The Second Part of King Henry IVThe New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition retains Giorgio Melchiori's text of Shakespeare's The Second Part of King Henry IV. Melchiori argues that the play forms an unplanned sequel to the First Part, itself a 'remake' of an old, non-Shakespearean play. In the Second Part, Shakespeare deliberately exploits Falstaff's popular appeal and the resulting rich humour adds a comic dimension to the play, rendering it a unique blend of history, morality play and comedy. Among modern editions, Melchiori's is the one most firmly based on the quarto. This second edition includes a new section by Adam Hansen on recent stage, film and critical interpretations. |
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... Elizabethan staging of the opening scene. Drawing by C. Walter Hodges 3 Act 3, Scene 2: an Elizabethan staging. Drawing by C. Walter Hodges 4 Act 2, Scene 4: Falstaff and Doll Tearsheet. Engraving by W. Leney after the painting by Henry ...
... Elizabethan staging of the opening scene. Drawing by C. Walter Hodges 3 Act 3, Scene 2: an Elizabethan staging. Drawing by C. Walter Hodges 4 Act 2, Scene 4: Falstaff and Doll Tearsheet. Engraving by W. Leney after the painting by Henry ...
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... Elizabethan staging of the opening scene, by C. Walter Hodges. Booted Rumour may exit after speaking the prologue and re-enter immediately, having removed his coat 'full of tongues', as Lord Bardolph But if Part One is Hal's Morality ...
... Elizabethan staging of the opening scene, by C. Walter Hodges. Booted Rumour may exit after speaking the prologue and re-enter immediately, having removed his coat 'full of tongues', as Lord Bardolph But if Part One is Hal's Morality ...
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... Elizabethan staging, by C. Walter Hodges It is mainly this use of the new names that gives to Part Two the imprint of a moral Interlude. At the same time the new characters form a gallery of carefully observed human types that seem a ...
... Elizabethan staging, by C. Walter Hodges It is mainly this use of the new names that gives to Part Two the imprint of a moral Interlude. At the same time the new characters form a gallery of carefully observed human types that seem a ...
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actors and’t ARCHBISHOP Bardolfe battle of Shrewsbury Bullingbrook Capell characters CLARENCE Colevile comedy crown Davy death Doll Tearsheet doth earle earle marshall edited editors Elizabethan England Enter Epilogue Exeunt Exit Famous Victories father Folio foul papers Gaultree God’s grace Hal’s hand Harry HASTINGS hath haue Heauen F Henry the Fourth Holinshed Holinshed’s honour HOSTESS humours Iohn Iudge Justice Shallow King Henry king’s knight Lord Bardolph Lord Chief Justice Master Shallow Melchiori merry Morton Mouldy Mowbray noble Northumberland notes for Act Oldcastle omission passages peace Peto Pistol play’s POINS political pray prince’s Private Idaho prose Proverbial Tilley quarto Richard Richard II scene sick Silence Sir John Falstaff Sir John Oldcastle sonne speak speech headings STAFF stage subst suggests Theatre thee there’s Thomas thou art ur-Henry verse vnto vpon Walter Hodges WARWICK Westmoreland William Shakespeare words