King John & Henry VIII (Modern Library Classics)
Format: PDF / Kindle (mobi) / ePub
“Mad world, mad kings, mad composition!”
In one volume, eminent Shakespearean scholars Jonathan Bate and Eric Rasmussen provide fresh new editions of two classic histories: Henry VIII and King John.
THIS VOLUME ALSO INCLUDES MORE THAN A HUNDRED PAGES OF EXCLUSIVE FEATURES:
• original Introductions to Henry VIII and King John
• incisive scene-by-scene synopses and analyses with vital facts about the works
• commentary on past and current productions based on interviews with leading directors, actors, and designers
• photographs of key RSC productions
• an overview of Shakespeare’s theatrical career and chronology of his plays
Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.
Remembers reminds 103 form orderly arrangement 108 outrage passionate act of violence (i.e. suicide) 109 joy feel happy, take pleasure 111 dull bored/inattentive/sleepy 112 word’s i.e. Life 113 That so that 115 in the instant at the precise moment 115 repair recovery 116 fit bout of illness 118 day i.e. battle (Lewis employs the more literal sense) 120 had would have (lost all those things) 121 means intends 124 accounts reckons 130 rub obstacle (a term from the game of bowls) 132
Exit LEWIS There’s nothing in this world can make me joy109: Life is as tedious as a twice-told tale, Vexing the dull111 ear of a drowsy man; And bitter shame hath spoiled the sweet word’s112 taste That113 it yields nought but shame and bitterness. CARDINAL PANDULPH Before the curing of a strong disease, Even in the instant of repair115 and health, The fit116 is strongest: evils that take leave, On their departure most of all show evil: What have you lost by losing of this
breakdown. His mother is dead; Arthur is dead; the French are attacking; the country is in revolt. When he learnt of his mother’s death he was left alone on stage and said the line “My mother dead!” quietly to himself, then he acted this extraordinary sort of collapse, his whole frame slumped down into the throne and you saw, in that private instant, that he was finished. It was an incredibly powerful and intimate moment for the audience to watch this tiny but infinitely powerful gesture on the
him to stand as godfather to the new princess before insisting once more that they all embrace Cranmer, starting with Gardiner, who does so. This causes Cranmer to weep, thereby confirming his virtue in Henry’s mind. He tells them to hurry to the baby’s christening. Now he has made them friends, they must remain so, which will strengthen him and honor them. ACT 5 SCENE 3 An enthusiastic crowd has gathered outside the gate of the royal court for the christening. The people are noisy and
its relative lack of success in America, in 1946 Margaret Webster inaugurated the American Repertory Theater’s first season at the International Theater with Henry VIII, in her attempt to create “an American Old Vic.”83 Webster’s direction received praise as did David Ffolkes’ designs, but the production overall was not a success: “The fact that a play not seen in New York in this century was used as an opening guy seemed most hopeful. Indeed the production itself was a fine one.”84 Webster