Shakespeare's thematic modes of speech: Richard II to Henry V

2004 ◽  
pp. 139-150
Author(s):  
Robert Hapgood
Keyword(s):  
2020 ◽  
pp. 55-79
Author(s):  
Conor McCarthy

This chapter asks whether the sovereign can (and perhaps must) act outside the law in a reading of the second tetralogy of Shakespeare’s history plays. The discussion opens with an examination of the notion of sovereign immunity, contrasted with a competing line of discourse against tyranny. It then argues that questions around the king’s status relative to the law constitute an important set of issues within Shakespeare’s Richard II,where both individuals (Richard and Bolingbroke) and events (Richard’s deposition) may be read as existing outside of the law in various senses. The chapter proceeds to consider the remaining plays in the tetralogy, arguing that Henry V, a sort of quasi-outlaw before gaining the throne, finds as king that he must act outside the law to defend the interests of his state. The discussion surveys a range of legal questions in Henry V, from his claim to the throne of France to his threats before Harfleur and his killing of prisoners at Agincourt. The chapter concludes with a brief glance at espionage in Elizabethan England, and the Elizabethan state’s recourse to methods of invisible power.


1990 ◽  
Vol 6 (23) ◽  
pp. 207-214
Author(s):  
Andrew Jarvis

The English Shakespeare Company was founded in 1986 by Michael Bogdanov and Michael Pennington with a commitment to take large-scale productions to regional venues. Henry IV, Parts One and Two and Henry V opened at the Plymouth Theatre Royal in November 1986 under the title The Henrys: they were then staged at the Old Vic and toured extensively. In December 1987 Richard II, with a two-part adaptation of the three parts of Henry VI (House of Lancaster and House of York) and Richard III, were added to the previous trilogy to create a complete cycle of history plays – The Wars of the Roses. The cycle was toured in England and abroad before playing at the Old Vic in the spring of 1989. It has since been filmed for television by Portman Productions. The only comparable treatment of the histories in the theatre took place at Stratford in 1964. when Peter Hall and John Barton staged seven plays as a sequence spanning English history from the reign of Richard II to the downfall of Richard III. Andrew Jarvis has been with the English Shakespeare Company since 1986 when he played Gadshill, Douglas, Harcourt, and the Dauphin. He has since played Exton, Hotspur, and Richard III. In 1988 he won the Manchester Evening News Award for Best Actor in a Visiting Production for his portrayal of Richard III. Prior to joining the ESC he had played many roles for the Royal Shakespeare Company. Here, he is interviewed by Stephen Phillips, lecturer in drama at the College of St Mark and St John, Plymouth, who is currently preparing a study of Shakespeare's history cycles in performance in the twentieth century.


2010 ◽  
Vol 28 (3) ◽  
pp. 361-368
Author(s):  
Deborah Montuori
Keyword(s):  

Poetics Today ◽  
1982 ◽  
Vol 3 (1) ◽  
pp. 195
Author(s):  
James L. Calderwood
Keyword(s):  

1980 ◽  
Vol 1 (1) ◽  
pp. 111
Author(s):  
Ian Linklater

"Richard II" is the first play in the second Tetralogy or group of plays broadly about the history of England from 1399 to 1415. It is followed by the two parts of Henry IV and climaxes in the so-called English Epic play Henry V. The first Tetralogy, obviously written before, comprises the three parts of Henry VI and culminates in "Richard III" and deals with the period of the Wars of the Roses from 1420 to the accession of Henry Tudor in 1485, which final date marks the beginning of the Tudor Dynasty.


1958 ◽  
Vol 10 (1) ◽  
pp. 85
Author(s):  
B. Iden Payne ◽  
Derek Traversi
Keyword(s):  

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