Out of the powerful regions' under earth, In earnest of a further benefit; So you do condescend to help me now.— [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, Entreat you to your wonted furtherance? Then take my soul; my body, soul, and all, Before that England give the French the foil. [They depart. See! they forsake me. Now the time is come, That France must vail3 her lofty-plumed crest, And let her head fall into England's lap. My ancient incantations are too weak, And hell too strong for me to buckle with: Now, France, thy glory droopeth to the dust. [Exit. Alarums. Enter French and English, fighting. LA PUCELLE and YORK fight hand to hand. LA PUCELLE is taken. The French fly. York. Damsel of France, I think I have you fast; Unchain your spirits now with spelling charms, And try if they can gain your liberty.A goodly prize, fit for the devil's grace! See, how the ugly witch doth bend her brows, As if, with Circe, she would change my shape. Puc. Chang'd to a worser shape thou canst not be. York. O, Charles the Dauphin is a proper man; No shape but his can please your dainty eye. Puc. A plaguing mischief light on Charles, and thee! 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; I kiss these fingers [Kisses her hand.] for eternal 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." 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? 5 This comparison, made between things sufficiently unlike (Johnson observes,) is intended to express the softness and delicacy of Lady Margaret's beauty, which delighted, but did not dazzle: which was bright, but gave no pain by its lustre. Suff. She's beautiful; and therefore to be woo'd: 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. 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 fancy10 may be satisfied, And established between these realms. 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? 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 causeMar. 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. And so shall you, If happy England's royal king be free. Mar. Why, what concerns his freedom unto me? Suff. I'll undertake to make thee Henry's queen; To put a golden sceptre in thy hand, And set a precious crown upon thy head, If thou wilt condescend to be myMar. 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 i. e. an awkward business, an undertaking Ant 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 i. e. love. Suff. Then call our captains, and our colours, And, madam, at your father's castle walls [Troops come forward. Suff. Reig. To me. Suffolk, what remedy? Suff. Yes, there is remedy enough, my lord: Fit to be made companion with a king: 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, Give thee her hand, for sign of plighted faith. [Aside. Reg. I do embrace thee, as I would embrace Shall Suffolk ever have of Margaret. [Going. No princely commendation to my king? Mar. Such commendations as become a maid, [Kisses her. Mur. That for thyself:-I will not so presume, To send such peevish tokens to a king. [Exeunt REIGNIER and MARGARET. Suff. O, wert thou for myself!-But, Suffolk, stay; 1 To face is to carry a false appearance, to play the hypocrite. Hence the name of one of Ben Jonson's Characters in The Alchymist. 21. e. silly, foolish. 3 Mad has been shown by Steevens to have been oc rasionally used for wild, in which sense we must take here; if we do not, with others, suspect it an error of Le press for And or Her. D 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, not so; I did beget her, all the parish knows : Wicked and vile; and so her death concludes. Shep. Fye, Joan! that thou wilt be so obstacle!" Of Puc. Peasant, avaunt!-You have suborn'd this man, purpose to obscure my noble birth. Shep. "Tis true, I gave a noble to the priest, The morn that I was wedded to her mother.-Kneel down and take my blessing, good my girl. Wilt thou not stoop? Now cursed be the time Of thy nativity! I would the milk Thy mother gave thee, when thou suck'dst her breast, Had been a little ratsbane for thy sake! Or else, when thou didst keep my lambs a-field, Puc. First, let me tell you whom you have con- Not one begotten of a shepherd swain To work exceeding miracles on earth. York. Ay, ay;-away with her to execution. Place barrels of pitch upon the fatal stake, Puc. Will nothing turn your unrelenting hearts? York. Now heaven forefend! the holy maid with child! War. The greatest miracle that e'er ye wrought; Is all your strict preciseness come to this? York. She and the Dauphin have been juggling; I did imagine what would be her refuge. War. Well, go to; we will have no bastards live: Especially, since Charles must father it. Puc. You are deceived; my child is none of his; It was Alençon, that enjoy'd my love. York. Alençon! that notorious Machiavel!! It dies, an if it had a thousand lives. 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. York. Why, here's a girl! I think, she knows not well, 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? ? War. Be patient, York: if we conclude a peace, It shall be with such strict and severe covenants, As little shall the Frenchman gain thereby. Enter CHARLES, attended; ALENGON, Bastard, REIGNIER, and others. Char. Since, lords of England, it is thus agreed, The hollow passage of my poison'd voice, 1 The character of Machiavel seems to have made so very deep an impression on the dramatic writers of this age, that he is many times introduced without regard to anachronism. 2 Compassion, pity. Win. Charles, and tne. st, it is enacted thus: Alen. Must he be then as shadow of himself? Char. 'Tis known, already, that I am possess'd York. Insulting Charles! hast thou by secret means Used intercession to obtain a league; Alen. To say the truth, it is your policy, And therefore take this compact of a truce, Although you break it when your pleasure serves. [Aside to CHARLES. War. How say'st thou, Charles? shall our condition 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. So, now dismiss your army when ye please; Hang up your ensigns, let your drums be still. For here we entertain a solemn peace. [Exeunt. SCENE V. London. A Room in the Palace. Enter KING HENRY, in conference with SUF FOLK; GLOSTER and EXETER following. K. Hen. Your wondrous rare description, noble earl, Of beauteous Margaret hath astonish'd me: Suff. Tush! my good lord! this superficial tale ful. It is an epithet frequently bestowed on poisonous plants and reptiles. 4 Coronet is here used for crown. 5 Be content to live as the beneficiary of our king.' Baleful had anciently the same meaning as bane- Benefit is here a term of law. 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 contract, Suff. As doth a ruler with unlawful oaths; A poor earl's daughter is unequal odds: pre My tender youth was neve, yet attaint I feel such sharp dissension in my breast, That Lady Margaret do vouchsafe to come Glo. Why, what, I pray, is Margaret more than I may revolve and ruminate my grief.4 that? 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, Ere. 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: [Exit. Glo. Ay, grief, I fear me, both at first and last. [Exeunt GLOSTER and EXETER. Suff. Thus Suffolk hath prevail'd: and thus he goes, 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 bleed: 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 before the publication of the first and second parts. The not, but it was printed likewise in 1600, and therefore First Part of Henry VI. had been often shown on the stage, and would certainly have appeared in its place, had the anthor been the publisher. JOHNSON. 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 subse quent 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 King Henry VI. MALONE. 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 that troublesone period of this prince's reign, which took in the whole contention between the houses of York and Lancaster: and under that title were these two plays first acted and published. The present play opens with King Henry's marriage, which was in the 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. wrote new beginnings to the Acts; he new versified, he new modelled, he transposed many of the parts; and greatly amplified and improved the whole. Several lines, however, and whole speeches, which he thought sufficiently polished, he accepted, and introduced, without any, or very slight, alterations. 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 folió 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 distinet 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 lutally 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, or 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 aud 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, ascerand 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, other passages, discordant, in matters of fact, from his other plays, are proved by this discordancy not to have been composed by him and these discordant passages, being found in the original quarto plays, prove that those pieces were composed by another writer. It is observable that several portions of English his A passage from Greene's Groatsworth of Wit, adduced by Mr. Tyrwhitt, first suggested and strongly supports Malone's hypothesis. The writer, Robert Greene, is supposed to address himself to his poetical friend, George Peele, in these words: Yes, trust them not [alluding to the players], for there is an upstart crowe 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. Thus we have King John, in two parts, by an anony mous writer; Edward I. by George Peele; Edward II. by Christopher Marlowe; Edward IL anonymous; Henry IV. containing the deposition of Richard II. and O tyger's heart wrapped in a woman's hide! is a line the accession of Henry to the crown, anonymous; Henin the old quarto play entitled The First Part of the ry V. and Richard III, both by anonymous authors. It Contention, &c. There seems to be no doubt that the is therefore highly probable that the whole of the story allusion is to Shakspeare, that the old plays may have of Henry VI. had been brought on the scene, and that been the production of Greene, Peele, and Marlowe, or the first of the plays here printed, formerly called some of them; and that Greene could not conceal his The Historical Play of King Henry VI, and now named mortification, at the fame of himself and his associates, The First Part of King Henry VI. as well as the Two old and established playwrights, being eclipsed by a new Parts of the Contention of the Houses of York and Lanupstart writer, (for so he calls the poet,) who had then caster, were the compositions of some of the authors perhaps first attracted the notice of the public by exhi-who had produced the historical dramas above enumiebiting two plays formed upon old dramas written by rated. 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. 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 disting cished of |