Shakespearean history

1078:"There was by that time" "a national historical drama, embodying the profoundest sentiments by which the English people were collectively inspired—pride in a great past, exultation in a great present, confidence in a great future. Such a drama could develop only when certain conditions had been fulfilled—when the people, nationalized, homogeneous, feeling and acting pretty much as one, had become capable of taking a deep and active interest in its own past; when it had become awakened to a sense of its own greatness; when there had come into being a dramatic form by which historical material could be presented in such a way as to reveal those aspects of which the public felt most deeply the inspiration... This homogeneity did not arise out of identity of economic conditions, of political belief, or of religious creed, but was the product of the common participation, individually and various as it might be, in those large and generous emotions. These, for a brief glorious moment, were shared by Catholic and Puritan, courtier and citizen, master and man. And so we can speak of a national unanimity of thought and action, and of a national historical drama." 635: 614:, Kelly argues, "would seem to amount to an outright rejection of it". In the first tetralogy, Henry VI never views his troubles as a case of divine retribution; in the second tetralogy, evidence for an overarching theme of providential punishment of Henry IV "is completely lacking". Among the few allusions in the plays to hereditary providential punishment are Richard II's prediction, at his abdication, of civil war, Henry IV's fear of punishment through his wayward son, Henry V's fear of punishment for his father's sins, and Clarence's fear of divine retribution meted out on his children. Again, where the chronicles argue that God was displeased with Henry VI's marriage to Margaret and the broken vow to the Armagnac girl, Shakespeare has Duke Humphrey object to Margaret because the match entails the loss of Anjou and Maine. (Kelly dismisses the view of 603:. According to Kelly, Shakespeare's great contribution, writing as a historiographer-dramatist, was to eliminate the supposedly objective providential judgements of his sources, and to distribute them to appropriate spokesmen in the plays, presenting them as mere opinion. Thus the sentiments of the Lancaster myth are spoken by Lancastrians, the opposing myth is voiced by Yorkists, and the Tudor myth is embodied in Henry Tudor. Shakespeare "thereby allows each play to create its own ethos and mythos and to offer its own hypotheses concerning the springs of action". 40: 860:

Shakespeare discovers is embodied in Cordelia. The play thus offers an alternative to the feudal–Machiavellian polarity, an alternative foreshadowed in France's speech (I.1.245–256), in Lear and Gloucester's prayers (III.4. 28–36; IV.1.61–66), and in the figure of Cordelia. Cordelia, in the allegorical scheme, is threefold: a person, an ethical principle (love), and a community. Until that decent society is achieved, we are meant to take as role-model Edgar, the Machiavel of patience, of courage and of "ripeness". After

5975: 496: 710:

weak—"the first time," notes Kelly, "that such an admission is conjectured in the historical treatment of the period". Shakespeare is suggestively silent in Part 3 on the Yorkist Earl of Cambridge's treachery in Henry V's reign. Even loyal Exeter admits to Henry VI that Richard II could not have resigned the crown legitimately to anyone but the heir, Mortimer. Edward (later IV) tells his father York that his oath to Henry was invalid because Henry had no authority to act as magistrate.

6621: 799: 558:, were not interested in 'justifying' the Tudor regime by asserting the role of Providence; instead they stressed the lessons to be learned from the workings of Providence in the past, sometimes endorsing contradictory views of men and events for the sake of the different lessons these suggested, sometimes slanting their interpretations to draw a parallel with, or a moral for, their time. Consequently, though Hall in his 6631: 3323: 562:(1548) saw God's curse laid upon England for the deposing and murder of Richard II, God finally relenting and sending peace in the person and dynasty of Henry Tudor, and though Holinshed's final judgement was that Richard, Duke of York and his line were divinely punished for violating his oath to let Henry VI live out his reign, the chroniclers tended to incorporate elements 3750:. Featuring Pennington as Richard II, Henry V, Buckingham, Jack Cade and Suffolk, Andrew Jarvis as Richard III, Hotspur and the Dauphin, Barry Stanton as Falstaff, The Duke of York and the Chorus in Henry V, Michael Cronin as Henry IV and the Earl of Warwick, Paul Brennan as Henry VI and Pistol, and June Watson as Queen Margaret and Mistress Quickly. The three 961:. The chronicle play, as a result, tended ultimately to endorse the principles of 'Degree', order, and legitimate royal prerogative, and so was valued by the authorities for its didactic effect. Some have suggested that history plays were quietly subsidised by the state, for propaganda purposes. The annual grant of a thousand pounds by the Queen to the 746:, is politically neutral: "so many had the managing" of the state that "they lost France and made his England bleed". In short, though Shakespeare "often accepts the moral portraitures of the chronicles which were originally produced by political bias, and has his characters commit or confess to crimes which their enemies falsely accused them of" ( 855:. The older medieval society, with its doting king, falls into error, and is threatened by the new Machiavellianism; it is regenerated and saved by a vision of a new order, embodied in the king's rejected daughter. By the time he reaches Edmund, Shakespeare no longer pretends that the Hal-type Machiavellian prince is admirable; and in 1252:

Several causes led to the decline of the chronicle play in the early 17th century: a degree of satiety (many more chronicle plays were produced than the surviving ones listed below); a growing awareness of the unreliability of the genre as history; the vogue for 'Italianate' subject-matter (Italian,

1097:

Shakespeare then took the genre further, bringing deeper insights to bear on the nature of politics, kingship, war and society. He also brought noble poetry to the genre and a deep knowledge of human character. In particular, he took a greater interest than Marlowe in women in history, and portrayed

827:

and Hal are joint heirs, one medieval, the other modern, of a split Faulconbridge. Danby argues, however, that when Hal rejects Falstaff he is not reforming, as is the common view, but merely turning from one social level to another, from Appetite to Authority, both of which are equally part of the

725:

in the long exchange between Clarence and the assassins we learn that not only Clarence but also implicitly the murderers and Edward IV himself consider Henry VI to have been their lawful sovereign. The Duchess of York's lament that her family "make war upon themselves, brother to brother, blood to

622:

Providence, Shakespeare does appear to adopt the chronicles' view that Talbot's victories were due to divine aid, where Joan of Arc's were down to devilish influence, but in reality he lets the audience see that "she has simply outfoxed by superior military strategy". (Talbot's eventual defeat and

944:

topical. Plays about the deposing and killing of kings, or about civil dissension, met with much interest in the 1590s, while plays dramatising supposedly factual episodes from the past, advertised as "true history" (though the dramatist might know otherwise), drew larger audiences than plays with

709:

has a Yorkist slant in the dying Mortimer's narration to Richard Plantagenet (later Duke of York). Henry VI is weak and vacillating and overburdened by piety; neither Yorkists nor Queen Margaret think him fit to be king. The Yorkist claim is put so clearly that Henry admits, aside, that his own is

965:

from 1586 was, it has been argued, "meant to assist him as theatrical entrepreneur for the Court, in such a way that it would not become known that the Queen was offering substantial backing to the acting companies". Oxford was to support plays "which would educate the English people ... in their

1098:

them with more subtlety. In interpreting events in terms of character, more than in terms of Providence or Fortune, or of mechanical social forces, Shakespeare could be said to have had a "philosophy of history". With his genius for comedy he worked up in a comic vein chronicle material such as

859:

he condemns the society which is thought to be historically inevitable. Against this he holds up the ideal of a transcendent community and reminds the audience of the "true needs" of a humanity to which the operations of a Commodity-driven society perpetually do violence. This "new" thing that

822:

are all Machiavels, characterised in varying degrees of frankness by the pursuit of "Commodity" (i.e. advantage, profit, expediency). Shakespeare at this point in his career pretends that the Hal-type Machiavellian prince is admirable and the society he represents historically inevitable.

726:

blood, self against self" derives from Vergil and Hall's judgment that the York brothers paid the penalty for murdering King Henry and Prince Edward. In the later tetralogy Shakespeare clearly inclines towards the Lancaster myth. He makes no mention of Edmund Mortimer, Richard's heir, in

610:, Shakespeare plays down this explanation. Richard, Duke of York, for example, in his speech to Parliament about his claim, placed great stress, according to the chronicles, on providential justice; Shakespeare's failure to make use of this theme in the parliament scene at the start of 1216:"unquestionably highest achievement" and "one of the very best historical plays outside of the works of Shakespeare in the whole of Elizabethan and Jacobean drama." Chronicle plays based on the history of other countries were also written during this period, among them Marlowe's 774:, Shakespeare shows a new thrustful godlessness attacking the pious medieval structure represented by Henry VI. He implies that rebellion against a legitimate and pious king is wrong, and that only a monster such as Richard of Gloucester would have attempted it. (2) In 2733:

was "hissed off the stage". Jonson, misunderstanding the genre, had "confined himself to the dramatization of recorded fact, and refused to introduce anything for which he did not have historical warrant", thus failing to construct a satisfactory plot. According to

467:, which ends with an effusive celebration of the birth of Elizabeth. However, Shakespeare's celebration of Tudor order is less important in these plays than his presentation of the spectacular decline of the medieval world. Some of Shakespeare's histories—notably 2685:—were, to varying degrees, successful on stage from the late 1580s to the 1630s. Their appeal lay partly in their exotic spectacle, partly in their unfamiliar plots, partly in the way they could explore topical themes safely detached from an English context. In 1012:

were, like the chronicles themselves, loosely structured, haphazard, episodic; battles and pageantry, spirits, dreams and curses, added to their appeal. The scholar H. B. Charlton gave some idea of their shortcomings when he spoke of "the wooden patriotism of

519:

formulated by the historians and poets recognised Henry VI as a lawful king, condemned the York brothers for killing him and Prince Edward, and stressed the hand of divine providence in the Yorkist fall and in the rise of Henry Tudor, whose uniting of the

1126:

Uncertainty about composition-dates and authorship of the early chronicle plays makes it difficult to attribute influence or give credit for initiating the genre. Some critics believe that Shakespeare has a fair claim to have been the innovator. In 1944

642:(engraving by C. Warren, 1805, after J. Thurston). "Next to her, Talbot is a blundering oaf, who furiously attributes her success to sorcery, whereas the audience knows that she has simply outfoxed him by superior military strategy." – H. A. Kelly (1970) 1257:'); the movement among leading dramatists, including Shakespeare, away from populism and towards more sophisticated court-centred tastes; the decline in national homogeneity with the coming of the Stuarts, and in the 'national spirit', that ended in 738:

was again quite deliberate: Shakespeare's Henry V has no doubt about his own claim. Rebellion is presented as unlawful and wasteful in the second tetralogy: as Blunt says to Hotspur, "out of limit and true rule / You stand against anointed majesty".

786:

cycle, Shakespeare comes to terms with the Machiavellianism of the times as he saw them under Elizabeth. In these plays he adopts the official Tudor ideology, by which rebellion, even against a wrongful usurper, is never justifiable. (3) From

844:

the interest is again public, but the public evil flows from Macbeth's primary rebellion against his own nature. "The root of the machiavelism lies in a wrong choice. Macbeth is clearly aware of the great frame of Nature he is violating."

2695:

added a non-historical episode (the only one in the play) about the starvation of Roman troops in the field by the neglect of the home authorities, to express his rage at the abandonment and death by starvation of the English army in the

587:(1970) examines political bias and assertions of the workings of Providence in (a) the contemporary chronicles, (b) the Tudor historians, and (c) the Elizabethan poets, notably Shakespeare in his two tetralogies, (in composition-order) 359:

As with the Roman plays, the First Folio groups these with the tragedies. Although they are connected with regional royal biography, and based on similar sources, they are usually not considered part of Shakespeare's English histories.

957:(IV.i.154–318), for example, almost certainly part of the play as it was originally written, was omitted from the early quartos (1597, 1598, 1608) and presumably performances, on grounds of prudence, and not fully reinstated till the 948:

The chronicle play, however, always came under close scrutiny by the Elizabethan and Jacobean authorities. Playwrights were banned from touching "matters of divinity or state", a ban that remained in force throughout the period, the

528:

had been prophesied by the 'saintly' Henry VI. Henry Tudor's deposing of Richard III "was justified on the principles of contemporary political theory, for Henry was not merely rebelling against a tyrant but putting down a tyrannous

2143: 1671: 2700:. Dangerous themes such as rebellion and tyrannicide, ancient freedoms versus authoritarian rule, civic duty versus private ambition, could be treated more safely through Roman history, as Shakespeare treated them in 487:, these plays described the political and social evolution that had led to the actual methods of Tudor rule, so that it is possible to consider the English history plays as a biased criticism of their own country. 762:(1949) examines the response of Shakespeare's history plays (in the widest sense) to the vexed question: 'When is it right to rebel?’, and concludes that Shakespeare's thought ran through three stages: (1) In the 1110:

was his) and Falstaff. His chronicle plays, taken together in historical order, have been described as constituting a "great national epic". Argument for possible Shakespearean authorship or part-authorship of

3683:, although the episodes didn't air until 1983. In the First Tetralogy, the plays are performed as if by a repertory theater company, with the same actors appearing in different parts in each play. Featuring 3285: 2807: 750:

being perhaps a case in point), his distribution of the moral and spiritual judgements of the chronicles to various spokesmen creates, Kelly believes, a more impartial presentation of history.

690:: in Part 1 the conspiracy of the Yorkist Richard Earl of Cambridge against Henry V is admitted; in Part 2 it is passed silently over. Henry VI's attitude to his own claim undergoes changes. 654:, Kelly argues, change from play to play, "which indicates that he is not concerned with the absolute fixing of praise or blame", though he does achieve general consistency within each play: 3342:" is a phrase used to describe the civil wars in England between the Lancastrian and Yorkist dynasties. Some of the events of these wars were dramatised by Shakespeare in the history plays 966:

country's history, in appreciation of its greatness, and of their own stake in its welfare". Whether coincidence or not, a spate of history plays followed the authorization of the annuity.

832:

there is a similar conflict between rival Machiavels: the noble Brutus is a dupe of his Machiavellian associates, while Antony's victorious "order", like Hal's, is a negative thing. In

1058:, chronicle-plays rapidly became more sophisticated in characterisation, structure, and style. Marlowe himself turned to English history as a result of the success of Shakespeare's 631:. Dreams, prophecies and curses, for example, loom large in the earlier tetralogy and "are dramatized as taking effect", among them Henry VI's prophecy about the future Henry VII. 836:

king-killing becomes a matter of private rather than public morality—the individual's struggles with his own conscience and fallibility take centre stage. Hamlet, like Edgar in

658:

Many of his changes in characterisation must be blamed upon the inconsistencies of the chroniclers before him. For this reason, the moral conflicts of each play must be taken

623:

death are blamed in Shakespeare not on Joan but on dissention among the English.) In place of providential explanations, Shakespeare often presents events more in terms of

1143:

that was discovered in 1940 (the volume is now in the British Library) were probably written by Shakespeare and that these are very close to passages in the play. Again,

3307:(composed c. 1589, revised c. 1593), which is not closely based on Roman history or legend but which, it has been suggested, may have been written in reply to Marlowe's 914:

was of interest to 16th century audiences because he had opposed the Pope; two further plays were written about him in the late 16th century, one of them Shakespeare's

3463:, a phrase used throughout the works. The entire series, staged over four consecutive seasons from 2001 to 2004, was directed by PacRep founder and Artistic Director 543:

to be God's minister of punishment, won the battle and attributed victory to Providence, the Tudor myth asserted that his rise was sanctioned by divine authority.

2648: 1167:"the first modern history play". Everitt and Sams also believed that two early chronicle plays based on Holinshed and dramatising 11th century English history, 423:

in 1579. Shakespeare's historical plays focus on only a small part of the characters' lives, and also frequently omit significant events for dramatic purposes.

1135:, c. 1586–87, could have been a work of Shakespeare's apprenticeship, a claim developed by Seymour Pitcher in 1961. Pitcher argued that annotations to a copy 899:

and others—enjoyed great popularity from the late 1580s to c. 1606. By the early 1590s they were more numerous and more popular than plays of any other kind.

3424:

The entire eight plays in historical order (the second tetralogy followed by the first tetralogy) as a cycle. Where this full cycle is performed, as by the

6275: 1227: 2621:

Parts 2 and 3, because the Quartos may preserve early versions of these three plays (as opposed to 'corrupted' texts). They exclude chronicle-type plays

2439:

The First and Second Partes of King Edward the Fourth, containing His Mery Pastime with the Tanner of Tamworth, as Also His Loue to Faire Mistrisse Shoar

1755:

The First and Second Partes of King Edward the Fourth, containing His Mery Pastime with the Tanner of Tamworth, as Also His Loue to Faire Mistrisse Shoar

980:(c. 1587), was designed as an oblique compliment to a contemporary financial backer of chronicle plays. By contrast, a less heroic ancestor of Oxford's, 457:

as an evil monster ("that bottled spider, that foul bunchback'd toad"), a depiction disputed by many modern historians, while portraying his successor,

678:, speaks of a crusade as reparation for Richard's death: but in the next two plays he does not show remorse for his treatment of Richard. As for the 3313:, Marlowe's play presenting an idealised picture of Rome's origins, Shakespeare's "a terrible picture of Rome's end, collapsing into moral anarchy". 1072:

to "the interplay of human character", showing how chronicle material could be compressed and rearranged, and bare hints turned to dramatic effect.

674:, inaugurates the action—John of Gaunt places the guilt on Richard II—but Woodstock is forgotten in the later plays. Again, Henry IV, at the end of 5399: 2485:

When You See Me You Know Me; or The Famous Chronicle Historie of King Henrie the Eight, with the Birth and Virtuous Life of Edward Prince of Wales

1931:

When You See Me You Know Me; or The Famous Chronicle Historie of King Henrie the Eight, with the Birth and Virtuous Life of Edward Prince of Wales

6378: 6431: 1244:. In some of the chronicle-based plays, as the various contemporary title-pages show, the genres of 'chronicle history' and 'tragedy' overlap. 4815:

The Annotator; The Pursuit of an Elizabethan Reader of Halle's 'Chronicle' Involving Some Surmises About The Early Life of William Shakespeare

5517: 2226: 1396: 1030: 515:

saw Edward IV's deposing of the ineffectual Henry VI as a providential restoration of the usurped throne to the lawful heirs of Richard II.

6866: 6667: 229: 1183:, of unknown authorship from the same period. In practice, however, playwrights were both 'influencers' and influenced: Shakespeare's two 994:, which deals with the first part of Richard II's reign, though he was one of the king's early circle of favourites and a contemporary of 671: 634: 17: 5996: 5933: 5928: 6861: 6333: 721:, and while Part 2 ends with Yorkist victories and the capture of Henry, Henry still appears "the upholder of right in the play". In 618:

and A. S. Cairncross of Margaret as the diabolical successor to Joan of Arc in England's punishment by God.) As for suggestions of a

511:

regarded Richard II's overthrow and Henry IV's reign as providentially sanctioned, and Henry V's achievements as a divine favour.

6609: 6287: 3787: 3171: 2964: 795:, but in order to do so moves away from English history to the camouflage of Roman, Danish, Scottish or Ancient British history. 6449: 6348: 6851: 6444: 5876: 828:

corrupt society of the time. Of the two, Danby argues, Falstaff is the preferable, being, in every sense, the bigger man. In

5945: 971: 93: 173:, many modern studies treat the histories together with those tragedies that feature historical characters. These include 6742: 6522: 6025: 5884: 2517: 2500: 2016: 1994: 962: 810:

Danby argues that Shakespeare's study of the Machiavel is key to his study of history. His Richard III, Faulconbridge in

6750: 5255: 3557: 2095: 1339: 1025: 2706:. Character and moral values (especially 'Roman values') could be explored outside an inhibiting Christian framework. 6634: 6388: 6358: 5510: 3934: 2697: 507:

Shakespeare made use of the Lancaster and York myths, as he found them in the chronicles, as well as the Tudor myth.

33: 3561:, based on the RSC's 1964 staging of the Second Tetralogy, which condensed the Henry VI plays into two plays called 6856: 6660: 6426: 6421: 6353: 2242: 1459: 1018: 6401: 6396: 6316: 2069: 2051: 1783: 1564: 1178: 1007: 981: 976: 970:

pointed out (1928) that the elaborated, unhistorical and flattering role assigned to an earlier Earl of Oxford,

6368: 6140: 5955: 5915: 5429: 3308: 3077: 2783: 166: 6696: 6269: 3574: 3471: 566:

in their treatment of the period from Richard II to Henry VII. For Shakespeare's use of the three myths, see

32:

This article is about Shakespeare's history plays. For a history of the reception of Shakespeare's work, see

5132:, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 4, pp. 43–44; Terence P. Logan and Denzell S. Smith, eds., 3841:

Many of the plays have also been filmed stand-alone, outside of the cycle at large. Famous examples include

6676: 6624: 6491: 6307: 5960: 5608: 5552: 5503: 3767: 1177:, performed in the 1590s, were by Shakespeare. A rival claimant to be the first English chronicle play is 6812: 6653: 6297: 6258: 6245: 6119: 5651: 5134:

The Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama

5082:

The Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama

3739: 3728: 2483: 1929: 824: 500: 476: 1261:

and the closing of the theatres (1642). Some of these factors are touched on by Ford in his Prologue to

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Gunby, David; Carnegie, David; Hammond, Antony; DelVecchio, Doreen; Jackson, MacDonald P.: editors of

3390:. In the twentieth and twenty-first centuries there have been numerous stage performances, including: 1045:, however, c. 1587, with its lofty poetry and its focus on a single unifying figure, of Shakespeare's 6484: 6479: 6436: 6312: 6110: 5108: 3456: 3425: 3331: 2719:

were among the more successful and influential of Roman history plays. Among the less successful was

2473: 1639: 405: 5425: 3326:

Henry VI (Jeffrey T. Heyer) and a young Richmond (Ashley Rose Miller) in the West Coast premiere of

6343: 6292: 6282: 6263: 6250: 5990: 5622: 3501: 1099: 540: 71: 66:. The histories—along with those of contemporary Renaissance playwrights—help define the genre of 6780: 6066: 5630: 3868: 3862: 3212: 2921: 2876: 2842: 2534: 1964: 985: 742:

Shakespeare's retrospective verdict, however, on the reign of Henry VI, given in the epilogue to

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Shakespeare's view seems to be that private goodness can be permanent only in a decent society.

734:

to divide the kingdom in three undermines Mortimer's credibility. The omission of Mortimer from

96:

in two cycles. The so-called first tetralogy, apparently written in the early 1590s, covers the

6496: 6223: 6161: 6081: 6004: 5615: 5594: 5534: 5434: 3777: 3615: 3570: 3483: 2541: 2376: 2357: 2113: 2011: 1989: 1971: 1896: 1877: 1778: 1293: 1168: 933: 432: 59: 3924: 165:

The folio's classifications are not unproblematic. Besides proposing other categories such as

6828: 6588: 6502: 6471: 6373: 6036: 5677: 5658: 4757: 4549: 3830: 3339: 2602: 2595: 2519:

The Second Part of If You Know Not Me, You Know No Bodie, or The Troubles of Queene Elizabeth

2018:

The Second Part of If You Know Not Me, You Know No Bodie, or The Troubles of Queene Elizabeth

1848: 1838: 1831: 1454: 1434: 1315: 1218: 1211: 1207: 967: 937: 925: 911: 63: 1123:

has in recent years sometimes led to the inclusion of these plays in the Shakespeare cycle.

6720: 6411: 6198: 6176: 5756: 5707: 5686: 5666: 5566: 5543: 3724: 3688: 3655: 3582: 3181: 3134: 2998: 2977: 2740: 2701: 2577: 1946: 1909: 1826: 1770: 1748: 1709: 1412: 1374: 458: 338: 331: 207: 201: 184: 180: 2665:

Late 16th and early 17th century 'Roman history' plays—English plays based on episodes in

8: 6820: 6796: 6582: 6564: 6363: 6205: 6169: 6102: 6059: 6018: 5587: 5526: 3852: 3842: 3826: 3509: 3246: 3084: 2848: 2790: 2687: 2267: 1774: 1705: 1649: 1518: 1424: 1390: 1036: 55: 1106:; with his genius for invention, he largely created vital figures like Fauconbridge (if 6758: 6712: 6576: 6534: 6416: 6154: 6052: 5857: 3883: 3747: 3490:

The tetralogies have been filmed for television five times, twice as the entire cycle:

3385: 2993: 2454: 2308: 1811: 1620: 1559: 1040: 521: 449: 300: 159: 120: 2161:

The True Tragedie of Richard Duke of Yorke, and the Death of Good King Henrie the Sixt

1716:

The True Tragedie of Richard Duke of Yorke, and the Death of Good King Henrie the Sixt

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The First Part of the Contention Betwixt the Two Famous Houses of Yorke and Lancaster

2128: 1985: 1959: 1853: 1673:

The First Part of the Contention Betwixt the Two Famous Houses of Yorke and Lancaster

1499: 1439: 1258: 1128: 1112: 941: 896: 803: 763: 615: 555: 463: 400: 307: 251: 244: 126: 97: 88: 82: 6570: 6558: 6552: 6147: 6074: 5974: 5848: 5841: 5833: 5810: 5803: 5776: 5749: 5735: 4291: 3848: 3743: 3716: 3651: 3541: 3475: 3380: 3374: 3368: 3356: 3350: 3274: 3149: 3049: 3019: 2725: 2715: 2469: 2437: 2406: 2387: 2323: 2277: 2260: 2191: 2175: 2159: 1753: 1732: 1714: 1689: 1654: 1635: 1544: 1523: 1417: 1359: 1063: 1051: 1046: 995: 950: 915: 484: 347: 293: 286: 279: 265: 258: 237: 138: 132: 114: 108: 102: 76: 5080:(Oxford 1923), Vol. 4, pp. 43–44; Logan, Terence P., and Smith, Denzell S., eds., 39: 6326: 5938: 5826: 5742: 3858: 3806: 3712: 3704: 3667: 3496: 3267: 3042: 2584: 2465: 1916: 1631: 1288: 1144: 1055: 888: 628: 547: 5417: 2262:

The Troublesome Reign and Lamentable Death of Edward the Second, King of England

1419:

The Troublesome Reign and Lamentable Death of Edward the Second, King of England

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was filmed as a stand-alone piece for the first season of the series, with the

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Spanish or French plots); the vogue for satirical drama of contemporary life ('

1223: 921: 815: 436: 415: 272: 144: 6845: 6766: 6728: 6594: 6540: 6302: 5644: 5113: 4947: 3926:

Other Voices, Other Views: Expanding the Canon in English Renaissance Studies

3834: 3792: 3732: 3647: 3590: 3537: 3525: 3505: 2730: 2490: 2368: 2214: 2058: 1936: 1888: 1571: 1486: 1155:, c. 1588–89, was Shakespeare's early version of the play later rewritten as 904: 525: 454: 6528: 6230: 5894: 3892: 3878: 3818: 3810: 3782: 3772: 3700: 3696: 3663: 3659: 3635: 3631: 3598: 3549: 3521: 3517: 3513: 3252: 3088: 2854: 2794: 2692: 2545: 2249: 2232: 2102: 2080: 2076: 1975: 1794: 1790: 1466: 1402: 1346: 1233: 420: 351:

dramatises a fictional story and is therefore excluded as a Roman history.

2502:

If You Know Not Me, You Know No Bodie, or The Troubles of Queene Elizabeth

1996:

If You Know Not Me, You Know No Bodie, or The Troubles of Queene Elizabeth

936:'s reign made plays based on earlier dynastic struggles from the reign of 6321: 6133: 5889: 5637: 5481: 5469: 5452: 3802: 3708: 3680: 3594: 3529: 2579:

The True Chronicle Historie of the Life and Death of Thomas Lord Cromwell

1911:

The True Chronicle Historie of the Life and Death of Thomas Lord Cromwell

1254: 1203: 1136: 958: 892: 792: 551: 472: 228:, the plays are listed here in the sequence of their action, rather than 225: 51: 6406: 5693: 4554:

The Seventeenth Earl of Oxford (1550–1604), from Contemporary Documents

3533: 3218: 3196: 3156: 3103: 3026: 2939: 2882: 2826: 2746: 2735: 2720: 2084: 1798: 1320: 1103: 440: 324: 195: 155: 5495: 6338: 6190: 6126: 5714: 5573: 4369: 4322: 4307: 3639: 2638: 1327: 1148: 900: 480: 444: 365: 189: 5204:

Shakespeare's Political Drama: The History Plays and the Roman Plays

666:

Shakespeare meant each play primarily to be self-contained. Thus in

3837:

as Mistress Quickly. The first tetralogy was later adapted in 2016.

3684: 3578: 3037: 3014: 2682: 2613:

The above tables include both the Quarto and the Folio versions of

1141:

Union of the Two Noble and Illustre Families of Lancastre and Yorke

852: 819: 730:, an omission which strengthens the Lancastrian claim. The plan in 560:

Union of the Two Noble and Illustre Families of Lancastre and Yorke

410: 4898: 4896: 2456:

The True and Honourable Historie of the Life of Sir John Oldcastle

2035:

Table B: English chronicle plays in conjectural composition-order

1622:

The True and Honourable Historie of the Life of Sir John Oldcastle

798: 6095: 6088: 5920: 5728: 5721: 5475: 5446: 4776: 4522:

This Star of England: William Shakespeare, Man of the Renaissance

3738:

for a straight-to-video filming, directly from the stage, of the

3418: 2678: 2674: 391:

The source for most of the English history plays, as well as for

372: 319:

As noted above, the First Folio groups these with the tragedies.

175: 150: 92:

as well as a continuous sequence of eight plays. These last are

5311: 5309: 4802:

The Case for Shakespeare's Authorship of 'The Famous Victories'

4538:

The Case for Shakespeare's Authorship of 'The Famous Victories'

3322: 660:

in terms of that play, and not supplemented from the other plays

447:

and celebrate the founders of the Tudor dynasty. In particular,

5700: 5343: 5341: 4916: 4914: 4912: 4893: 3435:

A 10-play history cycle, which began with the newly attributed

2870: 2666: 2660: 806:)—according to Danby, "in every sense, the bigger man" than Hal 379: 5136:, Lincoln, NE, University of Nebraska Press, 1973; pp. 273–274 5084:(Lincoln, NE, University of Nebraska Press, 1973), pp. 273–274 4971: 4969: 3061:

Table B: Roman history plays in conjectural composition-order

2757:

s clotted style, lack of irony, and grinding moral emphasis".

910:, c. 1547, is sometimes considered a forerunner of the genre. 409:

of English history. The source for the Roman history plays is

5306: 5009:

Shakespeare's Edward III: An Early Play Restored to the Canon

4987: 4985: 2244:

The Life and Death of Iack Straw, a Notable Rebell in England

1804:

written c. 1585 or 1587–88 (?) or c. 1589–90; published 1594

1461:

The Life and Death of Iack Straw, a Notable Rebell in England

5338: 4909: 2761:

Table A: Roman history plays, in historical order of events

5250:. Manchester: Manchester University Press. pp. 37–38. 4966: 4857:

The Real Shakespeare: Retrieving the Early Years, 1564–1594

4418: 4416: 4144:

Divine Providence in the England of Shakespeare's Histories

3993:

Divine Providence in the England of Shakespeare's Histories

3980:

Divine Providence in the England of Shakespeare's Histories

2670: 2640:

True Chronicle History of King Leir and his three daughters

867: 753: 585:

Divine Providence in the England of Shakespeare's Histories

74:

of the previous four centuries and include the standalones

5019: 5017: 4982: 3754:

plays are condensed into two plays, bearing the subtitles

3742:'s 1987 production of "The Wars of the Roses" directed by 932:

trilogy, while unease over the succession at the close of

606:

Where the chronicles sought to explain events in terms of

5295: 5293: 5047: 5045: 4652:

Macmillan's Handbook of Elizabethan and Stuart Literature

3923:

Ostovich, Helen; Silcox, Mary V; Roebuck, Graham (1999).

2209:

Thomas of Woodstock; or King Richard the Second, Part One

1481:

Thomas of Woodstock; or King Richard the Second, Part One

471:—point out that this medieval world came to its end when 4413: 426: 416:

Lives of the Noble Grecians and Romans Compared Together

5014: 4569: : Its Place in Elizabethan Dramatic Literature', 4410:

Royal proclamations of 16 May 1559 and 12 November 1589

3122:

The Tragedie of Caesar and Pompey. Or, Caesar's Revenge

2916:

The Tragedie of Caesar and Pompey. Or, Caesar's Revenge

1068:, c. 1591, he moved from the rhetoric and spectacle of 717:, York is presented as unrighteous and hypocritical in 124:. The second tetralogy, finished in 1599 and including 5449:'s Tumultuous History during Shakespeare's Lifetime". 5290: 5042: 4117: 4115: 2561:

The Famous History of the Life of King Henry the Eight

1859:

The Famous History of the Life of King Henry the Eight

1269:

Table A: English chronicle plays, by reign dramatized

851:, in Danby's view, is Shakespeare's finest historical 5327: 5325: 4753: 4751: 3922: 3630:

filmed as a trilogy for the second season. Featuring

3417:) as a cycle (which has also been referred to as the 5230:

Re-Presenting Ben Jonson: Text, History, Performance

5035: 5033: 2138:

written c. 1589, revised c. 1593–94; published 1596

1449:

written c. 1589, revised c. 1593–94; published 1596

924:

contributed to the appeal of chronicle plays on the

461:, in glowing terms. Political bias is also clear in 439:, and his history plays are often regarded as Tudor 4920:Charlton, H. B., Waller, R. D., Lees, F. N., eds., 4621:Charlton, H. B., Waller, R. D., Lees, F. N., eds., 4112: 840:later, has to become a "machiavel of goodness". In 490: 179:, set in the mid-11th century during the reigns of 5438:, Vol. 8, No. 3, Cambridge, 1965; pp. 293–308 5322: 5287:, Oxford University Press, New York, 1999, p. 342. 5243: 4748: 4452:, Oxford Shakespeare, vol. 3 (Oxford, 1912), p. 82 3318:The "Wars of the Roses" cycle on stage and in film 214: 5030: 4825: 4823: 3161:written c. 1603, revised c. 1604, published 1605 3031:written c. 1603, revised c. 1604, published 1605 578: 70:. The Shakespearean histories are biographies of 6843: 6675: 5025:The Real Shakespeare: Retrieving the Later Years 4977:The Real Shakespeare: Retrieving the Early Years 4844:Six Early Plays Related to the Shakespeare Canon 4532: 4530: 3144:written c. 1599, performed 1599, published 1623 2987:written c. 1599, performed 1599, published 1623 2352:written c. 1595; published 1597, later enlarged 1513:written c. 1595; published 1597, later enlarged 4306:Shakespeare’s Doctrine of Nature – A Study of ' 2097:The Troublesome Raigne of John, King of England 1341:The Troublesome Raigne of John, King of England 4820: 4367:Shakespeare’s Doctrine of Nature – A Study of 3867:(1955), directed by and starring Olivier, and 638:'Joan of Arc conjures demons in Shakespeare's 6661: 5511: 5063: 5061: 5059: 5057: 5003: 5001: 4882: 4880: 4878: 4876: 4874: 4772: 4770: 4646: 4644: 4527: 4516: 4514: 3432:has often been used for the cycle as a whole. 2344:The Life and Death of King Richard the Second 2227:The Famous Chronicle of King Edward the First 2115:Edmund Ironside, or War Hath Made All Friends 1505:The Life and Death of King Richard the Second 1397:The Famous Chronicle of King Edward the First 1295:Edmund Ironside, or War Hath Made All Friends 1170:Edmund Ironside, or War Hath Made All Friends 2661:Shakespeare and the Roman history play genre 1265:(c. 1630), a defence of the chronicle play. 953:acting as licenser. The deposition scene in 539:allowed". Because Henry Tudor prayed before 6458: 2090:written c. 1586 to c. 1590; published 1594 232:. Short forms of the full titles are used. 6668: 6654: 5518: 5504: 5054: 4998: 4871: 4777:Pacific Repertory Theatre website archives 4767: 4641: 4511: 3982:(Cambridge, MA, 1970), dust-jacket summary 1173:, written c. 1588–89, and its lost sequel 3286:The Rape of Lucrece, A True Roman tragedy 2808:The Rape of Lucrece, a true Roman Tragedy 2650:The Downfall of Robert Earl of Huntington 1187:plays (1589–90), influenced by Marlowe's 1159:(the Second Quarto, 1611, had attributed 4888:Shakespeare's Lost Play, Edmund Ironside 4625:(London 1955, 2nd edn.), Reviser's Notes 3548:as The Chorus and Justice Shallow, and, 3321: 3079:The Tragedie of Dido, Queene of Carthage 2799:written c. 1587–88, revised 1591–92 (?) 2785:The Tragedie of Dido, Queene of Carthage 1195:, which itself influenced Shakespeare's 868:Shakespeare and the chronicle play genre 797: 754:Shakespearean history in the wider sense 633: 494: 38: 5525: 4743:Longman Companion to English Literature 4520:Ogburn, Dorothy, and Ogburn, Charlton, 3328:The Plantagenets: The Rise of Edward IV 3303:The above tables exclude Shakespeare's 3183:The Tragedie of Anthonie, and Cleopatra 3126:anon. (Trinity College, Oxford origin ) 3000:The Tragedie of Anthonie, and Cleopatra 2729:, the 1604 performance of which at the 2597:The Chronicle History of Perkin Warbeck 2340:The Tragedie of King Richard the Second 2053:The Famous Victories of Henry the Fifth 1833:The Chronicle History of Perkin Warbeck 1566:The Famous Victories of Henry the Fifth 1501:The Tragedie of King Richard the Second 1133:The Famous Victories of Henry the Fifth 1054:, c. 1589–90, and of the machiavels of 1009:The Famous Victories of Henry the Fifth 920:. Patriotic feeling at the time of the 672:Thomas of Woodstock, Duke of Gloucester 431:Shakespeare was living in the reign of 14: 6844: 5335:(3 vols, Cambridge, 1995–2007), Vol. 2 4991:Charlton, H. B., Waller, R. D., eds., 4902:Charlton, H. B., Waller, R. D., eds., 4634:Charlton, H. B., Waller, R. D., eds., 4608:Charlton, H. B., Waller, R. D., eds., 4595:Charlton, H. B., Waller, R. D., eds., 2738:, Shakespeare's own later Roman work, 2654:The Death of Robert Earl of Huntington 2294:The Cronicle History of Henry the Fift 2071:The True Tragedie of Richard the Third 1785:The True Tragedie of Richard the Third 1586:The Cronicle History of Henry the Fift 1180:The True Tragedie of Richard the Third 682:plays, the Yorkist view of history in 6649: 6270:Complete Works of William Shakespeare 5499: 5241: 4612:(London 1955, 1st edn.), Introduction 3916: 2310:The Tragedy of King Richard the Third 1813:The Tragedy of King Richard the Third 1191:(1587), in turn influenced Marlowe's 453:depicts the last member of the rival 427:Politics in the English history plays 4463:The Editorial Problem in Shakespeare 3093:written c. 1587–88, revised 1591–92 2408:The Second Part of Henrie the Fourth 1546:The Second Part of Henrie the Fourth 984:, the 9th earl, who deserted at the 499:'Henry VII crowned at Bosworth', by 219: 58:were grouped into three categories: 6867:Fiction set in the Late Middle Ages 6630: 5180:(London, 1927), vol. 3, pp. 125–126 5106:Based not on the chronicles but on 4833:, Vol. 4 (London 1905), pp. 55, 463 3470:A conflation of the eight plays by 3240:written c. 1612–13, published 1631 3206:written c. 1608–09, published 1623 3191:written c. 1606–07; published 1623 3099:Pompey the Great, his Fair Cornelia 3008:written c. 1606–07; published 1623 2935:Pompey the Great, his Fair Cornelia 2907:written c. 1612–13, published 1631 2836:written c. 1608–09, published 1623 2318:written c. 1591–93; published 1597 2272:written c. 1591–92; published 1594 2170:written c. 1589–90; published 1595 2130:The Raigne of King Edward the Third 1821:written c. 1591–93; published 1597 1725:written c. 1589–90; published 1595 1664:written c. 1590–91; published 1623 1441:The Raigne of King Edward the Third 1429:written c. 1591–92; published 1594 1213:Chronicle History of Perkin Warbeck 878: 230:the order of the plays' composition 24: 6445:Shakespeare's influence on Tolkien 5178:The Complete Works of John Webster 4906:(London 1955, 1st edn.), pp. 25–27 3577:; and directed by Hall. Featuring 2393:The First Part of Henry the Fourth 2154:written c. 1589–90 published 1594 1682:written c. 1589–90 published 1594 1529:The First Part of Henry the Fourth 1153:The Troublesome Reign of King John 1026:The Troublesome Reign of King John 1006:The early chronicle plays such as 698:events prior to Henry VI's reign. 573: 546:The later chroniclers, especially 503:—a key moment in the 'Tudor myth' 354: 314: 25: 6878: 5411: 3857:(1989), directed by and starring 3847:(1944), directed by and starring 2389:The Historie of Henrie the Fourth 2177:The Second Part of Henry the Sixt 1691:The Second Part of Henry the Sixt 1525:The Historie of Henrie the Fourth 1147:(1905), E. B. Everitt (1965) and 443:because they show the dangers of 419:, in the translation made by Sir 34:Reputation of William Shakespeare 6862:Propaganda in the United Kingdom 6629: 6620: 6619: 5973: 5393: 5380: 5367: 5354: 5317:The Works of Christopher Marlowe 5277: 5264: 5235: 5222: 5191:Shakespeare's Doctrine of Nature 4146:(Cambridge, Mass., 1970), p. 247 4004:Kelly, 1970, dust-jacket summary 3929:. University of Delaware Press. 3608:Second Tetralogy filmed for the 3447:, and then the eight plays from 3279:written c. 1626, published 1629 3129:written c. 1594, published 1606 3054:written c. 1626, published 1629 2927:written c. 1594, published 1606 2607:written c. 1630; published 1634 2572:written c. 1613; published 1623 2416:written c. 1598; published 1600 2401:written c. 1597; published 1599 2333:written c. 1595; published 1623 2287:written c. 1591; published 1623 2279:The First Part of Henry the Sixt 2237:written 1590–91; published 1593 2193:The Third Part of Henry the Sixt 2108:written c. 1588; published 1591 2064:written c. 1586; published 1598 1870:written c. 1613; published 1623 1843:written c. 1630; published 1634 1734:The Third Part of Henry the Sixt 1656:The First Part of Henry the Sixt 1577:written c. 1586; published 1598 1554:written c. 1598; published 1600 1537:written c. 1597; published 1599 1407:written 1590–91; published 1593 1369:written c. 1595; published 1623 1352:written c. 1588; published 1591 1074: 760:Shakespeare’s Doctrine of Nature 491:Lancaster, York, and Tudor myths 94:considered to have been composed 43:Opening page of the First Folio 6743:Who's Afraid of Virginia Woolf? 5209: 5196: 5183: 5170: 5161: 5152: 5139: 5122: 5100: 5087: 5070: 4953: 4939: 4927: 4924:(London 1955, 2nd edn.), p. 219 4862: 4849: 4836: 4807: 4794: 4781: 4735: 4722: 4709: 4696: 4683: 4670: 4657: 4628: 4615: 4602: 4589: 4576: 4567:The Famous Victories of Henry V 4559: 4543: 4498: 4485: 4468: 4455: 4442: 4429: 4404: 4391: 4378: 4359: 4350: 4341: 4332: 4315: 4298: 4284: 4275: 4263: 4251: 4242: 4230: 4221: 4212: 4200: 4188: 4176: 4167: 4158: 4149: 4136: 4124: 4103: 4094: 4082: 4073: 4061: 4049: 4037: 3673:First Tetralogy filmed for the 3059: 2759: 2423:The Life of King Henry the Fift 2325:The Life and Death of King John 1604:The Life of King Henry the Fift 1361:The Life and Death of King John 1157:The Life and Death of King John 1029:, and the clumsy and libellous 977:The Famous Victories of Henry V 791:onwards, Shakespeare justifies 215:List of Shakespeare's histories 6450:Works titled after Shakespeare 4995:(London 1955, 1st edn.), p. 10 4979:(New Haven, 1995), pp. 146–153 4732:(London, 1914), pp. lxvii, lxx 4680:(London, 1914), pp. xlii–xliii 4638:(London 1955, 1st edn.), p. 25 4599:(London 1955, 1st edn.), p. 54 4439:(Oxford, 1923), vol. 4, p. 305 4025: 4016: 4007: 3998: 3985: 3972: 3959: 3950: 3662:as the Duchess of Gloucester, 2303:written 1590s; published 1600 2033: 1595:written 1590s; published 1600 1267: 1001: 579:Shakespeare's double tetralogy 13: 1: 6774:Ganesh Versus the Third Reich 6610:Shakespeare and other authors 5468:What exactly went wrong with 4963:(London, 1914), pp. cxxi–cxxx 4933:Eliot, T. S., 'John Ford' in 4859:(New Haven 1995), pp. 146–153 4524:(New York, 1952), pp. 709–710 4476:The Elizabethan World Picture 4424:A Life of William Shakespeare 3969:(London 1944), pp. 89–90, 212 3771:for BBC2 in 2012 directed by 3167:The Tragedie of Julius Caesar 3136:The Tragedie of Julius Caesar 2979:The Tragedie of Julius Caesar 2960:The Tragedie of Julius Caesar 2432:written 1599, published 1623 1613:written 1599, published 1623 479:infiltrated its politics. By 6852:Plays by William Shakespeare 6677:Helpmann Award for Best Play 6492:Shakespeare Birthplace Trust 5351:(Oxford 1923) Vol. 3, p. 259 5217:Shakespeare: The Roman Plays 4813:Keen, Alan; Lubbock, Roger, 4706:(London, 1914), pp. cix, 125 4556:(London, 1928), pp. 257, 282 3891:), directed by and starring 3756:Henry VI: House of Lancaster 3151:Sejanus His Fall. A Tragedie 3021:Sejanus His Fall. A Tragedie 2647:'s two plays on Robin Hood, 1020:Life and Death of Jack Straw 18:Shakespeare's histories 7: 6298:English Renaissance theatre 6141:The Second Maiden's Tragedy 6120:The Merry Devil of Edmonton 5652:The Two Gentlemen of Verona 5242:Ayres, Philip, ed. (1990). 4831:A History of English Poetry 4789:Shakespeare's History Plays 4586:(London, 1946), p.18, p.212 4480:Shakespeare's History Plays 4426:(London, 1915), pp. 126–127 3967:Shakespeare's History Plays 3765:Second Tetralogy filmed as 3740:English Shakespeare Company 3269:The Roman Actor. A tragedie 3044:The Roman Actor. A tragedie 917:Life and Death of King John 887:based on the chronicles of 646:Accordingly, Shakespeare's 501:Richard Caton Woodville Jr. 148:, is frequently called the 27:Shakespeare's history plays 10: 6883: 6466:Folger Shakespeare Library 6012:The Phoenix and the Turtle 5602:The Merry Wives of Windsor 5319:(Oxford 1946), pp. 387–388 5097:(London, 1914), pp. lxxxii 4762:Richard II & Woodstock 4584:Woodstock: A Moral History 4465:(Oxford, 1942), p. xxxviii 3676:BBC Television Shakespeare 3611:BBC Television Shakespeare 3605:as Buckingham and Suffolk. 3601:as Joan and Lady Anne and 3198:The Tragedie of Coriolanus 2828:The Tragedie of Coriolanus 2713:and his pseudo-historical 1247: 1202:Of later chronicle plays, 1035:". Under the influence of 874:History (theatrical genre) 871: 705:in the earlier tetralogy. 536:The Mirror for Magistrates 435:, the last monarch of the 386: 31: 6683: 6604: 6515: 6485:Royal Shakespeare Theatre 6480:Royal Shakespeare Company 6387: 6244: 6215: 6044: 6035: 5982: 5971: 5903: 5875: 5766: 5676: 5609:A Midsummer Night's Dream 5553:All's Well That Ends Well 5542: 5533: 5492:, XVI (July 2018): 26–32. 5333:The Works of John Webster 5158:Sams, Eric, 1995 and 2008 4791:. New York, 1944, p. 174. 4571:Review of English Studies 4329:(London, 1989), pp. 92–93 4312:(London 1949), pp. 72–74. 4218:Kelly, 1970, pp. 253, 259 3813:as Henry Bolingbroke (in 3788:Henry IV, Parts 1 & 2 3723:as Talbot and Jack Cade, 3666:as Mistress Quickly, and 3614:in 1978/1979 directed by 3597:as Edward and Jack Cade, 3457:Pacific Repertory Theatre 3426:Royal Shakespeare Company 3332:Pacific Repertory Theatre 3223:acted and published 1611 2887:acted and published 1611 2629:, the probable sequel to 1163:to "W.Sh."). Sams called 193:and also the Roman plays 5623:Pericles, Prince of Tyre 5463:, XV (July 2017): 16–24. 5445::A Very Brief Survey of 5426:'Shakespeare's Politics' 5274:(London, 1914), pp. x–xi 4868:Sams, Eric, 1995, p. 152 4719:(London, 1914), p. xcvii 4540:(New York, 1961), p. 186 4338:Danby, 1949, pp. 57–101. 3995:(Cambridge, Mass., 1970) 3910: 3903:, with some scenes from 3310:Dido, Queene of Carthage 2869:63–62 BC, Consulship of 2698:Low Countries in 1624–25 2691:(c. 1626), for example, 2637:, such as the anonymous 928:, notably Shakespeare's 701:Kelly finds evidence of 6857:Shakespearean histories 5631:The Taming of the Shrew 5478:-based Introspection". 5443:Much Ado about Politics 5419:Shakespeare's Histories 5400:Review by Jack Telwes, 5051:Sams 1995, pp. 154–162; 4693:(London, 1914), p. xvii 4573:, IV, July 1928; p. 284 4493:Shakespeare's Histories 4327:Discovering Shakespeare 3760:Henry VI: House of York 3727:as Suffolk and Rivers, 3555:for the 1965 UK serial 3536:as Princess Catherine, 3494:for the 1960 UK serial 3482:, was performed by the 3213:Catiline His Conspiracy 2922:Trinity College, Oxford 2877:Catiline His Conspiracy 2843:Appius Claudius Crassus 2841:450 BC, Decemvirate of 1303:written c. 1588–89 (?) 1017:, the crude and vulgar 986:Battle of Radcot Bridge 6313:Lord Chamberlain's Men 6224:The Passionate Pilgrim 5997:comparison to Petrarch 5616:Much Ado About Nothing 5595:The Merchant of Venice 5472:between 1599 and 1608? 5435:The Historical Journal 5422:at the British Library 5315:Tucker Brooke, C. F., 5272:Marlowe's 'Edward II' 5145:Rossiter, A. P., ed., 5109:Foxe's Book of Martyrs 5095:Marlowe's 'Edward II' 5067:Sams 1995, pp. 154–162 4961:Marlowe's 'Edward II' 4730:Marlowe's 'Edward II' 4717:Marlowe's 'Edward II' 4704:Marlowe's 'Edward II' 4691:Marlowe's 'Edward II' 4678:Marlowe's 'Edward II' 4665:Shakespeare: King John 4582:Rossiter, A. P., ed., 4508:(London 1914), p. cxxv 4506:Marlowe's 'Edward II' 4399:Marlowe's 'Edward II' 4388:(London 1914), p. xlii 4386:Marlowe's 'Edward II' 3887:(1965) (also known as 3719:as Cardinal Beaufort, 3484:Sydney Theatre Company 3405:The second tetralogy ( 3335: 1349:(?) / Shakespeare (?) 1229:Charles, Duke of Biron 1085:Marlowe's 'Edward II' 998:, the play's villain. 807: 648:moral characterisation 643: 504: 154:after its protagonist 47: 6829:Counting and Cracking 6503:Shakespeare Institute 6472:Shakespeare Quarterly 5991:Shakespeare's sonnets 5659:The Two Noble Kinsmen 5428:, essay by historian 5349:The Elizabethan Stage 5228:Butler, Martin, ed., 5130:The Elizabethan Stage 5078:The Elizabethan Stage 4804:(New York 1961, p. 6. 4800:Pitcher, Seymour M., 4741:Gillie, Christopher, 4667:(Oxford, 1989), p. 10 4536:Pitcher, Seymour M., 4448:Dowden, Edward, ed., 4437:The Elizabethan Stage 4375:(Faber, London, 1949) 4142:Kelly, Henry Ansgar, 3991:Kelly, Henry Ansgar, 3978:Kelly, Henry Ansgar, 3558:The Wars of the Roses 3430:The Wars of the Roses 3394:The first tetralogy ( 3340:The Wars of the Roses 3325: 3172:Sir William Alexander 2965:Sir William Alexander 2750:, carefully avoided " 2633:, and plays based on 2217:(?) / Shakespeare (?) 2105:(?) / Shakespeare (?) 2087:(?) / Shakespeare (?) 2061:(?) / Shakespeare (?) 1801:(?) / Shakespeare (?) 1574:(?) / Shakespeare (?) 1489:(?) / Shakespeare (?) 1219:The Massacre at Paris 1165:The Troublesome Reign 1161:The Troublesome Reign 1108:The Troublesome Reign 801: 686:differs from that in 637: 509:The 'Lancaster myth' 498: 345:Set in ancient Rome, 42: 6359:Spelling of his name 6199:Vortigern and Rowena 6177:Thomas Lord Cromwell 5757:Troilus and Cressida 5687:Antony and Cleopatra 5581:Love's Labour's Lost 5567:The Comedy of Errors 5390:(London 2001), p. 51 5388:Ungentle Shakespeare 5377:(London 1955), p. xx 5364:(London 1955), p. xx 5301:Ungentle Shakespeare 5202:Leggatt, Alexander, 5149:(London 1946), p. 63 4663:Braunmuller, A. R., 4474:Tillyard, E. M. W., 4401:(London 1914), p. xi 4356:Danby, 1949, p. 167. 4347:Danby, 1949, p. 151. 3965:Tillyard, E. M. W., 3873:(1995), directed by 3679:in 1981 directed by 3540:as Joan la Pucelle, 3480:The War of the Roses 2741:Antony and Cleopatra 2566:Shakespeare and (?) 1864:Shakespeare and (?) 1240:, and Shakespeare's 1015:The Famous Victories 399:, is the well-known 339:Antony and Cleopatra 208:Antony and Cleopatra 185:Edward the Confessor 181:Duncan I of Scotland 6797:The Glass Menagerie 6583:Richard Shakespeare 6565:Gilbert Shakespeare 6497:Shakespeare's Globe 6402:Authorship question 6397:Attribution studies 6364:Stratford-upon-Avon 6206:A Yorkshire Tragedy 6184:Thomas of Woodstock 6170:The Spanish Tragedy 6111:Love's Labour's Won 6103:The London Prodigal 6060:The Birth of Merlin 6019:The Rape of Lucrece 6005:A Lover's Complaint 5885:Quarto publications 5588:Measure for Measure 5527:William Shakespeare 5373:Dorsch, ed., Arden 5285:Shakespeare: A Life 5215:Spencer, T. J. B., 5147:Thomas of Woodstock 5118:Life of Thomas More 4450:Histories and Poems 4281:Kelly, 1970, p. 305 4248:Kelly, 1970, p. 219 4227:Kelly, 1970, p. 261 4173:Kelly, 1970, p. 250 4164:Kelly, 1970, p. 259 4155:Kelly, 1970, p. 306 4121:Kelly, 1970, p. 282 4109:Kelly, 1970, p. 248 4100:Kelly, 1970, p. 247 4079:Kelly, 1970, p. 252 4022:Kelly, 1970, p. 216 4013:Kelly, 1970, p. 262 3956:Kelly, 1970, p. 293 3827:Simon Russell Beale 3532:as Queen Margaret, 3455:, was performed by 3444:Thomas of Woodstock 3247:Appius and Virginia 3116:translated c. 1593 3062: 3036:90–96 AD, reign of 2952:translated c. 1593 2849:Appius and Virginia 2762: 2688:Appius and Virginia 2268:Christopher Marlowe 2123:written c. 1588–89 2036: 1425:Christopher Marlowe 1270: 1151:(1995) argued that 1120:Thomas of Woodstock 991:Thomas of Woodstock 522:houses of Lancaster 224:As they are in the 56:William Shakespeare 6577:Edmund Shakespeare 6535:Hamnet Shakespeare 6432:Screen adaptations 6155:Sir John Oldcastle 6053:Arden of Faversham 5430:Christopher Morris 5386:Duncan-Jones, K., 5299:Duncan-Jones, K., 5232:(Basingstoke 1999) 5039:Sams, 1995, p. 115 4993:Marlowe: Edward II 4922:Marlowe: Edward II 4904:Marlowe: Edward II 4829:Courthope, W. J., 4787:Tillyard, E. M. W 4636:Marlowe: Edward II 4623:Marlowe: Edward II 4610:Marlowe: Edward II 4597:Marlowe: Edward II 3884:Chimes at Midnight 3809:as John of Gaunt, 3748:Michael Pennington 3731:as Gloucester and 3638:as John of Gaunt, 3478:, under the title 3428:in 1964, the name 3413:parts 1 and 2 and 3336: 3060: 2994:Second Triumvirate 2760: 2034: 1332:written 1540s (?) 1268: 1023:, the flatness of 926:Hundred Years' War 808: 694:does not refer to 644: 629:Senecan dramaturgy 564:of all three myths 505: 187:and the legendary 100:saga and includes 48: 6839: 6838: 6813:The Drover's Wife 6805:The Bleeding Tree 6789:Angels in America 6689:Life After George 6643: 6642: 6547:Elizabeth Barnard 6511: 6510: 6240: 6239: 5969: 5968: 5667:The Winter's Tale 5404:, 16 January 2009 5347:Chambers, E. K., 5167:Sams 2008, p. 269 5128:Chambers, E. K., 5076:Chambers, E. K., 4945:Prynne, William, 4650:Ruoff, James E., 4495:(San Marino 1947) 4491:Campbell, L. B., 4435:Chambers, E. K., 3875:Richard Loncraine 3459:under the title, 3398:parts 1 to 3 and 3300: 3299: 3230:Caesar and Pompey 3058: 3057: 2897:Caesar and Pompey 2611: 2610: 2032: 2031: 1129:E. M. W. Tillyard 1102:and the youth of 1095: 1094: 988:, is left out of 942:Wars of the Roses 897:Raphael Holinshed 804:Adolfo Hohenstein 764:Wars of the Roses 758:John F. Danby in 616:E. M. W. Tillyard 556:Raphael Holinshed 517:The 'Tudor myth' 401:Raphael Holinshed 220:English histories 133:Henry IV, Parts I 103:Henry VI, Parts I 98:Wars of the Roses 62:, histories, and 16:(Redirected from 6874: 6781:The Secret River 6751:War of the Roses 6670: 6663: 6656: 6647: 6646: 6633: 6632: 6623: 6622: 6571:Joan Shakespeare 6553:John Shakespeare 6456: 6455: 6437:Shakespeare and 6148:Sejanus His Fall 6115: 6075:Double Falsehood 6042: 6041: 6026:Venus and Adonis 5977: 5750:Titus Andronicus 5736:Romeo and Juliet 5540: 5539: 5520: 5513: 5506: 5497: 5496: 5406: 5402:Australian Stage 5397: 5391: 5384: 5378: 5371: 5365: 5358: 5352: 5345: 5336: 5329: 5320: 5313: 5304: 5297: 5288: 5281: 5275: 5268: 5262: 5261: 5249: 5246:Sejanus His Fall 5239: 5233: 5226: 5220: 5213: 5207: 5200: 5194: 5189:Danby, John F., 5187: 5181: 5174: 5168: 5165: 5159: 5156: 5150: 5143: 5137: 5126: 5120: 5104: 5098: 5091: 5085: 5074: 5068: 5065: 5052: 5049: 5040: 5037: 5028: 5021: 5012: 5005: 4996: 4989: 4980: 4973: 4964: 4957: 4951: 4943: 4937: 4931: 4925: 4918: 4907: 4900: 4891: 4884: 4869: 4866: 4860: 4853: 4847: 4842:Everitt, E. B., 4840: 4834: 4827: 4818: 4811: 4805: 4798: 4792: 4785: 4779: 4774: 4765: 4755: 4746: 4739: 4733: 4726: 4720: 4713: 4707: 4700: 4694: 4687: 4681: 4674: 4668: 4661: 4655: 4648: 4639: 4632: 4626: 4619: 4613: 4606: 4600: 4593: 4587: 4580: 4574: 4563: 4557: 4547: 4541: 4534: 4525: 4518: 4509: 4502: 4496: 4489: 4483: 4472: 4466: 4459: 4453: 4446: 4440: 4433: 4427: 4420: 4411: 4408: 4402: 4395: 4389: 4382: 4376: 4363: 4357: 4354: 4348: 4345: 4339: 4336: 4330: 4319: 4313: 4302: 4296: 4288: 4282: 4279: 4273: 4272:, epilogue, 5–14 4267: 4261: 4255: 4249: 4246: 4240: 4234: 4228: 4225: 4219: 4216: 4210: 4204: 4198: 4192: 4186: 4180: 4174: 4171: 4165: 4162: 4156: 4153: 4147: 4140: 4134: 4128: 4122: 4119: 4110: 4107: 4101: 4098: 4092: 4086: 4080: 4077: 4071: 4065: 4059: 4053: 4047: 4041: 4035: 4029: 4023: 4020: 4014: 4011: 4005: 4002: 3996: 3989: 3983: 3976: 3970: 3963: 3957: 3954: 3948: 3947: 3945: 3943: 3920: 3897:Henry IV, Part I 3849:Laurence Olivier 3833:as Hotspur, and 3768:The Hollow Crown 3744:Michael Bogdanov 3717:Frank Middlemass 3687:as Richard III, 3652:Tim Pigott-Smith 3581:as Richard III, 3542:Frank Pettingell 3524:as Richard III, 3476:Benedict Andrews 3441:, the anonymous 3381:Henry VI, Part 3 3375:Henry VI, Part 2 3369:Henry VI, Part 1 3357:Henry IV, Part 2 3351:Henry IV, Part 1 3305:Titus Andronicus 3275:Philip Massinger 3262:written c. 1626 3063: 3050:Philip Massinger 3013:30 AD, reign of 2864:written c. 1626 2763: 2756: 2726:Sejanus His Fall 2716:Titus Andronicus 2550:written c. 1607 2536:Sir Thomas Wyatt 2470:Richard Hathwaye 2220:written c. 1590 2037: 1980:written c. 1607 1966:Sir Thomas Wyatt 1636:Richard Hathwaye 1492:written c. 1590 1271: 1083:― W. D. Briggs, 1075: 996:Robert Tresilian 951:Master of Revels 945:imagined plots. 883:Chronicle plays— 879:Dates and themes 715:Lancastrian bias 513:The 'York myth' 485:Late Middle Ages 477:Machiavellianism 348:Titus Andronicus 294:Henry VI, Part 3 287:Henry VI, Part 2 280:Henry VI, Part 1 266:Henry IV, Part 2 259:Henry IV, Part 1 21: 6882: 6881: 6877: 6876: 6875: 6873: 6872: 6871: 6842: 6841: 6840: 6835: 6679: 6674: 6644: 6639: 6600: 6549:(granddaughter) 6507: 6454: 6383: 6349:Religious views 6327:Curtain Theatre 6248: 6236: 6211: 6162:Sir Thomas More 6108: 6082:Edmund Ironside 6031: 5978: 5965: 5939:Ghost character 5899: 5871: 5762: 5743:Timon of Athens 5672: 5529: 5524: 5474:: A very brief 5466:Roy, Pinaki. " 5441:Roy, Pinaki. " 5414: 5409: 5398: 5394: 5385: 5381: 5372: 5368: 5359: 5355: 5346: 5339: 5330: 5323: 5314: 5307: 5298: 5291: 5282: 5278: 5270:Briggs, W. D., 5269: 5265: 5258: 5240: 5236: 5227: 5223: 5214: 5210: 5201: 5197: 5188: 5184: 5175: 5171: 5166: 5162: 5157: 5153: 5144: 5140: 5127: 5123: 5105: 5101: 5093:Briggs, W. D., 5092: 5088: 5075: 5071: 5066: 5055: 5050: 5043: 5038: 5031: 5022: 5015: 5006: 4999: 4990: 4983: 4974: 4967: 4959:Briggs, W. D., 4958: 4954: 4944: 4940: 4935:Selected Essays 4932: 4928: 4919: 4910: 4901: 4894: 4885: 4872: 4867: 4863: 4854: 4850: 4841: 4837: 4828: 4821: 4812: 4808: 4799: 4795: 4786: 4782: 4775: 4768: 4756: 4749: 4740: 4736: 4728:Briggs, W. D., 4727: 4723: 4715:Briggs, W. D., 4714: 4710: 4702:Briggs, W. D., 4701: 4697: 4689:Briggs, W. D., 4688: 4684: 4676:Briggs, W. D., 4675: 4671: 4662: 4658: 4649: 4642: 4633: 4629: 4620: 4616: 4607: 4603: 4594: 4590: 4581: 4577: 4565:Ward, B. M., ' 4564: 4560: 4548: 4544: 4535: 4528: 4519: 4512: 4504:Briggs, W. D., 4503: 4499: 4490: 4486: 4478:(London 1943); 4473: 4469: 4460: 4456: 4447: 4443: 4434: 4430: 4421: 4414: 4409: 4405: 4397:Briggs, W. D., 4396: 4392: 4384:Briggs, W. D., 4383: 4379: 4365:John F. Danby, 4364: 4360: 4355: 4351: 4346: 4342: 4337: 4333: 4320: 4316: 4304:John F. Danby, 4303: 4299: 4289: 4285: 4280: 4276: 4268: 4264: 4256: 4252: 4247: 4243: 4235: 4231: 4226: 4222: 4217: 4213: 4205: 4201: 4193: 4189: 4181: 4177: 4172: 4168: 4163: 4159: 4154: 4150: 4141: 4137: 4129: 4125: 4120: 4113: 4108: 4104: 4099: 4095: 4091:3.2.117; 3.4.12 4087: 4083: 4078: 4074: 4066: 4062: 4054: 4050: 4042: 4038: 4030: 4026: 4021: 4017: 4012: 4008: 4003: 3999: 3990: 3986: 3977: 3973: 3964: 3960: 3955: 3951: 3941: 3939: 3937: 3921: 3917: 3913: 3859:Kenneth Branagh 3807:Patrick Stewart 3805:as Richard II, 3713:Mark Wing-Davey 3705:Brian Protheroe 3668:Michele Dotrice 3634:as Richard II, 3508:as Richard II, 3497:An Age of Kings 3320: 3176:published 1604 2969:published 1604 2754: 2663: 2643:, c. 1587, and 2631:Edmund Ironside 2590:published 1613 2585:Wentworth Smith 2529:published 1606 2512:published 1605 2495:published 1605 2478:published 1600 2466:Michael Drayton 2449:published 1599 2359:Sir Thomas More 2255:published 1593 2202:published 1623 2186:published 1623 2135:Shakespeare (?) 2120:Shakespeare (?) 2028:published 1606 2006:published 1605 1941:published 1605 1922:published 1613 1917:Wentworth Smith 1879:Sir Thomas More 1765:published 1599 1743:published 1623 1700:published 1623 1644:published 1600 1632:Michael Drayton 1472:published 1593 1446:Shakespeare (?) 1300:Shakespeare (?) 1289:Edmund Ironside 1250: 1145:W. J. Courthope 1056:revenge tragedy 1004: 889:Polydore Vergil 881: 876: 870: 756: 583:H. A. Kelly in 581: 576: 574:Interpretations 568:Interpretations 548:Polydore Vergil 493: 429: 389: 357: 355:Other histories 317: 315:Roman histories 222: 217: 54:, the plays of 37: 28: 23: 22: 15: 12: 11: 5: 6880: 6870: 6869: 6864: 6859: 6854: 6837: 6836: 6834: 6833: 6825: 6817: 6809: 6801: 6793: 6785: 6777: 6771: 6763: 6755: 6747: 6739: 6733: 6725: 6717: 6709: 6701: 6693: 6684: 6681: 6680: 6673: 6672: 6665: 6658: 6650: 6641: 6640: 6638: 6637: 6627: 6616: 6615: 6612: 6605: 6602: 6601: 6599: 6598: 6592: 6586: 6580: 6574: 6568: 6562: 6556: 6550: 6544: 6538: 6532: 6526: 6519: 6517: 6513: 6512: 6509: 6508: 6506: 6505: 6500: 6494: 6489: 6488: 6487: 6477: 6476: 6475: 6462: 6460: 6453: 6452: 6447: 6442: 6434: 6429: 6424: 6419: 6414: 6409: 6404: 6399: 6393: 6391: 6385: 6384: 6382: 6381: 6376: 6371: 6366: 6361: 6356: 6351: 6346: 6341: 6336: 6331: 6330: 6329: 6324: 6310: 6305: 6300: 6295: 6290: 6288:Collaborations 6285: 6280: 6279: 6278: 6273: 6261: 6255: 6253: 6242: 6241: 6238: 6237: 6235: 6234: 6227: 6219: 6217: 6213: 6212: 6210: 6209: 6202: 6195: 6187: 6180: 6173: 6166: 6158: 6151: 6144: 6137: 6130: 6123: 6116: 6106: 6099: 6092: 6085: 6078: 6071: 6063: 6056: 6048: 6046: 6039: 6033: 6032: 6030: 6029: 6022: 6015: 6008: 6001: 6000: 5999: 5986: 5984: 5980: 5979: 5972: 5970: 5967: 5966: 5964: 5963: 5958: 5953: 5948: 5943: 5942: 5941: 5936: 5931: 5923: 5918: 5913: 5907: 5905: 5901: 5900: 5898: 5897: 5892: 5887: 5881: 5879: 5877:Early editions 5873: 5872: 5870: 5869: 5861: 5854: 5853: 5852: 5845: 5838: 5823: 5816: 5815: 5814: 5807: 5795: 5788: 5780: 5772: 5770: 5764: 5763: 5761: 5760: 5753: 5746: 5739: 5732: 5725: 5718: 5711: 5704: 5697: 5690: 5682: 5680: 5674: 5673: 5671: 5670: 5663: 5655: 5648: 5641: 5634: 5627: 5619: 5612: 5605: 5598: 5591: 5584: 5577: 5570: 5563: 5560:As You Like It 5556: 5548: 5546: 5537: 5531: 5530: 5523: 5522: 5515: 5508: 5500: 5494: 5493: 5464: 5439: 5423: 5413: 5412:External links 5410: 5408: 5407: 5392: 5379: 5366: 5353: 5337: 5321: 5305: 5289: 5276: 5263: 5257:978-0719015427 5256: 5234: 5221: 5208: 5195: 5193:(London, 1949) 5182: 5176:Lucas, F. L., 5169: 5160: 5151: 5138: 5121: 5099: 5086: 5069: 5053: 5041: 5029: 5027:, 2008, p. 151 5013: 4997: 4981: 4965: 4952: 4938: 4926: 4908: 4892: 4870: 4861: 4848: 4835: 4819: 4806: 4793: 4780: 4766: 4747: 4745:, London, 1972 4734: 4721: 4708: 4695: 4682: 4669: 4656: 4654:, London, 1975 4640: 4627: 4614: 4601: 4588: 4575: 4558: 4542: 4526: 4510: 4497: 4484: 4467: 4454: 4441: 4428: 4412: 4403: 4390: 4377: 4358: 4349: 4340: 4331: 4314: 4297: 4283: 4274: 4262: 4250: 4241: 4229: 4220: 4211: 4199: 4187: 4175: 4166: 4157: 4148: 4135: 4123: 4111: 4102: 4093: 4081: 4072: 4060: 4048: 4036: 4024: 4015: 4006: 3997: 3984: 3971: 3958: 3949: 3935: 3914: 3912: 3909: 3839: 3838: 3823:Tom Hiddleston 3763: 3736: 3721:Trevor Peacock 3693:Brenda Blethyn 3671: 3670:as Lady Percy. 3644:Anthony Quayle 3606: 3603:William Squire 3587:Peggy Ashcroft 3553: 3546:William Squire 3528:as Edward IV, 3488: 3487: 3468: 3465:Stephen Moorer 3433: 3422: 3403: 3319: 3316: 3315: 3314: 3298: 3297: 3294: 3292:Thomas Heywood 3289: 3281: 3280: 3277: 3272: 3264: 3263: 3260: 3257:Thomas Heywood 3250: 3242: 3241: 3238: 3236:George Chapman 3233: 3225: 3224: 3221: 3216: 3208: 3207: 3204: 3201: 3193: 3192: 3189: 3186: 3178: 3177: 3174: 3169: 3163: 3162: 3159: 3154: 3146: 3145: 3142: 3139: 3131: 3130: 3127: 3124: 3118: 3117: 3114: 3112:Robert Garnier 3101: 3095: 3094: 3091: 3082: 3074: 3073: 3070: 3067: 3056: 3055: 3052: 3047: 3040: 3033: 3032: 3029: 3024: 3017: 3010: 3009: 3006: 3003: 2996: 2989: 2988: 2985: 2982: 2975: 2971: 2970: 2967: 2962: 2957: 2954: 2953: 2950: 2948:Robert Garnier 2937: 2932: 2929: 2928: 2925: 2918: 2913: 2909: 2908: 2905: 2903:George Chapman 2900: 2893: 2889: 2888: 2885: 2880: 2873: 2866: 2865: 2862: 2859:Thomas Heywood 2852: 2845: 2838: 2837: 2834: 2831: 2824: 2823:5th century BC 2820: 2819: 2816: 2814:Thomas Heywood 2811: 2804: 2801: 2800: 2797: 2788: 2781: 2780:Rome's origins 2777: 2776: 2773: 2770: 2767: 2709:Shakespeare's 2662: 2659: 2645:Anthony Munday 2609: 2608: 2605: 2600: 2592: 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6714: 6710: 6707: 6706: 6702: 6699: 6698: 6694: 6691: 6690: 6686: 6685: 6682: 6678: 6671: 6666: 6664: 6659: 6657: 6652: 6651: 6648: 6636: 6628: 6626: 6618: 6617: 6613: 6611: 6607: 6606: 6603: 6596: 6595:Thomas Quiney 6593: 6590: 6587: 6585:(grandfather) 6584: 6581: 6578: 6575: 6572: 6569: 6566: 6563: 6560: 6557: 6554: 6551: 6548: 6545: 6542: 6541:Judith Quiney 6539: 6536: 6533: 6530: 6527: 6524: 6523:Anne Hathaway 6521: 6520: 6518: 6514: 6504: 6501: 6498: 6495: 6493: 6490: 6486: 6483: 6482: 6481: 6478: 6474: 6473: 6469: 6468: 6467: 6464: 6463: 6461: 6457: 6451: 6448: 6446: 6443: 6441: 6440: 6435: 6433: 6430: 6428: 6425: 6423: 6420: 6418: 6415: 6413: 6410: 6408: 6405: 6403: 6400: 6398: 6395: 6394: 6392: 6390: 6386: 6380: 6377: 6375: 6372: 6370: 6367: 6365: 6362: 6360: 6357: 6355: 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6328: 6325: 6323: 6320: 6319: 6318: 6314: 6311: 6309: 6306: 6304: 6303:Globe Theatre 6301: 6299: 6296: 6294: 6291: 6289: 6286: 6284: 6281: 6277: 6274: 6272: 6271: 6267: 6266: 6265: 6262: 6260: 6257: 6256: 6254: 6252: 6247: 6243: 6233: 6232: 6228: 6226: 6225: 6221: 6220: 6218: 6214: 6208: 6207: 6203: 6201: 6200: 6196: 6193: 6192: 6188: 6186: 6185: 6181: 6179: 6178: 6174: 6172: 6171: 6167: 6164: 6163: 6159: 6157: 6156: 6152: 6150: 6149: 6145: 6143: 6142: 6138: 6136: 6135: 6131: 6129: 6128: 6124: 6122: 6121: 6117: 6113: 6112: 6107: 6105: 6104: 6100: 6098: 6097: 6093: 6091: 6090: 6086: 6084: 6083: 6079: 6077: 6076: 6072: 6069: 6068: 6064: 6062: 6061: 6057: 6055: 6054: 6050: 6049: 6047: 6043: 6040: 6038: 6034: 6028: 6027: 6023: 6021: 6020: 6016: 6014: 6013: 6009: 6007: 6006: 6002: 5998: 5995: 5994: 5993: 5992: 5988: 5987: 5985: 5981: 5976: 5962: 5959: 5957: 5954: 5952: 5949: 5947: 5944: 5940: 5937: 5935: 5932: 5930: 5927: 5926: 5924: 5922: 5919: 5917: 5916:Late romances 5914: 5912: 5911:Problem plays 5909: 5908: 5906: 5902: 5896: 5893: 5891: 5888: 5886: 5883: 5882: 5880: 5878: 5874: 5867: 5866: 5862: 5860: 5859: 5855: 5851: 5850: 5846: 5844: 5843: 5839: 5836: 5835: 5831: 5830: 5829: 5828: 5824: 5822: 5821: 5817: 5813: 5812: 5808: 5806: 5805: 5801: 5800: 5799: 5796: 5794: 5793: 5789: 5786: 5785: 5781: 5779: 5778: 5774: 5773: 5771: 5769: 5765: 5759: 5758: 5754: 5752: 5751: 5747: 5745: 5744: 5740: 5738: 5737: 5733: 5731: 5730: 5726: 5724: 5723: 5719: 5717: 5716: 5712: 5710: 5709: 5708:Julius Caesar 5705: 5703: 5702: 5698: 5696: 5695: 5691: 5689: 5688: 5684: 5683: 5681: 5679: 5675: 5669: 5668: 5664: 5661: 5660: 5656: 5654: 5653: 5649: 5647: 5646: 5645:Twelfth Night 5642: 5640: 5639: 5635: 5633: 5632: 5628: 5625: 5624: 5620: 5618: 5617: 5613: 5611: 5610: 5606: 5604: 5603: 5599: 5597: 5596: 5592: 5590: 5589: 5585: 5583: 5582: 5578: 5576: 5575: 5571: 5569: 5568: 5564: 5562: 5561: 5557: 5555: 5554: 5550: 5549: 5547: 5545: 5541: 5538: 5536: 5532: 5528: 5521: 5516: 5514: 5509: 5507: 5502: 5501: 5498: 5491: 5487: 5484: 5483: 5477: 5473: 5471: 5465: 5462: 5458: 5455: 5454: 5448: 5444: 5440: 5437: 5436: 5431: 5427: 5424: 5421: 5420: 5416: 5415: 5405: 5403: 5396: 5389: 5383: 5376: 5375:Julius Caesar 5370: 5363: 5362:Julius Caesar 5360:Dorsch, ed., 5357: 5350: 5344: 5342: 5334: 5328: 5326: 5318: 5312: 5310: 5303:(London 2001) 5302: 5296: 5294: 5286: 5280: 5273: 5267: 5259: 5253: 5248: 5247: 5238: 5231: 5225: 5219:(London 1963) 5218: 5212: 5206:(London 1988) 5205: 5199: 5192: 5186: 5179: 5173: 5164: 5155: 5148: 5142: 5135: 5131: 5125: 5119: 5115: 5111: 5110: 5103: 5096: 5090: 5083: 5079: 5073: 5064: 5062: 5060: 5058: 5048: 5046: 5036: 5034: 5026: 5020: 5018: 5010: 5004: 5002: 4994: 4988: 4986: 4978: 4972: 4970: 4962: 4956: 4950: 4949: 4948:Histriomastix 4942: 4936: 4930: 4923: 4917: 4915: 4913: 4905: 4899: 4897: 4889: 4883: 4881: 4879: 4877: 4875: 4865: 4858: 4852: 4845: 4839: 4832: 4826: 4824: 4817:(London 1954) 4816: 4810: 4803: 4797: 4790: 4784: 4778: 4773: 4771: 4764:(London 1988) 4763: 4759: 4758:Robinson, Ian 4754: 4752: 4744: 4738: 4731: 4725: 4718: 4712: 4705: 4699: 4692: 4686: 4679: 4673: 4666: 4660: 4653: 4647: 4645: 4637: 4631: 4624: 4618: 4611: 4605: 4598: 4592: 4585: 4579: 4572: 4568: 4562: 4555: 4551: 4546: 4539: 4533: 4531: 4523: 4517: 4515: 4507: 4501: 4494: 4488: 4482:(London 1944) 4481: 4477: 4471: 4464: 4461:Greg, W. W., 4458: 4451: 4445: 4438: 4432: 4425: 4422:Lee, Sidney, 4419: 4417: 4407: 4400: 4394: 4387: 4381: 4374: 4371: 4368: 4362: 4353: 4344: 4335: 4328: 4324: 4318: 4311: 4309: 4301: 4294: 4293: 4287: 4278: 4271: 4266: 4259: 4254: 4245: 4238: 4233: 4224: 4215: 4208: 4203: 4196: 4191: 4184: 4179: 4170: 4161: 4152: 4145: 4139: 4132: 4127: 4118: 4116: 4106: 4097: 4090: 4085: 4076: 4069: 4064: 4057: 4052: 4045: 4040: 4033: 4028: 4019: 4010: 4001: 3994: 3988: 3981: 3975: 3968: 3962: 3953: 3938: 3936:9780874136807 3932: 3928: 3927: 3919: 3915: 3908: 3906: 3902: 3898: 3894: 3890: 3886: 3885: 3880: 3877:and starring 3876: 3872: 3871: 3866: 3865: 3860: 3856: 3855: 3850: 3846: 3845: 3836: 3835:Julie Walters 3832: 3831:Joe Armstrong 3829:as Falstaff, 3828: 3824: 3821:as Henry IV, 3820: 3816: 3812: 3808: 3804: 3801:). Featuring 3800: 3799: 3794: 3793:Thea Sharrock 3790: 3789: 3784: 3780: 3779: 3774: 3770: 3769: 3764: 3761: 3757: 3753: 3749: 3745: 3741: 3737: 3735:as Lady Anne. 3734: 3733:Zoe Wanamaker 3730: 3726: 3722: 3718: 3714: 3711:as Clarence, 3710: 3706: 3703:as Margaret, 3702: 3698: 3694: 3691:as Henry VI, 3690: 3686: 3682: 3678: 3677: 3672: 3669: 3665: 3661: 3657: 3653: 3649: 3648:David Gwillim 3646:as Falstaff, 3645: 3642:as Henry IV, 3641: 3637: 3633: 3629: 3625: 3621: 3617: 3613: 3612: 3607: 3604: 3600: 3596: 3592: 3591:Donald Sinden 3589:as Margaret, 3588: 3585:as Henry VI, 3584: 3580: 3576: 3572: 3569:. adapted by 3568: 3564: 3560: 3559: 3554: 3551: 3547: 3544:as Falstaff, 3543: 3539: 3538:Eileen Atkins 3535: 3531: 3527: 3526:Julian Glover 3523: 3520:as Henry VI, 3519: 3515: 3512:as Henry IV, 3511: 3507: 3506:David William 3503: 3502:Michael Hayes 3499: 3498: 3493: 3492: 3491: 3485: 3481: 3477: 3473: 3469: 3466: 3462: 3458: 3454: 3450: 3446: 3445: 3440: 3439: 3434: 3431: 3427: 3423: 3420: 3416: 3412: 3408: 3404: 3402:) as a cycle; 3401: 3397: 3393: 3392: 3391: 3389: 3388: 3383: 3382: 3377: 3376: 3371: 3370: 3365: 3364: 3359: 3358: 3353: 3352: 3347: 3346: 3341: 3333: 3329: 3324: 3312: 3311: 3306: 3302: 3301: 3295: 3293: 3290: 3288: 3287: 3283: 3282: 3278: 3276: 3273: 3271: 3270: 3266: 3265: 3261: 3258: 3254: 3251: 3249: 3248: 3244: 3243: 3239: 3237: 3234: 3232: 3231: 3227: 3226: 3222: 3220: 3217: 3215: 3214: 3210: 3209: 3205: 3202: 3200: 3199: 3195: 3194: 3190: 3187: 3185: 3184: 3180: 3179: 3175: 3173: 3170: 3168: 3165: 3164: 3160: 3158: 3155: 3153: 3152: 3148: 3147: 3143: 3140: 3138: 3137: 3133: 3132: 3128: 3125: 3123: 3120: 3119: 3115: 3113: 3109: 3106:'s trans. of 3105: 3102: 3100: 3097: 3096: 3092: 3090: 3086: 3083: 3081: 3080: 3076: 3075: 3071: 3069:Playwright(s) 3068: 3065: 3064: 3053: 3051: 3048: 3046: 3045: 3041: 3039: 3035: 3034: 3030: 3028: 3025: 3023: 3022: 3018: 3016: 3012: 3011: 3007: 3004: 3002: 3001: 2997: 2995: 2991: 2990: 2986: 2983: 2981: 2980: 2976: 2973: 2972: 2968: 2966: 2963: 2961: 2958: 2956: 2955: 2951: 2949: 2945: 2942:'s trans. of 2941: 2938: 2936: 2933: 2931: 2930: 2926: 2923: 2919: 2917: 2914: 2911: 2910: 2906: 2904: 2901: 2899: 2898: 2894: 2891: 2890: 2886: 2884: 2881: 2879: 2878: 2874: 2872: 2868: 2867: 2863: 2860: 2856: 2853: 2851: 2850: 2846: 2844: 2840: 2839: 2835: 2832: 2830: 2829: 2825: 2822: 2821: 2817: 2815: 2812: 2810: 2809: 2805: 2803: 2802: 2798: 2796: 2792: 2789: 2787: 2786: 2782: 2779: 2778: 2774: 2772:Playwright(s) 2771: 2768: 2765: 2764: 2758: 2753: 2749: 2748: 2743: 2742: 2737: 2732: 2728: 2727: 2722: 2718: 2717: 2712: 2711:Julius Caesar 2707: 2705: 2704: 2703:Julius Caesar 2699: 2694: 2690: 2689: 2684: 2680: 2676: 2672: 2668: 2658: 2656: 2655: 2651: 2646: 2642: 2641: 2636: 2632: 2628: 2624: 2620: 2616: 2606: 2604: 2601: 2599: 2598: 2594: 2593: 2589: 2586: 2583: 2581: 2580: 2576: 2575: 2571: 2569: 2568:John Fletcher 2565: 2563: 2562: 2558: 2554: 2553: 2549: 2547: 2543: 2542:Thomas Dekker 2540: 2538: 2537: 2533: 2532: 2528: 2526: 2523: 2521: 2520: 2516: 2515: 2511: 2509: 2506: 2504: 2503: 2499: 2498: 2494: 2492: 2491:Samuel Rowley 2489: 2487: 2486: 2482: 2481: 2477: 2475: 2474:Robert Wilson 2471: 2467: 2463: 2460: 2458: 2457: 2453: 2452: 2448: 2446: 2443: 2441: 2440: 2436: 2435: 2431: 2428: 2425: 2424: 2420: 2419: 2415: 2412: 2410: 2409: 2405: 2404: 2400: 2397: 2395: 2394: 2390: 2386: 2385: 2381: 2379:, Shakespeare 2378: 2377:Thomas Dekker 2374: 2370: 2369:Henry Chettle 2366: 2363: 2361: 2360: 2356: 2355: 2351: 2348: 2346: 2345: 2341: 2337: 2336: 2332: 2329: 2327: 2326: 2322: 2321: 2317: 2314: 2312: 2311: 2307: 2306: 2302: 2299: 2296: 2295: 2291: 2290: 2286: 2283: 2281: 2280: 2276: 2275: 2271: 2269: 2266: 2264: 2263: 2259: 2258: 2254: 2251: 2248: 2246: 2245: 2241: 2240: 2236: 2234: 2231: 2229: 2228: 2224: 2223: 2219: 2216: 2215:Samuel Rowley 2213: 2211: 2210: 2206: 2205: 2201: 2198: 2195: 2194: 2190: 2189: 2185: 2182: 2179: 2178: 2174: 2173: 2169: 2166: 2163: 2162: 2158: 2157: 2153: 2150: 2147: 2146: 2142: 2141: 2137: 2134: 2132: 2131: 2127: 2126: 2122: 2119: 2117: 2116: 2112: 2111: 2107: 2104: 2101: 2099: 2098: 2094: 2093: 2089: 2086: 2082: 2078: 2075: 2073: 2072: 2068: 2067: 2063: 2060: 2059:Samuel Rowley 2057: 2055: 2054: 2050: 2049: 2045: 2043:Playwright(s) 2042: 2039: 2038: 2027: 2025: 2022: 2020: 2019: 2015: 2013: 2010: 2009: 2005: 2003: 2000: 1998: 1997: 1993: 1991: 1987: 1984: 1983: 1979: 1977: 1973: 1972:Thomas Dekker 1970: 1968: 1967: 1963: 1961: 1958: 1957: 1954: 1952: 1950: 1948: 1945: 1944: 1940: 1938: 1937:Samuel Rowley 1935: 1933: 1932: 1928: 1926: 1925: 1921: 1918: 1915: 1913: 1912: 1908: 1906: 1905: 1901: 1899:, Shakespeare 1898: 1897:Thomas Dekker 1894: 1890: 1889:Henry Chettle 1886: 1883: 1881: 1880: 1876: 1874: 1873: 1869: 1867: 1866:John Fletcher 1863: 1861: 1860: 1856: 1852: 1850: 1847: 1846: 1842: 1840: 1837: 1835: 1834: 1830: 1828: 1825: 1824: 1820: 1817: 1815: 1814: 1810: 1808: 1807: 1803: 1800: 1796: 1792: 1789: 1787: 1786: 1782: 1780: 1776: 1772: 1769: 1768: 1764: 1762: 1759: 1757: 1756: 1752: 1750: 1747: 1746: 1742: 1739: 1736: 1735: 1731: 1729: 1728: 1724: 1721: 1718: 1717: 1713: 1711: 1707: 1704: 1703: 1699: 1696: 1693: 1692: 1688: 1686: 1685: 1681: 1678: 1675: 1674: 1670: 1668: 1667: 1663: 1660: 1658: 1657: 1653: 1651: 1648: 1647: 1643: 1641: 1640:Robert Wilson 1637: 1633: 1629: 1626: 1624: 1623: 1619: 1617: 1616: 1612: 1609: 1606: 1605: 1601: 1599: 1598: 1594: 1591: 1588: 1587: 1583: 1581: 1580: 1576: 1573: 1572:Samuel Rowley 1570: 1568: 1567: 1563: 1561: 1558: 1557: 1553: 1550: 1548: 1547: 1543: 1541: 1540: 1536: 1533: 1531: 1530: 1526: 1522: 1520: 1517: 1516: 1512: 1509: 1507: 1506: 1502: 1498: 1496: 1495: 1491: 1488: 1487:Samuel Rowley 1485: 1483: 1482: 1478: 1476: 1475: 1471: 1468: 1465: 1463: 1462: 1458: 1456: 1453: 1452: 1448: 1445: 1443: 1442: 1438: 1436: 1433: 1432: 1428: 1426: 1423: 1421: 1420: 1416: 1414: 1411: 1410: 1406: 1404: 1401: 1399: 1398: 1394: 1392: 1389: 1388: 1384: 1381: 1378: 1376: 1373: 1372: 1368: 1365: 1363: 1362: 1358: 1356: 1355: 1351: 1348: 1345: 1343: 1342: 1338: 1336: 1335: 1331: 1329: 1326: 1324: 1323: 1319: 1317: 1314: 1313: 1310: 1307: 1306: 1302: 1299: 1297: 1296: 1292: 1290: 1287: 1286: 1282: 1280:Playwright(s) 1279: 1276: 1273: 1272: 1266: 1264: 1260: 1256: 1245: 1243: 1239: 1235: 1231: 1230: 1225: 1221: 1220: 1215: 1214: 1209: 1205: 1200: 1198: 1194: 1190: 1186: 1182: 1181: 1176: 1172: 1171: 1166: 1162: 1158: 1154: 1150: 1146: 1142: 1138: 1134: 1130: 1124: 1122: 1121: 1116: 1115: 1109: 1105: 1101: 1100:Cade's revolt 1091: 1090: 1086: 1082: 1081: 1077: 1076: 1073: 1071: 1067: 1066: 1061: 1057: 1053: 1050: 1049: 1044: 1043: 1038: 1034: 1033: 1028: 1027: 1022: 1021: 1016: 1011: 1010: 999: 997: 993: 992: 987: 983: 979: 978: 973: 969: 964: 960: 956: 952: 946: 943: 939: 935: 931: 927: 923: 919: 918: 913: 909: 906: 905:morality play 902: 898: 894: 890: 886: 885:history-plays 875: 865: 863: 858: 854: 850: 846: 843: 839: 835: 831: 830:Julius Caesar 826: 821: 817: 813: 805: 802:'Falstaff', ( 800: 796: 794: 790: 789:Julius Caesar 785: 781: 777: 773: 769: 765: 761: 751: 749: 745: 740: 737: 733: 729: 724: 720: 716: 711: 708: 704: 699: 697: 693: 689: 685: 681: 677: 673: 669: 661: 657: 656: 655: 653: 649: 641: 636: 632: 630: 626: 621: 617: 613: 609: 604: 602: 598: 594: 590: 586: 571: 569: 565: 561: 557: 553: 549: 544: 542: 538: 537: 532: 527: 523: 518: 514: 510: 502: 497: 488: 486: 482: 481:nostalgically 478: 474: 470: 466: 465: 460: 456: 455:House of York 452: 451: 446: 442: 438: 434: 424: 422: 418: 417: 412: 408: 407: 402: 398: 394: 382: 381: 377: 375: 374: 370: 368: 367: 363: 362: 361: 352: 350: 349: 341: 340: 336: 334: 333: 332:Julius Caesar 329: 327: 326: 322: 321: 320: 310: 309: 305: 303: 302: 298: 296: 295: 291: 289: 288: 284: 282: 281: 277: 275: 274: 270: 268: 267: 263: 261: 260: 256: 254: 253: 249: 247: 246: 242: 240: 239: 235: 234: 233: 231: 227: 212: 210: 209: 204: 203: 202:Julius Caesar 198: 197: 192: 191: 186: 182: 178: 177: 172: 171:problem plays 168: 163: 161: 158:, the future 157: 153: 152: 147: 146: 141: 140: 135: 134: 129: 128: 123: 122: 117: 116: 111: 110: 105: 104: 99: 95: 91: 90: 85: 84: 79: 78: 73: 72:English kings 69: 68:history plays 65: 61: 57: 53: 46: 41: 35: 30: 19: 6827: 6821:The Children 6819: 6811: 6803: 6795: 6787: 6779: 6773: 6765: 6757: 6749: 6741: 6735: 6727: 6719: 6711: 6703: 6695: 6687: 6597:(son-in-law) 6591:(son-in-law) 6529:Susanna Hall 6470: 6459:Institutions 6438: 6283:Coat of arms 6276:Translations 6268: 6264:Bibliography 6231:To the Queen 6229: 6222: 6204: 6197: 6189: 6182: 6175: 6168: 6160: 6153: 6146: 6139: 6132: 6125: 6118: 6109: 6101: 6094: 6087: 6080: 6073: 6065: 6058: 6051: 6024: 6017: 6010: 6003: 5989: 5951:Performances 5895:Second Folio 5863: 5856: 5847: 5840: 5832: 5825: 5818: 5809: 5802: 5797: 5790: 5782: 5775: 5767: 5755: 5748: 5741: 5734: 5727: 5720: 5713: 5706: 5699: 5692: 5685: 5665: 5657: 5650: 5643: 5636: 5629: 5621: 5614: 5607: 5600: 5593: 5586: 5579: 5572: 5565: 5558: 5551: 5479: 5467: 5450: 5442: 5433: 5418: 5401: 5395: 5387: 5382: 5374: 5369: 5361: 5356: 5348: 5332: 5316: 5300: 5284: 5283:Park Honan, 5279: 5271: 5266: 5245: 5237: 5229: 5224: 5216: 5211: 5203: 5198: 5190: 5185: 5177: 5172: 5163: 5154: 5146: 5141: 5133: 5129: 5124: 5117: 5107: 5102: 5094: 5089: 5081: 5077: 5072: 5024: 5023:Sams, Eric, 5008: 4992: 4976: 4975:Sams, Eric, 4960: 4955: 4946: 4941: 4934: 4929: 4921: 4903: 4887: 4864: 4856: 4855:Sams, Eric, 4851: 4843: 4838: 4830: 4814: 4809: 4801: 4796: 4788: 4783: 4761: 4742: 4737: 4729: 4724: 4716: 4711: 4703: 4698: 4690: 4685: 4677: 4672: 4664: 4659: 4651: 4635: 4630: 4622: 4617: 4609: 4604: 4596: 4591: 4583: 4578: 4570: 4566: 4561: 4553: 4545: 4537: 4521: 4505: 4500: 4492: 4487: 4479: 4475: 4470: 4462: 4457: 4449: 4444: 4436: 4431: 4423: 4406: 4398: 4393: 4385: 4380: 4372: 4366: 4361: 4352: 4343: 4334: 4326: 4317: 4305: 4300: 4290: 4286: 4277: 4269: 4265: 4257: 4253: 4244: 4236: 4232: 4223: 4214: 4206: 4202: 4194: 4190: 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Retrieved 3925: 3918: 3904: 3900: 3896: 3895:, combining 3893:Orson Welles 3888: 3882: 3879:Ian McKellen 3869: 3863: 3853: 3843: 3840: 3825:as Henry V, 3819:Jeremy Irons 3814: 3811:Rory Kinnear 3796: 3786: 3783:Richard Eyre 3776: 3773:Rupert Goold 3766: 3759: 3755: 3751: 3725:Paul Chapman 3715:as Warwick, 3701:Julia Foster 3697:Bernard Hill 3689:Peter Benson 3674: 3664:Brenda Bruce 3660:Wendy Hiller 3656:Charles Gray 3654:as Hotspur, 3650:as Henry V, 3636:John Gielgud 3632:Derek Jacobi 3627: 3623: 3619: 3609: 3599:Janet Suzman 3583:David Warner 3566: 3562: 3556: 3550:Sean Connery 3522:Paul Daneman 3518:Terry Scully 3516:as Henry V, 3514:Robert Hardy 3504:. 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( 2791:Marlowe 2752:Sejanus 2679:Sallust 2675:Tacitus 2625:, like 2615:Henry V 2426:(Folio) 2196:(Folio) 2180:(Folio) 1737:(Folio) 1694:(Folio) 1607:(Folio) 1560:Henry V 1248:Decline 1242:Macbeth 1234:Webster 1224:Chapman 1087:(1914) 1037:Marlowe 940:to the 842:Macbeth 825:Hotspur 784:Henry V 766:plays, 744:Henry V 736:Henry V 713:As for 601:Henry V 531:usurper 393:Macbeth 387:Sources 373:Macbeth 273:Henry V 176:Macbeth 160:Henry V 151:Henriad 145:Henry V 50:In the 6832:(2019) 6824:(2018) 6816:(2017) 6808:(2016) 6800:(2015) 6792:(2014) 6784:(2013) 6776:(2012) 6770:(2011) 6762:(2010) 6754:(2009) 6746:(2008) 6738:(2007) 6732:(2006) 6724:(2005) 6716:(2004) 6708:(2003) 6700:(2002) 6692:(2001) 6614:† Lost 6525:(wife) 6516:Family 6389:Legacy 5961:Scenes 5701:Hamlet 5488: 5459: 5254: 5011:, 1996 5007:Sams, 4890:, 1986 4886:Sams, 4846:(1965) 3933: 3881:; and 3851:, and 3817:) and 3791:) and 3421:); and 3384:, and 3255:(and 2871:Cicero 2857:(and 2766:Period 2721:Jonson 2681:, and 2667:Virgil 2635:legend 2083:(?) / 2079:(?) / 1986:Mary I 1960:Mary I 1797:(?) / 1793:(?) / 834:Hamlet 380:Hamlet 205:, and 136:& 112:& 6537:(son) 6379:Grave 6369:Style 6334:Music 6251:works 6216:Poems 6045:Plays 5983:Poems 5535:Plays 5114:Roper 4321:e.g. 3911:Notes 3089:Nashe 2974:44 BC 2795:Nashe 2755:' 2731:Globe 1274:Reign 1238:Guise 1062:. In 1052:plays 974:, in 6374:Will 6249:and 6246:Life 5486:ISSN 5457:ISSN 5252:ISBN 5112:and 3944:2014 3931:ISBN 3899:and 3758:and 3746:and 3573:and 3565:and 3474:and 3087:and 3066:Play 2793:and 2769:Play 2744:and 2671:Livy 2652:and 2617:and 2544:and 2472:and 2040:Play 1974:and 1708:and 1638:and 1316:John 1277:Play 1208:Ford 1117:and 857:Lear 818:and 650:and 595:and 554:and 526:York 524:and 475:and 395:and 183:and 169:and 142:and 118:and 86:and 5934:L–Z 5929:A–K 5116:'s 3781:), 3451:to 2723:'s 2587:(?) 2559:or 2252:(?) 1919:(?) 1857:or 1469:(?) 1309:... 1226:'s 1210:'s 1139:'s 1039:'s 903:'s 816:Hal 782:to 770:to 696:any 627:or 599:to 591:to 413:'s 403:'s 115:III 6848:: 6608:✻ 6070:✻† 5432:, 5340:^ 5324:^ 5308:^ 5292:^ 5056:^ 5044:^ 5032:^ 5016:^ 5000:^ 4984:^ 4968:^ 4911:^ 4895:^ 4873:^ 4822:^ 4769:^ 4760:, 4750:^ 4643:^ 4552:, 4529:^ 4513:^ 4415:^ 4325:, 4310:' 4114:^ 3907:. 3861:; 3618:. 3409:, 3378:, 3372:, 3366:, 3360:, 3354:, 3348:, 2677:, 2673:, 2669:, 2657:. 2468:, 2464:, 2391:/ 2375:, 2371:, 2367:, 2342:/ 1988:, 1895:, 1891:, 1887:, 1777:, 1773:, 1634:, 1630:, 1527:/ 1503:/ 1385:— 1232:, 1222:, 1199:. 895:, 891:, 814:, 570:. 550:, 211:. 199:, 162:. 139:II 130:, 109:II 106:, 80:, 6669:e 6662:t 6655:v 6315:/ 6194:† 6165:✻ 6114:† 5868:✻ 5849:3 5842:2 5837:✻ 5834:1 5811:2 5804:1 5787:✻ 5662:✻ 5626:✻ 5519:e 5512:t 5505:v 5260:. 4373:, 3946:. 3795:( 3785:( 3775:( 3762:. 3467:. 3338:" 3259:) 2861:) 1382:— 1379:— 662:. 36:. 20:)

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