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KING HENRY THE EIGHTH.

PRELIMINARY REMARKS.

It is the opinion of Johnson, Steevens, and Malone, that this play was written a short time before the death of queen Elizabeth, which happened on the 24th of March, 1602–3. The eulogium on king James, which is blended with the panegyric of Elizabeth, in the last scene, was evidently a subsequent insertion, after the succession of the Scottish monarch to the throne; for Shakspeare was too well acquainted with courts, to compliment, in the lifetime of queen Elizabeth, her presumptive successor ; of whom, history informs us, she was not a little jealous. That the prediction concerning king James-was added after the death of the queen, is still more clearly evinced, as Dr. Johnson has remarked, by the awkward manner in which it is connected with the foregoing and subsequent lines.

After having lain by some years, unacted, probably on account of the costliness of its exhibition, it was revived in 1613, under the title of “ All is True," with new decorations, and a new Prologue and Epilogue; and this revival took place on the very day, being St. Peter's, on which the Globe Theatre was burnt down. The fire was occasioned, as it is said, by the discharge of some small pieces of ordnance called chambers, in the scene where king Henry is represented as arriving at cardinal Wolsey's gate at Whitehall, one of which, being injudiciously managed, set fire to the thatched roof of the theatre.* Dr. Johnson first suggested that Ben

The circumstance is recorded by the continuator of Stowe; and in a MS. letter of Thomas Lorkin to sir Thomas Puckering, dated London, this last of June, 1613, it is thus mentioned :-“ No longer since than yesterday, while Bourbage his company were acting at the Globe the play of Henry VIII., and there, shooting of certayne chambers in way of triumph, the fire catched,” &c.—MS, Harl. 7002.

So in a letter from John Chamberlaine to sir Ralph Winwood, dated London, 8th July, 1613:—“But the burning of the Globe, or Playhouse, on the Bankside, on St. Peter's day, cannot escape you ; which fell out by a peale of chambers (that I know not upon what occasion were to be used in the play), the tampin or stopple of one of them lighting in the thatch that covered the house, burned it to the ground in less than two hours, with a dwelling-house adjoining; and it was a great marvaile and faire grace of God that the people had so little harm, having but two narrow doors to get out at."-Winwood's Memorials, vol. iii. p. 469.

The event is also recorded by sir Henry Wotton, in his letter of the 2d of July, 1613, where

Jonson might have supplied the Prologue and Epilogue to the play upon the occasion of its revival. Dr. Farmer, Steevens, and Malone, support his opinion; and even attribute to him some of the passages of the play.

Mr. Gifford has controverted this opinion of Jonson having been the author of the Prologue and Epilogue of this play, and thinks the play which was performed under the title of All is True was a distinct performance, and not Shakspeare's Henry the Eighth. To this it has been answered,—" That the Prologue, which has always accompanied Shakspeare's drama from its first publication in 1623, manifestly and repeatedly alludes to the title of the play which was represented on the 29th of June, 1613, and which we know to have been founded on the history of king Henry the Eighth, affords a strong proof of their identity, as appears by the following passages :

Such as give
Their money out of hope they may believe,
May here find truth too,' &c.

Gentle readers know
To rank our chosen truth with such a show
As fool and fight is,' &c.
"To make that only true we now intend.'

And though sir Henry Wotton mentions it as a new play, we have Stowe and Lorkin who call it. The play of Henry the Eighth.”

“ That the Prologue and Epilogue were not written by Shakspeare, is, I think, clear from internal evidence,” says Mr. Boswell; but it does not follow that they were the production of Ben Jonson's pen. That gentleman has clearly shown that there was no intention of covertly sneering at Shakspeare's other works in this Prologue; but that this play is opposed to a rude kind of farcical representation on the same subject by Samuel Rowley. This play, or interlude, which was printed in 1605, is probably referred to in the following entry on the books of the Stationers' Company :-“ Nathaniel Butter, Feb. 12, 1604, That he get good allowance for the Enterlude of King Henry VIII. before he begin to print it; and with the warden's hand to yt, he is to have the same for his copy.” Stowe has observed that “ Robert Greene had written somewhat on the same story;" but there is no evidence that it was in a dramatic form: it may have been something historical, and not by the dramatic poet of that name; as Stowe cites the authority of Robert Greene, with Robert Brun, Fabian, &c., in other places of his Chronicle. This historical drama comprises a period of twelve years, comm

mencing in the twelfth year of king Henry VIII. (1521), and ending with the

he says, it was at "a new play, acted by the king's players at the Bank's Side, called All is True, representing some principal pieces of the reign of Henry the Eighth.”—Rcliquiæ Wotton, p. 425, Ed. 2d.

christening of Elizabeth in 1533. The Poet has deviated from history in placing the death of queen Katharine before the birth of Elizabeth, for in fact Katharine did not die till 1536. In constructing his scenes he has availed himself largely of the eloquent narrative of Wolsey's faithful servant and biographer, George Cavendish, as copied by the Chronicles; and, indeed, the pathos of the cardinal's dying scene is almost as effective in the simple narrative of Cavendish as in the play. The fine picture which the Poet has drawn of the suffering and defenceless virtue of queen Katharine, and the just and spirited, though softened, portrait he has exhibited of the impetuous and sensual character of Henry, are above all praise. It has been justly said that “this play contains little action or violence of passion; yet it has considerable interest of a more mild and thoughtful cast, and some of the most striking passages that are to be found in the Poet's works.”

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PERSONS REPRESENTED.

KING HENRY THE EIGHTH.
CARDINAL Wolsey. CardinaL CAMPEIUS.
Capucius, Ambassador from the Emperor Charles V.
CRANMER, Archbishop of Carterbury.
Duke of Norfolk. Duke of Buckingham.
Duke of Suffolk. Earl of Surrey.
Lord Chamberlain. Lord Chancellor.
GARDINER, Bishop of Winchester.
Bishop of Lincoln
LORD ABERGAVENNY. LORD SANDS.
Sir Henry GuildFORD. Sir Thomas LOVELL.
Sir ANTHONY Denny. Sir Nicholas Vaux.
Secretaries to Wolsey.
CROMWELL, Servant to Wolsey.
GRIFFITH, Gentleman Usher to Queen Katharine.
Three other Gentlemen.
Doctor Butts, Physician to the King.
Garter, King at Arms.
Surveyor to the Duke of Buckingham.
BRANDON, and a Sergeant at Arms.
Door-keeper of the Council Chamber. Porter, and his Man.
Page to Gardiner. A Crier.

Queen KATHARINE, Wife to King Henry, afterwards divorced.
ANNE Bullen, her Maid of Honor; afterwards Queen.
An old Lady, Friend to Anne Bullen.
PATIENCE, Woman to Queen Katharine.

Several Lords and Ladies in the Dumb Shows ; Women attending

upon the Queen; Spirits, which appear to her; Scribes, Officers, Guards, and other Attendants.

SCENE, chiefly in London and Westminster; once, at Kimbolton.

KING HENRY THE EIGHTH.

PROLOGUE.

I COME no more to make you laugh ; things now, That bear a weighty and a serious brow, Sad, high, and working, full of state and woe, Such noble scenes as draw the eye to flow, We now present. Those that can pity, here May, if they think it well, let fall a tear; The subject will deserve it. Such as

give Their money out of hope they may believe, May here find truth too. Those that come to see Only a show or two, and so agree, The play may pass; if they be still, and willing, I'll undertake, may see away their shilling Richly in two short hours. Only they That come to hear a merry, bawdy play, A noise of targets, or to see a fellow In a long, motley coat, guarded with yellow, Will be deceived; for, gentle hearers, know, To rank our chosen truth with such a show As fool and fight is, beside forfeiting Our own brains, and the opinion that we bring, (To make that only true we now intend,) Will leave us never an understanding friend. Therefore, for goodness' sake, and as you are known The first and happiest ? hearers of the town, Be sad, as we would make ye: think ye see The very persons of our noble story,

1 i. e. faced or trimmed. 2 Happiest being here used in a Latin sense for propitious or favorable.

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