King Henry VI Part 1: Third Series
A fresh look at a play usually regarded as the first component of a three-part historical epic, this edition argues that Henry VI Part 1 is a 'prequel', a freestanding piece that returns for ironic and dramatic effect to a story already familiar to its audience. The play's ingenious use of stage space is closely analysed, as is its manipulation of a series of setpiece combats to give a coherent syntax of action. Discussion of the dramatic structure created by the opposing figures of Talbot and Jeanne la Pucelle, and exploration of the critical controversies surrounding the figure of Jeanne, lead to a reflection on the nature of the history play as genre in the 1590s.
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Puzzling at Joan
Shadow and substance
Controversies and inconclusions
Notes on editorial procedures
Names naming and wordplay
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action actors alarum ALENCON Appendix Ard2 arms audience authorship BASTARD Bedford blood Bullough Burgundy Cam2 Capell Captain characters Charles colours commanders context Countess Countess of Auvergne crown Dauphin death Dolphin doth dramatists Duke of Burgundy Duke of York Earl edition Edward Edward III Elizabethan England English Enter Exeter Exeunt Exit Fastolfe father fight figure France French funeral Gloucester Gloucester's Hall Hall's hath Henry's Henslowe heroic historical Holinshed honour House of Lancaster Introduction Jeanne Joan Puzel Joan's John King Henry kyng later Lord Talbot Lucy Margaret Margaret of Anjou meaning MESSENGER modern Mortimer noble Orleans peace performance play play's Pope presented prince Pucelle reading red rose reference Reignier Richard III Richard Plantagenet Rouen Salisbury scene sense sexual Shakespeare soldiers Somerset stage SUFFOLK theatre theatrical thee Theobald thou tion unto VERNON WARWICK Winchester Winchester's word