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Main MenuOverview by Sujata Iyengar and Nathalie Vienne-Guerrin'Henry V' : A Guide to Early Printed Editions by Daniel Yabut“with rough and all-unable pen…” : Source Study and Historiography in Shakespeare’s 'Henry V' by Mikaela LaFavePistol and Monsieur Le Fer: An Anglo-French Encounter by Charlène CruxentUniversité Paul-Valéry Montpellier 3, IRCL, UMR5186 CNRSMaking & Unmaking National Identity: Race & Ethnicity in Shakespeare’s 'Henry V' by Nora Galland'Henry V' Onstage: From the Falklands War to Brexit (1986-2018) by Janice Valls-RussellThe Problematic Reception of 'Henry V' in France: A Case Study by Florence March“For ’tis your thoughts that now must deck our kings”: Henry’s Popular Afterlives by Philip Gilreath“On your imaginary forces work”: How 'Henry V'’s Chorus Changes the Play Text during Olivier’s Film by Julia KoslowskyA Guide to Teaching 'Henry V' and its Sources by Hayden BensonStudy QuestionsKey Scenes and Speeches from 'Henry V'Back Matter
These major sources dominate source studies of Shakespeare’s texts. What does history, then, really mean – the facts or the bent of the narrative? In Henry V, Shakespeare mixes facts and narrative into the play that modern audiences know today. Clearly, it remains impossible to fully divorce the layers and levels of adaptation from “the history” of The History, or historiography (the study of how history is told) from history itself. Through the compilation of multiple sources, Shakespeare created (and revised, as detailed in Daniel Yabut’s article, his version of the historical narrative, using popular narrative, drama, and musical and poetic arts to build not a definitive, but perhaps a definitively derivative definition of history.
