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"For look you where my abridgement comes;" The Playability of Shakespeare's Variant Play Texts

Sometime in 1599, the Lord Chamberlain’s Men opened the Globe with what very well might have been a performance of Shakespeare’s recently finished Henry V. Even if we assume that the roughly 3,000 Londoners who first filled Shakespeare’s most famous theatre did indeed see the final installment of his second tetralogy of history plays, we cannot be sure of what exactly they saw and heard. Like many of Shakespeare’s plays, Henry V was first printed in two, very different forms that complicate our understanding of how the play was originally written and/or played. Though questions of the competing texts’ relative authorial and performative authority have frequently been contentious, the last thirty years or so have seen many critics adopt a theoretical middle ground in which both disputed texts of Henry V are understood to be of critical interest and historical value. This compromise is made possible by a narrative in which early modern playwrights wrote plays in their idealized, maximal form before turning them over to companies that would, necessarily, reduce and alter the texts according to the needs of performance. It is oversimplification to suggest that any single narrative represents critical consensus regarding Shakespeare’s variant texts; indeed, critics continue to forward a variety of explanations for the play texts of Henry V. However, if the narrative of theatrical abridgment does not represent a