Falstaff's Influence on Prince Hal in I Henry IV
In Shakespearean histories, there is always one individual who
influences the major character and considerably advances the plot. In I Henry
IV by William Shakespeare, Falstaff is such a character. Sir John Falstaff is
perhaps the most complex comic character ever invented. He carries a dignified
presence in the mind's eye; and in him, we recognize our internal admiration
and jealousy of the rebellious dual personality that we all secretly wish for.
The multi-faceted Falstaff, in comic revolt against law and order, in his role
as father figure to Prince Hal, and ultimately, in his natural ability to
discern and adapt to any situation, emerges as the most complex and paradoxical
character in drama.
Frequently, in literature, the sun represents royalty, or in this case
the king, who strives to uphold law and order. Rhetorically, the moon,
symbolizes instability, not only because it does not remain the same size to
one's eyes as time passes, but because it reigns the ebb and flow of the tides.
Therefore, as a knight guided by moonlight, Falstaff is a dissenter against law
and order. This conclusion finds support in his witty tautologies and epithets.
Falstaff is invariably aware that Hal will one day become king, and when that
happens, robbers will be honored in England by "Let[ting] us be indulgence
Diana's foresters, gentlemen of the shade, monions of the moon; and let[ting]
men say we be men of good government, being governed as the sea is, by our novle
and chaste mistress the moon, under whose countenance we steal" (I, ii, 25-30).
Falstaff's final dismissal of law and order culminates with a comic plea to the
prince, urging him to have nothing to do with "old father antic the law? Do not
thou, when thou art King, hang a thief" (I, ii, 62-63). We see a similar
epithet in the next act, "send him packing" (II, iv, 301), in which Falstaff
again denounces responsibility, law, and order. Despite his lack of care for
order and responsibility, the rebel dormant in readers applauds Falstaff's
defiance of the establishment of his defense. Falstaff seems to appeal to the
average reader, for he relates to them, just as a twentieth-century American
rebellion within the tavern setting as he becomes an adult with the political prowess to
“This, by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave come hither, cover’d with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin, To strike him dead I hold it not a sin.” (Shakespeare, page 54).
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The first verse paragraph of Coleridge's "Kubla Khan" is the most ornately patterned part of the poem. Coleridge gives us end-rhymes that are repetitive and yet slightly "off": "Khan" is not an exact match with "man" or "ran." End-rhymes will be carried throughout the poem, but within these lines, we discover similar sounds, the "Xan-" and "Khan," again; the "Xan-" and "a" sound of "Alph" get picked up again in "sacred" and "cav-," before being played out, finally, in "ran" and "man." The intricacy of sounds being repeated and modulated and repeated again creates the poem's energy, playful here, but also exceedingly musical and incantatory.
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Without a God how do we know what is right from wrong. What is good or bad? The Ten Commandments tell us what is right or wrong and good or bad, but the constitution says the church has to be separate. If there is no God in our government we cannot have our Ten Commandments, how do we know what is right or wrong? The current opinion of courts is that the First Amendment bans religion in our government to protect the right to freedom of religion and freedom of expression from the government. The first amendment does not say church and state should be separate since our founders understood if church and state were completely separate, our government would fall apart.
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“There are some who lack confidence in the integrity and capacity of the people to govern themselves. To all who entertain such fears I will most respectfully say that I entertain none… If man is not capable, and it not to be trusted with the government of himself, is he to be trusted with the government of others… Who, then, will govern? The answer must be, man – for we have no angels in the shape of men, as yet, who are willing to take charge...
In Act 1, Scene 2, Hal and Falstaff are dinking at the bar. We get the
Mohandas Gandhi is an Indian lawyer and a spiritual leader that led a successful nonviolent resistance movement against the British colonial power. “The tactic of nonviolence civil disobedience in the Civil Rights Movement was deeply influenced by the model of Mohandas Gandhi, (...) Gandhi 's approach of non-violent civil disobedience involved provoking authorities by breaking the law peacefully, to force those in power to acknowledge existing injustice and bring it to an end”. (1) “Provoking authorities by breaking the law peacefully” this is an example of how nonviolent disobedience allows the message to stay focused and reach the point where people in power cannot ignore. Violent actions draw the media away from the message and fuels the rich and powerful; those who hide behind barriers in order to mute the underprivileged. An example of underprivileged people is African American’s during the 1950s who were treated like second class citizens. “Laws separated people of color from whites in schools, housing, jobs, and public gathering places”. (3) The types of methods used to fight against segregation are, “One of the ways African American communities fought legal segregation was through direct action protests, such as boycotts, sit-ins, and mass civil disobedience”. (1) This is how nonviolent disobedience is fought
For a thousand years in Your sight Are like yesterday when it passes by, Or as a watch in the night.
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