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Father/Son Relationship in Henry Iv
parent and child relationships shakespeares time
father son relationships in shakespeare
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Father and Son Relationship in William Shakespeare's Henry IV and V
Shakespeare deals with a parent-child relationship in the historical plays of Henry IV Parts One and Two in the characters of Henry Bullingsworth (Henry IV) and his son Hal (Prince of Wales, later Henry V). The fact stands clear in the development of the son, Hal: the son’s success in life is not dependent on his relationship to his father politically, but success is demonstrated when there is a realization of both parties on the level of parental love. Hal is not living up to his name, but also to blame in his father’s failure to love. Our discussion is based solely on the text itself, based primarily on three main dialogues between Hal and his father.
The first dialogue demonstrates the father as he is concerned about the family name and general confrontation with the son regarding his unruly life style (I Henry IV, III, ii). Two items of background need to be mentioned. First, Hal’s unruly lifestyle includes spending much time with the inevitable Sir John Falstaff. It is generally accepted that the substitute “father” figure of Hal’s prodigal youth is found in the character Falstaff. Second, the father’s argument finds its way back to his struggle to get where he is today.
The King asks the rest to leave so that he and the prince may talk. In his first speech, we see the father trying to cope with the lifestyle of one of this very own. His speech includes such questions as: what have I done to make you this? (“I know not whether God will have it so/For some displeasing service I have done” III, ii, 5-6); do you realize that you are not a ting like a prince? How can you live such a lewd life (Tell me else,/Could such inordinate an low desires, …Accompany the greatness of they blood,/And hold their level with thy princely heart?” 11,17, 18). We se the parent trying to retain some sort of respect that he feel has been lost. Hal, in his estimation, is living a double standard. Hal is trying to comprise the life of a prince and the pleasures of the lewd. (This is correct in some respect, yet there needs to be realization of the question: Why?)
The prince’s response to these accusations is an honest one. There is no denial of his life style, and he shows general respect for what the king has said.
So please your Majesty, I would I could/Quit al offenses
Wi...
... middle of paper ...
...conciliation is complete, for the son and father begin to understand one another. The father's response is not like the former times of lashing out in harsh tones, but is one of care and understanding.
O my son,/ God put it in thy mind to take it hence,/ That
thou mightst win the more thy father's love,/ Pleading
so wisely in excuse of it!(177-180)
From here, father speaks with son, giving wise council regarding the days that lay before the prince. Hal manifests this change ultimately in the rejection of his former ways in the casting aside of Sir John Falstaff. Hal now king, becomes a great king.
Shakespeare's Henry V shows this character as a true hero, perhaps one of his most true heroic figures in all his plays. Hal's success in life depended on two events, two realizations. First, inwardly, he needed to realize who his father really was; and, secondly, his father had to realize Hal as his son, not just a prince. Hal was not a complete person in settling for substitutes (Falstaff), but when the father recognized Hal for who he was, that care was what filled the missing void in Hal's life. His potential was unlocked not by a position, but by a person: his father.
As soon as the king leaves, Falstaff immediately proclaims his unashamed cowardice, asking Hal to protect him in battle. The prince retorts with an insult to Falstaff’s enormous size, and abruptly bids him farewell. Gone are the jests that would accompany a conversation between these two at the beginning of the play, and Hal’s reactions to Falstaff now represent his moving away from the tavern world, and that he now belongs to the court world. Falstaff is extremely honest about his feelings towards the whole affair, bluntly stating that he wishes it all were over, exposing his strong reluctance to fight and interest in self-preservation. Again the prince offers only a rude retort before his ...
Prince Hal’s destiny is shaped for him by many forces: his association with the ne'er-do-well Falstaff, the expectations of his father, King Henry IV, and the constant comparison between himself and Hotspur. All three of these forces create in Hal a sense of honor that is an integral part of his education as the ideal king, and throughout the action of Henry IV, Part I, Hal is gaining a knowledge of honor that will shape him into the King that he will become. However, it seems that Hal ultimately chooses one form on honor over the other, although he must compare the honor of Falstaff and the conceptual honor of a chivalric hero before he comes to a final conclusion.
Shakespeare, William. The Life of King Henry the Fifth. New York: Unicorn Publishers Inc, 1950. Pg. 173-295.
Most interviews require strategic planning and relevant questions to be able to gather enough information. There were many things that the detective did great for example, in the first scene when the victim and the detective walked in, he immediately asked her to sit in a comfortable chair, got her a cup of coffee and asked her if she needed anything else. He quickly proceeded to explain what the interview is going to be about, removing any doubt or apprehension that she may experience during the interview. The detective began the interview with," Don't try to remember things you can't…if you need to stop anytime, just tell me." (Victim Interview,1998). Which essentially created a rapport between the detective and the victim. The detective began the interview with an open-ended question, asking the victim to tell him what happened from the start. While the victim was talking, he did not interrupt, but was rather patient with her, nodding and making eye contact continuously. During a one point of the video, the woman began crying, unable to hide her distress, to which the investigator reacted quickly responding "No pressure, I know you are upset... Are you alright to carry on?" (Victim Interview, 1998). In my opinion, this is a great technique to use when one is dealing with an elderly victim in distress. As the investigator carefully listened, he then recapped all the information back to the victim making sure it is correct. We see this throughout the whole film, where the detective continuously seeks victim's validation. Another thing that I found interesting is the way that the investigator used the cognitive approach on the victim, to stimulate her memory. He politely asked her to draw a sketch of the area that the crime happened at, then he proceeded to make her retell everything from the beginning but in the present tense. As she was struggling, he patiently guided her, by saying "Show me", "Describe to
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