Knowledge

751: 6216: 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" (2.5.64–66). 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. 6251: 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.243–244). 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" (1.4.3–5). 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 760: 618: 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.1–3). 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.26–28); Edward's "Sweet Duke of York, our prop to lean upon/Now thou art gone, we have no staff, no stay" (ll.68–69); 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.96–100). 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 – 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." 764: 3040:;/The next degree is England's royal throne" (l.192–193). 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" (2.2.2–3). Later, Edward asks Henry, "Wilt thou kneel for grace/And set thy diadem upon my head?" (2.2.81–82). 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" (1.1.99–101). 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" (1.1.162–163). 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 3954: 3236: 3882: 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. 1–20). 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" (1.1.54–56). 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 4171: 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 (1.4.111–171), 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.47–48). 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.51–53). In Act 3, Scene 3, Oxford and Prince Edward's speculations as to the contents of the newly arrived letters is absent (ll.167–170), 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.186–188). All references to Lord Bourbon are also absent from this scene (ll.253–255). In Act 4, Scene 4, the first twelve lines are absent (where Elizabeth reports to Rivers that Edward has been captured). 735: 8975: 1905: 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 3338: 124: 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 3795: 650: 9465: 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 2351: 4312: 4175: 6137: 1587: 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 3660: 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 10111: 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 22: 2500: 1197: 3456: 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." 2895: 8921: 3862: 756: 10121: 4925: 1111: 3460: 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 4207: 3282:" (2.5.74–75). 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" (4.8.49–50). 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.55–58). 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.166–167). 3451: 3203:/That nothing sung but death to us and ours" (2.6.55–56). 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 5302: 3191:'s piercing talons" (1.4.40–41). 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:" (2.1.13–14). 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" (2.2.11–12). 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:" (2.1.169–171). 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" (1.2.29–31) 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, 1.1.117–118 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, 2257: 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.195–196). 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.72–74). 6215: 4796: 4557: 4303: 3961: 3877: 2790: 2780: 1461: 759: 755: 617: 6250: 3891: 3881: 2939: 2878: 2499: 1900: 1527: 4170: 3953: 3163: 2256: 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: 3354: 1252: 750: 5938: 5235: 3919: 1332: 3949: 4673: 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: 3455: 3035: 2334: 3944: 3794: 3450: 5975: 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: 2112: 843:(1582–1591) 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: 4103: 4255: 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: 4186: 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 – there is no indication whatsoever of who "he" is. In 6132: 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: 1392: 3962: 3886: 2626: 4522: 2955: 813: 673: 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: 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: 1901: 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: 2781: 4835: 5060: 2045: 3269: 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: 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: 6187: 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: 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: 3950: 4339: 3900: 1505: 5980: 2388: 2154: 3378: 3878: 4166: 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: 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: 5043: 2562: 6111: 2163: 3482: 6160: 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: 4944: 1170: 4018: 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: 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: 5223: 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: 3167: 1925: 3175:/Tire on the flesh of me and my son" (ll.269–270). 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: 2784: 2538: 782: 3355: 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: 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: 5027: 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: 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: 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: 1189: 4702: 3920: 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: 6156: 5321: 1706: 1261: 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: 1457: 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: 7562: 5522: 8296: 3394: 5964: 5173: 4654: 1516: 630: 5943: 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: 11253: 6374: 5161: 381: 1119: 3931: 1510: 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: 2798: 2484: 11208: 7920: 4918: 3212: 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: 1437: 11213: 10634: 6144: 4288: 3384: 2535: 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" (1.4.35–36), to which Clifford replies "So cowards fight when they can fly no further,/So 11198: 4528: 4524: 1781: 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: 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" (1.4.19–20). Subsequently, as Clifford tells York he will soon die, York declares "My ashes, as the 2339: 2100: 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: 9921: 1077: 2631:) and subsequently, he seems to represent Salisbury's son and Warwick's brother, John Neville (1st Marquis of Montague – a new character). In 2092: 9007: 6027: 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: 1571: 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: 2050:, Edward refuses, arguing "No, some other may set upon our backs/We'll stay till all be entered and then follow them" (ll.2742–2743). 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: 7406: 4641: 4247: 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: 1491: 864: 7670: 7384: 3032: 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: 5394: 340: 11002: 2654:(which treats the character of Montague as one consistent persona throughout the play), Salisbury's death is reported by Richard; 2361: 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: 4674: 3923: 3380: 2468: 2113: 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: 11223: 10839: 10694: 10599: 10538: 10468: 10453: 10397: 9939: 9838: 5608: 5502: 4898: 1324: 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: 6292: 763: 678:(1471), during which both Warwick and Montague are killed. Meanwhile, Edward's forces have captured Henry and sent him to the 11233: 10553: 10518: 10432: 10402: 10286: 10275: 9934: 9366: 6515: 6024: 4890: 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: 646:, and therefore a potential Lancastrian heir should anything happen to Henry and his son; hence the need to protect him. 512: 3286: 225: 11203: 10920: 10809: 10754: 10604: 10473: 10301: 10250: 8521: 4991: 1739: 1355: 1177: 442: 171: 7894: 7791: 7303: 7009:(1976); or Dominique Goy-Blanquet, "Elizabethan Historiography and Shakespeare's Sources", in Michael Hattaway (ed.), 5089: 4989: 11193: 11188: 10859: 10849: 10734: 10589: 10558: 10513: 10392: 10255: 10124: 9878: 9848: 9000: 8935: 8780: 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: 2643:, as he is in both Hall and Holinshed's chronicles, and in reality, as outlined in the chronicles, he was killed at 2448: 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: 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: 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: 8378: 5340: 4985: 1185:, 1.4.138, where York refers to Margaret as a "tiger's heart wrapped in woman's hide". This parody proves that 235: 184: 54: 43: 6192: 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: 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: 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: 4828: 4815: 4272: 3946: 201: 8832: 5566: 4323: 3345: 211: 10799: 10568: 10297: 9787: 9748: 9735: 9609: 9141: 8870: 5395: 5375: 5097: 4445: 2887: 1721: 1053: 624: 289: 10332: 5179: 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: 1564: 11056: 10478: 9974: 9969: 9926: 9802: 9600: 8091:(Signet Classic Shakespeare; New York: Signet, 1968; revised edition, 1989; 2nd revised edition 2005) 7213: 6508: 6357: 5915: 5533: 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: 1157: 1067: 722: 565: 188: 7527: 2802: 10884: 9833: 9782: 9772: 9753: 9740: 9480: 9112: 6536: 6059: 6000: 5926: 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: 10679: 6401: 4726: 3904: 2171: 1295: 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: 2485: 1593: 1468: 1349: 1142: 360: 32: 7358: 6445: 3159: 3110: 79: 10869: 10864: 10689: 10528: 10448: 9986: 9713: 9651: 9571: 9494: 9105: 9084: 9024: 8591: 6370: 6201: 5620: 5427: 5252: 5109: 4986: 4542: 4228: 4203: 3870: 3342: 3243: 2928: 2647: 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: 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: 8616: 8519: 8317: 8243: 8187: 8116: 6489: 6004: 5232: 5231: 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: 2927:,/To aspire unto the crown and reign as king" (ll.50–54). 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: 7598: 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: 6480: 6350: 6281: 6098: 4658: 4599: 4332: 4109: 3180: 2945: 2493: 1990: 1567: 1334: 839: 693: 588: 448: 433: 254: 161: 157: 10352: 6997:, 50:1 (Spring, 1969), 37–43, "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: 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: 8498: 8123: 8111: 8033: 7792: 5766: 5260: 5124:, Australia. Following the structure established by Barton and Hall, Bogdanov combined 5078: 4928: 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: 4449:(the first time the RSC had ever attempted to stage the eight plays as one sequence). 3666: 3216: 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: 8266: 8070: 6306: 6269: 6227: 6179: 6149: 5960: 5931: 5891: 5546: 5379: 5256: 5157: 5117: 5070: 4852: 4649: 4460: 4232: 3928: 3663: 3337: 2888: 1946: 1399: 1384: 727: 717: 505: 478: 260: 189: 175: 8622:(Oxford: Oxford University Press, 1953; 2nd edn. edited by Robert D. Eagleson, 1986) 4483: 2350: 1933: 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: 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: 10996: 10912: 10744: 10644: 10357: 10342: 9816: 9428: 9316: 9232: 8907: 8891: 8854: 8837: 8726: 8385: 8342: 8337: 8101: 7639: 6466: 6402: 6121: 5995: 5971:, although she never appears in the text. Loncraine's film also used a line from 5919: 5530: 5462: 5378: 5180: 4971: 4698: 4571: 3289: 2354: 1934: 1929:(1587–1590), where he is a member of a group of staunch opponents of Edward III. 1453: 1235: 791: 679: 649: 631: 474: 123: 8949: 8167: 6587: 6540: 6353: 5930:) still in power. The opening scene depicts Henry and his son Edward (played by 4515: 4178: 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: 6252: 6205: 6204: 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: 4693: 11177: 11116: 10764: 10624: 10165: 10084: 10030: 9792: 9134: 8731: 8060: 7796: 6438: 6410: 6406: 6373: 6277: 6221: 6129: 6055: 6020: 5948: 5596: 5371: 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: 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: 3905: 3037: 2902: 2405: 2357: 1680: 1676: 1545: 1488: 1344: 1044: 619: 8508: 7217: 5320: 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: 10844: 10317: 9811: 9623: 9379: 9127: 8422: 8015: 6888: 6862: 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: 8453: 7583: 6993:, 49:4 (Winter, 1968), 452–459, "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: 4637: 2026: 726:(1577; 2nd edition 1587). Holinshed took much of his information on the 9896: 9183: 8651: 8485: 8395: 8001: 6470: 6358: 6152: 5782: 5616: 5537: 5509: 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: 8427: 8183:(The Pelican Shakespeare; London: Penguin, 1967; revised edition 1980) 6465: 5324: 4714: 4443:) to form a complete eight-part history cycle under the general title 4423: 4388: 1691: 744: 714: 10422: 9828: 9680: 9616: 9204: 9063: 7049: 6527: 6496: 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: 1286: 852: 797: 584: 437: 232: 129: 8787: 8332: 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: 895: 21: 8930: 6125: 5772: 5760: 5486:, Palitzsch's adaptation concluded with the opening monologue from 5329: 5121: 5082: 5040: 4789: 4407: 4341: 3924: 3551: 3360: 3290: 3259: 3168: 1434: 1196: 498: 193: 8108:(The New Shakespeare; Cambridge: Cambridge University Press, 1952) 7933: 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: 331:– 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: 5790: 5754: 5456: 5113: 4905: 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:(1849–1852); translated into English in 1862 by F.E. Bunnett as 4924: 4909: 4709:. Denis Llorca staged the tetralogy as one twelve-hour piece in 3459: 2940: 2038: 1675: 1110: 1047: 939: 9190: 8528: 8271: 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), 221–229 7098:(North Carolina: University of North Carolina Press, 1991), 172 6148: 4706: 4575: 4182:, edited by Charles Cowden Clarke and Mary Cowden Clarke (1830) 3689: 3541: 3535: 3496: 3372: 3294: 3283: 3279: 3275: 3229: 3195: 3188: 3160: 2988: 2915: 2879: 1448: 1429:, which dictate that violence and battle should never be shown 1227: 1126: 902: 692: 5312: 4574: 4384: 1638: 8366: 8162:(The Pelican Shakespeare, 2nd edition; London: Penguin, 2000) 7827: 7007: 6531: 6302: 5778: 5551: 5301: 5294:. Condensing all fours plays into one, Markus named the play 4953: 4884: 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: 1616: 1426: 1231: 1230: 923: 909: 8700: 7304:"Shakespeare on the battlefield: the Globe theatre step out" 6038: 6023: 3466:' illustration of the death of York in Act 1, Scene 4; from 3266:,/And next his throat, unto the butcher's knife" (5.6.7–9). 1652: 1601: 919: 8497: 8307: 8301: 8265: . "Shakespeare: His Histories, English and Roman" in 6989: 5914: 5639:. However, after twenty-three lines, it then moves back to 5390:. The original cast included Jonathan McGuinness as Henry, 4681: 4243: 4199: 3865: 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: 7734: 7706: 6235:, which completely replaces the depiction of the scene in 6140: 5841:. At the conclusion of Act 1, Scene 2, it then returns to 5108: 3262: 899: 8309:(New York: Medieval & Renaissance Texts, 1996), 31–54 8179: 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: 931: 805: 11244: 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: 1910: 935: 915: 8198:(Oxford: Oxford University Press, 1986; 2nd edn., 2005) 8132: 7868:(London: Arden, 1999), 22. See also Edward Burns (ed.) 7778: 6365: 5263:. Hall followed the Jackson/Seale structure, combining 4844: 2492:, Georg Gottfried Gervinus, Irving Ribner, M.M. Reese, 1166:(registered on 20 September 1592) parodies a line from 927: 8662: 8536:(Cambridge: Cambridge University Press, 2002), 106–125 8534: 8505:(Cambridge: Cambridge University Press, 2001), 167–183 8380: 8254:" in John Russell Brown and Bernard Harris (editors), 7990: 7979:(Cambridge: Cambridge University Press, 1979), 142–147 7763: 7708:(Cambridge: Cambridge University Press, 2007), 134–149 7183: 7011: 6105: 6094:(beginning with Richard's murder of Henry) as well as 5643:, quoting from Richard's soliloquy in Act 3, Scene 2; 5343: 4717: 4507: 4180: 3620: 3468: 3220: 2269: 8867:– scene-indexed, searchable HTML version of the play. 7992:(Cambridge: Cambridge University Press, 1998), 227232 7935: 7922: 7853: 7801: 7749: 4797: 3980: 3814: 917: 580: 8664:(Cambridge: Cambridge University Press, 2002), 71–88 8382:(Cambridge: Cambridge University Press, 2002), 57–70 8176:(The New Penguin Shakespeare; London: Penguin, 1981) 8013:"Shakespeare's Chronicles of the War of the Roses", 7812: 6173:, and written on a chalkboard by Richard himself in 5023:, which was then followed by a shortened version of 3408: 1025: 937: 907: 858: 8314: 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: 3250:Another commonly recurring animal motif is that of 2814: 2728: 1246:. This text was printed together with a version of 999: 983: 971: 955: 897: 451:– 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 – 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), 313–324; 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 – 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), 68–95 8051: 7937:(Carolina: North Carolina Press, 1991), 175–185 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 – 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), 72–99 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, 1960–1963 8250:Brockbank, Philip. "The Frame of Disorder – 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:– 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:– 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), 148–181 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" (5.6.44–48). 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 8530:1–3 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 – 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:Über 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) – 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:– HTML version of the 1595 octavo. 8702:(Oxford: Blackwell, 2004), 100–115 8596:The Sources of Shakespeare's Plays 8436:A Shakespeare Companion, 1564–1964 7691:(London: Routledge, 2001), 235–241 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:– 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), 468–473 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: 82–88) 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), 391–403 8770:, 18:2 (Summer, 1988), 230–256 8744:, 29:2 (Summer, 1978), 146–163 8547:, 60:1 (Spring, 1990), 244–264 8525:, 39:2 (Summer, 1986), 183–217 8291:, 35:4 (Winter, 1984), 392–406 8247:, 25:3 (Autumn, 1974), 323–334 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), 1–18 8956:Early Modern Literary Studies 8913:Internet Shakespeare Editions 8875:– 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), 1–18 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), 47–67 8767:English Literary Renaissance 8305:" in John W. Velz (editor), 7717:Quoted in Patricia Lennox, " 7596:", in Ton Hoenselaars (ed.) 7491:(London: Arden, 1999), 12–13 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:– 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 – 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: 216–18) 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: 106–112) 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 1–3 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:– Louis' sister-in-law 318:Somerville – 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: 278–282) 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" (2.6.28–29). 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:– 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), 208–229 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), 106–107 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:– 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:– 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 Orléans 10067:Edmund Shakespeare 10025:Hamnet Shakespeare 9922:Screen adaptations 9645:Sir John Oldcastle 9543:Arden of Faversham 8798:, 19 (1987), 41–59 8748:Tillyard. E. M. W. 8642:Pugliatti, Paola. 8613:, 7 (1996), 95–107 8499:Margreta de Grazia 8469:Holinshed, Raphael 8459:Holderness, Graham 8451:Hodgdon, Barbara. 8412:, 13 (1937), 64–72 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), 8–30 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:– 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 Orléans 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), 1–26 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:André 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: 4127: 4125: 4123: 4121: 4119: 4117: 4070: 4068: 4066: 4064: 4062: 4060: 4058: 4056: 4054: 4052: 4050: 4048: 4046: 4044: 4042: 4040: 4038: 4036: 4034: 4032: 4030: 4028: 4026: 4024: 3985: 3983: 3981: 3979: 3977: 3975: 3973: 3971: 3969: 3967: 3942: 3898:BBC Shakespeare 3859: 3819: 3817: 3815: 3813: 3811: 3809: 3807: 3791: 3760: 3758: 3756: 3754: 3752: 3748: 3747: 3743: 3739: 3738: 3734: 3733: 3731: 3727: 3726: 3724: 3722: 3720: 3718: 3716: 3714: 3712: 3708: 3707: 3705: 3701: 3700: 3698: 3694: 3693: 3687: 3683: 3682: 3680: 3678: 3674: 3673: 3656: 3655: 3653: 3651: 3649: 3647: 3645: 3643: 3641: 3639: 3637: 3635: 3631: 3630: 3628: 3626: 3622: 3621: 3619: 3617: 3613: 3612: 3606: 3604: 3602: 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.1359–1380) 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: 11231: 11226: 11221: 11216: 11211: 11206: 11201: 11196: 11191: 11186: 11169: 11168: 11166: 11165: 11157: 11149: 11142: 11134: 11132: 11128: 11127: 11125: 11124: 11119: 11114: 11109: 11104: 11098: 11096: 11092: 11091: 11089: 11088: 11076: 11069: 11061: 11053: 11044: 11042: 11038: 11037: 11034: 11033: 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: 10652: 10647: 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: 10320: 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: 10171: 10163: 10162: 10155: 10148: 10140: 10131: 10130: 10128: 10127: 10117: 10106: 10105: 10102: 10095: 10092: 10091: 10089: 10088: 10082: 10076: 10070: 10064: 10058: 10052: 10046: 10040: 10034: 10028: 10022: 10016: 10009: 10007: 10003: 10002: 9999: 9998: 9996: 9995: 9990: 9984: 9979: 9978: 9977: 9967: 9966: 9965: 9952: 9950: 9943: 9942: 9937: 9932: 9924: 9919: 9914: 9909: 9904: 9899: 9894: 9889: 9883: 9881: 9875: 9874: 9872: 9871: 9866: 9861: 9856: 9851: 9846: 9841: 9836: 9831: 9826: 9821: 9820: 9819: 9814: 9800: 9795: 9790: 9785: 9780: 9778:Collaborations 9775: 9770: 9769: 9768: 9763: 9751: 9745: 9743: 9732: 9731: 9728: 9727: 9725: 9724: 9717: 9709: 9707: 9703: 9702: 9700: 9699: 9692: 9685: 9677: 9670: 9663: 9656: 9648: 9641: 9634: 9627: 9620: 9613: 9606: 9596: 9589: 9582: 9575: 9568: 9561: 9553: 9546: 9538: 9536: 9529: 9523: 9522: 9520: 9519: 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: 9161: 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: 8177: 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, 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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.1075–1085) 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.2762–2768) 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.2074–2083) 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:– 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: 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10856: 10853: 10851: 10848: 10846: 10843: 10841: 10838: 10836: 10833: 10831: 10828: 10826: 10823: 10821: 10818: 10816: 10813: 10811: 10808: 10806: 10803: 10801: 10798: 10796: 10793: 10791: 10788: 10786: 10783: 10781: 10778: 10776: 10775:Prince Edward 10773: 10771: 10768: 10766: 10763: 10761: 10758: 10756: 10753: 10751: 10748: 10746: 10743: 10741: 10738: 10736: 10733: 10731: 10730:Lord Hastings 10728: 10726: 10723: 10721: 10718: 10716: 10713: 10711: 10708: 10706: 10703: 10701: 10698: 10696: 10693: 10691: 10688: 10687: 10685: 10683: 10682: 10677: 10671: 10668: 10666: 10663: 10661: 10658: 10656: 10653: 10651: 10648: 10646: 10643: 10641: 10640:Lord Stafford 10638: 10636: 10633: 10631: 10630:Prince Edward 10628: 10626: 10625:Bona of Savoy 10623: 10621: 10618: 10616: 10613: 10611: 10608: 10606: 10603: 10601: 10598: 10596: 10593: 10591: 10588: 10586: 10583: 10581: 10578: 10576: 10575:Lord Hastings 10573: 10570: 10566: 10562: 10560: 10557: 10555: 10552: 10550: 10547: 10545: 10544:Lord Clifford 10542: 10540: 10537: 10535: 10532: 10530: 10527: 10525: 10522: 10520: 10517: 10515: 10512: 10510: 10507: 10505: 10502: 10501: 10499: 10497: 10496: 10491: 10485: 10482: 10480: 10477: 10475: 10472: 10470: 10467: 10465: 10462: 10460: 10457: 10455: 10454:Lord Clifford 10452: 10450: 10447: 10445: 10442: 10440: 10437: 10434: 10430: 10426: 10424: 10421: 10419: 10416: 10414: 10411: 10409: 10406: 10404: 10401: 10399: 10396: 10394: 10391: 10389: 10386: 10384: 10381: 10379: 10376: 10375: 10373: 10371: 10370: 10365: 10359: 10356: 10354: 10351: 10349: 10348:Jacques d'Arc 10346: 10344: 10341: 10339: 10336: 10334: 10331: 10329: 10326: 10324: 10321: 10319: 10316: 10314: 10311: 10309: 10306: 10303: 10299: 10295: 10293: 10290: 10288: 10285: 10283: 10280: 10277: 10273: 10269: 10267: 10264: 10262: 10259: 10257: 10254: 10252: 10249: 10247: 10244: 10242: 10239: 10237: 10234: 10232: 10229: 10228: 10226: 10224: 10223: 10218: 10215: 10209: 10203: 10202: 10198: 10196: 10195: 10191: 10189: 10188: 10184: 10182: 10181: 10177: 10176: 10173: 10168: 10161: 10156: 10154: 10149: 10147: 10142: 10141: 10138: 10126: 10118: 10116: 10108: 10107: 10103: 10101: 10097: 10096: 10093: 10086: 10085:Thomas Quiney 10083: 10080: 10077: 10075:(grandfather) 10074: 10071: 10068: 10065: 10062: 10059: 10056: 10053: 10050: 10047: 10044: 10041: 10038: 10035: 10032: 10031:Judith Quiney 10029: 10026: 10023: 10020: 10017: 10014: 10013:Anne Hathaway 10011: 10010: 10008: 10004: 9994: 9991: 9988: 9985: 9983: 9980: 9976: 9973: 9972: 9971: 9968: 9964: 9963: 9959: 9958: 9957: 9954: 9953: 9951: 9947: 9941: 9938: 9936: 9933: 9931: 9930: 9925: 9923: 9920: 9918: 9915: 9913: 9910: 9908: 9905: 9903: 9900: 9898: 9895: 9893: 9890: 9888: 9885: 9884: 9882: 9880: 9876: 9870: 9867: 9865: 9862: 9860: 9857: 9855: 9852: 9850: 9847: 9845: 9842: 9840: 9837: 9835: 9832: 9830: 9827: 9825: 9822: 9818: 9815: 9813: 9810: 9809: 9808: 9804: 9801: 9799: 9796: 9794: 9793:Globe Theatre 9791: 9789: 9786: 9784: 9781: 9779: 9776: 9774: 9771: 9767: 9764: 9762: 9761: 9757: 9756: 9755: 9752: 9750: 9747: 9746: 9744: 9742: 9737: 9733: 9723: 9722: 9718: 9716: 9715: 9711: 9710: 9708: 9704: 9698: 9697: 9693: 9691: 9690: 9686: 9683: 9682: 9678: 9676: 9675: 9671: 9669: 9668: 9664: 9662: 9661: 9657: 9654: 9653: 9649: 9647: 9646: 9642: 9640: 9639: 9635: 9633: 9632: 9628: 9626: 9625: 9621: 9619: 9618: 9614: 9612: 9611: 9607: 9603: 9602: 9597: 9595: 9594: 9590: 9588: 9587: 9583: 9581: 9580: 9576: 9574: 9573: 9569: 9567: 9566: 9562: 9559: 9558: 9554: 9552: 9551: 9547: 9545: 9544: 9540: 9539: 9537: 9533: 9530: 9528: 9524: 9518: 9517: 9513: 9511: 9510: 9506: 9504: 9503: 9499: 9497: 9496: 9492: 9488: 9485: 9484: 9483: 9482: 9478: 9477: 9475: 9471: 9466: 9452: 9449: 9447: 9444: 9442: 9439: 9437: 9434: 9430: 9427: 9425: 9422: 9420: 9417: 9416: 9414: 9412: 9409: 9407: 9406:Late romances 9404: 9402: 9401:Problem plays 9399: 9398: 9396: 9392: 9386: 9383: 9381: 9378: 9376: 9373: 9372: 9370: 9368: 9364: 9357: 9356: 9352: 9350: 9349: 9345: 9341: 9340: 9336: 9334: 9333: 9329: 9326: 9325: 9321: 9320: 9319: 9318: 9314: 9312: 9311: 9307: 9303: 9302: 9298: 9296: 9295: 9291: 9290: 9289: 9286: 9284: 9283: 9279: 9276: 9275: 9271: 9269: 9268: 9264: 9263: 9261: 9259: 9255: 9249: 9248: 9244: 9242: 9241: 9237: 9235: 9234: 9230: 9228: 9227: 9223: 9221: 9220: 9216: 9214: 9213: 9209: 9207: 9206: 9202: 9200: 9199: 9198:Julius Caesar 9195: 9193: 9192: 9188: 9186: 9185: 9181: 9179: 9178: 9174: 9173: 9171: 9169: 9165: 9159: 9158: 9154: 9151: 9150: 9146: 9144: 9143: 9139: 9137: 9136: 9135:Twelfth Night 9132: 9130: 9129: 9125: 9123: 9122: 9118: 9115: 9114: 9110: 9108: 9107: 9103: 9101: 9100: 9096: 9094: 9093: 9089: 9087: 9086: 9082: 9080: 9079: 9075: 9073: 9072: 9068: 9066: 9065: 9061: 9059: 9058: 9054: 9052: 9051: 9047: 9045: 9044: 9040: 9039: 9037: 9035: 9031: 9028: 9026: 9022: 9018: 9011: 9006: 9004: 8999: 8997: 8992: 8991: 8988: 8981: 8976: 8971: 8967: 8966: 8962: 8959: 8957: 8953: 8948: 8945: 8944: 8939: 8938: 8934: 8932: 8928: 8927: 8918: 8915: 8914: 8909: 8905: 8902: 8900: 8896: 8893: 8889: 8886: 8885: 8881: 8878: 8874: 8873: 8869: 8866: 8865: 8861: 8858: 8857: 8853: 8850: 8846: 8845: 8841: 8839: 8835: 8834: 8830: 8829: 8819: 8818: 8813: 8809: 8806: 8803: 8800: 8797: 8793: 8790: 8786: 8783: 8779: 8776: 8772: 8769: 8768: 8763: 8759: 8755: 8752: 8749: 8746: 8743: 8739: 8735: 8732: 8728: 8725: 8722: 8718: 8715: 8712: 8704: 8701: 8697: 8694: 8690: 8687: 8683: 8680: 8676: 8673: 8670: 8666: 8663: 8655: 8652: 8648: 8645: 8641: 8638: 8634: 8631: 8627: 8624: 8621: 8618: 8615: 8612: 8608: 8604: 8600: 8597: 8593: 8592:Muir, Kenneth 8590: 8587: 8583: 8580: 8576: 8572: 8564: 8561: 8557: 8549: 8546: 8542: 8538: 8535: 8531: 8527: 8524: 8523: 8518: 8515: 8511: 8507: 8504: 8500: 8496: 8493: 8492: 8487: 8484: 8481: 8477: 8474: 8470: 8467: 8464: 8460: 8457: 8454: 8450: 8447: 8443: 8440: 8437: 8434: 8431: 8428: 8424: 8421: 8418: 8414: 8411: 8410: 8405: 8401: 8397: 8394: 8391: 8387: 8384: 8381: 8377: 8374: 8370: 8367: 8363: 8360: 8356: 8353: 8350: 8347:Duthie, G.I. 8346: 8343: 8339: 8336: 8333: 8329: 8326: 8322: 8319: 8315: 8312:Daniel, P.A. 8311: 8308: 8304: 8300: 8297: 8293: 8290: 8286: 8282: 8279: 8275: 8272: 8268: 8260: 8257: 8253: 8249: 8246: 8245: 8240: 8236: 8232: 8229: 8225: 8222: 8218: 8215: 8214: 8204: 8200: 8197: 8193: 8189: 8185: 8182: 8178: 8175: 8171: 8168: 8164: 8161: 8157: 8154: 8150: 8147: 8143: 8140: 8136: 8133: 8129: 8125: 8122: 8119: 8118: 8113: 8110: 8107: 8103: 8100: 8097: 8093: 8090: 8086: 8083: 8079: 8076: 8072: 8069: 8066: 8062: 8059: 8058: 8055: 8036:. 4 July 2014 8035: 8031: 8025: 8018: 8017: 8010: 8004: 7998: 7991: 7985: 7978: 7972: 7957: 7953: 7951: 7943: 7936: 7930: 7923: 7917: 7910: 7904: 7897: 7891: 7884: 7878: 7871: 7867: 7861: 7854: 7848: 7841: 7835: 7828: 7822: 7815: 7809: 7802: 7798: 7797:Alan Sinfield 7794: 7788: 7781: 7775: 7768: 7767: 7760: 7758: 7750: 7744: 7737: 7731: 7724: 7720: 7714: 7707: 7703: 7697: 7690: 7686: 7680: 7672: 7668: 7664: 7662: 7653: 7646: 7642: 7636: 7621: 7617: 7615: 7606: 7599: 7595: 7589: 7580: 7564: 7560: 7558: 7554: 7545: 7529: 7523: 7516: 7510: 7503: 7497: 7490: 7484: 7475: 7468: 7462: 7453: 7444: 7438: 7432: 7416: 7412: 7410: 7402: 7386: 7380: 7364: 7362: 7354: 7339: 7338: 7333: 7326: 7311: 7310: 7305: 7298: 7282: 7276: 7261: 7260: 7255: 7248: 7241: 7240:Daily Express 7235: 7219: 7215: 7211: 7209: 7200: 7191: 7184: 7178: 7169: 7162: 7158: 7152: 7146: 7140: 7131: 7122: 7113: 7104: 7097: 7091: 7082: 7073: 7064: 7055: 7046: 7037: 7028: 7019: 7012: 7008: 7004: 7000: 6996: 6992: 6986: 6977: 6970: 6965: 6958: 6953: 6946: 6941: 6934: 6929: 6920: 6911: 6902: 6895: 6891: 6885: 6876: 6869: 6865: 6859: 6850: 6841: 6832: 6826: 6822: 6816: 6807: 6800: 6794: 6785: 6776: 6767: 6758: 6752:Ribner (1957) 6749: 6747: 6737: 6728: 6719: 6710: 6701: 6692: 6690: 6680: 6671: 6662: 6653: 6644: 6635: 6626: 6624: 6614: 6605: 6596: 6594: 6586: 6582: 6576: 6572: 6570: 6568: 6564: 6549: 6547: 6543: 6539: 6538: 6533: 6529: 6520: 6518: 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: 6348: 6344: 6340: 6330: 6328: 6324: 6320: 6316: 6312: 6308: 6304: 6299: 6298: 6293: 6291: 6287: 6283: 6279: 6278:John Mortimer 6275: 6271: 6267: 6266: 6261: 6256: 6254: 6248: 6246: 6242: 6238: 6234: 6230: 6225: 6223: 6219: 6214: 6209: 6207: 6203: 6199: 6195: 6191: 6186: 6182: 6181: 6176: 6172: 6168: 6164: 6159: 6155: 6151: 6143: 6138: 6134: 6131: 6130:Stanley Wells 6127: 6123: 6119: 6115: 6110: 6109: 6104: 6099: 6097: 6093: 6089: 6085: 6081: 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: 5933: 5929: 5925: 5921: 5917: 5913: 5909: 5905: 5901: 5897: 5893: 5873: 5872: 5871: 5870: 5869: 5868: 5867: 5866: 5865: 5864: 5863: 5862: 5861: 5860: 5859: 5846: 5844: 5840: 5819: 5818: 5817: 5816: 5815: 5814: 5813: 5812: 5811: 5810: 5809: 5808: 5807: 5806: 5805: 5798: 5792: 5784: 5780: 5774: 5768: 5762: 5756: 5708: 5706: 5702: 5681: 5680: 5679: 5678: 5677: 5676: 5675: 5674: 5673: 5672: 5671: 5670: 5669: 5668: 5667: 5644: 5642: 5638: 5634: 5630: 5626: 5622: 5618: 5614: 5610: 5606: 5602: 5598: 5597:Mary Kerridge 5594: 5590: 5586: 5585: 5580: 5575: 5573: 5569: 5565: 5561: 5557: 5553: 5549: 5548: 5543: 5539: 5534: 5532: 5528: 5524: 5520: 5516: 5512: 5507: 5505: 5501: 5491: 5489: 5485: 5481: 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:– 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: –  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: 8238: 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:. 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Retrieved 7218:the original 7207: 7199: 7190: 7182: 7177: 7168: 7160: 7156: 7151: 7144: 7139: 7130: 7121: 7112: 7103: 7095: 7090: 7081: 7072: 7063: 7054: 7045: 7036: 7027: 7018: 7010: 7006: 7002: 6998: 6994: 6990: 6985: 6976: 6968: 6964: 6956: 6952: 6944: 6940: 6932: 6928: 6919: 6910: 6901: 6893: 6889: 6884: 6875: 6867: 6863: 6858: 6849: 6840: 6831: 6824: 6820: 6815: 6806: 6798: 6793: 6784: 6775: 6766: 6757: 6736: 6727: 6718: 6709: 6700: 6679: 6670: 6661: 6652: 6643: 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.165–195) 5777:And, like a 5710: 5704: 5700: 5698: 5682:(ll.153–162) 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: 5487: 5483: 5479: 5471: 5467: 5461: 5455: 5451: 5447: 5443: 5439: 5435: 5423: 5419: 5415: 5411: 5407: 5404: 5402:as Richard. 5392:Robert Hands 5387: 5383: 5373: 5364: 5360: 5356: 5352: 5348: 5344: 5334: 5313: 5311: 5306: 5295: 5285: 5276: 5272: 5268: 5264: 5250: 5245: 5241: 5237: 5230: 5225: 5217:Penny Downie 5208: 5204: 5200: 5196: 5192: 5189:Adrian Noble 5185:Charles Wood 5178: 5176:as Richard. 5170:Philip Bowen 5162:Paul Brennan 5145: 5141: 5137: 5133: 5129: 5125: 5095: 5090: 5086: 5062: 5045: 5029:David Warner 5024: 5020: 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: 4856: 4850: 4845: 4841: 4837: 4832: 4826: 4818: 4817: 4812: 4806: 4781: 4780:and much of 4777: 4773: 4769: 4765: 4759: 4755: 4743: 4741: 4722: 4718: 4680: 4675: 4648: 4642: 4636: 4627: 4615: 4607: 4595: 4583: 4567: 4563: 4559: 4554: 4540: 4533: 4521: 4516: 4512: 4508: 4504: 4500: 4496: 4492: 4491:production. 4484: 4480: 4464: 4454: 4450: 4444: 4440: 4436: 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:(1.1217–226) 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: 3735: 3728: 3709: 3702: 3695: 3684: 3675: 3670: 3669: 3632: 3623: 3614: 3599: 3598: 3591: 3589: 3490: 3484: 3481: 3470:, edited by 3467: 3449: 3397: 3393: 3377: 3356: 3353: 3288: 3268: 3249: 3239: 3166: 3158: 3142:(ll.168–173) 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:(1849–1852) 6957:Shakespeare 6935:(1809–1811) 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. 84–88) 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:(2.2.45–53) 4086:(2.2.19–42) 3894:Jane Howell 3776:(1.3.19–52) 3654:Therefore – 3573:(5.2.45–60) 3495:The silver 3464:H.C. Selous 3433:(2.1.79–88) 3341:Drawing by 3321:(2.5.131), 3317:(2.5.126), 3313:(2.2.138), 3201:screech owl 3015:(ll.96–108) 2972:Plantagenet 2861:(2.3.14-23) 2763:(2.3.14–23) 2431:First Folio 2409:edition of 2317:(5.1.76–82) 2016: 1593 2003: 1592 1851:(4.1.48–59) 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:(5.4.1–38) 849:protagonist 740:Edward Hall 710:Edward Hall 642:and son of 638:, uncle of 536:gamekeepers 443:Lord Rivers 269:– 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:(2.4.5–11) 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.61–68) 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 644:Edward III 640:Richard II 578:his father 558:2 Henry VI 456:The French 387:2 Henry VI 243:Characters 186:3 Henry VI 181:2 Henry VI 167:1 Henry VI 164:. Whereas 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: . 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