History Theatre / HenryVIPart1

While this play is traditionally credited mostly to Shakespeare's authorship, scholarly analysis since the 1980s has led to theories that Shakespeare collaborated with his contemporary Creator/ChristopherMarlowe much more extensively on its writing than was previously believed. These theories were deemed compelling enough that the publishers of the 2016 edition of ''Oxford Shakespeare'' [[https://www.theguardian.com/culture/2016/oct/23/christopher-marlowe-credited-as-one-of-shakespeares-co-writers credited Marlowe as a co-author.]]

While this play is traditionally credited mostly to Shakespeare's authorship, scholarly analysis since the 1980s has led to theories that Shakespeare collaborated with his contemporary Creator/ChristopherMarlowe much more extensively on its writing than was previously believed. These theories were deemed compelling enough that the publishers of the 2016 edition of ''Oxford Shakespeare'' to [[https://www.theguardian.com/culture/2016/oct/23/christopher-marlowe-credited-as-one-of-shakespeares-co-writers credited Marlowe as a co-author.]]

A history play by Creator/WilliamShakespeare and Creator/ChristopherMarlowe, where Marlowe is believed to have written the majority of Part 1, ''Henry VI Part 1'' is the first of three plays describing the end of UsefulNotes/TheHundredYearsWar and the outbreak of the UsefulNotes/WarsOfTheRoses. ''Part 1'' deals with the resumed war between the French and English and sets up many of the conflicts that run through the other two plays, but critics are divided over the quality of the play: older critics deride it for its use of violence and conventions, while more modern critics are more positive, emphasizing its themes of failing chivalry and patriotism. The other two plays are ''Theatre/HenryVIPart2'' and ''Theatre/HenryVIPart3''.

* OneSceneTwoMonologues: Margaret and Suffolk's first meeting.

A history play by Creator/WilliamShakespeare, ''Henry VI Part 1'' is the first of three plays describing the end of UsefulNotes/TheHundredYearsWar and the outbreak of the UsefulNotes/WarsOfTheRoses. ''Part 1'' deals with the resumed war between the French and English and sets up many of the conflicts that run through the other two plays, but critics are divided over the quality of the play: older critics deride it for its use of violence and conventions, while more modern critics are more positive, emphasizing its themes of failing chivalry and patriotism. The other two plays are ''Theatre/HenryVIPart2'' and ''Theatre/HenryVIPart3''.

* DealWithTheDevil: Suggested to be the key to Joan's success in battle.

* AntiHero: Many. Not many real heroes.

* AnachronismStew: A character is referred to as a "Machiavel" during the play, at least one generation before Creator/NiccoloMachiavelli was born and even longer before he ever wrote ''Literature/ThePrince''.

The young king, Henry VI, arrives for his coronation in France and tries to reconcile the feuding nobles, who have by now divided themselves into two camps symbolised by red and white roses. He inadvertently makes things worse by seeming to favour the red rose party then sending the two chief rivals out at the head of two parts of his army -- a recipe for disaster. The Dukes of York (leader of the White Rose faction) and Somerset (leader of the Red Rose faction) refuse to come to each other's aid in battle and as a result, Talbot is killed by the French. York manages to defeat the French and capture Joan, who he orders to be executed.

One of the spoils of the English victory is a young French princess, Margaret of Anjou. The Earl of Suffolk plots to marry her to King Henry and thereby gain influence over the throne.

Meanwhile, in France, the great chivalric knight Sir John Talbot is meeting new resistance from an unexpected source -- a woman. La Pucelle (''i.e.'', Joan of Arc) has arrived in the Dauphin's camp and revitalised his flagging army.

Meanwhile, in France, the great leader Sir John Talbot is meeting new resistance from an unexpected source -- a woman. La Pucelle (''i.e.'', Joan of Arc) has arrived in the Dauphin's camp and revitalised his flagging army.

A history play by Creator/WilliamShakespeare, ''Henry VI Part 1'' is the first of three plays describing the end of UsefulNotes/TheHundredYearsWar and the outbreak of the UsefulNotes/WarsOfTheRoses. ''Part 1'' deals with the resumed war between the French and English and sets up many of the conflicts that run through the other two plays, but is often considered one of Shakespeare's weakest works. The other two plays are ''Theatre/HenryVIPart2'' and ''Theatre/HenryVIPart3''.

* LoadsAndLoadsOfCharacters

** Even in Shakespeare's time, it was known that charges of heresy and crossdressing pressed against Joan of Arc were a KangarooCourt, and accusations of witchcraft never went to try. In this play, it's suggest she really did make a DealWithTheDevil to aid the French side of the war.

* EvilChancellor / CorruptChurch: Richard Beaufort, Cardinal of Winchester and illegitimate son of John of Gaunt, schemes to be the power behind young Henry.

* HistoricalVillainUpgrade: Of Joan of Arc of all people.

* DealWithTheDevil: Suggested to be the key to Joan's success in battle

* LadyOfWar: Joan la Pucelle, better known as UsefulNotes/JoanOfArc.

* PerspectiveFlip: By way of PopCulturalOsmosis -- modern viewers (even English-speaking ones) are generally more familiar with the French version of the story of Joan of Arc rather than the English-favoring account which this play presents.
* ReasonableAuthorityFigure: Talbot and Duke Humphrey. Interesting to point out that the only two ReasonableAuthorityFigures in the whole trilogy die early and that the rest suffer from ChronicBackstabbingDisorder

* ReasonableAuthorityFigure: Talbot and Duke Humphrey. Interesting to point out that the only two ReasonableAuthorityFigure in the whole trilogy die early and that the rest suffer from ChronicBackstabbingDisorder

* WordOfDante: Most of the rose symbolism related to "The Wars of the Roses" originates from this play (and Henry VII's Tudor rose), not the historical conflict.