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            <title type="main">Famous Victories of Henry V: Scene 17</title>
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               <persName ref="pers:COCK1">Peter Cockett</persName>
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               <persName ref="pers:SYME1">Holger Schott Syme</persName>
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                    <note><p>The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)</p></note>
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            <funder>Social Sciences and Humanities Research Council of Canada</funder>
            <funder>McMaster University</funder>
            <funder>Poculi Ludique Societas</funder>
            <funder>University of Waterloo</funder>
            <funder>University of Toronto</funder>
            <funder>Centre for Drama, Theatre &amp; Performance Studies</funder>
            <funder>University of Victoria</funder>
            <funder>Friends of the ISE</funder>
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               <p>Intellectual copyright in this edition is held by the editor, <persName ref="pers:COCK1">Peter Cockett</persName>. The critical paratexts, including this <title level="a">Scene 17</title>, are licensed under a <ref target="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC_ND 4.0 license</ref>, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom.</p>
               <p>Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden.</p>
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            <p xml:id="emdFV_video_scene17_p1">I love the way the London Watch reappear on the battlefield at this point. They were likely not featured earlier in France because the actors were busy doubling as comic Frenchmen. We gave Derrick a brief appearance in the battle but it was not really necessary. The audience were happy to pick up with these characters at this point and enjoyed the more homely spin they put on the great historical battle. The clowns begin by reporting on the king’s actions in the same way they did at the start of <ptr type="localCit" target="doc:emdFV_M#emdFV_M_s2"/> and in a way that is also reminiscent of Derrick and John’s comic re-performance of the boxing of the Justice’s ear (<ptr type="localCit" target="doc:emdFV_M#emdFV_M_anc_1690 doc:emdFV_M#emdFV_M_anc_1691"/>). One of the clown figure’s key functions in the play was to effect such shifts in perspective. In this case, the roving English soldier arrives to tie the clowns into the on-going action of the battle, and in contrast to the martial king, their immediate instinct is to find a way to avoid battle, to which purpose they practice their <quote>broken French</quote> (<ptr type="localCit" target="doc:emdFV_M#emdFV_M_anc_1692"/>). It is a simple gag but one which works to further valorize the play’s hero-king.</p>
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            <head>Navigation</head>
            <item>See <ref target="doc:emdFV_ProductionCredits">Production Credits</ref>.</item>
            <item>Go back to <ref target="doc:emdFV_video">scene index for the SQM production of <title level="m">Famous Victories</title></ref>.</item>
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