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INTRODUCTORY REMARKS.

'HANBY V? was first printed in 1600. This history of Henry of Monmouth op to the copy differs most materially from the text of period of his father's death, the demands of the folio. The play runs only to 1800 lines; an audience who bad been accustomed to whilst the lines in the folio edition amount bail "the madcap Prince of Wales” as the to 3500. Not only is the copy tbus aug. | conqueror of Agincourt compelled him to mented by the additions of the choruses "continue the story." Haring hastily met and new scenes, but there is scarcely a the demands of his audience by the first speech, from the irst scene to the last sketch of 'Henry V.;' as it appears in the which is not elaborated. In this elaboration quarto editions, be subsequently saw the the old materials are very carefully used up; capacity which the subject presented for being but they are so thoronghly refitted and dove treated in a grand lyrical spirit Instead of tailed with what is new, that the operation interpolating an under-plot of petty passions can only be compared to the work of a skil. and intrigaes --Buch, for the most part, as ful architect, who, having an ancient mansion we find in the dramatic treatment of an to enlarge and beantify, with a strict regard heroic subject by the French poets-he to its original character, preserves every preserved the great object of his drama feature of the structure, onder other combi-entire by the intervention of the chorus nations, with such marvellons skill, that no Skilfully as he has managed this and mag unity of principle is violated, and the whole nificent as the whole drama is as a great has the effect of a restoration in which the national song of triumph, there can be no new and the old are undistinguishable doubt that Shakspere felt that in this play

" Shakspere," says Frederick Schlegel, he was dealing with a theme too narrow for "regarded the drama as entirely a thing for his peculiar powers The subject is alto the people; and, at first, treated it throughout gether one of lyric grandeur; but it is not as such. He took the popular comedy as he one, we think, which Shakspere would have found it, and wbatever enlargements and chosen for a drama improvements be introduced into the stage And yet how exquisitely has Shabspere were all calculated and conceived according thrown his dramatic power into this undrato the peculiar spirit of his predecessors, matic subject! The character of the King and of the audience in London.". This is is altogether one of the most finished por. especially true with regard to Shakspere's traits that has proceeded from this masterHistories. In the case of the 'Henry V: band. It could, perhaps, only have been it appears to us that our great dramatic poet thoroughly conceived by the poet who had would never have touched the subject, bad delineated the Henry of the Boar's Head, not the stage previously possessed it in the and of the Field of Shrewsbury. The sur old play of 'The Famous Victories' 'Henry passing union, in this character, of spirit IV.' would have been perfect as a dramatic and calmness, of dignity and playfulness, of whole, without the addition of Henry V: an ever-present energy, and an almost melanThe somewhat doubtful mode in which he choly abstraction,the conventional antho speaks of continuing the story appears to rity of the king, and the deep sympathy, as a pretty certain indication that he rather with the meanest about him, of the man, sbrank from a subject which appeared to was the result of the most philosophical and him essentially undramatic. It is, however, consistent appreciation by the poet of the mo highly probable that, having brought the ral and intellectual progress of his own Prince

• Lectures on the History of Literature,' VOL il of Wales. And let it not be said that the picture which he has painted of his favourite ! In the inferior persons of the play-the hero is an exaggerated and flattering repre-comic characters, the poet has displayed sentation. The extraordinary merits of that power which he, above all men, posHenry V. were those of the individual; bis sesses, of combining the highest poetical demerits were those of his times. It was conceptions with the most truthful delinesnot for the poet to regard the most popular tions of real life. In the amusing pedantry king of the feudal age with the cold and of Fluellen, and the vapourings of Pistol, severe scrutiny of the philosophical historian. there is nothing in the slightest degree inconIt was for him to embody in the person of gruous with the main action of the scene. Henry V. the principle of national heroism; The homely bluntness of the common it was for him to call forth “the spirit of soldiers of the army brings us still closer to patriotic reminiscence.” Frederick Schlegel a knowledge of the great mass of which a says, “The feeling by which Shakspere camp is composed. Perhaps one of the seems to have been most connected with most delicate but yet most appreciable ordinary men is that of nationality." But instances of Shakspere's nationality, in all how different is his nationality from that of its power and justice, is the mode in which ordinary men! It is reflective, tolerant, he has exhibited the characters of these generous. It lives not in an atmosphere of common soldiers. They are rough, somefalsehood and prejudice. Its theatre is war what quarrelsome, brave as lions, but without and conquest; but it does not hold up war the slightest particle of anything low or and conquest as fitting objects for nationality grovelling in their composition. They are to dedicate itself to, except under the pressure fit representatives of the “good yeomen, of the most urgent necessity. Neither does whose limbs were made in England.” On it attempt to conceal the fearful responsi- the other hand, the discriminating truth of bilities of those who carry the principle of the poet is equally shown in exhibiting to us nationality to the last arbitrement of arms; three arrant cowards in Pistol, Nym, and nor the enormous amount of evil which Bardolph. His impartiality could afford to always attends the rupture of that peace, in paint the bullies and blackguards that even the cultivation of which nationality is best our nationality must be content to reckon as displayed.

component parts of every army.

KING HENRY V.

Nym, formerly servant to Falstaff, now soldier Appears, Act I. sc. 2 Act II. sc. 2.

in King Henry's army. Act III. sc. 1; sc. 3; sc. 6.

Appears, Act II. sc. l; sc. 3. Act III. sc. 2. Act IV. sc. l; sc. 3; sc. 6; sc. 7; sc. 8. Act V. sc. 2.

BARDOLPH, formerly servant to Falstaff, novo DUKE OF GLOSTER, brother to the King. Appears, Act I. sc. 2. Act III. sc. 1; sc. 6.

soldier in King Henry's army. Act IV. sc. l; sc. 3; sc. 7; sc. 8. Act V. sc. 2.

Appears, Act II. sc. l; sc. 3. Act III. sc. 2. DUKE OF BEDFORD, brother to the King.

PISTOL, formerly servant to Falstaff, now Appears, Act I. sc. 2. Act II. sc. 2. Act III. sc. l.

soldier in King Henry's army. Act IV. sc. 1; sc. 3. Act V. . 2.

Appears, Act II. sc. l; sc. 3. Act III. sc. 2; sc. 6. DUKE OF EXETER, uncle to the King.

Act IV. sc. 1; sc. 4. Act V. sc. 1. Appears, Act I. sc. 2. Act II. sc. 2; sc. 4. Act 111. sc. 1. | Boy, servant to Nym, Bardolph, and Pistol. Act IV. sc. 3; sc. 6; sc. 7; sc. & Act V. sc. 2.

Appeara, Act II. sc. l; sc. 3. Act III. sc. 2.
DUKE OF YORK, cousin to the King.

Act IV. sc. 4.
Appears, Act IV. sc. 3.

A Herald.
EARL OF SALISBUBY.

Appears, Act IV. sc. 8.
Appears, Act IV. sc. 3.

Chorus.
EARL OF WESTMORELAND.

Appeara, Act I. Act II. Act III. Act IV. Act v. Appears, Act I. sc. 2. Act II. sc. 2. Act IV. sc. 3.

CHARLES VI., King of France.
Act V. sc. 2.

Appears, Act II. sc. 4. Act III. sc. 5. Act V. sc. 2
EARL OF WARWICK.

LEWIS, the Dauphin.
Appears, Act I. sc. 2. Act IV. sc. 7; sc. 8. Act V. sc. 2. Appears, Act II. sc. 4. Act III. sc. 5; sc. 7.
ARCHBISHOP OF CANTERBURY.

Act IV. sc. 2; sc. 5.
Appears, Act I. sc, 1; sc. 2.

DUKE OF BURGUNDY.
BISHOP OF ELT.

Appears, Act II. sc. 4. Act V. sc. 2.
Appears, Act I. sc. 1; sc. 2.

DUKE OF ORLEANS.
EARL OF CAMBRIDGE, a conspirator against

Appears, Act III. sc. 7. Act IV. sc. 2; sc. 5. the King.

DUKE OF BOURBON.
Appears, Act II. sc. 2.

Appears, Act III. sc. 5. Act IV. sc. 5.
LORD SCROOP, a conspirator against the King.

THE CONSTABLE OF FRANCE.
Appears, Act II. sc. 2.

Appears, Act II. sc. 4. Act III. sc. 5; sc. 7.

Act IV. sc. 2; sc. 5. SIR Thomas GREY, a conspirator against the King.

RAMBURES, a French lord.

Appears, Act III. sc. 7. Act IV. sc. 2; sc. 8. Appears, Act II. sc. 2.

GRANDPRÉ, a French lord.
SIR Thomas ERPINGHAM, an officer in King

Appears, Act IV. sc. 2.
Henry's army.

Governor of Harfleur.
Appeara, Act IV. sc. 1.

Appears, Act III. sc. 3.
GOWER, an officer in King Henry's army.

MONTJOY, a French herald.
Appears, Act III. sc. 2; sc. 6. Act IV. sc. l; sc. 7; sc. 8.
Act V. sc. 1.

Appears, Act III. sc. 6. Act IV. sc. 3; sc. 7. FLUELLEN, an officer in King Henry's army.

Ambassadors to the King of England. Appears, Act III. sc. 2; sc. 6. Act IV. sc. 1; sc. 7; sc. 8.

Appear, Act I. sc. 2.
Act V. sc. 1.

ISABEL, Queen of France.
MACMORRIS, an officer in King Henry's army.

Appears, Act V. sc. 2.
Appears, Act III. sc. 2.

KATHARINE, daughter of Charles and Isabel. Jamy, an officer in King Henry's army.

Appears, Act III. sc. 4. Act V. sc. 2.
Appeara, Act III. sc. 2.

ALICE, a lady attending on the Princess BATES, a soldier in King Henry's army.

Katharine.
Appears, Act IV. sc. 1.

Appears, Act III. sc. 4.
COURT, a soldier in King Henry's army.

QUICKLY, Pistol's wife, an hostess.
Appears, Act IV. sc. 1.

Appears, Act II. sc. 1; sc. 3.
WILLIAMS, a soldier in King Henry's army. Lords, Ladies, Officers, French and English
Appears, Act IV. sc. 1; sc. 7; sc. 8.

Soldiers, Messengers, and Attendants.

SCENE, IN ENGLAND AND IN FRANCE.

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O for a muse of fire, that would ascend
The brightest heaven of invention !
A kingdom for a stage, princes to act,
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars; and, at his heels,
Leash'd in like hounds, should famine, sword, and fire,
Crouch for employment'. But, pardon, gentles all,
The flat unraised spirit, that hath dared
On this unworthy scaffold to bring forth
So great an object : Can this cockpit hold
The vasty fields of France ? or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt??
0, pardon! since a crooked figure may
Attest, in little place, a million;
And let us, ciphers to this great accompt,
On your imaginary forces work:
Suppose, within the girdle of these walls
Are now confin'd two mighty monarchies,
Whose bigh upreared and abutting fronts
The perilous, narrow ocean parts asunder.
Piece out our imperfections with your thoughts ;
Into a thousand parts divide one man,

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