Kind uncle York, the latest news we hear
Is that the rebels have consumed with fire
Our town of Cicester in Gloucestershire,
But whether they be ta’en or slain we hear not.
Kind uncle York, the latest news we hear
Is that the rebels have consumed with fire
Our town of Cicester in Gloucestershire,
But whether they be ta’en or slain we hear not.
kind uncle york, the latest news we hear
is that the rebels have consumed with fire
our town of cicester in gloucestershire,
but whether they be ta’en or slain we hear not.
Kind uncle York, the latest news we hear Is that t
Henry's rejection of Exton is one of the most morally complex moments in the play, and it requires understanding what Henry is actually doing. He is not lying — he genuinely does not love Exton, genuinely does wish he hadn't had to use him, genuinely hates the mechanism while wanting the result. But the rejection is also a political act: Exton is the only witness who will say, in public, that Henry's words inspired the murder. To keep Exton at court is to keep the accusation in the room. Exile removes the accuser without quite silencing him. Henry says 'I hate the murderer, love him murdered' — this is not hypocrisy but something worse: it is a real emotional state that is also politically functional. The guilt is genuine. The management of the guilt is also deliberate. Shakespeare shows us a man who is capable of holding both things at once.
First, to thy sacred state wish I all happiness.
The next news is: I have to London sent
The heads of Salisbury, Spencer, Blunt, and Kent.
The manner of their taking may appear
At large discoursed in this paper here.
First, to thy sacred state wish I all happiness.
The next news is: I have to London sent
The heads of Salisbury, Spencer, Blunt, and Kent.
The manner of their taking may appear
At large discoursed in this paper here.
first, to thy sacred state wish i all happiness.
the next news is: i have to london sent
the heads of salisbury, spencer, blunt, and kent.
the manner of their taking may appear
at large discoursed in this paper here.
First, to thy sacred state wish I all happiness. T
We thank thee, gentle Percy, for thy pains,
And to thy worth will add right worthy gains.
We thank thee, gentle Percy, for thy pains,
And to thy worth will add right worthy gains.
we thank thee, gentle percy, for thy pains,
and to thy worth will add right worthy gains.
We thank thee, gentle Percy, for thy pains, And to
Henry's closing vow to wash Richard's blood from his 'guilty hand' in the Holy Land is not just a figure of speech — it is a specific political theology. In medieval and early modern thinking, a pilgrimage to Jerusalem could expiate serious sins, including murder. Henry is invoking a recognised mechanism of spiritual debt repayment. But Shakespeare makes the vow structurally ironic from the outset: Henry IV Part 1 opens with Henry still promising to go and still unable to. By the time he dies in Henry IV Part 2, in a room accidentally called the Jerusalem Chamber, the irony is complete. The Holy Land vow is the guilt that travels. Richard II ends at the point where that travel begins, and the audience who knows the Henry plays understands that the journey never arrives.
My lord, I have from Oxford sent to London
The heads of Brocas and Sir Bennet Seely,
Two of the dangerous consorted traitors
That sought at Oxford thy dire overthrow.
My lord, I have from Oxford sent to London
The heads of Brocas and Sir Bennet Seely,
Two of the dangerous consorted traitors
That sought at Oxford thy dire overthrow.
my lord, i have from oxford sent to london
the heads of brocas and sir bennet seely,
two of the dangerous consorted traitors
that sought at oxford thy dire overthrow.
My lord, I have from Oxford sent to London The hea
Thy pains, Fitzwater, shall not be forgot.
Right noble is thy merit, well I wot.
Thy pains, Fitzwater, shall not be forgot.
Right noble is thy merit, well I wot.
thy pains, fitzwater, shall not be forgot.
right noble is thy merit, well i wot.
Thy pains, Fitzwater, shall not be forgot. Right n
Henry's admission — 'blood should sprinkle me to make me grow' — is the play's darkest and most honest self-portrait. It uses agricultural imagery (sprinkling, growth) that the garden scene in 3-4 prepared: England as a garden, the gardener-king as the one who must prune and tend. But here the watering agent is blood, not rain. Henry is the plant that grew by consuming Richard. The image acknowledges what the deposition was: not a constitutional transfer but a feeding. And the play's final irony is that this growth-through-blood is exactly what Richard II predicted at Flint Castle and throughout Acts 4 and 5 — that those who depose sacred kings inherit a poisoned crown. Henry knows he is right about himself in a way Richard never quite was about himself. Richard performed his insight. Henry states his plainly, once, at the end, and then orders everyone to march and mourn.
The grand conspirator, Abbot of Westminster,
With clog of conscience and sour melancholy,
Hath yielded up his body to the grave.
But here is Carlisle living, to abide
Thy kingly doom and sentence of his pride.
The grand conspirator, Abbot of Westminster,
With clog of conscience and sour melancholy,
Hath yielded up his body to the grave.
But here is Carlisle living, to abide
Thy kingly doom and sentence of his pride.
the grand conspirator, abbot of westminster,
with clog of conscience and sour melancholy,
hath yielded up his body to the grave.
but here is carlisle living, to abide
thy kingly doom and sentence of his pride.
The grand conspirator, Abbot of Westminster, With
Carlisle, this is your doom:
Choose out some secret place, some reverend room,
More than thou hast, and with it joy thy life.
So as thou liv’st in peace, die free from strife;
For though mine enemy thou hast ever been,
High sparks of honour in thee have I seen.
Carlisle, this is your doom:
Choose out some secret place, some reverend room,
More than thou hast, and with it joy thy life.
So as thou liv’st in peace, die free from strife;
For though mine enemy thou hast ever been,
High sparks of honour in thee have I seen.
carlisle, this is your doom:
choose out some secret place, some reverend room,
more than thou hast, and with it joy thy life.
so as thou liv’st in peace, die free from strife;
for though mine enemy thou hast ever been,
high sparks of honour in thee have i seen.
Carlisle, this is your doom: Choose out some secre
Richard II is the first play in Shakespeare's second historical tetralogy (Richard II, Henry IV Parts 1 and 2, Henry V), written in reverse chronological order to the first tetralogy (Henry VI Parts 1-3, Richard III). The play's ending is designed as a launching point. Henry's Holy Land vow, his acknowledgment of guilt, the exile of Exton, the mourning procession — these are all the beginning of something, not the resolution of it. The unstable succession, the Cain-like exile, the blood that won't wash off — all of these become the structuring problems of the next three plays. Richard II's famous final image — the guilty hand, the untimely bier, the black mourning ordered by the king who caused the death — is Shakespeare's way of saying: the cost of this crown will be paid over three more plays. The audience watching Henry V triumph at Agincourt is watching the grandson of the man who stands over this coffin.
Great king, within this coffin I present
Thy buried fear. Herein all breathless lies
The mightiest of thy greatest enemies,
Richard of Bordeaux, by me hither brought.
Great king, within this coffin I present
Thy buried fear. Herein all breathless lies
The mightiest of thy greatest enemies,
Richard of Bordeaux, by me hither brought.
great king, within this coffin i present
thy buried fear. herein all breathless lies
the mightiest of thy greatest enemies,
richard of bordeaux, by me hither brought.
Great king, within this coffin I present Thy burie
Exton, I thank thee not, for thou hast wrought
A deed of slander with thy fatal hand
Upon my head and all this famous land.
Exton, I thank thee not, for thou hast wrought
A deed of slander with thy fatal hand
Upon my head and all this famous land.
exton, i thank thee not, for thou hast wrought
a deed of slander with thy fatal hand
upon my head and all this famous land.
Exton, I thank thee not, for thou hast wrought A d
From your own mouth, my lord, did I this deed.
From your own mouth, my lord, did I this deed.
from your own mouth, my lord, did i this deed.
From your own mouth, my lord, did I this deed.
They love not poison that do poison need,
Nor do I thee. Though I did wish him dead,
I hate the murderer, love him murdered.
The guilt of conscience take thou for thy labour,
But neither my good word nor princely favour.
With Cain go wander thorough shades of night,
And never show thy head by day nor light.
Lords, I protest my soul is full of woe
That blood should sprinkle me to make me grow.
Come, mourn with me for what I do lament,
And put on sullen black incontinent.
I’ll make a voyage to the Holy Land
To wash this blood off from my guilty hand.
March sadly after; grace my mournings here
In weeping after this untimely bier.
They love not poison that do poison need,
Nor do I thee. Though I did wish him dead,
I hate the murderer, love him murdered.
The guilt of conscience take thou for thy labour,
But neither my good word nor princely favour.
With Cain go wander thorough shades of night,
And never show thy head by day nor light.
Lords, I protest my soul is full of woe
That blood should sprinkle me to make me grow.
Come, mourn with me for what I do lament,
And put on sullen black incontinent.
I’ll make a voyage to the Holy Land
To wash this blood off from my guilty hand.
March sadly after; grace my mournings here
In weeping after this untimely bier.
they love not poison that do poison need,
nor do i thee. though i did wish him dead,
i hate the murderer, love him murdered.
the guilt of conscience take thou for thy labour,
but neither my good word nor princely favour.
with cain go wander thorough shades of night,
and never show thy head by day nor light.
lords, i protest my soul is full of woe
that blood should sprinkle me to make me grow.
come, mourn with me for what i do lament,
and put on sullen black incontinent.
i’ll make a voyage to the holy land
to wash this blood off from my guilty hand.
march sadly after; grace my mournings here
in weeping after this untimely bier.
They love not poison that do poison need, Nor do I
The Reckoning
Eighteen chunks — the play ends in under a hundred lines, which is unusual for Shakespeare. It ends in guilt. Henry has won everything and holds the stage alone at the close, speaking of holy land and guilty hands. The efficiency is deliberate: the coda does not celebrate. It itemizes the cost. The heads arrive, the pardon is granted, the coffin comes in. Henry says the things a king must say. And then, privately, he admits the thing that will haunt his reign: 'blood should sprinkle me to make me grow.' He is the plant watered by the blood of Richard, and he knows it.
If this happened today…
The new CEO holds a meeting after the hostile takeover is complete. Subordinates bring in the results: the old board removed, the resisters handled, one man acquitted on a technicality and spared. Then the consultant who arranged the 'removal' of the previous CEO walks in to claim his reward. The new CEO looks at the consultant, then looks at the assembled executives, then says: I never gave that order. I never asked for that. Whatever you think you heard — no. Get out. Then, alone with the board: I know what happened. I know what this cost. I'll spend the rest of my time in this office trying to make it right.