These opportunistic sequels tell us something about the way the early modern theatre industry was developing responsive, and recognizable, marketing techniques to cash in on successful productions. But they also tell us something more particular about the star quality of 1 Henry IV. The sequels share only one element. Not the king, not even the prince; not the battles or rebellions or disquisitions on the nature of government. Their common denominator is Falstaff. Fat, dodgy, cash-strapped, self-interested Falstaff. In inventing this anti-hero, Shakespeare had launched a cultural phenomenon
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