The Battle Speeches of Henry V
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WAR, GOVERNMENT and ARISTOCRACY in the BRITISH ISLES, C.1150-1500
WAR, GOVERNMENT AND ARISTOCRACY IN THE BRITISH ISLES, c.1150-1500 Essays in Honour of Michael Prestwich Edited by Chris Given-Wilson Ann Kettle Len Scales THE BOYDELL PRESS © Contributors 2008 All rights reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2008 The Boydell Press, Woodbridge ISBN 978-1-84383-389-5 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP 12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP record for this book is available from the British Library This publication is printed on acid-free paper Printed in Great Britain by CPI Antony Rowe, Chippenham, Wiltshire Contents List of Contributors Vll Introduction ix Abbreviations xvii Did Henry II Have a Policy Towards the Earls? 1 Nicholas Vincent The Career of Godfrey of Crowcombe: Household Knight of King John 26 and Steward of King Henry III David Carpenter Under-Sheriffs, The State and Local Society c. 1300-1340: A Preliminary 55 Survey M. L. Holford Revisiting Norham, May-June 1291 69 Archie Duncan Treason, Feud and the Growth of State Violence: Edward I and the 84 'War of the Earl of Carrick', 1306-7 Matthew Strickland The Commendatio Lamentabilis for Edward I and Plantagenet Kingship 114 Bjorn Weiler Historians, Aristocrats and Plantagenet Ireland, 1200-1360 131 Robin Frame War and Peace: A Knight's Tale. -
Stratford's the Merchant of Venice and Alabama Shakespeare Festival's the Winter's Tale
Vol. XVI THE • VPSTART • CR.OW Editor James Andreas Clemson University Founding Editor William Bennett The University of Tennessee at Martin Associate Editors Michael Cohen Murray State University Herbert Coursen Bowdoin College Charles Frey The University of Washington Marjorie Garber Harvard University Walter Haden The University of Tennessee at Martin Chris Hassel Vanderbilt University Maurice Hunt Baylor University Richard Levin The University of California, Davis John McDaniel Middle Tennessee State University Peter Pauls The University of Winnipeg Jeanne Roberts American University Production Editors Tharon Howard, Suzie Medders, and Deborah Staed Clemson University Editorial Assistants Martha Andreas, Kelly Barnes, Kati Beck, Dennis Hasty, Victoria Hoeglund, Charlotte Holt, Judy Payne, and Pearl Parker Copyright 1996 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XVI About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. - T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opin ions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diver sity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $14 Institutions and Libraries, same rate as individuals- $14 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double spaced typed pages, including notes. -
Orson Welles's Deconstruction of Traditional Historiographies In
“How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127). -
Henry V Plays Richard II
Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king. -
Henry V Template
OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 HISTORICAL CONTEXT QUIZZES & VOCAB ACTOR INSIGHTS READ ABOUT THE TRUE STORY OF FIND PRINTABLE QUOTES QUIZ OSF ACTORS SPEAK ABOUT THEIR HENRY V, THEN COMPARE IT TO THE (WITH TEACHER’S KEY) AND A CHARACTERS COMING ALIVE TAKE SHAKESPEARE CHOOSES TO VOCABULARY LIST WITH THROUGH SHAKESPEARE’S TEXT. TELL. DEFINITIONS. KING HENRY V Historical Context Henry Bolingbroke was king, King Henry IV, first king of the line of Lancaster. His claim to the throne was hotly contested, with powerful noble families “We few, we happy believing that Lord Mortimer, who Richard II named as his heir before his few, we band of death, was the rightful king. The Percy’s, led by Harry ‘Hotspur’ Percy, raised an brothers…” army against Henry IV, meeting him in the famed battle of Shrewsbury. Here, !1 OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 Henry Bolingbroke’s son, Henry of Monmouth (the future Henry V), played a pivotal role in securing victory for the king and crushing O! the Percy rebellion. Henry of Monmouth continued to show his battlefield prowess by quelling a Welsh rebellion led by the mighty for a Muse of Owain Glydwr. fire, that would With the kingdom secured in the year 1408 and the king in ill health, Henry of Monmouth sought a more active role in politics. ascend the The king’s illness gave Henry political control over the country, leaving him free to enact his own policies. These policies differed brightest heaven much from those of the king, who, in 1411 after a recovery from his illness, dismissed Henry from the court and reversed many of his of invention! policies. -
After Agincourt
After Agincourt After Agincourt William Worcester’s Lost Journal edited by Stephen Cooper 1 After Agincourt Copyright Stephen Cooper, 2013 The right of Stephen Cooper to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 2 After Agincourt For William 3 After Agincourt Contents Editor’s Preface Sir John Fastolf’s accompt of the burning of John Badby, 1410 I September, 1444 II October III November IV December V January, 1445 VI February VII March VIII April IX May X June XI July XII August 4 After Agincourt Editor’s Preface This Journal, which I have entitled After Agincourt, was written by William Worcester over a period of twelve months in 1444-5. It describes a very different country from the one we inhabit today. The Kingdom of England was surrounded by enemies. The Welsh were a subject people, but one which had come within an ace of throwing off English rule only thirty years before. The Scots were inveterate enemies, universally hated in England, especially in the northern counties. The French were a constant threat, much more populous and powerful than the English, and quite determined to reclaim the territories which the King of England still held on to, in Aquitaine and Normandy. Henry V’s startling victory at Agincourt in 1415 seemed like a distant memory three decades later. Superficially, there were many similarities between the England of 1444 and the England of 2014. We had a monarch and a bi-cameral Parliament then, and London dominated the life of the nation financially and politically, while most of the wealth was in the South-East. -
Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605. -
Notes on the Agincourt Roll Author(S): J
Notes on the Agincourt Roll Author(s): J. Hamilton Wylie Source: Transactions of the Royal Historical Society, Vol. 5 (1911), pp. 105-140 Published by: Cambridge University Press on behalf of the Royal Historical Society Stable URL: http://www.jstor.org/stable/3678363 Accessed: 26-06-2016 09:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press, Royal Historical Society are collaborating with JSTOR to digitize, preserve and extend access to Transactions of the Royal Historical Society This content downloaded from 128.178.131.113 on Sun, 26 Jun 2016 09:46:50 UTC All use subject to http://about.jstor.org/terms NOTES ON THE AGINCOURT ROLL By J. HAMILTON WYLIE, M.A., D.Litt., F.R.Hist.S. Read April 27, 1911. IF anyone were to ask where he ought to look for the Roll of Agincourt he would probably be told that he would find it in the 'History of the Battle,' published by Sir Harris Nicolas in 1827, in which there are seventy-two pages of printed matter containing 'the names of the Dukes, Earls, Barons, Knights, Esquires, Servitours and others that wer withe the Excellent Prince King Henry the Fifte -
Henry V • Language and Power Shakespeare’S KS5 • Descriptive Language by Richard O’Brien
Poetryclass Fresh Ideas for Learning from the Poetry Society Topics at a glance Power and representation KS3 KS4 • Agincourt 600 The Battle of Agincourt in • National identity Henry V • Language and power Shakespeare’s KS5 • Descriptive language By Richard O’Brien This resource has been created to accompany the Agincourt 600 Poetry Competition, a collaboration between Agincourt 600 and The Poetry Society. You can find workshop ideas for creating poems with your class on pages 3,4 and 5 of this resource. You can also find more details about the competition and how to enter your class’s poems on the Poetry Society’s Agincourt 600 webpage: poetrysociety.org.uk/competitions/agincourt-600 Quotations in this resource are taken from the Arden Shakespeare third edition of Henry V. Illustration by Alex Foster. Talking Background points Probably the most famous version of the story of Agincourt is Shakespeare’s play Henry V, published in • When writers create work based on true stories, 1600. It was written nearly two hundred years after do you think they have a responsibility to stick to the actual battle, as a piece of both entertainment and, the facts? arguably, propaganda, but it still remains the lens • Can you think of any examples of films or TV through which many of us see that period of history. shows based on historical events, or biographies In order to present an artistically compelling account of real people, which make significant changes to of what happened in 1415, Shakespeare makes choices ‘what really happened’? (Some relevant examples about which aspects of historical events the play dependent on age of students might include: should present, and which should be left out. -
Linguaculture 1, 2014
LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director. -
ORSON WELLES As FALSTAFF in CHIMES at MIDNIGHT
ORSON WELLES AS FALSTAFF IN CHIMES AT MIDNIGHT “ If I wanted to get into heaven on the basis of one movie, that’s the one I would offer up. I think it’s because it is, to me, the least flawed . I succeeded more completely, in my view, with that than with anything else.” —Orson Welles “Chimes at Midnight . may be the greatest Shakespearean film ever made, bar none.” —Vincent Canby, The New York Times “ He has directed a sequence, the Battle of Shrewsbury, which is unlike anything he has ever done, indeed unlike any battle ever done on the screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.” —Pauline Kael Spain • 1966 • 116 Minutes • Black & White • 1.66:1 Booking Inquiries: Janus Films Press Contact: Ryan Werner [email protected] • 212-756-8761 [email protected] • 917-254-7653 CHIMES AT MIDNIGHT JANUS FILMS SYNOPSIS The crowning achievement of Orson Welles’s later film career,Chimes at Midnight returns to the screen after being unavailable for decades. This brilliantly crafted Shakespeare adaptation was the culmination of Welles’s lifelong obsession with the Bard’s ultimate rapscallion, Sir John Falstaff, the loyal, often soused childhood friend to King Henry IV’s wayward son Prince Hal. Appearing in several plays as a comic supporting figure, Falstaff is here the main event: a robustly funny and ultimately tragic screen antihero played by Welles with towering, lumbering grace. Integrating elements from both Henry IV plays as well as Richard II, Henry V, and The Merry Wives of Windsor, Welles created an unorthodox Shakespeare film that is also a gritty period piece, which he called “a lament . -
A PORTRAIT of SHAKESPEARE His Life, Times and Words
THE SHAKESPEARE PROJECT OF CHICAGO presents Peter Garino in A PORTRAIT OF SHAKESPEARE His life, times and words Sandwich Public Library Highland Park Public Library Oak Lawn Public Library St. Charles Public Library Mokena Public Library Vernon Area Public Library Glencoe Public Library THE SHAKESPEARE PROJECT OF CHICAGO IS PROUD TO ANNOUNCE the lineup for our 25th Anniversary Season. “Hamlet” by William Shakespeare, directed by J.R. Sullivan (Oct. 11-17, 2019); “Richard III” by William Shakespeare, directed by Peter Garino (Jan. 10- 16, 2020); “Romeo and Juliet” by William Shakespeare, directed by Michelle Shupe (Feb. 21-27, 2020); “Measure for Measure” by William www.shakespeareprojectchicago.org Shakespeare, directed by Erin Sloan (May 15-21, 2020). For venues and P.O. Box 25126 show times, visit: www.shakespeareprojectchicago.org Chicago, Illinois 60625 773-710-2718 Peter Garino is a founding member of The Shakespeare Project of Chicago and has served as Artistic Director A PORTRAIT OF SHAKESPEARE since June 2010. This past season, he directed The Roaring Girl, appeared as Marcus Andronicus in Titus Featuring selections from… Andronicus and as Helicanus in Pericles, Prince of Tyre. He will direct Richard III in January 2020. Previous appearances with The Shakespeare Project include the Duke of Florence in Women Beware Women, Duke Hamlet, Prince of Denmark Frederick/Duke Senior in As You Like It, Boyet/Anthony Dull in Love's Labour's Lost, Sir Thomas Erpingham and the Duke of Burgundy in Henry V and Tackleton in Charles Dickens' The Cricket on the Hearth. Peter Edward III directed the Chicago premier of Tom Stoppard's Darkside (Incorporating The Dark Side of the Moon by Pink Floyd).