Abstract The falsification of the audience's expectations and Hal's miraculous emergence as a great English king, alongside the Hal-Falstaff relationship out of which the future king's identity is gradually constructed, are the main critical puzzles in most studies of the William Shakespeare's "KingHenry" series. The paper examines concepts of fraud and politics in parts one and two of "KingHenryIV" and in "KingHenry V". It discusses notions by literary critics such as Stephen who claim that Hal is one of Shakespeare's most Machiavellian characters. The paper argues that Machiavelli's Prince is not sufficiently cruel or sophisticated to be ranked with Prince Hal, despite the fact that Falstaff's cry for help, voiced in his paradoxical accusation that the Prince has corrupted him, seldom succeeds in inverting the audience's impression that Falstaff is Hal's misleader.
From the Paper "The concept of necessity, as it arises from the morality-patterned Phychomachia, reinforces providentialist notions, an idea first advanced by Tillyard but in a rather different context. Religious providentialism fuses the personal and political domains and Hal's borrowing from the theatrical and diachronic anthropological deposit causes the interweaving of theatrical illusion with politics, thus displaying their common structural patterns. The fusion of religion, politics and theatre culminates in Hal's gradual conversion to virtue, which is at once a milestone in Hal's allegedly privileged relationship with God, a major political event, and a stock trick of Elizabethan drama."
Abstract This paper examines the use of legitimacy as a theme in the play, "KingHenryIV," by William Shakespeare. The paper includes a discussion of the legitimacy of the king and his rule, as a well as a close look at Prince Hal. The paper contends that Henry's legitimacy becomes the center of all of the major crises in the play and, thus, is a major and binding theme.
From the Paper "From the moment Shakespeare's play 1 King Henry IV opens, the legitimacy of King Henry's crown is a major theme throughout the play. Not only does it become the justification of the Percys and others violent revolts against Henry, but it can also be used to explain the disobedient acts carried out by Hal, King Henry's son and heir to the throne. King Henry's usurpation of the throne and act of regicide lead to consequences that will spoil his reign illegitimate."
Abstract This paper presents a character analysis of Henry and Hal, two of the main characters in Shakespeare's play, "KingHenryIV", and shows how Shakespeare, by comparing and contrasting these two characters, was able to display the attitudes of both the nobility and the commoners and foreshadow Hal's ability to become a stable, successful ruler.
From the Paper "Hal's feelings towards his father reflect the feelings of the commoners towards the king. Hal's soliloquy, ?I know you all...? (I, ii 183-205) reveals Hal's moral awareness and scorn towards the character he has used to disguise his true frustration with the standards that the king has disgraced. A noble and virtuous young man deliberately masquerading as a dissolute prodigal, Hal is not likely to overlook the deep moral blemishes in his father nor the hypocrisy of Henry IV's assumption of rightful kingship. However, as the King's subject and heir, Hal is denied all means of expressing his contempt for the dishonorable means by which Henry IV has maintained and stolen power. By showing contempt for the king, Hal would be following the example of Henry IV's disloyal behavior towards Richard II, and siding with the rebels who now challenge Henry IV's fitness to rule."
Tags: overthrew, richard, ii, stability, nation, scorn, prodigal, son, dishonorable, stolen, maintained, power
Abstract This paper discusses the passage in Shakespeare's "HenryIV, Part One" in which Falstaff jokingly assumes the throne in a repartee with Prince Hal. The author points out how this scene is crucial in the development of the play. The author believes that it marks the point when Hal decides he must abandon the company of men like Falstaff and develop his own set of ideals.
Abstract This paper analyzes, compares and contrasts the plots and protagonists of two of Shakespeare's plays, "Measure for Measure" and "HenryIVPart I". The author asserts that in these two plays, strong character is defined not by who is more right, but rather by the ability to become more than the sum of one's faults. The author concentrates his analysis on secondary characters, who, despite being fault-ridden, are endearing to the audience for their humor and steadfastness. The paper concludes that Shakespeare's ultimate point is that while all people are flawed, the test of their character is whether they are molded by these flaws -- or overcome them.
From the Paper "In both of these plays, these people may be questionable or shady characters that often are crude or have abominable habits, they may be people of power and prominence, or they may be just average, everyday citizens. Simply put, they all have faults of their own. Yet, the audience can't help but find them endearing, and the protagonists find that their ability to overcome their faults has a lot to do with the help they receive from these characters. Furthermore, the inability of the antagonists to overcome their vulnerabilities also has something to do with these characters."
A look at how William Shakespeare, in his "HenryIV, Parts I and II", emphasizes the ideas of struggle and progress through his characterizations of Henry and Hal.
Abstract This paper examines William Shakespeare's plays, "HenryIV, Parts I and II", and, in particular, looks at how Henry misjudges his son and cannot see that Hal, who is not guilty of usurpation and regicide, will be able to unite the now divided kingdom. It shows how Henry's faults and strengths cause him to symbolically reflect the struggle for progress, represented by the bridge between the corruption of England during Richard II's reign and the unity of Henry V's kingdom. It also explores how, after the "struggle" ceases and HenryIV dies, Prince Hal becomes KingHenry V ,and the previously divided nation progresses by integration.
From the Paper "Hal's adoption of the commoners is best described by the Duke of Warwick when he says: "The Prince but studies his companions, / Like a strange tongue" to gain the language?? (Pt. II, IV, iv, 76-78.) Hal is like a growing tree basking in the sun, Henry IV is the gardener who planted Hal's seed, and the commoners form one of Hal's developing branches. By growing into a man ?of all humors,? (Pt. I, II, iv, 89) Hal is becoming his entire nation in an individual form, which is symbolically what a king is. Hal has studied the commoners well and is able to both talk and think like them, as portrayed in Hal's witty exchanges with Falstaff. Hal's desire to adapt to the needs of the various peoples of his country foreshadows the harmony that will dominate England when he is king."
A discussion of how various characters such as Hotspur, Prince Hal and Falstaff represent different manifestations of the concept of honor in Shakespeare's 'Henry VI'.
Abstract Honor, the central theme in Shakespeare's HenryIV, Part 1, is embodied primarily in the two main characters. This essay compares and contrasts the concept of honor as lived by Hotspur and Prince Hall, making frequent use of quotes to substantiate claims. Other characters, KingHenry and Falstaff, who Shakespeare finds useful in this major treatment of honor, are also discussed.
From the Paper "One of the main themes around which Shakespeare dramatizes the history of his country in The First Part of King Henry IV is honor. To the Elizabethans honor was a major topic of debate as it had been to Englishmen of all ages. Honor is a complex subject, highly personal to some, highly public to others. Honor can be something for which one quietly stands, or about which one shouts in flowery language. The purpose of this paper is to compare and contrast some of the various forms taken by honor as represented in Shakespeare's Henry IV, Part I."
Tags: falstaff, hal, hotspur, prince, Shakespeare, Henry, IV, honor, Elizanethans
Abstract This paper examines two of Shakespeare's historical kings: Richard II and KingHenryIV. The paper argues that Richard II was a king by divine right, whereas HenryIV was a Machiavellian king. The paper first assesses Richard's rule: he was not loved by his people or by those who served him; he did not earn his kingship, did not respect it and did not do anything in order to keep it. The paper contrasts this to KingHenryIV, who was completely aware of his kingship and what he had to do to keep it; he acted aggressive, decisive and proactive. The paper then demonstrates how the characterization of these two kings demonstrates Shakespeare's unique ability to capture the diversity of humanity and create believable characters. The paper concludes that Shakespeare proves that kings are just like the rest of us--some of them capable and some of them negligent beyond belief. The paper quotes from both plays in order to supports its theses.
From the Paper "Richard II was a king by the divine right of kings and we only need to look at his actions to determine this fact. He would have never earned his kingship had it not been something that was given to him by right of his birth. In short, Richard is a bad king with no real vision. He never takes time to learn what it means to be king and, as a result, does not care about the responsibilities that come along with the title of being king. To make matters worse, he breaks laws and traditions that are essential to his own kingship and his bad behavior forces those under him to feel helpless, hopeless, and without direction. He does not care for the people and while he may have been an intelligent man, he was not strong in the way that a king needs to be strong. Undoubtedly, King Richard's strongest and best characteristic was his eloquence."
The following paper examines Shakespeare's "KingHenryIV", focusing on Elizabethan stage scenery, Elizabethan period acting and the historical accuracy of the play.
Abstract This paper explores the history of the technical production of "HenryIV", Part I and examines some of the historical sources from which Shakespeare obtained his historical information.
From the Paper "Most believe that the Elizabethan stage was rather bare by modern standards. It is a popular opinion that the actions and dialogue of the actors mainly dressed the stage. By modern technological standards this may be true. However records from the Revels Office indicate that scenery was quite elaborate at times and special attention was given to detail. We must draw our conclusions about staging and scenery in Elizabethan stage performances from descriptions written at the time. One of the earliest plays of which we have a description of the scenery is ?Edwardes tragedy.? It was produced in Whitehall in 1564."
Tags: War, Roses, feud, Houses, Lancaster, York, palace, apartment, Prince, inn, yard, Rochester
The following paper examines Shakespeare's ?KingHenryIV?, focusing on Elizabethan stage scenery, Elizabethan period acting and the historical accuracy of the play.
Abstract This paper explores the history of the technical production of "HenryIV", Part I as well as exploring some of the historical sources from which Shakespeare obtained his historical information.
From the Paper ?Most believe that the Elizabethan stage was rather bare by modern standards. It is a popular opinion that the actions and dialogue of the actors mainly dressed the stage. By modern technological standards this may be true. However records from the Revels Office indicate that scenery was quite elaborate at times and special attention was given to detail. We must draw our conclusions about staging and scenery in Elizabethan stage performances from descriptions written at the time. One of the earliest plays of which we have a description of the scenery is ?Edwardes tragedy.?
Tags: War, Roses, feud, Houses, Lancaster, York, palace, apartment, Prince, inn, yard, Rochester
Abstract This paper explores the role and character of Falstaff in Shakespeare's play "HenryIV". The paper acknowledges Falstaff's role as comic relief and his part in Prince Harry's life. This friendship is considered in the paper as well. Several opinions of Falstaff from noted Shakespeare experts are presented along with the writer's view of this character. The paper concludes by stating Falstaff was a necessary figure in the play because he was the only character with whom Prince Harry spoke candidly and often truthfully.
From the Paper "Falstaff made life exciting for Prince Harry, and he was fun to be around. His character is in sharp contrast with the nobility which will be Harry's companions at court when he becomes King, and seems to be quite dishonest by comparison. However, in some ways, he is truer than any of the noblemen, because he is quite candid concerning his own self interest. It is not that he does not lie. He does, in the last scene of Act II, when he tells about how he and his companions were robbed by other highwaymen after capturing their prize, "All! I know not what you call all; but if I fought not with fifty of them, I am a bunch of radish: if there were not two or three and fifty upon poor old Jack, then am I no two-legged creature." Harry and Poins were, of course, the robbers who fell on them as a practical joke, and they all fled immediately. As Falstaff tells the tale and answers questions the lies become more and more exaggerated."
Tags: Falstaff, Henry, IV, comic, relief, William, Shakespeare
Abstract This paper examines KingHenry and Prince Harry's discourse in Shakespeare's "HenryIV" Act III, Scene ii in order to determine what both men considered to be desirable soldierly and leadership values. The paper highlights these values to be modesty, in the sense of exercising restraint in taking advantage of one's popularity and showing humility in the face of the enemy, as well as glory through courageous deeds on the battlefield and in war as a whole.
From the Paper "The discussion between King Henry IV and his son Prince Harry of Wales in Act III Scene II of Shakespeare's Henry IV Part I reveals much about the central theme of the play: leadership and soldierly values. The scene depicts King Henry reprimanding Harry on what he considers to be behavior not befitting a future King and hence also drawing into question his suitability as a sovereign. During the ensuing discourse, Henry contrasts Harry's manner with how he thinks a young prince should act. In a reply which pleases the King, Harry pledges he will change his ways and prove himself worthy of his royal position. From a modern perspective, this scene provides an excellent base for the reader to form opinions on the leadership and martial values conveyed by both Harry and Henry IV."
Abstract This is a paper on father-son relationships in "Hamlet" and "HenryIV" part 1. The author analyzes this relationship in detail looking at the characters and how they impact the type of relationship that develops. The paper contends that while the relationship in "Hamlet" revolves around respect, in "HenryIV", the relationship is more about power.
From the Paper ?Hamlet, the young prince, so loved and venerated the memory of his dead father, almost amounting to idolatry, and had such a nice sense of honor and propriety, that he is taken aback when his mother, Gertrude, Queen of Denmark, marries his uncle, his father's brother, within two month of the King's death. All the more so because Claudius in no ways resembled the King in the qualities of either mind or appearance. He was as contemptible in outward appearance as he was base and unworthy in disposition.?
Abstract In considering Shakespeare's plays, it can often be seen that they are written to specific formulas. This is most clearly seen in the tragic plays, where the action of the plays is based on the fatal flaw of a character, leading to the tragic ending. The paper discusses that, while these similarities are obvious ones, there are also less obvious similarities. One of these similarities occurs in the opening scenes of the plays, where Shakespeare often introduces the characters and the events in similar ways. These similarities are discussed by focusing on two plays, "Hamlet" and "HenryIV". For both plays, the two opening acts are described, followed by a discussion of the similarities and the differences.
From the Paper "Act I, Scene I of Hamlet opens with the changing of the castle guards, where the guards see the ghost of the former king. An air of tension is created as Horatio states that the appearance of the ghost suggests "some strange eruption to our state" (I,i 69). The discussion then also introduces the recent events for the state including the death of the previous king, and the appointment of the new king. With this information, the changing of the guard as the opening is given new relevance, since the change of kings also represents a changing of the guard. These elements combine to create a sense of unease. At this point, it is not known what the exact problem is with Denmark, but there is a sense that something is wrong."
Abstract This paper compares the characters of Prince Hal and Hamlet in William Shakespeare's plays "HenryIV" and "Hamlet, Prince of Denmark". The paper analyzes the dramatic aspects of each character. The paper illustrates the personas that each character creates for himself, in addition to their personality as defined by the author. The paper highlights the constant contrasts between Prince Hal and Hamlet.
From the Paper "Shakespeare is of course a dramatist, that is, he was an author of plays with fictional characters in them, portrayed by real people known as actors. Yet quite often Shakespeare's fictional characters are themselves 'actors' in their own life stories, creating personas that they play in addition to acting out their true, 'real life' struggles of the plot as defined by the author. For instance, Prince Hal, of Henry IV, Part I and Hamlet are two such individuals-the first pretends to be a rouge, even though he is really a skillful prince and politician destined to be a king, the second is an avenging son who assumes madness as a truth-telling device, and also as protection for his eccentric actions and behavior in a fraught Danish court. "
