Main Text

pg 286 pg 287APPENDIX A


The Dauphin/Bourbon variant, which usually involves only the alteration of speech prefixes, has several consequences for the dialogue and structure of this short scene. In my own text, I have generally followed F's wording, except where F seems in error or where variants in Q seem consequences of removing the Dauphin (rather than memorial errors or unauthorized adaptations). Below, I print (1) a modernized and edited text of F, with presumed printing errors corrected but with all emendations bracketed and collated; (2) a similar text of Q.


Critical ApparatusEnter [the] Constable, Orléans, Bourbon, [the] Dauphin, and Rambures

constable O diable!

Critical Apparatus2

orléans O [Seigneur]! Le jour est [perdu], tout est [perdu].

Critical Apparatus3

dauphin Mort [de] ma vie! All is confounded, all.

4Reproach and everlasting shame

5Sits mocking in our plumes.

A short alarum

Critical Apparatus6O méchante fortune! Do not run away.

[Exit Rambures]

constable Why, all our ranks are broke.


dauphin O perdurable shame! Let's stab ourselves.

9Be these the wretches that we played at dice for?


orléans Is this the king we sent to for his ransom?

Critical Apparatus11

bourbon Shame, [an] eternal shame, nothing but shame!

pg 288Critical Apparatus12Let us die in [pride. In] once more, back again!

13And he that will not follow Bourbon now,

Critical Apparatus14Let him go [home], and with his cap in hand

Critical Apparatus15Like a base [leno] hold the chamber door

Critical Apparatus16Whilst [by a] slave no gentler than my dog

17His fairest daughter is contaminated.


constable Disorder that hath spoiled us friend us now.

19Let us on heaps go offer up our lives.

pg 289 20

orléans We are enough yet living in the field

21To smother up the English in our throngs,

22If any order might be thought upon.


bourbon The devil take order now. I'll to the throng.

Critical Apparatus24Let life be short, else shame will be too long.



Critical ApparatusEnter the four French lords[: the Constable, Orléans, Bourbon, and Gebon]
Critical Apparatus1

gebon O diabello!


constable Mort de ma vie!


orléans O what a day is this!

Critical Apparatus4

bourbon O jour [de honte], all is gone, all is lost.


constable We are enough yet living in the field

Critical Apparatus6To smother up the English,

7If any order might be thought upon.


bourbon A plague of order! Once more to the field!

9And he that will not follow Bourbon now,

10Let him go home, and with his cap in hand

11Like a base leno hold the chamber door

Critical Apparatus12[Whilst] by a slave no gentler than my dog

Critical Apparatus13His fairest daughter is [contaminated].


constable Disorder that hath spoiled us right us now.

15Come we in heaps, we'll offer up our lives

Critical Apparatus16Unto these English, or else die with fame.

Critical Apparatus17

[bourbon] Come, come along.

18Let's die with honour; our shame doth last too long.

Exit omnes

Notes Settings


Critical Apparatus
0.1 the … the ] not in f
Critical Apparatus
2 Seigneur] f2; sigueur F1
perdu … perdu ] rowe; perdia … perdie f
Critical Apparatus
3 Mort de] q (du); Mor Dieu f. See commentary.
Critical Apparatus
6 Exit Rambures] f, with more characters on stage, can afford to lose one here.
Critical Apparatus
11 an] F's and does not make much sense: Bourbon is not talking about two different shames ('shame, and eternal shame'). but about one shame, which is then consecutively defined as eternal and all-embracing. The error presupposed is a common one, and Compositor B was not at his best when setting this scene (as witness the evident errors at ll. 2, 12, and 16).
Critical Apparatus
12 pride. In] This edition; not in f. q's 'Let's die with honour', in its version of the scene's last line, might represent a revised text, or a memorial error; it seems unlikely to have stood in the foul papers here, since — as Greg pointed out (Principles, p. 170) — 'in honour' is not a natural phrase. Neither Wilson's harness nor Mason's arms provides any explicit contrast with the thrice-repeated shame of the preceding line; as the French are already presumably in armour, and in considerable danger of dying whatever they do, the cry 'Let us die in arms' would hardly constitute a dramatic reversal. 'Let's die in pride' occurs at 1 Henry VI 4.6.57 (Talbot, at the battle of Bordeaux; the whole scene is similar to this one); pride and shame are similarly contrasted in Lucrece, 'Thou loathèd in their shame, they in thy pride' (662). But pride still leaves the line either a syllable short (assuming that Let us was elided) or, anomalously, with a reversed stress in both the first and second feet (Lét us díe in príde; onće); the second in, as an imperative, both rectifies this metrical problem and explains the Folio error (eyeskip).
Critical Apparatus
14 home] q; hence f. See commentary.
Critical Apparatus
15 leno] Q; Pander f. See commentary.
Critical Apparatus
16 by a] q; a base f
Critical Apparatus
24 Exeunt] Exit f.
Critical Apparatus
0.1–2 the Constable … Gebon ] not in q
Critical Apparatus
1 gebon] It make good dramatic sense to give Gebon (= Rambures) something to say, as f does not. q gives him the Constable's first speech, and the Constable consequently takes part of Bourbon/Dauphin's. What matters is the greatest possible confusion of voices in the rout. For that very reason, however, a reported text is not very reliable for these initial exclamations, and the translations or bunglings of French phrases seem unauthoritative.
Critical Apparatus
4 de honte] del houte q. Easy misreadings. q's omission of the remainder of this speech is probably unauthorised abridgement: see Appendix F.
Critical Apparatus
6 English] q's omission of the completion of this line is hard to regard as anything but memorial error, q's transposition and associated omission are discussed in the commentary.
Critical Apparatus
12 Whilst] f; Why least q. Misreading.
Critical Apparatus
13 contaminated] f; contamuracke q. See commentary.
Critical Apparatus
16 Unto … fame ] This does look like an actor's interpolation; a ringing contrast between dying and dying.
Critical Apparatus
17 bourbon] not in q. f gives the parallel speech to the Dauphin, so Bourbon is the obvious candidate for this speech. But Orléans and Gebon have been given little to say, and there can be no confidence that Bourbon (= Gower, the reporter) spoke these lines, q does indent l.17, to indicate a change of speaker; but either the reporter or compositor forgot to supply the required prefix.
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