By Stephen Longstaffe

I Henry IV has continually been one in every of Shakespeare's preferred performs and this severe consultant deals a accomplished advisor to the wide variety of feedback at the play and its valuable figures, together with Falstaff. It introduces the play's severe and function historical past, together with outstanding level productions along television, movie and radio models. It features a keynote bankruptcy outlining significant parts of present learn on Read more...

summary: I Henry IV has constantly been considered one of Shakespeare's hottest performs and this severe consultant deals a accomplished consultant to the big variety of feedback at the play and its important figures, together with Falstaff. It introduces the play's severe and function heritage, together with remarkable level productions along television, movie and radio models. It encompasses a keynote bankruptcy outlining significant parts of present study at the play and 4 new serious essays. eventually, a consultant to serious, web-based and production-related assets and an annotated bibliography supply a foundation for extra person re

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8. Quoted in Rudolph Fiehler, ‘How Oldcastle became Falstaff ’, Modern Language Quarterly, 16: 1 (1955), 16–28 (p. 16). 9. For example, Fiehler, ‘How Oldcastle became Falstaff ’; Gary Taylor, ‘The Fortunes of Oldcastle’, Shakespeare Survey 38 (1985), 85–100. 10. , eds, William Shakespeare: The Complete Works (Oxford: Clarendon 1986), p. 509. See also Taylor, ‘The Fortunes of Oldcastle’ for justification of this decision. Critics who outline their position against this decision include: Jonathan Goldberg, ‘The Commodity of Names: “Falstaff ” and “Oldcastle” ’ in 1 Henry IV’, in Reconfiguring the Renaissance: Essays in Cultural Materialism, ed.

96 For Ulrici, therefore, all elements of 1 Henry IV relate to the depiction of English history. 97 The view put forward by the nineteenthcentury critic of Shakespeare as historian and of the play as a study of feudalism, McAlindon suggested, is one that was recycled frequently in the nineteenth and twentieth centuries. In particular, McAlindon noted the influence of Ulrici’s Shakespeare’s Dramatic Art on one of the most widely known and frequently cited studies of the history plays, E. M. W. Tillyard’s Shakespeare’s History Plays (1944), citing the latter’s wartime context as the reason he does not acknowledge the influence of the German critic.

W. Tillyard, Shakespeare’s History Plays (1944) (London: Penguin Books, 1991), pp. 242, 269. 34 1 HENRY IV 83. Gerard Langbaine, ‘An Account of the English Dramatick Poets (1691)’, in William Shakespeare: The Critical Heritage, 1623–1692, (Volume 1), ed. Brian Vickers (London: Routledge, 1974 ), p. 419. 84. See Tom McAlindon, Shakespeare’s Tudor History: A Study of Henry IV, Parts 1 and 2 (Aldershot: Ashgate, 2001), p. 3. 85. Montagu, ‘Essay’, p. 9. 86. H. B. Charlton, ‘Shakespeare, Politics and Politicians’ (1929), in Shakespeare: Henry IV Parts I and II: A Casebook, ed.

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