This gentle, bewildered soul makes the only human remarks in the play. In Shakespeare's vision it is from such souls, planted, to their own misery, among spikes and thorns, that the flower of human goodness blossoms. _King Henry VI, Part III._ _Written._ (?) _Published_, in the crude original form, 1595. When first published, the play was called "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 of Lancaster and Yorke." This version seems to have been by Greene, Peele, Marlowe, or by some combination among the three. There are some marks of Shakespeare's hand upon it; but not many. Afterwards the piece was revised and enlarged to its present form by some unknown hand. Shakespeare added a few touches to this revision. It was printed in the first folio as his original work. _Source of the Plot._ Edward Hall's _Chronicle_. Raphael Holinshed's _Chronicle_. _The Fable._ The play describes the rise to power of Edward, Duke of York, afterwards Edward IV. It carries on the story of the reign of Henry VI from the time of his deposition by Richard, Duke of York, to the time of his murder by Richard, Duke of Gloucester. Various other tragedies are developed by the plot. Richard, Duke of York, is defeated and put to death. The Earl of Warwick rises to power, makes Edward, Duke of York, King, revolts from him, restores Henry VI, is attacked, defeated, and killed in battle. Richard, Duke of Gloucester, begins to cherish ambition, and sets bloodily to work to gratify it. Edward, Duke of York, after one deposition, due to his own treachery, obtains the supreme power, and rules as King. Shakespeare had little hand in this ruthless chronicle. The idea of the piece seems to be this, that-- "It is war's prize to take all vantages," that mercy has no place in war, that an act of mercy in war is more fatal than defeat, and that the parfit gentle knight, if he wish to prosper, must greet his father after battle with some such remark as-- "I cleft his beaver with a downright blow; That this is true, father, behold his blood." There are three scenes that rouse human emotion: that in Act I, sc. iv, where Margaret of Anjou taunts the captured York before putting him to death; that in Act II, sc. v, where King Henry wishes himself either dead, or called to some gentler trade than kingship; and that at the end, after the battle of Tewkesbury, where the Prince of Wales is murdered in his mother's presence. The second of these, the lamentation of King Henry, is an enlargement, done in leisure, from a suggestion in the early version. It is a very beautiful example of the quiet, limpid running rhetoric that marks Shakespeare's best moments in the days before he attained to power.