[Here is the first part of a chapter cut out of my book Shakespeare and Comedy; a lost chapter, then, rather than a lost book. If you like it, print it out and put it between the last chapter of the book and the conclusion!]
For the Elizabethans, the past was populated with laughter-mongers. Jest-books disinterred the buried careers of the great clowns of English history: Scoggin and Will Summers, John Skelton and Long Meg of Westminster, Dobson, Hobson and the magician Roger Bacon. These were clever, tough commoners whose brushes with authority made them all too familiar with the insides of prisons and the danger of death, but the political impact of whose escapades was softened by the cushion of intervening generations. The jest-book gave birth to the historical novel of the 1590s, in which the cheerful Clothier Jack of Newbury has run-ins with Cardinal Wolsey, or the page Jack Wilton finds himself whirling through early sixteenth-century Europe, getting caught up in the wars of the Reformation and fleeing from outbreaks of the Plague. On the stage, too, non-Shakespearean English history plays were often dominated by wayward comedians, who were either commoners or fraternizers with the commonalty: the Robin Hood figure George a Green, who beats up treacherous lords but remains fiercely loyal to the English throne; Robin Hood himself, who teamed up with George a Green in the 1580s and starred in two tragicomedies of his own in the late 1590s, skirmishing with the despicable Prince John; the parson-highwayman Sir John of Wrotham, who gave Henry V a taste of his own medicine by robbing him on the king’s own highway in Sir John Oldcastle Part 1; and young Prince Harry of England himself, who with his drinking companions bears a striking resemblance to Robin Hood and his merry men in the anonymous Famous Victories of Henry V. If chronicle histories narrated England’s past as a series of solemn encounters between kings, nobles, and powerful churchmen, the prose and drama of the late sixteenth century put certain lords on intimate terms with their humblest subjects, and thrust clowns ‘by head and shoulders’, as Sidney put it, into the affairs of state that formed the English nation.
Shakespeare’s Falstaff is the prodigal heir to this rich tradition of historical clowning. As a boy he fought with Scoggin at the Inns of Court (so Justice Shallow tells us) and broke his head; and his fake death at the battle of Shrewsbury is a feat he borrows from Scoggin’s Jests. He mimics the exploits of Robin Hood on the king’s highway at Gadshill, and clashes with authority, as represented by the Lord Chief Justice, in parodic imitation of the clashes between Skelton or Jack of Newbury and the upstart Lord Chancellor of England, Cardinal Wolsey. He takes on himself the wilder aspects of Prince Harry’s conduct in the Famous Victories, and shares with Jack Wilton both a skill in impersonating aristocracy and a perception of history as a sustained assault on the human body, bloating, starving, infecting or dealing wounds on its victims in an unholy alliance with succeeding generations of powerful men.
Above all, like these jest-book heroes and theatrical wise-crackers he demonstrates the extent to which laughter permeates history, and the centrality of those things to which laughter is addicted (improvisations, quixotic quests for material gain, hunger, alcohol, sexual voracity, the cutting down to size of misplaced arrogance) to the past and present of Elizabethan England. Falstaff’s bulky presence – its sheer size a testimony to the awe-inspiring effects of excessive laughter on the human frame  – threatens to reshape our perceptions of the ruling classes who dominate the chronicles, confirming for us the absurdity of their priorities, the appalling destructiveness of their swollen ambitions. If actors are, as Hamlet says, ‘the abstract and brief chronicles of the time’ (2.2.525), Falstaff makes these chronicles look both more substantial and more true to life than other forms of history, written as these are at the behest of monarchs. At the same time, the comic lessons Falstaff imparts to his protégé Prince Hal help to shape him into a powerful and popular monarch, Henry V. His comic performance instructs the young prince in the art of wittily rewriting the past, an accomplishment that permits him to consolidate his position as king by a deft deployment of the power of comedy. For Shakespeare as for Marlowe, the humour that transcends class boundaries is a potent political tool, capable of making and destroying kings; and it is in the series of plays known as the Second Tetralogy [Richard II, 1 Henry IV, 2 Henry IV, Henry V], with Falstaff in the middle of them, that he explores this notion most intensively.
Falstaff carries with him strong echoes of Shakespeare’s most disturbing earlier representation of the clown in English history: the rebel Jack Cade from the First Tetralogy (1 Henry VI, 2 Henry VI, 3 Henry VI, Richard III), a ferociously anarchic revision of George a Green, who refuses to offer any consistent rationale for the massacres he perpetrates among the ruling classes. The popular hero George a Green kills nobles who betray their king; Jack Cade betrays his king by killing nobles. More disturbingly, Jack is a king, in his own imagination and that of his followers, and so confirms the fear of Stephen Gosson that comedy could simulate and perhaps even stimulate insurrection. He is the clown as king, just as in the Famous Victories young Prince Harry is the king as clown. Cade’s proximity to this early version of Henry V, written by an anonymous playwright before 1588, is one of the many disturbing elements in his spectacular career, and helps to link him with the Shakespearean Hal’s ambiguous companion Falstaff.
In the Famous Victories, young Prince Harry leads a troupe of riotous knights round the taverns of London and shares with them a radical vision for his future kingdom that anticipates Cade’s plans for it in more ways than one. Harry and his friends intend to share power equally (‘we would be all kings’ (1.79-80)); to abolish ‘prisoning’, hanging and whipping – at least, for courageous highwaymen, who will instead get royal pensions for their courage (5.10-12); and to turn the prisons into fencing-schools, where Harry will fight a decisive ‘bout’ with the Lord Chief Justice (5.20-2). Later Harry undergoes a conversion to orthodoxy like his Shakespearean counterpart Hal; but the Henry V of the 1580s never forgets his experience as a tavern-haunting prankster. When the Dauphin of France sends him tennis balls, ‘meaning that you are more fitter for a tennis-court than a field, and more fitter for a carpet than the camp’ (9.112-3), this Harry responds with the jocular bravado made famous by Hal (‘tell him that instead of balls of leather we will toss him balls of brass and iron’ (9.114-6)); but unlike Shakespeare’s hero he repeats the joke throughout his French campaign. On hearing that the Dauphin will not fight at Agincourt Harry says he is disappointed to have lost the chance to thrash him at tennis (12.24-33); and when a French herald asks him to set the terms of his ransom Harry replies that he will give ‘not so much as one poor tennis-ball’ to free himself in the event of his capture (14.41). His humorous courtship of the French king’s daughter forms part of an unbroken continuum of aggressive wit that stretches from his tavern days in London to the successful completion of his continental campaign. Continuity is emphasized by the fact that his actions are periodically echoed by a bevy of insubordinate commoners led by Derick – originally played by the great Dick Tarlton – who starts out as a carrier robbed by one of Harry’s wild companions and ends as the most timorous soldier at the battle of Agincourt.
The Harry of the Famous Victories, then, represents a wish-fulfilment fantasy for regulars at the London taverns. If he does not fulfil his promise to turn prisons into fencing-schools, he retains his keen appetite for sports, and never loses the sense of humour so essential for a good night on the town. But he is also a wish-fulfilment fantasy for his father, effortlessly reconciling this role with his reputation as a fun-loving criminal. Before his death Henry IV foretells the prince’s smooth transition from bold, bad youth to world-class conqueror, predicting that ‘he will prove as valiant and victorious a king as ever reigned in England’ (8.4-5), as if Harry’s adolescent exploits are a form of training for his role as a military leader. In this early play, laughter is the secret weapon of the English monarchy, binding subjects to the king’s service with ties stronger than those of feudal duty, and forming a powerful element in the rhetorical arsenal with which England differentiates itself from, and seeks to assert its superiority to, its continental neighbours.
In Shakespeare’s 2 Henry VI, by contrast, royalty has signally failed to differentiate itself from the ambitious subjects who seek to acquire it, just as England’s foreign battles have failed either to unite its warring factions at home or to establish its supremacy in Europe. Jack Cade is the product of a domestic tiff among the English aristocracy that culminates in civil war, and his antics, much more than Derick’s, amount to a devastating critique of the ruling class. In this, perhaps the first of Shakespeare’s history plays – scholars have argued that 1 Henry VI was written later  – the health of the nation can be gauged by the state of relations between the classes, and by the time Cade’s insurrection takes place these relations have effectively collapsed. Warring nobles articulate their hatred for one another by contemptuous references to poverty or low birth. York describes the supporters of the King as ‘Pirates’ (1.1.220), the Queen thinks her arch-rival the Duchess of Gloucester a ‘Contemptuous base-born callet’ (1.3.84), and at the point when Cade’s rebellion breaks out Suffolk and Warwick are trading insults concerning one another’s connection to the peasantry (Warwick’s mother, says Suffolk, ‘took into her blameful bed / Some stern untutored churl’, while Warwick childishly retorts that ‘it was thy mother that thou meant’st’ (3.2.211-23)). The one noble who is loved by the common people – the good Duke Humphrey of Gloucester – is held in contempt for his ‘base and humble mind’ by his own ambitious wife (1.2.62), and eventually murdered by his aristocratic colleagues. Meanwhile ordinary subjects have their petitions to the King torn up by his unfaithful Queen (‘Away, base cullions!’ (1.3.41)), are reduced to conning one another ‘for pure need’ (2.1.149), and find themselves reluctantly embroiled in the squabbles among the nobles, taking justice into their own hands for want of adequate legal representation in the courts. An apprentice accuses his master of high treason for saying that the Duke of York has a better claim to the throne than King Henry, and afterwards kills him in a parodic trial-by-combat (2.3.47ff.); and later Suffolk finds himself put on trial at sea by a crew of real pirates, who sentence him to death for crimes against the ‘good Duke Humphrey’, Henry VI, the house of York, and the state (4.1.70-103). Suffolk is amazed and horrified that such lowly subjects should have power to kill him. He calls the pirate captain an ‘Obscure and lousy swain’ (4.1.50), leader of a gang of ‘paltry, servile, abject drudges’ (4.1.105), and insists ‘it is impossible that I should die / By such a lowly vassal as thyself’ (4.1.110-1). But die he does, and his death marks the temporary transference of power in the play from the aristocracy to the commoners: the kind of hierarchic inversion that would have horrified theatre-haters such as Stephen Gosson, John Rankins and Philip Stubbes. The arrival of the commoners at the heart of history is signaled by the arrival of full-blooded comedy – the theatrical mode associated with commoners – in Act 4 scene 2. And the mock-king who presides over the play’s comic climax is the cloth-worker Jack Cade.
Cade’s ferocious directness comes as a welcome relief after the stifling spectacle to which we have been subjected before his appearance, in which aristocrats barely conceal their loathing for one another beneath a brittle veneer of courtesy. Cade never pretends, as they do, to be honourable or consistent. He readily admits, for instance, what the audience already knows, that it was the Duke of York who encouraged him to assert his claim to the throne, and that he invented the details of his royal pedigree for himself. As he explains this pedigree to his followers, his friends Dick the Butcher and Smith the Weaver undermine it with a running commentary: his father was ‘an honest man and a good bricklayer’ (4.2.37-8), his mother a midwife, his valour is attested by his open practice of illegal beggary, his endurance by his experience of being frequently whipped (presumably as a vagrant; we are later told that he has no home to go to). But there is something exhilarating about the repeated deflation of Cade’s pretensions. The arrogant nobles who have dominated the play are equally inconsistent in their claims and counter-claims, and much less amusing in their inconsistency. Cade’s birth and background, matters by which the nobility set so much store and over which they have wrangled since the opening scene of the play, clearly do not matter very much to Cade or his men, and his real claim to deserve a stake in England’s government derives from a much sounder principle: that ‘Adam was a gardener’ (4.2.126), so that all pedigrees in the end are equally ancient, and anyone has an equal right to join the competition to seize the crown. Besides, Cade’s programme for reforming the kingdom – or refurbishing its garments, as his followers put it, in honour of his trade (4.2.4-6) – is full of disarming details. Seven halfpenny loaves are to be sold for a penny, there will be a ban on weak beer, all land will be held in common and the monetary system abandoned, everyone will eat and drink at the king’s expense and wear the same clothes so that ‘they may agree like brothers’ (4.2.70-1), the aristocracy and gentry will be wiped out, and in the first year of his reign one of the London fountains shall ‘run nothing but claret wine’ (4.6.3-4). No noble in the play has a vision to match these. Indeed, not one of them seems to have imagined instituting any kind of programme for social reform – a failure that Cade’s programme helps to expose, despite its absurdity. For much of Shakespeare’s audience one suspects the laughter that accompanied Cade’s campaign would have been more delighted than derisory.
At the same time, there is a frightening aspect to Jack Cade. He is prone to outbreaks of Tamburlainian violence, either sudden – as in the hanging of the Clerk of Chatham and the impromptu killing of a soldier who calls him by the wrong name – or calculated, as in his proposal that ‘there shall not a maid be married, but she shall pay to me her maidenhead ere they have it’ (4.7.114-6). And his sense of humour is as aggressive as that of the aristocracy he aims to supplant. After decapitating Lord Say and his son-in-law he has their heads put on poles and gives the order that they be made to ‘kiss’ at every street corner, in token of their supposed conspiracy to surrender England’s possessions in France (4.7.123-9). Most disturbing of all, perhaps, is the reasoning that underpins his most extreme acts of violence: his rooted antagonism to learning in all its manifestations. The Clerk of Chatham is executed because he can write his name, while Lord Say condemns himself to death by the very skill with which he begs for mercy: ‘He shall die,’ Cade decides, ‘an it be but for pleading so well for his life’ (4.7.100-1). Surely, we may think, Shakespeare is here working to undermine any sympathy we might have conceived for the rebels. As an educated man he could hardly have disagreed with Lord Say’s view that ‘ignorance is the curse of God’ and ‘Knowledge the wing wherewith we fly to heaven’ (4.7.68-9), and Cade himself confesses he feels ‘remorse’ for his determination to execute the apparently deserving noble (4.7.99). At such times Cade’s behaviour seems to set him on the high road to hell, to which Anthony Iden consigns him at the end of Act Four (4.10.76-8), as if in vindication of the beliefs of the educated middle class (the class that included Erasmus, Luther, Marlowe, Gosson, Jonson and Shakespeare himself) who saw education as the road to personal success, if not to a more widespread social redemption, and ignorance as a vice akin to idleness.
Yet our discomfort with Cade’s aggression is based on shaky premises. Above all, it relies on the too-easy assumption that everyone in a given historical epoch shares a consistent set of values, with learning, reason and benevolence near the top of the moral hierarchy and rape, murder and betrayal near the bottom. In 2 Henry VI this assumption has been exploded long before Cade’s arrival by the behaviour of the English nobles, who blithely arrange for the assassination of the innocent Lord Protector, and whose predatory sexual behaviour belies their stated respect for uncontaminated bloodlines. Cade’s most outrageous actions, in fact, merely parody those of his social superiors. His announcement that he will have the right to sleep with all virgins in the realm before their marriage revives an old feudal privilege claimed by local lords, as well as further undermining an aristocratic system of heredity that has already been seriously compromised by the aristocrats themselves. And his contempt for learning echoes his former master York’s contempt for the ‘bookish’ Henry VI (1.1.257). Cade, however, has far better reason than York for his hostility to letters, since learning has very different connotations for the powerful than for the powerless. As applied by lawyers, learning makes possible the atrocious situation that ‘parchment, being scribbled o’er, should undo a man’ (4.2.75-6); that judges are able ‘to call poor men before them, about matters they [are] not able to answer’ (4.7.38-9); and that the setting of a seal on a written contract may sign away a person’s freedom (‘I did but seal once to a thing,’ claims Cade, ‘and I was never my own man since’ (4.2.77-8)). As a remedy for these abuses Cade proposes to kill all lawyers, burn all written records and distribute justice orally: ‘My mouth,’ he says, ‘shall be the parliament of England’ (4.7.12-13). His oral form of government is no more arbitrary than the regime it replaces; and in proposing it he strikes a blow in the ongoing struggle between the social classes in early modern Europe, exposing the complacency of the intellectual assumptions on which the polemics of the theatre-haters – and indeed the whole humanist educational enterprise on which they drew for their arguments – depended.
Cade’s career is a short one, but even its ending reveals the moral vacuum at the heart of the English hegemony. Lord Clifford seduces his followers to turn against him by invoking the name of the dead national hero Henry V: a warlord whose popularity rested on his appeal to English xenophobia rather than his birthright (from one point of view, his claim to the throne was not much better than Cade’s). As we have seen, young Henry’s plans for England in the Famous Victories and Cade’s plans for a new commonwealth in 2 Henry VI have much in common – except that Harry renounces his plans when he gets the crown, whereas Cade never ceases to urge his followers to ‘recover your ancient freedom’ (4.8.26-7). Lord Clifford invokes Henry’s name in a spurious promise to channel the commoners’ aggression into a new assault against their old enemies the French, whose recent successes against the English form part of the general resentment against the current administration. ‘Will [Cade] conduct you through the heart of France,’ Clifford asks, ‘And make the meanest of you earls and dukes?’ (4.8.36-7). As the Elizabethan audience knew full well, Clifford has no intention of doing any such thing: the only wars in prospect for the English are civil ones. The empty call to arms that closes his speech, and to which Cade’s followers respond so enthusiastically (‘To France! To France! And get what you have lost!’ (4.8.49)), perfectly demonstrates the lack of a shared set of values or a trustworthy system of communication between the rulers and the ruled in England. The land is fundamentally split, Henry V and his heroic deeds are dead and buried, and Cade’s efforts to reinvent England on a new model are founded on an accurate perception of its irreversibly damaged current state.
Cade is a home-grown threat, rooted in English soil as firmly as any noble. Yet he is able to mimic England’s foreign enemies with the same skill he displays in mimicking the aristocracy. He looks exactly like Lord Mortimer, heir to Richard II, York tells us (3.1.371-2); yet during England’s war with Ireland Cade has often spied on the Irish disguised as a ‘shag-haired crafty kern […] And, undiscovered, come to me again / And given me notice of their villainies’ (3.1.366-9). England’s most despised antagonists overseas and her most privileged native sons have become indistinguishable in the current climate; and this loss of distinction is underscored when York invades England at the head of an Irish army while announcing himself as ‘England’s lawful king’ (5.1.4). Clearly England under Henry VI nurtures the seeds of its own destruction. At the same time, its abundantly fruitful soil is incapable of sustaining all the English equally under the current regime; a fact we are apprised of by the death of Cade. In a final gesture of defiance the starving rebel confronts a prosperous landowner, Anthony Iden, in his orchard: and the comparison that follows between the landowner’s sturdy body and Cade’s emaciated corpse offers an animated picture of the commoners’ grievances against the wealthy. ‘Thy hand is but a finger to my fist,’ Iden points out (4.10.47-8), ‘Thy leg a stick compared with this truncheon’ (meaning his own swelling thigh and calf). The garden of England is only Eden to those like Iden with the means and the name to take advantage of it; everyone else is an enemy of the nation, regardless of nationality. The rights of men as the common descendants of Adam have no place there, and ‘ancient freedom’ has been replaced with backbreaking ‘slavery to the nobility’ (4.8.28). If nothing else, the comic mock-history of Jack Cade graphically illustrates the amount of mental and physical ‘labour’ that will be necessary before ‘the public good’ takes precedence over private interest in this divided country. And after its suppression, the claims of the nobility to be working in the interests of the people of England look thinner and more self-deluding than their comic shadow Cade did at his death.
Cade’s history displays the extent to which the commoner’s medium – laughter – may both comment on and affect the course of public events, despite the claims of the ruling classes to have a monopoly over national politics. The Famous Victories showed this too, of course, but in 2 Henry VI laughter undermines the monarchy instead of sustaining it. Cade proves the power of comic fooling both to subvert ‘legitimate’ claims to power and to forge outrageous new ones; and the lesson is taken up after Cade’s death by the funniest and most alarming of Shakespeare’s monarchs, Richard III, who effectively laughs the heads off his rivals as he jests his way to power. Richard fails, however, to harness popular support as Cade does, so that his reign gets increasingly humourless as it staggers towards its end, unable to sustain the tide of anxious mirth that swept this despot to power with the horrified approval of the playhouse audience. It remains for Prince Hal to learn the trick of popularity from Cade’s successor Falstaff, whose ample body gives weight and lasting sustenance to Hal’s serio-comic campaign for the crown, as Cade’s skeletal corpse and Richard’s twisted frame were unable to do for theirs.
 Will Summers – jester to Henry VIII – was celebrated in A Pleasant History of the Life and Death of Will Summers(1637). The heroic Long Meg, who also lived in Henry’s time, starred in The Life of Long Meg of Westminster (1620). Dobson the early Elizabethan chorister-cum-practical-joker held court in Dobson’s Dry Bobs (1607), while his contemporary the haberdasher Hobson was commemorated by Richard Johnson in The Pleasant Conceits of Old Hobson the Merry Londoner (1607). Roger Bacon’s career was recorded in The Famous History of Friar Bacon (1625). Some of these texts were published in Elizabethan times, although the early editions have been lost; the Famous History, for instance, was the likely source of Greene’s play Friar Bacon and Friar Bungay (c. 1592).
 See Thomas Deloney, Jack of Newbury (1597), and Thomas Nashe, The Unfortunate Traveller (1594), both reprinted in Paul Salzman (ed.), An Anthology of Elizabethan Prose Fiction (Oxford and New York, 1987).
 Star of the anonymous play George a Green, The Pinner of Wakefield (c. 1590).
 The tragicomedies are Anthony Munday, The Downfall of Robert, Earl of Huntingdon and The Death of Robert, Earl of Huntingdon (1598). Robin Hood fights with George a Green in lines 1049-1106 of the anonymous play: see Joseph Quincy Adams (ed.), Chief Pre-Shakespearean Dramas (London, Calcutta and Sydney, n.d.), p. 708.
 See Sir John Oldcastle, Part 1, in The Oldcastle Controversy: Sir John Oldcastle, Part 1; The Famous Victories of Henry V, ed. Peter Corbin and Douglas Sedge, The Revels Plays Companion Library (Manchester and New York, 1991), sc. 10.
 The phrase ‘by head and shoulders’ comes from Philip Sidney’s discussion of Elizabethan clowning, An Apology for Poetry, ed. Geoffrey Shepherd, revised R. W. Maslen (Manchester, 2002), p. 112, line 3.
 The classic account of Falstaff in the context of Shakespearean comedy is C. L. Barber, Shakespeare’s Festive Comedy: A Study of Dramatic Form and its Rellattion to Social Custom (Princeton, 1959), especially ch. 8.
 See W. Carew Hazlitt (ed.), Shakespeare Jest-Books, 3 vols. (London, 1864), vol. 2, p. 155: ‘Scogin seeing that he had lost the favour of the King and Queene, hee mused how he might be pardoned of the King and of the Queene. Hee heard say that the King would ride a progress, and at a convenient place, Scogin said to his servant: cast a coverlet over me, and say that I am dead, and say that, at my departure, I desired thee to pray to the King and Queen to forgive me. When the King and Queene did come by, Scogin lying under the coverlet by the high way, his servant said: here doth lye Scogin dead, and when hee departed, hee prayed both your Graces to forgive him. Now (said the King and Queen) God forgive him, and wee do. Scogin start up, and sayd: I do thank both your Graces, and hereafter I will no more displease you: for I see it is more harder to keepe a friend, then to get one.’
 For Skelton’s clashes with Cardinal Wolsey see Shakespeare Jest-Books, ed. Hazlitt, vol. 2, pp. 18 and 34. For Jack of Newbury’s run-ins with the cardinal see An Anthology of Elizabethan Prose Fiction, ed. Paul Salzman (Oxford, 1987), pp. 346-7 and 364-6.
 For a comparison of Nashe’s Jack Wilton and Falstaff see Neil Rhodes, Elizabethan Grotesque (London, Boston and Henley, 1980), Part 2: ‘Shakespearean Grotesque: The Falstaff Plays’.
 For the notion, derived from the Greek physician Hippocrates, that laughter makes you fat, see Laurent Joubert, Treatise on Laughter, translated and annotated by Gregory David de Rocher (University, Alabama, 1980), Book 3, ch. 13, pp. 124-6.
 George kills the traitor Sir Gilbert Armstrong at lines 693-781 of Adams’s edition.
 All references are to the edition of The Famous Victories in The Oldcastle Controversy, ed. Peter Corbin and Douglas Sedge.
 On Tarlton’s performance in Famous Victories see The Oldcastle Controversy, ed. Corbin and Sedge, pp. 25-8.
 For a detailed account of the dates and sequence of the Henry VI plays see King Henry VI Part 2, ed. Ronald Knowles, The Arden Shakespeare (Walton-on-Thames, 1999), pp. 111-21. See also Stanley Wells, Gary Taylor et al., William Shakespeare: A Textual Companion (Oxford, 1987), pp. 111-3.
 For Cade’s relationship to the real fears of the Elizabethan authorities see Annabel Patterson, Shakespeare and the Popular Voice (Oxford, 1989), ch. 2.
 See The Norton Shakespeare, The First Part of the Contention of the Two Famous Houses of York and Lancaster (2 Henry VI), 4.7.112n.
 Salisbury and Warwick promise to ‘labour’ for the ‘common profit’ of the land at 1.1.180-204.