Shakespeare's
play Henry IV begins with a king (King Henry) beginning a pilgrimage after
killing King Richard II. Henry believes that by gaining the throne of
England he has done an honourable deed, yet he admits that the fighting and
bloodshed could continue, A. . . ill
sheathed knife . . . @ (I.1.17). He,
also, admits that his own son, Prince
Hal, is not honourable enough to occupy
the throne, Asee riot and dishonour stain the brow of my young Harry" (I.1.17).
Shakespeare
continues the topos of honour and redemption into Act three, scene two, where
he uses elements such as anaphora, topos, imagery and rhetoric in a meeting
between King Henry and Prince Hal that is both
crucial and climatic to the
overall structure of the theme of honour.
At the beginning
of Act III sc. ii, Shakespeare clears all other characters from
the stage to allow King Henry=s first meeting, face to face with Prince Hal, to
be focused and intense. King Henry is
the first to speak and sets a sombre tone as he begins to unmask himself to his
son A. . . some displeasing service I
have done @ (3.2.5). As well Shakespeare allows King Henry to
bring Prince Hal=s mask to attention by using anaphora:
Could such
inordinate and low desires,
Such poor, such
bare, such lewd, such
mean attempt,
such barren pleasures,
rude society as
there art matched withal . . . (3.2.12-15).
The word such is used to emphasise his
[Henry] displeasure of Hal=s friends and
the image they portray around him
causing Hal in the eyes of Henry to lose his princely image.
Shakespeare, then
allows Prince Hal to defend himself to his father's interpretations of his
(Hal) character. Again, there is a
contrast between what King Henry perceives and what is reality. The king is obviously distressed over Hal=s
choice of friends and how they affect
this 'Princely image'. Hal
on the other hand asks for Apardon on my true submission @ (3.2.27),
claiming that such people (friends) tell stories that may not always be true
Aaft the ear of greatness must hear @ (3.2.24).
It seems that
King Henry still has some reservations about Prince Hal=s 'appearance' and how
that effects his (Hal=s) place on the throne; which may be some what ironic
coming from a king that truly bases popularity, Aopinion that did help me to
the crown @ (3.2.42), on public opinion though a rebellion is organising around him.
During the King=s
speech to Hal, Shakespeare employs many elements of style to review and
parallel King Henry=s mask to Prince Hal=s appearance and foreshadow a possible
outcome for Prince Hal, A. . . prophetically do forethink thy fall @
(3.2.38). By using the imagery of a
comment Shakespeare is trying to impress on Prince Hal that in the eye of the
public Alike a comet I [he] was wondered at " (3.2.47).
King Henry had to keep himself
Afresh and new, my presence like a robe pontifical @ (3.2.55-56), while in
public. In contrast Shakespeare uses the
image of a A cuckoo in June @ to show that Prince Hal is Aheard, not regarded, seen, but with such
eyes, as sick and blunted with community @ (3.2.76-77).
As Prince Hal
answers, Shakespeare reminds the reader
that the intention of this meeting is reconciliation of both King Henry and
Prince Hal. In act one, King Henry
states AI will from henceforth rather be myself @ (1.3.5). To parallel the king=s remarks Shakespeare
has Hal repeat the same idea AI shall hereafter, my thrice gracious lord, be
more myself (3.2.92-93).
Though there is a
saying that Athe eyes are windows into a man=s soul@ Shakespeare uses the
rhetoric of A eyes @ and A sight @ to be negative in that it is what the eyes
of other people see that makes a person honourable. Some examples of this rhetoric used by Shakespeare
are: Aafford no extraordinary gaze . . . admiring eyes . . . eyelids down @
(3.2.78,80,81), indicating that through these public eyes Prince Hal does not
demand the respect needed to be as successful a king as King Henry believes he
himself is. Then, Shakespeare uses A
sight @ in the same passage to give insight to the 'mask' Henry wears that must make him blind:
. . . save mine,
which hath desired to see thee more,
which now doth
that I would not have it do,
make blind itself
with foolish tenderness. (3.2.89-91)
Again Shakespeare is using this act to play
out the King=s idea of how his son Hal appear to be less honourable than
Hotspur, but, will put aside his honourable mask towards some of the misdoing by his son for
the sake of saving his (Hal=s) princely image.
Another aspect of
Shakespeare's style is the long passages at the end of each scene that are,
usually, given to the main (or most
important) figure on stage at the time.
In this scene, however, much of what King Henry is saying to Prince Hal
is contained in a long passage. Although
these passages by the king are not at the end of the scene, but, contained
within the scene it could be that Shakespeare wants to show that the king is indeed
an important character until Hal begins his own pilgrimage of
reconciliation. As well these long
passages give King Henry a chance to repeat and parallel a large amount of
information to Prince Hal.
In his last long
speech to Hal, King Henry repeats his disfavour in his son=s ability to be king
stating that Ahe (Hotspur) bath more worthy interest to the state than thou the
shadow of succession@ (3.2.98-99). Also
King Henry uses this opportunity to explain what he thinks are the honourable
qualities he feels Hotspur has over Prince Hal:
Leads ancient
lords and reverend bishops on
To bloody battles
and to bruising arms.
What never-dying
honour hath he got
Against renowned
Douglas ( 3.2.104-107)!
Finally,
Shakespeare allows Prince Hal to answer to all the allegations presented by King
Henry. One element of Shakespeare's
style here is the long passage which denotes Prince Hal as an important
character gaining respect from the king.
First Hal tells King Henry that AGod forgive them that so much have
swayed Your Majesty's good thought away from me @ (3.2.130-131). Hal then goes on to say that he wants to
announce his right to be king as the son of King Henry by proving his honour
and loyalty to the king though the only honourable thing left to Aredeem all
this on Percy=s head@ (3.2.133).
This last passage
summarises Prince Hal=s feelings that up until now he has been seen through a
mask unworthy of his father=s honour.
Like the king before him Hal wishes to cast off this mask and earn
respect through the forth coming rebellion; much as did King Henry gain respect
and honour by going into battle with Richard II.
In conclusion,
Shakespeare uses elements of style such as topos, and anaphora, as well as
imagery and rhetoric to parallel and contrast King Henry=s honour with Hal=s
perceived lack of honour. This scene in
act three is a critical moment between a father and son set up by Shakespeare
to enable both character to Acast off@ their masks and show the reality of
their true selves and asks the question of whether honour is truly what we say
it is.
Works
Cited
Shakespeare,
William. 1Henry IV. In The Norten Anthology of English
Literature. Eds. M.H. Abrams et all. 5th Ed.
New York: Norton, 1987. Pg.
505-574
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