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So bear I thee upon my manly shoulders;
Enter RICHARD and SOMERSET, fighting; SOMERSET is killed. RICHARD. So, lie thou there;
For underneath an alehouse' paltry sign,
The Castle in Saint Alban's, Somerset
Sword, hold thy temper; heart, be wrathful still:
Alarums: Excursions. Enter KING HENRY, QUEEN MARGARET, and Others, retreating.
QUEEN MARGARET. Away, my lord! you are slow: for shame, away!
KING HENRY. Can we outrun the heavens? good Margaret, stay.
What are you made of? you'll
nor fight nor fly:
[Alarum afar off.
If you be ta'en, we then should see the bottom
Re-enter Young CLIFFORD.
YOUNG CLIFFORD. But that my heart's on future mischief set,
I would speak blasphemy ere bid you fly;
To see their day and them our fortune give.
SCENE III.-Field near Saint Alban's.
Alarum. Retreat. Flourish; then enter YORK, RICHARD,
YORK. Of Salisbury, who can report of him ;
My noble father,
But still, where danger was, still there I met him ;
So was his will in his old feeble body.
SALISBURY. Now, by my sword, well hast thou fought to-day;
By the mass, so did we all. I thank you, Richard : 16
And it hath pleas'd him that three times to-day
YORK. I know our safety is to follow them;
Sound, drums and trumpets, and to London all:
THE THIRD PART OF
KING HENRY THE SIXTH
IN the Introduction to the Second Part of King Henry VI a brief survey of the controversy concerning the authorship of the two latter plays of this trilogy has been attempted. But nothing has been said of the value of these plays as works of art. That they are as such inferior to the other historical plays of Shakespeare cannot be denied; none the less it is certain that as we possess them in the folio they take higher rank than any historical drama of a date preceding that of Richard III and Richard II, with perhaps the solitary exception of Marlowe's Edward II.
The time represented was a welter, almost a chaos, of contending forces; and the impression left upon our minds when we rise from a perusal of the plays is that of a chaos, from which, however, before the close, some dominant forces emerge. In the Second Part the tug this way and that of rival powers is exhibited chiefly as a preparation for civil war, but in the fifth Act the fierce contention passes to the battlefield; in the Third Part all restraint has been cast aside ; we are in the midst of ceaseless internecine strife. It can hardly be maintained that the plays are well designed for the presentation of character; and yet character rises from the chaos. Through both plays moves the helpless king, whose true place would have been in the cloister and not upon the throne. From the first scene, in which he welcomes the formidable woman who can dandle him like a baby, to that in which he sighs out a prayer for pardon of his murderer, the conception of