The walls of Harfleur extend obliquely up stage from R. 3 E. to K. C. Gate of city The walls stand upon an elevation, leading up to which is a Run and platform both masked in with rock and earth pieces.

a little above R. 3 E.

run, beginning L. C. Cannon L. C.

Scene IV.-Wood in 2d grooves.

Scene V.-Before Harfleur. Same as Scene 3, Act 2.

Scend VI.-Apartment in the French Palace at Rouen, in 2d grooves.
Scene VII.-The English Camp, in 4th grooves.

Flat.

ACT 111., Scene 1.-Clouds and bank, same as in previous Acts.
Scene 11.-Interior of the French Dauphin's tent, in 3d grooves.

The drapery of which the tent is composed drawn aside, making opening, c., through which a view of the French Camp is obtained. Lights well down. Tables R. and L.,

upon which are flagons of wine, goblets, dice boxes, dice, and lamps; seats about tables. Stage to be cleared for change by drawing tables, chairs, etc., off R. and L. Scene III.-The English Camp, in 4th grooves (night). Lights well down. Slight elevation at back. Broken cannon, R.

Camp-fire, L., opposite 2 E.

Scene 1V.-The French Dauphin's tent, as before.

Scene V.-The field of Agincourt. A view of level country, in 5th grooves.

Scene V1.-Wood, in 1st grooves.

Scene VII.-The Battle of Agincourt. Tableau. Upon the flat at back, 5th grooves, a distant view of the French and English Armies in fierce encounter is given. Property horse, with neck and head encased in armor, F. c.

Scene VIII.-Landscape, in 2d grooves.

Scene IX.-In the neighborhood of King Henry's quarters. Landscape; woodwings in 4th grooves.

ACT IV., Scene I.-Clouds and bank, as before.

Scene II.-View of old London Bridge from the Surry side of the Thames.

Flat.

Bridge.

Bank of Masonry.

Upon the flat at back a view of London and the Thames. Wings, L., represent buildings, from the windows of which are suspended the flags of England and France. The houses in the distance decorated with flags. Bridge from R. U. E. to R. C., running obliquely. Stone work from R. c. to R. 2 C. Wall from upper side of bridge, P. C. to flat at back, L. C.

ACT V., Scene 1.-Apartment in the French Palace, Troyes, in 3d grooves. Doors L. and R. 2 E. Flat and sides handsomely decorated. French and English standards suspended upon flat at back.

Scene II-A street in Troyes, in 1st grooves,

Scene 111.-Interior of the Cathedral of Troyes, in 5th grooves. Architecture

Gothic. Arch c., over which is an oval window with colored glass. Large windows

R. and L. C., with colored glass. Sunlight effect through windows. Gothic pillars R. and L., forming arches at top with wings.

COSTUMES.

KING HENRY.-First Dress: Crimson robe; long sleeves, trimmed with ermine; crown; collar and pendant (See "Badges and Collars," under "Notes on Heraldry"). Second Dress: Full plate armor, with arms of England and France quartered thereon; crown arched over helmet (See " Royal Crown and Circlet," under "Notes on Heraldry ").

GLOSTER.-First Dress: Orange robes, trimmed with ermine. Second Dress: Full

armor.

BEDFORD.-First Dress: Blue robes, trimmed with ermine. Second Dress: Full

armor.

EXETER.-First Dress: Scarlet and ermine.

Second Dress: Full armor.

YORK.-First Dress: Maroon and ermine. Second Dress: Full armor.

SALISBURY.-First Dress: Red trimmed with dark fur. Second Dress: Full armor. WESTMORELAND.-First Dress: Orange, trimmed with white fur. Second Dress:

Full armor.

WARWICK.-First Dress: Red, with white fur. Second Dress: Full armor.
CANTERBURY.-Episcopal robes of the Fifteenth Century; gold cross.
ELY.-The same, with the exception of gilt crozier instead of gold cross.
CAMBRIDGE.-Yellow doublet, trimmed with white fur. Gray tights.

SCROOP.-Purple doublet, trimmed with gray fur. Red tights.
GREY.-Red doublet, trimmed with gray fur. Purple tights.

ERPINGHAM.-First Dress: Red robe, trimmed with brown fur. Black shoes. Second Dress: Full armor.

GOWER.-Full armor.

FLUELLEN.-Full armor.

MACMORRIS.-Helmet; breast and back plate; legs encased in plates; red sleeves. JAMEY.-Helmet; brown shirt; breast plate; brown tights.

BATES, COURT, and WILLIAMS.-Dark shirts and tights; breast-plates and helmets. NYM.-Dark shirt and tights; russet boots; cap.

BARDOLPH.-Gray shirt, red tights, cap, and boots.

PISTOL.-Helmet, with single feather; brown doublet; breast-plate; brown tights; boots; sword.

Boy.-Brown shirt and tights, brown half-boots and car.

HERALDS.-Shirts, with arms of England and France quartered thereon (See "Notes on Heraldry"); tights and caps.

CHARLES VI.-Long orange tunic; white robe, embroidered with gold fleur-de-lis; coronet.

D UPHIN.-First Dress: Orange tunic; pear!-colored arms and legs; red half-boots. Second Dress: Armor.

BURGUNDY.--Red tunic, trimmed with gray fur; white tights; boots.

ORLEANS.First Dress: Crimson tunic trimmed with gold; light tights. Second Dress: Armor.

BOURBON.-First Dress: Purple tunic and tights. Second Dress: Armor. CONSTABLE.--First Dress: Maroon tunic trimmed with fur; gray tights; half-boots. Second Dress: Complete armor; breast-plate studded with gold stars.

RAMBURES and GRANDPRE.--First Dress: Handsome tunics, tights, and boots. Second Dress: Full armor.

GOVERNOR OF HARFLEUR.-Complete armor.

MONTJOY.-Orange tunic, long full sleeves; blue surcoat, and dark cap.
FRENCH SOLDIER.-Helmet; breast plate; dark tunic; red tights.

FRENCH LORDS -Handsome tunics and armors.

ENGLISH SOLDIERS.-Breast-plates; helmets; dark tights, and shirts.

CHORUS (RUMOR).-White flowing robe, low neck, short sleeves; band of gold about waist; plain gold wristlets and necklace.

QUEEN ISABEL.-High headdress; satin and velvet robes.

KATHERINE.-High headdress; satin skirt; long bodice trimmed with fur.

ALICE and ATTENDANTS ON KATHERINE and QUEEN ISABEL.-Satin dresses; long bodices.

DAME QUICKLY.-Dark gown ; white apron; dark caul cap, with white cap beneath. Beard and moustache were seldom worn during the period of the play. Gentlemen and nobles wore very long full tunics, with flowing sleeves.

PROPERTIES.

ACT I., Scene 1.-Throne o., over which is a rich canopy, upon which is embroidered the royal coat-of-arms (See "Notes on Heraldry "). Sceptre for HENRY; crown. Over platform upon which the throne stands, red velvet fringed with gold. Trumpet for HERALD. Treasure chest, bearing the coat-of-arms of the French king, for ambassadors, ready, R. 2 E. Scene 4.-Purses to be used in tableau. Scene 5.-Scrolls for HENRY. Crossbows, swords, banners, for SOLDIERS. ACT II., Scene 1.-Throne, over which are suspended the coat-of-arms of France (See "Notes on Heraldry"). Sceptre for KING; trumpets for HERALDS; paper for EXETER. Scene 3.-Crossbows and arrows for ARCHERS; ladders for SOLDIERS; cannon L. C.; banners and English standard. Scene 5.- Flag of truce for GOVERNOR OF HARFLEUR; banners and English standard. Scene 7.-Arms for SOLDIERS.

ACT III., Scene 2.-Pieces of armor R. and L.; tables R. and L., with covers, bearing the French coat-of-arms; seats R. and L.; lamps (lighted); dice boxes and dice; richly ornamented flagons and goblets, containing wine, on tables. Scene 3.-Camp-fire opposite L. 2 E.; broken cannon R; glove for WILLIAMS. Scene 5.-Flags, banners, battle-axes, crossbows, etc., for SOLDIERS. Scene 7.-Arms, banners, etc, for French and English SOLDIERS. Horse, with neck and head encased in armor, saddled and bridled, r. c. Scene 9.-Bier ready, L. 1 E.,

large enough to bear the bodies of YORK and SUFFOLK. Glove for SOLDIER. Purse containing crowns for EXETER; paper for HERALD.

ACT IV., Scene 2.-Banners, royal arms for SOLDIERS and populace. Gold crosses for CLERGY, etc.

ACT V., Scene 1.-Scroll for BURGUNDY. Scene 2.-Leek and cudgel for FLUFLLEN. Scene 3.-French and English standards and banners for SOLDIERS and KNIGHTS,

SKETCH OF THE PLAY.

Ir is quite evident that the incidents and story of Henry the Fifth, were derived by Shakespeare from Hollinshed's Chronicles, 1587; indeed, so closely has he followed that writer, that the production may be justly termed a dramatic history of the reign of "Harry of Monmonth," wherein many of the incidents related by the pen of the historian are vividly depicted in action, and embellished by the genius of the poet. It is believed that Henry the Fifth was first produced in May or June, 1599, t there is no absolute proof of the fact.

The first positive knowledge we have of its production, is obtained from an entry in the "Revel's Accounts," which shows that it was performed at court in 1605, "by his Majestie's plaiers." We have no other record of its representation until 1663– after the Restoration. In 1664, a play called "Henry the Fifth," written by the Earl of Orrey, was produced in London; but it bore no resemblance to Shakespeare's production, except, perhaps, in point of historical incident.

In 1723, an acting edition of "Henry the Fifth" was arranged by Hill, and produced at the Drury Lane Theatre, London; and in 1738, the play was performed at Covent Garden in its original form. In the construction of his drama, Shakespeare closely followed the story of the old play, but did not in the least encroach upon the dialogue, which is in fact extremely crude, and possesses little or no claim to literary merit. By the introduction of the chorus, the poet has followed the example set by the Greek writers. Shakespeare opens his play in the second year of Henry's reign-he having ascended the throne April 21st, 1413, being, at the time of his coronation, twenty-five years of age. It is asserted by most historians that the conquest of France was planned by the clergy, in order to prevent the passage of an act for dissolving certain religious institutions, and appropriating the funds used for their support to the crown, for the maintenance of 15 earls, 1,500 knights, 6,200 esquires and 200 alms-houses, besides adding £20,000 to the Royal Exchequer. The bill was much feared by the religious community, and very unpopular with the clergy; hence their determined efforts to prevent its passage. Some historians, however, even refuse to ascribe the French war to the "Spoilation Bill," as it was termed; holding that Henry had shortly after his accession to the crown made demands upon France, with which he could scarcely expect compliance without resort to arms. The Archbishop of Canterbury's oration on the "Law Salique,"-according to which, no woman was permitted to govern or reign in her own right—is given in Holinshed's Chronicles, and while Shakespeare has adhered closely to the sense of the same, he has managed to impart to it the true eloquence of poetry. (See Scene 2, Act I.) The era over which the play extends is about eight years.

Influenced by the force of Canterbury's argument, and doubtless prompted also by the ambition natural to his youth and character, Henry determined to compel Charles of France, by force of arms, to acknowledge the legitimacy of his claims to the French crown, which his grandfather, Edward the Third, had so confidently and successfully urged. The eve before sailing from Southampton, to invade France with an army of about 30,000 men, Henry was, as the historian informs us, "credible informed that Richard, Earl of Cambridge, brother to Edward, Duke of York, and Henrie, Lord Scroope, of Masham, lord treasurer, with Thomas Graie, a knight of Northumberland, being confederate togither, had conspired his death, wherefore he caused them to be apprehended. * **These prisoners, upon their examination, confessed that for a great summe of monie, which they had received of the French King, they intended verelie, either to have delivered the king alive into the hands of his enemies, or else to have murthered him before he should arrive in the duchie of Normandie. When King Henrie had heard all things opened which he desired to know, he caused all his nobilitie to come before his presence, before whome he caused to be brought the offenders also, and to them said: 'Having thus conspired the death and destruction of me, which am the head of the realme and governour of the people, it maie be (no doubt) but that you likewise have sworn the confusion of all that are here with me, and also the desolation of your own country -to what horror (oh lord) for any true English hart to consider that such an execrable iniquitie should ever bewrap you, as for plasing of a forren enimie to imbrue your hands in your blood, and to ruine your owne native soile. Revenge therein touching my person though I seek not, yet for the safeguard of you, my deere freends, and for due preservation of all sorts, I am by office to cause example to be shewed. Get you hence, therefore, ye poor miserable wretches, to the receiving of your just reward, wherein God's majestie give you grace of His mercie, and repentance of your heinous offenses,' and so immediately they were had to execution." (See Scene 1, Act I.)

On the 13th day of August, 1415, Henry sailed with his fleet of 160 ships from