THIRD SERIES

  General Editors: Richard Proudfoot, Ann Thompson,

  David Scott Kastan and H.R. Woudhuysen

  Associate General Editor for this volume:

  George Walton Williams

  KING

  HENRY IV

  PART 2

  ALL’S WELL THAT ENDS WELL

  edited by G.K. Hunter*

  ANTONY AND CLEOPATRA

  edited by John Wilders

  AS YOU LIKE IT

  edited by Juliet Dusinberre

  THE COMEDY OF ERRORS

  edited by R.A. Foakes*

  CORIOLANUS

  edited by Peter Holland

  CYMBELINE

  edited by J.M. Nosworthy*

  DOUBLE FALSEHOOD

  edited by Brean Hammond

  HAMLET

  edited by Ann Thompson and Neil Taylor

  JULIUS CAESAR

  edited by David Daniell

  KING HENRY IV PART 1

  edited by David Scott Kastan

  KING HENRY IV PART 2

  edited by James C. Bulman

  KING HENRY V

  edited by T.W. Craik

  KING HENRY VI PART 1

  edited by Edward Burns

  KING HENRY VI PART 2

  edited by Ronald Knowles

  KING HENRY VI PART 3

  edited by John D. Cox and Eric Rasmussen

  KING HENRY VIII

  edited by Gordon McMullan

  KING JOHN

  edited by E.A.J. Honigmann*

  KING LEAR

  edited by R.A. Foakes

  KING RICHARD II

  edited by Charles Forker

  KING RICHARD III

  edited by James R. Siemon

  LOVE’S LABOUR’S LOST

  edited by H.R. Woudhuysen

  MACBETH

  edited by Sandra Clark and Pamela Mason

  MEASURE FOR MEASURE

  edited by J.W. Lever*

  THE MERCHANT OF VENICE

  edited by John Drakakis

  THE MERRY WIVES OF WINDSOR

  edited by Giorgio Melchiori

  A MIDSUMMER NIGHT’S DREAM

  edited by Harold F. Brooks*

  MUCH ADO ABOUT NOTHING

  edited by Claire McEachern

  OTHELLO

  edited by E.A.J. Honigmann

  PERICLES

  edited by Suzanne Gossett

  SHAKESPEARE’S POEMS

  edited by Katherine Duncan-Jones and H.R. Woudhuysen

  ROMEO AND JULIET

  edited by René Weis

  SHAKESPEARE’S SONNETS

  edited by Katherine Duncan-Jones

  THE TAMING OF THE SHREW

  edited by Barbara Hodgdon

  THE TEMPEST, Revised

  edited by Virginia Mason Vaughan and Alden T. Vaughan

  TIMON OF ATHENS

  edited by Anthony B. Dawson and Gretchen E. Minton

  TITUS ANDRONICUS

  edited by Jonathan Bate

  TROILUS AND CRESSIDA, Revised

  edited by David Bevington

  TWELFTH NIGHT

  edited by Keir Elam

  THE TWO GENTLEMEN OF VERONA

  edited by William C. Carroll

  THE TWO NOBLE KINSMEN, Revised

  edited by Lois Potter

  THE WINTER’S TALE

  edited by John Pitcher

  * Second series

  KING

  HENRY IV

  PART 2

  Edited by

  JAMES C. BULMAN

  Bloomsbury Arden Shakespeare

  An Imprint of Bloomsbury Publishing Plc

  The Editor

  James C. Bulman holds the Henry B. and Patricia Bush Tippie Chair in English at Allegheny College. A general editor of the Shakespeare in Performance series for Manchester University Press, he has written a stage history of Merchant of Venice (1991) and edited anthologies on Shakespeare on Television (1988), Shakespeare, Theory, and Performance (1996) and Shakespeare Re-

  Dressed: Cross-Gender Casting in Contemporary Performance (2007). His other books include The Heroic Idiom of Shakespearean Tragedy (1985), Comedy from Shakespeare to Sheridan (with A.R. Braunmuller, 1986) and the forthcoming Oxford Handbook of Shakespeare and Performance. He is a former President of the Shakespeare Association of America.

  For Beth

  CONTENTS

  General editors’ preface

  Preface

  Introduction

  The problem of being second-born

  A two-part play?

  The play in performance

  Part Two as an autonomous play

  The rise of the two-part play

  The play as part of a cycle

  Falstaff versus history

  Falstaff and his friends

  Falstaff and the decline of festivity

  Falstaff as Oldcastle

  The tavern world: wordplay as social critique

  Falstaff in Gloucestershire

  The rejection of Falstaff

  The play as chronicle history

  The Prelate’s Rebellion

  The royal family saga

  The shaping of history: chronicles as sources

  The shaping of history: Famous Victories as source

  Dating the play

  The evidence: Oldcastle revisited

  The Epilogue(s)

  Editorial choices

  KING HENRY IV, PART TWO

  Scene 1.1

  Scene 1.2

  Scene 2.1

  Scene 2.2

  Scene 2.3

  Scene 2.4

  Scene 3.1

  Scene 3.2

  Scene 4.1

  Scene 4.2

  Scene 4.3

  Scene 5.1

  Scene 5.2

  Scene 5.3

  Scene 5.4

  Scene 5.5

  Appendix 1: The text

  The Quarto

  The Folio

  F as a literary text

  Was F indebted to Q?

  The printing of F

  Appendix 2: Performing conflated texts of Henry IV

  Appendix 3: Casting the play

  Doubling chart

  Abbreviations and references

  Abbreviations used in notes

  Works by and partly by Shakespeare

  Editions of Shakespeare collated

  Other works cited or consulted

  GENERAL EDITORS’ PREFACE

  The earliest volume in the first Arden series, Edward Dowden’s Hamlet, was published in 1899. Since then the Arden Shakespeare has been widely acknowledged as the pre-eminent Shakespeare edition, valued by scholars, students, actors and ‘the great variety of readers’ alike for its clearly presented and reliable texts, its full annotation and its richly informative introductions.

  In the third Arden series we seek to maintain these well-established qualities and general characteristics, preserving our predecessors’ commitment to presenting the play as it has been shaped in history. Each volume necessarily has its own particular emphasis which reflects the unique possibilities and problems posed by the work in question, and the series as a whole seeks to maintain the highest standards of scholarship, combined with attractive and accessible presentation.

  Newly edited from the original documents, texts are presented in fully modernized form, with a textual apparatus that records all substantial divergences from those early printings. The notes and introductions focus on the conditions and possibilities of meaning that editors, critics and performers (on stage and screen) have discovered in the play. While building upon the rich history of scholarly activity that has long shaped our understanding of Shakespeare’s works, this third series of the Arden Shakespeare is enlivened by a new generation’s encounter with Shakespeare.

  THE TEXT

  On each page of the play itself, readers will find a passage of text supported by commentary and textual notes. Act and scene divisions (seldom present in the early editions and often the product of eighteenth-century or later scholarship) have been retained for ease of reference, but have been given less prominence than in previous series. Editorial indications of location of the action have been removed to the textual notes or commentary.

  In the text itself, elided forms in the early texts are spelt out in full in verse lines wherever they indicate a usual late twentieth-century pronunciation that requires no special indication and wherever they occur in prose (except where they indicate non-standard pronunciation). In verse speeches, marks of elision are retained where they are necessary guides to the scansion and pronunciation of the line. Final -ed in past tense and participial forms of verbs is always printed as -ed, without accent, never as -’d, but wherever the required pronunciation diverges from modern usage a note in the commentary draws attention to the fact. Where the final -ed should be given syllabic value contrary to modern usage, e.g.

  Doth Silvia know that I am banished?

  (TGV 3.1.214)

  the note will take the form

  214 banished banishèd

  Conventional lineation of divided verse lines shared by two or more speakers has been reconsidered and sometimes rearranged. Except for the familiar Exit and Exeunt, Latin forms in stage directions and speech prefixes have been translated into English and the original Latin forms recorded in the textual notes.

  COMMENTARY AND TEXTUAL NOTES

  Notes in the commentary,
for which a major source will be the Oxford English Dictionary, offer glossarial and other explication of verbal difficulties; they may also include discussion of points of interpretation and, in relevant cases, substantial extracts from Shakespeare’s source material. Editors will not usually offer glossarial notes for words adequately defined in the latest edition of The Concise Oxford Dictionary or Merriam-Webster’s Collegiate Dictionary, but in cases of doubt they will include notes. Attention, however, will be drawn to places where more than one likely interpretation can be proposed and to significant verbal and syntactic complexity. Notes preceded by *discuss editorial emendations or variant readings.

  Headnotes to acts or scenes discuss, where appropriate, questions of scene location, the play’s treatment of source materials, and major difficulties of staging. The list of roles (so headed to emphasize the play’s status as a text for performance) is also considered in the commentary notes. These may include comment on plausible patterns of casting with the resources of an Elizabethan or Jacobean acting company and also on any variation in the description of roles in their speech prefixes in the early editions.

  The textual notes are designed to let readers know when the edited text diverges from the early edition(s) or manuscript sources on which it is based. Wherever this happens the note will record the rejected reading of the early edition(s) or manuscript, in original spelling, and the source of the reading adopted in this edition. Other forms from the early edition(s) or manuscript recorded in these notes will include some spellings of particular interest or significance and original forms of translated stage directions. Where two or more early editions are involved, for instance with Othello, the notes also record all important differences between them. The textual notes take a form that has been in use since the nineteenth century. This comprises, first: line reference, reading adopted in the text and closing square bracket; then: abbreviated reference, in italic, to the earliest edition to adopt the accepted reading, italic semicolon and noteworthy alternative reading(s), each with abbreviated italic reference to its source.

  Conventions used in these textual notes include the following. The solidus / is used, in notes quoting verse or discussing verse lining, to indicate line endings. Distinctive spellings of the base text follow the square bracket without indication of source and are enclosed in italic brackets. Names enclosed in italic brackets indicate originators of conjectural emendations when these did not originate in an edition of the text, or when the named edition records a conjecture not accepted into its text. Stage directions (SDs) are referred to by the number of the line within or immediately after which they are placed. Line numbers with a decimal point relate to centred entry SDs not falling within a verse line and to SDs more than one line long, with the number after the point indicating the line within the SD: e.g. 78.4 refers to the fourth line of the SD following line 78. Lines of SDs at the start of a scene are numbered 0.1, 0.2, etc. Where only a line number precedes a square bracket, e.g. 128], the note relates to the whole line; where SD is added to the number, it relates to the whole of a SD within or immediately following the line. Speech prefixes (SPs) follow similar conventions, 203 SP] referring to the speaker’s name for line 203. Where a SP reference takes the form, e.g. 38+ SP, it relates to all subsequent speeches assigned to that speaker in the scene in question.

  Where, as with King Henry V, one of the early editions is a so-called ‘bad quarto’ (that is, a text either heavily adapted, or reconstructed from memory, or both), the divergences from the present edition are too great to be recorded in full in the notes. In these cases, with the exception of Hamlet, which prints an edited text of the Quarto of 1603, the editions will include a reduced photographic facsimile of the ‘bad quarto’ in an appendix.

  INTRODUCTION

  Both the introduction and the commentary are designed to present the plays as texts for performance, and make appropriate reference to stage, film and television versions, as well as introducing the reader to the range of critical approaches to the plays. They discuss the history of the reception of the texts within the theatre and scholarship and beyond, investigating the interdependency of the literary text and the surrounding ‘cultural text’ both at the time of the original production of Shakespeare’s works and during their long and rich afterlife.

  PREFACE

  Like Falstaff, I have heard the chimes at midnight. Anyone who has edited Henry IV, Part Two has undoubtedly heard them repeatedly, for the play’s textual problems are complicated enough to keep an editor up all night. Yet my editorial tribulations have been lightened by the generosity of many colleagues and friends whose mention here cannot begin to relieve my indebtedness to them. I want first to remember two mentors who will hear the chimes no more, but whose thoughtful guidance taught me to take nothing for granted in preparing a text for publication, and whose exemplary standards served as a model of intellectual rigour: James Nosworthy, my tutor at the University of Wales; and Eugene Waith, my doctoral supervisor at Yale University.

  More recently, I have benefited from the wisdom of Arden editors whose advice was neither shallow nor silent. Richard Proudfoot, who asked me to undertake this project longer ago than I wish to remember, wryly warned me that I might find editing the play a bit difficult. I’ve often marvelled at his understatement. George Walton Williams, a punctilious textual scholar with particular expertise in the problems of Part Two, let no glib assumption go unchallenged and thus saved me from making countless errors. In fairness, this play should have been his to edit. And David Kastan, my general editor, proved to be a most discerning reader and stylist whose keen eye, encouragement and unfailing good sense kept my editing on track long after his patience should have run out. All three of these editors share a passion for Shakespeare’s histories that I have found inspiring.

  In my first year of editing the play, the late Charles Forker, who prepared the magisterial edition of Richard II for Arden 3, gave me expert advice on how to approach collation; and the work of previous editors of Part Two – especially A.R. Humphreys, Giorgio Melchiori and René Weis – influenced my own work on the play at every turn, setting out the terms of scholarly debate with incisive clarity. My notes in the commentary cannot begin to acknowledge my indebtedness to them.

  My gratitude to the Arden publisher, Margaret Bartley, is boundless. Queen of tact and diplomacy, she clothed threats in a velvet glove, extended a helping hand – or a deadline – when I had no right to expect that she would, and eventually gave her assent to a volume that had grown to a Falstaffian girth. I consider myself extraordinarily fortunate to have had her as my publisher. And Jane Armstrong’s guidance through the final phases of readying the manuscript for publication has proved invaluable. When told that she was the best copy editor in Shakespeare publishing today, I had no idea how meticulous her editing would be, how keen her eye for detail or how discerning her judgement. It has been a pleasure to work with her; and if errors remain, they are all mine, not hers.

  One benefit of taking so long to complete this edition is that I have had the time to discover complex patterns in the history of scholarship about the play, its texts and its performance history. Procrastination, therefore (or so I try to persuade myself), has deepened my account of the play in the critical introduction and the appendices. Some of my discoveries have already appeared in print, and I am grateful to the following editors for having invited me to contribute essays to their volumes: Mick Hattaway (The Cambridge Companion to Shakespeare’s History Plays), Peter Holland (Shakespeare Survey 63), Randall Martin and Katherine Scheil (Shakespeare / Adaptation / Modern Drama) and Barbara Mujica (Shakespeare and the Spanish Comedia). I have also presented work in progress at a number of conferences. I am grateful to the late Reg Foakes for allowing me to audition material at his seminar on editing at the International Shakespeare Congress; to Ann Thompson for organizing a Shakespeare Association of America (SAA) seminar for which I wrote a paper on the play’s textual transmission; to Rob Ormsby and Don Weingust for asking me to present my work on conflated texts of the two Henry IV plays at a meeting of the American Society for Theater Research; to Suzanne Gossett and Jeff Masten for their astute criticism of a paper I wrote for Timothy Billings’s SAA seminar on glossing; to the members of my own SAA seminar on 2H4, in particular Jonathan Baldo and Will Sharpe, whose insightful work is cited in the Introduction; and to the members of the Columbia University Shakespeare Seminar for inviting me to share a history of the (mis)fortunes of Falstaff in performance with them.