3.7.12 pasterns = F2. F = postures 56 lief spelled liue in F 62 truie = Ed. F = leuye
4.0 Act 4 = Ed. F = Actus Tertius 1 SH CHORUS = Ed. Not in F 16 name = Ed. F = nam'd 20 cripple spelled creeple in F
4.1.3 Good spelled God in F 92 Thomas = Ed. F = Iohn 230 adoration = F2. F = Odoration 238 Think'st spelled Thinks in F 260 Hyperion = F2. F = Hiperio 278 ere = Ed. F = of 296 friends = Q. F = friend
4.2.2 Monte a = Ed. F = Monte 6 Cieux = Ed. F = Cein 25 gainst = F2. F = against 49 gimmaled = Ed. F = Iymold 50 chewed spelled chaw'd in F 60 guidon = Ed. F = Guard: on
4.3.12 Farewell ... today printed after line 14 in F 13 And ... valour assigned to Bedford in F 50 And ... day.' = Q. Not in F 133 vanguard = F (spelled Vaward)
4.4.12 misericorde = F2. F = miserecordie pitie = F2. F = pitez 33 a cette heure = Ed. F = asture 52 j'ai tombe = Ed. F = Ie intombe 61 Suivez-vous = Ed. F = Saaue vous
4.5.3 Mort de = Q. F = Mor Dieu 16 by a = Q. F = a Act 4 Scene 7 = Ed. F = Actus Quartus 72 our = Ed. F = with 111 God = Q. F = Good
4.8.107 we = Ed. F = me
5.0.1 SH CHORUS = Ed. Not in F
5.1.64 begun = Ed. F = began 73 hussy = F (huswife) 82 swear = Q. F = swore
5.2.12 England = F2. F = Ireland 21 SH KING HENRY V = Ed. F = Eng. Or England in lines 21, 68, 76, 84, 96 45 fumitory spelled Femetary in F 78 cursitory = Ed. F = curselarie 109 vat = Ed. F = wat 131 vell = Ed. F = well 232 sall = Ed. F = shall 247 baiser = Ed. F = buisse 300 hath never = Ed. F = hath 309 then in F2. F = in 340 paction = Ed. F = Pation
Epilogue SH CHORUS = Ed. Not in F
SYNOPSES OF THE TWO
PARTS OF HENRY IV
PART I
After deposing King Richard II, Henry Bullingbrook has ascended the throne as Henry IV. Guilt about the deposition troubles his conscience, and the stability of his reign is threatened by growing opposition from some of the nobles who helped him to the throne. His son, Prince Henry (also known as Harry and, by Falstaff, as Hal), is living a dissolute life, frequenting the taverns of Eastcheap in the company of Sir John Falstaff and other disreputable characters with whom he participates in a highway robbery. Opposition to the king becomes open rebellion, led by the Earl of Northumberland's son Henry Percy, known for his courage and impetuous nature as "Hotspur." The Percy family support the claim to the throne of Hotspur's brother-in-law, Edmund Mortimer. The rebellion brings Hal back to his father's side, while Falstaff musters a ragged troop of soldiers. The king's army defeats the rebels at the battle of Shrewsbury, where Hal kills Hotspur. Falstaff lives to die another day.
PART II
In despair at the death of his son Hotspur, the Earl of Northumberland lends his support to a second rebellion, led by the Archbishop of York. As the threat of civil war looms over the country, King Henry IV grows sick, while also fearing that his son Prince Henry (or Harry/Hal) has returned to his old life with Falstaff and the other disreputable denizens of the Eastcheap tavern. Falstaff is sent on a recruiting expedition and renews old acquaintances in Gloucestershire. The rebel army is met by the king's forces, led this time by Hal's younger brother, Prince John of Lancaster. On his death-bed, King Henry is reconciled with his son, who has begun to distance himself from his former companions. A new, mature Hal accepts the crown as Henry V.
SCENE-BY-SCENE ANALYSIS
PROLOGUE
In a prologue full of meta-theatrical devices the Chorus calls for a "muse of fire" to enable it to truly represent the play's historical characters and events and apologizes to the audience for the limitations of the playhouse, the "wooden O" in which they perform, and the "flat unraised spirits" of those who are to act. The audience are asked to make up for these deficiencies with their own imaginations, stimulated by vivid imagery of the "perilous narrow ocean" separating England and France, asking that for each man represented, a thousand should be imagined, and when they talk of horses, to picture them trampling the earth, emphasizing the power of language and importance of the mental collaboration with the audience in production of the play.
ACT 1 SCENE 1
The opening scene establishes the play's concerns with politics and religion. The Bishops of Canterbury and Ely are discussing a bill that would have been passed under the previous king (Henry IV) if it had not been for the "scambling and unquiet time" during his reign, which would have required the Church to surrender much of their money and land to the crown. Now that Henry V has achieved civil peace, the bill is under question again and the bishops are worried. They discuss the change in Henry since he has become king: his transformation from the "wildness" of his youth (see Henry IV Part I and Part II) to being "full of grace and fair regard." Canterbury marvels at the king's ability to "reason in divinity" and "debate of commonwealth affairs," emphasizing Henry's skill with language. Canterbury has suggested to the king that the Church will make a contribution to funds should England go to war with France, a tactic designed to divert Henry's attention away from the bill. He adds that Henry is interested in his potential right to inherit "the crown and seat of France" through the line of his grandfather, Edward III, raising the theme of lineage and inheritance, and ideas about "rights" to kingship. They leave to attend Henry's meeting with the French ambassadors.
ACT 1 SCENE 2
Lines 1-236: King Henry and his court are waiting for Canterbury and Ely before they admit the French ambassador. When the bishops arrive, Henry asks Canterbury to "justly and religiously unfold" the arguments supporting his claim to the French throne. He urges the bishop to answer honestly, reminding him that if they go to war with France, many "Shall drop their blood," the motif of blood playing on the relationship between lineage and conflict. Canterbury's response is long and complicated, based on the argument that the Salic law that prevails in France preventing inheritance through the female line is invalid. He argues, therefore, that Henry's right to the French throne is "as clear as is the summer's sun" in contrast to the French, who have "Usurped" Henry to retain their "crooked titles," establishing the ongoing opposition of the two nations. Again Henry demands to be assured that he may "with right and conscience" make his claim; his directness contrasts with Canterbury's lengthy, carefully contrived speeches, suggesting that for the king at least, the need for the war to be "just" is genuine. Canterbury and Ely, assisted by Exeter and Westmorland, urge Henry to go to war with France. Reinforcing the patriotism that characterizes descriptions of England throughout, they present him with glorified images of his warrior ancestry: "the former lions of your blood," placing the events of the play within their wider historical context. Despite their stirring language, Henry shows himself to be shrewd and practical as he observes that his armies must defend England against the Scots as well as engaging in war with France. His followers reassure him that "the eagle England" can easily deal with "the weasel Scot," as their army is big enough even if they only take "one quarter into France." Henry resolves to invade France with "God's help," and sends for the French ambassadors.
Lines 237-315: The ambassadors come from the dauphin, rather than the French king. Henry greets them graciously, describing himself as "no tyrant, but a Christian king," and urges them to deliver their message. Henry has recently made claims on "certain dukedoms" of France, which the dauphin dismisses as foolish, attributing it to the reckless character of Henry's youth. To reinforce his point, he has sent Henry an insulting gift: a box of tennis balls. Henry remains polite, showing his capacity for self-control, although his anger is evident in his language as he tells the ambassadors they will "play a set" that will "strike" the crown of France "into the hazard." His use of sporting imagery shows his wit and verbal dexterity, which compares favorably with the dauphin's blatant mockery, establishing the ongoing paralleling and comparison of these two characters. Henry describes the violent and tragic consequences of this insult: the tennis balls will be returned to France as "gun-stones." He concludes by appealing to God to help him in his "well-hallowed cause" and sends the ambassadors back to the dauphin.
ACT 2 CHORUS
The Chorus moves the focus away from the court to encompass a wider England as it describes how "all the youth" are "on fire" to be at war with France and "every man" thinks of honor. The speech emphasizes the unity of the English people and creates a stirring, patriotic image of the country: a "little body with a mighty heart." The Chorus warns, however, that not all of England's children are "kind and natural": the Earl of Cambridge, Lord Scroop of Masham, and Sir Thomas Grey are traitors to King Henry and have been bought by "the gilt of France" to kill him. The Chorus urges the audience to "Linger [their] patience" while the action moves from London to Southampton, reinforcing the play's meta-theatrical framework, its geographical movement, and the recurring emphasis on the audience's involvement.
ACT 2 SCENE 1
In contrast with the action so far, the focus is on low-status characters (all comrades of Henry in his disreputable youth) who provide humor as well as reflecting the wider concerns of the play. In a bawdy exchange, Bardolph and Nym discuss Pistol, who has married Hostess Nell Quickly despite the fact that she was "troth-plight" to Nym. Bardolph urges Nym to make friends with Pistol, so they can "be all three sworn brothers to France." Pistol arrives with Hostess Quickly, and the bawdy humor continues as Nym and Pistol argue, their quarrel echoing the more serious conflicts in the play. The hostess is called away to her tavern, where Sir John Falstaff (a former companion of the youthful Henry: see Henry IV Part I and Part II) is very ill. Bardolph encourages Pistol and Nym to be friends, and Hostess Quickly returns to call them to Falstaff. They leave, commenting that although "a good king," Henry has treated Falstaff badly by banishing him, hinting at a more ruthless side to the king's character.
ACT 2 SCENE 2
Bedford, Exeter, and Westmorland discuss the traitors, revealing that Henry has known of their plans for some time. Trumpets are sounded and the king enters with his train (including Cambridge, Scroop, and Grey), emphasizing the public nature of this scene. Henry discusses the forthcoming invasion with the unsuspecting traitors, feigning friendliness and ignorance in a conversation that generates tension and dramatic irony.
Henry instructs Exeter to free a man who has been imprisoned for insulting him while drunk. Scroop and Grey suggest that the king is too lenient, and that the man should be punished, advising Henry against showing mercy (a recurring motif). Henry comments that if he does not "wink" at small crimes, he will not be able to deal harshly enough when faced "with capital crimes." Pretending to hand Cambridge, Scroop, and Grey their commission papers, he gives each of them written evidence of their treachery. When they ask for his mercy, he reminds them that they have just advised him against showing leniency. In a passionate but restrained speech that reminds us of his self-control and linguistic skill, he addresses the traitors, focusing chiefly on "Ingrateful, savage and inhuman" Scroop, his close friend. He orders their arrest and execution, pointing out that they have betrayed not just their king but the "whole kingdom," emphasizing the inextricable link between king and country. The traitors are led away. Henry sees the revelation of the conspiracy as God's work and considers it bodes well for "a fair and lucky war." He announces they will sail for France straightaway.
ACT 2 SCENE 3
The previous scene of highly charged court politics is once again contrasted with the narrative of the lower-status characters. The mood is more somber, however. Falstaff is dead and Hostess Quickly describes his death in moving terms. Falstaff's death is a precursor of the many deaths to come in battle: Pistol, Bardolph, and Nym must leave for France, reminding us of the country-wide impact of the war.
ACT 2 SCENE 4
Lines 1-78: The action moves to the French court where the king is preparing for the English invasion. He sends his noblemen and the dauphin to reinforce the coastal towns, reminding them of the cost of underestimating the English. The dauphin does not believe that France is in danger; he still sees Henry as "a vain, giddy, shallow, humorous youth." The Constable reminds him of the ambassadors' report: Henry was moderate, noble, and "terrible in constant resolution." The dauphin remains unconvinced, but the king urges his court to "strongly arm to meet" Henry, reminding them again of previous defeats by the English, a device which reinforces the wider historical context of the play and appeals to an English audience. A Messenger announces the arrival of ambassadors from Henry.
Lines 79-151: Exeter, Henry's ambassador, urges the French king to "lay apart / The borrowed glories" of his kingship. He argues that Henry is King of France "by gift of heaven," clearly establishing the concept of the "divine right of kings," which is fundamental to the action of the play. Exeter gives the king a paper detailing Henry's claim as "the native and true challenger" to the French throne. He warns the king of what will happen if France resists, vividly describing the power of Henry, who is "coming, / In thunder and in earthquake, like a Jove." He points out that the French king will be responsible for many deaths if he does not surrender now. The king promises a response by the next day. Exeter delivers a separate message to the dauphin from Henry informing him that he regards him with "Scorn and defiance, slight regard, [and] contempt," establishing an individual enmity between the two men in addition to the national conflict. He urges the French king to respond quickly; Henry has already landed in France.
ACT 3 CHORUS
The Chorus provides a vivid description of the English fleet crossing the Channel, appealing to the audience's senses as they are asked to imagine "silken streamers" and "hempen tackle," to hear the noise of the "shrill whistle," and to feel the hot sun and "th'invisible and creeping wind." We learn that the French king has replied to Henry, offering him marriage to his daughter, Katherine, with some "petty and unprofitable dukedoms" as a dowry, that Henry has refused, and the English cannon have begun to bombard France.
ACT 3 SCENE 1
In a speech famous for its stirring patriotism, Henry urges his troops into battle: "Once more unto the breach, dear friends, once more," which suggests that the battle is not going England's way at this point. He shows his command over language with his powerful rhetoric, characterizing England's "modest stillness and humility" during peacetime in contrast to the "hard-favoured rage" required when at war. His language is subtly inclusive: using the royal plurals "our" and "us," he addresses himself to his "dear friends," then to the "noblest English," and finally to the "good yeoman," concluding with the rousing cry, "God for Harry, England, and Saint George!"
ACT 3 SCENE 2
Lines 1-50: The effects of Henry's speech are immediately apparent as Bardolph urges his friends, "On, on, on, on, on! To the breach, to the breach!" Nym's response creates bathos, however, as he urges Bardolph to wait: the battle is "too hot" and he doesn't want to die. Pistol agrees: he would rather be "in an ale-house in London." The Welsh Captain Fluellen arrives and drives them on into the breach, leaving the Boy alone on the stage. Unusually for a minor character, the boy delivers a soliloquy, a device which shows the far-reaching impact of the conflict and illustrates the potential nobility in the "lowest" of characters. He comments on the dishonest, cowardly nature of Bardolph, Pistol, and Nym, and announces his intention to leave them.
Lines 51-128: Gower and Fluellen discuss the plan to dig "mines," or tunnels, under the walls of Harfleur. Fluellen is not convinced, particularly when he learns that the Irish Captain MacMorris is in charge. MacMorris arrives, accompanied by the Scottish Captain Jamy, and Fluellen tries to convince MacMorris that mining the walls was a mistake. His long-winded, pedantic opinions on Roman military discipline make him a gentle figure of fun, as does his exaggerated and unlikely "Welsh" pronunciation. All of the English allies have marked "accents" and display stereotypical national traits and prejudices against each other. This might have appealed to an English audience, often in conflict with neighboring countries during the early modern period, but it also suggests Henry's ability to unite habitual enemies in a common cause against a "foreign" enemy. As Fluellen and MacMorris argue and Gower trie
s to pacify them, a parley is sounded.
ACT 3 SCENE 3
Henry is at the gates of Harfleur, where he calls upon the governor to surrender. He describes himself as "a soldier," once again identifying himself with his men, but also emphasizing the more ruthless, tactical side to his character. He declares that there will be no "mercy" if the English are forced to attack, and threatens that the English soldiers, "rough and hard of heart," will mow "like grass" the "fresh fair virgins" and "flow'ring infants" of Harfleur: brutal images that counter the glorious representation of war elsewhere in the play. The Governor announces that they have been failed by the dauphin, who was not ready in time to defend them. He surrenders Harfleur to Henry, who orders Exeter to secure the town and to "use mercy" toward the French; a contrast to his recent threatened violence.
ACT 3 SCENE 4
The action shifts to a private, female exchange that contrasts with the male-orientated public scenes, and provides a counterpoint and humorous relief from the tensions of the political and military events. The French princess, Katherine, asks her maid, Alice, to help her learn English, suggesting that she is not unwilling to marry Henry, or is perhaps reconciled to her role in forging a political alliance. Comedy is generated through the misunderstanding and misuse of English words ("bilbow" for "elbow," for example), as well as the potential for obscene double entendres as they practice the names for parts of the body.
ACT 3 SCENE 5