The Origin And Development Of 1 King Henry VI:
In Relation To Shakespeare, Marlowe, Peele, and Greene
Dr. Gaw’s detailed investigation of the collaborative authorship of harey the vj assumes special importance because it reveals Christopher Marlowe and Edward Alleyn's working relationship in the theatre. The making of this hybrid play also sheds a sharp light on the relationship between Alleyn and Greene in the last months of Greene’s life. Apparently these two almost came to blows during this production – or so the evidence suggests. A.D. Wraight believes the writing of this play was the genesis of Greene’s vitriolic attack on ‘Shake-scene’ i.e. Edward Alleyn. Gaw’s study has therefore unique value for all students of Shakespeare and the Elizabethan theatre.
TABLE OF CONTENTS
I. THE FUNDAMENTAL FACTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
II. THE ORIGINAL ORGANIZATION, STAGING, AND DATE
OF THE PLAY
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-27
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28-43
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44-57
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58-63
III. THE PROBLEM OF THE AUTHORSHIP . . . . . . . . . . . . . . . . . . 64-72
i The A. {MARLOWE} Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-88
(a,b,c,d below)
(a) I, i, 1-101, 147-77 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
(b) III, i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
(c) V, i . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93
(d) III, ivb, and IV, ib . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
(e) II, v
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101-108
ii. The B. Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108-124
(a) B.'s Talbot Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
(b) First Appearance of Joan of Arc . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
(c) B. Scenes of Mixed Authorship
. . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
iii. The D. Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124-141
(a) The Talbot Death Series, IV, v-vii . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
(b) The Talbot Death SEries, IV, ii-iv . . . . . . . . . . . . . . . . . . . . . . . . . . . .131
(c) The Fate of Joan and the Conclusion of Peace . . . . . . . . . . . . . . . . . 135
iv. The C. Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
v. Survey of Conclusions with Regard to Authorship . . . . . . . . . . . . .145-161
vi. The Dates of the Revisions and Their Relation to
Shakespeare's Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
vii. The Relation of the Folio Scene Division to the Authorship . . . . . . .158
IV. GENERAL CONCLUSIONS: THE PROBLEMS AND
THEIR RELATIONSHIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
SUPPLEMENTARY NOTE ON THE LATEST PHASE
OF THE Contention - True Tragedy Problem . . . . . . . . . . . . . . . . . . . . 169
List of Authorities Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170-180
List of Reproductions of Views of Elizabethan Theatres . . . . . . . . . . . 173
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .175