Main Text


Our only authority for this play is the text of the First Folio where, with the title 'The Famous History of the Life of | King HENRY the Eight', it was first printed; it was included ('Henry the eight') in the Stationers' Register entry for plays new to that volume. From a variety of contemporary references, however, it seems most probable that 'All is true' was the play's original title, and that the Folio alternative was either a subtitle, or, more likely, an unauthoritative one imposed by the compilers of that volume (see the 'title'2 textual note, below, and the General Introduction, p. 28).

James Spedding (1850) was the first to develop the view that Shakespeare wrote All Is True in collaboration with John Fletcher. (See 'Canon and Chronology'.) The most recent detailed attempt to assign responsibility is by Cyrus Hoy, who divides the play as follows:


no view expressed; Spedding tentatively assigned to Fletcher

1.1, 1.2


1.3, 1.4


2.1, 2.2

principally Shakespeare, touched up by Fletcher

2.3, 2.4






3.2.204–460.1/1697–1953.1, 4.1, 4.2

principally Shakespeare, touched up by Fletcher



5.2, 5.3, 5.4



no view expressed; Spedding tentatively assigned to Fletcher

Spedding's principal aim was to identify what is not by Shakespeare; Hoy's, on the other hand, was to identify, by means of a well-tested thumb-print of identifiable linguistic forms, those portions of the play which are by Fletcher. His assumption that portions not bearing that thumb-print are by Shakespeare has been questioned (e.g. by Schoenbaum), and a third hand, perhaps Beaumont's, may be present.

The Folio text is a clean one, presenting few editorial problems. It is generally agreed that it was set from a carefully prepared manuscript in a single hand; two features of the text powerfully suggest that this manuscript was a scribal transcript and not the authors' papers.

The word has occurs in the play a total of 44 times (this excludes from consideration any occurrences as part of contractions of, for example, he has): 35 of these occur in parts of the play which Hoy ascribes either partly or wholly to Shakespeare; 9 in parts he assigns to Fletcher (or 13 Shakespeare, and 31 Fletcher, by the traditional division). Excluding Q Othello, which was itself set from a scribal transcript, the good quartos seem to indicate that Shakespeare preferred the form without apostrophe (74 'has' versus 3 'ha's'); we do not have figures for Fletcher, but we have observed that of the 34 occurrences of has in his share of Kinsmen—a play which we believe was probably set from his and Shakespeare's own papers—all are without apostrophe. It seems unlikely from what we know, therefore, that the high proportion of the form with apostrophe in All Is True derives from a manuscript in either Shakespeare's or Fletcher's hand. Neither does it seem probable that the compositors of the play were responsible. Of the 44 occurrences of has in All Is True, Compositor I set 24 (6 'has'; 19 'ha's') and Compositor B set 19 (2 'has'; 17 'ha's'). Compositor I's total share of the Folio is too small for one to draw any firm conclusions from his practice here (he sets the word only once elsewhere—in Hamlet—and there he uses 'ha's'), but we can say with some confidence that B here is at variance with his evident preference for 'has' (or for his willingness to follow copy 'has') elsewhere in the Folio. First, we should observe that in the whole of the Folio, with but two exceptions, the word has is spelt either 'has' or 'ha's' (these exceptions are the two occurrences of 'haz' in 1 Henry IV, which derive from Q4 (1604): TLN 2058 set by J and TLN 2241 set by B). In All Is True B sets 17 out of 19 occurrences of the word with an apostrophe (89%). The only other of his stints containing a reasonable number of occurrences of has (say, 8 or more) in which he comes near this figure are:


% with apostrophe










Folio Hamlet and Macbeth were certainly set from scribal copies; so too, probably, was Coriolanus. All of the other Folio plays (which we list here in the order in which they were set) in which B sets 8 or more occurrences of has exhibit a decided preference for the form without apostrophe:


% with apostrophe

Merry Wives



All's Well



Twelfth Night



Winter's Tale












Given that in All Is True the form with apostrophe is more or less evenly distributed between both compositors' stints, and that it does not derive from Shakespeare or Compositor B, and probably not from Fletcher (we can say nothing about Compositor I), it seems reasonable to conclude that it was present in the compositors' copy, and that that copy was not in the handwriting of either of the authors.

The second feature of the Folio text of All Is True which pg 619suggests that its copy was a scribal transcript is the unusually great number of round brackets, set across both authors' shares and both compositors' stints. Taylor ('Shakespeare and Others') has shown that round brackets do not appear to have been a mark of punctuation which Shakespeare frequently used (again, we do not have figures for Fletcher, but can observe that none occur in his share of Kinsmen). Taylor has also shown, however, that Compositor B seems to have regularly added some round brackets to his copy. But B's average of 176 words per pair of brackets in All Is True is far higher than for any quarto or Folio text set from authorial copy in the stints of B himself or any other compositor, and is closest to the figures in several indubitably scribal texts (Two Gentlemen, for example, contains an average of 142 words per pair of brackets; Cymbeline, 178; The Tempest, 193). The frequency of 'ha's' in All Is True, along with the round brackets, when taken together, strongly suggest that a scribal transcript served as copy for F.

What may be a duplicated music direction at (and possibly another at suggests that either the transcript itself, or the authorial manuscript which lay behind it, may have undergone some theatrical annotation.

The Folio regularly, and in our view, correctly, divides the play into acts and scenes, though some editors have introduced an additional scene to Act 5, at

We wish to thank Fredson Bowers for lending us the typescript of the textual notes to his forthcoming edition of this play.


works cited

  • Berdan, John M., and Tucker Brooke, eds., The Life of King Henry the Eighth, Yale (1925)

  • Bowers, Fredson, ed., Henry VIII, in The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, vol. vii (forthcoming)

  • Foakes, R. A., ed., King Henry VIII, Arden (1957)

  • Hoy, Cyrus, 'The Shares of Fletcher and his Collaborators in the Beaumont and Fletcher Canon (VII)', SB 15 (1962), 71–90

  • Humphreys, A. R., ed., King Henry the Eighth, New Penguin (1971)

  • Maxwell, J. C, ed., King Henry the Eighth, New (1962)

  • Pooler, C. Knox, ed., The Famous History of the Life of King Henry VIII, Arden (1915)

  • Schoenbaum, S., ed., The Life of King Henry the Eighth, Signet (1967)

  • S[pedding], J[ames], 'Who Wrote Shakespeare's Henry VIII?' The Gentleman's Magazine, ns 34 (August 1850), 115–23

  • Taylor, Gary, 'Shakespeare and Others: The Authorship of 1 Henry VI', Appendix 1 (forthcoming in Medieval and Renaissance Drama in England)

  • Wright, William Aldis, ed., King Henry the Eighth, in Shakespeare: Select Plays, Clarendon (1895)


Title All is true] This edition; All is true (Matthew Page, almanac, 29 June 1613); the play of Hen: 8 (Thomas Lorkin, letter, 30 June 1613); All is true (Henry Wotton, letter, 2 July 1613); all is triewe (Henry Bluett, letter, 4 July 1613); the play, viz. of Henry the 8. (Edmond Howes, 1614 addition to Stow's Chronicles and Annals, STC 23338, p. 926b); Henry the eight S.R.; The Famous History of the Life of | King HENRY the Eight F (main title); The Life of King Henry the Eight F (running title); all this is true (from the refrain of a 17th-c. ballad 'A Sonnett vpon the pittifull burneing of the Globe-playhowse in London'). See the General Introduction, p. 28.

Pro.0.1–Pro.1/0.1–1 Enter Prologue | prologue] This edition; THE PROLOGVE. F

Pro. 11/11 passe, if] johnson (Pope); passe: If F

Pro.32/32 Exit] This edition; not in F A Cloth of State throughout the Play] This edition; not in F. The Folio stage directions frequently take for granted the presence on stage of a seat (3.2.136,–2/1629, 2570.1–2) or state (–4/259.6–7) for the King; once there is a specific reference to 'the Cloth of State' under which he 'takes place' (–15/1072.15–16). Wolsey once 'takes his State' (–2/575.1–2); that a canopy of some kind is meant here is made clear earlier in the scene when 'A ſmall Table' is directed to be placed 'vnder a State for the Cardinall' (–3/540.2–4). Wolsey later relinquishes 'this place' of honour to the King (1.4.80–4/620–4). Probably the state remained on stage throughout the play, but of this we cannot be certain.

The stage, moreover, seems to have been covered with some kind of matting for all or part of the play (see Illustration 12, line 13, in the General Introduction).

1.1.7 Ardres] F (Andren)

1.1.7 Guisnes] F (Guynes)

1.1.7 Ardres] F (Arde)

1.1.23 mesdames] F (Madams)

1.1.42 to] F (too)

1.1.42/74 All] theobald; | Buc. All F

1.1.45/77 Function. | buckingham Who] theobald (subs.); Function: who F

1.1.47–8/79–80 together, as you guesse? | norfolke] F4 (subs.); together? | Nor. As you guesse:| F1

1.1.63/95 Selfe-drawing] F; self-drawn rowe 2

1.1.63/95 Web, a] cambridge 2 (Capell); Web. O F; web, he capell; web, O, foakes. Foakes rejects Capell's conjecture largely on the basis that 'a' (= he) occurs nowhere else in the play. But either the scribe or the Folio Compositor may have altered other occurrences of 'a' to 'he'. Generally, very few instances of 'a' survive in the Folio, though we know from Q texts that Shakespeare used the form. Alternatively, the misreading o/a would be easy.

1.1.64/96 way;] theobald; ⁓‸ F

1.1.69–70/101–2 that? | If not from Hell, the] theobald (subs.); that, | If not from Hell? The F

1.1.78/110 Letter,] pope (subs.); ⁓‸ F

1.1.79/111 Councell‸ out, ] pope (subs.); ⁓, ⁓‸ F

1.1.116, 117/148, 149 secretary] F (Secr.). We cannot be certain which secretary speaks which lines (two entered with Wolsey).

1.1.120/152 venome-mouth'd] rowe; venom'd-mouth'd F

1.1.154/186 Iuly] F2; Inly F1

1.1.167 rinsing] F (wrenching). Compare Kinsmen 1.1.155/187.

1.1.172/204 Count-Cardinall] F; Court-Cardinal pope. Compare 'King-Cardinall', 2.2.19/839, and see Maxwell's note to 2.2.18.

1.1.183/215 Priuily he] This edition; Priuily F1; He Privily F2

1.1.194/226 he] F1; you F4; ye This edition conj. It would not be difficult to mistake manuscript 'y' for 'h' in secretary hand.

1.1.200/232 Hereford] capell (Vaughan); Hertford F

1.1.211 Abergavenny] F (Aburgany). Though the place name is now pronounced with 5 syllables, the personal name continues to be pronounced with 4. The unelided form is therefore a metrically acceptable modern spelling.

1.1.218/250 Car] F; Court theobald 2. Theobald's emendation, which derives from Holinshed (see the note to 1.2.165/423), fails to notice that elsewhere Holinshed refers to the man as pg 620'maister Iohn de la Car alias de la Court' (Bullough, iv. 459). 'Car' is consistently used in F (1.2.163, 2.1.21/421, 673).

1.1.219/251 Perke] foakes (subs.); Pecke F. Holinshed and Hall both read Perte (erroneously, as Wright observes), and this probably is what Shakespeare wrote. F's error, c/r, is an easy one, and may be either scribal or compositorial in origin. See 2.1.21/673.

1.1.219/251 Chancellour] pope 2 (Theobald); Councellour F. Theobald's conjecture derives from Holinshed.

1.1.221/253 Nicholas] pope 2 (Theobald); Michaell F. The emendation derives from Holinshed. Manuscript 'nich' could easily have been misread as 'mich', and so mistakenly expanded. The Christian name is correctly given at 1.2.148/406. See the note to 1.2.148, 149/406, 407.

1.1.227/259 Lord] rowe; Lords F–4/259.6–7 the King takes his Seate] This edition; not in F. See the note to

1.2.5 Buckingham's. In person‸ ] F ( ⁓‸ ⁓, ). This interpretation of F is johnson's; rowe read '⁓‸ ⁓,' .

1.2.9 ⌈crier⌉ (within)] F (A noyſe within crying)

1.2.14/272 Maiesty.] F4; ⁓‸ F1

1.2.33 many] F; meiny johnson

1.2.37 to] F (too)

1.2.38/296 serues] F; swerues G.T. conj.; scoures G.T. conj.

1.2.68/326 busenesse] hanmer (Warburton, subs.); baſenesse F. The proposed misreading, u/a, is an easy one.

1.2.83/341 once] F; or(e) This edition conj. Manuscript 'or(e)' may have been mistaken as 'õc(e)', and so erroneously expanded.

1.2.84/342 oft,] capell; ⁓‸ F

1.2.98/356 roote,] theobald (Warburton); ⁓‸ F

1.2.112/370 and a] F; a pope

1.2.140/398 His] pope; This F

1.2.148, 149/406, 407 Hopkins] pope 2 (Theobald); Henton F. The error is probably authorial, and, as Maxwell observes (his note to 1.2.147), in all likelihood derives from a careless reading of Holinshed: 'Nicholas Hopkins, a monke of an house of the Chartreux order beside Bristow, called Henton' (Holinshed 863.a.6–8; repr. Bullough, iv. 458). Emendation is necessary to achieve internal consistency: see 1.1.221/253. Sisson, however, believes the inconsistency deliberate (New Readings, ii. 99), and that 'Nicholas [of] Henton' may have been an alternative way of referring to the monk.

1.2.157/415 feard] pope (subs.); feare F

1.2.165/423 Confessions] theobald; Commissions F. Theobald derives the emendation from Holinshed (863.b. 53–55): 'to bind his chapleine Iohn de la Court, vnder the seale of confession, to keepe secret such matter'. Foakes suggests the mistake is the result of the frequent occurrence of 'commission' earlier in the scene.

1.2.171/429 win] sisson (White); not in F1; gain F4; purchase bowers (after Holinshed). Maxwell (his note to 1.2.170) observes that Shakespeare seems to have conflated two phrases in Holinshed: 'to win the fauour of the people' (863.a.10–11) and 'to purchase the good wils of the communaltie of England' (864.D.34-5).

1.2.181/439 To] maxwell (anon, conj. in Cambridge); For this to F; For him to rowe. 'For this' is probably an undeleted false start.

1.2.191/449 Bulmer] wright; Blumer F. Both Holinshed and Hall read 'Bulmer'.

1.2.191/449 remember] This edition; remember of F. The F line is unmetrical, and, as Wright observes, Shakespeare nowhere else uses the collocation remember of.

1.3.12/485 see] F; sew pope. See LLL 4.1.69/1000.

1.3.13/486 Or] dyce (Collier); A F; And pope. (Collier's conjecture appears among the list of notes and emendations made to his copy of F2. This list was appended to Coleridge's Seven Lectures on Shakespeare and Milton (1856), p. 231.)

1.3.21 messieurs] F (Monsieurs)

1.3.34 oui] F (wee); weare F2

1.3.59 he's] F (ha's). F uses the form 'ha's' for both he's (meaning, as here, he has), and has. See the note to 3.1.118 and the Introduction.

1.3.59/532 wherewithall; in him‸ ] theobald (Thirlby); ⁓‸ ⁓ ⁓; F

1.4.6/546 feast] staunton; first F

1.4.25/565 Heanother ] This edition; not in F

2.1.19/671 him] F1; have F4

2.1.21/673 Perke] foakes; Pecke F. See the first note to 1.1.219/251.

2.1.42 attainder] F (Attendure)

2.1.43–4/695–6 remou'd, … Surrey ] F2; ⁓‸ … ⁓, F1

2.1.54/706 William] theobald (after Holinshed); Walter F. The slip may be the author's, or it may result from an erroneous expansion of an authorial 'W' by either the scribe or the compositor. This is the only time in the play that Sands's Christian name occurs.

2.1.79 i'] F (a). See OED a, prep.1.

2.1.87/739 marke] hanmer (Warburton); make F. This emendation supposes that either the scribe or the compositor dropped the 'r'. The error may instead derive from a misreading: in this case we would suppose something like authorial 'marc' being mistaken as 'mace' and transcribed (or set) as 'make'.–2.2.1/821.1–822 Enter Lord Chamberlaine | chamberlaine (reading this Letter)] F (Enter Lord Chamberlaine, reading this Letter)

2.2.85/905 one‸ ] boswell; ⁓; F

2.2.93/913 (I … ones‸ … Kingdomes) ] F; ‸⁓ … ⁓, … ⁓, theobald; (⁓ … ⁓) … ⁓‸ bowers (after Theobald). However, given the general unreliability of the round brackets in this text (see the Introduction), Bowers may well be right; see his textual note.

2.2.105/925 commanding, you] F4; ⁓. You F1

2.3.14/978 quarrell, Fortune, do] F2; quarrell. Fortune, do F1; quarr'ler fortune do hanmer; quarrel fortune to steevens (conj.); quarrel & fortune do foakes (conj., after Upton in Cambridge). As Johnson first observed, this is probably an instance of the abstract (quarrel) used for the concrete (quarreller). See Antony 2.2.51/625 (reports for reporters) and 4.13.16/2305 (charm for charmer). But Steevens's conjecture (with 'Fortune' a verb) remains a possibility, as do those of Foakes and Hanmer. F1's erroneous full stop may derive, as Foakes points out, from either a hurriedly written mark of abbreviation or ampersand. Staunton's conjecture (squirrel for quarrel), which Foakes finds attractive, observing that squirrel can mean strumpet, is most implausible. Shakespeare uses squirrel only three times: each use is in a relatively early play (Two Gentlemen, Dream, and Romeo), and none carries the sense strumpet.

2.3.47/1011 emballing] F; empalling malone (conj.); embalming whalley (conj. in Cambridge); empaling collier 2 (conj.); embailing kellner (conj.)

2.3.59 note's] F (notes)

2.3.61/1025 of you] capell; of you, to you F. To you was probably caught from the following line.

2.3.87/1051 fye, fye] pope; fye, fye, fye F. Pope's reading is metrically superior; F's dittography would be an easy error for either a scribe or compositor. Trumpets: Sennet. Comets] This edition (S.W.W.); Trumpets, Sennet, and Cornets F. A sennet is a call, not an instrument, and one which customarily was sounded by trumpets. The form of the F direction suggests that 'Trumpets' may be a playhouse marginal annotation which either the scribe or the compositor incorporated in the main direction.

2.4.7, 10/1079, 1082 come into the Court] humphreys; &c. F–2.4.11/1082.3–1083 queene katherine Sir] warburton; Sir F

2.4.27/1099 Or which] F; Which pope

2.4.38–9/1110–11 Dutie‸ | Against ] F; ⁓, | ⁓ malone. OED confirms that against may mean towards. This is the sense F's punctuation seems to require, but, as Maxwell observed (in his note to 2.4.40), it is perhaps a little harsh in juxtaposition with against in its more usual sense in 2.4.37/1109. Malone's slightly awkward arrangement may be the correct one.

pg 621

2.4.124/1196 griffith] malone (subs.); Gent. Vsh. F. See the note to and line of the play.

2.4.125–6 way. … called, return ] F ( way, … cald‸ returne ); alternatively way, … called‸ return

2.4.145/1217 At once] F; Atton'd hanmer (Warburton)

2.4.161/1233 oft,] F4; ⁓‸ F1

2.4.171/1243 A] rowe 3; And F

2.4.180/1252 spitting] F1; splitting F2

2.4.183 prest] F. Usually modernized to 'pressed'; but see OED prest, v.3 (Obs. rare. … b. To make haste, hasten).

2.4.188/1260 does yeeld to th'] This edition (G.T.); does to th' F; does to the rowe 3

2.4.196 throe] F (throw)

2.4.216/1288 Summons. Vnsolicited‸ ] theobald (subs.) ⁓‸ vnſolicited. F

2.4.227/1299 o'th'] F; i'th' pope

2.4.236/1308 returne: with thy approch,] F4 ( returne; … ); returne, with thy approch: F1

3.1.3/1313 woman] humphreys (subs.); not in F Griffith] This edition; not in F. This part of the play is by Fletcher: it seems reasonable to suppose that this gentleman is the same as the 'Gent. Vsh.' in Shakespeare's share, earlier (2.4.124/1196), which editors since Malone have identified with 'Griffith, her Gentleman Vsher' below (, in a part of the play probably by Shakespeare, and only touched up by Fletcher.

3.1.16, 18/1326, 1328 griffith] This edition; Gent. F. See the previous note.

3.1.19/1329 Exit] capell; not in F. Maxwell (in his notes to 3.1.19 and 4.2.108) observes that the Gentleman need not exit in order to usher in the two cardinals (he may simply go to the door) and compares this staging with that of 4.2.109/2181. Maxwell may be right. Also compare

3.1.21/1331 comming, now I thinke on't;] capell (subs.); ⁓; … ⁓, F. See Sisson, New Readings, ii. 101.

3.1.23/1333 vsher'd by Griffith] This edition; not in F

3.1.51/1361 And] F; In kinnear (conj.)

3.1.60/1370 your] F2; our F1

3.1.68/1378 (pray God ye proue so)] F. Possibly an aside.

3.1.82/1392 profit:] F2; ⁓‸ F1

3.1.89/1399 other comforts] F; other comforts are rowe 3; comforts are pope

3.1.89/1399 far] F; from S.W.W. conj.

3.1.118 he's] F (ha's). See the note to 1.3.59.

3.1.119 love, too, long] F (Loue, too long); alternatively love, too long

3.1.123/1433 acurst] This edition (Foakes); e Curſe F. The misreading e/t would be easy, and may have been made either by the scribe or by the compositor. The author may have written it as two words.

3.1.174–5/1484–5 me; … vnmannerly, ] F1; ⁓, … ⁓; F4

3.2.58 Has] F (Ha's); alternatively He's. See the note to 1.3.59.

3.2.76/1569 gau't] F; gaue it G.T. conj.

3.2.124/1617 There (on my Conscience‸ … vnwittingly) ] F; There; on my conscience, … unwittingly? CAPELL

3.2.125/1618 importing,] F; ⁓; theobald

3.2.137/1630 To the King] This edition; not in F. Wolsey's previous line may also be to the King, or it may be an exclamation to himself denoting annoyance with himself for not noticing the King's presence earlier.

3.2.143/1636 glad] F2; gald F1

3.2.161/1654 aside] rowe; not in F. Possibly 'to the other Nobles'.

3.2.172 filed] F (fill'd). Hanmer's interpretation of F, meaning kept pace with, is widely accepted. Sisson (New Readings, ii. 101), however, argued for filled in the sense of 'fulfilled (to the best of my abilities)'. He may be right, but parallels have proved elusive.

3.2.234/1727 Commission, Lords?] rowe; ⁓? ⁓, F

3.2.273/1766 That in the] F; That I, i'th' theobald; ⌈…⌉ | That in the w. s. walker (conj.); I that in the J.J. conj.

3.2.194–7 be— | Though … horrid—yet ] F ('be | (Though … horrid) yet'). Bowers argues forcefully for Berdan and Brooke's modernization of this passage ('be. | Though … horrid, yet'); given the probable spuriousness of the round brackets in the F text generally (see the Introduction), he may well be right that they here ought not to be taken seriously.

3.2.293/1786 Whom] F1; Who F2. Most editors follow F2 and emend to the currently acceptable form. But OED (whom, pron. 11) records confusion of these two forms in the 17th c. Whom, though cleerly unacceptable to the editors of F2, was apparently acceptable to those of F1, and may well not have been recognized by the author as an error.

3.2.315 et] F (&)

3.2.326/1819 to be] F; be G.T. conj.

3.2.340/1833 Legãtine] F4 (Legantine); Legatiue F1; Legatine rowe 2. F1 and Rowe are each perfectly acceptable here, both meaning of or pertaining to a legate, though Rowe's appears to be the newer form (from 1611, versus 1537 for F1). But Holinshed (Bullough, iv. 472) uses legantine (which OED records as an incorrect synonym of legatine), and this part of the scene closely follows Holinshed. The proposed misreading, 'Legatiue' for 'Legãtine', would be very easy, and seems on the whole more probable then a deliberate authorial alteration of the source.

3.2.344/1837 Cattles] theobald (Chattels); Castles F. Holinshed (909.D.48) uses 'cartels', meaning chattels or possessions, for which F would be an easy error. But Foakes observes that '"Castles" may be defended as a climax to "goods, lands, tenements … ", and as an allusion to the notoriety Wolsey suffered for his building palaces such es Hampton Court and York Place' (Foakes's note to 3.2.342–3). Compare 4.1.96–9/2049–52.

3.2.362/1855 depth: my] F; depth, my This edition conj. The incidentals of F, deriving as it does from a transcript, are suspect.

3.2.452–3 have: | To the last penny] F (haue, | To the last peny,). An alternative interpretation would be 'have‸ | … penny:'.

3.2.460/1953 do] F; now G.T. conj.

4.1.20/1973 2. gentleman] F4 (subs.); 1‸ F1

4.1.32/1985 these] F; those G.T. con;. Flourish of Trumpets within] capell (Trumpets.); not in F. Capell deletes F's Ho-boyes after the next line. His direction here may duplicate the first item under 'The Order of the Coronation'.–12 with them, musicians playing] F (Musicke.). While the F direction may simply be a call for off-stage music, the third gentleman's comment that 'the Quire | With all the choysest Musicke of the Kingdome, | Together sung Te Deum' (4.1.92–4/2045-–7) suggests that we here, also, should interpret 'Musicke' to mean 'musicians playing'.

4.1.55–6/2008–9 indeed. | ⌈1. gentleman⌉ And] dyce 2 (W. S. Walker); indeed, | And F

4.1.56/2009 2. gentleman] F1 (subs.); 1. F3 in a sweate] This edition; not in F. The dialogue immediately following the third gentleman's entrance would seem to require that he enter sweating.

4.1.57/2010 1. gentleman God] F1 (subs.); ‸ God F3; 2. Gentleman⟩. God capell

4.1.103/2056 Stokesley] F4; Stokeky F4. Holinshed, p. 909, reads 'Stokesleie'. The error may scribal, compositorial (ſ instead of ſl), or a slip on the part of the author.

4.1.119/2072 1. and 2. gentlemen] F (Both.) Three Chaires] This edition; not in F

4.2.5 led'st] F (lead'st)

4.2.7/2079 thinke] F2; thanke F1

4.2.19 convent] F (Couent)

4.2.50/2122 Honor. From his Cradle,] F; honour, from his cradle; theobald. Theobald's emendation is frequently adopted, and may be right. But F offers the more difficult reading, and seems, moreover, to have some foundation in Holinshed: This Thomas Wolseie was a poore mans sonne of Ipswich, in the countie of Suffolke, & there borne, and being but a child, verie apt to be learned, by the meanes of his parents he was conueied to the vniuersitie of Oxenford, where he shortlie prospered so in learning, as he was made bachellor of art, when he passed not fiftéene pg 622yeares of age, and was called most commonlie thorough the vniuersitie the boie bachellor' (917.b.52 ff.; repr. Bullough, iv. 477)

4.2.99/2171 color] dyce 2 (W. S. Walker); cold F. See Sisson, New Readings, ii. 102.

4.2.99/2171 Marke] F; Mark you capell

4.2.109/2181 EnterGriffith ] This edition; Enter Lord Capuchius F. See the note to 3.1.19/1329.

4.2.109, etc. Caputius] F (Capuchius). F represents a quasi-phonetic spelling of the Latinized form of Chapuys, the historical character's name. See the note to Shrew Enter] F ('Actus Quintus. Scena Prima. | Enter' text); Scena (c.w.)

5.1.37/2283 time] F4; Lime F1

5.1.42/2288 you I thinke)] johnson ('you, I think,'); you) I thinke F. Round brackets are, throughout the play, particularly suspect, because they appear to have been added frequently by the scribe. See the Introduction.

5.1.50/2296 hath] F; he hath pope Exit Denny] rowe; not in F. F marks Denny's entrance, though, with Cranmer at See the note to 3.1.19/1329. Cranmer rises. They walke] This edition; not in F

5.1.123/2369 good] F; ground rann (Johnson). Johnson's conjecture is a plausible one: OED verifies, for the 14th century to the 16th, the form 'grond', and either this, or 'grod' may have been mistaken by either scribe or compositor as 'good'. But F provides the superior reading.

5.1.140/2386 Precepic] F2 (Precepice); Precepit F1. The proposed misreading, c/t, is both easy and common.

5.1.141 woo] F (woe)

5.1.158/2404 ⌈louell⌉ (within)] humphreys; Gent, within. F

5.2.7/2430 Peece] F2 (Peice); Peere F1

5.2.119/2542 chancellour] capell; Cham. F

5.2.121/2544 chancellour] capell (Theobald); Cham. F

5.2.126/2549 all the councell] This edition; All. F–2/2570.1–2 EnterSeate ] F. Sisson places after 'burnes ye:' in the previous line.

5.2.159/2582 base] F; bare singer (Malone)

5.2.164/2587 proudest,] collier; ⁓‸ F

5.2.167/2590 this] F4; his F1

5.2.192/2615 embrace him] F; embrace johnson. F's 'him' may have been caught from the previous line.

5.2.206/2629 Brother-loue] malone; Brother; loue F1; Brothers love F2

5.2.208/2631 heart] F2; hearts F1–2 with Rushes] This edition; not in F. This property, or something like it, would seem to be required by lines 5.3.7–8/2645–6. Compere 2 Henry IV–5.5.4/3088.1–3092. with a broken Cudgell] This edition; not in F. This property would seem to be required by lines 5.3.19–20/2656–7.

5.3.2 Paris] F (Parish)

5.3.4, 27/2642, 2665 one (within)] foakes; Within. F

5.3.45/2683 blow vs] F1; blow us up F3

5.3.53/2692 to me] F; with me pope

5.3.82/2721 a way] F2; away F1 As … within ] This edition; not in F. But see J. W. Saunders, 'Vaulting the Rails', SSu 7 (1954), 70–1.

5.4.37/2764 ways] F4; way F1

5.4.70/2797 your] theobald (Thirlby); you F

5.4.75/2802 He's] F ('Has) Flourish] This edition (G.T.); not in F. The allusion to 'Trumpets' at Epi.4/2807 may be to this final exit.

Epi.0.1–Epi.1/2803.2–2804 Enter Epilogue | epilogue] This edition; The Epilogve. F

Epi.14/2817 Exit] This edition; not in F


10 agree] a gree

236 practise.] ⁓:

274 vnconsidred] vnconsidered

310 or] er

314 patience;] (possibly ⁓, )

488 Christendome] Ch istendome

507 Priuilegio] Pruiilegio

571 Gentlemen] Gntlemen

623 and] aud

678 could not] couldnot

698 one.] ⁓,

973 Processe‸ ] ⁓.

1097 inclin'd.] ⁓?

1158 wrong.] ⁓‸

1177 cunning] eunning

1177 humble-mouth'd:] ⁓‸

1219 which] whi h

1273 feele] (possibly feele)

1299 World.] ⁓‸

1312 working.] (possibly ⁓: )

1360 should] shoul

1397 afflictions] afflictions

1409 Iudge,] ⁓.

1584 Pembroke] Penbroke

1651 kept] (possibly kcpt)

1676 contrary] (possibly contrarv)

1727 Words] words

1781 to'th'Pope] (possibly to'th‸Pope )

1838 of] oſ

2086 sorely] ſorcly

2099 Repentance] (possibly Repentanee)

2239 You] Vou

2264 Labor,] ⁓‸

2345 greeuous,] (possibly ⁓. )

2432 Buts,] ⁓.

2433 Physitian. As] ⁓, as

2502 your‸ ] (possibly ⁓, )

2532 faulty] faultly

2560 'Tis] 'Ts

2709 friends] ftiends

2769 selfe,] ⁓.

2807 Trumpets] Tumpets

2811 heare,] ⁓.

FOLIO STAGE DIRECTIONS–3/32.1–3 Enter the Duke of Norfolke at one doore. At the other, | the Duke of Buckingham, and the Lord | Aburgauenny.–5/146.1–5 Enter Cardinall Wolsey, the Purse borne before him, certaine | of the Guard, and two Secretaries with Papers: The | Cardinall in his passage, fixeth his eye on Buck-|ham, and Buckingham on him, | both full of disdaine.

1.1.119/151.1 Exeunt Cardinall, and his Traine.–2/229.1–2 Enter Brandon, a Sergeant at Armes before him, and | two or theee of the Guard. Exe.–6/259.4–8 Cornets. Enter King Henry, leaning on the Cardinals shoul-|der, the Nobles, and Sir Thomas Louell: the Cardinall | places himselfe vnder the Kings feete on | his right side.

1.2.9––4 A noyse within crying roome for the Queene, vsher'd by the | Duke of Norfolke. Enter the Queene, Norfolke and | Snffolke: she kneels. King riseth from his State, | takes her vp, kisses and placeth | her by him.

1.2.109/367 Exit Secret.

1.2.1091/367.1 Enter Surueyor.

1.2.215/473 Exeunt. Enter L. Chamberlaine and L. Sandys.

1.3.15/488 Enter Sir Thomas Louell. (after 'Louell', 1.3.16/499) Exeunt.–6/540.2–7 Hoboies. A small Table vnder a State for the Cardinall, a | longer Table for the Guests. Then Enter Arme Bullen, | and diuers other Ladies, & Gentlemen, as Guests | at one Doore; at an other Doore enter | Sir Henry Guilford.

1.4.7/547 Enter L. Chamberlaine L. Sands, and Louell.–2/575.1–2 Hoboyes. Enter Cardinall Wolsey, and takes his State.

1.4.50/590 Drum and Trumpet, Chambers dischargd. (after 1.4.49/589) Enter a Seruant. All rise, and Tables remou'd.–4/604.1–4 Hoboyes. Enter King and others as Maskers, habited like | Shepheards, vsher'd by the Lord Chamberlaine. They | passe directly before the Cardinall and gracefully sa-|Iute him.

pg 623–2/615–1 Choose Ladies, King and An Bullen. Musicke, Dance. Whisper. (after 'it') Exeunt with Trumpets. Enter two Gentlemen at seuerall Doores.

2.1.54/706 Enter Buckingham from his Arraignment, Tipstaues before | him, the Axe with the edge towards him, Halberds on each | side, accompanied with Sir Thomas Louell, Sir Nicholas | Vaux, Sir Walter Sands, and common people, &c. Exeunt Duke and Traine.

2.1.169/821 Exeunt.–2.2.1/821.1–822 Enter Lord Chamberlaine, reading this Letter.–2/831.1–2 Enter to the Lord Chamberlaine, the Dukes of Nor-|folke and Suffolke.–3/882.1–3 Exit Lord Chamberlaine, and the King drawes the Curtaine | and sits reading pensiuely.–2/893.1–2 Enter Wolsey and Campeius with a Commission. Exeunt Norfolke and Suffolke. Enter Gardiner. Walkes and whispers.

2.2.137/957.1 Exit Gardiner.

2.2.144/964 Exeunt. Enter Anne Bullen, and an old Lady. Enter Lord Chamberlaine.

2.3.81/1045 Exit Lord Chamberlaine. (after 2.3.80/1044) Exeunt.–22/1072.2–23 Trumpets, Sennet, and Cornets. | Enter two Vergers, with short siluer wands; next them two | Scribes in the habite of Doctors; after them, the Bishop of | Canterbury alone; after him, the Bishops of Lincolne, Ely, | Rochester, and S. Asaph: Next them, with some small | distance, followes a Gentleman bearing the Purse, with the | great Seale, and a Cardinals Hat: Then two Priests, bea-|ring each a Siluer Crosse: Then a Gentleman Vsher bare-|headed, accompanyed with a Sergeant at Armes, bearing a | Siluer Mace: Then two Gentlemen bearing two great | Siluer Pillers: After them, side by side, the two Cardinals, | two Noblemen, with the Sword and Mace. The King takes | place vnder the Cloth of State. The two Cardinalls sit | under him as ludges. The Queene takes place some di-|stance from the King. The Bishops place themselues on | each side the Court in manner of a Consistory: Below them | the Scribes. The Lords sit next the Bishops. The rest of the | Attendants stand in conuenient order about the Stage.–3/1082.1–3 The Queene makes no answer, rises out of her Chaire,| goes about the Court, comes to the King, and kneeles at | his Feete. Then speakes.

2.4.119/1191 She Curtsies to the King, and offers to depart.

2.4.130/1202 Exit Queene, and her Attendants.

2.4.238/1310 Exeunt, in manner as they enter'd. Enter Queene and her Women as at worke.

3.1.3/1312.1 Song. Enter a Gentleman.

3.1.23/1333 Enter the two Cardinalls, Wolsey & Campian.

3.1.183/1493.1 Exeunt–2/1493.2–3 Enter the Duke of Norfolke, Duke of Suffolke, Lord Surrey, | and Lord Chamberlaine. Enter Wolsey and Cromwell.

3.2.85/1578 Exit Cromwell. Enter King, reading of a Scedule.

3.2.136/1629 King takes his Seat, whispers Louell, who goes | to the Cardinall.

3.2.204/1697 Exit King, frowning vpon the Cardinall, the Nobles | throng after him smiling, and whispering.–2/1721.1–3 Enter to Woolsey, the Dukes of Norfolke and Suffolke, the | Earle of Surrey, and the Lord Chamberlaine.

3.2.350.1/1843.1 Exeunt all but Wolsey.

3.2.373/1866 Enter Cromwell, standing amazed.

3.2.460.1/1953.1 Exeunt. Enter two Gentlemen, meeting one another.–2/1989.1–2 first passing ouer the Stage in Order and State, (after 'Exeunt,', which in F follows See–2/2009.1–2. Ho-boyes. The Order of the Coronation.–6/1989.5 1 A liuely Flourish of Trumpets. 2 Then, two Iudges.–10/1989.7 3 Lord Chancellor, with Purse and Mace before him.–12/1989.8 4 Quirristers singing. Musicke.–15/1989.9–11 5 Maior of London, bearing the Mace. Then Garter, in | his Coate of Armes, and on his head he wore a Gilt Copper | Crowne.–21/1989.12–16 6 Marquesse Dorset, bearing a Scepter of Gold, on his head, | a Demy Coronall of Gold. With him, the Earle of Surrey, | bearing the Rod of Siluer with the Doue, Crowned with an | Earles Coronet. Collars of Esses.–6/1989.17–21 7 Duke of Suffolke, in his Robe of Estate, his Coronet on his | head, bearing a long white Wand, as High Steward. With | him, the Duke of Norfolke, with the Rod of Marshalship, | a Coronet on his head. Collars of Esses.–31/1989.22–6 8 A Canopy, borne by foure of the Cinque-Ports, vnder it | the Queene in her Robe, in her haire, richly adorned with | Pearle, Crowned. On each side her, the Bishops of London, | and Winchester.–4/1989.27–9 9 The Olde Dutchesse of Norfolke, in a Coronall of Gold, | wrought with Flowers bearing the Queenes Traine.–6/1989.30–1 10 Certaine Ladies or Countesses, with plaine Circlets of | Gold, without Flowers.–2/2009.1–2 Exeunt, … and | then, A great Flourish of Trumpets, (after See–2/1989.1–2. Enter a third Gentleman. Exeunt.–3/2072.2–4 Enter Katherine Dowager, sicke, lead betweene Griffith, | her Gentleman Vsher, and Patience | her Woman. Sad and solemne Musicke.–19/2154.2–20 The Vision. | Enter solemnely tripping one after another, sixe Personages, | clad in white Robes, wearing on their heades Garlands of | Bayes, and golden Vizards on their faces, Branches of Bayes | or Palme in their hands. They first Conge vnto her, then | Dance: and at certaine Changes, the first two hold a spare | Garland ouer her Head, at which the other foure make re-|uerend Curtsies. Then the two that held the Garland, deli-|uer the same to the other next two, who obserue the same or-|der in their Changes, and holding the Garland ouer her | head. Which done, they deliuer the same Garland to the | last two: who likewise obserue the same Order. At which | (as it were by inspiration) she makes (in her sleepe) signes of | reioycing, and holdeth vp her hands to heauen. And so, in | their Dancing vanish, carrying the Garland with them. | The Musicke continues.

4.2.96/2168 Musicke ceases. Enter a Messenger.

4.2.109/2181 Exit Messeng.

4.2.109/2181 Enter Lord Capuchius.–2/2246.1–2 Exeunt leading Katherine.–2, 5.1.5/2246.3–4, 2251 Enter Gardiner Bishop of Winchester, a Page with a Torch | before him, met by Sir Thomas Louell. (begins scene) Exit Gardiner and Page. (after 5.1.54/2300) Enter King and Suffolke. Exit Suffolke. Enter Sir Anthony Denny. (after 5.1.79/2325) Enter Cranmer and Denny. Louel seemes to stay.

5.1.88/2334 Exeunt Louell and Denny.

5.1.157/2403 Exit Cranmer.

5.1.158/2404 Enter Olde Lady.

5.1.171/2417.1 Exit King.

5.1.177/2423 Exit Ladie.–2/2423.1–2 Enter Cranmer, Archbyshop of Canterbury.

5.2.4/2427 Enter Keeper. (after 'me?')

pg 624 Enter Doctor Buts. (after 5.2.6/2429)

5.2.9/2432 Exit Buts–2/2441.1 Enter the King, and Buts, at a Windowe | aboue.–13/2457.4–12 A Councell Table brought in with Chayres and Stooles, and | placed vnder the State. Enter Lord Chancellour, places | himselfe at the vpper end of the Table, on the left hand: A | Seate being left void aboue him, as for Canterburies Seate. | Duke of Suffolke, Duke of Norfolke, Surrey, Lord Cham-|berlaine, Gardiner, seat themselues in Order on each side. | Cromwell at lower end, as Secretary. Cranmer approches the Councell Table.

5.2.129/2552 Enter the Guard.–2/2570.1–2 Enter King frowning on them, takes his Seate.

5.2.215/2638 Exeunt.–2/2638.1–2 Noyse and Tumult within: Enter Porter and | his man. Enter Lord Chamberlaine.

5.3.88/2727 Exeunt.–12/2727.1–11 Enter Trumpets sounding: Then two Aldermen, L. Maior, | Garter, Cranmer, Duke of Norfolke with his Marshals | Staffe, Duke of Suffolke, two Noblemen, bearing great | standing Bowles for the Christening Guifts: Then foure | Noblemen bearing a Canopy, vnder which the Dutchesse of | Norfolke, Godmother, bearing the Childe richly habited in | a Mantle, &c. Traine borne by a Lady: Then followes | the Marchionesse Dorset, the other Godmother, and La-|dies. The Troope passe once about the Stage, and Gar-|ter speakes. Flourish. Enter King and Guard. Exeunt.

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