Day 2a. land. Interval: including the Falstaffian Days Ia and 2a, during which the King arrives in London. Act II. i. Falstaff's arrest. The King and Prince Hal arrive from Wales. Act II. ii. Prince Hal and Poins. Act II. iv. Supper at the Boar's Head. Day 3. Act III. i. Westminster. The King receives uncertain news of the rebellion. This scene must Day 4. Day 5. be the morrow of Day 2a. Interval: Falstaff's journey into Gloucestershire. Act III. ii. Falstaff takes Falstaff takes up recruits. Interval: rebellion. Suppression of the Interval: Westmoreland, followed by Prince John, returns to London. Falstaff travels into Gloucestershire. Day 6. Act IV. iv. and v. Westminster. Westmoreland and Prince John arrive at the Court. Mortal sickness of the King. Day 3a. Act v. i. Falstaff arrives at Justice Shallow's. Act v. iii. Justice Shallow's. Pistol arrives with news of the King's death. Day 7. Act v. ii. Westminster. Immediately after the King's death; the morrow, I take it, of Day 6. Interval: Funeral of the late King; preparations for the coronation of the new. Within this interval must be supposed Falstaff's arrival at Justice Shallow's, Pistol's journey from London with news of the King's death, and the return of Falstaff and company to London. Act v. iv. Mrs. Quickly and Doll Tearsheet in custody. Act v. v. Day 8. Day 9. London. Arrival of Falstaff and company. Coronation of Henry V. The time of the play is therefore nine days represented on the stage, with extra Falstaffian days, and intervals. A couple of months would be, in Mr. Daniel's opinion, a liberal estimate of the total dramatic time, including intervals. I would gratefully acknowledge the assistance I have received in the preparation of this edition from the General Editor, who kindly read the proofs, from the results of the labours of previous editors and commentators, and from various works of reference, including W. G. Boswell-Stone's Shakspere's Holinshed, the invaluable Oxford Dictionary and Mr. C. T. Onions' Shakespeare Glossary. I am indebted to Mr. C. J. Battersby for a communication upon variant spellings of the name "Gualtree," and to Messrs. Macmillan & Co. for permission to "lay down" the text of the play in the Cambridge Edition. DRAMATIS PERSONE RUMOUR, the Presenter. KING HENRY the Fourth. HENRY, PRINCE OF WALES, afterwards King Henry V., THOMAS, DUKE OF CLARENCE, PRINCE JOHN of Lancaster, PRINCE HUMPphrey of GLOUCESTER, EARL OF WARWICK. EARL OF WESTMORELAND. EARL OF SURREY. his sons. SHALLOW, SILENCE, country justices. DAVY, Servant to Shallow. MOULDY, SHADOW, WART, FEEBLE, and BULLCALF, recruits. FANG and SNARE, sheriff's officers. LADY NORTHUMBERLAND. LADY PERCY. MISTRESS QUICKLY, hostess of a tavern in Eastcheap. DOLL TEARSHEET. Lords and Attendants; Porter, Drawers, Beadles, Grooms, etc. Dancer, speaker of the epilogue. SCENE: England. 2 A THE SECOND PART OF INDUCTION Warkworth. Before the castle. Enter RUMOUR painted full of tongues. Rum. Open your ears; for which of you will stop Induction.] Pope; Actus Primus. Scana Prima. Induction. Ff. Induction] Introductory matter; usually a monologue or detached scene introducing the subject-matter or opening of the action of a play. Warkworth... castle] See lines 35-37 post, and 1 Henry IV. 11. iii. 1. Rumour] This allegorical personage had been already introduced upon the stage in John Phillip's Patient Grisell, 1565-1568 (Malone Society Reprints), and in Sir Clyomon and Sir Clamydes. T. Campion, in the Masque written for the Earl of Somerset's marriage (1614), introduces Rumour: "In a skin coat full of winged tongues, and over it an antic robe; on his head a cap like a tongue, with a large pair of wings in it." 1. painted tongues] sc. in a garment thus symbolically adorned. Holinshed, in a description of a Pageant exhibited at the court of Henry VIII., writes: "Then entered a person called Report, apparelled in crimson satin, full of toongs or chronicles" (cited by T. Warton). Stephen Hawes, 3 in his Pastime of Pleasure, 1. xv., describes Fame as : "A goodly lady, envyroned about With tongues of fire." And Dekker, Entertainment to King James, 15 March, 1603, presents Fame as: "A woman in a watchet roabe, thickly set with open eyes and tongues, a payre of large golden winges at her backe, a trumpet in her hand all these ensigns displaying but the property of her swiftnesse and aptnesse to disperse Rumoure." Cf. Bacon's Essays, Of Fame; Chaucer, The House of Fame, 298-301; and Virgil, Æneid, iv. 180-195, the ultimate source of the imagery in mediæval and later descriptions of Fame, Report or Rumour. 3. orient] east, as in Sonnets, vii. 1. Drooping, where day droops. Cf. R. Herrick, Hesperides, 77: "the drooping west"-an echo of the text, and Milton, Paradise Lost, xi. 178: "till day droop." J. Donne (The GoodMorrow) writes of the "declining West." |