PART II
I was then Sir Dagonet in Arthur’s show. III, 1, 300.
Apart from dramatic performances, there existed in Shakespeare’s time several societies, which occasionally presented spectacular shows elaborately prepared, in order to amuse a number of spectators. These were sometimes held at the Court, and were generally of the nature of dumb-shows or masques, or formed a kind of pageant. These shows originated from the guilds of mediæval times, in which the craftsmen of the different companies gave an entertainment in the streets of important towns on Corpus Christi and other festival days.
In this particular show, Sir Dagonet is Arthur’s fool in the story of Trestam de Lyonesse. Arthur’s show was an exhibition of archery by a society of 58 members, which styled itself “The Auncient Order Society, and Unitie laudable of Prince Arthur and his Knights Armory of the Round Table,” and took the names of the knights of old romance. The meeting of the society was held at Mile End Green.
ACT. STAGE.
And let this world no longer be a stage To feed contention in a lingering act. The rude scene may end. I, 1, 156.
ACTING. SCENE. ARGUMENT.
For all my reign hath been but as a scene Acting that argument. IV, 5, 199.
PLAY.
I was lately here in the end of a displeasing play, to pray your patience for it, and to promise you a better. _Epilogue, line 10._
NINE WORTHIES.
Thou art as valorous as Hector of Troy, and ten times better than the Nine Worthies. II, 4, 239.
VICE.
And now is this Vice’s dagger become a squire. III, 2, 343.
HENRY V
ENTER PROLOGUE.
All modern editions head this opening scene as “Prologue. Enter Chorus.” The First Folio omits the word chorus. In the four subsequent acts, “enter chorus” is used.
CHORUS.
Admit me Chorus to this history.
In ancient Greek plays the chorus consisted of several performers, but in Shakespeare’s time the number is reduced to a single personage, who enters before the beginning of a play and explains or comments upon different events which are to follow in course of the narrative. In reality, he serves the same purpose as the speaker of the prologue. In other passages the word is used as synonymous with prologue, but in this quotation the word bears the original meaning as applied to Attic tragedy, in which the chorus, chanting the choral odes, passed in review the episodes which had taken place upon the stage, and also prepared the audience for scenes which were to follow. The tragic chorus of a Greek play numbered fifteen members, who entered the orchestra (dancing place) three abreast. Between the acts they recited choral odes, accompanied by a dance movement. In the dialogue between the chorus and the actors, only the coryphæus, the leader of the chorus, acted as spokesman.
MORRIS DANCE.
Therefore I say ’tis meet we all go forth To view the sick and feeble parts of France, And let us do it with no show of fear; No, with no more than if we heard that England Were busied with a Whitsun Morris Dance. II, 4, 25.
The Morris Dance was a popular element in the village May games, and, although with no literary associations, it may claim equal popularity with the dumb-shows and motion plays of the sixteenth century. A painted window at Betley, in Staffordshire, has a representation of these village dances, which include six Morris dancers, with a Maypole, a musician, a fool, a crowned man on a hobby horse, a crowned lady with a flower in her hand, and a friar. This window dates from the reign of Edward III. Sometimes, included amongst the dancers, was a dragon, and, no doubt, the rider of the hobby-horse personated St. George. A reference to the hobby-horse occurs in “Hamlet,” where Hamlet exclaims, “O for the hobby-horse is forgot,” referring to the omission of that living property from the show, which was fast becoming obsolete at the end of the sixteenth century. The Morris Dance proper consisted of six personages, each dancer wearing a broad garter below the knee. There are two sets of figures: in one handkerchiefs are carried, in the other short staves are swung and clashed. Sometimes the dancers sing to the air of an old country dance. There is always a fool, who carries a stick with a bladder and a cow’s tail. The music is that of a pipe and tabor, played by one man. The name is a corruption of “Moorish,” and is immediately derived from the Flemish “morriske dans.” The reason for this name is that the performers blacked their faces, but whether they derived the name because of their Moorish appearance or dressed up to represent Moors is undecided.
CUE.
Now we speak upon our cue. And our voice is imperial.
ACT. SCENE. STAGE.
A kingdom for a stage, princes to act And monarchs to behold the swelling scene. _Prologue, line 3._
PLAY.
Gently to hear, kindly to judge our play. _Prologue, line 34._
Linger your patience on, and we’ll digest The abuse of distance; force a play. _Prologue_ II, _line 32._
For if we may, we’ll not offend one stomach with our play. _Prologue_ II, _line 40._
Bardolph and Nym had ten times more valour than this roaring devil i’ the old play, that every one may pare his nails with a wooden dagger. IV, 4, 73.
The devil was supposed to keep his nails unpared from choice, and therefore to pare them was considered an insult. The character of the “Devil” was a feature from the old Miracle and Morality plays.
Edward the Black Prince Who on French ground play’d a tragedy. I, 2, 106.
PLAYHOUSE.
There is the playhouse now, there must you sit. _Prologue_ II, _line 36._
PROLOGUE.
ENTER PROLOGUE. PROLOGUE I.
Prologue, like your humble patience pray. _Prologue_ I, _line 33._
SCENE.
The scene Is now transported, gentles, To Southampton. _Prologue_ II, 34.
Unto Southampton do we shift our scene. _Prologue_ II, _line_
Thus with imagined wing our swift scene flies In motion of no less celerity Than that of thought. _Prologue_ II, _line 1._
And so our scene must to the battle fly. _Prologue_ IV, _line 48._
STAGE.
A kingdom for a stage. _Prologue_ I, _line 3._
Which oft our stage hath shown. _Epilogue_, _line 13._
PROMPT.
Vouchsafe to those that have not read the story That I may prompt them. _Prologue_ V, _line 2._
THIS WOODEN O. SCAFFOLD. COCKPIT.
O, for a Muse of fire, that would ascend The brightest heaven of invention; A kingdom for a stage, princes to act And monarchs to behold the swelling scene, Then should the warlike Harry, like himself, Assume the part of Mars; and at his heels, Leashed in like hounds, should famine, sword and fire Crouch for employment. But pardon, gentles, all The flat, unraised spirits that hath dar’d On this unworthy scaffold to bring forth So great an object; can this cockpit hold The vasting fields of France? or may we cram Within this wooden O the very casques That did affright the air at Agincourt?
SCAFFOLD.
On this unworthy scaffold to bring forth.
In mediæval times the ecclesiastical plays were usually performed in churches or chapels upon temporary scaffolds erected for that purpose. The term survived even to the seventeenth century in the sense of a platform, or stage, on which theatrical performances took place. This is the only instance in which Shakespeare uses the word.
COCKPIT.
The name applied to a theatre and the pit of a theatre, deriving its name from a pit or enclosed area usually of a round formation in which gamecocks are set to fight for sport.
THIS WOODEN O.
All the early Elizabethan theatres were constructed in a circular or octagonal shape. An uncertainty prevails as regards the theatre intended. Quite possibly the reference might be to the newly erected Globe, which was opened in the summer of 1599, about the time “Henry V” was written, and was under the management of Shakespeare and his fellow actors belonging to the Lord Chamberlain’s company. Some critics favour the Curtain Theatre, in Shoreditch, as the original house in which “Henry V” was first produced.
HENRY VI