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So bear I thee upon my manly shoulders;
But then Æneas bare a living load,
Nothing so heavy as these woes of mine.



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
Hath made the wizard famous in his death.


Sword, hold thy temper; heart, be wrathful still:
Priests pray for enemies, but princes kill.


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:
Now is it manhood, wisdom, and defence,
To give the enemy way, and to secure us
By what we can, which can no more but fly.


[Alarum afar off.

If you be ta'en, we then should see the bottom
Of all our fortunes: but if we haply scape,
As well we may, if not through your neglect,
We shall to London get, where you are lov'd,
And where this breach now in our fortunes made
May readily be stopp'd.

Re-enter Young CLIFFORD.

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YOUNG CLIFFORD. But that my heart's on future mischief set,

I would speak blasphemy ere bid you fly;
But fly you must: uncurable discomfit
Reigns in the hearts of all our present parts.
Away, for your relief! and we will live

To see their day and them our fortune give.
Away, my lord, away!




SCENE III.-Field near Saint Alban's.

Alarum. Retreat. Flourish; then enter YORK, RICHARD,
WARWICK, and Soldiers, with drum and colours.

YORK. Of Salisbury, who can report of him ;
That winter lion, who in rage forgets
Aged contusions and all brush of time,
And, like a gallant in the brow of youth,
Repairs him with occasion? this happy day
Is not itself, nor have we won one foot,
If Salisbury be lost.


My noble father,
Three times to-day I holp him to his horse,
Three times bestrid him; thrice I led him off,
Persuaded him from any further act:

But still, where danger was, still there I met him ;
And like rich hangings in a homely house,

So was his will in his old feeble body.
But, noble as he is, look where he comes.



SALISBURY. Now, by my sword, well hast thou fought to-day;

By the mass, so did we all. I thank you, Richard : 16
God knows how long it is I have to live;

And it hath pleas'd him that three times to-day
You have defended me from imminent death.
Well, lords, we have not got that which we have:
'Tis not enough our foes are this time fled,
Being opposites of such repairing nature.



YORK. I know our safety is to follow them;
For, as I hear, the king is fled to London,
To call a present court of parliament:
Let us pursue him ere the writs go forth :-
What says Lord Warwick ? shall we after them?
WARWICK. After them! nay, before them, if we can.
Now, by my hand, lords, 'twas a glorious day:
Saint Alban's battle, won by famous York,
Shall be eterniz'd in all age to come.

Sound, drums and trumpets, and to London all:
And more such days as these to us befall !









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

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