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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. -
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). -
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. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
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. -
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. -
The Battle Speeches of Henry V
The Battle Speeches of Henry V Anne Curry University qfSouthampton In the attack on Constantinople in 1204, when Peter of Amiens saw Murzurphlus spurring his horse towards him, he shouted to his followers Now lords, stand firm' We will have a fight on our hands: see the emperor is coming. Take care that there is no one so bold as to run away. But now resolve to stand firm,l Such scenes arc commonplace in medieval chronicles. As Bllese observed, chroniclers wrote hundreds of battle orations. harangues to the knights before or during combat, that show in detail the kinds of motive appeals the chroniclers believed would be most effective in building morale.' . One of the most famous battle speeches of all must be that of Henry V at Agincourt, well known not from its chronicle versions but from the stirring words of Shakespeare.' Shapiro has alerted us to Shakespeare's use of expressions he heard in daily life as well as those he read in the printed histories which informed his works. In the case of the battle speech, Shapiro detects the influence ofa sermon delivered to the royal court on Ash Wednesday 1599 by Lancelot Anclrewes. 4 The theme was war, the context the preparations for the expedition of the earl of Essex to Ireland. Andrewes' 'thumping reiteration of "this time" and "this day''', Shapiro argues, inspired Shakespeares similarly repeated emphasis on 'St Crispin's day'. Shakespearean scholars have detected other influences on the composition of the speech, ranging from popular sayings,' to biblical passages,6 to accounts of other battles in the histories of Hall and Holinshed.' But Henry V's battle speech has a much longer pedigree which can be traced back to the earliest chronicle narratives of the battle. -
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. -
Battle Name: Campston Hill (June-November 1404?)
MEYSYDD BRWYDRO HANESYDDOL HISTORIC BATTLEFIELDS IN WALES YNG NGHYMRU The following report, commissioned by Mae’r adroddiad canlynol, a gomisiynwyd the Welsh Battlefields Steering Group and gan Grŵp Llywio Meysydd Brwydro Cymru funded by Welsh Government, forms part ac a ariennir gan Lywodraeth Cymru, yn of a phased programme of investigation ffurfio rhan o raglen archwilio fesul cam i undertaken to inform the consideration of daflu goleuni ar yr ystyriaeth o Gofrestr a Register or Inventory of Historic neu Restr o Feysydd Brwydro Hanesyddol Battlefields in Wales. Work on this began yng Nghymru. Dechreuwyd gweithio ar in December 2007 under the direction of hyn ym mis Rhagfyr 2007 dan the Welsh Government’sHistoric gyfarwyddyd Cadw, gwasanaeth Environment Service (Cadw), and followed amgylchedd hanesyddol Llywodraeth the completion of a Royal Commission on Cymru, ac yr oedd yn dilyn cwblhau the Ancient and Historical Monuments of prosiect gan Gomisiwn Brenhinol Wales (RCAHMW) project to determine Henebion Cymru (RCAHMW) i bennu pa which battlefields in Wales might be feysydd brwydro yng Nghymru a allai fod suitable for depiction on Ordnance Survey yn addas i’w nodi ar fapiau’r Arolwg mapping. The Battlefields Steering Group Ordnans. Sefydlwyd y Grŵp Llywio was established, drawing its membership Meysydd Brwydro, yn cynnwys aelodau o from Cadw, RCAHMW and National Cadw, Comisiwn Brenhinol Henebion Museum Wales, and between 2009 and Cymru ac Amgueddfa Genedlaethol 2014 research on 47 battles and sieges Cymru, a rhwng 2009 a 2014 comisiynwyd was commissioned. This principally ymchwil ar 47 o frwydrau a gwarchaeau. comprised documentary and historical Mae hyn yn bennaf yn cynnwys ymchwil research, and in 10 cases both non- ddogfennol a hanesyddol, ac mewn 10 invasive and invasive fieldwork. -
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. -
1V, Owen Glendower and the Welsh Fight For
3~19 /1V, g66I OWEN GLENDOWER AND THE WELSH FIGHT FOR INDEPENDENCE THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE By Phillip Eric Beims, B.A. Denton, Texas May, 1991 Rawl I Beims, Phillip Eric, OwenGlendower and the Welsh Fight for Independence. Master of Science (History), May, 1991, 133 pp., bibliography, 81 titles. Owen Glendower led the last military struggle of the Welsh against the English crown for Welsh independence and nationalism. The failure of the Glendower rebellion established the supremacy of English rule over Wales. For six hundred years the status of Wales as a principality of the crown has not been seriously challenged. This paper will show how widespread the idea of "Welshness" was in 1400 and how much support existed for Wales as an independent nation. Welshmen sought to move from the status of a medieval, tribal principality to a position of an independent nation capable and ready to stand with other national in the world. The role of leadership that Owen Glendower assumed in the final rebellion against the English king, Henry IV, lifted him from a popular Welsh prince to an historical legend. TABLE OF CONTENTS Page Chapter I. INTRODUCTION....--.-.-... ... II. ANCESTRY AND INHERITANCE 0 - - 20 III. EARLY YOUTH AND MANHOOD 33 IV. THE REVOLT .. --.-...-...-...-.-. 45 V. THE BATTLE OF SHREWSBURY.......-... 63 VI. THE ALLIANCE WITH THE FRENCH . 79 VII. GLENDOWER AND THE CHURCH.,....a.. 94 VIII. THE END OF GLENDOWER AND THE DREAM 109 IX. CONCLUSIONS - - - -- - - *-4- - 120 APPENDIX . -
Worksheet on Grammar
Shakespeare Henry IV Part 1 SYNOPSIS The First Part of Henry the Fourth After deposing Richard II, Henry Bolingbroke has become king as Henry IV. He has a guilty conscience about how he took the throne and his position is threatened by rebellions, particularly of Northumberland and his son Henry Percy, nicknamed Hotspur for his ebrav and impetuous character. They support the claim to the throne of Hotspur's brother‐in‐law Edmund Mortimer, who is also supported by the Welsh Owen Glendower. These political scenes alternate with others showing the dissolute life led by Henry's son, known as Harry or Hal. Hal spends his time in the ale‐houses and brothels of Eastcheap in London, where his closest companions are a group of rogues and thieves around a fat drunkard called Sir John Falstaff. Falstaff organizes a highway robbery, but when he and his companions have stolen the money, Hal and another companion steal it from them in turn. Afterwards Falstaff, who has not recognized Hal, claims that they have been robbed by a far larger gang. When Hal is summoned by his father, he and Falstaff play the scene they think might happen when his father asks about his way of life, and Falstaff hopes that Hal will never repudiate their friendship. Under the threat from the rebels, Hal returns to his father and joins him in the fighting, while Falstaff recruits a ragged troop of soldiers. In the battle of Shrewsbury, the King defeats his enemies, and Hal kills Hotspur. The less heroic side of the fighting is shown by Falstaff and his friends.