The Case of Hal and Henry IV in 1 & 2 Henry IV and the Famovs Victories
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A Dull Soldier and a Keen Guest: Stumbling Through the Falstaffiad One Drink at a Time
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time Emma Givens Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4826 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Emma Givens 2017 All rights reserved A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Emma Pedersen Givens Director: Noreen C. Barnes, Ph.D. Director of Graduate Studies Department of Theatre Virginia Commonwealth University Richmond, Virginia March, 2017 ii Acknowledgement Theatre is a collaborative art, and so, apparently, is thesis writing. First and foremost, I would like to thank my grandmother, Carol Pedersen, or as I like to call her, the world’s greatest research assistant. Without her vast knowledge of everything Shakespeare, I would have floundered much longer. Thank you to my mother and grad-school classmate, Boomie Pedersen, for her unending support, my friend, Casey Polczynski, for being a great cheerleader, my roommate, Amanda Long for not saying anything about all the books littered about our house and my partner in theatre for listening to me talk nonstop about Shakespeare over fishboards. -
The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
The Life of King Henry the Fifth Study Guide
The Life of King Henry the The Dukes of Gloucester and Fifth Bedford: The Study Guide King’s brothers. Compiled by Laura Cole, Duke of Exeter: Director of Education and Training Uncle to the [email protected] King. for The Atlanta Shakespeare Company Duke of York: at The New American Shakespeare Cousin to the King. Tavern Earl’s of Salisbury, Westmoreland and 499 Peachtree Street, NE Warwick: Advisors to the King. Atlanta, GA 30308 Phone: 404-874-5299 The Archbishop of Canterbury and the Bishop of Ely: They know the Salic Law very well! www.shakespearetavern.com The Earl of Cambridge, Sir Thomas Grey and Lord Scroop: English traitors, they take gold Original Practice and Playing from France to kill the King, but are discovered. Scroop is a childhood friend of Henry’s. Shakespeare Gower, Fluellen, Macmorris and Jamy: Captains in the King’s army, English, Welsh, The Shakespeare Tavern on Peachtree Street Irish and Scottish. is an Original Practice Playhouse. Original Practice is the active exploration and Bates, Court, Williams: Soldiers in the King’s implementation of Elizabethan stagecraft army. and acting techniques. Nym, Pistol, Bardolph: English soldiers and friends of the now-dead Falstaff, as well as For the Atlanta Shakespeare Company drinking companions of Henry, when he was (ASC) at The New American Shakespeare Prince Hal. A boy also accompanies the men. Tavern, this means every ASC production features hand-made period costumes, live Hostess of the Boar’s Head Tavern: Nee’ actor-generated sound effects, and live Quickly, now married to Pistol. period music performed on period Charles IV of France: The King of France. -
Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E
Clemson University TigerPrints All Theses Theses 5-2018 Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E. Kuebler Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Kuebler, Jane E., "Edward II: Negotiations of Credit in the Early Modern Public Sphere" (2018). All Theses. 2856. https://tigerprints.clemson.edu/all_theses/2856 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Edward II: Negotiations of Credit in the Early Modern Public Sphere A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Jane E. Kuebler May 2018 Accepted by: Dr. Elizabeth Rivlin, Committee Chair Dr. William Stockton Dr. Andrew Lemons ABSTRACT This paper addresses the role that Christopher Marlowe’s Edward II plays in the establishing and expanding of an early modern public sphere. By examining the ways that power is earned, and wielded in the play, Marlowe demonstrates an economy of cultural credit that operates in both the financial and the socio/political spheres of public life in early modern England. Marlowe applies the logic of that economy beyond the realm of the common people and subjects the historical monarch to the same parameters of judgement that flourished in society, drawing parallels with the currently reigning Elizabeth I, and opening up a discourse that reexamines the markers of credit, power and birth-ordered hierarchies. -
Shakespeare's
Shakespeare’s Henry IV: s m a r t The Shadow of Succession SHARING MASTERWORKS OF ART April 2007 These study materials are produced for use with the AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Classic Players production of Henry IV: The Shadow of Succession. The historical period The Shadow of Succession takes into account is 1402 to 1413. The plot focuses on the Prince of Wales’ preparation An Introduction to to assume the solemn responsibilities of kingship even while Henry IV regards his unruly son’s prospects for succession as disastrous. The Shadow of When the action of the play begins, the prince, also known as Hal, finds himself straddling two worlds: the cold, aristocratic world of his Succession father’s court, which he prefers to avoid, and the disreputable world of Falstaff, which offers him amusement and camaraderie. Like the plays from which it was adapted, The Shadow of Succession offers audiences a rich theatrical experience based on Shakespeare’s While Henry IV regards Falstaff with his circle of common laborers broad vision of characters, events and language. The play incorporates a and petty criminals as worthless, Hal observes as much human failure masterful blend of history and comedy, of heroism and horseplay, of the in the palace, where politics reign supreme, as in the Boar’s Head serious and the farcical. Tavern. Introduction, from page 1 Like Hotspur, Falstaff lacks the self-control necessary to be a produc- tive member of society. After surviving at Shrewsbury, he continues to Grieved over his son’s absence from court at a time of political turmoil, squander his time in childish pleasures. -
William Shakespeare's Young Prince Hal Famously
Editor’s Choice Henry V before Shakespeare by Lori A. Davis Perry illiam Shakespeare’s young Prince Hal famously spends his youth in less than princely pursuits, drinking in public houses, befriending members of the lower classes, and ignoring the sage advice of his ailingW father. Upon ascending the throne, young Hal—transformed as charismatic King Henry V—both rejects the extravagances of his youth and mines those experiences to build personal relationships with his soldiers, while simultaneously surprising his enemies with unexpected military prowess, mature sensibilities and patriotic piety. In Agincourt: Henry V and the Battle that made England, Juliet Barker’s elegant masterpiece, however, we meet an altogether different Prince Hal. Here we discover a responsible, hard-working, pious young prince who develops strong leadership and administrative skills from an early age. Barker’s compelling and engrossing account of his life and the battle of Agincourt takes us through every layer of fifteenth-century society—the intertwined lives of medieval families, the day-to- day workloads of male and female blacksmiths forging armor and weaponry, the detailed logistics of building an invasion force, and even the tension between the poet and intellectual Christine de Pisan and Henry IV, as the wily king held her only son hostage in hopes of bringing her to England as his poet laureate. Pisan’s distrust and dislike of Henry IV is substantiated by Barker’s account of his rule. For the “aging” King Henry IV was less wise and magisterial than suspicious and short-sighted when it came to his eldest son Henry. -
Henry IV, Part 2, Continues the Story of Henry IV, Part I
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Induction Scene 1 ACT 1 Scene 2 Scene 3 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 ACT 3 Scene 2 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 Epilogue From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
Stories from Shakespeare 3 for Naxos Audiobooks
David Timson STORIES FROM SHAKESPEARE The Plantagenets JUNIOR Read by Anton Lesser and cast CLASSICS 3 CDs WITH EXCERPTS FROM THE PLAYS NA391912 Shakespeare Stories-plantagenets booklet.indd 1 30/9/08 09:12:16 CD 1 1 Richard II 4:34 2 This Royal throne of Kings, this sceptred isle, 1:32 3 Gaunt tried to warn King Richard… 3:43 4 So when this thief, this traitor Bolingbroke… 0:31 5 But Richard’s confidence soon vanished… 2:13 6 The young Duke of Aumerle bade Richard… 2:18 7 And so Richard, with no power left to him… 2:00 8 Here, cousin, seize the crown… 1:36 9 Richard’s grief at his loss overwhelmed him… 0:59 10 In despair, Richard smashed the mirror… 3:11 11 That hand will burn in never-quenching fire… 0:33 12 In his dying moments, ex-King Richard… 0:59 13 Henry IV Part One 1:28 14 The son, who was the theme of honour’s tongue… 0:39 15 Prince Hal, although he was the Prince of Wales… 2:16 16 Prince Hal had another friend… 2:38 17 Hotspur had hoped to strike a deal… 1:23 18 A plague of cowards still, say I… 2:03 19 By the time Falstaff had finished his tale… 1:27 20 But Falstaff’s plans for their evening’s entertainment… 1:46 21 Then Hal and Falstaff swapped parts… 2:29 2 NA391912 Shakespeare Stories-plantagenets booklet.indd 2 30/9/08 09:12:16 CD 1 (cont.) 22 Their play was interrupted by the arrival… 0:30 23 That night at the palace… 1:09 24 I will redeem all this on Percy’s head. -
Prince Hal and the Body Falstaff
Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV by Elise Denbo (Queensborough Community College, City University of New York) ABSTRACT Aligning psychoanalytic and embodiment approaches, this paper focuses on 1&2Henry IV using Julia Kristeva’s concept of the imaginary father, a ‘maternal-paternal conglomerate,’ as a third space within primary-narcissism. While Hal’s ‘education’ has been analyzed in relation to dualities of order and disorder, few, if any have considered Falstaff as an intrapsychic figure of intimate revolt who supports the crafting of psychic- theatrical-imaginary space. Hal’s youthful narcissism and his ability to connect with the popular voice are explored as a result of Falstaff’s presence in the ‘prehistory’ of his kingship. Falstaff’s verbal copia, his ‘belly of tongues,’ recalls the unruly female tongue as the site of disorder, but also the mother tongue that confers national identity as a return to the vernacular richness of the land and its people. While Hal is able to organize the various dialects and settings of 1&2HenryIV, it is the body Falstaff who impregnates the play. Keywords: Kristeva, Prince Hal and Falstaff, Psychic Space, Early Modern Theatre, Primary Narcissism, Shakespeare To cite as: Denbo, Elise 2020, “Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV,” PsyArt, pp. 177-220. Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV Prince Harry: I know you all, and will a while uphold The unyoked humour of your idelness. -
Though Falstaff's Antics Are Humorous, His Significance in Henry IV, Part I Extends Beyond Comic Relief. Discuss. Henry IV
Though Falstaff’s antics are humorous, his significance in Henry IV, Part I extends beyond comic relief. Discuss. Henry IV Part 1 is one of Shakespeare’s most popular historical plays in a series chronicling England’s turbulent monarchy from the outset of the 15th century. While it is primarily concerned with the reign of King Henry IV, the play is arguably more about Prince Hal and his companions, the most conspicuous of which is Sir Jack Falstaff. Despite possessing the title of a knight, Falstaff is, by far and large, a comic character who spends the majority of his time in the Eastcheap tavern, beguiling Prince Hal and his other companions with his quick wit and charismatic humour. However, the role he plays in Henry IV Part 1 is much larger than this, as Falstaff is also established as a ‘villanous…misleader of youth’ who Prince Hal must learn to extinguish from his presence in order to assume roles of great responsibility. Finally, Falstaff is also used by Shakespeare to present an alternative viewpoint on the recurring theme of honour. Regardless of his other characteristics and roles he plays in Henry IV Part 1, the most prominent and consistent feature of the character of Falstaff is his humour and wit, which forms the basis of the relationship between him and Prince Hal. Initially, Shakespeare invites the audience to laugh at Falstaff, especially at his physical characteristics and his indulgent lifestyle, which premise many of Prince Hal’s linguistic assaults. Seldom can the prince resist from commenting that Falstaff is ‘gross as a mountain’ or that he is ‘fat-witted with drinking of old sack’. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood.