Plantagenets, Lancastrians, Yorkists, and Tudors: 1–3 Henry VI, Richard III, Edward III

2002 ◽  
pp. 89-105
Author(s):  
Janis Lull
Keyword(s):  
Richard Iii ◽  
Edward Iii ◽  
Henry Vi

scholarly journals War Games: Staging the Histories in an American Presidential Year

Linguaculture ◽  
2017 ◽  
Vol 2017 (2) ◽  
pp. 59-68
Author(s):  
Kath Bradley
Keyword(s):  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Political Concern ◽  
Edward Iii ◽  
Henry Iv ◽  
Political Statement ◽  
Henry Vi ◽  
Artistic Director ◽  
Selection Of

Abstract This paper examines the ways in which the seldom performed collaborative play, Edward III, was re-contextualised by Barbara Gaines, Artistic Director of the Shakespeare Theater of Chicago, in order to create a specifically presentist piece of theatre making a forceful political statement during the 2016 US presidential election. Edward III formed the opening section of a trilogy entitled Tug of War: Foreign Fire, which continued with Henry V, and Henry VI Part I. The second trilogy, Tug of War: Civil Strife, comprised the remaining two parts of Henry VI and Richard III. The paper will address the rationale behind the selection of these specific plays, and why it was felt unnecessary to fill the historical lacuna created by the exclusion of Richard II and Henry IV Parts I and II. In addition, it will also examine the limitations inherent in the available archival material when researching an ephemeral theatrical event, particularly one which has been edited and directed in order to address issues of immediate political concern. Selected extracts from my own review of the first of these two trilogies will seek to offer a more detailed response than is possible for journalistic reviewers and to provide sufficient background to prove of benefit for future researchers.

scholarly journals Shakespeare's Historiography

2021 ◽  
Author(s):  
◽  
Robert Leslie Ewens
Keyword(s):  
Sixteenth Century ◽  
Historical Narrative ◽  
History Plays ◽  
Richard Iii ◽  
Henry V ◽  
Edward Iii ◽  
Verse Drama ◽  
Henry Vi ◽  
History Play ◽  
Historical Truth

<p>This study explores, in a sixteenth century context, the historical thought and consciousness of a selection of Shakespeare's English history plays. Looked at in relation to contemporary historiographical works, it is concluded that the plays in question qualify as a form of dramatic historiography both transitional and progressive in nature. The study, after considering some aspects of Tudor historiography relevant to Shakespeare and his drama in the introductory chapter, goes on in Chapter One to explore Shakespeare's Henry VI sequence. My discussion finds that the interaction of the roles and requirements of both dramatist and historian has two important results: firstly an emerging awareness of the impossibility of presenting the historical "truth"; and secondly an appreciation that the (re)construction of a linear historical narrative (dramatisation), especially when developed from diverse Chronicle accounts, requires the dramatist/historian's critical and historical judgement concerning probability. Also observed in this chapter is the drama's capacity for making character as much a part of history as event. In Chapter Two Shakespeare's Richard III is juxtaposed with its main source, Sir Thomas More's History of King Richard III. These texts provide a springboard for discussion of the tradition of oral history and the problems associated with its use as a source for authoritative historiography, and the apparent resemblance between the historian's and lawyer's pursuit of the "truth". The methods and principles of the courtroom are intimately related to those used by the dramatist/historian. The final chapter couples the anonymous history play Edward III with Shakespeare's most sophisticated history, Henry V. In this chapter I first discuss the growing sixteenth century distinction between poetry (the medium of the history play) and historiography. The history presented in Edward III is interrupted and disrupted by the "poetic" interlude of King Edward's residence at the Countess of Salisbury's castle; I argue that the play (ironically, given its own status as verse drama) privileges "history" at the expense of "poetry". In Henry V, in contrast, there is evidence of a conceptual shift in the use and perception of history. Here, also, is found the full realisation of the ineluctable evasiveness of historical "truth" through the contradictory accounts of the Chorus and the stage action, and the opacity of King Henry.</p>

scholarly journals Shakespeare's Historiography

2021 ◽  
Author(s):  
◽  
Robert Leslie Ewens
Keyword(s):  
Sixteenth Century ◽  
Historical Narrative ◽  
History Plays ◽  
Richard Iii ◽  
Henry V ◽  
Edward Iii ◽  
Verse Drama ◽  
Henry Vi ◽  
History Play ◽  
Historical Truth

<p>This study explores, in a sixteenth century context, the historical thought and consciousness of a selection of Shakespeare's English history plays. Looked at in relation to contemporary historiographical works, it is concluded that the plays in question qualify as a form of dramatic historiography both transitional and progressive in nature. The study, after considering some aspects of Tudor historiography relevant to Shakespeare and his drama in the introductory chapter, goes on in Chapter One to explore Shakespeare's Henry VI sequence. My discussion finds that the interaction of the roles and requirements of both dramatist and historian has two important results: firstly an emerging awareness of the impossibility of presenting the historical "truth"; and secondly an appreciation that the (re)construction of a linear historical narrative (dramatisation), especially when developed from diverse Chronicle accounts, requires the dramatist/historian's critical and historical judgement concerning probability. Also observed in this chapter is the drama's capacity for making character as much a part of history as event. In Chapter Two Shakespeare's Richard III is juxtaposed with its main source, Sir Thomas More's History of King Richard III. These texts provide a springboard for discussion of the tradition of oral history and the problems associated with its use as a source for authoritative historiography, and the apparent resemblance between the historian's and lawyer's pursuit of the "truth". The methods and principles of the courtroom are intimately related to those used by the dramatist/historian. The final chapter couples the anonymous history play Edward III with Shakespeare's most sophisticated history, Henry V. In this chapter I first discuss the growing sixteenth century distinction between poetry (the medium of the history play) and historiography. The history presented in Edward III is interrupted and disrupted by the "poetic" interlude of King Edward's residence at the Countess of Salisbury's castle; I argue that the play (ironically, given its own status as verse drama) privileges "history" at the expense of "poetry". In Henry V, in contrast, there is evidence of a conceptual shift in the use and perception of history. Here, also, is found the full realisation of the ineluctable evasiveness of historical "truth" through the contradictory accounts of the Chorus and the stage action, and the opacity of King Henry.</p>

Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

Telling the Story: Shakespeare's Histories in Performance

1990 ◽  
Vol 6 (23) ◽  
pp. 207-214
Author(s):  
Andrew Jarvis
Keyword(s):  
Large Scale ◽  
History Plays ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Royal Shakespeare Company ◽  
Wars Of The Roses ◽  
Henry Iv ◽  
Henry Vi

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.

Curia Regis Rolls of the reign of Henry III preserved in the Public Record Office. Vol. III, 3–4 Henry III. 10 × 7. Pp. xiv + 539. 35s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Close Rolls of the reign of Henry III preserved in the Public Record Office. A.D. 1264–1268. 10¼ × 7. Pp. viii + 662. 35s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of the Close Rolls preserved in the Public Record Office, Henry IV. Vol. V. Index Volume A.D. 1399–1413. 10 × 7. Pp. viii + 948. 50s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of Liberate Rolls preserved in the Public Record Office. Henry III. Vol. III, A.D. 1245–1251. 10¼ × 7. Pp. viii + 520. 30s;. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of the Patent Rolls preserved in the Public Record Office. Philip and Mary. Vol. I, A.D. 1553–1554. 10¼ × 6¾. Pp. viii + 681. 35s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of the Fine Rolls preserved in the Public Record Office. Vol. XVII. Henry VI, A.D. 1437–1445. 10 × 6¾. Pp. viii + 486. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of Inquisitions Post Mortem and other analogous documents preserved in the Public Record Office. Vol. XII. Edward III. 10¼ × 7. Pp. xxx + 603. 35s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of Inquisitions Miscellaneous (Chancery) preserved in the Public Record Office. Vol. III. 10½ × 7. Pp. viii + 653. 37s. 6d. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Acts of the Privy Council of England, 1626, June-Dec. 10 × 7. Pp. iv + 524. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of State Papers, Domestic Series, October 1, 1683–April 30, 1684, preserved in the Public Record Office. Edited by F. H. Blackburne Daniell, M.A., and Francis Bickley. 10 × 7. Pp. xx + 511. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of State Papers, Domestic Series, May 1, 1684–February 5, 1685, preserved in the Public Record Office. Edited by F. H. Blackburne Daniell, M.A., and Francis Bickley. 10 × 7. Pp. xxxii + 462. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of State Papers, Domestic Series, of the reign of William III, January 1, 1699–March 31, 1700, preserved in the Public Record Office. Edited by Edward Bateson. 10¼ × 7. Pp. lxii + 545. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of State Papers, Domestic Series, of the reign of William III, April 1, 1700–March 8, 1702, preserved in the Public Record Office. Edited by Edward Bateson. 10¼ × 7. Pp. iv + 859. 45s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra. - Calendar of State Papers, Colonial Series, America and West Indies 1731, preserved in the Public Record Office. Edited by Cecil Headlam, M.A., and Arthur Percival Newton, D.Lit., F.S.A. 10 × 7. Pp. xlviii + 466. 30s. London: H.M. Stationery Office, 1937, 1938. Prices are postage extra.

1939 ◽  
Vol 19 (2) ◽  
pp. 215-217
Keyword(s):  
West Indies ◽  
Index Volume ◽  
Post Mortem ◽  
Privy Council ◽  
The Public ◽  
Edward Iii ◽  
Henry Iv ◽  
Henry Vi ◽  
Public Record ◽  
William Iii

scholarly journals «La Historia de Inglaterra de Rodrigo de Cuero: fuentes y elaboración»

2018 ◽  
Vol 30 ◽  
pp. 121-152
Author(s):  
Antonio Contreras Martín ◽  
Lourdes Soriano Robles
Keyword(s):  
Henry Viii ◽  
Richard Iii ◽  
Palabras Clave ◽  
Henry Vi ◽  
Henry Vii

Resumen: La Crónica de Inglaterra de Rodrigo de Cuero es una traducción de la Cronycle of Englonde with the Fruyte of Tymes realizada a instancias de Catalina de Aragón, reina de Inglaterra, en 1509. Mandada completar por ésta hasta su llegada a Inglaterra, el traductor tuvo que echar mano de las fuentes más diversas. El trabajo analiza, en primer lugar, qué fuentes empleó Rodrigo de Cuero para la elaboración de su obra; en segundo lugar, se ocupa de cómo organizó el material y confeccionó las dos versiones conservadas (manuscritos Escorial y Salamanca); y, en tercer y último lugar, se centra en el tratamiento de los reyes ingleses anteriores a Enrique VIII y Catalina de Aragón (Enrique VI, Eduardo IV, Eduardo V, Ricardo III y Enrique VII).Palabras clave: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catalina de Aragón, 1509, Traducciones, Historiografía.Abstract: Rodrigo de Cuero’s Historia de Inglaterra is a translation into Castilian of the Cronycle of Englonde with the Fruyte of Tymes made at the request of Catherine of Aragon, Queen of England, in 1509. Asked with the responsibility of completing the chronicle until her arrival at England, the translator had to draw on the most diverse sources. The paper analyses, firstly, what sources Rodrigo de Cuero used for the elaboration of his work; secondly, it deals with how he organized the material and made the two preserved versions (Escorial and Salamanca manuscripts); and, thirdly and last, it focuses on the treatment of the English kings before Henry VIII and Catherine of Aragon (Henry VI, Edward IV, Edward V, Richard III and Henry VII).Keywords: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catherine of Aragon, 1509, Translations, Historiography.

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