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Historical context of Shakespeare's plays
Shakespeare hamlet character analysis
A character analysis of shakespeare's hamlet
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Recommended: Historical context of Shakespeare's plays
Who brings laughter to the stage and audience? Who changes a frat boy’s way of life? Who brings merriment to everyone he annoys? Why, none other than Sir John Falstaff of course! Falstaff, in Henry IV, is a cleverly written simpleton who cares not for the courtly rules but those of the tavern and his own. He is his own creator, always unpredictable yet foreseeable by everyone but himself. To many, Prince Hal is the hero of the play; Falstaff on the other hand is perceived as the trickster, a
William Shakespeare based the infamous characher Falstaff on a Sir John Oldcastle (1378-1417) a martyred leader of the lollards, a Medieval English sect based off the teachings of John Wycliffe. Oldcastle fought for the English during the Scottish campaign in 14700 and in the Welsh wars where he met Henry, son of Henry IV. In 1413, he was indicted by a convocation officiated by the Archbishop Thomas of Canterbury, for supporting Lollard preachers and their opinions. A year later he was imprisoned at the Tower of London by the king for forty days for being convicted of being a heretic.
Oldcastle decided to cut short his stay at the tower and stay with a Lollard bookseller William Fisher at Smithfield. While at Smithfield, he began to devise a plan to kidnap the king of Kent while the Lollards were summoned to meet at St. Giles’s Fields, near London. But as fate would have it, the king was made aware of the plan and sent a small group to arrest the fleeing Lollards. Once again Oldcastle sidestepped the law and escaped until he was caught on November 1417, and Parliament ruled him guilty and he was hung over a fire on December 14, 1417.
Falstaff is considered more boisterous than Oldcastle had been. Shakespeare originally had the name of Sir ...
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...ng to Hal. Although he doesn’t know the end result of his actions, he is no fool as Hal perceives him to be. When looking at both men, Falstaff is more humane when compared to Hal’s wit.
Inspecting at the Francis scene, he is quite the opposite of both Hal and Francis. Falstaff’s jokes are at the expense of himself, whereas Hal’s are generally making fun of others. Unlike Francis, he is a man of many words and one who will not be fixed by the Prince’s schemes. Falstaff’s wit is one of articulate exercise of a remarkable verbal inventiveness and social intelligence. He may be a liar, coward and thief but he’s far from a hypocrite and a fool. He sees the world as clear as day and knows his role on the global stage at that.
He laughs at himself just as much and as easily as he laughs at others around him, but his wit lives for its own sake or for his own sake rather.
Falstaff’s blatantly honest soliloquy has provided the audience with a direct insight into his mind, and contrasts well with Hal and Hotspur’s speeches, in which their moral order and regard for honour is evident. Falstaff helps to show the change in Hal to the audience. Falstaff himself is no different to the Falstaff of Act 1, unlike Hal who has obviously undergone a great deal of change. Falstaff’s speech is highly typical of the tavern world’s way of thinking: straightforward, sometimes humorous, spoken in prose, and only the values of the tavern world taken into consideration, with no regard for such insubstantial, un-physical concepts as honour. In this way, and spoken directly to the audience, Falstaff effectively expresses his unashamed resolution not to submit to moral order.
Prince Hal is initially portrayed as being incapable of princely responsibilities in light of his drinking, robbery and trickery. Yet, Shakespeare reveals that Hal is in fact only constructing this false impression for the purpose of deceit. Prince Hal’s manipulative nature is evident in his first soliloquy, when he professes his intention to “imitate the sun” and “break through the foul and ugly mists”. The ‘sun’ Prince Hal seeks to ‘imitate’ can in this case be understood as his true capacity, as opposed to the false impression of his incapacity, which is symbolised by the ‘foul and ugly mists’. The differentiation of Hal’s capacity into two categories of that which is false and that which is true reveals the duplicity of his character. Moreover, Hal is further shown to be manipulative in the same soliloquy by explaining his tactic of using the “foil” of a lowly reputation against his true capacity to “attract more eyes” and “show more goodly”. The diction of “eyes” symbolically represents public deception, concluding political actions are based on strategy. It is through representation and textual form that we obtain insight into this
first we think that as Falstaff is the older one of the two, that he
one's eyes as time passes, but because it reigns the ebb and flow of the tides.
Falstaff who seems to be Hal’s role model while in the Tavern, is putting forth a great deal of effort to have Hal conform into the lowlife that he himself has made himself out to be. Falstaff teaches Hal how to lie, cheat, and steal, but Hal seems to have a mind of his own. He tells his father that at any given moment he can change his character and be what his father wants him to be. Henry declines to believe these statements.
Friar Lawrence was supposed to be a wise man that made intelligent decisions, but from Romeo and Juliet’s experience, Friar Lawrence had no
The relationship between a father and his son is an important theme in Shakespeare's Henry IV, Part One, as it relates to the two main characters of the play, Prince Hal and Hotspur. These two characters, considered as youths and future rulers to the reader, are exposed to father-figures whose actions will influence their actions in later years. Both characters have two such father-figures; Henry IV and Falstaff for Prince Hal, and the Earl of Northumberland and the Earl of Worcester for Hotspur. Both father-figures for Hal and Hotspur have obvious good and bad connotations in their influence on the character. For example, Falstaff, in his drinking and reveling, is clearly a poor influence for a future ruler such as Prince Hal, and Worcester, who shares Hotspur's temper, encourages Hotspur to make rash decisions. The entire plot of the play is based on which father-figure these characters choose to follow: had they chosen the other, the outcome would have been wholly different.
Hal is the Prince of Wales and heir to the British throne was able to manipulate both the nobles and the court in order to satisfy his needs. Firstly, his ability to speak confidently between the lower class and upper class allowed him to gain authority of many things. In the beginning of the play, Poins tells Hal and Falstaff there is a robbery planned for...
Falstaff is a simple man who thinks only of himself in the present and how best he can enjoy himself. Around the middle of the play, Prince Hal gives Falstaff the position of an infantry commander. Falstaff, however, confesses or rather boasts about abusing his position, “I have misused the King’s press damnably…I pressed none but such toasts-and-butter, with hearts in their bellies no bigger than pins’ heads” (4.2.12-22). Falstaff uses the word “damnably”, to imply that he knows that what he is doing is wrong. Too, his willingness to use the word “damn”, a word vulgar in the eyes of God, shows that Falstaff is not worried about whether he goes to hell or heaven, he just wants to enjoy himself now rather than concern himself with the future. Furthermore, when Falstaff says “I pressed none but such toasts-and-butter, with hearts in their bellies no bigger than pins’ heads”, toasts-and-butter is referring to the wealth of those he is impressing and “...
Hal is a cold, calculating Machiavellian ruler. According to Machiavelli’s popular theory, being a successful leader has nothing to do with being a nice person or doing the right thing. Instead, it’s about being inventive, manipulative, crafty, and willful. Hal is an intelligent character who put all those attributes to work when he articulated a grand plan to fool everyone around him in order to gain power. One critic claims that traditionally there are two common ways to interpret Prince Hal's development. The first is to see it as a celebration of a great king in training who grows in his responsibility and develops into a mature political leader. The second view sees Prince Hal as a cold Machiavel who uses his friends as means to a political end, without much regard for their feelings. (Johnston 1).
He is happy being a drunkard and someone who indulges what he wants. But he also realizes that it is not the type of life that a prince, or a king, should associate himself with, which leads him to his pleading—another reason the scene is prophetic. He pleads with Henry about his morality, much like he will do later in the play and in Henry IV: Part II. Though the play extempore is supposed to prepare Henry for his encounter with his father. Falstaff realizes it may be a good time to practice the inevitable encounter that he will have with Hal once he becomes king. This argument can be further developed when one realizes that it was Falstaff that called for the play extempore, not Hal. Falstaff knew he wanted a trial run before Hal’s kingship, so he gave himself one. However, Hal’s only reaction to Falstaff’s final speech is his line, “I do, I will” (2.4. 465). Some may take this as his answer to Falstaff that he will pardon him, and continue to be his friend. But the argument could be made that Hal is saying that line more to himself than to Falstaff. He is saying that he will do what’s necessary to be a good king. That he does have what it takes to leave a life he enjoys for a life of
The clown contributes towards the humourous entertainment of this play through his numerous puns and jokes. He is a source of laughter, not because we are humoured by his "foolery"; for he proves to be no fool at all; but rather because he amuses us with his brilliant wit. Having mastered the art of jesting, Feste is sensitive of his profession, always aware of the circumstances he is in and the appropriateness of this folly.
Touchstone is one of the gentlest and happiest clowns in all of Shakespeare. He comments on the action, makes jokes at other people's expense, and offers ironic insights about their situation. But throughout As You Like It, such traditional roles of the fool are offered and taken with a generosity of spirit so that his remarks never shake the firm comic energies of the play. When he ridicules Orlando's verses, Rosalind laughs along with him. When he points out to Corin (in 3.2) that the shepherd must be damned for never having lived at court, Corin takes it as good natured jesting (which it is). When Touchstone takes Audrey away from her rural swain, William, there are apparently no hard feelings (although much here depends on the staging). In this play, the professional jester participates in and contributes to a style of social interaction which is unqualified by any more sober and serious reflections. This makes Touchstone very different from the bitter fool of King Lear or from the most complex fool of all, the sad Feste of Twelfth Night , both of whom offer comments that cast either a shrewd, melancholy, or bitter irony on the proceedings.
The fool is one of the first character archetypes that any student of literature learns how to analyze. Despite his seemingly light or even pointless chatter, the fool usually manages to say some fairly important things. Upon further study, the student may perceive that it is because of his penchant for silliness that the fool is given leave to express even offensive truths about the other characters. What happens, though, when one fool encounters another? Fools are not used to being subject to one another’s wit; this experience of being held up to a sort of mirror is generally reserved for the characters who must undergo some change to further the plot. Touchstone and Jaques manage to break that rule, and merely by coexisting seem to compete. Both live up to some part of our expectation of the fool, but neither manages to fill the role entirely. Which one comes closer is a matter worthy of some debate.
What my peers do not seem to understand is how significant of an impact Shakespeare’s literature and dialect has had on the English language today. They often complain that the speech during the Elizabeth era is too complicated, however, without his work commonly used phrases such as; “break the ice,” or “good riddance” would never be used. Some of his expressions are so well known that we often forget who wrote it.