:Earl of Westmorland
263:β Queen to Henry VI
249:Of the King's Party
237:Shakespeare's plays
162:Henry VI of England
158:William Shakespeare
11122:House of Lancaster
11102:Hundred Years' War
11095:Historical context
11003:"King Richard III"
10825:Robert Brackenbury
10815:Sir Thomas Vaughan
10805:Archbishop of York
10695:Duke of Buckingham
10620:Louis XI of France
10444:Edward Plantagenet
10418:Duke of Buckingham
10338:Bastard of OrlΓ©ans
10067:Edmund Shakespeare
10025:Hamnet Shakespeare
9922:Screen adaptations
9645:Sir John Oldcastle
9543:Arden of Faversham
8798:, 19 (1987), 41β59
8748:Tillyard. E. M. W.
8642:Pugliatti, Paola.
8613:, 7 (1996), 95β107
8499:Margreta de Grazia
8469:Holinshed, Raphael
8459:Holderness, Graham
8451:Hodgdon, Barbara.
8412:, 13 (1937), 64β72
8102:Dover Wilson, John
8034:Anime News Network
7988:William Hortmann,
7896:Shakespeare Survey
7883:Henry VI, Part Two
7814:Shakespeare Survey
7793:Jonathan Dollimore
7683:Patricia Lennox, "
7565:on 11 October 2012
7515:Henry VI, Part Two
7478:Goodwin (1964: 47)
7467:Henry VI, Part One
7242:(16 December 2000)
7220:on 12 October 2008
6905:Martin (2001: 117)
6844:Martin (2001: 109)
6788:Heywood (1612: B4)
6656:Martin (2001: 342)
6629:Hall (1548: Ii:iv)
6567:Oxford Shakespeare
6561:All references to
6473:played Edward and
6359:Maurice Roy Ridley
6297:In other languages
6241:Marquess of Dorset
6211:Although Howell's
6180:verfremdungseffekt
6146:
6103:television version
6074:'s followers) and
6064:"The Fearful King"
5609:Duke of Buckingham
5382:. Under the title
5310:
5079:Theatre of Cruelty
4942:
4639:Pasadena Playhouse
4321:
4291:as Margaret, with
4216:
4184:
3906:social foundations
3896:, director of the
3875:
3671:He lifts his hand.
3668:
3611:, and let me live.
3480:
3476:Mary Cowden Clarke
3347:
3248:
2907:
2844:gave up the ghost.
2822:'Warwick revenge,
2425:an early draft of
2407:Oxford Shakespeare
2403:Oxford Shakespeare
2359:
2088:and the octavo of
1913:
1599:
1582:as a reported text
1284:, under the title
1206:
1178:Johannes fac totum
1116:
1073:Desiderius Erasmus
1063:Judgement of Jesus
780:
748:
671:
625:Archbishop of York
612:Duke of Gloucester
463:Louis XI of France
355:Duke of Gloucester
341:George Plantagenet
146:(often written as
139:
55:"Henry VI, Part 3"
11171:
11170:
11107:Wars of the Roses
11065:Richardus Tertius
11036:
11035:
10893:
10892:
10875:Wars of the Roses
10835:Ghost of Henry VI
10770:Lord Richard Grey
10765:Sir James Tyrrell
10760:Marquis of Dorset
10464:Margery Jourdayne
10398:Earl of Salisbury
10323:Margaret of Anjou
10287:Earl of Salisbury
10133:
10132:
10037:Elizabeth Barnard
10001:
10000:
9730:
9729:
9459:
9458:
9157:The Winter's Tale
8849:Project Gutenberg
8810:Womersley, D.J. "
8581:, 53 (2002), 8β30
8267:Christopher Ricks
8256:Early Shakespeare
8226:Berry, Edward I.
8210:Secondary sources
8160:Henry VI Part III
8126:; Cohen, Walter;
7417:on 7 January 2012
7134:Martin (2001: 68)
7076:Martin (2001: 54)
7040:Martin (2001:358)
7031:Martin (2001: 37)
6914:Hall (1548: Mmii)
6890:Henry VI, Parts 2
6864:Henry VI, Parts 2
6853:Martin (2001:112)
6810:Martin (2001: 26)
6797:Michael Goldman,
6770:Jonson (1605: np)
6695:Martin (2001: 15)
6674:Martin (2001: 52)
6665:Martin (2001: 22)
6599:Martin (2001: 11)
6347:Shakespeare Night
6307:Leopold Lindtberg
6150:Wars of the Roses
5932:Christopher Bowen
5892:Richard Loncraine
5547:The Show of Shows
5380:Watermill Theatre
5376:Propeller Company
5257:Watermill Theatre
5246:The House of York
5158:Margaret Thatcher
5118:Adelaide Festival
5071:Berliner Ensemble
5009:Cardinal Beaufort
4919:Esther Whitehouse
4917:played Henry and
4853:Theophilus Cibber
4750:, when, in 1681,
4703:Municipal Theatre
4647:and proceeded by
4461:Courtyard Theatre
4350:Wars of the Roses
4346:Wars of the Roses
4233:Treaty of Nonsuch
3692:'s point affords.
3664:Robert Ker Porter
3391:" (3.3.101-102).
3069:SECOND GAMEKEEPER
3045:SECOND GAMEKEEPER
2946:Henry Bolingbrook
2611:character in the
2195:, wilt thou stab
1896:, the version in
1226:was reprinted in
1131:Thomas Millington
1040:
1039:
876:Romeus and Juliet
728:Wars of the Roses
718:Raphael Holinshed
659:John Adam Houston
506:Mayor of Coventry
479:Admiral of France
425:Sir Hugh Mortimer
419:Sir John Mortimer
383:Earl of Salisbury
257:β King of England
176:Wars of the Roses
116:
115:
108:
90:
11266:
10949:Henry VI, Part 2
10942:Henry VI, Part 1
10935:The Hollow Crown
10902:
10901:
10655:Battle of Barnet
10650:Battle of Towton
10635:Earl of Pembroke
10484:Peasants' Revolt
10353:Siege of OrlΓ©ans
10343:Duke of Burgundy
10308:Sir John Fastolf
10217:
10216:
10194:Henry VI, Part 3
10187:Henry VI, Part 2
10180:Henry VI, Part 1
10160:
10153:
10146:
10137:
10136:
10123:
10122:
10113:
10112:
10061:Joan Shakespeare
10043:John Shakespeare
9946:
9945:
9927:Shakespeare and
9638:Sejanus His Fall
9605:
9565:Double Falsehood
9532:
9531:
9516:Venus and Adonis
9467:
9240:Titus Andronicus
9226:Romeo and Juliet
9030:
9029:
9010:
9003:
8996:
8987:
8986:
8977:
8926:Henry VI, Part 3
8923:
8922:
8844:Henry VI, Part 3
8833:Henry VI, Part 3
8758:Henry VI Parts 2
8727:Speaight, Robert
8708:
8684:Ribner, Irving.
8659:
8626:Pearson, Richard
8568:
8553:
8516:, 5 (1972), 1β26
8386:Grafton, Richard
8359:Henslowe's Diary
8338:Doran, Madeleine
8330:Dockray, Keith.
8264:
8217:Alexander, Peter
8203:Henry VI, Part 3
8054:Henry VI, Part 3
8046:
8045:
8043:
8041:
8026:
8020:
8011:
8005:
7999:
7993:
7986:
7980:
7973:
7967:
7966:
7964:
7962:
7944:
7938:
7931:
7925:
7918:
7912:
7905:
7899:
7898:, 39 (1986), 101
7892:
7886:
7879:
7873:
7862:
7856:
7849:
7843:
7836:
7830:
7823:
7817:
7810:
7804:
7789:
7783:
7776:
7770:
7761:
7752:
7745:
7739:
7732:
7726:
7715:
7709:
7698:
7692:
7681:
7675:
7674:
7667:BFI Screenonline
7657:Michael Brooke.
7654:
7648:
7637:
7631:
7630:
7628:
7626:
7620:BFI Screenonline
7610:Michael Brooke.
7607:
7601:
7590:
7584:
7581:
7575:
7574:
7572:
7570:
7546:
7540:
7539:
7537:
7535:
7524:
7518:
7511:
7505:
7500:Ronald Knowles,
7498:
7492:
7487:Ronald Knowles,
7485:
7479:
7476:
7470:
7463:
7457:
7454:
7448:
7445:
7439:
7433:
7427:
7426:
7424:
7422:
7409:Henry VI, Part 3
7403:
7397:
7396:
7394:
7392:
7381:
7375:
7374:
7372:
7370:
7361:Henry VI, Part 3
7355:
7349:
7348:
7346:
7344:
7327:
7321:
7320:
7318:
7316:
7299:
7293:
7292:
7290:
7288:
7277:
7271:
7270:
7268:
7266:
7249:
7243:
7238:Review from the
7236:
7230:
7229:
7227:
7225:
7216:. Archived from
7201:
7195:
7192:
7186:
7179:
7173:
7170:
7164:
7153:
7147:
7141:
7135:
7132:
7126:
7123:
7117:
7114:
7108:
7107:Martin (2001: 1)
7105:
7099:
7092:
7086:
7083:
7077:
7074:
7068:
7065:
7059:
7056:
7050:
7047:
7041:
7038:
7032:
7029:
7023:
7020:
7014:
6987:
6981:
6978:
6972:
6966:
6960:
6954:
6948:
6942:
6936:
6930:
6924:
6921:
6915:
6912:
6906:
6903:
6897:
6886:
6880:
6877:
6871:
6860:
6854:
6851:
6845:
6842:
6836:
6833:
6827:
6817:
6811:
6808:
6802:
6795:
6789:
6786:
6780:
6777:
6771:
6768:
6762:
6759:
6753:
6750:
6741:
6738:
6732:
6729:
6723:
6722:Wilson (1969: 9)
6720:
6714:
6711:
6705:
6702:
6696:
6693:
6684:
6681:
6675:
6672:
6666:
6663:
6657:
6654:
6648:
6645:
6639:
6638:Martin (2001:37)
6636:
6630:
6627:
6618:
6617:Hall (1548: Hhv)
6615:
6609:
6606:
6600:
6597:
6588:
6577:
6563:Henry VI, Part 3
6433:and an abridged
6367:Francis de Wolff
6309:under the title
6272:of Shakespeare (
6265:Will Shakespeare
6088:"The Prophetess"
6084:"Edward of York"
6003:and produced by
5928:Edward Jewesbury
5613:Ralph Richardson
5589:Cedric Hardwicke
5579:Laurence Olivier
5446:, both parts of
5432:Giorgio Strehler
5244:and the second,
5197:The Plantagenets
5187:and directed by
5166:King Edward VIII
5102:Michael Bogdanov
5056:in 1962 and the
4965:eliminated) and
4894:. Material from
4842:Tragical History
4799:Francis Beaumont
4727:Zurich Playhouse
4624:Battle of Barnet
4580:Battle of Towton
4527:in 2000, and by
4477:Jonathan Slinger
4459:festival at the
4258:Constance Benson
3892:can muster". As
3706:Thy Father hath.
3688:Such pity as my
3385:Lord Aubrey Vere
2591:and Somerset in
2579:. Similarly, in
2546:Montague problem
2397:a reported text
2129:Sir Peter Teazel
2017:
2014:
2004:
2001:
1967:Titus Andronicus
1959:Titus Andronicus
1939:Titus Andronicus
1919:and Bonville in
1542:Michael Bogdanov
1503:military tactics
1316:Critical history
1211:Henry VI, Part I
882:
871:Romeo and Juliet
676:Battle of Barnet
608:Duke of Clarence
604:Battle of Towton
397:Earl of Pembroke
345:Duke of Clarence
229:Henry VI, Part 3
143:Henry VI, Part 3
111:
104:
100:
97:
91:
89:
48:
24:
16:
11274:
11273:
11269:
11268:
11267:
11265:
11264:
11263:
11174:
11173:
11172:
11167:
11126:
11090:
11032:
10997:The Foretelling
10964:
10913:An Age of Kings
10889:
10855:Sir James Blunt
10820:Sir Christopher
10795:Duke of Norfolk
10785:Earl of Warwick
10705:Duchess of York
10700:Queen Elizabeth
10674:
10595:Duke of Norfolk
10519:Earl of Warwick
10488:
10413:Duke of Suffolk
10403:Earl of Warwick
10362:
10358:Battle of Patay
10333:Duke of Alençon
10318:Joan la Pucelle
10282:Earl of Warwick
10266:Earl of Suffolk
10251:Duke of Bedford
10212:
10206:
10170:
10164:
10134:
10129:
10090:
10039:(granddaughter)
9997:
9944:
9873:
9839:Religious views
9817:Curtain Theatre
9738:
9726:
9701:
9652:Sir Thomas More
9598:
9572:Edmund Ironside
9521:
9468:
9455:
9429:Ghost character
9389:
9361:
9252:
9233:Timon of Athens
9162:
9019:
9014:
8920:
8908:Wayback Machine
8892:Wayback Machine
8838:Standard Ebooks
8828:
8823:
8782:English Studies
8717:Shaheen, Naseeb
8706:
8669:Howard, Jean E.
8657:
8566:
8551:
8442:Heywood, Thomas
8371:Goodwin, John.
8262:
8212:
8128:Howard, Jean E.
8057:
8049:
8039:
8037:
8028:
8027:
8023:
8012:
8008:
8000:
7996:
7987:
7983:
7974:
7970:
7960:
7958:
7946:
7945:
7941:
7932:
7928:
7919:
7915:
7906:
7902:
7893:
7889:
7880:
7876:
7863:
7859:
7850:
7846:
7837:
7833:
7824:
7820:
7811:
7807:
7790:
7786:
7777:
7773:
7762:
7755:
7746:
7742:
7733:
7729:
7716:
7712:
7702:An Age of Kings
7699:
7695:
7682:
7678:
7661:An Age of Kings
7655:
7651:
7638:
7634:
7624:
7622:
7608:
7604:
7591:
7587:
7582:
7578:
7568:
7566:
7551:"Edward Hall's
7547:
7543:
7533:
7531:
7526:
7525:
7521:
7512:
7508:
7499:
7495:
7486:
7482:
7477:
7473:
7464:
7460:
7455:
7451:
7446:
7442:
7434:
7430:
7420:
7418:
7405:
7404:
7400:
7390:
7388:
7383:
7382:
7378:
7368:
7366:
7357:
7356:
7352:
7342:
7340:
7328:
7324:
7314:
7312:
7300:
7296:
7286:
7284:
7279:
7278:
7274:
7264:
7262:
7250:
7246:
7237:
7233:
7223:
7221:
7202:
7198:
7193:
7189:
7180:
7176:
7171:
7167:
7154:
7150:
7142:
7138:
7133:
7129:
7124:
7120:
7115:
7111:
7106:
7102:
7093:
7089:
7084:
7080:
7075:
7071:
7066:
7062:
7057:
7053:
7048:
7044:
7039:
7035:
7030:
7026:
7021:
7017:
6999:English Studies
6995:English Studies
6991:English Studies
6988:
6984:
6979:
6975:
6967:
6963:
6955:
6951:
6943:
6939:
6931:
6927:
6922:
6918:
6913:
6909:
6904:
6900:
6887:
6883:
6878:
6874:
6861:
6857:
6852:
6848:
6843:
6839:
6834:
6830:
6818:
6814:
6809:
6805:
6796:
6792:
6787:
6783:
6778:
6774:
6769:
6765:
6761:Rossiter (1961)
6760:
6756:
6751:
6744:
6740:Tillyard (1944)
6739:
6735:
6730:
6726:
6721:
6717:
6712:
6708:
6703:
6699:
6694:
6687:
6682:
6678:
6673:
6669:
6664:
6660:
6655:
6651:
6646:
6642:
6637:
6633:
6628:
6621:
6616:
6612:
6607:
6603:
6598:
6591:
6578:
6574:
6559:
6554:
6525:
6467:James Laurenson
6403:Valentine Dyall
6335:
6295:
6142:BBC Shakespeare
6124:and Richard by
6122:Brian Protheroe
6080:"The Kingmaker"
5996:An Age of Kings
5987:
5920:Nigel Hawthorne
5858:
5856:
5854:
5852:
5850:
5804:
5802:
5800:
5794:
5793:for advantages,
5788:
5786:
5781:, take another
5776:
5770:
5764:
5758:
5752:
5750:
5748:
5746:
5744:
5742:
5740:
5738:
5736:
5734:
5732:
5730:
5728:
5726:
5724:
5722:
5720:
5718:
5716:
5714:
5712:
5666:
5664:
5662:
5660:
5658:
5656:
5654:
5652:
5650:
5648:
5531:Frederick Warde
5529:, and starring
5527:AndrΓ© Calmettes
5496:
5474:in 1967 at the
5463:Timon of Athens
5408:Die weisse rose
5085:'s influential
4972:Barbara Jefford
4867:. Performed at
4740:
4735:
4713:in 1978 and in
4699:Saladin Schmitt
4545:as part of the
4374:The Other Place
4289:Rosalind Boxall
4241:
4212:BBC Shakespeare
4198:
4196:
4194:
4192:
4133:
4131:
4129:
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4119:
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3985:
3983:
3981:
3979:
3977:
3975:
3973:
3971:
3969:
3967:
3942:
3898:BBC Shakespeare
3859:
3819:
3817:
3815:
3813:
3811:
3809:
3807:
3791:
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3604:
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3557:
3555:
3545:
3539:
3533:
3527:
3521:
3519:
3513:
3508:
3506:
3504:
3502:
3500:
3499:of advis'd age,
3494:
3492:
3417:
3415:
3413:
3411:
3409:
3407:
3405:
3403:
3401:
3399:
3352:
3335:
3126:
3124:
3122:
3120:
3115:
3077:
3075:
3073:
3071:
3067:
3066:
3064:
3062:
3056:
3054:
3050:
3049:
3047:
2999:
2997:
2995:
2993:
2991:
2986:
2984:
2982:
2980:
2974:
2969:
2967:
2965:
2885:
2845:
2837:
2831:
2829:
2821:
2819:
2817:
2815:
2813:
2787:BBC Shakespeare
2747:
2745:
2739:
2737:
2735:
2733:
2731:
2729:
2727:
2677:
2675:
2673:
2671:
2669:
2667:
2665:
2663:
2661:
2659:
2548:
2446:
2355:Thomas Stothard
2301:
2299:
2298:
2294:
2293:
2291:
2287:
2286:
2284:
2282:
2280:
2278:
2276:
2272:
2271:
2223:
2221:
2219:
2215:
2214:
2212:
2208:
2207:
2203:
2202:
2200:
2189:
2185:
2184:
2182:
2081:
2015:
2002:
1983:George a Greene
1975:George a Greene
1963:George a Greene
1931:George a Greene
1878:Cecily Bonville
1835:
1833:
1827:
1825:
1821:
1820:
1818:
1816:
1814:
1812:
1810:
1806:
1805:
1803:
1801:
1797:
1796:
1794:
1792:
1748:
1746:
1744:
1742:
1737:
1733:
1732:
1730:
1726:
1725:
1722:Lord Hungerford
1719:
1717:
1630:Peter Alexander
1584:
1556:'s in 2000 and
1362:Edmund Ironside
1318:
1313:
1236:William Jaggard
1220:
1133:and printed by
1108:
1103:
1041:
1030:
1028:
1026:
1024:
1022:
1020:
1018:
1016:
1014:
1012:
1010:
1008:
1006:
1004:
1002:
1000:
998:
996:
994:
992:
990:
988:
986:
984:
982:
980:
978:
976:
974:
972:
970:
968:
966:
964:
962:
960:
958:
956:
941:(ll.1359β1380)
940:
938:
936:
934:
932:
930:
928:
926:
924:
922:
920:
918:
916:
914:
912:
910:
908:
906:
900:
898:
896:
894:
819:William Baldwin
702:
680:Tower of London
632:Lords Protector
554:
549:
378:- York's nephew
376:Duke of Norfolk
372:- York's nephew
370:Earl of Warwick
245:
170:deals with the
119:
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
11272:
11262:
11261:
11256:
11251:
11246:
11241:
11236:
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11226:
11221:
11216:
11211:
11206:
11201:
11196:
11191:
11186:
11169:
11168:
11166:
11165:
11157:
11149:
11142:
11134:
11132:
11128:
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11119:
11114:
11109:
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11098:
11096:
11092:
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11088:
11076:
11069:
11061:
11053:
11044:
11042:
11038:
11037:
11034:
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11031:
11030:
11022:
11014:
11006:
11000:
10993:
10985:
10976:
10974:
10966:
10965:
10963:
10962:
10961:
10960:
10952:
10945:
10931:
10925:
10917:
10908:
10906:
10899:
10895:
10894:
10891:
10890:
10888:
10887:
10882:
10877:
10872:
10867:
10862:
10857:
10852:
10850:Earl of Oxford
10847:
10842:
10837:
10832:
10827:
10822:
10817:
10812:
10810:Earl of Surrey
10807:
10802:
10797:
10792:
10787:
10782:
10777:
10772:
10767:
10762:
10757:
10752:
10747:
10742:
10737:
10732:
10727:
10722:
10717:
10712:
10710:Queen Margaret
10707:
10702:
10697:
10692:
10686:
10684:
10676:
10675:
10673:
10672:
10667:
10662:
10657:
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10642:
10637:
10632:
10627:
10622:
10617:
10612:
10607:
10602:
10597:
10592:
10590:Duke of Exeter
10587:
10582:
10577:
10572:
10561:
10559:Earl of Oxford
10556:
10551:
10546:
10541:
10536:
10531:
10526:
10521:
10516:
10511:
10509:Queen Margaret
10506:
10500:
10498:
10490:
10489:
10487:
10486:
10481:
10476:
10471:
10466:
10461:
10459:Young Clifford
10456:
10451:
10446:
10441:
10436:
10425:
10420:
10415:
10410:
10405:
10400:
10395:
10390:
10385:
10383:Queen Margaret
10380:
10374:
10372:
10364:
10363:
10361:
10360:
10355:
10350:
10345:
10340:
10335:
10330:
10325:
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10315:
10310:
10305:
10294:
10289:
10284:
10279:
10268:
10263:
10258:
10253:
10248:
10243:
10241:Duke of Exeter
10238:
10233:
10227:
10225:
10214:
10208:
10207:
10205:
10204:
10197:
10190:
10183:
10175:
10172:
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10163:
10162:
10155:
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10016:
10009:
10007:
10003:
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9999:
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9894:
9889:
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9866:
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9846:
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9836:
9831:
9826:
9821:
9820:
9819:
9814:
9800:
9795:
9790:
9785:
9780:
9778:Collaborations
9775:
9770:
9769:
9768:
9763:
9751:
9745:
9743:
9732:
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9727:
9725:
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9677:
9670:
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9648:
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9553:
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9523:
9522:
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9512:
9505:
9498:
9491:
9490:
9489:
9476:
9474:
9470:
9469:
9462:
9460:
9457:
9456:
9454:
9453:
9448:
9443:
9438:
9433:
9432:
9431:
9426:
9421:
9413:
9408:
9403:
9397:
9395:
9391:
9390:
9388:
9387:
9382:
9377:
9371:
9369:
9367:Early editions
9363:
9362:
9360:
9359:
9351:
9344:
9343:
9342:
9335:
9328:
9313:
9306:
9305:
9304:
9297:
9285:
9278:
9270:
9262:
9260:
9254:
9253:
9251:
9250:
9243:
9236:
9229:
9222:
9215:
9208:
9201:
9194:
9187:
9180:
9172:
9170:
9164:
9163:
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9160:
9153:
9145:
9138:
9131:
9124:
9117:
9109:
9102:
9095:
9088:
9081:
9074:
9067:
9060:
9053:
9050:As You Like It
9046:
9038:
9036:
9027:
9021:
9020:
9013:
9012:
9005:
8998:
8990:
8984:
8983:
8961:
8947:
8933:
8917:
8895:
8880:
8868:
8860:
8852:
8840:
8827:
8826:External links
8824:
8822:
8821:
8808:
8799:
8792:
8785:
8778:
8771:
8754:
8745:
8734:
8724:
8714:
8703:
8696:
8691:Riggs, David.
8689:
8682:
8675:
8665:
8654:
8647:
8640:
8633:
8623:
8614:
8599:
8589:
8582:
8563:
8548:
8537:
8526:
8517:
8506:
8495:
8483:
8478:Jones, Emrys.
8476:
8466:
8456:
8449:
8439:
8433:Halliday, F.E.
8430:
8420:
8413:
8393:
8383:
8376:
8369:
8362:
8352:
8345:
8335:
8328:
8321:
8310:
8299:
8294:Clarke, Mary.
8292:
8281:
8274:
8259:
8248:
8231:
8224:
8213:
8211:
8208:
8207:
8206:
8199:
8184:
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8170:
8163:
8156:
8149:
8142:
8135:
8121:
8109:
8099:
8092:
8085:
8078:
8068:
8061:Bate, Jonathan
8056:
8050:
8048:
8047:
8021:
8006:
7994:
7981:
7968:
7939:
7926:
7913:
7907:Susan Willis,
7900:
7887:
7874:
7857:
7851:Susan Willis.
7844:
7831:
7818:
7805:
7784:
7771:
7753:
7747:Susan Willis.
7740:
7727:
7710:
7693:
7676:
7649:
7632:
7602:
7585:
7576:
7541:
7519:
7513:Roger Warren,
7506:
7493:
7480:
7471:
7458:
7449:
7440:
7428:
7398:
7376:
7350:
7322:
7294:
7272:
7244:
7231:
7196:
7187:
7174:
7165:
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7136:
7127:
7118:
7109:
7100:
7087:
7078:
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7051:
7042:
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7015:
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6907:
6898:
6881:
6872:
6855:
6846:
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6828:
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6803:
6790:
6781:
6772:
6763:
6754:
6742:
6733:
6724:
6715:
6706:
6697:
6685:
6676:
6667:
6658:
6649:
6640:
6631:
6619:
6610:
6601:
6589:
6571:
6558:
6555:
6553:
6550:
6524:
6521:
6475:Richard Burton
6455:Silver Jubilee
6451:Martin Jenkins
6419:Raymond Raikes
6371:Stephen Murray
6334:
6331:
6276:), written by
6222:Olympian games
6206:Cedric Messina
6154:Oliver Bayldon
6116:, Margaret by
5986:
5983:
5924:Annette Bening
5922:as George and
5888:
5887:
5886:
5885:
5884:
5883:
5882:
5881:
5880:
5879:
5878:
5877:
5876:
5875:
5834:
5833:
5832:
5831:
5830:
5829:
5828:
5827:
5826:
5825:
5824:
5823:
5822:
5821:
5696:
5695:
5694:
5693:
5692:
5691:
5690:
5689:
5688:
5687:
5686:
5685:
5684:
5683:
5595:as George and
5556:John Barrymore
5542:John G. Adolfi
5521:, directed by
5495:
5492:
5428:Teatro Piccolo
5412:Haus Lancaster
5400:Bruce A. Young
5296:Queen Margaret
5172:as Edward and
5077:'s theory of "
5075:Antonin Artaud
5067:Bertolt Brecht
5039:as Edward and
5033:Peggy Ashcroft
4851:Colley's son,
4739:
4736:
4734:
4731:
4529:Anthony Bunsee
4525:Edward Clayton
4481:Complete Works
4475:as Edward and
4456:Complete Works
4382:Jonathan Firth
4366:Katie Mitchell
4357:as Edward and
4299:as Edward and
4240:
4237:
4225:Spanish Empire
4163:
4162:
4161:
4160:
4159:
4158:
4157:
4156:
4155:
4154:
4153:
4152:
4151:
4150:
4100:
4099:
4098:
4097:
4096:
4095:
4094:
4093:
4092:
4091:
4090:
4089:
4088:
4087:
4015:
4014:
4013:
4012:
4011:
4010:
4009:
4008:
4007:
4006:
4005:
4004:
4003:
4002:
3941:
3938:
3858:
3855:
3849:
3848:
3847:
3846:
3845:
3844:
3843:
3842:
3841:
3840:
3839:
3838:
3837:
3836:
3790:
3789:
3788:
3787:
3786:
3785:
3784:
3783:
3782:
3781:
3780:
3779:
3778:
3777:
3597:
3587:
3586:
3585:
3584:
3583:
3582:
3581:
3580:
3579:
3578:
3577:
3576:
3575:
3574:
3447:
3446:
3445:
3444:
3443:
3442:
3441:
3440:
3439:
3438:
3437:
3436:
3435:
3434:
3351:
3348:
3334:
3331:
3325:(3.2.191) and
3156:
3155:
3154:
3153:
3152:
3151:
3150:
3149:
3148:
3147:
3146:
3145:
3144:
3143:
3107:
3106:
3105:
3104:
3103:
3102:
3101:
3100:
3099:
3098:
3097:
3096:
3095:
3094:
3029:
3028:
3027:
3026:
3025:
3024:
3023:
3022:
3021:
3020:
3019:
3018:
3017:
3016:
2884:
2881:
2875:
2874:
2873:
2872:
2871:
2870:
2869:
2868:
2867:
2866:
2865:
2864:
2863:
2862:
2777:
2776:
2775:
2774:
2773:
2772:
2771:
2770:
2769:
2768:
2767:
2766:
2765:
2764:
2716:Thomas Neville
2707:
2706:
2705:
2704:
2703:
2702:
2701:
2700:
2699:
2698:
2697:
2696:
2695:
2694:
2693:(ll.1075β1085)
2637:Cecily Neville
2621:as a character
2547:
2544:
2490:Hermann Ulrici
2445:
2435:
2331:
2330:
2329:
2328:
2327:
2326:
2325:
2324:
2323:
2322:
2321:
2320:
2319:
2318:
2253:
2252:
2251:
2250:
2249:
2248:
2247:
2246:
2245:
2244:
2243:
2242:
2241:
2240:
2239:(ll.2762β2768)
2125:The Slanderers
2080:
2079:as early draft
2074:
1987:The Contention
1947:Pembroke's Men
1865:
1864:
1863:
1862:
1861:
1860:
1859:
1858:
1857:
1856:
1855:
1854:
1853:
1852:
1778:
1777:
1776:
1775:
1774:
1773:
1772:
1771:
1770:
1769:
1768:
1767:
1766:
1765:
1764:(ll.2074β2083)
1689:
1688:
1657:
1647:
1633:
1626:Samuel Johnson
1591:Josiah Boydell
1583:
1577:
1550:Katie Mitchell
1485:Thomas Heywood
1478:intelligentsia
1330:Spanish Armada
1317:
1314:
1312:
1309:
1257:The Contention
1242:, printed for
1219:
1216:
1200:Title page of
1107:
1104:
1102:
1099:
1045:mystery cycles
1038:
1037:
944:
891:
890:
888:
880:
701:
698:
667:Charles Knight
553:
550:
548:
547:
544:
541:
540:Three Watchmen
538:
532:
529:
526:
523:
520:
509:
502:
495:
483:
482:
472:
465:
453:
452:
446:
440:
431:
428:
422:
421:β York's uncle
416:
411:
406:
400:
394:
379:
373:
367:
364:
358:
348:
338:
332:
320:
319:
316:
310:
308:Earl of Oxford
305:
299:
293:
282:
279:Duke of Exeter
276:
270:
264:
261:Queen Margaret
258:
246:
244:
241:
127:First page of
117:
114:
113:
28:
26:
19:
9:
6:
4:
3:
2:
11271:
11260:
11257:
11255:
11252:
11250:
11247:
11245:
11242:
11240:
11237:
11235:
11232:
11230:
11227:
11225:
11222:
11220:
11217:
11215:
11212:
11210:
11207:
11205:
11202:
11200:
11197:
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10865:Bishop of Ely
10863:
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10798:
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10775:Prince Edward
10773:
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10758:
10756:
10753:
10751:
10748:
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10730:Lord Hastings
10728:
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10708:
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10640:Lord Stafford
10638:
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10630:Prince Edward
10628:
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10625:Bona of Savoy
10623:
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10573:
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10454:Lord Clifford
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10348:Jacques d'Arc
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10085:Thomas Quiney
10083:
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10075:(grandfather)
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10031:Judith Quiney
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10013:Anne Hathaway
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9793:Globe Theatre
9791:
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9409:
9407:
9406:Late romances
9404:
9402:
9401:Problem plays
9399:
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9198:Julius Caesar
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9135:Twelfth Night
9132:
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8608:
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8592:Muir, Kenneth
8590:
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8377:
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8363:
8360:
8356:
8353:
8350:
8347:Duthie, G.I.
8346:
8343:
8339:
8336:
8333:
8329:
8326:
8322:
8319:
8315:
8312:Daniel, P.A.
8311:
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8300:
8297:
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8036:. 4 July 2014
8035:
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8025:
8018:
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7891:
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7867:
7861:
7854:
7848:
7841:
7835:
7828:
7822:
7815:
7809:
7802:
7798:
7797:Alan Sinfield
7794:
7788:
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7775:
7768:
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7760:
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7240:Daily Express
7235:
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6832:
6826:
6822:
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6807:
6800:
6794:
6785:
6776:
6767:
6758:
6752:Ribner (1957)
6749:
6747:
6737:
6728:
6719:
6710:
6701:
6692:
6690:
6680:
6671:
6662:
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6605:
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6514:
6509:
6507:
6503:
6499:
6495:
6491:
6490:Henry Herbert
6487:
6483:
6478:
6476:
6472:
6468:
6464:
6460:
6456:
6452:
6448:
6444:
6440:
6439:Nigel Lambert
6436:
6432:
6428:
6424:
6420:
6416:
6412:
6411:Donald Wolfit
6408:
6407:Sonia Dresdel
6404:
6400:
6396:
6392:
6388:
6384:
6380:
6376:
6372:
6368:
6364:
6363:King Henry VI
6360:
6356:
6352:
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6344:
6340:
6330:
6328:
6324:
6320:
6316:
6312:
6308:
6304:
6299:
6298:
6293:
6291:
6287:
6283:
6279:
6278:John Mortimer
6275:
6271:
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6176:
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6134:
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6130:Stanley Wells
6127:
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6104:
6099:
6097:
6093:
6089:
6085:
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6077:
6073:
6069:
6065:
6061:
6060:Michael Hayes
6057:
6056:Robin Midgley
6053:
6049:
6045:
6041:
6037:
6032:
6030:
6026:
6022:
6021:Julian Glover
6019:as Margaret,
6018:
6014:
6010:
6006:
6002:
6001:Michael Hayes
5998:
5997:
5992:
5982:
5979:
5974:
5970:
5966:
5962:
5958:
5954:
5950:
5949:Jim Broadbent
5946:
5942:
5937:
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5909:
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5638:
5634:
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5622:
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5614:
5610:
5606:
5602:
5598:
5597:Mary Kerridge
5594:
5590:
5586:
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5477:
5473:
5469:
5465:
5464:
5459:
5458:
5453:
5449:
5445:
5441:
5437:
5433:
5429:
5425:
5421:
5417:
5414:, the second
5413:
5409:
5403:
5401:
5397:
5393:
5389:
5385:
5381:
5377:
5372:
5370:
5369:Seana McKenna
5366:
5362:
5358:
5354:
5350:
5346:
5342:
5338:
5333:
5331:
5327:
5323:
5319:
5316:. Written by
5315:
5308:
5303:
5299:
5297:
5293:
5289:
5284:
5282:
5278:
5274:
5270:
5266:
5262:
5258:
5254:
5249:
5247:
5243:
5239:
5234:
5229:
5227:
5222:
5219:as Margaret,
5218:
5214:
5213:Ralph Fiennes
5210:
5206:
5202:
5198:
5194:
5190:
5186:
5183:. Adapted by
5182:
5177:
5175:
5174:Andrew Jarvis
5171:
5167:
5163:
5159:
5156:at the time,
5155:
5151:
5147:
5143:
5139:
5135:
5131:
5127:
5123:
5119:
5115:
5111:
5107:
5103:
5099:
5094:
5092:
5088:
5084:
5080:
5076:
5072:
5068:
5064:
5059:
5055:
5052:in 1961, the
5051:
5047:
5042:
5038:
5035:as Margaret,
5034:
5030:
5026:
5022:
5018:
5014:
5010:
5006:
5002:
4998:
4994:
4993:
4988:
4983:
4981:
4977:
4973:
4968:
4964:
4960:
4956:
4952:
4951:Barry Jackson
4948:
4939:
4935:
4931:
4926:
4922:
4920:
4916:
4915:Guy Martineau
4912:
4908:
4904:
4903:Robert Atkins
4899:
4897:
4893:
4889:
4885:
4881:
4880:J.H. Merivale
4877:
4872:
4870:
4866:
4862:
4858:
4854:
4849:
4847:
4843:
4839:
4834:
4830:
4829:
4824:
4823:Colley Cibber
4820:
4816:
4814:
4810:
4809:
4804:
4803:John Fletcher
4800:
4795:
4791:
4787:
4783:
4779:
4775:
4771:
4767:
4763:
4762:
4757:
4753:
4749:
4745:
4730:
4728:
4724:
4720:
4716:
4712:
4708:
4704:
4700:
4696:
4692:
4688:
4684:
4679:
4677:
4672:
4669:and featured
4668:
4664:
4660:
4656:
4652:
4651:
4646:
4645:
4640:
4635:
4633:
4632:Patrick Myles
4629:
4625:
4621:
4617:
4613:
4609:
4605:
4601:
4597:
4593:
4589:
4585:
4581:
4577:
4573:
4569:
4565:
4561:
4556:
4552:
4548:
4544:
4539:
4537:
4536:
4535:Daily Express
4530:
4526:
4520:
4518:
4514:
4510:
4506:
4502:
4498:
4494:
4490:
4486:
4485:The Histories
4482:
4478:
4474:
4473:Forbes Masson
4470:
4466:
4462:
4458:
4457:
4452:
4448:
4447:
4442:
4438:
4434:
4430:
4426:
4422:
4421:Aidan McArdle
4418:
4414:
4413:David Oyelowo
4410:
4405:
4403:
4399:
4395:
4391:
4387:
4383:
4379:
4375:
4371:
4367:
4362:
4360:
4356:
4351:
4347:
4343:
4338:
4335:as Henry and
4334:
4330:
4326:
4318:
4313:
4309:
4307:
4302:
4301:Edgar Wreford
4298:
4294:
4290:
4287:as Henry and
4286:
4282:
4278:
4274:
4270:
4266:
4265:Douglas Seale
4261:
4259:
4254:
4250:
4246:
4236:
4234:
4230:
4226:
4222:
4213:
4208:
4204:
4200:
4188:
4181:
4176:
4172:
4168:
4148:
4147:
4146:
4145:
4144:
4143:
4142:
4141:
4140:
4139:
4138:
4137:
4136:
4135:
4134:
4113:
4111:
4107:
4085:
4084:
4083:
4082:
4081:
4080:
4079:
4078:
4077:
4076:
4075:
4074:
4073:
4072:
4071:
4020:
4000:
3999:
3998:
3997:
3996:
3995:
3994:
3993:
3992:
3991:
3990:
3989:
3988:
3987:
3986:
3963:
3959:
3957:
3951:
3948:
3937:
3934:
3930:
3926:
3921:
3917:
3915:
3911:
3907:
3902:
3899:
3895:
3890:
3885:
3879:
3872:
3871:Nicholas Rowe
3868:
3863:
3854:
3834:
3833:
3832:
3831:
3830:
3829:
3828:
3827:
3826:
3825:
3824:
3823:
3822:
3821:
3820:
3803:
3801:
3800:single combat
3796:
3775:
3774:
3773:
3772:
3771:
3770:
3769:
3768:
3767:
3766:
3765:
3764:
3763:
3762:
3761:
3751:
3746:
3742:
3737:
3736:He stabs him.
3730:
3711:
3704:
3697:
3691:
3686:
3677:
3672:
3665:
3661:
3657:
3634:
3625:
3616:
3610:
3601:
3595:
3593:
3572:
3571:
3570:
3569:
3568:
3567:
3566:
3565:
3564:
3563:
3562:
3561:
3560:
3559:
3558:
3553:
3549:
3544:will I cut it
3543:
3540:Into as many
3537:
3531:
3525:
3517:
3512:
3498:
3488:
3486:
3477:
3473:
3469:
3465:
3461:
3457:
3454:
3432:
3431:
3430:
3429:
3428:
3427:
3426:
3425:
3424:
3423:
3422:
3421:
3420:
3419:
3418:
3395:
3392:
3390:
3386:
3382:
3376:
3374:
3370:
3367:as England's
3366:
3362:
3358:
3344:
3339:
3330:
3328:
3324:
3320:
3316:
3312:
3308:
3304:
3300:
3296:
3292:
3287:
3285:
3281:
3277:
3273:
3267:
3265:
3261:
3257:
3253:
3245:
3241:
3237:
3233:
3231:
3227:
3223:
3219:
3215:
3211:
3206:
3202:
3198:
3194:
3190:
3186:
3182:
3178:
3174:
3170:
3165:
3162:
3141:
3140:
3139:
3138:
3137:
3136:
3135:
3134:
3133:
3132:
3131:
3130:
3129:
3128:
3127:
3119:
3111:
3092:
3091:
3090:
3089:
3088:
3087:
3086:
3085:
3084:
3083:
3082:
3081:
3080:
3079:
3078:
3070:
3060:
3059:Indian stones
3053:
3046:
3041:
3039:
3033:
3014:
3013:
3012:
3011:
3010:
3009:
3008:
3007:
3006:
3005:
3004:
3003:
3002:
3001:
3000:
2990:
2978:
2973:
2961:
2959:
2953:
2951:
2947:
2943:
2938:
2934:
2930:
2926:
2922:
2917:
2913:
2904:
2900:
2896:
2892:
2890:
2880:
2860:
2859:
2858:
2857:
2856:
2855:
2854:
2853:
2852:
2851:
2850:
2849:
2848:
2847:
2846:
2843:
2842:
2835:
2827:
2826:
2811:
2810:
2803:
2801:
2796:
2794:
2793:Michael Byrne
2789:
2788:
2782:
2762:
2761:
2760:
2759:
2758:
2757:
2756:
2755:
2754:
2753:
2752:
2751:
2750:
2749:
2748:
2743:
2723:
2721:
2717:
2713:
2692:
2691:
2690:
2689:
2688:
2687:
2686:
2685:
2684:
2683:
2682:
2681:
2680:
2679:
2678:
2655:
2653:
2648:
2646:
2642:
2638:
2634:
2630:
2624:
2622:
2618:
2614:
2610:
2606:
2602:
2598:
2594:
2590:
2586:
2582:
2578:
2574:
2570:
2566:
2560:
2558:
2554:
2543:
2541:
2536:
2534:
2530:
2526:
2522:
2518:
2514:
2510:
2506:
2501:
2497:
2495:
2491:
2487:
2483:
2482:Tudor dynasty
2479:
2475:
2471:
2467:
2463:
2459:
2455:
2451:
2444:
2440:
2434:
2432:
2428:
2424:
2420:
2416:
2412:
2408:
2404:
2400:
2396:
2392:
2387:
2382:
2380:
2376:
2372:
2368:
2364:
2356:
2352:
2348:
2346:
2342:
2338:
2316:
2315:
2314:
2313:
2312:
2311:
2310:
2309:
2308:
2307:
2306:
2305:
2304:
2303:
2302:
2297:
2290:
2275:
2270:
2265:
2263:
2258:
2238:
2237:
2236:
2235:
2234:
2233:
2232:
2231:
2230:
2229:
2228:
2227:
2226:
2225:
2224:
2218:
2211:
2206:
2198:
2194:
2193:
2188:
2181:
2176:
2174:
2169:
2167:
2162:
2158:
2153:
2149:
2145:
2141:
2136:
2134:
2130:
2126:
2122:
2121:
2116:
2111:
2107:
2103:
2099:
2095:
2091:
2087:
2078:
2073:
2071:
2067:
2062:
2058:
2053:
2049:
2043:
2041:
2037:
2033:
2029:
2024:
2023:
2019:
2009:
2006:
1997:
1992:
1988:
1984:
1980:
1976:
1972:
1968:
1964:
1960:
1956:
1952:
1948:
1944:
1943:Strange's Men
1940:
1936:
1932:
1928:
1927:
1922:
1918:
1911:
1906:
1902:
1899:
1895:
1891:
1887:
1883:
1879:
1875:
1871:
1850:
1849:
1848:
1847:
1846:
1845:
1844:
1843:
1842:
1841:
1840:
1839:
1838:
1837:
1836:
1831:
1830:Lord Bonville
1824:
1809:
1800:
1791:
1786:
1784:
1763:
1762:
1761:
1760:
1759:
1758:
1757:
1756:
1755:
1754:
1753:
1752:
1751:
1750:
1749:
1741:
1736:
1729:
1723:
1716:
1711:
1709:
1704:
1702:
1698:
1694:
1686:
1682:
1678:
1674:
1670:
1666:
1662:
1658:
1655:
1651:
1648:
1645:
1641:
1637:
1634:
1631:
1627:
1623:
1619:
1615:
1612:
1611:
1610:
1608:
1604:
1596:
1592:
1588:
1581:
1576:
1574:
1570:
1565:
1563:
1559:
1555:
1551:
1547:
1546:Adrian Nobles
1543:
1539:
1535:
1531:
1525:
1523:
1519:
1518:
1513:
1509:
1504:
1500:
1496:
1495:
1490:
1486:
1481:
1479:
1475:
1471:
1470:
1466:commented in
1465:
1460:
1456:
1455:
1450:
1446:
1445:
1440:
1439:Philip Sidney
1436:
1432:
1428:
1424:
1420:
1419:
1414:
1413:
1408:
1407:
1402:
1401:
1396:
1391:
1387:
1382:
1380:
1379:
1374:
1373:
1368:
1367:Robert Greene
1364:
1363:
1358:
1357:
1352:
1351:
1346:
1342:
1341:
1336:
1331:
1327:
1323:
1308:
1306:
1302:
1301:Henry Condell
1298:
1297:John Heminges
1294:
1289:
1287:
1283:
1279:
1274:
1272:
1271:
1266:
1262:
1258:
1254:
1249:
1245:
1244:Thomas Pavier
1241:
1237:
1233:
1229:
1225:
1215:
1213:
1212:
1203:
1198:
1194:
1192:
1188:
1184:
1180:
1179:
1174:
1169:
1165:
1164:
1159:
1158:Robert Greene
1154:
1152:
1149:, and if so,
1148:
1144:
1143:reported text
1140:
1136:
1132:
1128:
1124:
1120:
1112:
1101:Date and text
1098:
1096:
1095:
1090:
1089:
1084:
1080:
1079:
1074:
1070:
1069:
1064:
1060:
1056:
1052:
1051:
1046:
1036:
1032:
952:
950:
945:
942:
904:
889:
887:
886:
884:
883:
879:
877:
873:
872:
867:
866:
861:
860:Arthur Brooke
856:
854:
850:
846:
842:
841:
836:
832:
830:
826:
825:
820:
815:
812:
808:
804:
800:
799:
794:
793:
789:
785:
777:
773:
769:
765:
761:
757:
754:
745:
741:
736:
732:
729:
725:
724:
719:
715:
711:
707:
697:
695:
690:
688:
683:
681:
677:
668:
664:
660:
656:
651:
647:
645:
641:
637:
636:John of Gaunt
633:
628:
626:
621:
615:
613:
610:and Richard,
609:
605:
600:
598:
594:
590:
586:
581:
579:
575:
571:
567:
563:
559:
545:
542:
539:
537:
533:
530:
527:
524:
521:
518:
514:
510:
507:
503:
500:
496:
494:
493:Mayor of York
490:
489:
488:
487:
480:
476:
473:
470:
469:Bona of Savoy
466:
464:
460:
459:
458:
457:
450:
449:Prince Edward
447:
445:β her brother
444:
441:
439:
435:
432:
429:
426:
423:
420:
417:
415:
412:
410:
409:Lord Hastings
407:
404:
403:Lord Stafford
401:
398:
395:
392:
388:
384:
380:
377:
374:
371:
368:
365:
362:
359:
356:
352:
349:
346:
342:
339:
336:
333:
330:
327:
326:
325:
324:
317:
314:
311:
309:
306:
303:
300:
297:
294:
291:
287:
283:
280:
277:
274:
273:Lord Clifford
271:
268:
265:
262:
259:
256:
255:King Henry VI
253:
252:
251:
250:
240:
238:
234:
230:
226:
224:
220:
216:
215:
210:
207:Although the
205:
203:
199:
195:
191:
187:
183:
182:
177:
173:
169:
168:
163:
159:
155:
151:
150:
145:
144:
136:
135:
130:
125:
121:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: β
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
11159:
11151:
11084:
11078:
11071:
11063:
11055:
11047:
11024:
11016:
11009:
10999:" (1983; TV)
10987:
10979:
10969:
10954:
10947:
10940:
10933:
10919:
10911:
10715:Lady Neville
10680:
10645:Lord Bourbon
10493:
10367:
10220:
10199:
10193:
10192:
10185:
10178:
10087:(son-in-law)
10081:(son-in-law)
10019:Susanna Hall
9960:
9949:Institutions
9928:
9773:Coat of arms
9766:Translations
9758:
9754:Bibliography
9721:To the Queen
9719:
9712:
9694:
9687:
9679:
9672:
9665:
9658:
9650:
9643:
9636:
9629:
9622:
9615:
9608:
9599:
9591:
9584:
9577:
9570:
9563:
9555:
9548:
9541:
9514:
9507:
9500:
9493:
9479:
9441:Performances
9385:Second Folio
9353:
9346:
9338:
9337:
9330:
9322:
9315:
9308:
9299:
9292:
9287:
9280:
9272:
9265:
9245:
9238:
9231:
9224:
9217:
9210:
9203:
9196:
9189:
9182:
9175:
9155:
9147:
9140:
9133:
9126:
9119:
9111:
9104:
9097:
9090:
9083:
9076:
9069:
9062:
9055:
9048:
9041:
8979:
8964:
8955:
8951:
8941:
8936:
8925:
8912:
8898:
8883:
8876:
8871:
8863:
8855:
8843:
8831:
8815:
8811:
8804:
8802:Wilson, F.P.
8795:
8788:
8781:
8774:
8765:
8761:
8757:
8750:
8741:
8737:
8730:
8720:
8710:
8699:
8692:
8685:
8678:
8671:
8661:
8650:
8643:
8636:
8629:
8619:
8617:Onions, C.T.
8610:
8606:
8602:
8595:
8585:
8578:
8574:
8570:
8559:
8555:
8544:
8540:
8533:
8529:
8520:
8513:
8509:
8502:
8489:
8479:
8472:
8462:
8452:
8445:
8435:
8426:
8423:Hall, Edward
8416:
8407:
8403:
8399:
8389:
8379:
8372:
8365:
8358:
8355:Foakes, R.A.
8348:
8341:
8331:
8324:
8313:
8306:
8302:
8295:
8288:
8284:
8277:
8270:
8255:
8251:
8242:
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8234:
8227:
8220:
8202:
8195:
8191:
8188:Taylor, Gary
8180:
8173:
8166:
8159:
8152:
8145:
8138:
8131:
8115:
8105:
8095:
8088:
8081:
8074:
8064:
8053:
8052:Editions of
8038:. Retrieved
8024:
8014:
8009:
7997:
7989:
7984:
7976:
7971:
7959:. Retrieved
7949:
7942:
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7916:
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7882:
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7644:
7640:
7635:
7623:. Retrieved
7613:
7605:
7597:
7593:
7588:
7579:
7567:. Retrieved
7563:the original
7556:
7552:
7544:
7532:. Retrieved
7522:
7514:
7509:
7501:
7496:
7488:
7483:
7474:
7466:
7461:
7452:
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7436:
7431:
7419:. Retrieved
7415:the original
7408:
7401:
7389:. Retrieved
7379:
7367:. Retrieved
7360:
7353:
7341:. Retrieved
7335:
7325:
7313:. Retrieved
7309:The Guardian
7307:
7297:
7285:. Retrieved
7275:
7263:. Retrieved
7259:The Guardian
7257:
7247:
7239:
7234:
7222:. Retrieved
7218:the original
7207:
7199:
7190:
7182:
7177:
7168:
7160:
7156:
7151:
7144:
7139:
7130:
7121:
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6884:
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6700:
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6634:
6613:
6604:
6580:
6575:
6566:
6562:
6560:
6545:
6541:
6535:
6530:'s Japanese
6526:
6516:
6510:
6505:
6501:
6497:
6485:
6479:
6462:
6459:Elizabeth II
6446:
6434:
6430:
6426:
6422:
6398:
6394:
6390:
6386:
6382:
6378:
6369:as York and
6362:
6354:
6346:
6338:
6336:
6326:
6322:
6310:
6300:
6296:
6294:
6289:
6263:
6257:
6249:
6244:
6236:
6233:True Tragedy
6232:
6229:True Tragedy
6228:
6226:
6217:
6212:
6210:
6197:
6193:
6189:
6178:
6174:
6170:
6166:
6162:
6147:
6141:
6120:, Edward by
6118:Julia Foster
6114:Peter Benson
6106:
6100:
6095:
6091:
6075:
6067:
6051:
6047:
6043:
6039:
6033:
6013:Terry Scully
6009:Eric Crozier
5994:
5988:
5977:
5972:
5968:
5957:Dominic West
5944:
5940:
5935:
5912:Ian McKellen
5907:
5903:
5900:Richard Eyre
5890:
5848:
5842:
5838:
5836:
5820:(ll.165β195)
5777:And, like a
5710:
5704:
5700:
5698:
5682:(ll.153β162)
5646:
5640:
5636:
5632:
5628:
5624:
5621:Pamela Brown
5604:
5600:
5593:John Gielgud
5582:
5576:
5567:
5563:
5559:
5545:
5535:
5514:
5510:
5508:
5503:
5499:
5497:
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5467:
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5439:
5435:
5423:
5419:
5415:
5411:
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5404:
5402:as Richard.
5392:Robert Hands
5387:
5383:
5373:
5364:
5360:
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5344:
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5313:
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5295:
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5276:
5272:
5268:
5264:
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5241:
5237:
5230:
5225:
5217:Penny Downie
5208:
5204:
5200:
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5192:
5189:Adrian Noble
5185:Charles Wood
5178:
5176:as Richard.
5170:Philip Bowen
5162:Paul Brennan
5145:
5141:
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5133:
5129:
5125:
5095:
5090:
5086:
5062:
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5029:David Warner
5024:
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5016:
5012:
5004:
5003:and half of
5000:
4996:
4990:
4984:
4979:
4975:
4966:
4962:
4958:
4954:
4946:
4943:
4936:, staged at
4933:
4932:premiere of
4910:
4900:
4895:
4891:
4887:
4883:
4878:appeared in
4873:
4864:
4860:
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4850:
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4812:
4806:
4781:
4780:and much of
4777:
4773:
4769:
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4759:
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4508:
4504:
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4492:
4491:production.
4484:
4480:
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4450:
4444:
4440:
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4432:
4428:
4424:
4409:Swan Theatre
4406:
4401:
4397:
4393:
4389:
4377:
4363:
4361:as Richard.
4359:Anton Lesser
4355:Alfred Lynch
4349:
4345:
4337:Helen Mirren
4328:
4322:
4305:
4304:speech from
4297:Alan Bridges
4292:
4285:Paul Daneman
4280:
4276:
4268:
4262:
4249:F. R. Benson
4244:
4242:
4223:against the
4221:Dutch Revolt
4217:
4211:
4202:
4190:
4185:
4179:
4169:
4165:
4115:
4102:
4022:
4017:
4001:(1.1217β226)
3965:
3960:
3955:
3952:
3943:
3932:
3922:
3918:
3913:
3903:
3897:
3888:
3880:
3876:
3869:, edited by
3866:
3851:
3805:
3797:
3793:
3749:
3744:
3740:
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3728:
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3467:
3449:
3397:
3393:
3377:
3356:
3353:
3288:
3268:
3249:
3239:
3166:
3158:
3142:(ll.168β173)
3113:
3109:
3068:
3051:
3044:
3043:
3038:Duke of York
3034:
3031:
2963:
2954:
2908:
2903:William Dyce
2898:
2886:
2877:
2840:
2839:
2824:
2823:
2808:
2807:
2805:
2799:
2797:
2785:
2783:
2779:
2725:
2719:
2711:
2709:
2657:
2652:True Tragedy
2651:
2649:
2640:
2632:
2628:
2625:
2620:
2616:
2612:
2608:
2604:
2600:
2596:
2592:
2588:
2584:
2580:
2568:
2564:
2561:
2552:
2549:
2539:
2537:
2532:
2529:True Tragedy
2528:
2525:True Tragedy
2524:
2520:
2516:
2513:True Tragedy
2512:
2508:
2505:True Tragedy
2504:
2502:
2498:
2474:True Tragedy
2473:
2469:
2466:True Tragedy
2465:
2461:
2457:
2454:True Tragedy
2453:
2450:True Tragedy
2449:
2447:
2442:
2439:True Tragedy
2438:
2430:
2426:
2422:
2419:True Tragedy
2418:
2414:
2410:
2406:
2402:
2398:
2394:
2391:True Tragedy
2390:
2386:True Tragedy
2385:
2383:
2379:True Tragedy
2378:
2374:
2371:True Tragedy
2370:
2366:
2363:True Tragedy
2362:
2360:
2344:
2341:True Tragedy
2340:
2336:
2333:
2295:
2288:
2273:
2268:
2267:
2261:
2259:
2255:
2216:
2209:
2204:
2192:Et tu, Brute
2190:
2186:
2179:
2178:
2173:True Tragedy
2172:
2170:
2166:True Tragedy
2165:
2160:
2157:True Tragedy
2156:
2151:
2148:True Tragedy
2147:
2143:
2140:True Tragedy
2139:
2137:
2132:
2128:
2124:
2118:
2109:
2105:
2102:True Tragedy
2101:
2097:
2093:
2089:
2085:
2082:
2077:True Tragedy
2076:
2070:True Tragedy
2069:
2065:
2060:
2057:True Tragedy
2056:
2051:
2048:True Tragedy
2047:
2044:
2039:
2036:True Tragedy
2035:
2031:
2028:True Tragedy
2027:
2025:
2021:
2010:
1994:
1986:
1982:
1979:True Tragedy
1978:
1974:
1971:True Tragedy
1970:
1966:
1962:
1958:
1955:True Tragedy
1954:
1951:True Tragedy
1950:
1938:
1935:Sussex's Men
1930:
1924:
1920:
1917:True Tragedy
1916:
1914:
1909:
1897:
1894:True Tragedy
1893:
1890:True Tragedy
1889:
1885:
1882:True Tragedy
1881:
1867:
1822:
1807:
1798:
1789:
1788:
1782:
1780:
1734:
1727:
1714:
1713:
1708:True Tragedy
1707:
1705:
1700:
1697:True Tragedy
1696:
1693:True Tragedy
1692:
1690:
1685:True Tragedy
1684:
1681:George Peele
1677:Thomas Lodge
1668:
1661:True Tragedy
1660:
1653:
1650:True Tragedy
1649:
1643:
1639:
1636:True Tragedy
1635:
1622:"bad octavo"
1617:
1614:True Tragedy
1613:
1606:
1603:True Tragedy
1602:
1600:
1594:
1580:True Tragedy
1579:
1573:True Tragedy
1572:
1568:
1566:
1558:Michael Boyd
1552:'s in 1994,
1544:'s in 1986,
1526:
1521:
1515:
1492:
1489:Thomas Nashe
1482:
1473:
1467:
1458:
1452:
1442:
1435:diegetically
1425:precepts of
1423:neoclassical
1416:
1410:
1404:
1398:
1389:
1385:
1383:
1376:
1370:
1360:
1354:
1348:
1345:Thomas Lodge
1338:
1321:
1319:
1304:
1292:
1290:
1285:
1281:
1277:
1275:
1268:
1264:
1260:
1256:
1251:
1247:
1224:True Tragedy
1223:
1221:
1210:
1207:
1201:
1186:
1182:
1176:
1167:
1161:
1160:'s pamphlet
1155:
1150:
1146:
1139:True Tragedy
1138:
1123:True Tragedy
1122:
1118:
1117:
1092:
1086:
1078:Tragicus Rex
1076:
1066:
1062:
1058:
1054:
1048:
1042:
1034:
954:
948:
946:
892:
875:
869:
863:
857:
844:
838:
833:
828:
822:
816:
810:
806:
802:
796:
790:
781:
767:
758:
749:
743:
721:
713:
705:
703:
691:
684:
672:
665:, edited by
662:
654:
629:
616:
601:
582:
557:
555:
504:John Brett,
485:
484:
475:Lord Bourbon
455:
454:
386:
357:; York's son
322:
321:
248:
247:
228:
227:
213:
208:
206:
185:
179:
165:
154:history play
148:
147:
142:
141:
140:
132:
128:
120:
102:
96:January 2021
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
11184:1590s plays
11026:Richard III
11010:Richard III
10989:Richard III
10971:Richard III
10956:Richard III
10755:Lord Rivers
10690:Richard III
10681:Richard III
10605:Lord Rivers
10474:Lord Scales
10292:John Talbot
10246:Lord Talbot
10201:Richard III
10125:WikiProject
9812:The Theatre
9798:Handwriting
9624:The Puritan
9415:Characters
9380:First Folio
9348:Richard III
9128:The Tempest
8877:First Folio
8486:Jonson, Ben
8364:Frey, D.L.
8349:Shakespeare
8016:Radio Times
7961:21 November
7950:Heinrich VI
7641:Richard III
7625:21 November
7614:Richard III
7569:21 November
7534:21 November
7421:21 November
7391:21 November
7369:21 November
7145:Richard III
6980:Reed (1984)
6959:(1849β1852)
6957:Shakespeare
6935:(1809β1811)
6821:Shakespeare
6585:John Sinklo
6581:First Folio
6546:Richard III
6486:Radio Guild
6443:BBC Radio 4
6415:BBC Radio 3
6395:Richard III
6375:Peter Watts
6349:. In 1947,
6311:Heinrich VI
6286:Ian McShane
6245:Richard III
6202:David Giles
6175:Richard III
6096:Richard III
6052:Richard III
6017:Mary Morris
5978:Richard III
5969:Richard III
5963:(played by
5955:(played by
5941:Richard III
5918:as Edward,
5904:Richard III
5874:(ll. 84β88)
5839:Richard III
5701:Richard III
5637:Richard III
5629:Richard III
5625:Richard III
5619:(played by
5611:(played by
5591:as Edward,
5584:Richard III
5568:Richard III
5540:; the 1929
5538:sound films
5523:James Keane
5511:Richard III
5504:Richard III
5488:Richard III
5480:Heinrich VI
5253:Edward Hall
5226:Richard III
5211:. Starring
5150:June Watson
5050:Berlin Wall
5037:Roy Dotrice
5025:Richard III
4987:John Barton
4980:Richard III
4911:First Folio
4907:The Old Vic
4876:Edmund Kean
4786:Popish Plot
4752:John Crowne
4748:Restoration
4733:Adaptations
4711:Carcassonne
4691:Burgtheater
4676:Richard III
4671:Nat Cassidy
4667:Adam Marple
4517:Richard III
4463:, with the
4441:Richard III
4402:Richard III
4380:. Starring
4333:Alan Howard
4331:plays with
4325:Terry Hands
4306:Richard III
4239:Performance
4231:signed the
4229:Elizabeth I
4214:adaptation.
4149:(2.2.45β53)
4086:(2.2.19β42)
3894:Jane Howell
3776:(1.3.19β52)
3654:Therefore β
3573:(5.2.45β60)
3495:The silver
3464:H.C. Selous
3433:(2.1.79β88)
3341:Drawing by
3321:(2.5.131),
3317:(2.5.126),
3313:(2.2.138),
3201:screech owl
3015:(ll.96β108)
2972:Plantagenet
2861:(2.3.14-23)
2763:(2.3.14β23)
2431:First Folio
2409:edition of
2317:(5.1.76β82)
2016: 1593
2003: 1592
1851:(4.1.48β59)
1740:Lord Scales
1640:First Folio
1554:Edward Hall
1548:' in 1988,
1540:' in 1977,
1538:Terry Hands
1534:John Barton
1431:mimetically
1340:Tamburlaine
1282:First Folio
1240:False Folio
1173:blank verse
1135:Peter Short
1091:(1516) and
1083:Thomas More
1031:(5.4.1β38)
849:protagonist
740:Edward Hall
710:Edward Hall
642:and son of
638:, uncle of
536:gamekeepers
443:Lord Rivers
269:β their son
233:soliloquies
214:Richard III
194:moral codes
134:First Folio
11178:Categories
11005:(1994; TV)
10959:(2016; TV)
10930:(1983; TV)
10924:(1965; TV)
10916:(1960; TV)
10830:Lord Lovel
10495:3 Henry VI
10369:2 Henry VI
10222:1 Henry VI
10213:and events
10211:Characters
10049:Mary Arden
10033:(daughter)
10021:(daughter)
9897:Bardolatry
9807:King's Men
9749:Birthplace
9436:Chronology
9355:Henry VIII
9282:Richard II
9274:Edward III
9184:Coriolanus
8812:3 Henry VI
8575:3 Henry VI
8556:3 Henry VI
8404:3 Henry VI
8396:Greg. W.W.
8303:3 Henry VI
8269:(editor),
8239:3 Henry VI
7343:7 February
7315:7 February
7287:7 February
7265:9 February
7224:16 January
7159:on Tour",
6552:References
6506:3 Henry VI
6502:2 Henry VI
6498:1 Henry VI
6477:narrated.
6471:Ian Ogilvy
6463:3 Henry VI
6435:3 Henry VI
6431:2 Henry VI
6427:2 Henry VI
6423:1 Henry VI
6405:as Henry,
6399:1 Henry VI
6391:3 Henry VI
6387:2 Henry VI
6383:1 Henry VI
6237:3 Henry VI
6218:2 Henry VI
6171:3 Henry VI
6167:2 Henry VI
6163:1 Henry VI
6092:3 Henry VI
6076:3 Henry VI
6068:2 Henry VI
6015:as Henry,
6005:Peter Dews
5985:Television
5973:3 Henry VI
5945:3 Henry VI
5936:3 Henry VI
5908:3 Henry VI
5843:3 Henry VI
5799:to school
5705:3 Henry VI
5641:3 Henry VI
5633:3 Henry VI
5617:Jane Shore
5605:3 Henry VI
5601:3 Henry VI
5564:3 Henry VI
5560:1 Henry VI
5515:3 Henry VI
5500:3 Henry VI
5468:2 Henry VI
5444:Richard II
5388:1 Henry VI
5357:3 Henry VI
5353:2 Henry VI
5349:2 Henry VI
5345:1 Henry VI
5337:Leon Rubin
5318:Matt Toner
5288:Tom Markus
5277:3 Henry VI
5273:1 Henry VI
5269:2 Henry VI
5265:1 Henry VI
5215:as Henry,
5193:2 Henry VI
5138:3 Henry VI
5134:2 Henry VI
5130:2 Henry VI
5126:1 Henry VI
5031:as Henry,
5021:3 Henry VI
5017:2 Henry VI
5005:2 Henry VI
5001:1 Henry VI
4976:3 Henry VI
4967:3 Henry VI
4963:1 Henry VI
4959:2 Henry VI
4955:1 Henry VI
4930:West Coast
4896:3 Henry VI
4892:3 Henry VI
4869:Drury Lane
4865:3 Henry VI
4861:2 Henry VI
4846:3 Henry VI
4833:3 Henry VI
4819:3 Henry VI
4813:3 Henry VI
4782:3 Henry VI
4778:2 Henry VI
4770:2 Henry VI
4744:3 Henry VI
4738:Theatrical
4723:3 Henry VI
4719:2 Henry VI
4650:Henry VIII
4628:3 Henry VI
4616:3 Henry VI
4608:2 Henry VI
4596:3 Henry VI
4588:Tewkesbury
4584:3 Henry VI
4564:3 Henry VI
4555:3 Henry VI
4505:Richard II
4493:3 Henry VI
4469:Chuk Iwuji
4433:2 Henry IV
4429:1 Henry IV
4425:Richard II
4417:Fiona Bell
4415:as Henry,
4398:2 Henry VI
4394:Richard II
4386:Lloyd Owen
4295:featuring
4293:3 Henry VI
4281:1 Henry VI
4277:2 Henry VI
4269:3 Henry VI
4245:3 Henry VI
4106:Richard II
3914:2 Henry VI
3910:antagonist
3889:3 Henry VI
3835:(2.4.5β11)
3592:3 Henry VI
3534:Meet I an
3485:2 Henry VI
3453:deflowered
3381:thy father
3371:sacrifice
3357:3 Henry VI
3329:(4.7.25).
3323:chameleons
3297:(1.4.62),
3293:(1.4.61),
3093:(ll.61β68)
2950:abdication
2933:Thy father
2929:legitimacy
2912:parliament
2838:The noble
2800:3 Henry VI
2712:3 Henry VI
2645:Pontefract
2641:2 Henry VI
2633:3 Henry VI
2629:2 Henry VI
2617:3 Henry VI
2605:2 Henry VI
2601:1 Henry VI
2593:3 Henry VI
2589:2 Henry VI
2585:1 Henry VI
2581:3 Henry VI
2569:2 Henry VI
2565:1 Henry VI
2553:2 Henry VI
2540:3 Henry VI
2533:3 Henry VI
2521:3 Henry VI
2517:3 Henry VI
2509:3 Henry VI
2478:Tudor myth
2470:3 Henry VI
2462:3 Henry VI
2458:3 Henry VI
2443:3 Henry VI
2427:3 Henry VI
2411:2 Henry VI
2375:3 Henry VI
2367:3 Henry VI
2345:3 Henry VI
2337:3 Henry VI
2262:3 Henry VI
2161:3 Henry VI
2152:3 Henry VI
2144:3 Henry VI
2106:3 Henry VI
2098:3 Henry VI
2090:3 Henry VI
2086:2 Henry VI
2066:3 Henry VI
2052:3 Henry VI
2040:3 Henry VI
2032:3 Henry VI
2020:3 Henry VI
1921:3 Henry VI
1898:3 Henry VI
1886:3 Henry VI
1783:3 Henry VI
1701:3 Henry VI
1669:3 Henry VI
1654:3 Henry VI
1618:3 Henry VI
1607:3 Henry VI
1569:3 Henry VI
1530:Peter Hall
1522:1 Henry VI
1512:effeminate
1474:3 Henry VI
1464:Ben Jonson
1412:2 Henry IV
1406:1 Henry IV
1400:Richard II
1390:3 Henry VI
1386:1 Henry VI
1278:3 Henry VI
1248:2 Henry VI
1187:3 Henry VI
1183:3 Henry VI
1168:3 Henry VI
1151:3 Henry VI
1147:3 Henry VI
949:3 Henry VI
835:Thomas Kyd
807:3 Henry VI
706:3 Henry VI
694:infant son
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640:Richard II
578:his father
558:2 Henry VI
456:The French
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243:Characters
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181:2 Henry VI
167:1 Henry VI
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149:3 Henry VI
66:newspapers
10905:Tetralogy
10898:On screen
10725:Edward IV
10549:Lady Grey
10524:Edward IV
10469:Lord Saye
10423:Jack Cade
10079:John Hall
10069:(brother)
10057:(brother)
9989:(replica)
9929:Star Trek
9917:Memorials
9912:Influence
9902:Festivals
9844:Sexuality
9834:Portraits
9829:New Place
9681:Ur-Hamlet
9617:Mucedorus
9527:Apocrypha
9267:King John
9258:Histories
9205:King Lear
9168:Tragedies
9064:Cymbeline
8982:Version).
8901:Home Page
8879:spelling.
8569: . "
8316:(London:
7553:Rose Rage
7208:Histories
6557:Citations
6528:Aya Kanno
6494:CBC Radio
6447:Vivat Rex
6343:BBC Radio
6319:Stuttgart
6274:Tim Curry
6185:atavistic
6072:Jack Cade
6042:trilogy (
6034:In 1965,
5916:John Wood
5797:Machiavel
5498:Although
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5424:Edward IV
5416:Haus York
5384:Rose Rage
5335:In 2002,
5286:In 2001,
5251:In 2000,
5221:Ken Bones
5013:Edward IV
4874:In 1817,
4808:Philaster
4644:King John
4372:(RSC) at
4364:In 1994,
4279:in 1951.
4263:In 1952,
3590:Early in
3389:my father
3291:woodcocks
3187:peck the
2841:Salisbury
2059:, Edward
2008:Edward II
1665:anonymous
1562:aesthetic
1508:patriotic
853:Hieronimo
798:King Lear
784:Sackville
585:Wakefield
438:Edward IV
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10554:Montague
10504:Henry VI
10378:Henry VI
10231:Henry VI
10115:Category
10063:(sister)
10051:(mother)
10045:(father)
9557:Cardenio
9446:Settings
9394:See also
9317:Henry VI
9288:Henry IV
9034:Comedies
8952:Henry VI
8937:Henry VI
8931:LibriVox
8904:Archived
8888:Archived
8738:Henry VI
8709: .
8541:Henry VI
8512:plays",
8510:Henry VI
8287:Plays",
8285:Henry VI
8252:Henry VI
8040:12 March
7799:(eds.),
7719:Henry VI
7685:Henry VI
7671:Archived
7594:Henry VI
7557:Henry VI
7157:Henry VI
6542:Henry VI
6482:NBC Blue
6339:Henry VI
6290:Henry VI
6126:Ron Cook
6101:Another
6066:covered
6044:Henry VI
5953:Richmond
5761:basilisk
5572:Broadway
5448:Henry IV
5420:Henry VI
5330:Falstaff
5281:abattoir
5238:Henry VI
5201:Henry VI
5181:Barbican
5142:Henry VI
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5083:Jan Kott
5063:Henry VI
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4997:Henry VI
4888:Henry VI
4790:royalist
4572:streamed
4513:Henry VI
4509:Henry IV
4489:ensemble
4465:Henry VI
4390:Gorboduc
4329:Henry VI
4110:Henry IV
3933:Henry VI
3925:betrayal
3750:CLIFFORD
3729:CLIFFORD
3703:CLIFFORD
3685:CLIFFORD
3633:CLIFFORD
3615:CLIFFORD
3552:Absyrtus
3546:As wild
3518:to fire,
3511:virginal
3369:warlords
3361:chivalry
3260:shepherd
3169:falconry
2883:Language
2834:fetlocks
2809:father's
2742:fetlocks
2720:Henry VI
2289:CLARENCE
2217:CLARENCE
2180:CLARENCE
2133:Henry VI
1823:CLARENCE
1790:CLARENCE
1735:CLARENCE
1715:CLARENCE
1632:in 1928.
1499:didactic
1454:Gorboduc
1359:(1588),
1343:(1587),
1322:Henry VI
811:Gorboduc
803:Gorboduc
792:Gorboduc
788:Norton's
774:(1815).
562:Yorkists
552:Synopsis
543:Huntsman
531:Nobleman
499:aldermen
353:β later
343:β later
209:Henry VI
11229:Henriad
11131:Related
11041:Sources
9907:Gardens
9783:Editors
9586:Locrine
9579:Fair Em
9411:Henriad
9310:Henry V
9219:Othello
9212:Macbeth
8847:β from
8320:, 1879)
8190:(eds.)
7663:(1960)"
7616:(1911)"
6579:In the
6198:Henriad
6158:parquet
5791:Proteus
5773:Ulysses
5755:mermaid
5457:Macbeth
5452:Henry V
5261:Newbury
5114:Spoleto
4940:in 1993
4838:Henry V
4725:at the
4715:CrΓ©teil
4618:), and
4551:Balkans
4437:Henry V
4342:madness
4271:at the
3884:motives
3741:RUTLAND
3710:RUTLAND
3696:RUTLAND
3676:RUTLAND
3624:RUTLAND
3600:RUTLAND
3542:gobbets
3350:Revenge
3295:rabbits
3222:tempest
3193:feather
3181:Phoenix
2958:Elysium
2942:impasse
2937:traitor
2722:plays;
2274:WARWICK
2210:WARWICK
2135:plays.
1828:Of the
1808:RICHARD
1532:'s and
1418:Henry V
1372:Selimus
845:Tragedy
753:lineage
700:Sources
661:, from
574:Henry's
219:Henry V
198:revenge
152:) is a
80:scholar
11164:(1745)
11156:(1699)
11068:(1580)
11060:(1577)
11052:(1559)
11029:(2007)
11021:(1996)
11013:(1995)
10992:(1955)
10984:(1912)
10104:β Lost
10015:(wife)
10006:Family
9879:Legacy
9451:Scenes
9191:Hamlet
8972:
8705:
8656:
8565:
8550:
8494:, 1605
8475:, 1587
8448:, 1612
8429:, 1548
8392:, 1569
8261:
8114:(ed.)
8104:(ed.)
8073:(ed.)
7013:(2002)
6971:(1961)
6947:(1839)
6534:comic
6270:biopic
5959:) and
5775:could,
5767:Nestor
5757:shall,
5615:) and
5544:movie
5046:milieu
4774:Misery
4707:Bochum
4576:Towton
3873:(1709)
3690:rapier
3550:young
3536:infant
3497:livery
3478:(1830)
3373:honour
3333:Themes
3303:tigers
3299:snakes
3280:enmity
3264:fleece
3256:wolves
3246:(1860)
3189:falcon
3161:tyrant
2989:diadem
2935:was a
2916:heaven
2905:(1860)
2889:motifs
2613:milieu
2597:within
2557:Cobham
2395:either
2197:Caesar
2187:EDWARD
2110:intent
1799:EDWARD
1728:EDWARD
1597:(1794)
1459:showed
1449:Horace
1305:Part 3
1293:Part 3
1228:quarto
1204:(1619)
1191:plague
1127:octavo
1088:Utopia
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10027:(son)
9869:Grave
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9473:Poems
9025:Plays
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6532:manga
6523:Manga
6333:Radio
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4626:from
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4582:from
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3311:toads
3307:bears
3284:cedar
3252:lambs
3226:raven
3214:omens
3210:wings
3185:doves
3173:eagle
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2921:rebel
2061:knows
1427:drama
1337:play
1326:canon
1232:folio
1141:is a
467:Lady
461:King
202:power
87:JSTOR
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10567:and
10431:and
10300:and
10274:and
9864:Will
9739:and
9736:Life
8970:IMDb
8760:and
8605:and
8573:and
8402:and
8042:2015
7963:2012
7795:and
7627:2012
7571:2012
7536:2012
7423:2012
7393:2012
7371:2012
7345:2014
7317:2014
7289:2014
7267:2014
7226:2012
7143:See
6892:and
6866:and
6544:and
6504:and
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6165:and
6058:and
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5783:Troy
5550:; a
5525:and
5494:Film
5482:and
5460:and
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4758:and
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2806:Thy
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2603:and
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2199:too?
2159:and
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1218:Text
1106:Date
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