It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.
Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.
The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.
I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.
Michael Witmore
Director, Folger Shakespeare Library
Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of
Hamlet
, two of
King Lear
,
Henry V
,
Romeo and Juliet
, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.
Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See
The Tempest
, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.
The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from
Othello
: “
If she in chains of magic were not bound,
”), half-square brackets (for example, from
Henry V
: “With
blood
and sword and fire to win your right,”), or angle brackets (for example, from
Hamlet
: “O farewell, honest
soldier.
Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.
Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.
With an underage boy now king of England,
Henry VI, Part 1
, depicts the collapse of England’s role in France, as English nobles fight each other instead of the French and as Joan la Pucelle (Joan of Arc) brings military strength to the French army. The English hero Lord Talbot attacks Orleans, but is defeated by Joan.
In England, Gloucester, Henry VI’s Protector, and Gloucester’s rival Winchester encourage their followers to attack each other in the streets. Richard Plantagenet (later the Duke of York) and Somerset are equally antagonistic, with their followers signaling their allegiance by wearing white or red roses.
Henry VI is crowned in Paris, and orders York and Somerset to fight the French instead of each other. As they squabble, French forces kill Talbot and his son. The English army captures and executes Joan. Suffolk arranges a marriage between Henry and Margaret, daughter of the king of Naples, in order to keep her near him and give him, through her, control of England.
The English
King Henry VI
Lord
Talbot
, afterwards Earl of Shrewsbury
John Talbot
, his son
Duke of
Gloucester
, the king’s uncle, and Lord Protector
Duke of
Bedford
, the king’s uncle, and Regent of France
Duke of
Exeter
, the king’s great-uncle
Cardinal, Bishop of
Winchester
, the king’s great-uncle
Duke of
Somerset
Richard
Plantagenet
, later Duke of
York
, and Regent of France
Earl of
Warwick
Earl of
Salisbury
Earl of
Suffolk
, William de la Pole
Edmund
Mortimer
, Earl of March
Sir William
Glansdale
Sir Thomas
Gargrave
Sir John
Fastolf
Sir William
Lucy
Woodville
, Lieutenant of the Tower of London
Vernon
, of the White Rose or York faction
Basset
, of the Red Rose or Lancaster faction
A
Lawyer
Jailors
to Mortimer
A
Legate
Mayor
of London
Heralds, Attendants, three Messengers, Servingmen in blue coats and in tawny coats, two Warders, Officers, Soldiers, Captains, Watch, Trumpeters, Drummer, Servant, two Ambassadors
The French
Charles
, Dauphin of France
Joan la
Pucelle
, also Joan of Arc
Reignier
, Duke of Anjou and Maine, King of Naples
Margaret
, his daughter
Duke of
Alanson
Bastard of
Orleance
Duke of
Burgundy
General
of the French forces at Bordeaux
Countess
of Auvergne
Her
Porter
Master Gunner
of Orleance
Boy
, his son
Sergeant
of a Band
A
Shepherd
, Pucelle’s father
Drummer, Soldiers, two Sentinels, Messenger, Soldiers, Governor of Paris, Herald, Scout, Fiends accompanying Pucelle