The Life of King Henry the Fifth Study Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Dull Soldier and a Keen Guest: Stumbling Through the Falstaffiad One Drink at a Time
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time Emma Givens Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4826 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Emma Givens 2017 All rights reserved A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Emma Pedersen Givens Director: Noreen C. Barnes, Ph.D. Director of Graduate Studies Department of Theatre Virginia Commonwealth University Richmond, Virginia March, 2017 ii Acknowledgement Theatre is a collaborative art, and so, apparently, is thesis writing. First and foremost, I would like to thank my grandmother, Carol Pedersen, or as I like to call her, the world’s greatest research assistant. Without her vast knowledge of everything Shakespeare, I would have floundered much longer. Thank you to my mother and grad-school classmate, Boomie Pedersen, for her unending support, my friend, Casey Polczynski, for being a great cheerleader, my roommate, Amanda Long for not saying anything about all the books littered about our house and my partner in theatre for listening to me talk nonstop about Shakespeare over fishboards. -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
Shakespeare's
Shakespeare’s Henry IV: s m a r t The Shadow of Succession SHARING MASTERWORKS OF ART April 2007 These study materials are produced for use with the AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Classic Players production of Henry IV: The Shadow of Succession. The historical period The Shadow of Succession takes into account is 1402 to 1413. The plot focuses on the Prince of Wales’ preparation An Introduction to to assume the solemn responsibilities of kingship even while Henry IV regards his unruly son’s prospects for succession as disastrous. The Shadow of When the action of the play begins, the prince, also known as Hal, finds himself straddling two worlds: the cold, aristocratic world of his Succession father’s court, which he prefers to avoid, and the disreputable world of Falstaff, which offers him amusement and camaraderie. Like the plays from which it was adapted, The Shadow of Succession offers audiences a rich theatrical experience based on Shakespeare’s While Henry IV regards Falstaff with his circle of common laborers broad vision of characters, events and language. The play incorporates a and petty criminals as worthless, Hal observes as much human failure masterful blend of history and comedy, of heroism and horseplay, of the in the palace, where politics reign supreme, as in the Boar’s Head serious and the farcical. Tavern. Introduction, from page 1 Like Hotspur, Falstaff lacks the self-control necessary to be a produc- tive member of society. After surviving at Shrewsbury, he continues to Grieved over his son’s absence from court at a time of political turmoil, squander his time in childish pleasures. -
Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind
Connotations Vol. 7.2 (1997/98) Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind MAURICE HUNT "He was wont to go to his native country once a year," the seventeenth- century biographer John Aubrey pronounced concerning the playwright Shakespeare's relationship with his native place, the Midlands town Stratford-upon-Avon.1 No one can gauge the accuracy of the gossipy Aubrey's anecdotes; but considered in light of the Elizabethan difficulty of negotiating the nearly one-hundred miles between Shakespeare's rural home and the largest city in Renaissance Europe, Aubrey's claim may very well be true. Russell Fraser has memorably taken us hand-in-hand with Shakespeare on an imaginative, late-sixteenth-century journey from the Stratford home over the muddy, sometimes flooded, highwayman- threatened roads that Shakespeare probably took to Newgate.2 This trip one-way took at least four days, even if the traveller normally walking occasionally hired horses between inns. But, as Fraser comments, "at three pence a mile this [probably] wasn't an option available to young Shakespeare."3 In any case, walking was how players travelled on their provincial tours. The joumeymost likely took Shakespeare initially east through Compton Wynyates to Banbury, past "stone farmhouses, grayish brown ... dark against the fields,,4-poor pelting villages-through Buckinghamshire and the hamlet of Grendon Underwood. John Aubrey, getting his Shakespeare plays wrong, proclaimed that "the humour of the constable in A Midsummer Night's Dream, he happened to take at Grendon in Bucks ... which is the road from London to Stratford, and there was living that constable about 1642, when I first came to Oxford: Mr. -
William Shakespeare's Young Prince Hal Famously
Editor’s Choice Henry V before Shakespeare by Lori A. Davis Perry illiam Shakespeare’s young Prince Hal famously spends his youth in less than princely pursuits, drinking in public houses, befriending members of the lower classes, and ignoring the sage advice of his ailingW father. Upon ascending the throne, young Hal—transformed as charismatic King Henry V—both rejects the extravagances of his youth and mines those experiences to build personal relationships with his soldiers, while simultaneously surprising his enemies with unexpected military prowess, mature sensibilities and patriotic piety. In Agincourt: Henry V and the Battle that made England, Juliet Barker’s elegant masterpiece, however, we meet an altogether different Prince Hal. Here we discover a responsible, hard-working, pious young prince who develops strong leadership and administrative skills from an early age. Barker’s compelling and engrossing account of his life and the battle of Agincourt takes us through every layer of fifteenth-century society—the intertwined lives of medieval families, the day-to- day workloads of male and female blacksmiths forging armor and weaponry, the detailed logistics of building an invasion force, and even the tension between the poet and intellectual Christine de Pisan and Henry IV, as the wily king held her only son hostage in hopes of bringing her to England as his poet laureate. Pisan’s distrust and dislike of Henry IV is substantiated by Barker’s account of his rule. For the “aging” King Henry IV was less wise and magisterial than suspicious and short-sighted when it came to his eldest son Henry. -
Henry IV, Part 2, Continues the Story of Henry IV, Part I
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Induction Scene 1 ACT 1 Scene 2 Scene 3 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 ACT 3 Scene 2 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 Epilogue From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
The Case of Hal and Henry IV in 1 & 2 Henry IV and the Famovs Victories
University of Richmond UR Scholarship Repository Jepson School of Leadership Studies articles, book Jepson School of Leadership Studies chapters and other publications 2016 The iF lial Dagger: The aC se of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories Kristin M.S. Bezio University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/jepson-faculty-publications Part of the Dramatic Literature, Criticism and Theory Commons, and the English Language and Literature Commons Recommended Citation Bezio, Kristin. “The iF lial Dagger: The asC e of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories,” Journal of the Wooden O 14-15 (2016): 67-83. This Article is brought to you for free and open access by the Jepson School of Leadership Studies at UR Scholarship Repository. It has been accepted for inclusion in Jepson School of Leadership Studies articles, book chapters and other publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. 67 The Filial Dagger: The Case of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories Kristin M. S. Bezio University of Richmond nglish culture and politics in the last decade of the sixteenth century were both patriarchal and patrilineal, in spite of— E or, perhaps, in part, because of—the so-called bastard queen sitting on the throne. The prevailing political questions of the day concerned Elizabeth’s successor and the fate of the nation that, so many believed, hung precariously in the balance. -
By William Shakespeare HENRY V 'I Think the King Is but a Man'
stf-theatre.org.uk HENRY V by William Shakespeare ‘I think the king is but a man’ Design & illustration by Future Kings HENRY V stf-theatre.org.uk 2018 1 stf-theatre.org.uk CONTENTS THE CHARACTERS PAGE 3 HENRY V SCENE-BY-SCENESCENE BY SCENE PAGE 7 DIRECTOR’S NOTEDIRECTOR’S NOTE PAGE13 HENRY V - FAMILY TREE PAGE15 DESIGN PAGE16 PERFORMANCE PAGE18 SOME QUESTIONS FOR DISCUSSION PAGE 21 HENRY V 2 stf-theatre.org.uk The characters THE CHORUS The Chorus: introduces the play and guides us through the story. She moves the scenes from place to place or jumps over time. She also asks the audience to imagine some of the things which simple theatre can’t show. THE ENGLISH COURT King Henry: the young, recently crowned king of England. As a young prince he lived a wild life getting drunk with Sir John Falstaff and his companions and when the play begins he is still struggling to come to terms with his new role. He is intelligent, articulate and passionate and during the play he learns how difficult it is to take responsibility as a leader. He does not always make the right decisions but wins through a combination of determination, openness and luck. Exeter: a loyal advisor to the king. She is with Henry in battle but is also a trusted envoy to the French court and present at the final peace negotiations. York: is Henry’s cousin. He is loyal and impetuous and his death at Agincourt moves Henry to tears. Cambridge: a close friend of the king, who plots with the French to assassinate Henry. -
Prince Hal and the Body Falstaff
Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV by Elise Denbo (Queensborough Community College, City University of New York) ABSTRACT Aligning psychoanalytic and embodiment approaches, this paper focuses on 1&2Henry IV using Julia Kristeva’s concept of the imaginary father, a ‘maternal-paternal conglomerate,’ as a third space within primary-narcissism. While Hal’s ‘education’ has been analyzed in relation to dualities of order and disorder, few, if any have considered Falstaff as an intrapsychic figure of intimate revolt who supports the crafting of psychic- theatrical-imaginary space. Hal’s youthful narcissism and his ability to connect with the popular voice are explored as a result of Falstaff’s presence in the ‘prehistory’ of his kingship. Falstaff’s verbal copia, his ‘belly of tongues,’ recalls the unruly female tongue as the site of disorder, but also the mother tongue that confers national identity as a return to the vernacular richness of the land and its people. While Hal is able to organize the various dialects and settings of 1&2HenryIV, it is the body Falstaff who impregnates the play. Keywords: Kristeva, Prince Hal and Falstaff, Psychic Space, Early Modern Theatre, Primary Narcissism, Shakespeare To cite as: Denbo, Elise 2020, “Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV,” PsyArt, pp. 177-220. Prince Hal and the Body Falstaff: Theatre as Psychic Space in Shakespeare’s 1&2 Henry IV Prince Harry: I know you all, and will a while uphold The unyoked humour of your idelness. -
Though Falstaff's Antics Are Humorous, His Significance in Henry IV, Part I Extends Beyond Comic Relief. Discuss. Henry IV
Though Falstaff’s antics are humorous, his significance in Henry IV, Part I extends beyond comic relief. Discuss. Henry IV Part 1 is one of Shakespeare’s most popular historical plays in a series chronicling England’s turbulent monarchy from the outset of the 15th century. While it is primarily concerned with the reign of King Henry IV, the play is arguably more about Prince Hal and his companions, the most conspicuous of which is Sir Jack Falstaff. Despite possessing the title of a knight, Falstaff is, by far and large, a comic character who spends the majority of his time in the Eastcheap tavern, beguiling Prince Hal and his other companions with his quick wit and charismatic humour. However, the role he plays in Henry IV Part 1 is much larger than this, as Falstaff is also established as a ‘villanous…misleader of youth’ who Prince Hal must learn to extinguish from his presence in order to assume roles of great responsibility. Finally, Falstaff is also used by Shakespeare to present an alternative viewpoint on the recurring theme of honour. Regardless of his other characteristics and roles he plays in Henry IV Part 1, the most prominent and consistent feature of the character of Falstaff is his humour and wit, which forms the basis of the relationship between him and Prince Hal. Initially, Shakespeare invites the audience to laugh at Falstaff, especially at his physical characteristics and his indulgent lifestyle, which premise many of Prince Hal’s linguistic assaults. Seldom can the prince resist from commenting that Falstaff is ‘gross as a mountain’ or that he is ‘fat-witted with drinking of old sack’. -
Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2018 “Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad Bandana Singh Scripps College Recommended Citation Singh, Bandana, "“Your unthought of Harry”: Political Legitimacy and the Economy of Honor in Shakespeare's Henriad" (2018). Scripps Senior Theses. 1140. http://scholarship.claremont.edu/scripps_theses/1140 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “YOUR UNTHOUGHT OF HARRY”: POLITICAL LEGITIMACY AND THE ECONOMY OF HONOR IN SHAKESPEARE’S HENRIAD by BANDANA SINGH SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR PRAKAS PROFESSOR KOENIGS 6 DECEMBER, 2017 !1 Shakespeare’s Henriad delves into questions of divine authority, political legitimacy, and kingly identity.1 While it is unknown whether Shakespeare meant for the plays to be understood as a tetralogy, each play sets up the political climate for the subsequent one. However, the Henriad also tracks a pivotal transition in the understanding and composition of kingship. Richard II paints the portrait of a king infatuated with his own divinity. Richard’s incompetency as a ruler is highlighted by two major offenses: killing his uncle Gloucester, and disinheriting his cousin, Henry Bolingbroke, who eventually leads a rebellion against the corrupted king. Richard’s journey from anointed king to deposed mortal captures the dissolution of his fantasy of invincibility and highlights two conflicting viewpoints on the office of kingship in relation to political theology. -
The Merry Wives of Windsor, Fat, Disreputable Sir John Falstaff Pursues Two Housewives, Mistress Ford and Mistress Page, Who Outwit and Humiliate Him Instead
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Scene 1 Scene 2 ACT 1 Scene 3 Scene 4 Scene 1 ACT 2 Scene 2 Scene 3 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 5 Scene 1 Scene 2 Scene 3 ACT 4 Scene 4 Scene 5 Scene 6 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.