Which Shakespeare History Play Should You Read First? (September 2026)

If you have already worked through the tragedies and comedies but keep skipping the histories, you are not alone. I see this pattern constantly among readers tackling Shakespeare’s complete works. The histories feel intimidating because there are so many of them, they reference real monarchs, and no one seems to give a straight answer about where to begin.

The good news is that figuring out which Shakespeare history play should you read first is simpler than it seems. Once you understand how these plays are grouped and what makes each one accessible, the starting point becomes obvious.

After years of reading, teaching, and discussing these plays with hundreds of readers on forums like r/shakespeare, our team has developed a clear recommendation hierarchy. I will walk you through every option, explain why certain plays are better entry points than others, and give you a practical roadmap for your history play reading.

The Short Answer: Start With Henry IV Part 1

If you want the quickest possible answer to which Shakespeare history play should you read first, start with Henry IV, Part 1. Here is why in plain terms.

Henry IV Part 1 introduces you to one of Shakespeare’s most beloved characters, Sir John Falstaff, who brings humor and humanity to what could otherwise feel like a dry political story. The play balances courtroom intrigue with comedy, tavern scenes with battlefield drama, and a coming-of-age story with a father-son conflict that feels surprisingly modern.

You do not need to know English medieval history to enjoy it. The relationships and power struggles are universal, and the language, while still Elizabethan English, is more accessible than many of the earlier history plays.

If Henry IV Part 1 does not appeal to you, two excellent alternatives exist: Richard III for readers who want a villain-driven thriller, and Richard II for readers who love poetry and philosophical reflection. I will break down all three in detail below.

What Counts as a Shakespeare History Play?

Before getting into recommendations, we need to clear up a common source of confusion that trips up nearly every beginner. Many readers assume that any Shakespeare play set in the past counts as a “history play.” That is not quite right.

Shakespeare’s history plays are specifically the plays based on English medieval monarchs, compiled under the “Histories” category in the First Folio of 1623. These ten plays chronicle English kings from the 12th through the 16th centuries. They are distinct from his Roman plays, tragedies, comedies, and romances.

The 10 English History Plays

Here is the complete list of plays classified as histories in the First Folio, arranged in the chronological order of the historical events they depict:

1. King John (reign of King John, 1199-1216)
2. Edward III (reign of Edward III, 1327-1377) – sometimes disputed but included by many scholars
3. Richard II (reign of Richard II, 1377-1399)
4. Henry IV, Part 1 (reign of Henry IV, 1399-1413)
5. Henry IV, Part 2 (continuation of Henry IV’s reign)
6. Henry V (reign of Henry V, 1413-1422)
7. Henry VI, Part 1 (reign of Henry VI, 1422-1461)
8. Henry VI, Part 2 (continuation of the Wars of the Roses)
9. Henry VI, Part 3 (continuation of the Wars of the Roses)
10. Richard III (reign of Richard III, 1483-1485)
11. Henry VIII (reign of Henry VIII, 1509-1547)

Most scholars focus on the core ten (excluding Edward III, whose authorship is debated). These ten plays form what literary critics sometimes call the “history cycle,” and several of them connect directly to one another as a continuing saga.

Roman Plays Are Not History Plays

This is the confusion point I hear about most often from readers. Plays like Julius Caesar, Antony and Cleopatra, Coriolanus, and Titus Andronicus are set in ancient history, but the First Folio classifies them as tragedies, not histories.

The distinction matters. Shakespeare’s English history plays share a connected timeline, recurring families, and a specific focus on the legitimacy of royal succession. The Roman plays, while historically based, stand as self-contained tragedies exploring different themes entirely.

So if someone tells you to start your history play reading with Julius Caesar, they are giving you a great play recommendation but not actually answering the history play question. Julius Caesar is wonderful for Shakespeare beginners in general, but it belongs to the tragedy category.

Why History Plays Feel Different from Tragedies and Comedies

Understanding what makes the history plays distinct will help you calibrate your expectations. When I first picked up Richard II expecting something like Hamlet, I was confused by the pacing and structure. These plays operate by different rules.

Tragedies follow a familiar arc: a protagonist rises, makes a fatal error, and falls. Think Macbeth’s ambition or Othello’s jealousy. The story builds toward a single character’s destruction, and the emotional payoff comes from witnessing that downfall.

Comedies focus on misunderstandings, mistaken identities, and eventual marriages. The energy is lighter, the stakes are romantic rather than political, and the resolution brings social harmony.

History plays are something else entirely. They are concerned with power, legitimacy, kingship, and the consequences of political decisions. The “protagonist” is often England itself rather than a single character. A king who seems heroic in one play may appear flawed or even villainous in the next, because Shakespeare was writing across multiple plays about the same dynastic struggles.

This means the history plays reward readers who think in terms of cause and effect across generations. Richard II’s decision to seize John of Gaunt’s estate sets off a chain reaction that plays out over the next four plays. The deposition of one king plants the seeds of civil war that erupt decades later in the Henry VI trilogy.

The history plays also contain some of Shakespeare’s most memorable characters who never appear in the tragedies or comedies. Falstaff alone justifies the entire genre for many readers. Richard III’s theatrical villainy has influenced every on-screen schemer since. And the patriotic speeches of Henry V, particularly the St. Crispin’s Day address, rank among the most quoted lines in English literature.

Our Top 3 Recommended Starting Plays

When readers ask which Shakespeare history play should you read first, I give them three options based on what kind of reading experience they want. Each of these plays works as a standalone entry point, and each teaches you something different about what the history plays can do.

#1 Pick: Henry IV, Part 1 – The Best All-Around Entry Point

Henry IV Part 1 is my top recommendation for nearly every reader. It is the play I suggest most often on r/shakespeare, and it is the one our team agrees offers the most balanced introduction to what the history plays are all about.

The play follows two intertwined storylines. The first is political: King Henry IV faces a rebellion led by the powerful Percy family, including the charismatic Hotspur. The second is personal: the king’s son, Prince Hal, wastes his youth drinking and carousing in taverns with the fat, funny, and utterly unforgettable knight Sir John Falstaff.

These two worlds collide when Hal must prove himself on the battlefield. The tension between his riotous tavern life and his royal destiny creates emotional depth that pulls you in regardless of whether you know anything about fifteenth-century English politics.

Falstaff is the secret weapon of this play. He lies, he jokes, he avoids responsibility with dazzling verbal creativity, and he loves Hal with a complicated tenderness that makes their relationship one of Shakespeare’s richest. Many readers who were skeptical about history plays become devoted fans after meeting Falstaff.

Start here if you want humor alongside your political drama, if you want a relatively accessible entry point, and if you want to read the play that most Shakespeare scholars consider the gateway to the entire history cycle.

#2 Pick: Richard III – The Thriller Option

If you prefer your drama dark, fast-paced, and driven by a single magnetic villain, Richard III is your ideal starting point. This play reads like a political thriller, and Richard himself is one of the most entertaining antagonists in all of literature.

Richard opens the play by telling you exactly who he is. He is “determined to prove a villain,” and he spends the rest of the drama scheming, murdering, and manipulating his way to the throne. He breaks the fourth wall constantly, sharing his wicked plans directly with the audience and making you complicit in his schemes.

This direct address makes Richard III surprisingly accessible. You always know what Richard is thinking, which eliminates the confusion that sometimes arises from the political machinations of the Henry VI plays that precede it chronologically.

You can absolutely read Richard III on its own without having read the Henry VI trilogy. Shakespeare wrote it to function as a conclusion to the Wars of the Roses cycle, but it stands perfectly well independently. In fact, starting with Richard III and then going back to read Henry VI Parts 1-3 is a common and satisfying reading strategy.

Start here if you love character-driven stories, if you want a play with a single dominant figure rather than an ensemble cast, and if you want something closer in spirit to the tragedies you may have already enjoyed.

#3 Pick: Richard II – The Poetic Gateway

Richard III is for readers who want plot. Henry IV Part 1 is for readers who want characters. Richard II is for readers who want language. If you fell in love with Shakespeare through the poetry of the sonnets or the philosophical speeches of Hamlet, this is your starting point.

The play tells the story of King Richard II, a monarch who is poetic, vain, and ultimately brought down by his cousin Henry Bolingbroke. The entire play is written in verse (unusual for Shakespeare, who typically mixed verse and prose), and the language is some of the most beautiful he ever wrote.

Richard II is the first play in the Henriad sequence if you read in chronological order, so it is the natural starting point for readers who want to experience the interconnected cycle from the very beginning. The deposition scene, where Richard surrenders his crown, is one of the most powerful moments in all of Shakespeare.

The trade-off is that Richard II is slower and more contemplative than the other two recommendations. There is less action and more reflection. Some readers find it harder going, especially as a first history play. But if you are drawn to lyrical language and political philosophy over battle scenes, it rewards your patience.

Start here if poetry is what draws you to Shakespeare, if you want to read the Henriad in order from the beginning, and if you are comfortable with a play that prioritizes ideas over action.

The Henriad: Understanding Shakespeare’s History Cycle

One of the biggest gaps I noticed in competing guides is that none of them properly explain how the Henry plays connect. Readers constantly ask on forums whether they need to read Henry IV Part 1 before Part 2, or whether Henry V stands on its own. Let me clear this up.

The core interconnected sequence in Shakespeare’s histories is known as the Henriad. It consists of four plays that tell a continuous story spanning roughly forty years of English history: Richard II, Henry IV Part 1, Henry IV Part 2, and Henry V.

Think of the Henriad as a four-part series, similar to how modern audiences think about serialized television. Each play picks up where the last one left off, with recurring characters and themes that develop across the sequence.

How the Henriad Connects

In Richard II, King Richard is overthrown by his cousin Henry Bolingbroke, who becomes King Henry IV. The central question of the play is whether a king can be legitimately deposed, and the consequences of that act ripple through every subsequent play.

In Henry IV Part 1, the new king struggles to hold his throne against rebellion while his son, Prince Hal, disgraces the family name by drinking with Falstaff in the taverns of Eastcheap. The play ends with Hal proving himself in battle by defeating the rebel Hotspur.

In Henry IV Part 2, the rebellion continues, Falstaff’s antics grow darker, and the old king dies. Hal ascends to the throne as King Henry V and, in one of Shakespeare’s most heartbreaking scenes, publicly rejects his old friend Falstaff.

In Henry V, the new king invades France and wins the legendary Battle of Agincourt against overwhelming odds. The St. Crispin’s Day speech (“We few, we happy few, we band of brothers”) comes from this play, and it serves as the triumphant conclusion to the cycle.

Do You Need to Read Them in Order?

Not necessarily. Henry IV Part 1 works perfectly well as a standalone play. Shakespeare wrote each installment to be performed and enjoyed independently, with enough exposition to orient new audience members.

However, reading them in order deepens the experience enormously. The rejection of Falstaff in Part 2 only hits as hard as it does because you have spent two plays getting to know him. Henry V’s transformation from irresponsible prince to heroic king is far more moving when you have witnessed his years in the tavern.

My recommendation for most readers is to start with Henry IV Part 1 as a standalone test. If you love it, go back and read Richard II, then continue through Part 2 and Henry V in sequence.

Two Reading Order Strategies

Once you have read your first history play and decide you want to continue, you will face a strategic choice. There are two main approaches to reading Shakespeare’s history plays, and each has its strengths.

Strategy 1: Chronological Order (Story Order)

Reading in chronological order means following the sequence of historical events, not the order in which Shakespeare wrote the plays. This approach treats the history plays as a single epic narrative about the English monarchy.

The chronological reading order is: King John, Richard II, Henry IV Part 1, Henry IV Part 2, Henry V, Henry VI Part 1, Henry VI Part 2, Henry VI Part 3, Richard III, Henry VIII.

The advantage of this approach is that you experience the story the way Shakespeare’s audiences might have understood the overarching sweep of English history. Cause and effect become clear. The deposition in Richard II explains the rebellions in Henry IV. The weakness of Henry VI explains the rise of Richard III.

The downside is that the early plays in this sequence, particularly Henry VI Parts 1-3, are widely considered among Shakespeare’s weaker works. They are believed to be early efforts, possibly collaborative, and they can be tough going for new readers. Starting chronologically means beginning with King John or Richard II rather than with the stronger middle plays.

Strategy 2: Standalone and Thematic Order

The standalone approach lets you pick plays based on what interests you, without worrying about sequence. This is the strategy I recommend for first-time readers, and it is how most people naturally read Shakespeare anyway.

Under this strategy, you would start with one of my three recommended entry plays (Henry IV Part 1, Richard III, or Richard II), then branch out based on your interests. Want more Falstaff? Continue with Henry IV Part 2 and then Henry V. Want more villainy? Read Richard III and then work backward into the Henry VI trilogy for the full Wars of the Roses arc.

King John and Henry VIII are standalone plays that connect only loosely to the main cycle. They can be read at any point without prerequisite knowledge. Many readers save them for last, or skip them entirely on a first pass through the histories.

The thematic approach is more flexible and less intimidating. You are not committing to a ten-play marathon. You are reading individual plays and building connections organically as your interest grows.

Which Strategy Should You Choose?

For your first history play, always use the standalone approach. Pick one play, read it, and see how you feel. If the experience clicks for you, then decide whether to commit to the chronological sequence or continue picking plays thematically.

From my experience working with readers, about half eventually want to go back and read the full chronological cycle once they are hooked. The other half happily pick and choose forever. Both approaches are completely valid.

How to Read Shakespeare History Plays for the First Time

Reading Shakespeare’s history plays for the first time requires a different approach than reading a modern novel. The language, the historical references, and the dramatic structure all benefit from some preparation. Here are the practical strategies our team recommends.

Choose the Right Edition

The edition you read matters enormously. A bare text with no notes will leave you confused by historical references, archaic vocabulary, and obscure wordplay. I strongly recommend an annotated edition with thorough footnotes.

The Arden Shakespeare editions are the gold standard for serious readers. They include extensive introductions, detailed footnotes, and scholarly commentary that explains historical context. The Arden edition of Henry IV Part 1, for example, includes maps, family trees, and background on the real historical events.

If the Arden editions feel too dense, the New Cambridge Shakespeare or Oxford Shakespeare editions offer a good middle ground. The No Fear Shakespeare series provides modern English translations side by side with the original text, which can be a helpful crutch for absolute beginners.

Avoid cheap paperback editions with minimal notes. The few dollars you save will cost you hours of frustration.

Read a Summary First

Before you read the play itself, spend ten minutes reading a plot summary. Knowing the basic story arc frees your brain to focus on the language and characters rather than struggling to follow who is plotting against whom.

SparkNotes, NoSweatShakespeare, and the British Library website all offer reliable summaries. Read the summary, note the major characters, and identify the key turning points. Then read the actual play with that roadmap in mind.

This is not cheating. Shakespeare’s original audiences often knew the historical stories before watching the plays. The dramatic pleasure comes from how Shakespeare tells the story, not from being surprised by the plot.

Watch Before You Read

Shakespeare wrote plays to be performed, not read silently on a page. Watching a good production before or alongside your reading transforms the experience. The actors’ deliveries clarify meaning, the staging provides context, and the emotional beats land in ways that silent reading often cannot capture.

For Henry IV Part 1, the BBC Television Shakespeare production and the more recent Hollow Crown series (2012) with Tom Hiddleston are both excellent. For Richard III, look for Ian McKellen’s 1995 film adaptation set in a fictional 1930s fascist England, or the classic Laurence Olivier version from 1955.

Even a few scenes on YouTube will help. Hearing how professional actors deliver the lines trains your ear to the rhythm of the iambic pentameter and makes your own reading feel more natural.

Read Aloud and Take Your Time

Shakespeare’s language was designed to be spoken. When a passage confuses you, read it out loud. The sound and rhythm often clarify the meaning in ways that silent reading cannot.

Do not try to rush through a play in a single sitting. Give yourself permission to read slowly, reread confusing passages, and look up unfamiliar references. A history play might take you three or four sessions of an hour each on your first read. That is perfectly normal and expected.

I usually recommend reading each play twice: once quickly to follow the story, and once slowly to appreciate the language. The second reading is almost always more enjoyable because you are no longer worried about what happens next.

Film Adaptations to Pair with Your Reading

Visual learners benefit enormously from watching film and stage adaptations alongside their reading. Here are the strongest adaptations for each of our three recommended starting plays.

For Henry IV (Parts 1 and 2 combined), the BBC’s The Hollow Crown (2012) is the standout production. Tom Hiddleston plays Prince Hal, Jeremy Irons plays Henry IV, and Simon Russell Beale delivers a remarkable Falstaff. The production is widely available on streaming platforms and brings the plays to vivid life.

For Richard III, you have two major options. Ian McKellen’s 1995 film reimagines Richard in a 1930s fascist setting and is widely considered one of the best Shakespeare films ever made. Laurence Olivier’s 1955 version is more traditional and theatrical, with Olivier giving a performance that defined the role for a generation.

For Richard II, the Hollow Crown series also includes a production starring Ben Whishaw that captures the play’s lyrical, introspective quality beautifully. The 2013 Globe Theatre production with Charles Edwards is another strong option available on DVD and streaming.

For Henry V, Kenneth Branagh’s 1989 film is the definitive adaptation, featuring the iconic St. Crispin’s Day speech delivered on a muddy, exhausted battlefield. Branagh’s version is grittier and more realistic than Laurence Olivier’s patriotic 1944 wartime production, which is also worth watching for its historical context.

Common Beginner Mistakes to Avoid

After helping many readers work through their first history plays, I have noticed several recurring mistakes that make the experience harder than it needs to be. Avoiding these will save you time and frustration.

Mistake 1: Starting with the Henry VI trilogy. These three plays are early Shakespeare, possibly collaborative, and widely considered the weakest of the histories. They are dense with political maneuvering among nobles whose names and titles are confusingly similar. Save them for after you have built confidence with the stronger plays.

Mistake 2: Trying to learn the actual history first. Some readers think they need to study the real Wars of the Roses before reading the plays. This is unnecessary and can actually diminish your enjoyment. Shakespeare took liberties with history for dramatic purposes, so the plays and the real events diverge significantly. Let the play be your guide, and learn the real history later if you are curious.

Mistake 3: Reading without notes. Bare text editions lead to confusion and frustration. Historical references, archaic words, and topical allusions will sail past you. Always use an annotated edition with footnotes.

Mistake 4: Assuming the plays are historically accurate. Shakespeare was writing entertainment and political commentary, not history textbooks. He moved events around, invented characters, and shaped narratives to suit his dramatic and political purposes. Richard III, for example, was almost certainly not the cartoon villain Shakespeare portrays. Enjoy the drama, but do not cite these plays in a history essay.

Mistake 5: Giving up after one play. History plays have a learning curve. Your first one might feel slow or confusing in places. Push through, or try a different starting play. The histories become easier to read as you build familiarity with Shakespeare’s language and the recurring historical figures.

FAQs

Conclusion

Figuring out which Shakespeare history play should you read first comes down to choosing the entry point that matches your reading style. For most readers, that is Henry IV Part 1, with its perfect blend of comedy, drama, and the unforgettable Falstaff. Richard III works if you want a villain-driven thriller, and Richard II is ideal if you are drawn to lyrical poetry and philosophical depth.

Start with one play, use an annotated edition like the Arden Shakespeare, watch a film adaptation to train your ear, and do not worry about reading order until you know you want more. The history plays form a rich, interconnected saga about power, legitimacy, and the human cost of ambition, but each one also stands beautifully on its own.

Pick up Henry IV Part 1 today and give it an honest try. Once you meet Falstaff in the Boar’s Head Tavern, there is a very good chance you will not want to stop.