Other editions of book Henry IV, Part II

This edition offers a fully modernized text of one of Shakespeare's most fascinating plays. Henry IV, Part 2 is the only play in the canon whose structure almost exactly mirrors that of its predecessor, and thereby affords unique perspectives on Shakespeare's art and craft. Far from being the impoverished country cousin of an illustrious work, Part 2 introduces unforgettable new characters like Pistol and Shallow, and memorable minor players such as Doll Tearsheet and the reluctant Goucestershire recruits. Above all, it gives us more Falstaff. Although he is now politically distanced from Hal, he looms larger than ever as a mischievous figure who never ceases to fascinate with his unique blend of native wit, inventiveness, and corruption. Through a radical reconsideration of the play's text(s) and date, it is argued here for the first time that the character of Falstaff was called Oldcastle in Part 2 as well as in as in Part 1, and that it was the vetting of Part 2 for the 1596-7 Christmas performances at Court which led to the change of name in both plays. This edition moreover takes the view that the Folio-only passages in the play reflect the text of the original prompt-book.

Henry IV, Part 2 is the only Shakespeare play that is a “sequel,” in the modern sense, to an earlier play of his. Like most sequels, it repeats many elements from the previous work, Henry IV, Part 1. This play again puts on stage Henry IV’s son, Prince Hal, who continues to conceal his potential greatness by consorting with tavern dwellers, including the witty Sir John Falstaff.

The third part of Shakespeare's impressive 'Henriad,' this play follows "Richard II" and "Henry IV, Part 1," and precedes "Henry V." In this portion of the tetralogy of history plays, Prince Hal is once again out of favor with his father the king, who is in his last months of life. Falstaff, the comical criminal, is further rejected by Prince Hal, who believes he must disassociate himself with the London underworld before becoming king. This is certainly a more somber play, for Henry IV dies, and Falstaff reflects on his own approaching death. A credible play worthy of the Shakespeare's early writings, "Henry IV, Part 2" is a work of conflict, reconciliation, and musings on life and death that attest to the universal nature of the Bard of Avon's canon.

The author offers a new approach to the text of the Second Part of King Henry IV, which he sees as an unplanned sequel to the First Part, itself a remake of an old, non-Shakespearean play. The Second Part deliberately exploits the popular success of Sir John Falstaff, introduced in Part One; the resulting rich humor gives a comic dimension to the play that makes it a unique blend of history, morality play and comedy. Among modern editions of the play this is the one most firmly based on the Quarto. Professor Melchiori presents an eminently actable text, by showing how Shakespeare's own choices are superior for practical purposes to suggested emendations, and by keeping interferences in the original stage directions to a minimum, in order to respect, as Shakespeare did, the players' freedom.