Shakespearean history

1081:"There was by that time" "a national historical drama, embodying the profoundest sentiments by which the English people were collectively inspired—pride in a great past, exultation in a great present, confidence in a great future. Such a drama could develop only when certain conditions had been fulfilled—when the people, nationalized, homogeneous, feeling and acting pretty much as one, had become capable of taking a deep and active interest in its own past; when it had become awakened to a sense of its own greatness; when there had come into being a dramatic form by which historical material could be presented in such a way as to reveal those aspects of which the public felt most deeply the inspiration... This homogeneity did not arise out of identity of economic conditions, of political belief, or of religious creed, but was the product of the common participation, individually and various as it might be, in those large and generous emotions. These, for a brief glorious moment, were shared by Catholic and Puritan, courtier and citizen, master and man. And so we can speak of a national unanimity of thought and action, and of a national historical drama." 638: 617:, Kelly argues, "would seem to amount to an outright rejection of it". In the first tetralogy, Henry VI never views his troubles as a case of divine retribution; in the second tetralogy, evidence for an overarching theme of providential punishment of Henry IV "is completely lacking". Among the few allusions in the plays to hereditary providential punishment are Richard II's prediction, at his abdication, of civil war, Henry IV's fear of punishment through his wayward son, Henry V's fear of punishment for his father's sins, and Clarence's fear of divine retribution meted out on his children. Again, where the chronicles argue that God was displeased with Henry VI's marriage to Margaret and the broken vow to the Armagnac girl, Shakespeare has Duke Humphrey object to Margaret because the match entails the loss of Anjou and Maine. (Kelly dismisses the view of 606:. According to Kelly, Shakespeare's great contribution, writing as a historiographer-dramatist, was to eliminate the supposedly objective providential judgements of his sources, and to distribute them to appropriate spokesmen in the plays, presenting them as mere opinion. Thus the sentiments of the Lancaster myth are spoken by Lancastrians, the opposing myth is voiced by Yorkists, and the Tudor myth is embodied in Henry Tudor. Shakespeare "thereby allows each play to create its own ethos and mythos and to offer its own hypotheses concerning the springs of action". 40: 863:

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

5978: 499: 713:

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

6624: 802: 561:, were not interested in 'justifying' the Tudor regime by asserting the role of Providence; instead they stressed the lessons to be learned from the workings of Providence in the past, sometimes endorsing contradictory views of men and events for the sake of the different lessons these suggested, sometimes slanting their interpretations to draw a parallel with, or a moral for, their time. Consequently, though Hall in his 6634: 3326: 565:(1548) saw God's curse laid upon England for the deposing and murder of Richard II, God finally relenting and sending peace in the person and dynasty of Henry Tudor, and though Holinshed's final judgement was that Richard Duke of York and his line were divinely punished for violating his oath to let Henry VI live out his reign, the chroniclers tended to incorporate elements 3753:. Featuring Pennington as Richard II, Henry V, Buckingham, Jack Cade and Suffolk, Andrew Jarvis as Richard III, Hotspur and the Dauphin, Barry Stanton as Falstaff, The Duke of York and the Chorus in Henry V, Michael Cronin as Henry IV and the Earl of Warwick, Paul Brennan as Henry VI and Pistol, and June Watson as Queen Margaret and Mistress Quickly. The three 964:. The chronicle play, as a result, tended ultimately to endorse the principles of 'Degree', order, and legitimate royal prerogative, and so was valued by the authorities for its didactic effect. Some have suggested that history plays were quietly subsidised by the state, for propaganda purposes. The annual grant of a thousand pounds by the Queen to the 749:, is politically neutral: "so many had the managing" of the state that "they lost France and made his England bleed". In short, though Shakespeare "often accepts the moral portraitures of the chronicles which were originally produced by political bias, and has his characters commit or confess to crimes which their enemies falsely accused them of" ( 858:. The older medieval society, with its doting king, falls into error, and is threatened by the new Machiavellianism; it is regenerated and saved by a vision of a new order, embodied in the king's rejected daughter. By the time he reaches Edmund, Shakespeare no longer pretends that the Hal-type Machiavellian prince is admirable; and in 1255:

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

1100:

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

830:

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

728:

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

625:

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

947:

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

712:

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

968:

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

1101:

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

862:

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

825:

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

729:

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

613:, Shakespeare plays down this explanation. Richard Duke of York, for example, in his speech to Parliament about his claim, placed great stress, according to the chronicles, on providential justice; Shakespeare's failure to make use of this theme in the parliament scene at the start of 1219:"unquestionably highest achievement" and "one of the very best historical plays outside of the works of Shakespeare in the whole of Elizabethan and Jacobean drama." Chronicle plays based on the history of other countries were also written during this period, among them Marlowe's 777:, Shakespeare shows a new thrustful godlessness attacking the pious medieval structure represented by Henry VI. He implies that rebellion against a legitimate and pious king is wrong, and that only a monster such as Richard of Gloucester would have attempted it. (2) In 2736:

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

470:, which ends with an effusive celebration of the birth of Elizabeth. However, Shakespeare's celebration of Tudor order is less important in these plays than his presentation of the spectacular decline of the medieval world. Some of Shakespeare's histories—notably 2688:—were, to varying degrees, successful on stage from the late 1580s to the 1630s. Their appeal lay partly in their exotic spectacle, partly in their unfamiliar plots, partly in the way they could explore topical themes safely detached from an English context. In 1015:

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

522:

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

1129:

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

645:(engraving by C. Warren, 1805, after J. Thurston). "Next to her, Talbot is a blundering oaf, who furiously attributes her success to sorcery, whereas the audience knows that she has simply outfoxed him by superior military strategy." – H. A. Kelly (1970) 1260:'); the movement among leading dramatists, including Shakespeare, away from populism and towards more sophisticated court-centred tastes; the decline in national homogeneity with the coming of the Stuarts, and in the 'national spirit', that ended in 741:

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

789:

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

847:

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

2698:

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

590:(1970) examines political bias and assertions of the workings of Providence in (a) the contemporary chronicles, (b) the Tudor historians, and (c) the Elizabethan poets, notably Shakespeare in his two tetralogies, (in composition-order) 362:

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

960:(IV.i.154–318), for example, almost certainly part of the play as it was originally written, was omitted from the early quartos (1597, 1598, 1608) and presumably performances, on grounds of prudence, and not fully reinstated till the 951:

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

531:

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

2146: 1674: 2703:. Dangerous themes such as rebellion and tyrannicide, ancient freedoms versus authoritarian rule, civic duty versus private ambition, could be treated more safely through Roman history, as Shakespeare treated them in 490:, these plays described the political and social evolution that had led to the actual methods of Tudor rule, so that it is possible to consider the English history plays as a biased criticism of their own country. 765:(1949) examines the response of Shakespeare's history plays (in the widest sense) to the vexed question: 'When is it right to rebel?’, and concludes that Shakespeare's thought ran through three stages: (1) In the 1113:

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

3686:, although the episodes didn't air until 1983. In the First Tetralogy, the plays are performed as if by a repertory theater company, with the same actors appearing in different parts in each play. Featuring 3288: 2810: 753:

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

693:: in Part 1 the conspiracy of the Yorkist Richard Earl of Cambridge against Henry V is admitted; in Part 2 it is passed silently over. Henry VI's attitude to his own claim undergoes changes. 657:, Kelly argues, change from play to play, "which indicates that he is not concerned with the absolute fixing of praise or blame", though he does achieve general consistency within each play: 3345:" is a phrase used to describe the civil wars in England between the Lancastrian and Yorkist dynasties. Some of the events of these wars were dramatised by Shakespeare in the history plays 969:

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

835:

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

1061:, chronicle-plays rapidly became more sophisticated in characterisation, structure, and style. Marlowe himself turned to English history as a result of the success of Shakespeare's 634:. Dreams, prophecies and curses, for example, loom large in the earlier tetralogy and "are dramatized as taking effect", among them Henry VI's prophecy about the future Henry VII. 839:

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

661:

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

626:

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

1146:

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

3310:(composed c. 1589, revised c. 1593), which is not closely based on Roman history or legend but which, it has been suggested, may have been written in reply to Marlowe's 917:

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

3466:, a phrase used throughout the works. The entire series, staged over four consecutive seasons from 2001 to 2004, was directed by PacRep founder and Artistic Director 546:

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

2651: 1170:"the first modern history play". Everitt and Sams also believed that two early chronicle plays based on Holinshed and dramatising 11th century English history, 426:

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

1138:, c. 1586–87, could have been a work of Shakespeare's apprenticeship, a claim developed by Seymour Pitcher in 1961. Pitcher argued that annotations to a copy 902:

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

3427:

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

6278: 1230: 2624:

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

2442:

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

1758:

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

983:(c. 1587), was designed as an oblique compliment to a contemporary financial backer of chronicle plays. By contrast, a less heroic ancestor of Oxford's, 460:

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

17: 681:, speaks of a crusade as reparation for Richard's death: but in the next two plays he does not show remorse for his treatment of Richard. As for the 3316:, Marlowe's play presenting an idealised picture of Rome's origins, Shakespeare's "a terrible picture of Rome's end, collapsing into moral anarchy". 1075:

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

677:, inaugurates the action—John of Gaunt places the guilt on Richard II—but Woodstock is forgotten in the later plays. Again, Henry IV, at the end of 5402: 2488:

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

1934:

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

6381: 6434: 1247:. In some of the chronicle-based plays, as the various contemporary title-pages show, the genres of 'chronicle history' and 'tragedy' overlap. 4818:

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

5520: 2229: 1399: 1033: 518:

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

6869: 6670: 229: 1186:, of unknown authorship from the same period. In practice, however, playwrights were both 'influencers' and influenced: Shakespeare's two 997:, which deals with the first part of Richard II's reign, though he was one of the king's early circle of favourites and a contemporary of 674: 637: 5999: 5936: 5931: 6864: 6336: 724:, and while Part 2 ends with Yorkist victories and the capture of Henry, Henry still appears "the upholder of right in the play". In 621:

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

514:

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

6612: 6290: 3790: 3174: 2967: 798:, but in order to do so moves away from English history to the camouflage of Roman, Danish, Scottish or Ancient British history. 6452: 6351: 6854: 6447: 5879: 831:

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

5948: 974: 93: 173:, many modern studies treat the histories together with those tragedies that feature historical characters. These include 6745: 6525: 6028: 5887: 2520: 2503: 2019: 1997: 965: 813:

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

6753: 5258: 3560: 2098: 1342: 1028: 2709:. Character and moral values (especially 'Roman values') could be explored outside an inhibiting Christian framework. 6637: 6391: 6361: 5513: 3937: 2700: 510:

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

33: 3564:, based on the RSC's 1964 staging of the Second Tetralogy, which condensed the Henry VI plays into two plays called 6859: 6663: 6429: 6424: 6356: 2245: 1462: 1021: 6404: 6399: 6319: 2072: 2054: 1786: 1567: 1181: 1010: 984: 979: 973:

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

6371: 6143: 5958: 5918: 5432: 3311: 3080: 2786: 166: 6699: 6272: 3577: 3474: 569:

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

32:

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

5135:, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 4, pp. 43–44; Terence P. Logan and Denzell S. Smith, eds., 3844:

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

6679: 6627: 6494: 6310: 5963: 5611: 5555: 5506: 3770: 1180:, performed in the 1590s, were by Shakespeare. A rival claimant to be the first English chronicle play is 6815: 6656: 6300: 6261: 6248: 6122: 5654: 5137:

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

5085:

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

3742: 3731: 2486: 1932: 827: 503: 479: 1264:

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

6468: 6186: 6014: 5953: 5913: 5604: 5583: 3678: 3613: 3445: 2570: 2210: 1868: 1482: 1121: 992: 887: 876: 538: 170: 67: 5334:

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

3393:. In the twentieth and twenty-first centuries there have been numerous stage performances, including: 1048:, however, c. 1587, with its lofty poetry and its focus on a single unifying figure, of Shakespeare's 6487: 6482: 6439: 6315: 6113: 5111: 3459: 3428: 3334: 2722:

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

2476: 1642: 408: 5428: 3329:

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

6346: 6295: 6285: 6266: 6253: 5993: 5625: 3504: 1102: 543: 71: 66:. The histories—along with those of contemporary Renaissance playwrights—help define the genre of 6783: 6069: 5633: 3871: 3865: 3215: 2924: 2879: 2845: 2537: 1967: 988: 745:

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

5492: 5463: 867:

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

737:

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

96:

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

6499: 6226: 6164: 6084: 6007: 5618: 5597: 5537: 5437: 3780: 3618: 3573: 3486: 2544: 2379: 2360: 2116: 2014: 1992: 1974: 1899: 1880: 1781: 1296: 1171: 936: 435: 59: 3927: 165:

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

6831: 6591: 6505: 6474: 6376: 6039: 5680: 5661: 4760: 4552: 3833: 3342: 2605: 2598: 2522:

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

2021:

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

1851: 1841: 1834: 1457: 1437: 1318: 1221: 1214: 1210: 970: 940: 928: 914: 63: 1126:

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

6723: 6414: 6201: 6179: 5759: 5710: 5689: 5669: 5569: 5546: 3727: 3691: 3658: 3585: 3184: 3137: 3001: 2980: 2743: 2704: 2580: 1949: 1912: 1829: 1773: 1751: 1712: 1415: 1377: 461: 340: 332: 207: 201: 184: 180: 2668:

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

8: 6823: 6799: 6585: 6567: 6366: 6208: 6172: 6105: 6062: 6021: 5590: 5529: 3855: 3845: 3829: 3512: 3249: 3087: 2851: 2793: 2690: 2270: 1777: 1708: 1652: 1521: 1427: 1393: 1039: 55: 1109:; with his genius for invention, he largely created vital figures like Fauconbridge (if 6761: 6715: 6579: 6537: 6419: 6157: 6055: 5860: 3886: 3750: 3493:

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

3388: 2996: 2457: 2311: 1814: 1623: 1562: 1043: 524: 452: 300: 159: 120: 2164:

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

1719:

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

6807: 6791: 6707: 6691: 6549: 5867: 5794: 5786: 5488: 5459: 5254: 5247: 3933: 3877: 3800: 3439: 3346: 3232: 2899: 2558: 2341: 2148:

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

2131: 1988: 1962: 1856: 1676:

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

1502: 1442: 1261: 1131: 1115: 944: 899: 806: 766: 618: 558: 466: 403: 307: 251: 244: 126: 97: 88: 82: 6573: 6561: 6555: 6150: 6077: 5977: 5851: 5844: 5836: 5813: 5806: 5779: 5752: 5738: 4294: 3851: 3746: 3719: 3654: 3544: 3478: 3383: 3377: 3371: 3359: 3353: 3277: 3152: 3052: 3022: 2728: 2718: 2472: 2440: 2409: 2390: 2326: 2280: 2263: 2194: 2178: 2162: 1756: 1735: 1717: 1692: 1657: 1638: 1547: 1526: 1420: 1362: 1066: 1054: 1049: 998: 953: 918: 487: 350: 293: 286: 279: 265: 258: 237: 138: 132: 114: 108: 102: 76: 5083:(Oxford 1923), Vol. 4, pp. 43–44; Logan, Terence P., and Smith, Denzell S., eds., 39: 6329: 5941: 5829: 5745: 3861: 3809: 3715: 3707: 3670: 3499: 3270: 3045: 2587: 2468: 1919: 1634: 1291: 1147: 1058: 891: 631: 550: 5420: 2265:

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

1422:

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

498: 6648: 5822: 5562: 3825: 3723: 3695: 3646: 3625:

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

3605: 3589: 3548: 3467: 3364: 3320: 3294: 3259: 3238: 3114: 2950: 2905: 2861: 2816: 2647: 2527: 2510: 2464: 2447: 2424: 2375: 2367: 2295: 2026: 2004: 1895: 1887: 1763: 1630: 1605: 1587: 1256:

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

1226: 924: 818: 439: 418: 272: 144: 6848: 6769: 6731: 6597: 6543: 6305: 5647: 5116: 4950: 3929:

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

3837: 3795: 3735: 3650: 3593: 3540: 3528: 3508: 2733: 2493: 2371: 2217: 2061: 1939: 1891: 1574: 1489: 1158:, c. 1588–89, was Shakespeare's early version of the play later rewritten as 907: 528: 457: 6531: 6233: 5897: 3895: 3881: 3821: 3813: 3785: 3775: 3703: 3699: 3666: 3662: 3638: 3634: 3601: 3552: 3524: 3520: 3516: 3255: 3091: 2857: 2797: 2695: 2548: 2252: 2235: 2105: 2083: 2079: 1978: 1797: 1793: 1469: 1405: 1349: 1236: 423: 354:

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

2505:

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

1999:

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

939:'s reign made plays based on earlier dynastic struggles from the reign of 6324: 6136: 5892: 5640: 5484: 5472: 5455: 3805: 3711: 3683: 3597: 3532: 2582:

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

1914:

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

1257: 1206: 1139: 961: 895: 795: 554: 475: 228:, the plays are listed here in the sequence of their action, rather than 225: 51: 6409: 5696: 4557:

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

3536: 3221: 3199: 3159: 3106: 3029: 2942: 2885: 2829: 2749: 2738: 2723: 2087: 1801: 1323: 1106: 443: 324: 195: 155: 5498: 6341: 6193: 6129: 5717: 5576: 4372: 4325: 4310: 3642: 2641: 1330: 1151: 903: 483: 447: 368: 189: 5207:

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

669:

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

3840:

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

3687: 3581: 3040: 3017: 2685: 2616:

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

1144:

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

855: 822: 733:, an omission which strengthens the Lancastrian claim. The plan in 563:

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

413: 4901: 4899: 2459:

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

2038:

Table B: English chronicle plays in conjectural composition-order

1625:

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

801: 6098: 6091: 5923: 5731: 5724: 5478: 5449: 4779: 4525:

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

3741:

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

3421: 2681: 2677: 394:

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

375: 319:

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

175: 150: 92:

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

5314: 5312: 4805:

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

4541:

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

3325: 663:

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

450:

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

5703: 5346: 5344: 4919: 4917: 4915: 4896: 3438:

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

2873: 2669: 2663: 809:)—according to Danby, "in every sense, the bigger man" than Hal 382: 5139:, Lincoln, NE, University of Nebraska Press, 1973; pp. 273–274 5087:(Lincoln, NE, University of Nebraska Press, 1973), pp. 273–274 4974: 4972: 3064:

Table B: Roman history plays in conjectural composition-order

2760:

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

913:, c. 1547, is sometimes considered a forerunner of the genre. 412:

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

5309: 5012:

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

4990: 4988: 2247:

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

1807:

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

1464:

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

5341: 4912: 2764:

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

5253:. Manchester: Manchester University Press. pp. 37–38. 4969: 4860:

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

4421: 4419: 4147:

Divine Providence in the England of Shakespeare's Histories

3996:

Divine Providence in the England of Shakespeare's Histories

3983:

Divine Providence in the England of Shakespeare's Histories

2673: 2643:

True Chronicle History of King Leir and his three daughters

870: 756: 588:

Divine Providence in the England of Shakespeare's Histories

74:

of the previous four centuries and include the standalones

5022: 5020: 4985: 3757:

plays are condensed into two plays, bearing the subtitles

3745:'s 1987 production of "The Wars of the Roses" directed by 935:

trilogy, while unease over the succession at the close of

609:

Where the chronicles sought to explain events in terms of

5298: 5296: 5050: 5048: 4655:

Macmillan's Handbook of Elizabethan and Stuart Literature

3926:

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

2212:

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

1484:

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

474:—point out that this medieval world came to its end when 4416: 429: 419:

Lives of the Noble Grecians and Romans Compared Together

5017: 4572: : Its Place in Elizabethan Dramatic Literature', 4413:

Royal proclamations of 16 May 1559 and 12 November 1589

3125:

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

2919:

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

1071:, c. 1591, he moved from the rhetoric and spectacle of 720:, York is presented as unrighteous and hypocritical in 124:. The second tetralogy, finished in 1599 and including 5452:'s Tumultuous History during Shakespeare's Lifetime". 5293: 5045: 4120: 4118: 2564:

The Famous History of the Life of King Henry the Eight

1862:

The Famous History of the Life of King Henry the Eight

1272:

Table A: English chronicle plays, by reign dramatized

854:, in Danby's view, is Shakespeare's finest historical 5330: 5328: 4756: 4754: 3925: 3633:

filmed as a trilogy for the second season. Featuring

3420:) as a cycle (which has also been referred to as the 5233:

Re-Presenting Ben Jonson: Text, History, Performance

5038: 5036: 2141:

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

1452:

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

927:

contributed to the appeal of chronicle plays on the

464:, in glowing terms. Political bias is also clear in 442:, and his history plays are often regarded as Tudor 4923:Charlton, H. B., Waller, R. D., Lees, F. N., eds., 4624:Charlton, H. B., Waller, R. D., Lees, F. N., eds., 4115: 843:later, has to become a "machiavel of goodness". In 493: 179:, set in the mid-11th century during the reigns of 5441:, Vol. 8, No. 3, Cambridge, 1965; pp. 293–308 5325: 5290:, Oxford University Press, New York, 1999, p. 342. 5246: 4751: 4455:, Oxford Shakespeare, vol. 3 (Oxford, 1912), p. 82 3321:The "Wars of the Roses" cycle on stage and in film 214: 5033: 4828: 4826: 3164:written c. 1603, revised c. 1604, published 1605 3034:written c. 1603, revised c. 1604, published 1605 581: 70:. The Shakespearean histories are biographies of 6846: 6678: 5028:The Real Shakespeare: Retrieving the Later Years 4980:The Real Shakespeare: Retrieving the Early Years 4847:Six Early Plays Related to the Shakespeare Canon 4535: 4533: 3147:written c. 1599, performed 1599, published 1623 2990:written c. 1599, performed 1599, published 1623 2355:written c. 1595; published 1597, later enlarged 1516:written c. 1595; published 1597, later enlarged 4309:Shakespeare’s Doctrine of Nature – A Study of ' 2100:The Troublesome Raigne of John, King of England 1344:The Troublesome Raigne of John, King of England 4823: 4370:Shakespeare’s Doctrine of Nature – A Study of 3870:(1955), directed by and starring Olivier, and 641:'Joan of Arc conjures demons in Shakespeare's 6664: 5514: 5066: 5064: 5062: 5060: 5006: 5004: 4885: 4883: 4881: 4879: 4877: 4775: 4773: 4649: 4647: 4530: 4519: 4517: 3435:has often been used for the cycle as a whole. 2347:The Life and Death of King Richard the Second 2230:The Famous Chronicle of King Edward the First 2118:Edmund Ironside, or War Hath Made All Friends 1508:The Life and Death of King Richard the Second 1400:The Famous Chronicle of King Edward the First 1298:Edmund Ironside, or War Hath Made All Friends 1173:Edmund Ironside, or War Hath Made All Friends 2664:Shakespeare and the Roman history play genre 1268:(c. 1630), a defence of the chronicle play. 956:acting as licenser. The deposition scene in 542:allowed". Because Henry Tudor prayed before 6461: 2093:written c. 1586 to c. 1590; published 1594 232:. Short forms of the full titles are used. 6671: 6657: 5521: 5507: 5057: 5001: 4874: 4780:Pacific Repertory Theatre website archives 4770: 4644: 4514: 3985:(Cambridge, MA, 1970), dust-jacket summary 1176:, written c. 1588–89, and its lost sequel 3289:The Rape of Lucrece, A True Roman tragedy 2811:The Rape of Lucrece, a true Roman Tragedy 2653:The Downfall of Robert Earl of Huntington 1190:plays (1589–90), influenced by Marlowe's 1162:(the Second Quarto, 1611, had attributed 4891:Shakespeare's Lost Play, Edmund Ironside 4628:(London 1955, 2nd edn.), Reviser's Notes 3551:as The Chorus and Justice Shallow, and, 3324: 3082:The Tragedie of Dido, Queene of Carthage 2802:written c. 1587–88, revised 1591–92 (?) 2788:The Tragedie of Dido, Queene of Carthage 1198:, which itself influenced Shakespeare's 871:Shakespeare and the chronicle play genre 800: 757:Shakespearean history in the wider sense 636: 497: 38: 5528: 4746:Longman Companion to English Literature 4523:Ogburn, Dorothy, and Ogburn, Charlton, 3331:The Plantagenets: The Rise of Edward IV 3306:The above tables exclude Shakespeare's 3186:The Tragedie of Anthonie, and Cleopatra 3129:anon. (Trinity College, Oxford origin ) 3003:The Tragedie of Anthonie, and Cleopatra 2732:, the 1604 performance of which at the 2600:The Chronicle History of Perkin Warbeck 2343:The Tragedie of King Richard the Second 2056:The Famous Victories of Henry the Fifth 1836:The Chronicle History of Perkin Warbeck 1569:The Famous Victories of Henry the Fifth 1504:The Tragedie of King Richard the Second 1136:The Famous Victories of Henry the Fifth 1057:, c. 1589–90, and of the machiavels of 1012:The Famous Victories of Henry the Fifth 923:. Patriotic feeling at the time of the 675:Thomas of Woodstock, Duke of Gloucester 434:Shakespeare was living in the reign of 14: 6847: 5338:(3 vols, Cambridge, 1995–2007), Vol. 2 4994:Charlton, H. B., Waller, R. D., eds., 4905:Charlton, H. B., Waller, R. D., eds., 4637:Charlton, H. B., Waller, R. D., eds., 4611:Charlton, H. B., Waller, R. D., eds., 4598:Charlton, H. B., Waller, R. D., eds., 2741:, Shakespeare's own later Roman work, 2657:The Death of Robert Earl of Huntington 2297:The Cronicle History of Henry the Fift 2074:The True Tragedie of Richard the Third 1788:The True Tragedie of Richard the Third 1589:The Cronicle History of Henry the Fift 1183:The True Tragedie of Richard the Third 685:plays, the Yorkist view of history in 6652: 6273:Complete Works of William Shakespeare 5502: 5244: 4615:(London 1955, 1st edn.), Introduction 3919: 2313:The Tragedy of King Richard the Third 1816:The Tragedy of King Richard the Third 1194:(1587), in turn influenced Marlowe's 456:depicts the last member of the rival 430:Politics in the English history plays 4466:The Editorial Problem in Shakespeare 3096:written c. 1587–88, revised 1591–92 2411:The Second Part of Henrie the Fourth 1549:The Second Part of Henrie the Fourth 987:, the 9th earl, who deserted at the 502:'Henry VII crowned at Bosworth', by 219: 58:were grouped into three categories: 6870:Fiction set in the Late Middle Ages 6633: 5183:(London, 1927), vol. 3, pp. 125–126 5109:Based not on the chronicles but on 4836:, Vol. 4 (London 1905), pp. 55, 463 3473:A conflation of the eight plays by 3243:written c. 1612–13, published 1631 3209:written c. 1608–09, published 1623 3194:written c. 1606–07; published 1623 3102:Pompey the Great, his Fair Cornelia 3011:written c. 1606–07; published 1623 2938:Pompey the Great, his Fair Cornelia 2910:written c. 1612–13, published 1631 2839:written c. 1608–09, published 1623 2321:written c. 1591–93; published 1597 2275:written c. 1591–92; published 1594 2173:written c. 1589–90; published 1595 2133:The Raigne of King Edward the Third 1824:written c. 1591–93; published 1597 1728:written c. 1589–90; published 1595 1667:written c. 1590–91; published 1623 1444:The Raigne of King Edward the Third 1432:written c. 1591–92; published 1594 1216:Chronicle History of Perkin Warbeck 881: 230:the order of the plays' composition 24: 6448:Shakespeare's influence on Tolkien 5181:The Complete Works of John Webster 4909:(London 1955, 1st edn.), pp. 25–27 3580:; and directed by Hall. Featuring 2396:The First Part of Henry the Fourth 2157:written c. 1589–90 published 1594 1685:written c. 1589–90 published 1594 1532:The First Part of Henry the Fourth 1156:The Troublesome Reign of King John 1029:The Troublesome Reign of King John 1009:The early chronicle plays such as 701:events prior to Henry VI's reign. 576: 549:The later chroniclers, especially 506:—a key moment in the 'Tudor myth' 357: 314: 25: 18:The War of the Roses (Shakespeare) 6881: 5414: 3860:(1989), directed by and starring 3850:(1944), directed by and starring 2392:The Historie of Henrie the Fourth 2180:The Second Part of Henry the Sixt 1694:The Second Part of Henry the Sixt 1528:The Historie of Henrie the Fourth 1150:(1905), E. B. Everitt (1965) and 446:because they show the dangers of 422:, in the translation made by Sir 34:Reputation of William Shakespeare 6865:Propaganda in the United Kingdom 6632: 6623: 6622: 5976: 5396: 5383: 5370: 5357: 5320:The Works of Christopher Marlowe 5280: 5267: 5238: 5225: 5194:Shakespeare's Doctrine of Nature 4149:(Cambridge, Mass., 1970), p. 247 4007:Kelly, 1970, dust-jacket summary 3932:. University of Delaware Press. 3611:Second Tetralogy filmed for the 3450:, and then the eight plays from 3282:written c. 1626, published 1629 3132:written c. 1594, published 1606 3057:written c. 1626, published 1629 2930:written c. 1594, published 1606 2610:written c. 1630; published 1634 2575:written c. 1613; published 1623 2419:written c. 1598; published 1600 2404:written c. 1597; published 1599 2336:written c. 1595; published 1623 2290:written c. 1591; published 1623 2282:The First Part of Henry the Sixt 2240:written 1590–91; published 1593 2196:The Third Part of Henry the Sixt 2111:written c. 1588; published 1591 2067:written c. 1586; published 1598 1873:written c. 1613; published 1623 1846:written c. 1630; published 1634 1737:The Third Part of Henry the Sixt 1659:The First Part of Henry the Sixt 1580:written c. 1586; published 1598 1557:written c. 1598; published 1600 1540:written c. 1597; published 1599 1410:written 1590–91; published 1593 1372:written c. 1595; published 1623 1355:written c. 1588; published 1591 1077: 763:Shakespeare’s Doctrine of Nature 494:Lancaster, York, and Tudor myths 94:considered to have been composed 43:Opening page of the First Folio 6746:Who's Afraid of Virginia Woolf? 5212: 5199: 5186: 5173: 5164: 5155: 5142: 5125: 5103: 5090: 5073: 4956: 4942: 4930: 4927:(London 1955, 2nd edn.), p. 219 4865: 4852: 4839: 4810: 4797: 4784: 4738: 4725: 4712: 4699: 4686: 4673: 4660: 4631: 4618: 4605: 4592: 4579: 4570:The Famous Victories of Henry V 4562: 4546: 4501: 4488: 4471: 4458: 4445: 4432: 4407: 4394: 4381: 4362: 4353: 4344: 4335: 4318: 4301: 4287: 4278: 4266: 4254: 4245: 4233: 4224: 4215: 4203: 4191: 4179: 4170: 4161: 4152: 4139: 4127: 4106: 4097: 4085: 4076: 4064: 4052: 4040: 3676:First Tetralogy filmed for the 3062: 2762: 2426:The Life of King Henry the Fift 2328:The Life and Death of King John 1607:The Life of King Henry the Fift 1364:The Life and Death of King John 1160:The Life and Death of King John 1032:, and the clumsy and libellous 980:The Famous Victories of Henry V 794:onwards, Shakespeare justifies 215:List of Shakespeare's histories 6453:Works titled after Shakespeare 4998:(London 1955, 1st edn.), p. 10 4982:(New Haven, 1995), pp. 146–153 4735:(London, 1914), pp. lxvii, lxx 4683:(London, 1914), pp. xlii–xliii 4641:(London 1955, 1st edn.), p. 25 4602:(London 1955, 1st edn.), p. 54 4442:(Oxford, 1923), vol. 4, p. 305 4028: 4019: 4010: 4001: 3988: 3975: 3962: 3953: 3665:as the Duchess of Gloucester, 2306:written 1590s; published 1600 2036: 1598:written 1590s; published 1600 1270: 1004: 582:Shakespeare's double tetralogy 389: 13: 1: 6777:Ganesh Versus the Third Reich 6613:Shakespeare and other authors 5471:What exactly went wrong with 4966:(London, 1914), pp. cxxi–cxxx 4936:Eliot, T. S., 'John Ford' in 4862:(New Haven 1995), pp. 146–153 4527:(New York, 1952), pp. 709–710 4479:The Elizabethan World Picture 4427:A Life of William Shakespeare 3972:(London 1944), pp. 89–90, 212 3774:for BBC2 in 2012 directed by 3170:The Tragedie of Julius Caesar 3139:The Tragedie of Julius Caesar 2982:The Tragedie of Julius Caesar 2963:The Tragedie of Julius Caesar 2435:written 1599, published 1623 1616:written 1599, published 1623 482:infiltrated its politics. By 6855:Plays by William Shakespeare 6680:Helpmann Award for Best Play 6495:Shakespeare Birthplace Trust 5354:(Oxford 1923) Vol. 3, p. 259 5220:Shakespeare: The Roman Plays 4816:Keen, Alan; Lubbock, Roger, 4709:(London, 1914), pp. cix, 125 4559:(London, 1928), pp. 257, 282 3894:), directed by and starring 3759:Henry VI: House of Lancaster 3154:Sejanus His Fall. A Tragedie 3024:Sejanus His Fall. A Tragedie 2650:'s two plays on Robin Hood, 1023:Life and Death of Jack Straw 7: 6301:English Renaissance theatre 6144:The Second Maiden's Tragedy 6123:The Merry Devil of Edmonton 5655:The Two Gentlemen of Verona 5245:Ayres, Philip, ed. (1990). 4834:A History of English Poetry 4792:Shakespeare's History Plays 4589:(London, 1946), p.18, p.212 4483:Shakespeare's History Plays 4429:(London, 1915), pp. 126–127 3970:Shakespeare's History Plays 3768:Second Tetralogy filmed as 3743:English Shakespeare Company 3272:The Roman Actor. A tragedie 3047:The Roman Actor. A tragedie 920:Life and Death of King John 890:based on the chronicles of 649:Accordingly, Shakespeare's 504:Richard Caton Woodville Jr. 148:, is frequently called the 27:Shakespeare's history plays 10: 6886: 6469:Folger Shakespeare Library 6015:The Phoenix and the Turtle 5605:The Merry Wives of Windsor 5322:(Oxford 1946), pp. 387–388 5100:(London, 1914), pp. lxxxii 4765:Richard II & Woodstock 4587:Woodstock: A Moral History 4468:(Oxford, 1942), p. xxxviii 3679:BBC Television Shakespeare 3614:BBC Television Shakespeare 3608:as Buckingham and Suffolk. 3604:as Joan and Lady Anne and 3201:The Tragedie of Coriolanus 2831:The Tragedie of Coriolanus 2716:and his pseudo-historical 1250: 1205:Of later chronicle plays, 1038:". Under the influence of 877:History (theatrical genre) 874: 708:in the earlier tetralogy. 539:The Mirror for Magistrates 438:, the last monarch of the 31: 6686: 6607: 6518: 6488:Royal Shakespeare Theatre 6483:Royal Shakespeare Company 6390: 6247: 6218: 6047: 6038: 5985: 5974: 5906: 5878: 5769: 5679: 5612:A Midsummer Night's Dream 5556:All's Well That Ends Well 5545: 5536: 5495:, XVI (July 2018): 26–32. 5336:The Works of John Webster 5161:Sams, Eric, 1995 and 2008 4794:. New York, 1944, p. 174. 4574:Review of English Studies 4332:(London, 1989), pp. 92–93 4315:(London 1949), pp. 72–74. 4221:Kelly, 1970, pp. 253, 259 3816:as Henry Bolingbroke (in 3791:Henry IV, Parts 1 & 2 3726:as Talbot and Jack Cade, 3669:as Mistress Quickly, and 3617:in 1978/1979 directed by 3600:as Edward and Jack Cade, 3460:Pacific Repertory Theatre 3429:Royal Shakespeare Company 3335:Pacific Repertory Theatre 3226:acted and published 1611 2890:acted and published 1611 2632:, the probable sequel to 1166:to "W.Sh."). Sams called 193:and also the Roman plays 5626:Pericles, Prince of Tyre 5466:, XV (July 2017): 16–24. 5448::A Very Brief Survey of 5429:'Shakespeare's Politics' 5277:(London, 1914), pp. x–xi 4871:Sams, Eric, 1995, p. 152 4722:(London, 1914), p. xcvii 4543:(New York, 1961), p. 186 4341:Danby, 1949, pp. 57–101. 3998:(Cambridge, Mass., 1970) 3913: 3906:, with some scenes from 3313:Dido, Queene of Carthage 2872:63–62 BC, Consulship of 2701:Low Countries in 1624–25 2694:(c. 1626), for example, 2640:, such as the anonymous 931:, notably Shakespeare's 704:Kelly finds evidence of 6860:Shakespearean histories 5634:The Taming of the Shrew 5481:-based Introspection". 5446:Much Ado about Politics 5422:Shakespeare's Histories 5403:Review by Jack Telwes, 5054:Sams 1995, pp. 154–162; 4696:(London, 1914), p. xvii 4576:, IV, July 1928; p. 284 4496:Shakespeare's Histories 4330:Discovering Shakespeare 3763:Henry VI: House of York 3730:as Suffolk and Rivers, 3558:for the 1965 UK serial 3539:as Princess Catherine, 3497:for the 1960 UK serial 3485:, was performed by the 3216:Catiline His Conspiracy 2925:Trinity College, Oxford 2880:Catiline His Conspiracy 2846:Appius Claudius Crassus 2844:450 BC, Decemvirate of 1306:written c. 1588–89 (?) 1020:, the crude and vulgar 989:Battle of Radcot Bridge 6316:Lord Chamberlain's Men 6227:The Passionate Pilgrim 6000:comparison to Petrarch 5619:Much Ado About Nothing 5598:The Merchant of Venice 5475:between 1599 and 1608? 5438:The Historical Journal 5425:at the British Library 5318:Tucker Brooke, C. F., 5275:Marlowe's 'Edward II' 5148:Rossiter, A. P., ed., 5112:Foxe's Book of Martyrs 5098:Marlowe's 'Edward II' 5070:Sams 1995, pp. 154–162 4964:Marlowe's 'Edward II' 4733:Marlowe's 'Edward II' 4720:Marlowe's 'Edward II' 4707:Marlowe's 'Edward II' 4694:Marlowe's 'Edward II' 4681:Marlowe's 'Edward II' 4668:Shakespeare: King John 4585:Rossiter, A. P., ed., 4511:(London 1914), p. cxxv 4509:Marlowe's 'Edward II' 4402:Marlowe's 'Edward II' 4391:(London 1914), p. xlii 4389:Marlowe's 'Edward II' 3890:(1965) (also known as 3722:as Cardinal Beaufort, 3487:Sydney Theatre Company 3408:The second tetralogy ( 3338: 1352:(?) / Shakespeare (?) 1232:Charles, Duke of Biron 1088:Marlowe's 'Edward II' 1001:, the play's villain. 810: 651:moral characterisation 646: 507: 154:after its protagonist 47: 6832:Counting and Cracking 6506:Shakespeare Institute 6475:Shakespeare Quarterly 5994:Shakespeare's sonnets 5662:The Two Noble Kinsmen 5431:, essay by historian 5352:The Elizabethan Stage 5231:Butler, Martin, ed., 5133:The Elizabethan Stage 5081:The Elizabethan Stage 4807:(New York 1961, p. 6. 4803:Pitcher, Seymour M., 4744:Gillie, Christopher, 4670:(Oxford, 1989), p. 10 4539:Pitcher, Seymour M., 4451:Dowden, Edward, ed., 4440:The Elizabethan Stage 4378:(Faber, London, 1949) 4145:Kelly, Henry Ansgar, 3994:Kelly, Henry Ansgar, 3981:Kelly, Henry Ansgar, 3561:The Wars of the Roses 3433:The Wars of the Roses 3397:The first tetralogy ( 3343:The Wars of the Roses 3328: 3175:Sir William Alexander 2968:Sir William Alexander 2753:, carefully avoided " 2636:, and plays based on 2220:(?) / Shakespeare (?) 2108:(?) / Shakespeare (?) 2090:(?) / Shakespeare (?) 2064:(?) / Shakespeare (?) 1804:(?) / Shakespeare (?) 1577:(?) / Shakespeare (?) 1492:(?) / Shakespeare (?) 1222:The Massacre at Paris 1168:The Troublesome Reign 1164:The Troublesome Reign 1111:The Troublesome Reign 804: 689:differs from that in 640: 512:The 'Lancaster myth' 501: 348:Set in ancient Rome, 42: 6362:Spelling of his name 6202:Vortigern and Rowena 6180:Thomas Lord Cromwell 5760:Troilus and Cressida 5690:Antony and Cleopatra 5584:Love's Labour's Lost 5570:The Comedy of Errors 5393:(London 2001), p. 51 5391:Ungentle Shakespeare 5380:(London 1955), p. xx 5367:(London 1955), p. xx 5304:Ungentle Shakespeare 5205:Leggatt, Alexander, 5152:(London 1946), p. 63 4666:Braunmuller, A. R., 4477:Tillyard, E. M. W., 4404:(London 1914), p. xi 4359:Danby, 1949, p. 167. 4350:Danby, 1949, p. 151. 3968:Tillyard, E. M. W., 3876:(1995), directed by 3682:in 1981 directed by 3543:as Joan la Pucelle, 3483:The War of the Roses 2744:Antony and Cleopatra 2569:Shakespeare and (?) 1867:Shakespeare and (?) 1243:, and Shakespeare's 1018:The Famous Victories 402:, is the well-known 341:Antony and Cleopatra 208:Antony and Cleopatra 185:Edward the Confessor 181:Duncan I of Scotland 6800:The Glass Menagerie 6586:Richard Shakespeare 6568:Gilbert Shakespeare 6500:Shakespeare's Globe 6405:Authorship question 6400:Attribution studies 6367:Stratford-upon-Avon 6209:A Yorkshire Tragedy 6187:Thomas of Woodstock 6173:The Spanish Tragedy 6114:Love's Labour's Won 6106:The London Prodigal 6063:The Birth of Merlin 6022:The Rape of Lucrece 6008:A Lover's Complaint 5888:Quarto publications 5591:Measure for Measure 5530:William Shakespeare 5376:Dorsch, ed., Arden 5288:Shakespeare: A Life 5218:Spencer, T. J. B., 5150:Thomas of Woodstock 5121:Life of Thomas More 4453:Histories and Poems 4284:Kelly, 1970, p. 305 4251:Kelly, 1970, p. 219 4230:Kelly, 1970, p. 261 4176:Kelly, 1970, p. 250 4167:Kelly, 1970, p. 259 4158:Kelly, 1970, p. 306 4124:Kelly, 1970, p. 282 4112:Kelly, 1970, p. 248 4103:Kelly, 1970, p. 247 4082:Kelly, 1970, p. 252 4025:Kelly, 1970, p. 216 4016:Kelly, 1970, p. 262 3959:Kelly, 1970, p. 293 3830:Simon Russell Beale 3535:as Queen Margaret, 3458:, was performed by 3447:Thomas of Woodstock 3250:Appius and Virginia 3119:translated c. 1593 3065: 3039:90–96 AD, reign of 2955:translated c. 1593 2852:Appius and Virginia 2765: 2691:Appius and Virginia 2271:Christopher Marlowe 2126:written c. 1588–89 2039: 1428:Christopher Marlowe 1273: 1154:(1995) argued that 1123:Thomas of Woodstock 994:Thomas of Woodstock 525:houses of Lancaster 224:As they are in the 56:William Shakespeare 6580:Edmund Shakespeare 6538:Hamnet Shakespeare 6435:Screen adaptations 6158:Sir John Oldcastle 6056:Arden of Faversham 5433:Christopher Morris 5389:Duncan-Jones, K., 5302:Duncan-Jones, K., 5235:(Basingstoke 1999) 5042:Sams, 1995, p. 115 4996:Marlowe: Edward II 4925:Marlowe: Edward II 4907:Marlowe: Edward II 4832:Courthope, W. J., 4790:Tillyard, E. M. W 4639:Marlowe: Edward II 4626:Marlowe: Edward II 4613:Marlowe: Edward II 4600:Marlowe: Edward II 3887:Chimes at Midnight 3812:as John of Gaunt, 3751:Michael Pennington 3734:as Gloucester and 3641:as John of Gaunt, 3481:, under the title 3431:in 1964, the name 3416:parts 1 and 2 and 3339: 3063: 2997:Second Triumvirate 2763: 2037: 1335:written 1540s (?) 1271: 1026:, the flatness of 929:Hundred Years' War 811: 697:does not refer to 647: 632:Senecan dramaturgy 567:of all three myths 508: 187:and the legendary 100:saga and includes 48: 6842: 6841: 6816:The Drover's Wife 6808:The Bleeding Tree 6792:Angels in America 6692:Life After George 6646: 6645: 6550:Elizabeth Barnard 6514: 6513: 6243: 6242: 5972: 5971: 5670:The Winter's Tale 5407:, 16 January 2009 5350:Chambers, E. K., 5170:Sams 2008, p. 269 5131:Chambers, E. K., 5079:Chambers, E. K., 4948:Prynne, William, 4653:Ruoff, James E., 4498:(San Marino 1947) 4494:Campbell, L. B., 4438:Chambers, E. K., 3878:Richard Loncraine 3462:under the title, 3401:parts 1 to 3 and 3303: 3302: 3233:Caesar and Pompey 3061: 3060: 2900:Caesar and Pompey 2614: 2613: 2035: 2034: 1132:E. M. W. Tillyard 1105:and the youth of 1098: 1097: 991:, is left out of 945:Wars of the Roses 900:Raphael Holinshed 807:Adolfo Hohenstein 767:Wars of the Roses 761:John F. Danby in 619:E. M. W. Tillyard 559:Raphael Holinshed 520:The 'Tudor myth' 404:Raphael Holinshed 220:English histories 133:Henry IV, Parts I 103:Henry VI, Parts I 98:Wars of the Roses 62:, histories, and 16:(Redirected from 6877: 6784:The Secret River 6754:War of the Roses 6673: 6666: 6659: 6650: 6649: 6636: 6635: 6626: 6625: 6574:Joan Shakespeare 6556:John Shakespeare 6459: 6458: 6440:Shakespeare and 6151:Sejanus His Fall 6118: 6078:Double Falsehood 6045: 6044: 6029:Venus and Adonis 5980: 5753:Titus Andronicus 5739:Romeo and Juliet 5543: 5542: 5523: 5516: 5509: 5500: 5499: 5409: 5405:Australian Stage 5400: 5394: 5387: 5381: 5374: 5368: 5361: 5355: 5348: 5339: 5332: 5323: 5316: 5307: 5300: 5291: 5284: 5278: 5271: 5265: 5264: 5252: 5249:Sejanus His Fall 5242: 5236: 5229: 5223: 5216: 5210: 5203: 5197: 5192:Danby, John F., 5190: 5184: 5177: 5171: 5168: 5162: 5159: 5153: 5146: 5140: 5129: 5123: 5107: 5101: 5094: 5088: 5077: 5071: 5068: 5055: 5052: 5043: 5040: 5031: 5024: 5015: 5008: 4999: 4992: 4983: 4976: 4967: 4960: 4954: 4946: 4940: 4934: 4928: 4921: 4910: 4903: 4894: 4887: 4872: 4869: 4863: 4856: 4850: 4845:Everitt, E. B., 4843: 4837: 4830: 4821: 4814: 4808: 4801: 4795: 4788: 4782: 4777: 4768: 4758: 4749: 4742: 4736: 4729: 4723: 4716: 4710: 4703: 4697: 4690: 4684: 4677: 4671: 4664: 4658: 4651: 4642: 4635: 4629: 4622: 4616: 4609: 4603: 4596: 4590: 4583: 4577: 4566: 4560: 4550: 4544: 4537: 4528: 4521: 4512: 4505: 4499: 4492: 4486: 4475: 4469: 4462: 4456: 4449: 4443: 4436: 4430: 4423: 4414: 4411: 4405: 4398: 4392: 4385: 4379: 4366: 4360: 4357: 4351: 4348: 4342: 4339: 4333: 4322: 4316: 4305: 4299: 4291: 4285: 4282: 4276: 4275:, epilogue, 5–14 4270: 4264: 4258: 4252: 4249: 4243: 4237: 4231: 4228: 4222: 4219: 4213: 4207: 4201: 4195: 4189: 4183: 4177: 4174: 4168: 4165: 4159: 4156: 4150: 4143: 4137: 4131: 4125: 4122: 4113: 4110: 4104: 4101: 4095: 4089: 4083: 4080: 4074: 4068: 4062: 4056: 4050: 4044: 4038: 4032: 4026: 4023: 4017: 4014: 4008: 4005: 3999: 3992: 3986: 3979: 3973: 3966: 3960: 3957: 3951: 3950: 3948: 3946: 3923: 3900:Henry IV, Part I 3852:Laurence Olivier 3836:as Hotspur, and 3771:The Hollow Crown 3747:Michael Bogdanov 3720:Frank Middlemass 3690:as Richard III, 3655:Tim Pigott-Smith 3584:as Richard III, 3545:Frank Pettingell 3527:as Richard III, 3479:Benedict Andrews 3444:, the anonymous 3384:Henry VI, Part 3 3378:Henry VI, Part 2 3372:Henry VI, Part 1 3360:Henry IV, Part 2 3354:Henry IV, Part 1 3308:Titus Andronicus 3278:Philip Massinger 3265:written c. 1626 3066: 3053:Philip Massinger 3016:30 AD, reign of 2867:written c. 1626 2766: 2759: 2729:Sejanus His Fall 2719:Titus Andronicus 2553:written c. 1607 2539:Sir Thomas Wyatt 2473:Richard Hathwaye 2223:written c. 1590 2040: 1983:written c. 1607 1969:Sir Thomas Wyatt 1639:Richard Hathwaye 1495:written c. 1590 1274: 1086:― W. D. Briggs, 1078: 999:Robert Tresilian 954:Master of Revels 948:imagined plots. 886:Chronicle plays— 882:Dates and themes 718:Lancastrian bias 516:The 'York myth' 488:Late Middle Ages 480:Machiavellianism 351:Titus Andronicus 294:Henry VI, Part 3 287:Henry VI, Part 2 280:Henry VI, Part 1 266:Henry IV, Part 2 259:Henry IV, Part 1 21: 6885: 6884: 6880: 6879: 6878: 6876: 6875: 6874: 6845: 6844: 6843: 6838: 6682: 6677: 6647: 6642: 6603: 6552:(granddaughter) 6510: 6457: 6386: 6352:Religious views 6330:Curtain Theatre 6251: 6239: 6214: 6165:Sir Thomas More 6111: 6085:Edmund Ironside 6034: 5981: 5968: 5942:Ghost character 5902: 5874: 5765: 5746:Timon of Athens 5675: 5532: 5527: 5477:: A very brief 5469:Roy, Pinaki. " 5444:Roy, Pinaki. " 5417: 5412: 5401: 5397: 5388: 5384: 5375: 5371: 5362: 5358: 5349: 5342: 5333: 5326: 5317: 5310: 5301: 5294: 5285: 5281: 5273:Briggs, W. D., 5272: 5268: 5261: 5243: 5239: 5230: 5226: 5217: 5213: 5204: 5200: 5191: 5187: 5178: 5174: 5169: 5165: 5160: 5156: 5147: 5143: 5130: 5126: 5108: 5104: 5096:Briggs, W. D., 5095: 5091: 5078: 5074: 5069: 5058: 5053: 5046: 5041: 5034: 5025: 5018: 5009: 5002: 4993: 4986: 4977: 4970: 4962:Briggs, W. D., 4961: 4957: 4947: 4943: 4938:Selected Essays 4935: 4931: 4922: 4913: 4904: 4897: 4888: 4875: 4870: 4866: 4857: 4853: 4844: 4840: 4831: 4824: 4815: 4811: 4802: 4798: 4789: 4785: 4778: 4771: 4759: 4752: 4743: 4739: 4731:Briggs, W. D., 4730: 4726: 4718:Briggs, W. D., 4717: 4713: 4705:Briggs, W. D., 4704: 4700: 4692:Briggs, W. D., 4691: 4687: 4679:Briggs, W. D., 4678: 4674: 4665: 4661: 4652: 4645: 4636: 4632: 4623: 4619: 4610: 4606: 4597: 4593: 4584: 4580: 4568:Ward, B. M., ' 4567: 4563: 4551: 4547: 4538: 4531: 4522: 4515: 4507:Briggs, W. D., 4506: 4502: 4493: 4489: 4481:(London 1943); 4476: 4472: 4463: 4459: 4450: 4446: 4437: 4433: 4424: 4417: 4412: 4408: 4400:Briggs, W. D., 4399: 4395: 4387:Briggs, W. D., 4386: 4382: 4368:John F. Danby, 4367: 4363: 4358: 4354: 4349: 4345: 4340: 4336: 4323: 4319: 4307:John F. Danby, 4306: 4302: 4292: 4288: 4283: 4279: 4271: 4267: 4259: 4255: 4250: 4246: 4238: 4234: 4229: 4225: 4220: 4216: 4208: 4204: 4196: 4192: 4184: 4180: 4175: 4171: 4166: 4162: 4157: 4153: 4144: 4140: 4132: 4128: 4123: 4116: 4111: 4107: 4102: 4098: 4094:3.2.117; 3.4.12 4090: 4086: 4081: 4077: 4069: 4065: 4057: 4053: 4045: 4041: 4033: 4029: 4024: 4020: 4015: 4011: 4006: 4002: 3993: 3989: 3980: 3976: 3967: 3963: 3958: 3954: 3944: 3942: 3940: 3924: 3920: 3916: 3862:Kenneth Branagh 3810:Patrick Stewart 3808:as Richard II, 3716:Mark Wing-Davey 3708:Brian Protheroe 3671:Michele Dotrice 3637:as Richard II, 3511:as Richard II, 3500:An Age of Kings 3323: 3179:published 1604 2972:published 1604 2757: 2666: 2646:, c. 1587, and 2634:Edmund Ironside 2593:published 1613 2588:Wentworth Smith 2532:published 1606 2515:published 1605 2498:published 1605 2481:published 1600 2469:Michael Drayton 2452:published 1599 2362:Sir Thomas More 2258:published 1593 2205:published 1623 2189:published 1623 2138:Shakespeare (?) 2123:Shakespeare (?) 2031:published 1606 2009:published 1605 1944:published 1605 1925:published 1613 1920:Wentworth Smith 1882:Sir Thomas More 1768:published 1599 1746:published 1623 1703:published 1623 1647:published 1600 1635:Michael Drayton 1475:published 1593 1449:Shakespeare (?) 1303:Shakespeare (?) 1292:Edmund Ironside 1253: 1148:W. J. Courthope 1059:revenge tragedy 1007: 892:Polydore Vergil 884: 879: 873: 759: 586:H. A. Kelly in 584: 579: 577:Interpretations 571:Interpretations 551:Polydore Vergil 496: 432: 392: 360: 358:Other histories 317: 315:Roman histories 222: 217: 54:, the plays of 37: 28: 23: 22: 15: 12: 11: 5: 6883: 6873: 6872: 6867: 6862: 6857: 6840: 6839: 6837: 6836: 6828: 6820: 6812: 6804: 6796: 6788: 6780: 6774: 6766: 6758: 6750: 6742: 6736: 6728: 6720: 6712: 6704: 6696: 6687: 6684: 6683: 6676: 6675: 6668: 6661: 6653: 6644: 6643: 6641: 6640: 6630: 6619: 6618: 6615: 6608: 6605: 6604: 6602: 6601: 6595: 6589: 6583: 6577: 6571: 6565: 6559: 6553: 6547: 6541: 6535: 6529: 6522: 6520: 6516: 6515: 6512: 6511: 6509: 6508: 6503: 6497: 6492: 6491: 6490: 6480: 6479: 6478: 6465: 6463: 6456: 6455: 6450: 6445: 6437: 6432: 6427: 6422: 6417: 6412: 6407: 6402: 6396: 6394: 6388: 6387: 6385: 6384: 6379: 6374: 6369: 6364: 6359: 6354: 6349: 6344: 6339: 6334: 6333: 6332: 6327: 6313: 6308: 6303: 6298: 6293: 6291:Collaborations 6288: 6283: 6282: 6281: 6276: 6264: 6258: 6256: 6245: 6244: 6241: 6240: 6238: 6237: 6230: 6222: 6220: 6216: 6215: 6213: 6212: 6205: 6198: 6190: 6183: 6176: 6169: 6161: 6154: 6147: 6140: 6133: 6126: 6119: 6109: 6102: 6095: 6088: 6081: 6074: 6066: 6059: 6051: 6049: 6042: 6036: 6035: 6033: 6032: 6025: 6018: 6011: 6004: 6003: 6002: 5989: 5987: 5983: 5982: 5975: 5973: 5970: 5969: 5967: 5966: 5961: 5956: 5951: 5946: 5945: 5944: 5939: 5934: 5926: 5921: 5916: 5910: 5908: 5904: 5903: 5901: 5900: 5895: 5890: 5884: 5882: 5880:Early editions 5876: 5875: 5873: 5872: 5864: 5857: 5856: 5855: 5848: 5841: 5826: 5819: 5818: 5817: 5810: 5798: 5791: 5783: 5775: 5773: 5767: 5766: 5764: 5763: 5756: 5749: 5742: 5735: 5728: 5721: 5714: 5707: 5700: 5693: 5685: 5683: 5677: 5676: 5674: 5673: 5666: 5658: 5651: 5644: 5637: 5630: 5622: 5615: 5608: 5601: 5594: 5587: 5580: 5573: 5566: 5563:As You Like It 5559: 5551: 5549: 5540: 5534: 5533: 5526: 5525: 5518: 5511: 5503: 5497: 5496: 5467: 5442: 5426: 5416: 5415:External links 5413: 5411: 5410: 5395: 5382: 5369: 5356: 5340: 5324: 5308: 5292: 5279: 5266: 5260:978-0719015427 5259: 5237: 5224: 5211: 5198: 5196:(London, 1949) 5185: 5179:Lucas, F. L., 5172: 5163: 5154: 5141: 5124: 5102: 5089: 5072: 5056: 5044: 5032: 5030:, 2008, p. 151 5016: 5000: 4984: 4968: 4955: 4941: 4929: 4911: 4895: 4873: 4864: 4851: 4838: 4822: 4809: 4796: 4783: 4769: 4750: 4748:, London, 1972 4737: 4724: 4711: 4698: 4685: 4672: 4659: 4657:, London, 1975 4643: 4630: 4617: 4604: 4591: 4578: 4561: 4545: 4529: 4513: 4500: 4487: 4470: 4457: 4444: 4431: 4415: 4406: 4393: 4380: 4361: 4352: 4343: 4334: 4317: 4300: 4286: 4277: 4265: 4253: 4244: 4232: 4223: 4214: 4202: 4190: 4178: 4169: 4160: 4151: 4138: 4126: 4114: 4105: 4096: 4084: 4075: 4063: 4051: 4039: 4027: 4018: 4009: 4000: 3987: 3974: 3961: 3952: 3938: 3917: 3915: 3912: 3842: 3841: 3826:Tom Hiddleston 3766: 3739: 3724:Trevor Peacock 3696:Brenda Blethyn 3674: 3673:as Lady Percy. 3647:Anthony Quayle 3609: 3606:William Squire 3590:Peggy Ashcroft 3556: 3549:William Squire 3531:as Edward IV, 3491: 3490: 3471: 3468:Stephen Moorer 3436: 3425: 3406: 3322: 3319: 3318: 3317: 3301: 3300: 3297: 3295:Thomas Heywood 3292: 3284: 3283: 3280: 3275: 3267: 3266: 3263: 3260:Thomas Heywood 3253: 3245: 3244: 3241: 3239:George Chapman 3236: 3228: 3227: 3224: 3219: 3211: 3210: 3207: 3204: 3196: 3195: 3192: 3189: 3181: 3180: 3177: 3172: 3166: 3165: 3162: 3157: 3149: 3148: 3145: 3142: 3134: 3133: 3130: 3127: 3121: 3120: 3117: 3115:Robert Garnier 3104: 3098: 3097: 3094: 3085: 3077: 3076: 3073: 3070: 3059: 3058: 3055: 3050: 3043: 3036: 3035: 3032: 3027: 3020: 3013: 3012: 3009: 3006: 2999: 2992: 2991: 2988: 2985: 2978: 2974: 2973: 2970: 2965: 2960: 2957: 2956: 2953: 2951:Robert Garnier 2940: 2935: 2932: 2931: 2928: 2921: 2916: 2912: 2911: 2908: 2906:George Chapman 2903: 2896: 2892: 2891: 2888: 2883: 2876: 2869: 2868: 2865: 2862:Thomas Heywood 2855: 2848: 2841: 2840: 2837: 2834: 2827: 2826:5th century BC 2823: 2822: 2819: 2817:Thomas Heywood 2814: 2807: 2804: 2803: 2800: 2791: 2784: 2783:Rome's origins 2780: 2779: 2776: 2773: 2770: 2712:Shakespeare's 2665: 2662: 2648:Anthony Munday 2612: 2611: 2608: 2603: 2595: 2594: 2591: 2585: 2577: 2576: 2573: 2567: 2555: 2554: 2551: 2542: 2534: 2533: 2530: 2528:Thomas Heywood 2525: 2517: 2516: 2513: 2511:Thomas Heywood 2508: 2500: 2499: 2496: 2491: 2483: 2482: 2479: 2465:Anthony Munday 2462: 2454: 2453: 2450: 2448:Thomas Heywood 2445: 2437: 2436: 2433: 2430: 2421: 2420: 2417: 2414: 2406: 2405: 2402: 2399: 2387: 2386: 2385:written 1590s 2383: 2376:Thomas Heywood 2368:Anthony Munday 2365: 2357: 2356: 2353: 2350: 2338: 2337: 2334: 2331: 2323: 2322: 2319: 2316: 2308: 2307: 2304: 2301: 2292: 2291: 2288: 2285: 2277: 2276: 2273: 2268: 2260: 2259: 2256: 2250: 2242: 2241: 2238: 2233: 2225: 2224: 2221: 2215: 2207: 2206: 2203: 2200: 2191: 2190: 2187: 2184: 2175: 2174: 2171: 2168: 2159: 2158: 2155: 2152: 2143: 2142: 2139: 2136: 2128: 2127: 2124: 2121: 2113: 2112: 2109: 2103: 2095: 2094: 2091: 2077: 2069: 2068: 2065: 2059: 2051: 2050: 2047: 2044: 2033: 2032: 2029: 2027:Thomas Heywood 2024: 2017: 2011: 2010: 2007: 2005:Thomas Heywood 2002: 1995: 1985: 1984: 1981: 1972: 1965: 1959: 1958: 1956: 1954: 1952: 1946: 1945: 1942: 1937: 1930: 1927: 1926: 1923: 1917: 1910: 1907: 1906: 1905:written 1590s 1903: 1896:Thomas Heywood 1888:Anthony Munday 1885: 1878: 1875: 1874: 1871: 1865: 1854: 1848: 1847: 1844: 1839: 1832: 1826: 1825: 1822: 1819: 1812: 1809: 1808: 1805: 1791: 1784: 1770: 1769: 1766: 1764:Thomas Heywood 1761: 1754: 1748: 1747: 1744: 1741: 1733: 1730: 1729: 1726: 1723: 1715: 1705: 1704: 1701: 1698: 1690: 1687: 1686: 1683: 1680: 1672: 1669: 1668: 1665: 1662: 1655: 1649: 1648: 1645: 1631:Anthony Munday 1628: 1621: 1618: 1617: 1614: 1611: 1603: 1600: 1599: 1596: 1593: 1585: 1582: 1581: 1578: 1572: 1565: 1559: 1558: 1555: 1552: 1545: 1542: 1541: 1538: 1535: 1524: 1518: 1517: 1514: 1511: 1500: 1497: 1496: 1493: 1487: 1480: 1477: 1476: 1473: 1467: 1460: 1454: 1453: 1450: 1447: 1440: 1434: 1433: 1430: 1425: 1418: 1412: 1411: 1408: 1403: 1396: 1390: 1389: 1386: 1383: 1380: 1374: 1373: 1370: 1367: 1360: 1357: 1356: 1353: 1347: 1340: 1337: 1336: 1333: 1328: 1321: 1315: 1314: 1308: 1307: 1304: 1301: 1294: 1288: 1287: 1284: 1281: 1278: 1266:Perkin Warbeck 1252: 1249: 1096: 1095: 1092: 1091: 1083: 1082: 1006: 1003: 985:Robert de Vere 966:Earl of Oxford 925:Spanish Armada 883: 880: 875:Main article: 872: 869: 758: 755: 673:the murder of 667: 666: 655:political bias 628:poetic justice 611:divine justice 583: 580: 578: 575: 544:Bosworth Field 495: 492: 440:House of Tudor 431: 428: 391: 388: 387: 386: 379: 372: 359: 356: 346: 345: 337: 329: 316: 313: 312: 311: 304: 297: 290: 283: 276: 269: 262: 255: 248: 241: 221: 218: 216: 213: 26: 9: 6: 4: 3: 2: 6882: 6871: 6868: 6866: 6863: 6861: 6858: 6856: 6853: 6852: 6850: 6834: 6833: 6829: 6826: 6825: 6821: 6818: 6817: 6813: 6810: 6809: 6805: 6802: 6801: 6797: 6794: 6793: 6789: 6786: 6785: 6781: 6778: 6775: 6772: 6771: 6770:The Wild Duck 6767: 6764: 6763: 6759: 6756: 6755: 6751: 6748: 6747: 6743: 6740: 6739:The Lost Echo 6737: 6734: 6733: 6732:Stuff Happens 6729: 6726: 6725: 6724:The Sapphires 6721: 6718: 6717: 6713: 6710: 6709: 6705: 6702: 6701: 6697: 6694: 6693: 6689: 6688: 6685: 6681: 6674: 6669: 6667: 6662: 6660: 6655: 6654: 6651: 6639: 6631: 6629: 6621: 6620: 6616: 6614: 6610: 6609: 6606: 6599: 6598:Thomas Quiney 6596: 6593: 6590: 6588:(grandfather) 6587: 6584: 6581: 6578: 6575: 6572: 6569: 6566: 6563: 6560: 6557: 6554: 6551: 6548: 6545: 6544:Judith Quiney 6542: 6539: 6536: 6533: 6530: 6527: 6526:Anne Hathaway 6524: 6523: 6521: 6517: 6507: 6504: 6501: 6498: 6496: 6493: 6489: 6486: 6485: 6484: 6481: 6477: 6476: 6472: 6471: 6470: 6467: 6466: 6464: 6460: 6454: 6451: 6449: 6446: 6444: 6443: 6438: 6436: 6433: 6431: 6428: 6426: 6423: 6421: 6418: 6416: 6413: 6411: 6408: 6406: 6403: 6401: 6398: 6397: 6395: 6393: 6389: 6383: 6380: 6378: 6375: 6373: 6370: 6368: 6365: 6363: 6360: 6358: 6355: 6353: 6350: 6348: 6345: 6343: 6340: 6338: 6335: 6331: 6328: 6326: 6323: 6322: 6321: 6317: 6314: 6312: 6309: 6307: 6306:Globe Theatre 6304: 6302: 6299: 6297: 6294: 6292: 6289: 6287: 6284: 6280: 6277: 6275: 6274: 6270: 6269: 6268: 6265: 6263: 6260: 6259: 6257: 6255: 6250: 6246: 6236: 6235: 6231: 6229: 6228: 6224: 6223: 6221: 6217: 6211: 6210: 6206: 6204: 6203: 6199: 6196: 6195: 6191: 6189: 6188: 6184: 6182: 6181: 6177: 6175: 6174: 6170: 6167: 6166: 6162: 6160: 6159: 6155: 6153: 6152: 6148: 6146: 6145: 6141: 6139: 6138: 6134: 6132: 6131: 6127: 6125: 6124: 6120: 6116: 6115: 6110: 6108: 6107: 6103: 6101: 6100: 6096: 6094: 6093: 6089: 6087: 6086: 6082: 6080: 6079: 6075: 6072: 6071: 6067: 6065: 6064: 6060: 6058: 6057: 6053: 6052: 6050: 6046: 6043: 6041: 6037: 6031: 6030: 6026: 6024: 6023: 6019: 6017: 6016: 6012: 6010: 6009: 6005: 6001: 5998: 5997: 5996: 5995: 5991: 5990: 5988: 5984: 5979: 5965: 5962: 5960: 5957: 5955: 5952: 5950: 5947: 5943: 5940: 5938: 5935: 5933: 5930: 5929: 5927: 5925: 5922: 5920: 5919:Late romances 5917: 5915: 5914:Problem plays 5912: 5911: 5909: 5905: 5899: 5896: 5894: 5891: 5889: 5886: 5885: 5883: 5881: 5877: 5870: 5869: 5865: 5863: 5862: 5858: 5854: 5853: 5849: 5847: 5846: 5842: 5839: 5838: 5834: 5833: 5832: 5831: 5827: 5825: 5824: 5820: 5816: 5815: 5811: 5809: 5808: 5804: 5803: 5802: 5799: 5797: 5796: 5792: 5789: 5788: 5784: 5782: 5781: 5777: 5776: 5774: 5772: 5768: 5762: 5761: 5757: 5755: 5754: 5750: 5748: 5747: 5743: 5741: 5740: 5736: 5734: 5733: 5729: 5727: 5726: 5722: 5720: 5719: 5715: 5713: 5712: 5711:Julius Caesar 5708: 5706: 5705: 5701: 5699: 5698: 5694: 5692: 5691: 5687: 5686: 5684: 5682: 5678: 5672: 5671: 5667: 5664: 5663: 5659: 5657: 5656: 5652: 5650: 5649: 5648:Twelfth Night 5645: 5643: 5642: 5638: 5636: 5635: 5631: 5628: 5627: 5623: 5621: 5620: 5616: 5614: 5613: 5609: 5607: 5606: 5602: 5600: 5599: 5595: 5593: 5592: 5588: 5586: 5585: 5581: 5579: 5578: 5574: 5572: 5571: 5567: 5565: 5564: 5560: 5558: 5557: 5553: 5552: 5550: 5548: 5544: 5541: 5539: 5535: 5531: 5524: 5519: 5517: 5512: 5510: 5505: 5504: 5501: 5494: 5490: 5487: 5486: 5480: 5476: 5474: 5468: 5465: 5461: 5458: 5457: 5451: 5447: 5443: 5440: 5439: 5434: 5430: 5427: 5424: 5423: 5419: 5418: 5408: 5406: 5399: 5392: 5386: 5379: 5378:Julius Caesar 5373: 5366: 5365:Julius Caesar 5363:Dorsch, ed., 5360: 5353: 5347: 5345: 5337: 5331: 5329: 5321: 5315: 5313: 5306:(London 2001) 5305: 5299: 5297: 5289: 5283: 5276: 5270: 5262: 5256: 5251: 5250: 5241: 5234: 5228: 5222:(London 1963) 5221: 5215: 5209:(London 1988) 5208: 5202: 5195: 5189: 5182: 5176: 5167: 5158: 5151: 5145: 5138: 5134: 5128: 5122: 5118: 5114: 5113: 5106: 5099: 5093: 5086: 5082: 5076: 5067: 5065: 5063: 5061: 5051: 5049: 5039: 5037: 5029: 5023: 5021: 5013: 5007: 5005: 4997: 4991: 4989: 4981: 4975: 4973: 4965: 4959: 4953: 4952: 4951:Histriomastix 4945: 4939: 4933: 4926: 4920: 4918: 4916: 4908: 4902: 4900: 4892: 4886: 4884: 4882: 4880: 4878: 4868: 4861: 4855: 4848: 4842: 4835: 4829: 4827: 4820:(London 1954) 4819: 4813: 4806: 4800: 4793: 4787: 4781: 4776: 4774: 4767:(London 1988) 4766: 4762: 4761:Robinson, Ian 4757: 4755: 4747: 4741: 4734: 4728: 4721: 4715: 4708: 4702: 4695: 4689: 4682: 4676: 4669: 4663: 4656: 4650: 4648: 4640: 4634: 4627: 4621: 4614: 4608: 4601: 4595: 4588: 4582: 4575: 4571: 4565: 4558: 4554: 4549: 4542: 4536: 4534: 4526: 4520: 4518: 4510: 4504: 4497: 4491: 4485:(London 1944) 4484: 4480: 4474: 4467: 4464:Greg, W. W., 4461: 4454: 4448: 4441: 4435: 4428: 4425:Lee, Sidney, 4422: 4420: 4410: 4403: 4397: 4390: 4384: 4377: 4374: 4371: 4365: 4356: 4347: 4338: 4331: 4327: 4321: 4314: 4312: 4304: 4297: 4296: 4290: 4281: 4274: 4269: 4262: 4257: 4248: 4241: 4236: 4227: 4218: 4211: 4206: 4199: 4194: 4187: 4182: 4173: 4164: 4155: 4148: 4142: 4135: 4130: 4121: 4119: 4109: 4100: 4093: 4088: 4079: 4072: 4067: 4060: 4055: 4048: 4043: 4036: 4031: 4022: 4013: 4004: 3997: 3991: 3984: 3978: 3971: 3965: 3956: 3941: 3939:9780874136807 3935: 3931: 3930: 3922: 3918: 3911: 3909: 3905: 3901: 3897: 3893: 3889: 3888: 3883: 3880:and starring 3879: 3875: 3874: 3869: 3868: 3863: 3859: 3858: 3853: 3849: 3848: 3839: 3838:Julie Walters 3835: 3834:Joe Armstrong 3832:as Falstaff, 3831: 3827: 3824:as Henry IV, 3823: 3819: 3815: 3811: 3807: 3804:). Featuring 3803: 3802: 3797: 3796:Thea Sharrock 3793: 3792: 3787: 3783: 3782: 3777: 3773: 3772: 3767: 3764: 3760: 3756: 3752: 3748: 3744: 3740: 3738:as Lady Anne. 3737: 3736:Zoe Wanamaker 3733: 3729: 3725: 3721: 3717: 3714:as Clarence, 3713: 3709: 3706:as Margaret, 3705: 3701: 3697: 3694:as Henry VI, 3693: 3689: 3685: 3681: 3680: 3675: 3672: 3668: 3664: 3660: 3656: 3652: 3651:David Gwillim 3649:as Falstaff, 3648: 3645:as Henry IV, 3644: 3640: 3636: 3632: 3628: 3624: 3620: 3616: 3615: 3610: 3607: 3603: 3599: 3595: 3594:Donald Sinden 3592:as Margaret, 3591: 3588:as Henry VI, 3587: 3583: 3579: 3575: 3572:. adapted by 3571: 3567: 3563: 3562: 3557: 3554: 3550: 3547:as Falstaff, 3546: 3542: 3541:Eileen Atkins 3538: 3534: 3530: 3529:Julian Glover 3526: 3523:as Henry VI, 3522: 3518: 3515:as Henry IV, 3514: 3510: 3509:David William 3506: 3505:Michael Hayes 3502: 3501: 3496: 3495: 3494: 3488: 3484: 3480: 3476: 3472: 3469: 3465: 3461: 3457: 3453: 3449: 3448: 3443: 3442: 3437: 3434: 3430: 3426: 3423: 3419: 3415: 3411: 3407: 3405:) as a cycle; 3404: 3400: 3396: 3395: 3394: 3392: 3391: 3386: 3385: 3380: 3379: 3374: 3373: 3368: 3367: 3362: 3361: 3356: 3355: 3350: 3349: 3344: 3336: 3332: 3327: 3315: 3314: 3309: 3305: 3304: 3298: 3296: 3293: 3291: 3290: 3286: 3285: 3281: 3279: 3276: 3274: 3273: 3269: 3268: 3264: 3261: 3257: 3254: 3252: 3251: 3247: 3246: 3242: 3240: 3237: 3235: 3234: 3230: 3229: 3225: 3223: 3220: 3218: 3217: 3213: 3212: 3208: 3205: 3203: 3202: 3198: 3197: 3193: 3190: 3188: 3187: 3183: 3182: 3178: 3176: 3173: 3171: 3168: 3167: 3163: 3161: 3158: 3156: 3155: 3151: 3150: 3146: 3143: 3141: 3140: 3136: 3135: 3131: 3128: 3126: 3123: 3122: 3118: 3116: 3112: 3109:'s trans. of 3108: 3105: 3103: 3100: 3099: 3095: 3093: 3089: 3086: 3084: 3083: 3079: 3078: 3074: 3072:Playwright(s) 3071: 3068: 3067: 3056: 3054: 3051: 3049: 3048: 3044: 3042: 3038: 3037: 3033: 3031: 3028: 3026: 3025: 3021: 3019: 3015: 3014: 3010: 3007: 3005: 3004: 3000: 2998: 2994: 2993: 2989: 2986: 2984: 2983: 2979: 2976: 2975: 2971: 2969: 2966: 2964: 2961: 2959: 2958: 2954: 2952: 2948: 2945:'s trans. of 2944: 2941: 2939: 2936: 2934: 2933: 2929: 2926: 2922: 2920: 2917: 2914: 2913: 2909: 2907: 2904: 2902: 2901: 2897: 2894: 2893: 2889: 2887: 2884: 2882: 2881: 2877: 2875: 2871: 2870: 2866: 2863: 2859: 2856: 2854: 2853: 2849: 2847: 2843: 2842: 2838: 2835: 2833: 2832: 2828: 2825: 2824: 2820: 2818: 2815: 2813: 2812: 2808: 2806: 2805: 2801: 2799: 2795: 2792: 2790: 2789: 2785: 2782: 2781: 2777: 2775:Playwright(s) 2774: 2771: 2768: 2767: 2761: 2756: 2752: 2751: 2746: 2745: 2740: 2735: 2731: 2730: 2725: 2721: 2720: 2715: 2714:Julius Caesar 2710: 2708: 2707: 2706:Julius Caesar 2702: 2697: 2693: 2692: 2687: 2683: 2679: 2675: 2671: 2661: 2659: 2658: 2654: 2649: 2645: 2644: 2639: 2635: 2631: 2627: 2623: 2619: 2609: 2607: 2604: 2602: 2601: 2597: 2596: 2592: 2589: 2586: 2584: 2583: 2579: 2578: 2574: 2572: 2571:John Fletcher 2568: 2566: 2565: 2561: 2557: 2556: 2552: 2550: 2546: 2545:Thomas Dekker 2543: 2541: 2540: 2536: 2535: 2531: 2529: 2526: 2524: 2523: 2519: 2518: 2514: 2512: 2509: 2507: 2506: 2502: 2501: 2497: 2495: 2494:Samuel Rowley 2492: 2490: 2489: 2485: 2484: 2480: 2478: 2477:Robert Wilson 2474: 2470: 2466: 2463: 2461: 2460: 2456: 2455: 2451: 2449: 2446: 2444: 2443: 2439: 2438: 2434: 2431: 2428: 2427: 2423: 2422: 2418: 2415: 2413: 2412: 2408: 2407: 2403: 2400: 2398: 2397: 2393: 2389: 2388: 2384: 2382:, Shakespeare 2381: 2380:Thomas Dekker 2377: 2373: 2372:Henry Chettle 2369: 2366: 2364: 2363: 2359: 2358: 2354: 2351: 2349: 2348: 2344: 2340: 2339: 2335: 2332: 2330: 2329: 2325: 2324: 2320: 2317: 2315: 2314: 2310: 2309: 2305: 2302: 2299: 2298: 2294: 2293: 2289: 2286: 2284: 2283: 2279: 2278: 2274: 2272: 2269: 2267: 2266: 2262: 2261: 2257: 2254: 2251: 2249: 2248: 2244: 2243: 2239: 2237: 2234: 2232: 2231: 2227: 2226: 2222: 2219: 2218:Samuel Rowley 2216: 2214: 2213: 2209: 2208: 2204: 2201: 2198: 2197: 2193: 2192: 2188: 2185: 2182: 2181: 2177: 2176: 2172: 2169: 2166: 2165: 2161: 2160: 2156: 2153: 2150: 2149: 2145: 2144: 2140: 2137: 2135: 2134: 2130: 2129: 2125: 2122: 2120: 2119: 2115: 2114: 2110: 2107: 2104: 2102: 2101: 2097: 2096: 2092: 2089: 2085: 2081: 2078: 2076: 2075: 2071: 2070: 2066: 2063: 2062:Samuel Rowley 2060: 2058: 2057: 2053: 2052: 2048: 2046:Playwright(s) 2045: 2042: 2041: 2030: 2028: 2025: 2023: 2022: 2018: 2016: 2013: 2012: 2008: 2006: 2003: 2001: 2000: 1996: 1994: 1990: 1987: 1986: 1982: 1980: 1976: 1975:Thomas Dekker 1973: 1971: 1970: 1966: 1964: 1961: 1960: 1957: 1955: 1953: 1951: 1948: 1947: 1943: 1941: 1940:Samuel Rowley 1938: 1936: 1935: 1931: 1929: 1928: 1924: 1921: 1918: 1916: 1915: 1911: 1909: 1908: 1904: 1902:, Shakespeare 1901: 1900:Thomas Dekker 1897: 1893: 1892:Henry Chettle 1889: 1886: 1884: 1883: 1879: 1877: 1876: 1872: 1870: 1869:John Fletcher 1866: 1864: 1863: 1859: 1855: 1853: 1850: 1849: 1845: 1843: 1840: 1838: 1837: 1833: 1831: 1828: 1827: 1823: 1820: 1818: 1817: 1813: 1811: 1810: 1806: 1803: 1799: 1795: 1792: 1790: 1789: 1785: 1783: 1779: 1775: 1772: 1771: 1767: 1765: 1762: 1760: 1759: 1755: 1753: 1750: 1749: 1745: 1742: 1739: 1738: 1734: 1732: 1731: 1727: 1724: 1721: 1720: 1716: 1714: 1710: 1707: 1706: 1702: 1699: 1696: 1695: 1691: 1689: 1688: 1684: 1681: 1678: 1677: 1673: 1671: 1670: 1666: 1663: 1661: 1660: 1656: 1654: 1651: 1650: 1646: 1644: 1643:Robert Wilson 1640: 1636: 1632: 1629: 1627: 1626: 1622: 1620: 1619: 1615: 1612: 1609: 1608: 1604: 1602: 1601: 1597: 1594: 1591: 1590: 1586: 1584: 1583: 1579: 1576: 1575:Samuel Rowley 1573: 1571: 1570: 1566: 1564: 1561: 1560: 1556: 1553: 1551: 1550: 1546: 1544: 1543: 1539: 1536: 1534: 1533: 1529: 1525: 1523: 1520: 1519: 1515: 1512: 1510: 1509: 1505: 1501: 1499: 1498: 1494: 1491: 1490:Samuel Rowley 1488: 1486: 1485: 1481: 1479: 1478: 1474: 1471: 1468: 1466: 1465: 1461: 1459: 1456: 1455: 1451: 1448: 1446: 1445: 1441: 1439: 1436: 1435: 1431: 1429: 1426: 1424: 1423: 1419: 1417: 1414: 1413: 1409: 1407: 1404: 1402: 1401: 1397: 1395: 1392: 1391: 1387: 1384: 1381: 1379: 1376: 1375: 1371: 1368: 1366: 1365: 1361: 1359: 1358: 1354: 1351: 1348: 1346: 1345: 1341: 1339: 1338: 1334: 1332: 1329: 1327: 1326: 1322: 1320: 1317: 1316: 1313: 1310: 1309: 1305: 1302: 1300: 1299: 1295: 1293: 1290: 1289: 1285: 1283:Playwright(s) 1282: 1279: 1276: 1275: 1269: 1267: 1263: 1259: 1248: 1246: 1242: 1238: 1234: 1233: 1228: 1224: 1223: 1218: 1217: 1212: 1208: 1203: 1201: 1197: 1193: 1189: 1185: 1184: 1179: 1175: 1174: 1169: 1165: 1161: 1157: 1153: 1149: 1145: 1141: 1137: 1133: 1127: 1125: 1124: 1119: 1118: 1112: 1108: 1104: 1103:Cade's revolt 1094: 1093: 1089: 1085: 1084: 1080: 1079: 1076: 1074: 1070: 1069: 1064: 1060: 1056: 1053: 1052: 1047: 1046: 1041: 1037: 1036: 1031: 1030: 1025: 1024: 1019: 1014: 1013: 1002: 1000: 996: 995: 990: 986: 982: 981: 976: 972: 967: 963: 959: 955: 949: 946: 942: 938: 934: 930: 926: 922: 921: 916: 912: 909: 908:morality play 905: 901: 897: 893: 889: 888:history-plays 878: 868: 866: 861: 857: 853: 849: 846: 842: 838: 834: 833:Julius Caesar 829: 824: 820: 816: 808: 805:'Falstaff', ( 803: 799: 797: 793: 792:Julius Caesar 788: 784: 780: 776: 772: 768: 764: 754: 752: 748: 743: 740: 736: 732: 727: 723: 719: 714: 711: 707: 702: 700: 696: 692: 688: 684: 680: 676: 672: 664: 660: 659: 658: 656: 652: 644: 639: 635: 633: 629: 624: 620: 616: 612: 607: 605: 601: 597: 593: 589: 574: 572: 568: 564: 560: 556: 552: 547: 545: 541: 540: 535: 530: 526: 521: 517: 513: 505: 500: 491: 489: 485: 484:nostalgically 481: 477: 473: 469: 468: 463: 459: 458:House of York 455: 454: 449: 445: 441: 437: 427: 425: 421: 420: 415: 411: 410: 405: 401: 397: 385: 384: 380: 378: 377: 373: 371: 370: 366: 365: 364: 355: 353: 352: 344: 342: 338: 336: 334: 333:Julius Caesar 330: 328: 326: 322: 321: 320: 310: 309: 305: 303: 302: 298: 296: 295: 291: 289: 288: 284: 282: 281: 277: 275: 274: 270: 268: 267: 263: 261: 260: 256: 254: 253: 249: 247: 246: 242: 240: 239: 235: 234: 233: 231: 227: 212: 210: 209: 204: 203: 202:Julius Caesar 198: 197: 192: 191: 186: 182: 178: 177: 172: 171:problem plays 168: 163: 161: 158:, the future 157: 153: 152: 147: 146: 141: 140: 135: 134: 129: 128: 123: 122: 117: 116: 111: 110: 105: 104: 99: 95: 91: 90: 85: 84: 79: 78: 73: 72:English kings 69: 68:history plays 65: 61: 57: 53: 46: 41: 35: 30: 19: 6830: 6824:The Children 6822: 6814: 6806: 6798: 6790: 6782: 6776: 6768: 6760: 6752: 6744: 6738: 6730: 6722: 6714: 6706: 6698: 6690: 6600:(son-in-law) 6594:(son-in-law) 6532:Susanna Hall 6473: 6462:Institutions 6441: 6286:Coat of arms 6279:Translations 6271: 6267:Bibliography 6234:To the Queen 6232: 6225: 6207: 6200: 6192: 6185: 6178: 6171: 6163: 6156: 6149: 6142: 6135: 6128: 6121: 6112: 6104: 6097: 6090: 6083: 6076: 6068: 6061: 6054: 6027: 6020: 6013: 6006: 5992: 5954:Performances 5898:Second Folio 5866: 5859: 5850: 5843: 5835: 5828: 5821: 5812: 5805: 5800: 5793: 5785: 5778: 5770: 5758: 5751: 5744: 5737: 5730: 5723: 5716: 5709: 5702: 5695: 5688: 5668: 5660: 5653: 5646: 5639: 5632: 5624: 5617: 5610: 5603: 5596: 5589: 5582: 5575: 5568: 5561: 5554: 5482: 5470: 5453: 5445: 5436: 5421: 5404: 5398: 5390: 5385: 5377: 5372: 5364: 5359: 5351: 5335: 5319: 5303: 5287: 5286:Park Honan, 5282: 5274: 5269: 5248: 5240: 5232: 5227: 5219: 5214: 5206: 5201: 5193: 5188: 5180: 5175: 5166: 5157: 5149: 5144: 5136: 5132: 5127: 5120: 5110: 5105: 5097: 5092: 5084: 5080: 5075: 5027: 5026:Sams, Eric, 5011: 4995: 4979: 4978:Sams, Eric, 4963: 4958: 4949: 4944: 4937: 4932: 4924: 4906: 4890: 4867: 4859: 4858:Sams, Eric, 4854: 4846: 4841: 4833: 4817: 4812: 4804: 4799: 4791: 4786: 4764: 4745: 4740: 4732: 4727: 4719: 4714: 4706: 4701: 4693: 4688: 4680: 4675: 4667: 4662: 4654: 4638: 4633: 4625: 4620: 4612: 4607: 4599: 4594: 4586: 4581: 4573: 4569: 4564: 4556: 4548: 4540: 4524: 4508: 4503: 4495: 4490: 4482: 4478: 4473: 4465: 4460: 4452: 4447: 4439: 4434: 4426: 4409: 4401: 4396: 4388: 4383: 4375: 4369: 4364: 4355: 4346: 4337: 4329: 4320: 4308: 4303: 4293: 4289: 4280: 4272: 4268: 4260: 4256: 4247: 4239: 4235: 4226: 4217: 4209: 4205: 4197: 4193: 4185: 4181: 4172: 4163: 4154: 4146: 4141: 4133: 4129: 4108: 4099: 4091: 4087: 4078: 4070: 4066: 4058: 4054: 4046: 4042: 4034: 4030: 4021: 4012: 4003: 3995: 3990: 3982: 3977: 3969: 3964: 3955: 3943:. Retrieved 3928: 3921: 3907: 3903: 3899: 3898:, combining 3896:Orson Welles 3891: 3885: 3882:Ian McKellen 3872: 3866: 3856: 3846: 3843: 3828:as Henry V, 3822:Jeremy Irons 3817: 3814:Rory Kinnear 3799: 3789: 3786:Richard Eyre 3779: 3776:Rupert Goold 3769: 3762: 3758: 3754: 3728:Paul Chapman 3718:as Warwick, 3704:Julia Foster 3700:Bernard Hill 3692:Peter Benson 3677: 3667:Brenda Bruce 3663:Wendy Hiller 3659:Charles Gray 3657:as Hotspur, 3653:as Henry V, 3639:John Gielgud 3635:Derek Jacobi 3630: 3626: 3622: 3612: 3602:Janet Suzman 3586:David Warner 3569: 3565: 3559: 3553:Sean Connery 3525:Paul Daneman 3521:Terry Scully 3519:as Henry V, 3517:Robert Hardy 3507:. Featuring 3503:directed by 3498: 3492: 3482: 3463: 3455: 3451: 3446: 3440: 3432: 3417: 3413: 3409: 3402: 3398: 3389: 3382: 3376: 3370: 3365: 3358: 3352: 3347: 3340: 3333:, staged by 3330: 3312: 3307: 3287: 3271: 3256:John Webster 3248: 3231: 3214: 3200: 3185: 3169: 3153: 3138: 3124: 3110: 3101: 3081: 3046: 3023: 3002: 2981: 2962: 2946: 2937: 2918: 2898: 2878: 2858:John Webster 2850: 2830: 2809: 2787: 2754: 2748: 2742: 2727: 2717: 2713: 2711: 2705: 2696:John Webster 2689: 2667: 2656: 2652: 2642: 2637: 2633: 2629: 2625: 2621: 2617: 2615: 2599: 2581: 2563: 2559: 2549:John Webster 2538: 2521: 2504: 2487: 2458: 2441: 2425: 2410: 2395: 2391: 2361: 2346: 2342: 2327: 2312: 2296: 2281: 2264: 2253:George Peele 2246: 2236:George Peele 2228: 2211: 2195: 2179: 2163: 2147: 2132: 2117: 2106:George Peele 2099: 2084:George Peele 2080:Thomas Lodge 2073: 2055: 2020: 1998: 1979:John Webster 1968: 1933: 1913: 1881: 1861: 1857: 1835: 1815: 1798:George Peele 1794:Thomas Lodge 1787: 1757: 1736: 1718: 1693: 1675: 1658: 1624: 1606: 1588: 1568: 1548: 1531: 1527: 1507: 1503: 1483: 1470:George Peele 1463: 1443: 1421: 1406:George Peele 1398: 1363: 1350:George Peele 1343: 1324: 1311: 1297: 1265: 1254: 1244: 1240: 1231: 1220: 1215: 1204: 1199: 1195: 1191: 1187: 1182: 1177: 1172: 1167: 1163: 1159: 1155: 1143: 1135: 1134:argued that 1128: 1122: 1116: 1110: 1099: 1087: 1072: 1067: 1062: 1050: 1044: 1034: 1027: 1022: 1017: 1011: 1008: 993: 978: 957: 950: 932: 919: 910: 885: 864: 859: 851: 850: 844: 840: 836: 832: 814: 812: 791: 786: 782: 778: 774: 770: 762: 760: 750: 746: 744: 738: 734: 730: 725: 721: 717: 715: 709: 706:Yorkist bias 705: 703: 698: 694: 690: 686: 682: 678: 670: 668: 662: 654: 650: 648: 642: 627: 622: 614: 610: 608: 603: 599: 595: 591: 587: 585: 570: 566: 562: 548: 537: 533: 519: 515: 511: 509: 486:evoking the 471: 465: 451: 433: 424:Thomas North 417: 407: 399: 395: 393: 381: 374: 367: 361: 349: 347: 339: 331: 323: 318: 306: 299: 292: 285: 278: 271: 264: 257: 250: 243: 236: 223: 206: 200: 194: 188: 174: 164: 149: 143: 137: 131: 125: 119: 113: 107: 101: 87: 81: 75: 49: 44: 29: 6762:Richard III 6716:Inheritance 6700:Cloudstreet 6638:WikiProject 6325:The Theatre 6311:Handwriting 6137:The Puritan 5928:Characters 5893:First Folio 5861:Richard III 5641:The Tempest 5485:Shakespeare 5473:Shakespeare 5456:Shakespeare 4553:Ward, B. M. 4240:Richard III 4212:1.1.132–150 4071:Richard III 4061:4.1.306–322 3873:Richard III 3867:Richard III 3806:Ben Whishaw 3732:David Burke 3712:Paul Jesson 3710:as Edward, 3684:Jane Howell 3619:David Giles 3598:Roy Dotrice 3574:John Barton 3555:as Hotspur. 3533:Mary Morris 3513:Tom Fleming 3464:Royal Blood 3456:Richard III 3403:Richard III 3390:Richard III 3299:acted 1638 3206:Shakespeare 3191:Shakespeare 3144:Shakespeare 3008:Shakespeare 2987:Shakespeare 2836:Shakespeare 2821:acted 1638 2630:Hardicanute 2560:All is True 2432:Shakespeare 2416:Shakespeare 2401:Shakespeare 2352:Shakespeare 2333:Shakespeare 2318:Shakespeare 2303:Shakespeare 2287:Shakespeare 2202:Shakespeare 2186:Shakespeare 2170:Shakespeare 2154:Shakespeare 2015:Elizabeth I 1993:Elizabeth I 1858:All is True 1821:Shakespeare 1782:Richard III 1743:Shakespeare 1725:Shakespeare 1700:Shakespeare 1682:Shakespeare 1664:Shakespeare 1613:Shakespeare 1595:Shakespeare 1554:Shakespeare 1537:Shakespeare 1513:Shakespeare 1369:Shakespeare 1325:Kynge Johan 1258:city comedy 1209:considered 1207:T. S. Eliot 1192:Tamburlaine 1178:Hardicanute 1140:Edward Hall 1073:Tamburlaine 1045:Tamburlaine 1005:Development 962:First Folio 911:Kynge Johan 896:Edward Hall 796:tyrannicide 775:Richard III 751:Richard III 726:Richard III 695:Richard III 596:Richard III 555:Edward Hall 476:opportunism 472:Richard III 453:Richard III 436:Elizabeth I 390:Our Sources 301:Richard III 226:First Folio 121:Richard III 52:First Folio 6849:Categories 6708:Copenhagen 6562:Mary Arden 6546:(daughter) 6534:(daughter) 6410:Bardolatry 6320:King's Men 6262:Birthplace 5949:Chronology 5868:Henry VIII 5795:Richard II 5787:Edward III 5697:Coriolanus 4298:, 2.1.574. 4261:1 Henry IV 4210:3 Henry VI 4198:3 Henry VI 4186:2 Henry VI 4134:3 Henry VI 4092:1 Henry VI 4047:1 Henry IV 4037:3.3.72–120 4035:Richard II 3818:Richard II 3781:Richard II 3629:plays and 3623:Richard II 3578:Peter Hall 3537:Judi Dench 3475:Tom Wright 3452:Richard II 3441:Edward III 3410:Richard II 3348:Richard II 3222:Ben Jonson 3160:Ben Jonson 3113:(1574) by 3107:Thomas Kyd 3030:Ben Jonson 2995:41–30 BC, 2949:(1574) by 2943:Thomas Kyd 2886:Ben Jonson 2750:Coriolanus 2739:Park Honan 2088:Thomas Kyd 1852:Henry VIII 1802:Thomas Kyd 1458:Richard II 1438:Edward III 1200:Richard II 1188:Contention 1117:Edward III 1107:Prince Hal 1063:Contention 1051:Contention 971:B. M. Ward 958:Richard II 941:Richard II 783:Richard II 731:Richard II 722:2 Henry VI 710:1 Henry VI 691:2 Henry VI 687:1 Henry VI 679:Richard II 671:Richard II 623:benevolent 615:3 Henry VI 600:Richard II 467:Henry VIII 444:propaganda 409:Chronicles 325:Coriolanus 308:Henry VIII 252:Richard II 245:Edward III 196:Coriolanus 156:Prince Hal 127:Richard II 89:Henry VIII 83:Edward III 6592:John Hall 6582:(brother) 6570:(brother) 6502:(replica) 6442:Star Trek 6430:Memorials 6425:Influence 6415:Festivals 6357:Sexuality 6347:Portraits 6342:New Place 6194:Ur-Hamlet 6130:Mucedorus 6040:Apocrypha 5780:King John 5771:Histories 5718:King Lear 5681:Tragedies 5577:Cymbeline 5493:0976-9536 5464:0976-9536 4373:King Lear 4326:A.L.Rowse 4311:King Lear 4295:King John 4263:4.3.38–40 4242:2.4.60–62 4188:1.3.56–67 4136:4.6.65–76 3702:as York, 3698:as Joan, 3661:as York, 3643:Jon Finch 3596:as York, 3570:Edward IV 2606:John Ford 1950:Edward VI 1842:John Ford 1830:Henry VII 1774:Edward IV 1752:Edward IV 1713:Edward IV 1416:Edward II 1378:Henry III 1331:John Bale 1262:civil war 1196:Edward II 1152:Eric Sams 1068:Edward II 937:Elizabeth 915:King John 904:John Bale 865:King Lear 852:King Lear 841:King Lear 815:King John 779:King John 643:Henry VI' 462:Henry VII 448:civil war 400:King Lear 369:King Lear 238:King John 190:King Lear 77:King John 64:tragedies 45:King John 6628:Category 6576:(sister) 6564:(mother) 6558:(father) 6070:Cardenio 5959:Settings 5907:See also 5830:Henry VI 5801:Henry IV 5547:Comedies 4073:1.4.1–75 4049:3.2.4–17 3945:7 August 3892:Falstaff 3755:Henry VI 3688:Ron Cook 3627:Henry IV 3582:Ian Holm 3566:Henry VI 3489:in 2009. 3414:Henry IV 3399:Henry VI 3337:in 1993. 3111:Cornélie 3075:Date(s) 3041:Domitian 3018:Tiberius 2947:Cornélie 2927:origin ) 2915:48–42 BC 2895:48–47 BC 2778:Date(s) 2686:Plutarch 2626:now lost 2622:Henry VI 2300:(Quarto) 2167:(Quarto) 2151:(Quarto) 2049:Date(s) 1778:Edward V 1722:(Quarto) 1709:Henry VI 1679:(Quarto) 1653:Henry VI 1592:(Quarto) 1522:Henry IV 1394:Edward I 1286:Date(s) 1239:'s lost 1035:Edward I 975:the 11th 933:Henry VI 856:allegory 823:Falstaff 781:and the 771:Henry VI 735:Henry IV 683:Henry VI 592:Henry VI 536:, which 414:Plutarch 167:romances 60:comedies 6420:Gardens 6296:Editors 6099:Locrine 6092:Fair Em 5924:Henriad 5823:Henry V 5732:Othello 5725:Macbeth 5483:Yearly 5479:History 5454:Yearly 5450:England 4273:Henry V 4200:1.1.134 4059:Henry V 3908:Henry V 3904:Part II 3857:Henry V 3847:Henry V 3801:Henry V 3631:Henry V 3422:Henriad 3418:Henry V 3366:Henry V 3088:Marlowe 2923:anon. ( 2794:Marlowe 2755:Sejanus 2682:Sallust 2678:Tacitus 2628:, like 2618:Henry V 2429:(Folio) 2199:(Folio) 2183:(Folio) 1740:(Folio) 1697:(Folio) 1610:(Folio) 1563:Henry V 1251:Decline 1245:Macbeth 1237:Webster 1227:Chapman 1090:(1914) 1040:Marlowe 943:to the 845:Macbeth 828:Hotspur 787:Henry V 769:plays, 747:Henry V 739:Henry V 716:As for 604:Henry V 534:usurper 396:Macbeth 376:Macbeth 273:Henry V 176:Macbeth 160:Henry V 151:Henriad 145:Henry V 50:In the 6835:(2019) 6827:(2018) 6819:(2017) 6811:(2016) 6803:(2015) 6795:(2014) 6787:(2013) 6779:(2012) 6773:(2011) 6765:(2010) 6757:(2009) 6749:(2008) 6741:(2007) 6735:(2006) 6727:(2005) 6719:(2004) 6711:(2003) 6703:(2002) 6695:(2001) 6617:† Lost 6528:(wife) 6519:Family 6392:Legacy 5964:Scenes 5704:Hamlet 5491: 5462: 5257: 5014:, 1996 5010:Sams, 4893:, 1986 4889:Sams, 4849:(1965) 3936: 3884:; and 3854:, and 3820:) and 3794:) and 3424:); and 3387:, and 3258:(and 2874:Cicero 2860:(and 2769:Period 2724:Jonson 2684:, and 2670:Virgil 2638:legend 2086:(?) / 2082:(?) / 1989:Mary I 1963:Mary I 1800:(?) / 1796:(?) / 837:Hamlet 383:Hamlet 205:, and 136:& 112:& 6540:(son) 6382:Grave 6372:Style 6337:Music 6254:works 6219:Poems 6048:Plays 5986:Poems 5538:Plays 5117:Roper 4324:e.g. 3914:Notes 3092:Nashe 2977:44 BC 2798:Nashe 2758:' 2734:Globe 1277:Reign 1241:Guise 1065:. In 1055:plays 977:, in 6377:Will 6252:and 6249:Life 5489:ISSN 5460:ISSN 5255:ISBN 5115:and 3947:2014 3934:ISBN 3902:and 3761:and 3749:and 3576:and 3568:and 3477:and 3090:and 3069:Play 2796:and 2772:Play 2747:and 2674:Livy 2655:and 2620:and 2547:and 2475:and 2043:Play 1977:and 1711:and 1641:and 1319:John 1280:Play 1211:Ford 1120:and 860:Lear 821:and 653:and 598:and 557:and 529:York 527:and 478:and 398:and 183:and 169:and 142:and 118:and 86:and 5937:L–Z 5932:A–K 5119:'s 3784:), 3454:to 2726:'s 2590:(?) 2562:or 2255:(?) 1922:(?) 1860:or 1472:(?) 1312:... 1229:'s 1213:'s 1142:'s 1042:'s 906:'s 819:Hal 785:to 773:to 699:any 630:or 602:to 594:to 416:'s 406:'s 115:III 6851:: 6611:✻ 6073:✻† 5435:, 5343:^ 5327:^ 5311:^ 5295:^ 5059:^ 5047:^ 5035:^ 5019:^ 5003:^ 4987:^ 4971:^ 4914:^ 4898:^ 4876:^ 4825:^ 4772:^ 4763:, 4753:^ 4646:^ 4555:, 4532:^ 4516:^ 4418:^ 4328:, 4313:' 4117:^ 3910:. 3864:; 3621:. 3412:, 3381:, 3375:, 3369:, 3363:, 3357:, 3351:, 2680:, 2676:, 2672:, 2660:. 2471:, 2467:, 2394:/ 2378:, 2374:, 2370:, 2345:/ 1991:, 1898:, 1894:, 1890:, 1780:, 1776:, 1637:, 1633:, 1530:/ 1506:/ 1388:— 1235:, 1225:, 1202:. 898:, 894:, 817:, 573:. 553:, 211:. 199:, 162:. 139:II 130:, 109:II 106:, 80:, 6672:e 6665:t 6658:v 6318:/ 6197:† 6168:✻ 6117:† 5871:✻ 5852:3 5845:2 5840:✻ 5837:1 5814:2 5807:1 5790:✻ 5665:✻ 5629:✻ 5522:e 5515:t 5508:v 5263:. 4376:, 3949:. 3798:( 3788:( 3778:( 3765:. 3470:. 3341:" 3262:) 2864:) 1385:— 1382:— 665:. 343:. 335:. 327:. 36:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

Shakespearean history

Index