Henry VIII or All is True – “Be to yourself as you would to your friend.”

Henry VIII or All is True – “Be to yourself
 as you would to your friend.”

‘Henry VIII’ was written and performed in 1613 and is one of the few Shakespeare plays that we are pretty sure of the year it was written and performed due to a number of a events. But I will come to those events later. Let’s first go back to the 1612 and look at the context in which Shakespeare collaborated on this play with John Fletcher.

After handing over the mantle of House Playwright of the King’s Men over to John Fletcher around 1611, Shakespeare had progressively split his time between London and Stratford upon Avon. From around 1611, his year had started to fall into a routine. He would normally spend his Christmas and New Year in Stratford upon Avon with his wife Ann and would probably have his daughter Susanna and her husband John Hall around and enjoyed the company of his granddaughter Elizabeth. Then Shakespeare would return in January to help with the end of the seven month winter season of plays at the Blackfriars Theatre. The Blackfriars Theatre (really the second Blackfriars Theatre) was a 1,000 seater indoor theatre built in the reconstructed frater or dining room of the Blackfriars Dominican priory. With an entry of six pence for a cheap seat, ten pence for other audience seats (and twenty pence for a seat on stage), Blackfriars attracted a different clientele from the Globe and other theatres over in Shoreditch. This meant that Shakespeare himself could rake in about £8-£13 for a single performance at the Blackfriars Theatre. For the 60 to 100 performances done over the seven months of the winter season of 1612 (October 1611- March 1612), Shakespeare probably got somewhere from £300-£900. This was huge sum for the winter months. On top of this Shakespeare would have got rental income from his properties in London and Stratford upon Avon along with income from his grain storage outside Stratford. Around this time in 1612 also, Shakespeare started negotiations to buy part of the Blackfriars Priory so he could have a room near the theatre and also rent out a room or two on the side. This arrangement was not finalized until 1613.

Shakespeare probably made a trip back to Stratford sometime in January or February of 1612, but he was certainly back in London by the beginning of March 1612 when he appeared as a witness in the marriage settlement court case of Bellott vs Mountjoy which involved Mountjoy’s daughter Mary.

A pretty penny or two would also have been made by Shakespeare through the unprecedented 22 'royal' performances that the King’s Men did from October 1611 to April 1612 at the King’s court and palace. This season included plays such as ‘The Winter’s Tale’ and ‘The Tempest’. Shakespeare probably made about £20 for each performance at court, so from court performances this meant Shakespeare made about £250-400 for the 1611-1612 season.

Then in April or May of 1612, the Globe season opened with a new play ‘Cardenio’ which Shakespeare had written with John Fletcher. This was a success and along with probable performances of ‘The Tempest’, 'The Winter's Tale', ‘Cymbeline’ and ‘Coriolanus’. The Globe had a capacity of 3000 people (although most performances probably had 1,000 to 2,000 people except for premieres like that of ‘Cardenio’ in 1612) and with a one penny entrance fee for the cheap seats, two pennies for the gallery seats, Shakespeare probably made £4-£6 a performance and about £400-£900 for the Globe summer season.

In 1612, Shakespeare would not only be watching the actors of the King’s Men for their performances in ‘Cardenio’ but he would have been thinking of potential next project for the 1613 season. John Heminges had started to develop a stutter so Shakespeare would have known his days in lead roles were numbered. John Lowin would have caught Shakespeare’s eye as a principle actor, along with Robert Gough. Richard Burbage still wooed the audiences as he proved in his portrayal of three roles in ‘Cardenio’ including the role of the Captain. Henry Codell was dependable too as were William Ostler, Alexander Cooke, John Underwood, Nicholas Tooley and William Ecclestone. The boy player Richard Robinson (who was reaching the end of his boy player days) probably was seen by Shakespeare as being able to either play complex older female roles or a young male characters.

When Shakespeare and Fletcher sat down in September of 1612 to think about a new play for the 1613 season, the concept of a play based on the life of Henry VIII probably raised its head again. This project had probably been thought about and discarded a number of times over the years by Shakespeare and at each point the royal subject matter and more specifically the fact that Henry VIII was the father of Queen Elizabeth I (and Queen Elizabeth I was a cousin to Mary Queen of Scots who was James I of England’s mother) made the subject matter too contentious. But Shakespeare probably thought that the histrionic nature of some of the masque balls and plays at court meant that this is a project that had finally reached its time. He may have even seen masques portraying King Henry VIII and Elizabeth I without repercussions. So Shakespeare went back to re-read and consult Holinshed's ‘Chronicles’ and decided that a history play that spanned about 20 years of Henry VIII’s reign was probably timely. He would avoid the trial and beheading of Anne Boleyn but he decided that plenty of less sensitive political intrigue (like the charges of treason against the Duke of Buckingham) could be included.

When William Shakespeare came back from Stratford in early 1613, he probably had a plot outline and a number of speeches drafted. When Shakespeare and John Fletcher met again in March, they would both start working in earnest throughout March and April of 1613 to complete a draft of ‘The Famous History of the Life of King Henry the Eight’. Sometime in May, the last salt was added to the pages of the 'King Henry' master script and copy writers would have set to copying out the pages they were designated (no one copy writer was normally given more than a dozen scenes or two or three character parts to write out for fear of theft). At the beginning of June 1613, the actors were given their parts and worked their way through the play. On Friday 28^th, ‘Henry VIII’ probably premiered to audiences to a rousing reception with its grand pageantry, well-known characters and even a live canon which was used in the performance.

As the sun rose on the hexagonal shadow of the Globe on Saturday June 29^th, ‘Henry VIII’ was to have its most memorable performance and its last at the original Globe (although a performance would take place of the play on June 29^th 1628 in the new rebuilt Globe Theatre). From an hour or two after sunrise at 5am, stalls of all sorts would have started to set up outside the Globe and beside where the punts crossed the river to arrive on the south bank of the Thames. Around 9am the red flag would have been raised above the towers of the Globe Theatre to tell people that a History play was to be performed later that day and soon after, boys would have been sent out with flyers telling audiences that today’s play would indeed be another performance of ‘The Famous History of the Life of King Henry the Eight’. Around 12 noon, when they heard the church bells chime from Southwark Cathedral, the actors, musicians and stage helpers would wander over to the theatre and start climbing the stairs to the third storey of the tiring house where the dressing rooms, costume store and props room were housed. John Lowin, Richard Burbage and Robert Gough probably arrived latest at about 2pm after drinking most of the night celebrating John Lowin’s triumph as Henry VIII the previous day. They would check the sundial near the back entrance and because it was a sunny day, they would have a fair idea that they had an hour to go until their performance. Around this time the groundlings would have started to drift into the theatre, each dropping their penny in the box as they moved into the Globe Theatre. A stage hand boy would check the sundial one more time just after this before climbing the stairs to start to get the actors down ready for the play’s opening. A final visit was probably made up the stairs to get Richard Burbage who probably started the play with his Prologue speech. Little did they all know that about 15-25 minutes into this performance, at either the beginning of Act I Scene ii (when John Lowin entered as Henry VIII for the first time in this performance) or during the masque scene at Cardinal Wolsey's house in Act 1 Scene iv when King Henry VIII arrives, that the canon set off to herald his arrival as King Henry VIII, would set fire to the thatch roof and send them all running for their lives as the Globe Theatre, built in 1599 and the centrepiece for over 1000 performances of some 120 plays, would burn to the ground.

‘Henry VIII’ starts off with a Prologue filled with descriptive pageantry which sets the scene for this much anticipated play about a king whose fame and life was still talked about in stories people heard from their fathers, mothers, grandfathers and grandmothers. The Prologue promises the audience tears, hope, a tale worth a shilling (even though it warns that there is very little in the way of bawdy humour) and a show with great historical figures shown as they were in real life:

“I come no more to make you laugh: things now,

That bear a weighty and a serious brow,

Sad, high, and working, full of state and woe,

Such noble scenes as draw the eye to flow,

We now present. Those that can pity, here

May, if they think it well, let fall a tear;

The subject will deserve it. Such as give

Their money out of hope they may believe,

May here find truth too. Those that come to see

Only a show or two, and so agree

The play may pass, if they be still and willing,

I'll undertake may see away their shilling

Richly in two short hours. Only they

That come to hear a merry bawdy play,

A noise of targets, or to see a fellow

In a long motley coat guarded with yellow,

Will be deceived; for, gentle hearers, know,

To rank our chosen truth with such a show

As fool and fight is, beside forfeiting

Our own brains, and the opinion that we bring,

To make that only true we now intend,

Will leave us never an understanding friend.

Therefore, for goodness' sake, and as you are known

The first and happiest hearers of the town,

Be sad, as we would make ye: think ye see

The very persons of our noble story

As they were living; think you see them great,

And follow'd with the general throng and sweat

Of thousand friends; then in a moment, see

How soon this mightiness meets misery:

And, if you can be merry then, I'll say

A man may weep upon his wedding-day.”

The action starts with Norfolk, Buckingham, and Lord Abergavenny meeting for the first time since they accompanied Henry VIII to meet the King of France in June 1520 on the Field of the Cloth of Gold. Buckingham says he did not see much in France because he was sick and in bed in his tent. Norfolk says he saw the whole spectacle and when Buckingham asks who organized the meeting and ceremony, Norfolk tells him it was Cardinal Wolsey and Buckingham releases a tirade against Wolsey:

“The devil speed him! no man's pie is freed

From his ambitious finger. What had he

To do in these fierce vanities? I wonder

That such a keech can with his very bulk

Take up the rays o' the beneficial sun

And keep it from the earth. “

While Norfolk stands up for Wolsey, Abergavenny agrees with Buckingham and emphasizes that Wolsey is too filled with pride. Buckingham says that those who spent the most to broker this peace have received the least in return. Norfolk agrees saying:

“Grievingly I think,

The peace between the French and us not values

The cost that did conclude it.”

Norfolk tells Buckingham to be cautious because Cardinal Wolsey wields a lot of power and is known as a vengeful man.

Cardinal Wolsey then enters surrounded by secretaries and guards and looks at Buckingham, and asks his secretary where surveror’s testimony against Buckingham has arrived. Before Wolsey leaves he says that hopefully this testimony will lessen the arrogance of Buckingham. Upon Wolsey’s exit, Buckingham reveals that he thinks Wolsey is working against him and spreading rumours to the king himself. Norfolk is able to calm Buckingham. He does however reveal to Norfolk what he wants to say to the king about Wolsey:

“I'll to the king;

And from a mouth of honour quite cry down

This Ipswich fellow's insolence; or proclaim

There's difference in no persons…

I am thankful to you; and I'll go along

By your prescription: but this top-proud fellow,

Whom from the flow of gall I name not but

From sincere motions, by intelligence,

And proofs as clear as founts in July when

We see each grain of gravel, I do know

To be corrupt and treasonous…

To the king I'll say't; and make my vouch as strong

As shore of rock. Attend. This holy fox,

Or wolf, or both,--for he is equal ravenous

As he is subtle, and as prone to mischief

As able to perform't; his mind and place

Infecting one another, yea, reciprocally--

Only to show his pomp as well in France

As here at home, suggests the king our master

To this last costly treaty, the interview,

That swallow'd so much treasure, and like a glass

Did break i' the rinsing…

This cunning cardinal

The articles o' the combination drew

As himself pleased; and they were ratified

As he cried 'Thus let be': to as much end

As give a crutch to the dead: but our count-cardinal

Has done this, and 'tis well; for worthy Wolsey,

Who cannot err, he did it. Now this follows,--

Which, as I take it, is a kind of puppy

To the old dam, treason,--Charles the emperor,

Under pretence to see the queen his aunt--

For 'twas indeed his colour, but he came

To whisper Wolsey,--here makes visitation:

His fears were, that the interview betwixt

England and France might, through their amity,

Breed him some prejudice; for from this league

Peep'd harms that menaced him: he privily

Deals with our cardinal; and, as I trow,--

Which I do well; for I am sure the emperor

Paid ere he promised; whereby his suit was granted

Ere it was ask'd; but when the way was made,

And paved with gold, the emperor thus desired,

That he would please to alter the king's course,

And break the foresaid peace. Let the king know,

As soon he shall by me, that thus the cardinal

Does buy and sell his honour as he pleases,

And for his own advantage.”

Norfolk says that thinks that Buckingham might be wrong in his accusations against Wolsey but Buckingham insists on the truth in his accusations against Wolsey.

Then Brandon, with a sergeant-at-arms and guards arrives to arrest Buckingham and others and take them into custody. Buckingham and Abergavenny submit. They are taken to the tower.

In the next scene, King Henry VIII enters, with Cardinal Wolsey and Sir Thomas Lovel and as he takes his seat on the throne, he expresses thanks to Wolsey for discovering Buckingham’s plot against the throne. Queen Katharine then comes in accompanied by Norfolk and Suffolk and she kneels before her husband to talk to him about the new taxes which Wolsey has implemented on King Henry VIII’s behalf:

“Thank your majesty.

That you would love yourself, and in that love

Not unconsider'd leave your honour, nor

The dignity of your office, is the point

Of my petition…

I am solicited, not by a few,

And those of true condition, that your subjects

Are in great grievance: there have been commissions

Sent down among 'em, which hath flaw'd the heart

Of all their loyalties: wherein, although,

My good lord cardinal, they vent reproaches

Most bitterly on you, as putter on

Of these exactions, yet the king our master--

Whose honour heaven shield from soil!--even he

escapes not

Language unmannerly, yea, such which breaks

The sides of loyalty, and almost appears

In loud rebellion.”

It is explained to King Henry VIII that the taxes were implemented to pay for the English campaigns in France. The King asks for the taxes to be dropped and is willing to hear grievances against the taxes:

“It grieves many:

The gentleman is learn'd, and a most rare speaker;

To nature none more bound; his training such,

That he may furnish and instruct great teachers,

And never seek for aid out of himself. Yet see,

When these so noble benefits shall prove

Not well disposed, the mind growing once corrupt,

They turn to vicious forms, ten times more ugly

Than ever they were fair. This man so complete,

Who was enroll'd 'mongst wonders, and when we,

Almost with ravish'd listening, could not find

His hour of speech a minute; he, my lady,

Hath into monstrous habits put the graces

That once were his, and is become as black

As if besmear'd in hell. Sit by us; you shall hear--

This was his gentleman in trust--of him

Things to strike honour sad. Bid him recount

The fore-recited practises; whereof

We cannot feel too little, hear too much.”

Then Buckingham's Surveyor enters and when Wolsey asks the Surveyor to tell all that he has heard Buckingham say about the king. The Surveyor says that he heard Buckingham state that he wanted the crown for himself (since a member of the clergy had claimed that Buckingham was legitimately in line for the throne) if King Henry VIII could not produce a male heir. Queen Katharine points out the Surveyor's had reason to hate Buckingham. King Henry VIII commands the Surveyor to continue anyway. The Surveyor says that Buckingham wanted to also kill Wolsey and Lovell if and when the king died. King Henry VIII declares Buckingham a traitor through and through and asks for Buckingham to be put on trial.

In Scene Three, Lord Chamberlain and Lord Sands are discussing the strangeness of many of the lords of England since the King’s trip to France. They make fun of the manners and clothes of these lords. Then Lovell enters and agrees with them and suggests ways that they can have the English lords give up French ways.

Then we switch the scene to a hall where Guildford welcomes guests to York Place. Then Lord Chamberlain, Lovell, and Sands arrive. Sands sits next to Anne Bullen and flirts with her and kisses her. Wolsey enters and canon fire is heard. French shepherds arrive (they are in fact King Henry VIII and his men disguised as shepherds). Wolsey invites them in. The shepherds dance with the ladies and Henry specifically dances with Anne Bullen and becomes enamored with her. The king is unmasked and asks about Anne 's disguise. He kisses her and says that he will not forget her as he drinks to the ladies and requests that they all dance once more and talks to and about Anne:

“By heaven, she is a dainty one. Sweetheart,

I were unmannerly, to take you out,

And not to kiss you. A health, gentlemen!

Let it go round.

… Lead in your ladies, every one: sweet partner,

I must not yet forsake you: let's be merry:

Good my lord cardinal, I have half a dozen healths

To drink to these fair ladies, and a measure

To lead 'em once again; and then let's dream

Who's best in favour. Let the music knock it.”