Final Part Of Henry The Fourth

Shakespeare's actors did not receive a copy of the entire script but instead worked from "cue-scripts" or "part scripts" which contained only the lines and cues for a single character. The Renaissance Acting Editions provide cue-scripts for those who wish to experiment with the early modern acting process. Each play in the series consists of a set of cue-scripts and an unabridged prompt-script in modern font edited and prepared from William Shakespeare's First Folio of 1623. A "platt" (a.k.a. a "plot," a running list of entrances, exits, and major stage business) and instructions for assembling a cue-script roll are also included. These editions are not direct transcriptions of the First Folio texts. Original spelling, punctuation, and verse lineation have been retained throughout, but minimal revision has been done (e.g., correction of missing entrances and exits, restoration of simultaneous dialogue, etc.) to make the scripts more user-friendly.

King Henry the Fourth, Part 2 William Shakespeare - Henry IV, Part 2 is a history play by William Shakespeare, believed to have been written between 1596 and 1599. It is the third part of a tetralogy, preceded by Richard II and Henry IV, Part 1 and succeeded by Henry V.

Henry IV, Part One is a rich play: rich in drama and intrigue, political machinations, and comedy. Not only does Prince Harry (Hal) redeem himself in his fathers eyes, he also satisfies audience expectations. One important sub-plot running throughout the play is the questionable ascension of Henry IV to the throne. Additionally, one cannot ignore the comparison between Prince Harry and Hotspur (Harry Monmouth). Finally there is the dominant character of Falstaff, larger than a life portrait which no artist could possibly capture. One might cavil at Falstaffs disregard for truth, for his penchant for lying, for his pusillanimity which approaches and even encompasses true cowardice. Yet even acknowledging the truth of these charges, over the centuries audiences have taken Falstaff to their hearts, perhaps seeing him as an avatar of weaknesses they, too, possess. Thus, despite (maybe because of) his personal flaws, audiences have accepted Falstaff without reservation, sharing his misadventures and laughing at his peccadillos, allowing Falstaff to endure as one of Shakespeares titanic creations, truly a man for all seasons.