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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.

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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

our: the
I. ii. 30 For: And
I. ii. 74 th' heir: heir
I. ii. 99 man: son
I. ii. 151 assays: essays

I. ii. 208 Come: Fly
II. Chor. 31 on, and we'll: on; and well
II. Chor. 32 distance; force: distance while we force

II. i. 75 Couple a gorge: Coupe le gorge

II. ii. 104 and: from
II. ii. 179, 180 give You patience: give you Patience

II. iv. 1 comes: come

II. iv. 57 mountain sire: mounting sire
II. iv. 75, 115 brother of: brother
III. i. 34 Harry, England, and: Harry! England

and
III. ii. 50,51 fire-shovel: I knew ... coals. They:
fire-shovel;—I knew

coals—they

.

:: pay it

III. ii. 69 yard: yards
III. ii. 79 beard: peard
III. ii. 120 call: calls
III. ii. 129

pay

't:
III. ii. 145, 157 war: wars

III. v. 41 of Berri: Berri
III. vii. 15

chez: qui a
III. vii. 54 Nay, for: Ma foi,
IV. Chor. 28 O now: 0! now
IV. Chor. 45 fear, that mean and gentle all: fear.-

Then mean and gentle all,
IV. i. 35 Che vous la: Qui va là
IV. i. 47 from heart-string: from my heart-string
IV. i. 77 hear: heard
IV. i. 154 who: whom
IV. i. 260 idol: idle
IV. i. 312 Lord,: Lord !
IV. ii. 49 gimmald: gimmal
IV. iv. 4 Qualtitie calmie custure me: Quality?

Calen O custure me!
IV. iv. 39 Owy: Ouy
IV. vi. 15 He cries aloud, 'Tarry, my: And cries

aloud, “Tarry, dear
IV. vii. q ha': have
IV. vii. 167 and: an

IV. viii. 10 world: 'orld
IV. viii. 37, 38 and will avouchment: and avouchments
IV. viii. 100 Great Master ... Guichard . . . Dolphin:

Great-master ... Guischard Dau

phin
IV. viii. 101 Anthony: Antony
IV. viii. 130 And then: We'll then

V.i. world: 'orld
V. i. 39 leek, you: leek you
V. i. 86 Doll: Nell
V. i. 90 cudgell'd: cudgelled
V. ii. 40 it: its
V. ii. 54 all: as
V. ii. 55 wildness.: wildness,
V. ii. 102 shall: sall
V. ii. 108 wat: vat
V. ii. 135 well: vell
V. ii. 186 wat: vat
V. ii. 266 shall: sall
V. ii. 269 shall: sall
V. ii. 283 wat: vat

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. Prince and King (1916). In Shaksperian Studies, Columbia University Press, 1916, pp. 813-831.

as

INDEX OF WORDS GLOSSED

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

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a': 31 (II. iii. 11)
absolute: 61 (III. vii. 27)
abutting: 1 (I. Chor. 21)
accept: 111 (V. ii. 82)
accomplishing: 66 (IV.

Chor. 12)
accompt: 1 (I. Chor. 17)
accord: 26 (II. ii. 86)
achieve: 85 (IV. iii. 91)
addition: 120 (V. ii. 367)
addrest: 48 (III. iii. 58)
admiration: 27 (II. ii. 108)
advance: 30 (II. ii. 192)
advantages: 83 (IV. iii. 50)
advice, his more: 25 (II. ii.

43)
advis'd, be: 14 (I. ii. 251)
affiance: 28 (II. ii. 127)
alarum: 39 (III. Chor. S. d.)
all proportion of subjection:

73 (IV. i. 154, 155)
an (if): 22 (II. i. 107)
an (as if): 31 (II. iii. 11)
ancient: 18 (II. i. 3)
antics: 42 (III. ii. 34)
apprehension: 65 (III. vii.

150)
approbation: 6 (I. ii. 19)
apt: 26 (II. ii. 86)
arbitrement: 73 (IV. i. 170)
argument (subject of con-

tention): 40 (III. i. 21)
argument (theme): 61 (III.

vii. 37)
argument (business): 73

(IV. i. 151)
art: 4 (1. i. 51)
as: 44 (III. ii. 78)

ball: 77 (IV. i. 280)
balm: 77 (IV. i. 280)
bar: 109 (V. ii. 27).
Barbason: 20 (II. i. 57)
barley-broth: 51 (III. v. 19)
Bartholomew-tide: 119 (V.

ii. 335)
basilisks: 108 (V. ii. 17)
battle (army): 66 (IV.

Chor. 9)
battle (battle lines): 81

(IV. iii. 2)
bawcock: 42 (III. ii. 27)
beadle: 74 (IV. i. 180)
beaver: 80 (IV. ii. 44)
become: 6 (I. ii. 8)
bedlam: 105 (V. i. 20)
bent: 108 (V. ii. 16)
beseeched: 45 (III. ii. 119)
beshrew: 116 (V. ii. 240)
best indu'd: 28 (II. ii. 139)
bestow yourself: 84 (IV. iii.

68)
blood: 28 (II. ii. 133)
blown: 59 (III. vi. 164)
bolted: 28 (II. ii. 137)
book: 94 (IV. vii. 77)

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