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The First Part of King Henry the Sixth. Edited by H.C. Hart

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The First Part of King Henry the Sixth. Edited by H.C. Hart Digitized by tine Internet Arciiive in 2008 witii funding from IVIicrosoft Corporation I littp://www.archive.org/details/firstptkinghenryviOOsliakuoft THE ARDEN SHAKESPEARE GENERAL EDITOR : W. J. CRAIG THE FIRST PART OF KING HENRY THE SIXTH THE WORKS OF SHAKESPEARE THE FIRST PART OF KING HENRY THE SIXTH EDITED BY H. C. HART I ^t^^ic -^^ ^-V^ I METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON First Published in igog CONTENTS PAGE Introduction vii The First Part of King Henry the Sixth ... 3 ; INTRODUCTION There is only one text for Part I. of Henry VI., that of the first Folio, 1623. In this respect it stands on a different footing from Parts II. and III., and for this reason chiefly, it is best to consider it here as a play by itself and not as a portion of the trilogy: since Parts II. and III. are founded upon earlier plays whose texts we fortunately possess. But it must be borne in mind that, structurally speaking, no such separation is legitimate. Of this we will become aware at the beginning of Part II., where the sequence of events from Part I. is clearly maintained, and purposely, if somewhat care- lessly, adhered to by the same hand or hands. Whether Part I. is, as we have it from the Folio, founded upon an older play is one of the first questions that occurs whether in its remodelled state, supposing it to have been so founded, it is by Shakespeare, or how much of it is by Shake- speare is another question of long-standing difficulty. What other authorship is traceable and whose and where ?—all those are admittedly amongst the most troublesome that a student can be confronted with ; and their difficulty increases as we consider Parts II. and III. Before entering into these discussions, let us string together our facts, touching on the appearance of Part I. In Henslowe's Diary (folio 7, p. 13, Bullen's reprint) the " Rd. following entry occurs : Ne (New) . ^ at harey the vj. iijU 8^." the 3 of Marche 1591 . xvjs Between that date and the 22nd of April, 1 592 (the following month) there are six (or seven) more entries of its appearance, and its popularity was greater than such favourites as even Jeronynio or the Jew of Malta. Its entries continue regularly down to 31st January, 1593 (the following year). Titus Andronicus is the only other — viii THE FIRST PART OF Shakespearian drama (for a different company) within this " period ; and later than harey." Is this Part I. of Hetiry VI. ? There is only one piece of external evidence to assist us. It is from Nashe's Pierce Peni- lesse, which was published in the same year (Grosart's ed. ii. 88). After proving that plays "borrowed out of our English " " chronicles " are a rare exercise of virtue," he says : How would it have ioyed brave Talbot (the terror of the French) to thinke that after he had lyen two hundred yeare in his Toomb, he should triumph againe on the stage, and haue his bones new embalmed with the teares of ten thousand spectators at least (at seuerall times) who, in the Tragedian that represents his person, imagine they behold him fresh bleeding." This refers to Act IV. Scenes v., vi., vii. either in the Folio play or its forecast. Talbot is "the terror of the " French in I. iv. 42. It is hard to say how far " New " is to be regarded as a legitimate claim. I do not know that it can be stated that " ne " does not imply that this is the first appearance of the play in question in any shape, a natural assumption. But the mean- ing may also be taken that it is an old play so much altered as to rest on a new base of popularity. This latter view re- quires further proof, the former being the natural interpretation, " Further proof" is here found internally. One other point should be mentioned here, and that is that the fact of the appearance of Part I. in the first Folio at all is direct proof that the play was regarded at that date (1623), as justly attributable to Shakespeare by the editors Heminge and Condell, the best authorities on the subject : authority, I think, of greater weight than Meres's negative evidence, to be men- tioned presently. It is perhaps a slight evidence in favour of the Henslowe Diary play being the same as the Folio play, that it was known always in the Diary as Henry VI. The subsequent parts in their earliest forms had distinct titles, and were not known as Henry VI. until they reached the final stage. We have no record of the acting of those earlier forms. Shakespeare himself laid claim, apparently, to the whole " three parts ; in the epilogue to King Henry V. Our bending author hath pursued the story," he says : — ;— : — KING HENRY THE SIXTH ix And of it left his son imperial lord. Henry the Sixth, in infant bands crown'd King Of France and England, did this King succeed Whose state so many had the managing, That they lost France and made his England bleed: Which oft our stage hath shown ; and, for their sake In your fair minds let this acceptance take. These words seem intended to refer to the three parts, and to their popularity on the stage. But some critics see nothing here beyond a reference to this popularity. That Shakespeare was at this date (i 590-1 591) known as a historical or heroical writer may be inferred from the lines in Spenser's Colin Clout's Come Home Again (1591), which un- doubtedly refer to him—from the quibbling on the name : And there, though last not least is Action, A gentler shepheard may no where be found Whose Muse, full of high thoughts invention Doth like himselfe Heroically sound. Shakespeare had written nothing at this date to which these words could apply so well as to Henry VI. The dispute about the date of Spenser's poem need be only referred to as a need- less one, arising out of one interpolation. This is the earliest reference to Shakespeare in Ingleby's Centurie of Prayse. In view of the extreme interest of this quotation it may be excusable to enforce the sense of " heroically sound " from Spenser himself: Yet gold al is not that doth golden seeme Ne all good knights that shake well speare and shield. {Faerie Queene, 11. viii. 14.) And shivering speare in bloody field first shooke. (Faerie Queene, iii. i. 7.) And from Spenser's constant follower, Peele : Now, brave John Baliol . And King of Scots shine with thy golden head; (And) shake thy spears, in honour of his name Under whose royalty thou wear'st the same. {Edward I. 386, a, Routledge.) Thus long, I say, sat Sydney and beheld The shivers fly of many a shaken spear. {Polyhymnia, 1590.) — X THE FIRST PART OF And from Marlowe, Taniburlaine, Part I. IV. i. p. 25, b: Five hundred thousand footmen threatening shot, Shaking their swords, their spears, their iron bills. There is one evidence against Shakespeare's authorship from an external source, that must be mentioned. It is of no positive decisiveness. It is that of Francis Meres {IVits Treasury, 1 598) whose enumeration of the plays at that date does not include Henry VI. " For tragedy his Richard the 2, Richard the 3, Henry the ^, King John, Titus Andronicus Q.nd his Rofneo atid Juliet." Meres may have regarded Henry the VI. as joint compositions ; he may have forgotten them for the moment ; but what is most probable is that as he was laying stress on Shakespeare's most deserving work, he purposely passed these plays by. It was an unfortunate omission for future critics. Meres affects a " pedantic parallelism of numbers " (as Brinsley Nicholson called it) in order to bring about his juxta- position of English against classical and foreign names that somewhat detracts from his worth as an accurate critic. Greene's well known virulent attack on Shakespeare in 1592, properly belongs to Part III.; or to the whole group. Its con- sideration must be deferred for the present with the remark that it betrays Greene's extreme irritation, apparently at Shake- speare's having made use of work of his and of others, in some fashion with such success for the stage. We have no evidence that Part I. is a revision except internal evidence—but we shall show presently that there is in it much that recalls Greene's known work. We are left now to the consideration of the play itself, with the foregoing evidence that it is in some degree or other Shakespeare's. All critics, all readers, will probably agree or have agreed that it is one of the least poetical and also one of the dullest of all the plays in the Eolio. It is redeemed by few passages of merit— its verse is unmusical, its situations are usually poorly developed—and were it not for the essential interest of the subject-matter, to any English reader it would be unreadable. But even there it is blameworthy, since the history it contains is jumbled and falsified in perplexing and unnecessary ways. KING HENRY THE SIXTH xi Nevertheless there is an easy story-telh'ng method about the writing that is freer from bombast and pedantry than the usual efforts of the date—it is devoid of brutality and horrors for the most part, such as disfigure that revolting play Titus Andronicus, which is regarded, or was regarded, as Shakespeare's first play and the only one preceding that under notice, Titus bears ample evidence, however, of authorship other than Shake- speare's, and is now given by some competent critics a later date, and even removed entirely from his name.
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