Shakespeare’s Ear Entrances/Exits/Scenic Composition

What is a scene? According to the Oxford English Dictionary: 1. The stage of a Greek or Roman theatre, including the platform on which the actors stood, and the structure which formed the background (usually representing the outside of a house or temple). […] 5 a. A subdivision of an act of a play (or of a short play which is not divided into acts), marked by the entrance or departure of one or more actors (and, in romantic or non-classic drama, often by a change of locale). As the OED notes, ‘In editions of the Roman dramatists, and of the French classic dramatists, the entrance or exit of any actor makes a new numbered ‘scene’. In the English drama, on the other hand, the ‘scene’ is a distinct subdivision of the act, marked by the fall of the curtain or the leaving of the stage empty’.

The ‘Platt’ (or Plot) of The Second Part of the Seven Deadly Sins (c ?). Image from

From Ben Jonson’s Mortimer His Fall (second Folio, ): “Hee dy’d, and left it unfinished.” Image from wyck.com wyck.com

What is a scene in Shakespeare? Many of the early quarto printings of Shakespeare’s plays include no numberings of acts and scenes at all; the 1623 Folio, however, divides most (though not all) of his plays into acts and scenes. Are scene divisions evident in performance? Yes and no… The audience do not experience the play as discrete scenes but as a continuous flow of action. In 1 Henry IV, for example, the action from 5.2 onwards all takes place in the same fictional location, and in real time. This has resulted in some anomalies in scene numbering in modern editions…

Textual anomalies 2.2, first quarto (1598) – the Oxford/Norton editors begin 2.3 here. See internetshakespeare.uvic.ca for this and other page scans of early printed Shakespearean texts.internetshakespeare.uvic.ca

Textual anomalies 5.2, first Folio (1623) – the Oxford/Norton editors begin 5.3 here.

Textual anomalies 3.4 to 4.1, first quarto (1598). The first Folio contains more stage directions.

Textual anomalies 5.1, first quarto (1598, left) and first Folio (1623, right). Most editors insert an ‘Exit Prince Henry’ before or during the opening part of Falstaff’s speech.

Patterns: scenes Identifying patterns in the structure of a play is often the first step in an analysis of its scenic composition. One might start with a scene analysis:

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x NB – this chart uses the Folio scene divisions, not those of the Oxford/Norton editors.

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

Title page, first quarto (1598). Patterns: scenes This trifold structure is evident on the quarto’s title page (left). [Note the absence of ‘Part One’, or other words to that effect.] The play was titled The Hotspur when it was presented at court in

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

Patterns: staying offstage We might observe from the chart that significant characters – not least the King himself – spend large swathes of the play offstage. KING HENRY. Had I so lavish of my presence been, So common-hackneyed in the eyes of men, So stale and cheap to vulgar company, Opinion, that did help me to the crown, Had still kept loyal to possession, And left me in reputeless banishment, A fellow of no mark nor likelihood. ( ) The King suggests that ‘being daily swallowed by men’s eyes’ was his predecessor’s downfall (3.2.70). Northumberland completely disappears from the play after just one scene (to resurface in Part 2). Hotspur on his father’s absence: HOTSPUR. I rather of his absence make this use: It lends a lustre and more great opinion, A larger dare to our great enterprise, Than if the Earl were here… ( )

Patterns: ‘French scenes’ There is potentially even more to be discovered by dividing a scene with multiple entrances and exits into ‘French scenes’. 5.2 (Folio numbering), for example, would be given thus: 5.2a5.2b5.2c5.2d5.2e5.2f5.2g5.2h5.2i5.2j5.2k5.2l WORCESTERxxxxxx? VERNONxxxxxx? HOTSPURxxxxx?x DOUGLASxxxx?xx MESSENGER 1xx? MESSENGER 2x? KING HENRYx SIR WALTER BLUNT?x[x] FALSTAFF?xxx PRINCE HENRY?x SOLDIERSx

Patterns: talking to the audience Only three characters get soliloquies in this play: Hal, Falstaff, and Hotspur: 1.2: Hal (‘I know you all…’) 2.2: Falstaff (‘I am accursed to rob in that thief’s company…’ [arguably not a soliloquy]) 2.3 [2.4 in Oxford]: Hotspur (‘“But for mine own part…”’) 4.2: Falstaff (‘If I be not ashamed of my soldiers…’) 5.1: Falstaff (‘’Tis not due yet…’ [arguably not a soliloquy]) 5.2 [5.3 in Oxford]: Falstaff (‘Though I could scape shot-free at London…’ and ‘Well, if Percy be alive…’) 5.3 [5.4 in Oxford]: Hal (‘For worms, brave Percy…’ [arguably not a soliloquy]) 5.3 [5.4 in Oxford]: Falstaff (‘Embowelled…’, and ‘I’ll follow, as they say, for reward…’)

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

‘Harry to Harry’ The historical Henry Percy was over 20 years older than Prince Henry, and was not killed by him at Shrewsbury. Why does Shakespeare rewrite history in this respect? The King sets up a parallel between the characters in the first scene: KING HENRY. O, that it could be proved That some night-tripping fairy had exchanged In cradle clothes our children where they lay, And called mine Percy, his Plantagenet! Then would I have his Harry, and he mine. ( )

‘Harry to Harry’ The two Harrys mock one another: Hotspur characterises Hal as ‘that same sword-and-buckler Prince of Wales’ ( ) and as ‘the nimble-footed madcap Prince of Wales’ (4.1.95); ‘never did I hear / Of any prince so wild a liberty’ ( ). Hal actually impersonates Hotspur and Kate (just after we saw them behave rather similarly in the previous scene): PRINCE HARRY. I am not yet of Percy’s mind, the Hotspur of the North – he that kills me some six or seven dozen of Scots at a breakfast, washes his hands, and says to his wife, “Fie upon this quiet life! I want work.” ( [Oxford/Norton numbering])

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

‘Harry to Harry’ PRINCE HARRY. I will redeem all this on Percy’s head ( ) HOTSPUR. Harry to Harry shall, hot horse to horse, Meet and ne’er part till one drop down a corpse.( ) Hal proposes that he should, ‘to save the blood on either side, / Try fortune with him in a single fight’ ( ) HOTSPUR. O, would the quarrel lay upon our heads, And that no man might draw short breath today But I and Harry Monmouth! ( ) PRINCE HARRY. …think not, Percy, To share with me in glory any more. Two stars keep not their motion in one sphere, Nor can one England brook a double reign Of Harry Percy and the Prince of Wales. ( [Oxford/Norton numbering]) The meeting of the Harrys, then, is anticipated for almost the whole play:

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

The Court and Eastcheap When a ‘nobleman of the court’ comes to Eastcheap, he remains offstage: FALSTAFF. What doth gravity out of his bed at midnight? Shall I give him his answer? PRINCE HENRY. Prithee do, Jack. FALSTAFF. Faith, and I’ll send him packing. […] FALSTAFF. There’s villainous news abroad. Here was Sir John Bracy from your father; you must to the court in the morning. ( , [Oxford/Norton numbering]) The sheriff’s entrance into this scene is likewise long-delayed; tellingly, Hal switches to verse upon the sheriff’s entrance.

Juxtaposition: time 1.1 to 1.2, first Folio (1623)

Juxtaposition: time 3.2 to 3.3, first quarto (1598)

Juxtaposition: time Time resurfaces in Eastcheap at the end of 3.3: Hal begins to control the entrances and exits of the figures around him, as we saw the King do earlier in the play This is immediately undercut, though, by Falstaff’s call for his breakfast.

Juxtaposition: honour The word ‘honour’ and related variants (‘honours’, ‘dishonour’, ‘honourable’ etc.) occur 32 times in the play. The King brings it up first, in relation to Hotspur’s prisoners: KING HENRY IV. Yea, there thou mak’st me sad, and mak’st me sin In envy that my Lord Northumberland Should be the father to so blest a son – A son who is the theme of honour’s tongue […] Whilst I by looking on the praise of him See riot and dishonour stain the brow Of my young Harry. ( )

Juxtaposition: honour 1.3 makes it very clear that Hotspur sees his rebellion as an exercise in honour: HOTSPUR. No; yet time serves wherein you may redeem Your banished honours, and restore yourselves Into the good thoughts of the world again, Revenge the jeering and disdained contempt Of this proud King… ( ) HOTSPUR. By heaven, methinks it were an easy leap To pluck bright honour from the pale-faced moon… ( ) The Earl of Douglas’s first line, spoken to his former adversary, now ally, Hotspur: ‘Thou art the king of honour.’ (4.1.10) Hotspur says he seeks to overthrow the King because he ‘Disgraced me in my happy victories’ (4.3.99).

Juxtaposition: honour Hal, associated with ‘dishonour’ from his first mention, starts to become more concerned with his own honour over the course of the play. As Hal prepares to leave Eastcheap and repay the stolen money, he says to Peto: PRINCE HARRY. I’ll to the court in the morning. We must all to the wars, and thy place shall be honourable. ( [Oxford/Norton numbering])

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

Juxtaposition: honour The King on Hotspur, as he shames Hal: KING HENRY. He doth fill fields with harness in the realm, Turns head against the lion’s armed jaws, And, being no more in debt to years than thou, Leads ancient lords and reverend bishops on To bloody battles and to bruising arms. What never-dying honour hath he got Against renowned Douglas! ( ) In fact, Hotspur’s honour is central to Hal’s redemption: PRINCE HARRY. For every honour sitting on his helm, Would they were multitudes, and on my head My shames redoubled; for the time will come That I shall make this northern youth exchange His glorious deeds for my indignities. ( ) BUT…

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x

Juxtaposition: honour Falstaff provides an increasingly sceptical view of ‘honour’ as the play progresses. FALSTAFF. Can honour set-to a leg? No. Or an arm? No. Or take away the grief of a wound? No. Honour hath no skill in surgery, then? No. What is honour? A word. What is in that word “honour”? What is that “honour”? Air. ( ) This soliloquy segues straight into 5.2, the scene of Worcester’s duplicity. This sceptical undercurrent lurks beneath one of the most important stage directions in the play: They embrace; the Trumpets sound; the King entereth with his power; alarum unto the battle. Then enter Douglas, and Sir Walter Blunt. (Folio s.d., in 5.2)

Juxtaposition: honour [Clip from 2010 Globe production]

Juxtaposition: honour Hotspur on the dead Sir Walter Blunt: ‘A gallant knight he was’ ( [Oxford/Norton numbering]). Falstaff on the same: ‘Soft, who are you? – Sir Walter Blunt. There’s honour for you! […] I like not such grinning honour as Sir Walter hath. Give me life…’ ( , 58-9 [Oxford/Norton numbering]). These contrasting attitudes share the stage at the play’s climax as Hal and Hotspur, and Falstaff and Douglas, fight simultaneously in the next scene (5.3 in Folio, 5.4 in Oxford/Norton).

Juxtaposition: class 1.3 to 2.1, first quarto (1598)

Juxtaposition: class Compare Hotspur’s hunger for the ‘sport’ of battle at the end of 1.3 with the carriers’ concern for the price of oats as 2.1 begins. Is it significant that the increasingly isolated Falstaff’s rabble of ‘dishonourable’ soldiers – whom he describes as ‘food for powder’ – includes ‘revolted tapsters, and ostlers trade-fallen’ (4.2.31, 65, 29)? A final thought about gender…

KING HENRYxxxxxxx PRINCE HALxxxxxxxxxx WESTMORLANDxxxxxx NORTHUMBERLANDx HOTSPURxxxxxxx LADY PERCYxx WORCESTERxxxxxxx MORTIMERx GLENDOWERx DOUGLASxxxx LADY MORTIMERx ARCHBISHOPx FALSTAFFxxxxxxxx POINSxxx BARDOLPHxxxx PETOxxx HOSTESSxx GADSHILLxxx CARRIERSx[x]x