THE LIFE OF HENRY THE EIGHTH A PLAY called Henry VIII or All is True was being played in the Globe Theatre on June 29, 1613, when the theatre caught fire and was burned down. Contemporary descriptions of this piece fit the present history so exactly that there remains little doubt that the Shakespearean drama is meant. We have here, then, a later limit for its composition. Wotton, writing of the burning of the Globe, calls All is True a new play." The chief reason urged against taking this literally lies in the reference to Elizabeth in III. ii. 50–52, and in the eulogy in v. v. 18–39, 58–63, to which the praise of James may have been added later. But eulogies of the great queen did not cease with her death; and there is much in the treatment of her parents that could hardly have been pleasing to her. In the style and metre of the undoubted Shakespearean part of the drama we find nothing pointing to a date before 1603, but much to the latest years of his activity; and it is a fairly safe conclusion that in the parts of the present play written by him we have the last of his extant work. No edition of Henry VIII appeared till it was published in the First Folio, and on that version the present text is based. The chief historical basis for the play is Holinshed's Chronicles. Some details seem to have come direct from Halle; and the scenes presenting the attempt to crush Cranmer (v. i., ii., iii.) are taken from Foxe's Actes and Monuments, better known as The Book of Martyrs. These sources are followed at times almost slavishly, much of the actual diction being derived from the prose narratives. Yet with all this borrowing of detail, much freedom is used in the selection and arrangement of incident, historical time is disregarded, and even the identity of personages is confused. The characterization of Queen Katherine alone shows any great creative imagination. Though all her acts and much of her language are taken from the Chronicles, the dramatist has bestowed on her a pathetic dignity which elevates her to such a pitch that in spite of her passive rôle she stands out as the real heroine of the play. Wolsey's farewell speech (except III. ii. 455–457) is also invented; but his other important utterances and almost all his actions are based directly on Holinshed, who here drew from a variety of sources varying much in their estimate of the Cardinal. Some details seem to have been suggested by Samuel Rowley's When You See Me You Know Me (printed 1605). The low comedy scenes in the palace yard and Cranmer's closing prophecies are, of course, without historical basis. This drama is singularly lacking in unity. The material is simply translated into dialogue or pageant; and there results a succession of brilliant stage pictures, sketches of character, and fine speeches, entirely without dramatic coherence. Buckingham, Katherine, the King, Wolsey, and Cranmer hold in succession the centre of the stage, but no causal connection is apparent in the sequence; nor is there consistency in the demand for sympathy with men or factions. This fragmentary quality alone is sufficient to suggest a doubt as to unity of authorship; and examination of the technical qualities of style and metre has confirmed this suspicion. It is now fairly generally, though not universally, conceded that the greater number of scenes are to be credited to John Fletcher, and to Shakespeare only 1. i., ii.; II. iii., iv.; m. ii. 1-203; and with less assurance of purity, v. i. Attempts have been made to deny to Shakespeare any share in the authorship, and to assign it to other authors, especially to Massinger. But various internal reasons, besides the unchallenged appearance of the play in the First Folio, prevent the acceptance of this extreme view. No speculation on the method of collaboration has resulted in anything more than mere conjecture. 66 The pronunciation of Abergavenny" is indicated by the spelling found in the Folio, "Aburgany." Several Lords and Ladies in the Dumb Shows; Women attending upon the Queen; Scribes, Officers, Guards, and other Attendants. As cherubins, all gilt; the madams too, cerner 30 What heaven hath given him, let some graver eye Pierce into that; but I can see his pride that? If not from hell, the devil is a niggard, Or has given all before, and he begins A new hell in himself. 70 Buck. Why the devil, Upon this French going out, took he upon him, Without the privity o' the King, to appoint Who should attend on him? He makes up the file Of all the gentry, for the most part such 75 80 Aber. I do know Kinsmen of mine, three at the least, that have By this so sicken'd their estates, that never They shall abound as formerly. O, many Buck. Have broke their backs with laying manors on 'em For this great journey. What did this vanity 85 But minister communication of A most poor issue? Nor. Grievingly I think The peace between the French and us not values The cost that did conclude it. Buck. Every man, After the hideous storm that follow'd, was 90 A thing inspir'd; and, not consulting, broke Into a general prophecy, that this tempest, Dashing the garment of this peace, aboded The sudden breach on 't. Nor. Which is budded out; For France hath flaw'd the league, and hath attach'd Our merchants' goods at Bourdeaux. Aber. The ambassador is silenc'd? Nor. 95 Is it therefore Marry, is 't. Aber. A proper title of a peace, and purchas'd At a superfluous rate! Buck. Our reverend Cardinal Nor. Why, all this business carried. Like it your Grace, 100 The state takes notice of the private differ King; I'll follow and outstare him. Nor. 135 140 Be advis'd; Heat not a furnace for your foe so hot That it do singe yourself. We may outrun, By violent swiftness, that which we run at, And lose by over-running. Know you not, The fire that mounts the liquor till 't run o'er, In seeming to augment it wastes it? Be advis'd. I say again, there is no English soul Sir, 145 150 I am thankful to you; and I'll go along Whom from the flow of gall I name not, but Nor. 155 66 Say not treasonous." To hear this of him; and could wish he were Something mistaken in 't. Buck. 100 No, not a syllable: Enter BRANDON, a SERGEANT-AT-ARMS before Sir, Buck. Lo, you, my lord. The net has fall'n upon me! I shall perish Under device and practice. already. I am the shadow of poor Buckingham, Whose figure even this instant cloud puts on, By dark ning my clear sun. My lord, farewell. [Exeunt. 226 SCENE II. [The same. The council-chamber.] Cornets. Enter the KING, leaning on the CARDINAL'S shoulder, the Nobles, and SIR THOMAS LOVELL; the Cardinal places himself under the King's feet on his right side. King. My life itself, and the best heart of it, Thanks you for this great care. I stood i' the level Of a full-charg'd confederacy, and give thanks To you that chok'd it. Let be call'd before us That gentleman of Buckingham's; in person I'll hear him his confessions justify, And point by point the treasons of his master He shall again relate. A noise within, crying, "Room for the Queen!" Enter QUEEN KATHERINE, ushered by the DUKE OF NORFOLK, and the DUKE OF SUFFOLK: she kneels. The King riseth from his state, takes her up, kisses and placeth her by him. Q. Kath. Nay, we must longer kneel; I am a suitor. King. Arise, and take place by us. Half your suit Never name to us, you have half our power; 10 And danger serves among them. You that are blam'd for it alike with us, Wol. Please you, sir, 40 I know but of a single part, in aught Pertains to the state; and front but in that file Where others tell steps with me. No, my lord? You know no more than others? But you frame Things that are known alike, which are not wholesome 45 |