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 a weak, unworldly king on the throne, the English nobility heightens its struggle for power in
Henry VI, Part 2
, leading to the brink of civil war.
At the start of the play, Henry meets his new bride, Margaret, to whom he has been married by proxy through Suffolk, her lover. Henry’s popular and powerful uncle Gloucester, the Lord Protector, soon comes under attack by Margaret, Suffolk, Cardinal Beaufort, and others.
Gloucester’s wife is shamed and exiled and Gloucester himself removed from office, then murdered on Suffolk’s orders. Suffolk is banished, captured by pirates, and killed. Meanwhile, the cardinal dies, raving in madness because of his part in Gloucester’s death.
A Kentish rebel, Jack Cade, leads a short-lived revolt, seizing London before his supporters desert him. He dies fighting in a garden. Soon another revolt emerges: Richard, Duke of York, leads an army against King Henry, who flees back to London. As the play ends, Richard’s forces also move toward London.
King Henry VI
Queen Margaret
Humphrey, Duke of
Gloucester
, the king’s uncle, and Lord Protector
Duchess
of Gloucester, Dame Eleanor Cobham
Cardinal
Beaufort, Bishop of Winchester, the king’s great-uncle
Duke of
Somerset
Duke of
Suffolk
, William de la Pole, earlier Marquess of Suffolk
Buckingham
Lord
Clifford
Young Clifford
, his son
Duke of
York
, Richard Plantagenet
Earl of
Salisbury
Earl of
Warwick
, Salisbury’s son
Edward
, Earl of March
Richard
sons of the Duke of York
Jack
Cade
, leader of the Kentish rebellion
Bevis
John
Holland
Dick
the butcher
Smith
the weaver
Michael
George
followers of Jack Cade
Lord
Scales
Lord
Saye
Sir Humphrey
Stafford
His
Brother
, William Stafford
King Henry’s
supporters against Cade
Sir John
Hume
, a priest
John
Southwell
, a priest
Margery
Jourdain
, a witch
Roger
Bolingbroke
, a conjurer
Spirit
custodians of the Duchess of Gloucester
Thomas
Horner
, the Duke of York’s armorer
Peter
Thump
, Horner the armorer’s man or prentice
Two or Three
Petitioners
Three
Neighbors
of Horner’s
Three
Prentices
, friends of Thump
A
Man
of Saint Albans
Sander
Simpcox
, supposed recipient of a miracle
His
Wife
Mayor
of Saint Albans
A
Beadle
of Saint Albans
Lieutenant
, captain of a ship
Ship’s
Master
Master’s
Mate
Walter
Whitmore
, a ship’s officer
Two
Gentlemen
, prisoners
Messengers
Servants
A
Herald
Post
, or messenger
Two or Three
Murderers
of Gloucester
Vaux
Clerk
of Chartham
Two or Three
Citizens
Alexander
Iden
, a gentleman of Kent
Servants, Guards, Falconers, Attendants, Townsmen of Saint Albans, Bearers, Drummers, Commoners, Rebels, a Sawyer, Soldiers, Officers, Matthew Gough, and Others