Holinshed hastily, the authors transformed his phrase 'bottom of my conscience' into 'bosom of my conscience' (II. iv. 180) and his noun chattels, which he spells 'cattels,' into 'castles' (III. ii. 344). Slips like these all favor the assumption that for some reason a new play was required and authors set to work at full speed to produce one. It was written to be played, not to be read, and such errors as the foregoing, are, from the point of view of the audience, immaterial. The wonder is, not that the play is so poor, but that it is so good. The authors have succeeded in constructing a drama with pageant-like scenes and a few opportunities for good actors. These were the characteristics of it from the very beginning. According to contemporary accounts Burbage himself played in it, and Wotton stresses the elaborateness of the costumes. And these are the characteristics that have caused it to be revived over and over again. Pepys saw the great production in 1664, when Betterton played the King; Harris, Wolsey; Smith, Buckingham; and Mrs. Betterton, Queen Katharine. His comment is unfavorable:
'But my wife and I rose from table, pretending business, and went to the Duke's house (Lincoln's Inn Fields), the first play I have been at these six months, according to my last vowe, and here saw the so much cried-up play of "Henry the Eighth"; which, though I went with resolution to like it, is so simple a thing made up of a great many patches, that, besides the shows and procession in it, there is nothing in the world good or well done. Thence mightily dissatisfied back at night to my uncle Wight's. . . ."
Four years later, however, he is not so fastidious:
'After dinner, my wife and I to the Duke's playhouse, and there did see "King Harry the Eighth"; and was mightily pleased, better than I ever expected, with the history and the shows of it.'
