Шекспирдің «Генрих VI» пьесасының екінші бөлімі

Play by Shakespeare

Henry VI, Part 2 (often written as 2 Henry VI) is a history play by William Shakespeare believed to have been written in 1591 and set during the lifetime of King Henry VI of England. Whereas Henry VI, Part 1 deals primarily with the loss of England's French territories and the political machinations leading up to the Wars of the Roses, and Henry VI, Part 3 deals with the horrors of that conflict, 2 Henry VI focuses on the King's inability to quell the bickering of his nobles, the death of his trusted adviser Humphrey, Duke of Gloucester, the rise of the Duke of York and the inevitability of armed conflict. As such, the play culminates with the opening battle of the War, the First Battle of St Albans (1455). Although the Henry VI trilogy may not have been written in chronological order, the three plays are often grouped together with Richard III to form a tetralogy covering the entire Wars of the Roses saga, from the death of Henry V in 1422 to the rise to power of Henry VII in 1485. It was the success of this sequence of plays that firmly established Shakespeare's reputation as a playwright. Henry VI, Part 2 has the largest cast of all Shakespeare's plays and is seen by many critics as the best of the Henry VI trilogy.

The play begins with the marriage of King Henry VI of England to the young Margaret of Anjou. Margaret is the protégée and lover of William de la Pole, 4th Earl of Suffolk, who aims to influence the king through her. The major obstacle to Suffolk and Margaret's plan is the Lord Protector; Humphrey, Duke of Gloucester, who is extremely popular with the common people and deeply trusted by the King. Gloucester's wife, however, has designs on the throne, and has been led by an agent of Suffolk to dabble in necromancy. She summons a spirit and demands it reveal the future to her, but its prophecies are vague and before the ritual is finished, she is interrupted and arrested. At court she is then banished, greatly to the embarrassment of Gloucester. Suffolk then conspires with Cardinal Beaufort and the Duke of Somerset to bring about Gloucester's ruin. Suffolk accuses Gloucester of treason and has him imprisoned, but before Gloucester can be tried, Suffolk sends two assassins to kill him. Meanwhile, Richard, 3rd Duke of York, reveals his claim to the throne to the Earls of Salisbury and Warwick, who pledge to support him. Suffolk is banished for his role in Gloucester's death, whilst Winchester (Cardinal Beaufort) contracts a fever and dies, cursing God. Margaret, horrified at Suffolk's banishment, vows to ensure his return, but he is killed by pirates shortly after leaving England, and his head sent back to the distraught Margaret. Meanwhile, York has been appointed commander of an army to suppress a revolt in Ireland. Before leaving, he enlists a former officer of his, Jack Cade, to stage a popular revolt in order to ascertain whether the common people would support York should he make an open move for power. At first, the rebellion is successful, and Cade sets himself up as Mayor of London, but his rebellion is put down when Lord Clifford (a supporter of Henry) persuades the common people, who make up Cade's army, to abandon the cause. Cade is killed several days later by Alexander Iden, a Kentish gentleman, into whose garden he climbs looking for food. York returns to England with his army, claiming that he intends to protect the King from the duplicitous Somerset. York vows to disband his forces if Somerset is arrested and charged with treason. Buckingham swears that Somerset is already a prisoner in the tower, but when Somerset enters ("at liberty"), accompanied by the Queen, York holds Buckingham's vow broken, and announces his claim to the throne, supported by his sons, Edward and Richard. The English nobility take sides, some supporting the House of York, others supporting Henry and the House of Lancaster. A battle is fought at St Albans in which the Duke of Somerset is killed by York's son Richard, and Lord Clifford by York. With the battle lost, Margaret persuades the distraught King to flee the battlefield and head to London. She is joined by Young Clifford, who vows revenge on the Yorkists for the death of his father. The play ends with York, Edward, Richard, Warwick and Salisbury setting out in pursuit of Henry, Margaret and Clifford.

On 12 March 1594, a play was entered in the Stationers' Register by the bookseller Thomas Millington and printed in quarto by Thomas Creede later that year as The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinall of VVinchester, vvith the notable Rebellion of Jacke Cade: And the Duke of Yorkes first claime vnto the Crowne. It has been theorised that The Contention is a reported text of a performance of what is today called Henry VI, Part II. If so, the play was written no later than 1594. However, it has been suggested the play may have been written several years earlier. Robert Greene's pamphlet Greene's Groats Worth of Wit (entered in the Stationers' Register on 20 September 1592) mocks Shakespeare as "an upstart crow, beautified with our feathers, that with his 'tiger's heart wrapped in a player's hide', supposes that he is as well able to bombast out a blank verse as the best of you." This parody of 3 Henry VI, 1.4.138, where York refers to Margaret as a "tiger's heart wrapped in a woman's hide! ", proves that 3 Henry VI was well known by September 1592, which means it must have been staged before 23 June, when the government closed the theatres to prevent the spread of plague. As it is known for certain that 3 Henry VI was a sequel to 2 Henry VI, it is certain that if 3 Henry VI was on stage by June 1592, so too was 2 Henry VI and that both were probably written in 1591 or 1592. For a discussion of whether the three parts of the trilogy were composed in chronological order, see 1 Henry VI.

The 1594 quarto text of The Contention was reprinted twice, in 1600 (in quarto) and 1619 (also in quarto). The 1600 text was printed by Valentine Simmes for Millington. The 1619 text was part of William Jaggard's False Folio, which was printed for Thomas Pavier. This text was printed together with a version of 3 Henry VI which had been printed in octavo in 1595 under the title The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixt, with the Whole Contention betweene the two Houses, Lancaster and Yorke. In the False Folio, the two plays were grouped under the general title The Whole Contention betweene the Two Famous Houses, Lancaster and Yorke, With the Tragicall ends of the good Duke Humfrey, Richard Duke of Yorke, and King Henrie the sixt. Also printed with The Whole Contention was Pericles, Prince of Tyre. The 1619 text of 2 Henry VI was not directly taken from The Contention however. The original text was edited to correct an error in York's outline of his genealogy in 2.2. The text of the play that today forms 2 Henry VI was not published until the 1623 First Folio, under the title The second Part of Henry the Sixt, with the death of the Good Duke Humfrey. When the play came to be called Part 2 is unclear, although most critics tend to assume it was the invention of John Heminges and Henry Condell, the editors of the First Folio, as there are no references to the play under the title Part 2, or any derivative thereof, before 1623.

Some critics argue that the Henry VI trilogy were the first ever plays to be based on recent English history, and as such, they deserve an elevated position in the canon, and a more central role in Shakespearean criticism. According to F. P. Wilson for example, "There is no certain evidence that any dramatist before the defeat of the Spanish Armada in 1588 dared to put upon the public stage a play based upon English history [ ] so far as we know, Shakespeare was the first." However, not all critics agree with Wilson here. For example, Michael Taylor argues that there were at least thirty nine history plays prior to 1592, including the two part Christopher Marlowe play Tamburlaine (1587), Thomas Lodge's The Wounds of Civil War (1588), George Peele's The Troublesome Reign of King John (1588), the anonymous Edmund Ironside (1590), Robert Green and Thomas Lodge's Selimus (1591) and another anonymous play, The True Tragedy of Richard III (1591). Paola Pugliatti however argues that the case may be somewhere between Wilson and Taylor's argument; "Shakespeare may not have been the first to bring English history before the audience of a public playhouse, but he was certainly the first to treat it in the manner of a mature historian rather than in the manner of a worshipper of historical, political and religious myth." In any case, there is much more critical disagreement about the play, not the least of which concerns its relationship to The Contention.

After the original 1592 performances, the complete text of 2 Henry VI seems to have been rarely acted. The first recorded performance after Shakespeare's day was on 23 April 1864 (Shakespeare's tercentenary) at the Surrey Theatre in London, as a stand alone performance, with director James Anderson playing York and Cade. Of this production, The Illustrated London News wrote, "It is a revival, or rather restoration to the stage, of an utterly neglected work, which has not been played for 270 years." The next definite performance was in 1889, when George Osmond Tearle directed another stand alone production at the Shakespeare Memorial Theatre in Stratford upon Avon, starring Erskine Lewis as Henry and Ellen Cranston as Margaret. In 1899, F. R. Benson directed another stand alone production of the play at the Shakespeare Memorial Theatre. In 1906, he revived the play, and included 1 Henry VI and 3 Henry VI in a production of Shakespeare's two tetralogies, performed over eight nights. As far as can be ascertained, this was not only the first performance of the octology, but was also the first definite performance of both the tetralogy and the trilogy. Benson himself played Henry and his wife, Constance Benson, played Margaret. In 1951, Douglas Seale directed a production at the Birmingham Repertory Theatre, starring Paul Daneman as Henry, Rosalind Boxall as Margaret, John Arnatt as York and Alfred Burke as Gloucester. 2 Henry VI has not been performed as a stand alone play since then, although Seale's production was so successful that 3 Henry VI followed in 1952, and 1 Henry VI in 1953, all with linked casting. A production that made much of its unedited status came in 1977, at the Royal Shakespeare Theatre, where Terry Hands presented all three Henry VI plays with Alan Howard as Henry and Helen Mirren as Margaret. Although the production was only moderately successful at the box office, it was critically lauded at the time for Alan Howard's unique portrayal of Henry. Howard adopted historical details concerning the real Henry's madness into his performance, presenting the character as constantly on the brink of a mental and emotional breakdown. Also praised was the staging of the battle of St Albans, which was fought between the principal characters only, without any extras or suggestions of it being a larger battle, thus emphasising that the whole conflict grew from what was originally a small family squabble. Possibly as a reaction to a recent adaptation of the trilogy under the general title Wars of the Roses, which was strongly political, Hands attempted to ensure his own production was entirely apolitical; "Wars of the Roses was a study in power politics: its central image was the conference table, and Warwick, the scheming king maker, was the central figure. But that's not Shakespeare. Shakespeare goes far beyond politics. Politics is a very shallow science." Aside from Howard and Mirren, the production starred Emrys James as York and Graham Crowden as Gloucester. Under the direction of Michael Boyd the play was presented at the Swan Theatre in Stratford in 2000, with David Oyelowo as Henry, Fiona Bell as Margaret, Clive Wood as York, and Richard Cordery as Gloucester. The play was presented with the five other history plays (Richard II, 1 Henry IV, 2 Henry IV, Henry V and Richard III) to form a complete eight part history cycle under the general title This England: The Histories (the first time the RSC had ever attempted to stage the eight plays as one sequence). This England: The Histories was revived in 2006, as part of the Complete Works festival at the Courtyard Theatre, with the Henry VI plays again directed by Boyd, and starring Chuk Iwuji as Henry, Katy Stephens as Margaret, Jonathan Slinger as York and, reprising his role from 2000, Richard Cordery as Gloucester. When the Complete Works wrapped in March 2007, the history plays remained on stage, under the shorter title The Histories, as part of a two year thirty four actor ensemble production. 2 Henry VI was performed under the title Henry VI, Part 2: England's Fall. At the end of the two year programme, the entire octology was performed over a four day period under the title The Glorious Moment; Richard II was staged on a Thursday evening, followed by the two Henry IV plays on Friday afternoon and evening, the three Henry VI plays on Saturday (two afternoon performances and one evening performance), and Richard III on Sunday evening. Boyd's production garnered much attention at the time because of his interpolations and additions to the text. Most notably, Boyd introduced a new character into the trilogy. Called The Keeper, the character never speaks, but upon the death of each major character, the Keeper (played by Edward Clayton in 2000, and by Anthony Bunsee in 2006/2007), wearing all red, would walk onto stage and approach the body. The actor playing the body would then stand up and allow himself to be led off stage by the figure. Another alteration was that the 'Lieutenant' who orders Suffolk's death in 4.1 was in fact the ghost of Lord Talbot (played by Keith Bartlett), who had been killed in 1 Henry VI. Additionally, during Jack Cade's rebellion, the ghosts of Gloucester, Winchester and Suffolk all appear as rebels, and in a much lauded piece of double casting, Clayton and Bunsee also played Dick the Butcher in their respective performances. The production was also particularly noted for its realistic violence. According to Robert Gore Langton of the Daily Express, in his review of the original 2000 production, "blood from a severed arm sprayed over my lap. A human liver slopped to the floor by my feet. An eyeball scudded past, then a tongue." In 2012, the trilogy was staged at Shakespeare's Globe as part of the Globe to Globe Festival, with each play performed by a different Balkans based company and offered as a commentary on the recent history of violence in that region. 2 Henry VI was staged by the National Theater of Albania, directed by Adonis Filipi, and starring Indrit Çobani as Henry, Ermina Hysaj as Margaret, Vasjan Lami as York and Kristaq Skrami as Gloucester. In 2013, Nick Bagnall directed another production of the trilogy at the Globe. All three plays were performed each day, beginning at midday, under the overall title Henry VI: Three Plays. 2 Henry VI was performed under the title Henry VI: The Houses of York and Lancaster. Each of the plays was edited down to two hours, and the entire trilogy was performed with a cast of fourteen actors. On several specific dates, the plays were performed at the actual locations where some of the original events took place and streamed live to the theatre; "battlefield productions" were staged at Towton (Battle of Towton from 3 Henry VI), Tewkesbury (Battle of Tewkesbury from 3 Henry VI), St Albans Cathedral (First Battle of St Albans from 2 Henry VI and Second Battle of St Albans from 3 Henry VI), and Monken Hadley Common (Battle of Barnet from 3 Henry VI). The production starred Graham Butler as Henry, Mary Doherty as Margaret, Brendan O'Hea as York and Garry Cooper as Gloucester. The first major American performance was in 1935 at the Pasadena Playhouse in California, directed by Gilmore Brown, as part of a production of all ten Shakespearean histories (the two tetralogies, preceded by King John and succeeded by Henry VIII). In Europe, unedited stagings of the play took place at the Weimar Court Theatre in 1857. Directed by Franz von Dingelstedt, it was performed as the sixth part of the octology, with all eight plays staged over a ten day period. A major production was staged at the Burgtheater in Vienna in 1873, with a celebrated performance from Friedrich Mitterwurzer as Winchester. Jocza Savits directed a production of the tetralogy at the Munich Court Theatre in 1889 and again in 1906. In 1927, Saladin Schmitt presented the unedited octology at the Municipal Theatre in Bochum. Denis Llorca staged the tetralogy as one twelve hour piece in Carcassonne in 1978 and in Créteil in 1979. In 1999, director Ruediger Burbach presented 2 Henry VI and 3 Henry VI at the Zurich Playhouse. This production was unique insofar as a woman (Katharina Schmoelzer) played Henry. Margaret was played by Katharina von Bock.

Evidence for the first adaptation of 2 Henry VI is found during the Restoration, when, in 1681, John Crowne created a two part play entitled Henry the Sixth, The First Part and The Misery of Civil War. Henry comprised Acts 1–3 of 2 Henry VI focusing on the death of Gloucester, Misery adapted the last two acts of 2 Henry VI and much of 3 Henry VI. Writing at the time of Popish Plot, Crowne, who was a devout royalist, used his adaptation to warn about the danger of allowing England to descend into another civil war, which would be the case should the Whig party rise to power. As such, the scenes of Jack Cade's rebellion, as depicted in Misery, were much more violent than in Shakespeare, with painted backdrops of people on fire and children impaled on pikes. Crowne also rewrote the roles of Gloucester and Winchester to make Gloucester more saint like and taintless, and Winchester even more villainous. He also linked the murder of Gloucester to the recent assassination of Edmund Berry Godfrey, an incident which had led to an outbreak of anti Catholic hysteria in London in 1678. By creating this link, Crowne was aiming to enhance anti Catholic sentiment even more and ensure the passing of the Exclusion Bill, which would prevent the Catholic James Stuart, Duke of York succeeding his brother, the Protestant Charles II. To this end, Crowne rewrote the murder scene to give more characterisation to the three murderers, who were depicted as devout, but cold blooded Catholics. Two more adaptations followed in 1723. The first was Humfrey Duke of Gloucester by Ambrose Philips, which used about thirty lines from Acts 1–3 of 2 Henry VI and was performed at Drury Lane. In a possible comment on the politics of Crowne's adaptation, Phillips dedicated his version to William Pulteney, 1st Earl of Bath, a leading Whig politician. The second 1723 adaptation, also performed at Drury Lane, was Theophilus Cibber's King Henry VI: A Tragedy, which used Act 5 of 2 Henry VI and Acts 1 and 2 of 3 Henry VI, and which featured his father Colley Cibber as Winchester. In 1817, Edmund Kean appeared in J. H. Merivale's Richard Duke of York; or the Contention of York and Lancaster, which used material from all three Henry VI plays, but removed everything not directly related to York. Material from 2 Henry VI included the lamentation about the loss of Anjou and Maine, the conflict between Gloucester and Winchester, the murder of Gloucester, the death of Winchester (where all Warwick's dialogue is reassigned to York), and Cade's rebellion. Following Merivale's example, Robert Atkins adapted all three plays into a single piece for a performance at The Old Vic in 1923 as part of the celebrations for the tercentenary of the First Folio. Guy Martineau played Henry and Esther Whitehouse played Margaret. Atkins himself played York. The success of the 1951–1953 Douglas Seale stand alone productions of each of the individual plays in Birmingham prompted him to present the three plays together at the Old Vic in 1957 under the general title The Wars of the Roses. Barry Jackson adapted the text, altering the trilogy into a two part play; 1 Henry VI and 2 Henry VI were combined (with almost all of 1 Henry VI eliminated) and 3 Henry VI was edited down. Seale again directed, with Paul Daneman again appearing as Henry and Alfred Burke as Gloucester, alongside Barbara Jefford as Margaret and Derek Godfrey as York. The production which is usually credited with establishing the reputation of the play in the modern theatre is John Barton and Peter Hall's 1963/1964 RSC production of the tetralogy, adapted into a three part series, under the general title The Wars of the Roses, at the Royal Shakespeare Theatre. The first play (entitled simply Henry VI) featured a much shortened version of 1 Henry VI and half of 2 Henry VI (up to the death of Beaufort). The second play (entitled Edward IV) featured the second half of 2 Henry VI and a shortened version of 3 Henry VI, which was then followed by a shortened version of Richard III as the third play. In all, 1,450 lines written by Barton were added to 6,000 lines of original Shakespearean material, with a total of 12,350 lines removed. The production starred David Warner as Henry, Peggy Ashcroft as Margaret, Donald Sinden as York and Paul Hardwick as Gloucester. Barton and Hall were both especially concerned that the plays reflect the contemporary political environment, with the civil chaos and breakdown of society depicted in the plays mirrored in the contemporary milieu, by events such as the building of the Berlin Wall in 1961, the Cuban Missile Crisis in 1962 and the assassination of John F. Kennedy in 1963. The directors allowed these events to reflect themselves in the production, arguing that "we live among war, race riots, revolutions, assassinations, and the imminent threat of extinction. The theatre is, therefore, examining fundamentals in staging the Henry VI plays." They were also influenced by politically focused literary theory of the time; both had attended the 1956 London visit of Bertolt Brecht's Berliner Ensemble, both were subscribers to Antonin Artaud's theory of "Theatre of Cruelty", and Hall had read an English translation of Jan Kott's influential Shakespeare Our Contemporary in 1964 prior to its publication in Britain. Both Barton and Hall were also supporters of E. M. W. Tillyard's 1944 book Shakespeare's History Plays, which was still a hugely influential text in Shakespearian scholarship, especially in terms of its argument that Shakespeare in the tetraology was advancing the Tudor myth. Another major adaptation was staged in 1987 by the English Shakespeare Company, under the direction of Michael Bogdanov. This touring production opened at the Old Vic, and subsequently toured for two years, performing at, amongst other places, the Panasonic Globe Theatre in Tokyo, Japan (as the inaugural play of the arena), the Festival dei Due Mondi in Spoleto, Italy and at the Adelaide Festival in Adelaide, Australia. Following the structure established by Barton and Hall, Bogdanov combined a heavily edited 1 Henry VI and the first half of 2 Henry VI into one play (Henry VI), and the second half of 2 Henry VI and 3 Henry VI into another (Edward IV), and followed them with an edited Richard III. Also like Barton and Hall, Bogdanov concentrated on political issues, although he made them far more overt than had his predecessors. For example, played by June Watson, Margaret was closely modelled after the British Prime Minister at the time, Margaret Thatcher, even to the point of having similar clothes and hair. Likewise, Paul Brennan's Henry was closely modelled after King Edward VIII, before his abdication. Jack Cade, played by Michael Pennington was presented as a punk with spiked hair and wearing a shirt depicting a Union Jack with a white rose in the middle, and during the Cade rebellion, football hooligan chants were heard. Indeed, the Cade rebellion in general was modelled on the National Front. Bogdanov also employed frequent anachronisms and contemporary visual registers, in an effort to show the relevance of the politics to the contemporary period. The production was noted for its pessimism as regards contemporary British politics, with some critics feeling the political resonances were too heavy handed. However, the series was a huge box office success. Alongside Watson and Brennen, the play starred Barry Stanton as York and Colin Farrell as Gloucester. Another adaptation of the tetralogy by the Royal Shakespeare Company followed in 1988, performed at the Barbican. Adapted by Charles Wood and directed by Adrian Noble, the Barton/Hall structure was again followed, reducing the trilogy to two plays by dividing 2 Henry VI in the middle. The resulting trilogy was entitled The Plantagenets, with the individual plays entitled Henry VI, The Rise of Edward IV and Richard III, His Death. Starring Ralph Fiennes as Henry, Penny Downie as Margaret, Anton Lesser as York and David Waller as Gloucester, the production was extremely successful with both audiences and critics. Michael Bogdanov and the English Shakespeare Company presented a different adaptation at the Swansea Grand Theatre in 1991, using the same cast as on the touring production. All eight plays from the history cycle were presented over a seven night period, with each play receiving one performance only, and with only twenty eight actors portraying the nearly five hundred roles. Whilst the other five plays in the cycle were unadapted, the Henry VI plays were combined into two, using the Barton/Hall structure, with the first named The House of Lancaster and the second, The House of York. In 2000, Edward Hall presented the trilogy as a two part series at the Watermill Theatre in Newbury. Hall followed the Jackson/Seale structure, combining 1 Henry VI and 2 Henry VI into one play which all but eliminated 1 Henry VI and following this with an edited version of 3 Henry VI. This production was noted for how it handled the violence of the play. The set was designed to look like an abattoir, but rather than attempt to present the violence realistically (as most productions do), Hall went in the other direction; presenting the violence symbolically. Whenever a character was decapitated or killed, a red cabbage was sliced up whilst the actor mimed the death beside it. In 2001, Tom Markus directed an adaptation of the tetralogy at the Colorado Shakespeare Festival. Condensing all fours plays into one, Markus named the play Queen Margaret, doing much the same with the character of Margaret as Merivale had done with York. Margaret was played by Gloria Biegler, Henry by Richard Haratine, York by Lars Tatom and Gloucester by Charles Wilcox. Another unusual 2001 adaptation of the tetralogy was entitled Shakespeare's Rugby Wars. Written by Matt Toner and Chris Coculuzzi, and directed by Coculuzzi, the play was acted by the Upstart Crow Theatre Group and staged outdoors at the Robert Street Playing Field as part of the Toronto Fringe Festival. Presented as if it were a live rugby match between York and Lancaster, the 'play' featured commentary from Falstaff (Stephen Flett), which was broadcast live for the audience. The 'match' itself was refereed by 'Bill Shakespeare' (played by Coculuzzi), and the actors (whose characters names all appeared on their jerseys) had microphones attached and would recite dialogue from all four plays at key moments. In 2002, Leon Rubin presented the tetralogy as a trilogy at the Stratford Shakespeare Festival in Ontario. Using the Barton/Hall method of combining 1 Henry VI with the first half of 2 Henry VI, and the second half of 2 Henry VI with 3 Henry VI, the plays were renamed Henry VI: Revenge in France and Henry VI: Revolt in England. Michael Thierry played Henry, Seana McKenna played Margaret, Thom Marriott played York and David Francis played Gloucester. Also in 2002, Edward Hall and the Propeller Company presented a one play all male cast modern dress adaptation of the trilogy at the Watermill Theatre. Under the title Rose Rage, Hall used a cast of only thirteen actors to portray the nearly one hundred and fifty speaking roles in the four hour production, thus necessitating doubling and tripling of parts. Although a new adaptation, this production followed the Jackson/Seale method of eliminating almost all of 1 Henry VI. The original cast included Jonathan McGuinness as Henry, Robert Hands as Margaret, Guy Williams as York and Richard Clothier as Gloucester. After a successful run at the Watermill, the play moved to the Chicago Shakespeare Theater. The American cast included Carman Lacivita as Henry, Scott Parkinson as Margaret, Bruce A. Young as York and Sean Fortunato as Gloucester. Outside England, a major European adaptation of the tetralogy took place in 1864 in Weimar under the direction of Franz von Dingelstedt, who, seven years previously had staged the play unedited. Dingelstedt turned the trilogy into a two parter under the general name Die weisse rose. The first play was called Haus Lancaster, the second Haus York. This adaptation was unique insofar as both plays were created by combining material from all three Henry VI plays. Following this structure, Alfred von Walzogen also produced a two part play in 1875, under the general title Edward IV. Another European adaptation was in 1965 at the Piccolo Teatro in Milan. Directed by Giorgio Strehler it went under the title Il gioco del potenti (The Play of the Mighty). Using Barton and Hall's structure, Strehler also added several characters, including a Chorus, who used monologues from Richard II, both parts of Henry IV, Henry V, Macbeth and Timon of Athens, and two gravediggers called Bevis and Holland (after the names of two of Cade's rebels in the Folio text), who commented (with dialogue written by Strehler himself) on each of the major characters as they set about burying them.

The first television adaptation of the play was in 1960 when the BBC produced a serial entitled An Age of Kings. The show comprised fifteen sixty and seventy five minute episodes which adapted all eight of Shakespeare's sequential history plays. Directed by Michael Hayes and produced by Peter Dews, with a script by Eric Crozier, the production featured Terry Scully as Henry, Mary Morris as Margaret, Jack May as York and John Ringham as Gloucester. The tenth episode, "The Fall of a Protector" covers Acts 1, 2 and Act 3, Scene 1, ending with York's soliloquy regarding the fact that he now has troops at his disposal and his revelation of his plans to use Jack Cade to instigate a popular rebellion. The eleventh episode, "The Rabble from Kent", presents everything from Act 3, Scene 2 onwards, beginning with the death of Humphrey. With each episode running one hour, a great deal of text was necessarily removed, but aside from truncation, only minor alterations were made to the original. For example, in "The Fall of a Protector", Peter Thump does not kill Thomas Horner during the combat; he compels him to confess by sitting on him, and Horner is promptly arrested. In "The Rabble from Kent", we see the murder of Gloucester, whereas in the text, it happens off stage. Also worth noting is that the characters of both George Plantagenet and Edmund, Earl of Rutland are introduced just prior to the Battle of St Albans, whereas in the text, neither character is introduced until 3 Henry VI (Edmund in Act 1, Scene 3; George in Act 2, Scene 2). Additionally, Edmund is played by an adult actor, whereas in the text, he is a child. In 1965, BBC 1 broadcast all three plays from John Barton and Peter Hall's The Wars of the Roses trilogy (Henry VI, The Rise of Edward IV and Richard III) with David Warner as Henry and Peggy Ashcroft as Margaret. Directed for television by Robin Midgley and Michael Hayes, the plays were presented as more than simply filmed theatre, with the core idea being "to recreate theatre production in televisual terms – not merely to observe it, but to get to the heart of it." Filming was done on the RSC stage, but not during actual performances, thus allowing cameras to get close to the actors, and cameramen with hand held cameras to shoot battle scenes. Additionally, camera platforms were created around the theatre. In all, twelve cameras were used, allowing the final product to be edited more like a film than a piece of static filmed theatre. Filming was done following the 1964 run of the plays at Stratford upon Avon, and took place over an eight week period, with fifty two BBC staff working alongside eighty four RSC staff to bring the project to fruition. In 1966, the production was repeated on BBC 1 where it was re edited into eleven episodes of fifty minutes each. The second episode, "Margaret of Anjou", presented 1 Henry VI from Act 4, Scene 2 onwards, beginning with Talbot confronting the French general at Harfleur (Bordeaux in the play), as well as the first half of Act 1, Scene 1 of 2 Henry VI (concluding with Henry and Margaret departing from the court). The third episode, "The Lord Protector" covered Acts 1, 2 and Act 3, Scene 1 of 2 Henry VI, ending with York's soliloquy regarding the fact that he now has troops at his disposal and his revelation of his plans to use Jack Cade to instigate a popular rebellion. The fourth episode, "The Council Board", presented Act 3, Scene 2 up to Act 4, Scene 8, concluding with Jack Cade's forces abandoning him. The fifth episode, "The Fearful King", presented the rest of 2 Henry VI (beginning with Henry pardoning Cade's rebels) as well as 3 Henry VI Act 1 and Act 2, Scene 1, concluding with Warwick rallying Edward, Richard and George after their father's death. Another television version of the play was produced by the BBC in 1981 for their BBC Television Shakespeare series, although the episode did not air until 1983. Directed by Jane Howell, the play was presented as the second part of the tetralogy (all four adaptations directed by Howell) with linked casting; Henry was played by Peter Benson, Margaret by Julia Foster, York by Bernard Hill and Gloucester by David Burke. Howell's presentation of the complete first historical tetralogy was one of the most lauded achievements of the entire BBC series, and prompted Stanley Wells to argue that the productions were "probably purer than any version given in the theatre since Shakespeare's time." Michael Mannheim was similarly impressed, calling the tetralogy "a fascinating, fast paced and surprisingly tight knit study in political and national deterioration." Inspired by the notion that the political intrigues behind the Wars of the Roses often seemed like playground squabbles, Howell and production designer Oliver Bayldon staged the four plays in a single set resembling a children's adventure playground. However, little attempt was made at realism. For example, Bayldon did not disguise the parquet flooring ("it stops the set from literally representing [ ] it reminds us we are in a modern television studio"), and in all four productions, the title of the play is displayed within the set itself (on banners in 1 Henry VI and 2 Henry VI (where it is visible throughout the entire first scene), on a shroud in 3 Henry VI, and written on a chalkboard by Richard himself in Richard III). Many critics felt these set design choices lent the production an air of Brechtian verfremdungseffekt. Stanley Wells wrote of the set that it was intended to invite the viewer to "accept the play's artificiality of language and action," Susan Willis argues that the set allows the productions "to reach theatrically toward the modern world" and Ronald Knowles writes "a major aspect of the set was the subliminal suggestion of childlike anarchy, role playing, rivalry, game and vandalism, as if all culture were precariously balanced on the shaky foundations of atavistic aggression and power mad possession." As the four plays progressed, the set decayed and became more and more dilapidated as social order became more fractious. In the same vein, the costumes became more and more monotone as the plays went on – The First Part of Henry the Sixt features brightly coloured costumes which clearly distinguish the various combatants from one another, but by The Tragedy of Richard III, everyone fights in similarly coloured dark costumes, with little to differentiate one army from another. Another element of verfremdungseffekt in this production is the use of doubling, particularly the use of the actors David Burke and Trevor Peacock. Burke plays Henry's closest advisor and most loyal servant, Gloucester, and after Gloucester's death, he plays Jack Cade's right hand man, Dick the Butcher. Peacock plays Cade himself, having previously appeared in The First Part of Henry the Sixt as Lord Talbot, representative of chivalry. Both actors play complete inversions of their previous characters, re creating both an authentically Elizabethan theatrical practice and a Breachtian political commentary. Graham Holderness saw Howell's non naturalistic production as something of a reaction to the BBC's adaptation of the Henriad in seasons one and two, which had been directed by David Giles in the traditional and straightforward manner favoured by then series producer Cedric Messina; "where Messina saw the history plays conventionally as orthodox Tudor historiography, and [David Giles] employed dramatic techniques which allow that ideology a free and unhampered passage to the spectator, Jane Howell takes a more complex view of the first tetralogy as, simultaneously, a serious attempt at historical interpretation, and as a drama with a peculiarly modern relevance and contemporary application. The plays, to this director, are not a dramatisation of the Elizabethan World Picture but a sustained interrogation of residual and emergent ideologies in a changing society [ ] This awareness of the multiplicity of potential meanings in the play required a decisive and scrupulous avoidance of television or theatrical naturalism: methods of production should operate to open the plays out, rather than close them into the immediately recognisable familiarity of conventional Shakespearean production." Howell's The Second Part of Henry the Sixt was based on the folio text rather than the quarto; however, it departed from that text in a number of places. For example, numerous lines were cut from almost every scene. Some of the more notable omissions include: in Act 1, Scene 1, both of Gloucester's references to Bedford are absent (ll. 82–83, 95–96), as is the reference to Suffolk's demands that he be paid for escorting Margaret from France (ll. 131–133), and York's allusion to Althaea and Calydon in his closing soliloquy (ll.231–235). Absent in Act 2, Scene 1 is Gloucester's question to Winchester "Is your priesthood grown peremptory? Tantaene animis caelestibus irae?" (ll.23–24), as are lines 173–180, where Winchester taunts Gloucester about Eleanor's arrest and Gloucester calls off their duel. York's outline of Edward III's seven sons is absent from Act 2, Scene 2 (ll.10–17), as is Salisbury's reference to Owen Glendower (l.41). Suffolk's accusation that Gloucester was involved in necromancy with Eleanor is omitted from Act 3, Scene 1 (ll.47–53), as is Gloucester's outline of how he dealt with criminals during his time as Protector (ll.128–132). Also absent from 3.1 are the comments by Winchester, Suffolk and Margaret after Gloucester accuses them of conspiring to bring him down (ll.172–185), and York's references to how he fought alongside Cade in Ireland (ll.360–370). In Act 4, Scene 1, all references to Walter Whitmore's name as Gualtier are absent (ll.38–39). The entirety of Act 4, Scene 5 (a brief scene showing Scales and Gough on patrol at the Tower of London) is absent. In Act 5, Scene 1, some of the dialogue between Clifford and Warwick is absent (ll.200–210). However, there were also some additions to the text, most noticeably some lines from The Contention, such as in Act 1, Scene 1, where two lines are added to Salisbury's vow to support York if he can prove he is a legitimate heir to the crown. Between lines 197 and 198 is added "The reverence of mine age and the Neville's name/Is of no little force if I command." In Act 1, Scene 3, two lines are added to the conversation between Margaret and Thump between lines 31 and 32, where Thump mistakes the word 'usurper' for 'usurer" and is corrected by Margaret. Another example is found in Act 2, Scene 1, where the extended conversation between Gloucester and Winchester in which Gloucester says Winchester was born "in bastardy" is included. Other changes include the transferral of lines to characters other than those who speak them in the Folio text. The most notable of these is 1.3.211 where Gloucester's line "This is the law, and this Duke Gloucester's doom" is given to Henry. Additionally, in Act 1, Scene 4, during the conjuration, there is no separate spirit in the scene; all the spirit's dialogue is spoken 'through' Jourdayne, and her lines from the Folio are omitted. Also, later in the scene, it is Buckingham who reads the prophecies, not York. In Act 4, Scene 1, the second half of line 139 ("Pompey the Great, and Suffolk dies by pirates") is spoken by the Lieutenant, not Suffolk. Another notable stylistic technique is that the soliloquies of York in Act 1, Scene 1 and Act 3, Scene 1, as well as those of Eleanor and Hum in Act 1, Scene 2, and York's asides in Act 1, Scene 1 and Act 3, Scene 1 are all delivered direct to camera, as is the Dick the Butcher's comments in Act 4, Scene 2, as Cade delivers his speech to the masses. Also worth noting is that the character of George Plantagenet is introduced just prior to the Battle of St Albans, whereas in the text, he is not introduced until 3 Henry VI, Act 2, Scene 2. Additionally, Buckingham is killed onscreen whereas in the play, his fate is unknown, only revealed in the opening lines of 3 Henry VI to have been killed by Edward. In 1964, Austrian channel ORF 2 presented an adaptation of the trilogy by Leopold Lindtberg under the title Heinrich VI. The cast list from this production has been lost. In 1969, German channel ZDF presented a filmed version of the first part of Peter Palitzsch's 1967 two part adaptation of the trilogy in Stuttgart, Heinrich VI: Der Krieg der Rosen 1. The second part, Eduard IV: Der Krieg der Rosen 2, was screened in 1971.

In 1923, extracts from all three Henry VI plays were broadcast on BBC Radio, performed by the Cardiff Station Repertory Company as the third episode of a series of programs showcasing Shakespeare's plays, entitled Shakespeare Night. In 1947, BBC Third Programme aired a one hundred and fifty minute adaptation of the trilogy as part of their Shakespeare's Historical Plays series, a six part adaptation of the eight sequential history plays, with linked casting. Adapted by Maurice Roy Ridley, King Henry VI starred John Bryon as Henry, Gladys Young as Margaret, Richard Williams as York and Baliol Holloway as Gloucester. In 1952, Third Programme aired an adaptation of the tetralogy by Peter Watts and John Dover Wilson under the general name The Wars of the Roses. The tetralogy was adapted into a trilogy but in an unusual way. 1 Henry VI was simply removed, so the trilogy contained only 2 Henry VI, 3 Henry VI and Richard III. The reason for this was explained by Dover Wilson, who argued that 1 Henry VI is "patchwork in which Shakespeare collaborated with inferior dramatists." The adaptation starred Valentine Dyall as Henry, Sonia Dresdel as Margaret, Stephen Jack as York and Gordon McLeod as Gloucester. In 1971, BBC Radio 3 presented a two part adaptation of the trilogy by Raymond Raikes. Part 1 contained an abridged 1 Henry VI and an abridged version of the first three acts of 2 Henry VI. Part 2 presented Acts 4 and 5 and an abridged 3 Henry VI. Nigel Lambert played Henry, Barbara Jefford played Margaret and Ian McKellen played both York and Richard III. In 1977, BBC Radio 4 presented a 26 part serialisation of the eight sequential history plays under the general title Vivat Rex (Long live the King). Adapted by Martin Jenkins as part of the celebration of the Silver Jubilee of Elizabeth II, 2 Henry VI comprised episodes 17 ("Witchcraft") and 18 ("Jack Cade"). James Laurenson played Henry, Peggy Ashcroft played Margaret, Peter Jeffrey played York and Richard Burton narrated. In America, in 1936, a heavily edited adaptation of the trilogy was broadcast as part of NBC Blue's Radio Guild series. Comprising three sixty minute episodes aired a week apart, the adaptation was written by Vernon Radcliffe and starred Henry Herbert as Henry, and Janet Nolan as Margaret. In 1954, CBC Radio presented an adaptation of the trilogy by Andrew Allen, who combined 1 Henry VI, 2 Henry VI and 3 Henry VI into a one hundred and sixty minute episode. There is no known cast information for this production. In 1985, German radio channel Sender Freies Berlin broadcast a heavily edited seventy six minute two part adaptation of the octology adapted by Rolf Schneider, under the title Shakespeare's Rosenkriege.

Aya Kanno's Japanese manga comic Requiem of the Rose King is a loose adaptation of the first Shakespearean historical tetralogy, covering Henry VI and Richard III.

All references to Henry VI, Part 2, unless otherwise specified, are taken from the Oxford Shakespeare (Warren), based on the First Folio text of 1623. Under its referencing system, 4.3.15 means act 4, scene 3, line 15.

Bate, Jonathan and Rasmussen, Eric (eds.) Henry VI, Parts I, II and III (The RSC Shakespeare; London: Macmillan, 2012)
Cairncross, Andrew S. (ed.) King Henry VI, Part 2 (The Arden Shakespeare, 2nd Series; London: Arden, 1957)
Dover Wilson, John (ed.) The Second Part of Henry VI (The New Shakespeare; Cambridge: Cambridge University Press, 1952)
Evans, G. Blakemore (ed.) The Riverside Shakespeare (Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
Freeman, Arthur (ed.) Henry VI, Part Two (Signet Classic Shakespeare; New York: Signet, 1967; revised edition, 1989; 2nd revised edition 2005)
Greenblatt, Stephen; Cohen, Walter; Howard, Jean E. and Maus, Katharine Eisaman (eds.) The Norton Shakespeare: Based on the Oxford Shakespeare (London: Norton, 1997; 2nd edn., 2008)
Hart, H. C. and Pooler, C. Knox (eds.) The Second Part of Henry the Sixt (The Arden Shakespeare, 1st Series; London: Arden, 1909)
Hattaway, Michael (ed.) The Second Part of King Henry VI (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1991)
Knowles, Ronald (ed.) King Henry VI, Part 2 (The Arden Shakespeare, 3rd Series; London: Arden, 1999)
Montgomery, William (ed.) The First Part of the Contention Betwixt the Two Famous Houses of York and Lancaster: The 'Bad Quarto' of Henry VI, Part 2 (London: Malone Society, 1985)
Henry VI Part II (The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
Sanders, Norman (ed.) Henry VI, Part Two (The New Penguin Shakespeare; London: Penguin, 1981)
Taylor, Michael (ed.) Henry VI, Part Two (The New Penguin Shakespeare, 2nd edition; London: Penguin, 2005)
Turner Jr., Robert K. and Williams, George Walton (eds.) The Second Part of Henry the Sixth (The Pelican Shakespeare; London: Penguin, 1967; revised edition 1980)
Warren, Roger (ed.) Henry VI, Part Two (The Oxford Shakespeare; Oxford: Oxford University Press, 2003)
Montgomery, William with Taylor, Gary (eds.) The First Part of the Contention Betwixt the Two Famous Houses of York and Lancaster in The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; 2nd edn., 2005)
Werstine, Paul and Mowat, Barbara A. (eds.) Henry VI, Part 2 (Folger Shakespeare Library; Washington: Simon & Schuster, 2008)