Out of the powerful regions' under earth, [They hang their heads. No hope to have redress?-My body shall Pay recompense, if you will grant my suit. [They shake their heads. Cannot my body, nor blood-sacrifice, York. Damsel of France, I think I have you fast; thee! Puc. I pr'ythee, give me leave to curse a while. York. Curse, miscreant, when thou comest to the stake. [Exeunt. Alarums. Enter SUFFOLK, leading in LADY MARGARET. Suff. Be what thou wilt, thou art my prisoner. [Gazes on her. O fairest beauty, do not fear, nor fly; peace: Who art thou? say, that I may honour thee. Suff. An earl I am, and Suffolk am I call'd. [She turns away as going. So seems this gorgeous beauty to mine eyes. 1 Warburton thought that we should read legions here, the same mistake having occurred before in this play. 2 Where for whereas, a common substitution in old writers; whereas is also sometimes used for where, 3 To rail is to lower, See note on Merchant of Ve. nice, Act i. Sc. 1. Fain would I woo her, yet I dare not speak : Suff. How canst thou tell she will deny thy suit, Before thou make a trial of her love? [Aside. Mar. Why speak'st thou not? what ransom must I pay? Suff. She's beautiful; and therefore to be woo'd i She is a woman; therefore to be won. [Aside. Mar. Wilt thou accept of ransom, yea, or no? Suff. Fond man! remember, that thou hast a wife: Then how can Margaret be thy paramour? [Aside. Mar. I were best leave him, for he will not hear. Suff. There all is marr'd; there lies a cooling care.9 1 Mar. He talks at random; sure, the man is mad. Suff. And yet a dispensation may be had. Mar. And yet I would that you would answer me. Suff. I'll win this lady Margaret. For whom? Why, for my king: Tush! that's a wooden thing? Mar. He talks of wood; It is some carpenter, Suff. Yet so my fancy1" may be satisfied, And established between these realons. peace But there remains a scruple in that too; For though her father be the king of Naples, And our nobility will scorn the match. Duke of Anjou and Maine, yet he is poor, [Aside Mar. Hear ye, captain? Are you not at leisure 7 Henry is youthful, and will quickly yield.— Suff. It shall be so, disdain they ne'er so much; Madam, I have a secret to reveal. Mar. What though I be enthrall'd? he seems a And will not any way dishonour me. knight, [Aside Suff. Lady, vouchsafe to listen what I say. And then I need not crave his courtesy. Mar. Perhaps, I shall be rescu'd by the French: [Aside. Suff. Sweet madam, give me hearing in a cause-Mar. Tush: women have been captivate ere now [Aside Suff. Lady, wherefore talk you so? Mar. I cry you mercy, 'tis but quid for quo. Suff. Say, gentle princess, would you not suppose Your bondage happy, to be made a queen? Mar. To be a queen in bondage, is more vile, Than is a slave in base servility; For princes should be free. Suff 1 And so shall you, To put a golden sceptre in thy hand, Suff. His love. What? Mar. I am unworthy to be Henry's wife. Suff. No, gentle madam; I unworthy am To woo so fair a dame to be his wife, And have no portion in the choice myself. How say you, madam; are you so, content? Mar. An if my father please, I am content. 6 Do not represent thyself so weak. To disable was to dispraise, or impeach. 7 The meaning of rough here is not very evident, Sir Thomas Hanmer reads crouch. 8 A cooling card was most probably a card so decisive as to cool the courage of the adversary. Metaphorically, something to damp or overwhelm the hopes of an expectant. 9. e. an awkward business, an undertaking not likely to succeed. It is sport to see a bold fellow out of countenance, for that puts his face into a most shrunken and wooden posture.' 10 1. e. love. SCENE IV. KING HENRY VI Suff. Then call our captains, and our colours, And, madam, at your father's castle walls [Troops come forward. Suff. To me. Suffolk, what remedy? Suff. Yes, there is remedy enough, my lord: Fit to be made companion with a king: What answer makes your grace unto my suit? To be the princely bride of such a lord; Enjoy mine own, the county Maine, and Anjou, Reig. And I again,-in Henry's royal name, [Aside. Reig, I do embrace thee, as I would embrace [Going. No princely commendation to my king? Mar. Such commendations as become a maid, [Kisses her. 1 To face is to carry a false appearance, to play the 2 i. e. silly, foolish. 3 Mad has been shown by Steevens to have been oc Thou may'st not wander in that labyrinth; York. Bring forth that sorceress, condemn'd to burn. Enter LA PUCELLE, guarded, and a Shepherd. Have I sought every country far and near, Shep. Out, out!-My lords, an please you, 'tis not so; I did beget her, all the parish knows : War. Graceless! wilt thou deny thy parentage? Wicked and vile; and so her death concludes. Shep. Fye, Joan! that thou wilt be so obstacle! Puc. Peasant, avaunt!-You have suborn'd this Of purpose to obscure my noble birth. Shep. 'Tis true, I gave a noble to the priest, Thy mother gave thee, when thou suck'dst her Had been a little ratsbane for thy sake! Or else, when thou didst keep my lambs a-field, O, burn her, burn her; hanging is too good. [Exit. Puc. First, let me tell you whom you have con- Not one begotten of a shepherd swain Chaste and immaculate in very thought; Place barrels of pitch upon the fatal stake, Puc. Will nothing turn your unrelenting hearts? York. Now heaven forefend! the holy maid with War. The greatest miracle that e'er ye wrought; York. She and the Dauphin have been juggling; York. Alençon! that notorious Machiavel!! Puc. O, give me leave, I have deluded you ; "Twas neither Charles, nor yet the duke I nam'd, But Reignier, king of Naples, that prevail'd. War. A married man! that's most intolerable. There were so many, whom she may accuse. Puc. Then lead me hence; with whom I leave May never glorious sun reflex his beams Thou foul accursed minister of hell! Enter CARDINAL BEAUFORT, attended. York. Is all our travail turn'd to this effect? Char. Since, lords of England, it is thus agreed, The hollow passage of my poison'd voice, By sig. Win. Charles, and the rest, it is enacted thus. To ease your country of distressful war, Alen. Must he be then as shadow of himself? Char. "Tis known, already, that I am possess'd York. Insulting Charles! hast thou by secre means Used intercession to obtain a league; Alen. To say the truth, it is your policy, And therefore take this compact of a truce, War. How say'st thou, Charles? shall our con dition stand? Char. It shall: Only reserv'd, you claim no interest York. Then swear allegiance to his majesty; [CHARLES, and the rest, give tokens of fealty earl, Of beauteous Margaret hath astonish'd me: Suff. Tush! my good lord! this superficial tale And, which is more, she is not so divine, 1 The charact O very deep an imp this age, that he is nany. gard to anachronism. 2 Compassion, pity. Baleful had anciently the same meaning as bane Benefit is here a term of law, SCENE V. So full replete with choice of all delights, K. Hen. And otherwise will Henry ne'er sume. Therefore, my lord protector, give consent, How shall we then dispense with that contrast, Suff. As doth a ruler with unlawful oaths; A poor earl's daughter is unequal odds: My tender youth was never yet attaint Glo. Why, what, I pray, is Margaret more than Her father is no better than an earl, Suff. Yes, my good lord, her father is a king, Glo. And so the earl of Armagnac may do, Exe. Beside, his wealth doth warrant liberal While Reignier sooner will receive than give. That he should be so abject, base, and poor, And not to seek a queen to make him rich: And therefore, lords, since he affects her most, My noble lord of Suffolk; or for that I A triumph then signified a public exhibition; such as a tournament, mask, or revel. 2 By the intervention of another man's choice; or the discretional agency of another. The phrase occurs twice in King Richard III. : 'Be the attorney of my love to her.' Again: As did the youthful Paris once to Greece; [Exit. OF 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 crown'd king; That they lost France, and made his England bieed: France is lost in this play. The two following contain, 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, JOHNSON. had the anthor been the publisher. 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 MALONE. King Henry VI. 3 To censure is here simply to judge. If in judging me you consider the past frailties of your own youth.' 4 Grief, in the first line, stands for pain, uneasiness, in the second, especially for sorrow." SECOND PART OF KING HENRY THE SIXTH. RELIMINARY REMARKS. THIS and the Third Part of King Henry VI. contain | wrote new beginnings to the Acts; he new versified, he that troublesone period of this prince's reign, which new modelled, he transposed many of the parts; and took in the whole contention between the houses of York greatly amplified and improved the whole. Several and Lancaster: and under that title were these two lines, however, and whole speeches, which he thought plays first acted and published. The present play sufficiently polished, he accepted, and introduced, withopens with King Henry's marriage, which was in the out any, or very slight, alterations. 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. Malone adopted the following expedient to mark these alterations and adoptions, which has been followed in the present edition-All those lines which the poet adopted without any alteration, are printed in the usual manner; those speeches which he altered or expanded The Contention of the Two Famous Houses of York are distinguished by inverted commas; and to all lines and Lancaster was published in quarto; the first part in entirely composed by himself asterisks are prefixed. 1594; the second, or True Tragedy of Richard Duke of The internal evidences upon which Malone relies to York, in 1595; and both were reprinted in 1600. In a establish his position are, 1. The variations between the dissertation annexed to these plays, Mr. Malone has old plays in quarto, and the corresponding pieces in the endeavoured to establish the fact that these two dramas folio edition of Shakspeare's dramatic works, which were not originally written by Shakspeare, but by some are of so peculiar a nature as to mark two distinct preceding author or authors before the year 1590; and hands. Some circumstances are mentioned in the old that upon them Shakspeare formed this and the follow-quarto plays, of which there is not the least trace in the ing drama, altering, retrenching, or amplifying as he folio; and many minute variations occur that prove the thought proper. I will endeavour to give a brief ab-pieces in the quarto to have been original and distinct stract of the principal arguments. 1. The entry on the compositions. No copyist or shorthand writer would Stationers' books, in 1594, does not mention the name invent circumstances totally different from those which of Shakspeare; nor are the plays printed with his name appear in Shakspeare's new-modelled draughts, as exIn the early editions; but, after the poet's death, an edi-hibited in the first folio; or insert whole speeches, of tion was printed by one Pavier without date, but really, which scarcely a trace is found in that edition. In some in 1619, with the name of Shakspeare on the title-page. places a speech in one of these quartos consists of ten This he has shown to be a common fraudulent prac- or twelve lines: in Shakspeare's folio the same speech tice of the booksellers of that period. When Pavier re- consists perhaps of only half the number. A copyist by published The Contention of the Two Houses, &c. in the ear, or an unskilful shorthand writer, might mutilate 1619, he omitted the words as it was acted by the earl and exhibit a poet's thoughts or expressions imperfectly; of Pembrooke his servantes,' which appeared on the but he would not dilate and amplify them, or introduce original title-page,-just as on the republication of the totally new matter. old play of King John, in two parts, in 1611, the words Malone then exhibits a sufficient number of instances 'as it was acted in the honourable city of London,' were to prove, beyond the possibility of doubt, his position: omitted, because the omitted words in both cases mark-so that (as he observes) we are compelled to admit, ed the respective pieces not to be the production of either that Shakspeare wrote two sets of plays on the Shakspeare. And, as in King John, the letters W. Sh. story which forms his Second and Third Parts of King were added, in 1611, to deceive the purchaser; so in Henry VI., hasty sketches, and entirely distinct and the republication of The whole Contention, &c. Pavier, more finished performances; or else we must acknowhaving dismissed the words above-mentioned, inserted ledge that he formed his pieces on a foundation laid by these: Newly corrected and enlarged by William another writer or writers; that is upon the two parts of Shakspere: knowing that these pieces had been made The Contention of the Two Houses of York, &c. It is the groundwork of two other plays: that they had in a striking circumstance that almost all the passages in fact been corrected and enlarged, (though not in his co- the Second and Third Parts of King Henry VI. which py, which was a mere reprint from the edition of 1600,) resemble others in Shakspeare's undisputed plays, are and exhibited under the titles of the Second and Third not found in the original pieces in quarto, but in his ri Parts of King Henry VI.; and hoping that this new edi-faccimento in folio. As these resemblances to his other tion of the original plays would pass for those altered plays, and a peculiar Shakspearian phraseology, ascer and augmented by Shakspeare, which were then un-tain a considerable portion of these disputed dramas to published. be the production of that poet; so, on the other hand, A passage from Greene's Groatsworth of Wit, ad-other passages, discordant, in matters of fact, from his duced by Mr. Tyrwhitt, first suggested and strongly other plays, are proved by this discordancy not to have supports Malone's hypothesis. The writer, Robert been composed by him and these discordant passages, Greene, is supposed to address himself to his poetical being found in the original quarto plays, prove that friend, George Peele, in these words :- Yes, trust them those pieces were composed by another writer. not [alluding to the players], for there is an upstart It is observable that several portions of English hiscrowe beautified with our feathers, that with history had been dramatised before the time of Shakspeare. tygre's heart wrapped in a player's hide, supposes hee is well able to bombaste out a blank verse as the best of you; and, being an absolute Joannes factotum, is, in his own conceit, the only Shakescene in a country. "O tyger's heart wrapped in a woman's hide! is a line in the old quarto play entitled The First Part of the Contention, &c. There seems to be no doubt that the allusion is to Shakspeare, that the old plays may have been the production of Greene, Peele, and Marlowe, or gome of them; and that Greene could not conceal his mortification, at the fame of himself and his associates, old and established playwrights, being eclipsed by a new upstart writer, (for so he calls the poet,) who had then perhaps first attracted the notice of the public by exhibiting two plays formed upon old drainas written by them, considerably enlarged and improved. The very term that Greene uses, to bombaste out a blank verse,' exactly corresponds with what has been now suggested. This new poet, says he, knows as well as any man how to amplify and swell out a blank verse. Thus we have King John, in two parts, by an anonymous writer; Edward I. by George Peele; Edward II. by Christopher Marlowe; Edward III. anonymous; Henry IV, containing the deposition of Richard II. and the accession of Henry to the crown, anonymous; Hen. ry V. and Richard III. both by anonymous authors. It is therefore highly probable that the whole of the story of Henry VI. had been brought on the scene, and that the first of the plays here printed, formerly called The Historical Play of King Henry VI, and now named The First Part of King Henry VI. as well as the Two Parts of the Contention of the Houses of York and Lancaster, were the compositions of some of the authors who had produced the historical dramas above enume. rated. Mr. Boswell, speaking of the originals of the second and third of these plays, says, "That Marlowe may have had some share in these compositions, I am not disposed to deny; but I cannot persuade myself that they entirely proceeded from his pen. Some passages Shakspeare did for the old plays, what Berni had beare possessed of so much merit, that they can scarcely fore done to the Orlando Innamorato of Boiardo. He be ascribed to any one except the most distinguished of |