By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely complete photo of present Shakespeare feedback. This quantity appears to be like at Shakespeare’s histories.
- Contains unique essays on each heritage play from Henry VI to Henry V.
- Includes fourteen extra articles on such subject matters as censorship in Shakespeare's histories, the relation of Shakespeare's performs to different dramatic histories of the interval, Shakespeare's histories on movie, the homoerotics of Shakespeare's historical past performs, and kingdom formation in Shakespeare's histories.
- Brings jointly new essays from a various, foreign crew of students.
- Complements David Scott Kastan's A spouse to Shakespeare (1999), which enthusiastic about Shakespeare as an writer in his historic context.
- Offers a provocative roadmap to Shakespeare stories.
Chapter 1 creation (pages 1–3):
Chapter 2 The Writing of background in Shakespeare's England (pages 4–25): Ivo Kamps
Chapter three Shakespeare and modern Dramatists of background (pages 26–47): Richard Helgerson
Chapter four Censorship and the issues With heritage in Shakespeare's England (pages 48–69): Cyndia Susan Clegg
Chapter five country Formation and the English background performs (pages 70–93): Patricia A. Cahill
Chapter 6 The Irish textual content and Subtext of Shakespeare's English Histories (pages 94–124): Willy Maley
Chapter 7 Theories of Kingship in Shakespeare's England (pages 125–145): William C. Carroll
Chapter eight “To Beguile the Time, appear like the Time”: modern movie models of Shakespeare's Histories (pages 146–169): Peter J. Smith
Chapter nine The Elizabethan historical past Play: a real style? (pages 170–193): Paulina Kewes
Chapter 10 Damned Commotion: rebellion and uprising in Shakespeare's Histories (pages 194–219): James Holstun
Chapter eleven Manliness sooner than Individualism: Masculinity, Effeminacy, and Homoerotics in Shakespeare's heritage performs (pages 220–245): Rebecca Ann Bach
Chapter 12 French Marriages and the Protestant state in Shakespeare's historical past performs (pages 246–262): Linda Gregerson
Chapter thirteen the 1st Tetralogy in functionality (pages 263–286): Ric Knowles
Chapter 14 the second one Tetralogy: functionality as Interpretation (pages 287–307): Lois Potter
Chapter 15 1 Henry VI (pages 308–324): David Bevington
Chapter sixteen Suffolk and the Pirates: Disordered family in Shakespeare's 2 Henry VI (pages 325–343): Thomas Cartelli
Chapter 17 Vexed family members: kin, kingdom, and the makes use of of ladies in three Henry VI (pages 344–360): Kathryn Schwarz
Chapter 18 “The energy of Hope?” An Early sleek Reader of Richard III (pages 361–378): James Siemon
Chapter 19 King John (pages 379–394): Virginia Mason Vaughan
Chapter 20 The King's Melting physique: Richard II (pages 395–411): Lisa Hopkins
Chapter 21 1 Henry IV (pages 412–431): James Knowles
Chapter 22 Henry IV, half 2 (pages 432–450): Jonathan Crewe
Chapter 23 Henry V (pages 451–467): Andrew Hadfield
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Additional resources for A Companion to Shakespeare's Works, Volume 2: The Histories
246–7) Knowing from Foxe’s Book of Martyrs, The Troublesome Reign, and Shakespeare’s King John just how John was in fact to die, Elizabethan audiences would have felt the full irony of this self-condemnation. But this play is not John’s tragedy, and so it ends with the dying Matilda, whose tragedy it is, vainly praying that John will be spared the curse to which his treatment of her has made him subject. Why should Munday and Chettle have refocused their play on the sufferings of the virtuous Matilda?
The third finds its ideal in Marian/Matilda. The Robin Hood of ballad, folk play, and holiday festival on whose legend Munday and Chettle drew lacked the Earl of Huntington’s noble title. He was a yeoman outlaw, not a persecuted aristocrat. So foreign to this popular hero is his new found gentility that Munday and Chettle seem occasionally unsure whether their noble Robert Hood is, in fact, the legendary outlaw or is just playing the part. “Henceforth,” says Earl Robert, “I will be called Robin Hood.
Let not a little wipe” – that is, their own armed encounter – “make us enemies,” says the still disguised king. “Clap hands, and be friends” (ll. 1305–6). Shakespeare’s Prince Hal also claps hands and at least pretends to be friends with Falstaff and his thieving crew, but for Hal, unlike his counterpart in The Famous Victories, this is always a pretense. He uses the appearance of good fellowship for his own politic ends. In the more comical histories, good fellowship, including its lawless, anarchic, clownish, and carnivalesque sides, seems an end in itself.