KING HENRY V The RICHARD MANSFIELD Acting Version of KING HENRY V Copyright by ROSE & SANDS THE RICHARD MANSFIELD ACTING VERSION OF KING HENRY V A History in Five ASls by W IS Shakespeare \ - version 'was for the jirst time presented by M? RICH? MANSFIELD & his Company of Players on the STAGE of the GARDEN THEATRE Oftober 3^ M C M NEW Y O R K : M9CLURE, PHILLIPS & C M , CM. & I , COPYRIGHT, 1901, by McCLURE, PHILLIPS & CO. An INTRODUCTION By MR MANSFIELD M39334 |ENRY V. can hardly be termed a flay it is rather an Epic or a chronicle, in a series of stirring scenes, of the in- vasion of France by the King of Eng- land and the wooing and betrothal of the Princess Katherine. As the latter episode only occupies a portion of the last act, the work may be said to be lacking in what is technically termed " love interest" But, on the other hand, the inducements that led me to produce Henry F. were a consideration of its healthy and virile tone ( 'so diametrically in contrast to many of the performances now current} ; the nobility of its language, the breadth and power of which is not equalled by any living poet; the lesson it teaches of God- liness, honour, loyalty, courage, cheerfulness and perse- verance its beneficial influence upon young and old the opportunity it affords for a pictorial representation of the costumes and armour, manners and customs, of that inter- esting period, and perhaps a desire to prove that the American stage is, even under difficulties, quite able to An INTRODUCTION by RICHARD MANSFIELD hold its own artistically with the European, fhe ambi- tion of my stage career has been to prove the superiority of the American stage and the American actor, and I maintain that to-day against all those who pretend the contrary. But perhaps I was influenced beyond any other reason by the desire to drag Henry V. out of a slough of false impressions that had materially affected his imper- sonation upon the stage, tfhis role had for a long time been considered as requiring on the part of the actor nothing more than a healthy pair of lungs. Henry was not supposed to make any claims upon the intelligence or the heart of the artist. He (as an acting partj was supposed to be devoid of sentiment, finesse, variety and feeling. Let us see how far this is the case, tfhe stu- dent who approaches the character of Henry with a view to impersonation, will consider him, in looking with my eyes, somewhat in this fashion : in the first act, in order not to disconnect the chain that still binds him to the Prince Hal of the preceding play, we must find him youthful, debonair, gracious and yet with a new-born kingliness and tact and state-craft, -which even after the utterances of the archbishop, surprise and interest. In the subsequent scene, on the quay at Southampton, in the unmasking of the three traitors, Cambridge, Scroop, and Grey, and especially in his address to his former bosom friend, Scroop, we at once strike a note of profound mel- ancholy and pathos : " ^hou that didst bear the key of all my counsels? Henry in his roystering days had come upon deceit and villainy and venality, but this was where he might naturally expect it; here, for the first time, and in the very beginning of his reign, he stumbles upon treachery so hideous and lying so near to his heart, as may well have shaken his very soul, ^fhis awakening, his horror and his grief, cannot be expressed by mere noise. We next find him exhorting his soldiers in clarion tones, or depicting to the city-fathers of Harfleur in lurid (xii) An INTRODUCTION by RICHARD MANSFIELD colors ( 'worthy of an actor, a poet and a painter J the horrors that would attend the pillage of their city. Tou will note that Henry is commencing to exhibit the many sides of a very versatile character, in the first act he was not at all what he was in the second, and now in the third we have him again in two different roles : first as the brilliant captain and magnetic leader of men, and then as a very wily and eloquent pleader, for lie infuses such terror into the minds of the citizens that they are moved to surrender the town then and there, instead of protracting the siege a course which might have been fatal to Henry. Indeed throughout this work we find Henry constantly swaying men by his reasoning and his powers of eloquence. He very rarely throws aside the mantle of the King and the manner of the good fellow and comrade, until the opportunity occurs in the fourth act. Here at last alone at night by the camp-fire he and his bosom debate awhile, and he is led to speak of the empti- ness of royalty and ceremony, ^his speech, which ranks with the finest of Shakespeare's, is one which to-day is almost beyond the comprehension of the average man. Indeed it is interesting to observe that it is not much ap- plauded for the reason that it is spoken entirely from the point of view of a king and kings happen to be in a minority as the world is constituted to-day. In this solil- oquy Henry refers to the fact that kings do not sleep as well as the wretched slave fihe working-man} "who with a body fiWd and vacant mind gets him to rest, cramm'd with distressful bread" and furthermore says that " such a wretch, winding up days with toil and nights with sleep, had the fore-hand and vantage of a king" As ninety-nine out of a hundred men sweat in the eye ofPhcebus all day and wind up days of toil with nights of sleep, we cannot expect much sympathy from them for the lamentations of Henry. And we must re- member that when Shakespeare wrote, affairs were man- (xiii) An INTRODUCTION by RICHARD MANSFIELD aged very differently. Merchants were not princes then. Nobility and blood were everything. And a Gentleman made his fortune in the battle-field and by the grace of his sovereign. Again, the student, unless he is very careful in his interpretation, will run upon a rock in Henry's very beautiful prayer, " God of Battles," etc. My favourite stage motto is : " II faut excuser Pauteur " by this I mean that, no matter how great the author, the actor must often disguise him and in a manner excuse him to his audience. If we come to consider this prayer of Henry's calmly, we find him reminding God of what he, Henry, has done to deserve His favour and promising to do something more if God will favour him upon that day. He tells God that he has five hundred poor in yearly pay and that he has built two chantries and he will do still more if God will help him to thrash the French, ^fhis was all then the custom of those times. It was child-like faith and simplicity. But the actor's fer- vour, intensity, and simple treatment of this prayer must go largely towards helping out the author to-day, tfhe most popular speech with the audience is the "St. Crispin," because it is easily understood by everybody, tfhere are no pitfalls here. It needs only a breezy, wholesome, and whole-hearted delivery. In the last act I recommend an earnest, manly wooing of Princess Katherine, as I recom- mend to everybody an earnest, manly wooing of anybody that anybody wants to woo. If the actor has a slight appreciation of humour, " tant mieux." RICHARD MANSFIELD. (xiv) KING HENRY V A LiisTofttie PERSONS of the PLAY "Together with the names of the Ladies and Gentlemen who impersonate them in the present production of KING HENRY V. KING HENRY V Mr Richard Mansfield The DUKE of GLOSTER, brother of HENRY V ... Mr Ernest Warde The DUKE of BEDFORD, brother of HENRY V . . Mr Malcolm Duncan The DUKE ^CLARENCE, brother of HENRY V. . Mr B. W. Winter The DUKE of EXETER, uncle of HENRY V Mr John Malone The DUKE 0/*YoRK, cousin of HENRY V Mr Arthur Stanford The EARL 0/* WESTMORELAND Mr C. C. Quimby The EARL */ SUFFOLK Mr E. H. Sheilds The EARL ^WARWICK Mr William Sorelle The EARL of SALISBURY Mr G. H. Davis The EARL of MARCH Mr J. H. Lee The EARL of CAMBRIDGE . . ") conspirators C . . . Mr C. H. Geldart LORD SCROOP of MASHAM . >- against \ Mr Woodward Barrett Sir THOMAS GREY J HENRY V ( Mr F. C. Butler ARCHBISHOP of CANTERBURY Mr John C. Dixon BISHOP of ELY Mr Salesbury Cash LORD FANHOPE Mr J. F. Hussey Sir JOHN BLOUNT Mr W. J. Green Sir JOHN ASHETON Mr M. Hutchinson Sir JOHN MOWBRAY Mr William Robbins STANLEY Mr W. E. Peters Sir THOMAS ERPINGHAM . ^j ( Mr James L. Carhart GOWER I officers in Mr J. Palmer Collins FLUELLEN I HENRY V.'s J Mr A. G. Andrews MACMORRIS army Mr Chas. J. Edmonds JAMEY J ^ Mr Augustine Duncan WILLIAMS, soldier in HENRY V.'s army Mr Joseph Whiting BATES, soldier in HENRY V.'s army Mr J. A. Wilkes PISTOL ") soldiers in HENRY V. 's C . . . Mr W. N. Griffith NYM v army, formerly servants -j . . Mr Wallace Jackson BARDOLPH . . . ) to Falstaff ( . . . Mr B. W. Turner BOY, servant to above Miss Dorothy Chester ENGLISH HERALD Mr P. J. Rollow CHARLES the SIXTH, King of France Mr Sheridan Block LEWIS, tbe Dauphin ^France Mr A. Berthelet (xvii) A LIST of the PERSONS of the PLAY The DUKE of BURGUNDY Mr Mervyn Dallas The DUKE of ORLEANS Mr Richard Sterling The DUKE of BOURBON Mr Clement Toole The CONSTABLE of FRANCE Mr Prince Lloyd The DUKE of ALENON Mr P. W. Thompson LORD RAMBURES Mr E. H. Vincent LORD GRANDPRE Mr W. H. Brown ARCHBISHOP of SENS Mr J. E. Gordon ARCHBISHOP of BOURGES .- Mr Bouic Clark GOVERNOR of HARFLEUR Mr Stanley Jessup MONTJOY, French Herald Mr Edwin Brewster FRENCH SOLDIER Mr F. Gaillard FRENCH MESSENGER Mr Edwin L. Belden CHORUS Miss Florence Kahn ISABEL, Queen of France Miss Georgine Brandon PRINCESS KATHERINE, daughter of CHARLES and ISABEL . -, Mile Ida Brassey ALICE, lady attending PRINCESS KATHERINE . . . Mile Susanne Santje DAME QUICKLY, a hostess, and PISTOL'S wife. . Miss Estelle Mortimer Civic and Ecclesiastical Dignitaries, Knights, Nobles, Pages, Ladies of the Court and other Attendants, Soldiers, Citizens, 5*c. (xviii) K.HENRY, v. of '^7 ACT ONE of K i N G HENRY V Prologue RUMOUR appears as Chorus (i) O for a muse of fire, that would ascend The brightest heaven of invention ! A kingdom for a stage, princes to act, And monarchs to behold the swelling scene ! Then should the warlike Harry, like himself, Assume the port (2) of Mars ; and, at his heels, Leash'd in like hounds, should famine, sword, and fire, (3) Crouch for employment. Suppose, within the girdle of these walls Are now confin'd two mighty monarchies, Whose high upreared and abutting fronts The perilous, narrow ocean parts asunder. Piece out our imperfections with your thoughts; Into a thousand parts divide one man, And make imaginary puissance : Think, when we talk of horses, that you see them Printing their proud hoofs i' the receiving earth : For 'tis your thoughts that now must deck our kings, Carry them here and there, jumping o'er times, Turning the accomplishment of many years Into an hour-glass ; for the which supply, Admit me Chorus to this history. 4I.(i) Chorus is used only four times by Shakespeare : in King Henry V., Rumour ; in Romeo and Juliet ; in Winter's Tale, Time ; and in Timon of Athens, Gower. Though Shakespeare denominates " Rumour as Chorus " in King Henry V., Charles Kean departed from that character- ization and introduced "Clio, Muse of History, as Chorus," and other productions have borrowed the idea of " Father Time, as Chorus" from Winter's Tale. (2) That is, deportment, carriage. From the French portie. (3) Holinshed says that Henry V. declared to the people of Rouen "that the goddesse of battell, called Bellona, had three handmaid- ens, ever of necessitie attending upon her, as blood, fire, and famine." KING HENRY the FIFTH The FIRST Scene (A Corridor in the Palace at Westminster) QEmer, from Left, the ARCHBISHOP of CANTER- BURY (i) and' the BISHOP ^ELY (2) CANTERBURY (Left Centre) My lord, I'll tell you ; that self bill is urg'd, Which in the eleventh year of the last king's reign Was like, and had indeed against us pass'd, But that the scambling (3) and unquiet time Did push it out of farther question. ELY (Right Centre) But how, my lord, shall we resist it now *? CANTERBURY It must be thought on. If it pass against us, We lose the better half of our possession ; For all the temporal lands which men devout By testament have given to the church Would they strip from us. Thus runs the bill. ELY This would drink deep. CANTERBURY 'Twould drink the cup and all. ELY But what prevention ? CANTERBURY The king is full of grace and fair regard. ELY And a true lover of holy church. C.C 1 ) Henry Chicheley, a Carthusian monk, recently promoted to that see. (2) John Fordham, consecrated 1388, died 1426. (3) Scrambling, ac- cording to Percy. The time when authority is unrespected, says Knight. ACT ONE : The FIRST Scene CANTERBURY The courses of his youth promis'd it not. The breath no sooner left his father's body,(i) But that his wildness, mortified in him, Seem'd to die too ; yea, at that very moment Consideration, like an angel, came And whipp'd the offending Adam out of him, Leaving his body as a paradise To envelope and contain celestial spirits. ELY We are blessed in the change. CANTERBURY Hear him but reason in divinity, And, all-admiring, with an inward wish You would desire the king were made a prelate : Hear him debate of commonwealth affairs, You would say it hath been all in all his study : List his discourse of war, and you shall hear A fearful battle rendered you in music : Turn him to any cause of policy, The Gordian knot of it he will unloose, Familiar as his garter: that, when he speaks, The air, a charter'd libertine, is still, And the mute wonder lurketh in men's ears, To steal his sweet and honey'd sentences ; So that the art and practic(2) part of life Must be the mistress to this theoric (3) : Which is a wonder how his grace should glean it, Since his addiction was to courses vain, His companies unletter'd, rude, and shallow, His hours fill'd up with riots, banquets, sports, And never noted in him any study, C,( r ) There is a theory among historians that Prince Hal assumed his wildness of the Boar's Head days to dissipate the jealousy and regicidal fears of his father, King Henry IV. (2) Practical. (3) Theory. KING HENRY the FIFTH Any retirement, any sequestration From open haunts and popularity. ELY The strawberry grows underneath the nettle, And wholesome berries thrive and ripen best Neighboured by fruit of baser quality: And so the prince obscur'd his contemplation Under the veil of wildness; which, no doubt, Grew like the summer grass, fastest by night, Unseen, yet crescive (i) in his faculty. CANTERBURY It must be so ; for miracles are ceas'd, And therefore we must needs admit the means How things are perfected. ELY But, my good lord, How now for mitigation of this bill Urg'd by the commons *? Doth his majesty Incline to it, or no*? CANTERBURY He seems indifferent, Or rather swaying more upon our part Than cherishing the exhibiters against us ; For I have made an offer to his majesty, Upon our spiritual convocation And in regard of causes now in hand, Which I have open'd to his grace at large, As touching France, to give a greater sum Than ever at one time the clergy yet Did to his predecessors part withal. C.(i) Increasing. Only use of crescive by Shakespeare. (4) ACT ONE : The FIRST Scene ELY How did this offer seem receiv'd, my lord ? CANTERBURY With good acceptance of his majesty; Save that there was not time enough to hear, As I perceiv'd his grace would fain have done, The severals and unhidden passages Of his true titles to some certain dukedoms, And generally to the crown and seat of France Deriv'd from Edward, his great-grandfather. ELY What was th' impediment that broke this off? CANTERBURY The French ambassador upon that instant Crav'd audience ; and the hour, I think, is come, To give him hearing. Is it four o'clock ? ELY It is. CANTERBURY (crossing to Right) Then we go in, to know his embassy, Which I could with a ready guess declare, Before the Frenchman speak a word of it. ELY I'll wait upon you, and I long to hear it. (Exeunt Right.) KING HENRY the FIFTH c fhe SECOND Scene ('The throne Room in the Palace at Westminster various Lords and ecclesiastics in attendance, Right and Left of throned) QEnter, from Left, KING HENRY, (i) BEDFORD, (2) GLOSTER, (3) EXETER (4) and WESTMORELAND, pre- ceded by WARWICK bearing the crown of St. Edward, the bearers of the swords of State and Justice, a her- ald, (5) trumpeters, pages and attendants. THE KING ascends the throne. KING HENRY Where is my gracious lord of Canterbury '? EXETER Not here in presence. KING HENRY Send for him, good uncle. WESTMORELAND (Kneeling before throned) Shall we call in the ambas- sador, my liege ? C.C 1 ) Henry the V. of that name, and sone of Henry the IIII., began his reygne over this realme of Englande ye xxi day of the moneth of Marche. * * * This man, before ye deth of his fader, applyed hym unto all vyce and insolency, and drewe unto hym all ryottours and wylde dysposed persones ; but after he was admytted to the rule of the lande, anone and sodaynly he became a newe man, and tourned all that rage and wyldnes into sobernesse and wyse sadnesse, and the vyce into constant vertue. Fa by an. He was Duke of Lancaster and Earl of Chester and Derby. Tyler. (2) John, Duke of Bedford, was the third son of King Henry IV., and his brother, Henry V., left to him the Regency of France. He died in the year 1435. This duke was accounted one of the best generals of the royal race of Plantagenet. (3) Humphrey, Duke of Gloster, was the fourth son of King Henry IV., and on the death of his brother, Henry V., became Regent of England. It is generally supposed he was strangled. His death took place in the year 1446. (4) Thomas Beaufort, Earl of Dorset, half brother to King Henry IV., hence uncle of Henry V. He was made Duke of Exeter after the Battle of Agincourt. Lord High Admiral. (5) William Burgess, herald, afterward Garter. (6) ACT ONE: The SECOND Scene KING HENRY Not yet, my cousin ; we would be resolv'd, Before we hear him, of some things of weight That task our thoughts, concerning us and France. f[Enter,from Right, the ARCHBISHOP of CANTERBURY and the BISHOP of ELY. tfhey kneel at right before throne. CANTERBURY God and his angels guard your sacred throne, And make you long become it. (CANTERBURY and ELY rise.) KING HENRY Sure, we thank you, My learned lord, we pray you to proceed And justly and religiously unfold, Why the law Salique,(i) that they have in France, Or should, or should not, bar us in our claim. And heaven forbid, my dear and faithful lord, That you should fashion, wrest, or bow your reading, Or nicely charge your understanding soul (2) With opening titles miscreate, (3) whose right Suits not in native colours with the truth; For God doth know how many now in health Shall drop their blood in approbation Of what your reverence shall incite us to. Therefore take heed how you impawn(4) our person, How you awake our sleeping sword of war. We charge you, in the name of Heaven, take heed : For never two such kingdoms did contend According to this law no woman was permitted to govern or be a queen in her own right. The title was only allowed to the wife of the monarch. This law was imported from Germany by the warlike Franks. (2) The meaning of these two lines is given by Dr. Johnson : " Take heed, lest, by nice and subtle sophistry, you burthen your knowing soul, with the guilt of advancing a false title, or of maintaining, by specious fallacies, a claim which, if shown in its native and true colors, would appear to be false." (3) Spurious. (4) Engage. (7) KING HENRY the FIFTH Without much fall of blood ; whose guiltless drops Are every one a woe, a sore complaint, 'Gainst him whose wrongs gives edge unto the swords That make such waste in brief mortality. Under this conjuration, speak, my lord ; For we will hear, note, and believe in heart That what you speak is in your conscience wash'd As pure as sin with baptism. CANTERBURY Then hear me, gracious sovereign; and you peers, That owe yourselves, your lives, and services, To this imperial throne. There is no bar To make against your highness' claim to France, But this, which they produce from Pharamond, " No woman shall succeed in Salique land ; " Which Salique land the French unjustly gloze(l) To be the realm of France, and Pharamond The founder of this law and female bar. Yet their own authors faithfully affirm That the land of Salique is in Germany, Between the floods of Sala and of Elbe.(2) KING HENRY May I, with right and conscience, make this claim ? CANTERBURY The sin upon my head, dread sovereign ! For in the Book of Numbers(3) it is writ, When the man dies, let the inheritance Descend unto the daughter. Gracious lord, Stand for your own ; unwind your bloody flag ; Look back into your mighty ancestors : C.(i) Explain. (2) Floods, i.e., rivers. The Archbishop's speech in this scene, explaining King Henry's title to the crown of France, is closely copied from Holinshed's chronicle, page 545. (3) See Numbers xxvii. 8. ACT ONE : The SECOND Scene Go, my dread lord, to your great grandsire's (i) tomb, From whom you claim ; invoke his warlike spirit, And your great-uncle's, Edward the Black Prince ; Who on the French ground play'd a tragedy, Making defeat on the full power of France ; Whiles his most mighty father on a hill Stood smiling, to behold his lion's whelp Forage in blood of French nobility.(2) ELY Awake remembrance of these valiant dead, And with your puissant arm renew their feats. You are their heir, you sit upon their throne ; The blood and courage, that renowned them, Runs in your veins ; and my thrice-puissant liege Is in the very May-morn of his youth, Ripe for exploits and mighty enterprises. EXETER Your brother kings and monarchs of the earth Do all expect that you should rouse yourself, As did the former lions of your blood. WESTMORELAND They know your grace hath cause, and means and might : So hath your highness ; never king of England Had nobles richer, and more loyal subjects ; Whose hearts have left their bodies here in England, And lie pavilion'd in the fields of France. KING HENRY Call in the messengers sent from the Dauphin. (Exit Herald and Trumpeters Right.) Now we are resolved ; and, by Heaven's help C.(i) Edward III. (2) The allusion is to the battle of Cressy, fought August 25th, 1346. (9) KING HENRY the FIFTH And yours, the noble sinews of our power, France being ours, we'll bend it to our awe, Or break it all to pieces ; there we'll sit, Ruling in large and ample empery(i) O'er France and all her almost kingly dukedoms, Or lay these bones in an unworthy urn, Tombless, with no remembrance over them. Either our history shall with full mouth Speak freely of our acts, or else our grave, Like Turkish mute, shall have a songless mouth, Not worshipp'd with a waxen epitaph. (2) ARCHBISHOP of CANTERBURY and the BISHOP