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refers to some authentic historical record. The reinterment of the body of Richard II. is mentioned by Holinshed.
The wish expressed in the third scene of the fourth act for more men from England is improperly ascribed by Shakespeare to Westmoreland, who was certainly at that time at his post as Warden of the Scottish Marshes. Contemporaries say that it was uttered by Sir Walter Hungerford.
Shakespeare again follows Holinshed in relating the appointment of the Duke of York to the command of the van: 'He appointed a van-ard, of the which he made Captain, Edward, Duke of York, who of an haughty courage had desired that office.'
The inhuman command of Henry to kill the prisoners is thus related : But when the outcry of the lackeys and boys which ran away for fear of the Frenchmen thus spoiling the camp, came to the king's ears, he, doubting lest his enemies should gather together again, and begin a new field, and mistrusting further that the prisoners would be an aid to his enemies, or the very enemies to their takers indeed, if they were suffered to live, contrary to his accustomed gentleness, commanded by sound of trumpet, that every man (upon pain of death) should incontinently kill his prisoner.'
In the enumeration of French slain and taken prisoners, Holin. shed is closely followed : “There were slain in all the French part to the number of ten thousand men, whereof were princes and noblemen bearing banners one hundred and twenty-and-six ; to those of knights, esquires, and gentlemen, so many as made up the number of eight thousand and four hundred (of the which five hundred were dubbed knights the night before the battle), so as of the meaner sort not past sixteen hundred. Of Englishmen there died at this battle, Edward Duke of York, the Earl of Suffolk, Sir Richard Kelly, and Davie Gamme, esquire, and of all other not above five-and-twenty persons, as some do report.'
The fourth act closes with the king humbly attributing the victory to God alone :
"O God, Thy arm was here, And not to us, but to Thy arm alone Ascribe we all.'
The courtship scenes in the fifth act are entirely imaginary. The chorus of the fifth act conveys the victorious king home in triumph, all according to Holinshed :
*The Mayor of London, and the aldermen, appear in orient grand scarlet, and four hundred councilmen clad in beautiful murry, well mounted and trimly horsed, with rich collars and great chains, met the king on Blackheath, rejoicing at his return; and the clergy of London, with rich crosses, sumptuous copes, and massive censers, received him at St. Thomas of Walerings with solemn procession.
'The king, like a great and sober personage, and as one remembering from whom all victories are sent, seemed little to regard such vain pomp and shows as were in triumphant sort devised for his welcoming home from so prosperous a journey . . . . he would wholly have the praise and thanks altogether given to God.'
There is in this play much rapidity of action ; the events recorded passing over several years. It opens at the commencement of the reign of King Henry V., 1413, and closes with the marriage of Henry and Katharine of France, which took place in 1420, immedi. ately after the Treaty of Troyes.
KING HENRY V.
Duke of GLOSTER, }brothers to the King.
BEDFORD DUKE OF EXETER, uncle to the King. DUKE OF YORK, cousin to the King. EARL OF SALISBURY. EARL OF WESTMORELAND. EARL OF WARWICK. ARCHBISHOP OF CANTERBURY. BISHOP OF ELY. EARL OF CAMBRIDGE, LORD SCROOP, conspirators against the King. Sir THOMAS GREY, Sir Thomas ERPINGHAM, GOWER, FLUELLEN, MACMORRIS, JAMY,
officers in King Henry's army. BATES, COURT, WILLIAMS, NYM, BARDOLPH, PISTOL, soldiers in
King Henry's army—the three last formerly servants to Falstatt. Boy, servant to Nym, Bardolph, and Pistol. A HERALD. CHORUS. CHARLES VI., King of France. LEWIS, the Dauphin. DUKE OF BURGUNDY. DUKE OF ORLEANS. DUKE OF BOURBON. THE CONSTABLE OF FRANCE.
RAMBUBRE, } French lords.
KING HENRY V.
Enter CHORUS. 1
20 for a muse of fire, that would ascend
direction in the corrected folio, 1632, is altered to Enter Chorus,
as Prologue. 2 0 for a muse of fire. This alludes to the aspiring nature of fire,
which, by its levity, at the separation of the chaos, took the
highest seat of the elements. 3 And, at his heels, etc. For the same thought compare:
‘Shall in these confines, with a monarch's voice,
Cry“ Havoc !” and let slip the dogs of war.'-Julius Cæsar. * Vasty fields.--Y is frequently appended to a noun to form an
adjective. Large, enormously great. Compare:
*I can call spirits from the vasty deep.'-i Henry IV. 5 Within this wooden 0.-An allusion to the Globe Theatre, on the
bankside, which was circular within. Probably the theatre
where this drama was first acted. 6 The very casques.-The mere helmets.
0, pardon! since a crooked figure may
1 In little place. The article is frequently omitted with adjectives. Compare:
In humblest manner.'— Tempest. 2 Imaginary forces.- Imaginative, or your powers of fancy. 3 And make imaginary puissance.-The anonymous play of "The Famous History of Thomas Stukely,'1605, has a similar chorus:
Your gentle favour we must needs entreat
Than all our utmost strength can reach unto.'
'Here, upon the bank and shelve of time,
We'd jump the life to come.'-Macbeth. 5 Accomplishment. -Full completion. French, accomplissement.