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 "King Henry" series. The paper examines concepts of fraud and politics in parts one and two of "King Henry IV" and in "King Henry 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 theater 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."

Tags:Harry, Hotspur, Eastcheap, Ancient, Pistol

Abstract
Honor, the central theme in Shakespeare's Henry IV, 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, King Henry 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 courage and justice as seen in Shakespeare's play "Henry IV" Part I. An analysis of the story reveals Shakespeare's views of the virtues of kings through his comparison of the characters of King Henry IV and his son Prince Hal. Examples from the text are provided to compare and contrast these character traits in the two characters.

From the Paper
"Henry IV Part 1 is one of the greatest history plays by Shakespeare because it doesn't focus on the intricacies of politics but tries to highlight the essential virtues of a king in the making. It is important to study this play as a prelude to its subsequent parts because here we encounter all the important characters and playwright offers us a rare insight into the characters of both the King Henry IV and his son.
While it is easy to read the play like any other history plays with battles and political treachery dominating the entire plot, but I personally believe that this play was written to comment on what should be the essential traits present in the future king of England. Shakespeare also invites his readers to compare the character of son with that of his father's who was known as a usurper because he snatched power from Richard II."

Tags:king, history, England, battle, political, ruler, courage, trickery, justice

Abstract
This paper discusses how, in these two Shakespeare plays, the transformations of characters are a big part of the plots. The paper first looks at how the character of Prince Hal begins "King Henry, Part I" pretending to be a foolish ruffian only to shock the country by accepting the King's challenge of becoming a noble leader. This sincere change is plotted out by Hal the whole time, therefore making him either excessively brilliant or more of a scoundrel. The paper then examines how, in contrast, the transformation of Jessica, in "The Merchant of Venice" is more of a surprise. At the start of "The Merchant of Venice," she is trapped in a home she hates, unable to pursue her artsy ambitions. She then finds her love and becomes a free woman. The paper maintains that Shakespeare used these genuine character revisions to show how relevant personal growth is in our own world, the real stage.

From the Paper
"As a very complex character, the real nature of Hal is very difficult to pin down. As the play begins, he is cunningly displayed as a thief mapping out the next robbery with his fat friend, Falstaff. However, despite the disgraceful plans he is drawing out, the sharp wit of Hal can be easily detected. In an entertaining fashion, he and Falstaff exchange witty puns and familiar banter. This is the first clue that Hal is more than meets the eye. Shakespeare blatantly accented Hal's dishonorable actions with an intelligent and crafty personality. Although Hal hangs out with lower characters that provoke him into doing vile deeds, Hal seems to be genuinely above his actions and his friends who all play a role into his bigger and more valuable plan."

Tags:prince, hal, jessica, falstaff, shylock

Abstract
In William Shakespeare's time, society adhered to the sacred view that it was God's Divine Will which selected the ruling monarch of the British nation. The playwright of "Richard II" and "Henry IV Part I", however, illustrates in these two history plays, a rather modernized concept of leadership that supports the Machiavellian view of power politics. The paper explains that Machiavelli's central argument in "The Prince" is that great politics are created and maintained by cunning men of high enterprise, who possess both virtue and prowess. The paper shows that despite their illegitimate claim and unconventional incarceration of the crown, the lead characters in Shakespeare's two plays, Henry Bolingbroke and his son Harry, showcase qualities that make them effective Machiavellian rulers who prove their worth as kings through their astute thoughts and actions.

From the Paper
"Like a superior Machiavellian leader, Harry clearly shows the intelligence and aptitude for the psychological machinations required of capable kings. By his cleverly devised plan of action, Harry is able to manipulate and deceive people into believing whatever his portrayals or intentions are required from them. He does not show his full potential and aspirations to be a great leader right away, as Harry is fully aware, there are certain rules involved in getting and keeping power. A regal king is often imprisoned within the masks he must wear successfully to retain his power and be able to change his character donning different ones to keep up with his fickle fortune. Harry illustrates that if circumstance calls for heroic and daring behaviour, such as when he battles Hotspur to protect his father's throne, he becomes the lion."

Tags:Lord, Berkeley, Hotspur

Abstract
This paper examines the use of legitimacy as a theme in the play, "King Henry IV," 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."

Tags:prince, hal, percy

Abstract
The paper highlights the parallels between Sir Falstaff's actions and character and the overall plot of robbery and rebellion in this play. The paper points out how the moments of rebellion and disloyalty lead to a new and often stronger perception of loyalty both with Henry IV himself and with Hal's decision to become a thief and his rebellion against Falstaff. The paper emphasizes that Henry IV Part 1 uses both robbery and rebellion as a way of showing the contrasting positive notions of retribution and redemption.

From the Paper
"Rebellion can occur in many ways. Within the action of Henry IV Part 1, Henry IV references his usurpation--a definite type of rebellion--against Richard II and Hal's rebellion against his noble heritage by carousing with Falstaff, the rebel lords declare their intentions against the king (the most overt rebellion in the play), Falstaff vaguely rebels against his future king in repeated verbal assaults, and Hal ultimately rebels against his seeming-mentor Falstaff when he becomes noble and accepts his role as heir to the throne. It has even been suggested that Prince Hal needed to spend time with Falstaff in order to understand his future subjects, and that his seeming rebellion against his nature as heir apparent was in fact designed to make him a better king (Mabillard). This idea that rebellion could actually occur along principles that uphold the position if not the person of the monarchy is seen throughout the play.
"This is certainly what is seen in Hal's decision to become a thief. Falstaff initially hatches a plan to rob some travelers on the midnight road, enlisting Hal's aid in the venture. Hal eventually aggress, but hatches his own plan and robs Falstaff and the other thieves in disguise, eventually returning the stolen money and property to its rightful owners. When Hal reveals his deeds to Falstaff, the latter rejoins by saying he knew it was Hal: "Was it for me to kill the heir apparent?" (II. iv. 222)."

Tags:disloyalty, loyalty, retribution, redemption, allegiance, honor

Abstract
This paper discusses the passage in Shakespeare's "Henry IV, 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
The paper looks at the apparent roles and functions of women, their impact upon other characters and whether or not their roles should have been different and, if so, how they should have been different. In the final analysis, the paper concludes that Shakespeare accurately captures the gender divisions of the age but also fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a powerful king over a flourishing empire.

From the Paper
"The following paper will look at the treatment of women in Shakespeare's, King Henry the IV, Part I. Specifically, the paper will look at the apparent roles and functions of women, their impact upon other characters (to the extent this can be divined), and whether or not their roles should have been different and, if so, how they should have been different. In the final analysis, Shakespeare accurately captures the gender divisions of the age but also fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a..."

Tags:henry, iv, shakespeare

Abstract
This paper examines the apparent roles and functions of women in William Shakespeare's "King Henry the IV, Part I". Specifically, the paper looks at the impact of women upon other characters and whether or not their roles should have been different and, if so, how they should have been different. The paper contends that Shakespeare accurately captures the gender divisions of his age but fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a powerful king over a flourishing empire.

From the Paper
"One other thing that becomes evident is that much of the play is about men seeking power - about them accruing titles or lands, in short. As a result, by as early as Act 1, Scene 3, it is fairly clear, at least as we listen to Hotspur denounce the Prince of Wales and "Bolingbroke" (Henry IV), that power in fourteenth century England is a "man's thing" and that women are only referenced in these matters if they are bearing children who may become lineal descendants to a throne or baronetcy or if the behavior of one nobleman or another is so intemperate that he is described by his colleagues as a "woman" who cannot hold his tongue or think rationally."

Tags:power children, first wife, rogues marginalized