In the following excerpt, Hattaway views Henry VI, Part 2 as a radical political work that features Shakespeare's sweeping reconstruction of English history concentrated on the power of the mighty.
In the excerpt below, Riggs traces Shakespeare's general theme of the deterioration of heroic idealism that took place between the Hundred Years' War and the Yorkist accession in Henry VI.
In the excerpt below, Schwarz studies the complex portrayal of women in Henry VI, Parts 1, 2, and 3, focusing on the depiction of Joan as an outsider and as a contradictory embodiment of extremes. Schwarz also analyzes the portrayal of Margaret as both a conventional object of desire and a disruptive role-player.
In the essay below, Pugliatti maintains that Shakespeare's representation of the Cade rebellion in Henry VI “manifests a double perspective”—at once radical and conservative—which demonstrates the dramatist's multivalent vision of history.
In the following excerpt, Warren surveys Shakespeare's sources for Henry VI, Part 2 and examines the dramatic function of its principal figures. Warren also addresses the subject of social unrest in late medieval England through his examination of Jack Cade's rebellion in Act III of the drama.
In the essay below, Hunt locates in Henry VI, Part 3 a unity of design based upon the motif of unnaturalness, particularly in the unnatural disinheritance of Henry's son, which becomes a driving force in subsequent incidents in the drama.
In the essay below, Billings links the historical failures of the characters in Henry VI, Parts 1, 2, and 3 to Shakespeare's theme of a decline in heroic virtues and ideals, and examines the structural role of heroic irony in the plays.
In the following essay, MacKenzie examines how the classical and biblical mythic references in the Henry VI plays reflect and subvert the heroic ideals of English mythology.
In the following essay, Dickson contends that the world of Henry VI, Part 1 is one of chaos and upturned hierarchies, where the dead Henry V's role as prophet and sun king is ceded not to his own son, Henry VI, but to the French maiden Joan of Arc.
In the essay below, Knowles reexamines the historical sources of Henry VI, contending that Shakespeare's reshaping of historical materials in the three plays demonstrates his departure from the form of chronicle history to the celebrated dramatic mode of Henry IV.
In the essay below, Pye focuses on Act I, scene 4 of 1 Henry VI in order to study the economic and historical dimensions of subjectivity presented in the play.
In the essay below, Martin surveys Shakespeare's use of the emblems of Elizabethan civic pageantry to create his “reinterpretive presentation of history” in Henry VI.
In the following essay, Semenza explores the ways in which Shakespeare used sports metaphors to describe the selfish wars conducted by the greedy nobles in Henry VI, Parts 1, 2, and 3.
In the following essay, Linton examines the Jack Cade Rebellion in Henry VI, Part 2, and contends that underlying Cade's suspicion of people who are literate is Shakespeare's belief that literacy can be abused by the powerful to suppress the poor.
In the essay below, Burckhardt addresses the problems of integrity and episodic design in Henry VI, Part 1, finding an aesthetic unity in the ceremonial qualities of the narrative as well as in the play's thematic analogy between dramatist and God.
In the following essay, Pratt asserts that Humphrey, Duke of Gloucester, achieves the status of myth through Shakespeare's careful depiction of Humphrey's loyalty to his king in Henry VI, Parts 1 and 2.
In the following essay, Liebler and Shea trace the role of Margaret in the Henry VI plays and Richard III as it develops in accordance with four successive Jungian archetypes—Virgin, Wife, Mother, and Crone.
In the following essay, Nichols links the symbolic and theatrical functions of paper to themes of legality, revenge, and the legitimacy of kings in the Henry VI plays.
In the following essay, Hodgdon demonstrates how Katie Mitchell's 1994 production of Henry VI, Part 3 shifted the play's focus from its male to its female characters, thus emphasizing the theme of survival rather than nationalism.
In the following essay, Turner argues that because of his relative inexperience as a playwright, Shakespeare created characters in Henry VI, Parts 1, 2, and 3 that are “flat” depictions of morality figures who show no remorse for their actions.
In the essay below, Clemen analyzes the language and dramatic effect of several key speeches in Henry VI, contrasting their “extraordinary clarity of utterance” with the “somewhat two-dimensional world” of the play.
In the following excerpt, Jackson concentrates on the symbolic power of Joan of Arc in Henry VI, Part 1 and maintains that this character would have elicited Elizabethan associations with Amazons, warrior-women, and witches.
In the following essay, Bernthal analyzes the ways in which Shakespeare used carnival imagery in Henry VI, Part 2, both to defend and condemn Jack Cade's rebellion.
In the essay below, Pearlman interprets the dramatic and theological significance of the encounter between Duke Humphrey of Gloucester and the beggar Saunder Simpcox in 2 Henry VI.
In the essay below, Blanpied considers Shakespeare's dramatization of history in Henry VI, perceiving in the work's three parts a series of disintegrations that shape each subsequent play and ultimately culminate in the parodic figure of Richard.
In the essay below, Gutierrez examines Shakespeare's representation of Joan de Pucelle in Henry VI, Part 1 as a problematic, feminine scapegoat used by men to gain power. Gutierrez notes that such a representation reflects a patriarchal desire to eliminate female threats by transforming them into actions that bolster male power.
In the essay below, Williams probes Shakespeare's presentation of an unhistorical love affair between Queen Margaret of Anjou and the Earl of Suffolk as the dramatist's first attempt at staging romantic relationships with tragic consequences.
In the following essay, Jackson reviews Michael Boyd's December 2000-January 2001 Royal Shakespeare Company staging of Henry VI, Parts 1, 2, and 3 and Richard III. The critic contends that the production's greatest achievement “lay in its evocation of a world turned to chaos.”
In the following excerpt, Martin investigates the changing critical attitudes toward Margaret, observing that while early productions of the Henry VI plays virtually ignored her, or reduced her to a clichéd example of female shrewishness, recent productions have depicted Margaret as a more complex character.
In the following essay, Thatcher lists the five different ways in which murders and the cover-ups that follow them are committed in Shakespeare's plays, and shows how Humphrey of Gloucester's murder in Henry VI, Part 2 is an example of a murder made to look as though it were a death by natural causes.
In the following excerpt, Cox and Rasmussen review the characters of Henry and Richard. They note that there is an ongoing debate among critics regarding whether King Henry is a symbol of saintliness or ineptitude; however, they find that most critics agree that Richard's character is evil.
In the following essay, Martin proposes that the brief entrance of John Somerville in Henry VI, Part 3, reveals familial connections between Shakespeare and the Somerville family. Martin suggests that this connection may also indicate that Shakespeare had Catholic sympathies in spite of his Protestant Queen.
In the essay below, Leech surveys the structure of the three parts of Henry VI and discusses the critical debate over Shakespeare's part in the authorship of these works.
In the following essay, Butler asserts that Shakespeare relied on Virgil's Aeneid and its depiction of the dying Turnus in his portrayal of Suffolk's death in Henry VI, Part 2.
In the following review of Michael Boyd's 2001 Royal Shakespeare Company staging of Henry VI, Parts 1, 2, and 3, Duncan-Jones admires the overall production, but finds fault with the lagging pace and confusing complications of Part 2.
In the following essay, Rowse briefly reviews the social conditions under which Henry VI, Parts 1, 2, and 3 were written and discusses how Shakespeare's newness as a playwright is revealed in the series.
In the following review, Brady commends Leon Rubin's 2003 adaptation of the Henry VI plays—Revenge in France and Revolt in England—particularly Rubin's ability to shape this episodic historical sequence into a clear and coherent production of contemporary relevance.
In the following review, Carnegy praises director Michael Boyd's 2000 Royal Shakespeare Company production of Henry VI, Parts 1, 2, and 3 as a compelling and faithful staging of plays.
In the following review, Barbour observes that the scenery and direction of Karin Coonrod's production of the Henry VI series reflects the bloodshed that has occurred in modern warfare in such places as Yugoslavia and Rwanda.
In the following review of Rose Rage, a two-part adaptation of the Henry VI plays by Edward Hall and Roger Warren, Shore contends that Hall and Warren “largely succeeded in giving us what earlier adaptors, such as William Davenant and Nahum Tate, are routinely derided for having thought possible—Shakespeare improved.”
In the following review, Hornby praises Edward Hall's 2003 production of Rose Rage, a two-part adaptation of Henry VI, Parts 1, 2, and 3, for its stirring “visual poetry,” stylized violence, and musical virtuosity.
