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Analysis of King Henry 4 part 2
Machiavelli thoughts on leadership
Influences of family on individuals
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The Webster Dictionary defines leadership as “the power or ability to lead other people” (Webster). According to West Point graduate and former Allied Commander, Dwight D. Eisenhower, leadership is a power or ability, it includes the qualities of “vision, integrity, courage, understanding, the power of articulation, and profundity of character” that make a great leader. In Shakespeare’s Henry V, the protagonist King Henry, obtained greatness from such qualities which inspired his men to follow him without hesitation, even when faced with deplorable odds. King Henry’s strong sense of duty, commitment to his men and desire to win, enabled his victory over the French. Such desire and will to win would have not been possible for King Henry if it was not for his purpose, role and individuality. King Henry was once young and seemingly uninterested in his role as a future King of England. Many of Henry’s legendary and heroic traits did not originate in Henry V; instead, they appeared in previous Shakespearean plays including Henry IV. As the British heir apparent, young Henry was known as “Prince Hal, Henry, Harry, Prince Harry, Harry Monmouth, and the Prince of Wales” (Britannica). In Henry V, King Henry is this play’s main protagonist. Shakespeare’s audience briefly witnesses the gradual transformation of Henry from a youthful hell-raiser and playboy to a dignified King. Henry’s immature reputation is described by the Bishop of Canterbury when he says that “a heady currance scour[s] his faults” (I.i.36). In Henry IV, the audience is first introduced to Prince Hal, at his apartment in London and a cheap tavern called the Boar’s Head in Eastcheap, where the future King mingled and formed networks with drinking buddies. There he pla... ... middle of paper ... ...parkNotes. SparkNotes, n.d. Web. 20 Mar. 2014. Juarez, Aimee C. “Humanizing Machiavelli and His Concept of a Good Leader.” www.saybrook.edu. N.p., 29 June 2012. Web. 20 Mar. 2014. “Leadership.” Merriam-Webster. Merriam-Webster, n.d. Web. 23 Mar. 2014. Pilkington, Andrew CDT I4 CO 16’ Assistance was given to me in fixing my grammatical errors. CDT Pilkington looked over my paper, fixing grammatical mistakes. When he was done, we discussed what was not clear and I fixed those errors within my paper. West Point, NY. 23 March. 2014. Shakespeare, William, Stephen Greenblatt, Walter Cohen, Jean E. Howard, Katharine Eisaman Maus, and Andrew Gurr. The Norton Shakespeare. Second ed. New York: W.W. Norton, 1997. Print. The Editors of Encyclopedia Britannica. “Prince Hal (fictional Character).” Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 20 Mar. 2014.
Still maintained is the conflict between the very format of the text, with Hal and Henry’s conversation held in formal verse typical of the court world, in which Hal is now firmly embedded. Falstaff, however, sustains his equally typical prose speech, which indicates to the audience the enduring division between the court and tavern worlds. 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.
...cing his role as the Prince and defeating Hotspur when no one in the kingdom believed he had the gumption or the courage to do so. Hal's plea to the King to "salve the long-grown wounds of my intemperance" and subsequent promise to "die a hundred thousand deaths ere break the smallest parcel of this vow" are the final turning points in the story that lead to Prince Hal being educated as to what it means to be an ideal and true King (3.2.155-159). However, there is still time for Hal's perspectives and values to be shaped and re-shaped by his father, the ghost of Hotspur, and the excesses of Falstaff, as well as by characters who have not yet been introduced, and in order to fully understand the transformation of Prince Hal, the reader must continue to King Henry IV, Part II and King Henry V to learn if Hal truly becomes an effective and charismatic ruler of England.
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
Machiavelli, Niccolò. The Prince from The Portable Machiavelli. Ed. & Trans. Peter Bondanella & Mark Musa. New York: Penguin, 1979.
Machiavelli, Niccolo. "From The Prince." The Bedford Companion to Shakespeare. Russ McDonald. New York: Bedford/St. Martin's. 2001. 334-336.
In his histories from Richard II through Henry V to Richard III, Shakespeare depicts the English monarchy as a game between family and friends of vying for a gold ring -- the crown. Shakespeare gives his reader a central metaphor through which to see this equation in King Henry IV part one. The prank Prince Hal, later King Henry V, and his friend, Poins, play on their friends, particularly Falstaff, parallels the plot's focal passing of the crown.
At the beginning of the play, Prince Hal starts out on the lower half of the hierarchy. He spends the majority of his time in the tavern, drinking away the money that he "earns" by robbing travelers during the night. He is introduced to the readers as immature, irresponsible, and ignorant to his destiny and potential. But Shakespeare doesn’t let his readers see Hal this way for long: in I.ii, Hal’s intention of transcendence to princedom is evident in his revealing soliloquy:
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Falstaff is often left out of the conversation or treated as an object when people discuss Shakespeare’s “Henriad.” The conversation has grown to include Falstaffian supporters and those who continue to objectify him. On the one hand, critics like Harry Berger, author of “The Prince’s Dog: Falstaff and the Perils of Speech-Prefixity,” argues that Falstaff’s concealed motives are only brought to light through the characters speech. On the other hand, critics like Robert Bell, author of “The Anatomy of Folly in Shakespeare’s “Henriad,” believes Falstaff to be a fool, but he believes him to be one of Shakespeare’s “Greatest Fools.” I find these critics to be in direct conversation with one another. They both attempt to consider Falstaff in the forefront of the text, along with Prince Harry; more specifically, how one interacts with the other through folly and speech. While I agree with some critics notions that Falstaff has flaws, I would argue that he is more than an object; he is pertinent to the success of the prince, and he must be considered as the subject; Falstaff is the catalyst through whom Prince Harry enjoys his indiscretions, sins, and follies without reprimand or any acceptance of responsibility. Falstaff and Prince Harry share the same mind, but this is only apparent through the folly and parody of Falstaff. Prince Harry is completely oblivious to the fact that he and Falstaff rest on either side of a double-headed coin allowing them to share a psychic link. I will show that Falstaff has knowledge of all of Prince Harry’s actions as well as his own downfall before it occurs through a close analysis of 1 Henry IV, act 1, scene 2.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
order to convey a positive image of himself, one that has previously been created to be of a slacker. This interpretation of who the public believes Prince Hal to be, shows that he has the ability to create a specific favoring for himself, contrasting the evidence that shows who Prince Hal really is. Within this monologue, Prince Hal is able to reflect on who he truly is and whether or not he can become the King that everyone wishes him to
Prince that Hal reminds him of the way King Richard acted before Henry took the
The character of Hal is first introduced in Richard II, though the character himself is never seen on stage. His father bluntly refers to him as his "unthrifty son² (Richard II V.iii.1) and states that "If any plague hang over us, 'tis he" (Richard II V.iii.3). While the opinions of his own father act greatly to shape our first impression of young Hal, it is perhaps his own words, related by Percy, which best characterize the irreverence of the youth:
The play then shifts its focus to the younger Henry, nicknamed Hal. Shakespeare portrays the ...
Levin, Harry. General Introduction. The Riverside Shakespeare. Ed. G. Blakemore Evans. Boston: Houghton Mifflin Co., 1974.