THE LIFE AND DEATH OF RICHARD THE SECOND RICHARD II was first published in an anonymous quarto in 1597. A second quarto, printed from the first, but with Shakespeare's name on the title-page, appeared in 1598. Neither of these editions contained the abdication scene (IV. i. 154-318), which is supposed to have been suppressed owing to Queen Elizabeth's sensitiveness on such subjects, but it appears in the Third Quarto (1608), and is found in all the later editions. The Fourth Quarto, printed from the third, as the third was from the second, is dated 1615, and was the main source of the text of the First Folio. But in addition to some corrections, alterations, and omissions for acting purposes, the First Folio has been thought to show that its editors had access to a manuscript of the abdication scene from which they amended the imperfect text of that part of the Fourth Quarto. Thus for the main part of the play the best authority is the First Quarto; for the abdication scene, the First Folio; and on these the present text is accordingly based. Apart from the date of publication we have only internal evidence as to date of production. The subject may have been suggested by Marlowe's Edward II; but the style shows a marked departure from the Marlowesque rhetoric of Richard III, and takes it out of the period when Shakespeare was most under the influence of his great predecessor. Taking into consideration the frequency of rime on the one hand, and the absence of prose on the other, we may conclude that the drama was composed within a year of 1594. The main source of the action is Holinshed's Chronicles of England, Scotland, and Ireland, supplemented by Stowe's Annals, but the chief interest lies in those elements that are due to the dramatist's imagination. The parts played and the speeches uttered by the female characters are entirely Shakespeare's. Historically, the Queen was only eleven years old at the date of her husband's deposition; and the Duchess of York was only the stepmother of Aumerle. The scene at the deathbed of John of Gaunt is represented in the chronicle by the bare statement of the fact of his death; and there is no hint of the great speech on the glory of England. This speech, with others, such as the closing lines of King John, point to the inference that Shakespeare deliberately used the opportunity given in the historical plays to appeal to the patriotic enthusiasm of his contemporaries. But the greatest achievement in the play is in the creation, or interpretation, of the character of Richard himself. The chronicle supplied the outline of his action, but little characterization beyond charges of self-indulgence and subjection to unworthy favorites. Richard's love of the spectacular and his enjoyment of his own emotions even of misery and despair, along with his tendency to substitute fluent and poetical utterance for action, are all the conception of the dramatist. The resignation of the crown actually took place in the presence of a few lords in Richard's chamber in the Tower, so that the amazing exhibition of sentimental vanity in the abdication scene is purely Shakespearean. The hints of the character of Bolingbroke are also mainly invented. Holinshed speaks of his popularity, but gives nothing of such causes of it as are indicated in the description of his courtship of the common people in I. iv. Throughout, even when the details of the episode are borrowed from the chronicle, as in the conspiracy in which Aumerle is involved, the speeches are purely imaginary, hardly any hint of the diction being derived from the sources. It is at least probable that this was the "play of the deposing of Richard II" which Essex and his associates procured to be performed in the streets of London on the eve of his attempted revolt in 1601. It is clear that it is not the Richard II seen by Forman at the Globe in 1611, since that play dealt chiefly with the earlier events of Richard's reign. The spellings "Bulling broke," "Herford," " Barkly," "Callice," and " "Cotshall" or "Coltshold" (Cotswold) in the old copies, indicate the Elizabethan pronunciation of these names. Lords, Heralds, Officers, Soldiers, Keeper, Messenger, Groom, and other Attendants. SCENE: England and Wales.] ACT I SCENE I. [London. King Richard's palace.] Enter KING RICHARD, JOHN OF GAUNT, with other Nobles and Attendants. K. Rich. Old John of Gaunt, time-honoured Lancaster, Hast thou, according to thy oath and band, Brought hither Henry Hereford thy bold son, Here to make good the boist'rous late appeal, Which then our leisure would not let us hear, s Against the Duke of Norfolk, Thomas Mowbray? Gaunt. I have, my liege. K. Rich. Tell me, moreover, hast thou sounded him 10 If he appeal the Duke on ancient malice, On some apparent danger seen in him The accuser and the accused freely speak. As well appeareth by the cause you come, Namely, to appeal each other of high treason. Cousin of Hereford, what dost thou object Against the Duke of Norfolk, Thomas Mowbray? Boling. First, heaven be the record to my speech! 30 35 In the devotion of a subject's love, may prove. 40 46 Mow. Let not my cold words here accuse my zeal. 80 "T is not the trial of a woman's war, curbs me 56 From giving reins and spurs to my free speech, Which else would post until it had return'd These terms of treason doubled down his throat, Three parts of that receipt I had for Calais I slew him not; but to my own disgrace 130 135 140 I did confess it, and exactly begg'd In haste whereof, most heartily I pray 148 180 K. Rich. Wrath-kindled gentlemen, be rul'd My life thou shalt command, but not my shame. but my shame, 175 180 And I resign my gage. My dear dear lord, 185 K. Rich. Cousin, throw up your gage. Do you begin. Boling. O, God defend my soul from such deep sin! Shall I seem crest-fallen in my father's sight, Which since we cannot do to make you friends, 205 [Exeunt. Made him a man; and though thou liv'st and breath'st, Yet art thou slain in him. Thou dost consent 35 Thou go'st to Coventry, there to behold spear, That it may enter butcher Mowbray's breast! back, 50 And throw the rider headlong in the lists, With her companion grief must end her life. 55 Not with the empty hollowness, but weight. 66 Lo, this is all:-nay, yet depart not so; And what hear there for welcome but my groans? 70 Therefore commend me; let him not come there, To seek out sorrow that dwells everywhere. SCENE III. [The lists at Coventry.] Mar. My Lord Aumerle, is Harry Hereford arm'd? Aum. Yea, at all points; and longs to enter in. Mar. The Duke of Norfolk, sprightfully and bold, Stays but the summons of the appellant's trumpet. Aum. Why, then, the champions are prepar'd, and stay For nothing but his Majesty's approach. The trumpets sound, and the KING enters with his nobles, GAUNT, BUSHY, BAGOT, GREEN, and others. When they are set, enter MowBRAY in arms, defendant, with a HERALD. K. Rich. Marshal, demand of yonder champion 10 The cause of his arrival here in arms. And why thou com'st thus knightly clad in arms, Against what man thou com'st, and what thy quarrel. Speak truly, on thy knighthood and thy oath; And so defend thee Heaven and thy valour! 15 Mow. My name is Thomas Mowbray, Duke of Norfolk ; Who hither come engaged by my oath Which God defend a knight should violate ! – Both to defend my loyalty and truth To God, my King, and my succeeding issue, 20 Against the Duke of Hereford that appeals me; And, by the grace of God and this mine arm, To prove him, in defending of myself, 25 A traitor to my God, my King, and me: K. Rich. Marshal, ask yonder knight in arms, Both who he is and why he cometh hither our arms. Cousin of Hereford, as thy cause is right, Boling. O, let no noble eye profane a tear 5 |