Chapter: O For a Muse of Fire, that would ascend
The brightest Heauen of Inuention:
A Kingdome for a Stage, Princes to Act,
And Monarchs to behold the swelling Scene.
Then should the Warlike Harry, like himselfe,
Assume the Port of Mars, and at his heeles
(Leasht in, like Hounds) should Famine, Sword, and Fire
Crouch for employment. But pardon, Gentles all:
The flat vnraysed Spirits, that hath dar'd,
On this vnworthy Scaffold, to bring forth
So great an Obiect. Can this Cock-Pit hold
The vastie fields of France? Or may we cramme
Within this Woodden O, the very Caskes
That did affright the Ayre at Agincourt?
O pardon: since a crooked Figure may
Attest in little place a Million,
And let vs, Cyphers to this great Accompt,
On your imaginarie Forces worke.
Suppose within the Girdle of these Walls
Are now confin'd two mightie Monarchies,
Whose high, vp-reared, and abutting Fronts,
The perillous narrow Ocean parts asunder.
Peece out our imperfections with your thoughts:
Into a thousand parts diuide one Man,
And make imaginarie Puissance.
Thinke when we talke of Horses, that you see them
Printing their prowd Hoofes i'th' receiuing Earth:
For 'tis your thoughts that now must deck our Kings,
Carry them here and there: Iumping o're Times;
Turning th' accomplishment of many yeeres
Into an Howre-glasse: for the which supplie,
Admit me Chorus to this Historie;
Who Prologue-like, your humble patience pray,
Gently to heare, kindly to iudge our Play.
Enter.

 The Chorus enters and calls upon the "Muse" to help in presenting this play since it deals with such a lofty subject matter. The Chorus explains that the small Elizabethan stage can hardly transform itself into the fields of France, or into an English court, or into a battlefield upon which thousands of horses and soldiers fight; with imagination, however, when "we talk of horses . . . you see them" moving across the landscape. Thus the greatness of the subject matter -- a subject dealing with England's ideal king, Henry V -- requires that the audience exert its greatest imagination to be able to see in their minds the vastness and the splendor that the play recalls. The audience must also be tolerant of the actors who attempt to portray personages of such high estate. And finally, the audience must be prepared for "jumping o'er times" back and forth, from England to France.

