By Stephen Longstaffe
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Additional info for 1 Henry IV: A critical guide
84 Elizabeth Montagu, however, defended this combination. 85 By the twentieth century, despite the attention lavished on the play’s comic elements, it was more commonly defined as a history play, reinforced by H. B. 86 The definition of a ‘history’ play was a recurrent question in earlytwentieth-century criticism on Shakespeare’s history plays more generally. 88 More recently, Paul Dean took the Henry IV plays as a case study to demonstrate the ways in which two-part Elizabethan history plays force recognition of the limitations of the descriptive categories of chronicle and romance.
85). 87. Felix E. Schelling, The English Chronicle Play: A Study in the Popular Historical Literature Environing Shakespeare (London: Macmillan, 1902). 88. Ronald R. MacDonald, ‘Uneasy Lies: Language and History in Shakespeare’s Lancastrian Tetralogy’, Shakespeare Quarterly, 35 (1984), 22–39. 89. 4 (1990), 410–30 (p. 426). 90. Bradley, ‘Rejection’, p. 1 (1965), 63–80. 91. Thomas Courtenay, Commentaries on the Historical Plays of Shakespeare (London: Henry Colbourn, 1840), Volume 1, pp. 75–118. 92.
76–88; Kristen Poole, ‘Saints Alive! 1 (1995), 47–75. 11. William Shakespeare, Poems (London: Tho. Cotes, 1640), sig. A4r. 12. Francis Beaumont and John Fletcher, Comedies and Tragedies (London: Humphrey Robinson and Humphrey Moseley, 1647), sig. F2v. 13. Margaret Cavendish, ‘Letter CXIII’ (1664), in Women Reading Shakespeare 1660– 1900: An Anthology of Criticism, ed. Ann Thompson and Sasha Roberts (Manchester: Manchester University Press, 1997), pp. 12–13. See also Marianne Novy, ‘Women’s Re-visions of Shakespeare 664–1988’, in Women’s Re-visions of Shakespeare: On the Responses of Dickinson, Woolf, Rich, H.