Shakespeare and the Book of Henry

In this article, I argue that the four plays of the Henriad (Richard II, 1 and 2 Henry IV, and Henry V), as presented in the 1623 Folio, constitute a unified whole intended for reading. The plays are connected not only by the endings of one play leading directly into the beginning of the next, but they are also unified by thematic and verbal echoes. I will focus first on establishing the connections between the plays, and then on the thematic resonances. I show how the plays are connected by verbal echoes, some thematically relevant, some not. I then show how Shakespeare provides differing accounts of Richard’s fall and invites the reader the compare and contrast them with each other. Finally, I turn to Shakespeare’s treatment of the common soldier, which culminates in the confrontation between the disguised Henry V and Michael Williams, Alexander Court, and John Bates, a scene not present in the quarto version of this play. Although this scene can stand alone, one has to have read the previous chapters of the Henriad to comprehend the full force of Shakespeare’s revision

Art · Art history · BATES · Folio · Henry IV, Holy Roman Emperor · Linguistics · Literature · Performance art · Joseph Conrad and Literature · Language, Metaphor, and Cognition · Medieval Literature and History · Philosophy

• The Cambridge Companion to Shakespeare's First Folio

  Open Access•Emma Smith•Cambridge Companion to…•2016

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• Shakespearean Negotiations

  Stephen Greenblatt•Shakespearean Negotiations•1988

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• Documents of Performance in Early Modern England

  Open Access•Tiffany Stern•Documents of Performance in Early…•2009

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• Concerning the Historical Manuscripts Commission

  Open Access•Richard Roberts, R A Roberts•Transactions of the Royal…•1910

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