It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.

Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.

The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theatre.

I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.

Michael Witmore

Director, Folger Shakespeare Library

Until now, with the release of The Folger Shakespeare (formerly Folger Digital Texts), readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.

Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.

The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Shakespeare texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “If she in chains of magic were not bound,”), half-square brackets (for example, from Henry V: “With blood and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest soldier. Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.

Because the Folger Shakespeare texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.

With an underage boy now king of England, Henry VI, Part 1, depicts the collapse of England’s role in France, as English nobles fight each other instead of the French and as Joan la Pucelle (Joan of Arc) brings military strength to the French army. The English hero Lord Talbot attacks Orleans, but is defeated by Joan.

In England, Gloucester, Henry VI’s Protector, and Gloucester’s rival Winchester encourage their followers to attack each other in the streets. Richard Plantagenet (later the Duke of York) and Somerset are equally antagonistic, with their followers signaling their allegiance by wearing white or red roses.

Henry VI is crowned in Paris, and orders York and Somerset to fight the French instead of each other. As they squabble, French forces kill Talbot and his son. The English army captures and executes Joan. Suffolk arranges a marriage between Henry and Margaret, daughter of the king of Naples, in order to keep her near him and give him, through her, control of England.