Theatre in 1859 was a very ambitious undertaking and met with so great a success that the play ran to eighty-four performances. Kean attached a great deal of importance to historical accuracy. His setting for the siege of Harfleur was constructed after careful study of a Latin manuscript giving an account of the siege as seen by a priest who accompanied the army. A further spectacular effect was secured by transforming the description of Henry's return to London, as given by the Chorus, into an actual stage spectacle. Mrs. Charles Kean recited the prologues in the character of Clio, Muse of History. The most conspicuous production in England during the twentieth century was given by Lewis Waller at the Lyceum Theatre in 1900, at the time when the Boer war had stimulated British patriotism. Lily Hanbury appeared as Chorus in Waller's production.

In America, the first performance of the play of which we have any record took place at the Park Theatre in New York in 1804, with Cooper as King Henry. Macready and Waller brought their productions to this country from England, the latter in 1912. In 1876 John Coleman produced the play in New York at great expense, but it ran for only a week. Most noteworthy of the American performances is Richard Mansfield's magnificent presentation in 1900. The production opened at the Garden Theatre, New York City, October 3, after the most elaborate preparations, and had a very successful run, playing to crowded houses in New York, Philadelphia, and Chicago. Mansfield stated that he was led to produce the play by a consideration of its healthy and virile tone, so diametrically in contrast to many of the performances now current.'

A great memorial performance of Henry V in London, May 4, 1916, attracted a 'full and enthusiastic' house, and evoked comments upon the contemporaneous effect of many scenes.

APPENDIX C

THE TEXT OF THE PRESENT EDITION

By permission of the Oxford University Press, the text of this edition of Henry V is that of Craig's Oxford Shakespeare, with the following alterations:

1. The stage directions are those of the First Folio, with necessary additions indicated by brackets.

2. French passages throughout the play have in general been modernized.

3. A few changes have been made in punctuation (such as what, man for what man in II. iii. 19); and the spelling of the following words has been normalized: warlike, ooze, ordnance, antics, villainy, wrecked, lackey, embattl'd.

4. All other departures from Craig's text represent reversions to the reading of the First Folio. In the following list of such changes, the reading of the present edition stands first in the line: the reading of the Oxford Shakespeare follows the colon.

I. ii. 22
I. ii. 30

I. ii. 74

I. ii. 99

I. ii. 151

I. ii. 208

II. Chor. 31

II. Chor. 32
II. i. 75

II. ii. 104
II. ii. 179, 180

II. iv. 1

II. iv. 57

II. iv. 75, 115
III. i. 34

III. ii. 50, 51

our: the

For: And

th' heir: heir

man: son

assays: essays

Come: Fly

on, and we'll: on; and well

distance; force: distance while we force
Couple a gorge: Coupe le gorge
and: from

give You patience: give you Patience

comes: come

mountain sire: mounting sire

brother of: brother

Harry, England, and: Harry! England

and
fire-shovel: I knew

fire-shovel;-I knew

...

They:

coals. ... coals-they

IV. Chor. 28
IV. Chor. 45

IV. i. 35

IV. i. 47

IV. i. 77

pay 't: pay it

war: wars

of Berri: Berri
chez: qui a
Nay, for: Ma foi,

O now: O! now

fear, that mean and gentle all: fear.Then mean and gentle all,

Che vous la: Qui va là

from heart-string: from my heart-string hear: heard

IV. ii. 49

gimmal'd: gimmal

IV. iv. 4

IV. iv. 39

IV. vi. 15

IV. vii. 7

IV. vii. 167

IV. viii. 10

IV. viii. 37, 38

Qualtitie calmie custure me: Quality?
Calen O custure me!

Owy: Ouy

He cries aloud, "Tarry, my: And cries aloud, Tarry, dear

ha': have

and: an

world: 'orld

and will avouchment: and avouchments Great Master . . . Guichard ... Dolphin: Great-master... Guischard... Dau

IV. viii. 100

IV. viii. 101

IV. viii. 130

V. i. 7

V. i. 39

V. i. 86

Doll: Nell

APPENDIX D

SUGGESTIONS FOR COLLATERAL READING

Thomas Carlyle in Heroes and Hero-worship (1840). The Hero as Poet.

Edward Dowden in Shakspere: His Mind and Art (1875). Chapter IV.

Beverly E. Warner in English History in Shakespeare's Plays (1894). Chapter V.

William Butler Yeats in Ideas of Good and Evil (1903). Essay entitled At Stratford-on-Avon.

John Masefield in William Shakespeare (1911). Henry V.

J. W. Cunliffe: The Character of Henry V. as Prince and King (1916). In Shaksperian Studies, Columbia University Press, 1916, pp. 313-331.

INDEX OF WORDS GLOSSED

(Figures in full-faced type refer to page-numbers)