Imatges de pÓgina

To try his strength, forsaketh yet the lists
By reason of his adversary's odds.

A poor earl's daughter is unequal odds ;
And therefore may be broke without offence.

Glo. Why, what, I pray, is Margaret more than that?

Her father is no better than an earl,
Although in glorious titles he excel.

Suff. Yes, my good lord, her father is a king,
The king of Naples, and Jerusalem ;
And of such great authority in France,
As his alliance will confirm our peace,
And keep the Frenchmen in allegiance.

Glo. And so the earl of Armagnac may do,
Because he is near kinsman unto Charles.

Exe. Beside, his wealth doth warrant liberal dower;

While Reignier sooner will receive than give.

Suff. A dower, my lords! Disgrace not so your king.

That he should be so abject, base, and poor,
To choose for wealth, and not for perfect love.
Henry is able to enrich his queen,
And not to seek a queen to make him rich;
So worthless peasants bargain for their wives,
As market-men for oxen, sheep, or horse.
Marriage is a matter of more worth,
Than to be dealt in by attorneyship:1
Not whom we will, but whom his grace affects,
Must be companion of his nuptial bed:
And therefore, lords, since he affects her most,
It most of all these reasons bindeth us,
In our opinions she should be preferred.
For what is wedlock forced, but a hell,
An age of discord and continual strife?
Whereas the contrary bringeth forth bliss,
And is a pattern of celestial peace.
Whom should we match with Henry, being a king,

1 By the intervention of another man's choice.

But Margaret, that is daughter to a king?
Her peerless feature, joined with her birth,
Approves her fit for none, but for a king;
Her valiant courage, and undaunted spirit,
(More than in women commonly is seen,)
Will answer our hope in issue of a king;
For Henry, son unto a conqueror,
Is likely to beget more conquerors,
If with a lady of so high resolve,
As is fair Margaret, he be linked in love.
Then yield, my lords; and here conclude with me,
That Margaret shall be queen, and none but she.

K. Hen. Whether it be through force of your


My noble lord of Suffolk, or for that
My tender youth was never yet attaint
With any passion of inflaming love,
I cannot tell; but this I am assured,
I feel such sharp dissension in my breast,
Such fierce alarums both of hope and fear,
As I am sick with working of my thoughts.
Take, therefore, shipping; post, my lord, to France;
Agree to any covenants; and procure
That lady Margaret do vouchsafe to come
To cross the seas to England, and be crowned
King Henry's faithful and anointed queen.
For your expenses and sufficient charge,
Among the people gather up a tenth.
Be gone, I say; for, till you do return,
I rest perplexed with a thousand cares.-
And you, good uncle, banish all offence;
If you do censure me by what you were,
Not what you are, I know it will excuse
This sudden execution of my will.
And so conduct me, where from company,
I may revolve and ruminate my grief.9

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1 To censure is here simply to judge.

2 Grief, in this line, stands for pain, uneasiness; in the next following, especially for sorrow.

Glo. Ay, grief, I fear me, both at first and last. [Exeunt GLOSTER and EXETER. Suff. Thus Suffolk hath prevailed; and thus he goes, As did the youthful Paris once to Greece; With hope to find the like event in love, But prosper better than the Trojan did. Margaret shall now be queen, and rule the king; But I will rule both her, the king, and realm.


Or this play there is no copy earlier than that of the folio in 1623, though the two succeeding parts are extant in two editions in quarto. That the second and third parts were published without the first, may be admitted as no weak proof that the copies were surreptitiously obtained, and that the printers of that time gave the public those plays, not such as the author designed, but such as they could get them. That this play was written before the two others is indubitably collected from the series of events; that it was written and played before Henry the Fifth is apparent, because in the epilogue there is mention made of this play, and not of the other parts:


Henry the Sixth in swaddling bands crowned king;
Whose state so many had the managing,

That they lost France, and made his England bleed;
Which oft our stage hath shown."

France is lost in this play. The two following contain, as the old title imports, the contention of the houses of York and Lancaster.

The Second and Third Parts of Henry VI. were printed in 1600. When Henry V. was written, we know not; but it was printed likewise in 1600, and therefore before the publication of the first and second parts. The First Part of Henry VI. had been often shown on the stage, and would certainly have appeared in its place, had the author been the publisher. JOHNSON.

THAT the second and third parts, as they are now called, were printed without the first, is a proof, in my apprehension, that they were not written by the same author; and the title of The Contention of the Houses of York and Lancaster, being affixed to the two pieces which were printed in quarto, is a proof that they were a distinct work, commencing where the other ended, but not written at the same time; and that this play was never known by the title of The First Part of King Henry VI. till Heminge and Condell gave it that name in their volume, to distinguish it from the two subsequent plays; which, being altered by Shakspeare, assumed the new titles of the Second and Third Parts of King Henry VI. that they might not be confounded with the original pieces on which they were formed. The first part was originally called The Historical Play of King Henry VI. MALONE.




THIS and the Third Part of King Henry VI. contain that troublesome period of this prince's reign, which took in the whole contention between the houses of York and Lancaster; and under that title were these two plays first acted and published. The present play opens with king Henry's marriage, which was in the twenty-third year of his reign [A. D. 1445], and closes with the first battle fought at St. Albans, and won by the York faction, in the thirty-third year of his reign [A. D. 1455]; so that it comprises the history and transactions of ten years.

The Contention of the Two Famous Houses of York and Lancaster was published in quarto; the first part in 1594; the second, or True Tragedy of Richard Duke of York, in 1595; and both were reprinted in 1600. In a dissertation annexed to these plays, Mr. Malone has endeavored to establish the fact, that these two dramas were not originally written by Shakspeare, but by some preceding author or authors before the year 1590; and that upon them Shakspeare formed this and the following drama, altering, retrenching, or amplifying, as he thought proper. We will endeavor to give a brief abstract of the principal arguments:-The entry on the Stationers' books, in 1594, does not mention the name of Shakspeare; nor are the plays printed with his name in the early editions; but, after the Poet's death, an edition was printed by one Pavier without date, but really in 1619, with the name of Shakspeare on the title-page. This is shown to be a common fraudulent practice of the booksellers of that period. When Pavier republished The Contention of the Two Houses, &c. in 1619, he omitted the words "as it was acted by the earl of Pembrooke his servantes," which appeared on the original title-page,— just as, on the republication of the old play of King John, in two parts, in 1611, the words "as it was acted in the honorable city of London" were omitted; because the omitted words in both cases marked the respective pieces not to be the production of Shakspeare. And as, in King John, the letters W. Sh. were added, in 1611, to deceive the purchaser; so, in the republication of The whole Contention, &c., Pavier, having dismissed the words above-mentioned, inserted these "Newly corrected and enlarged by William Shakspere;" knowing that these pieces had been made the groundwork of two other plays; that they had in fact been corrected and enlarged (though not in his copy, which was a mere reprint from the edition of 1600), and exhibited under the titles of the Second and Third Parts of King Henry VI.; and hoping that this new edition of the original plays would pass for those altered and augmented by Shakspeare, which were then unpublished.



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