is observable that the King gives as his reason for the order, that he expected another battle, and had not men enough to guard one army and fight another. Gower here assigns a different reason. Holinshed gives both reasons, and the Poet chose to put one in the King's mouth, the other in Gower's. 54. Falstaff:-Johnson observes that this is the last time Falstaff can make sport. The Poet was loath to part with him, and has continued his memory as long as he could. 93. Agincourt:-So the chronicler: "In the morning Montjoie and foure other heralds came to the King, to know the number of prisoners, and to desire buriall for the dead. Before he made them answer, he demanded whie they made that request, considering that he knew not whether the victorie was his or theirs. When Montjoie by true and just confession had cleered that doubt, he desired to understand the name of the castell neere adjoining when they had told him that it was called Agincourt, he said, Then shall this conflict be called the battell of Agincourt." 161. down together:-Henry was felled to the ground by the Duke of Alençon, but recovered and slew two of the duke's attendants. Alençon was afterwards killed by the King's guard, contrary to Henry's intention, who wished to save him. Scene VIII. 8. [Strikes him.] Fluellen gets a hearty box on the ear from Williams, and prepares to return it with interest, giving loose to his tongue in preparation. But even this imbroglio is fairly reconciled by a few words of explanation, and with no loss of dignity in any part. Williams sets his apparent insult to the King in its natural light, and has from him a glove full of crowns, which he well deserves, and an honourable distinction that he deserves still better; and Fluellen thinks no more of the blow, and has even twelvepence to spare for the giver of it, who, however, knows himself much too well to take it, and pitches it back. Thus we are gradually carried forward and exercised in appreciating and apprehending the shades and limits of forbearance and pusillanimity, of the magnanimous and the overbearing, and enabled, if we will but keep clear of false lights and vain prepossessions, to receive the full effect of the scene that closes and completes the martial play. 125. Do we all holy rites:—“The King,” according to Holin shed, "when he saw no appearance of enemies, caused the retreit to be blowen; and, gathering his army togither, gave thanks to Almightie God for so happie a victorie, causing his prelats and chapleins to sing this psalme,-In exitu Israel de Egypto; and commanded every man to kneele downe on the ground at this verse,- Non nobis, Domine, non nobis, sed nomini tuo da gloriam. Which doone, he caused TE DEUM with certeine anthems to be soong, giving laud and praise to God, without boasting of his owne force or anie humane power." ACT FIFTH. Scene I. 21. the smell of leek:—“Ancient Pistol's mock at the quaint but honourable badge of the odd-fashioned but valiant Welshman, is invented," says Lloyd, "not without reference to the Dauphin's mock with his tun of tennis-balls, on the strength of the seeming frivolity of the wilder time of Prince Henry. Of such an offence the punishment is much the same in either case, and the mouthing braggart is roughly repaid with hard knocks first, and then with humiliation in its bitterest form of forced acceptation of a kindness. Fluellen, who took back his shilling from Williams and forgave him the buffet, gives a sound thrashing to the contemptible scoundrel who disgraces the profession of soldier, forces the leek he jeered at down his throat, and makes him accept of a groat to heal his pate. Pistol deserves all that he gets and more, and it is the treatment such a character as he provokes, whether deserving it or not; it is a faint consideration in the Ancient's favour, that he quarrels so pertinaciously with Fluellen from resentment at his not saving his comrade Bardolph, good-for-little wretch as he might be. But thus ends the memory of Falstaff and his associates." 66 93. Johnson here remarks upon the comic scenes of Henry IV. and Henry V. with a feeling which doubtless most readers will share. Those scenes, he says, are now at an end, and all the comic personages are now dismissed. Falstaff and Mrs. Quickly are dead; Nym and Bardolph are hanged; Gadshill was lost immediately after the robbery; Poins and Peto have vanished since, one knows not how; and Pistol is now beaten into obscurity. I believe every reader regrets their departure." Scene II. 9-11. Right joyous, etc.:-In the fifth Act the French themselves seem to share in the exultation of England over their own surrender. In painting Henry's own attitude towards the enemy, however, Shakespeare's touch is not quite so firm as when he limned Prince Hal. The speeches before Harfleur to Montjoy, and after the battle, are hardly in keeping with the modesty of true valour which makes him forbid the display of his bruised helmet and bent sword in the London streets. 98 et seq. Fair Katharine, etc. :-In the scenes with Katharine, and in the tone of Henry towards the French king and princes, the old play exhibits its best in spirit and originality, and in what is worthiest as leading the way to something that so far surpassed it. Henry, however, displays more simplicity and warmheartedness as a wooer, and Katharine more sensibility as well as sense than were possible in Shakespeare's Henry V. without marring the effect of all. Still it is very interesting to observe by what slight strokes and changes the force of expression is now modified and now reversed. Compare the following passages from the old play with the final Scene of this: Henry 5 [alone.] Ah Harry, thrice unhappy Harry, hast thou now conquered the French king, and begins a fresh supply with his daughter, but with what face canst thou seek to gain her love, which hast sought to win her father's crown? Her father's crown said I? no it is mine own: Ay, but I love her and must crave her, Nay, I love her and will have her. Enter Lady Katharine and her ladies. But here she comes: how now, fair Katharine of France, Kath. An it please your majesty, my father sent me to know Hen. 5. Now trust me Kate, I commend thy father's wit greatly in this; for none in the world could sooner have made me debate it, if it were possible. But tell me, sweet Kate, canst thou tell how to love? Kath. I cannot hate, my good Lord; therefore far unfit were it for me to love. Hen. 5. But Kate, tell me in plain terms, canst thou love the king of England? I cannot do as these countries do, that Kath. I would to God that I had your Majesty as fast in love Hen. Tush, Kate, I know thou wouldst not use me so hardly: Hen. But I'll deal as easily with thee as thy heart can im- Hen. But shall I have thy good will in the mean season? Kath. Whereas I can put your Grace in no assurance, I would be loth to put your Grace in any despair. Hen. Now before God it is a sweet wench. Kath. [aside.] I may think myself the happiest in the world that is beloved of the mighty king of England. Hen. Well Kate, are you at host with me? Sweet Kate, tell your father from me that none in the world could sooner have persuaded me to it than thou, and so tell thy father from me. Kath. God keep your Majesty in good health. [Exit. Hen. [solus.] Farewell, sweet Kate, in faith it is a sweet wench, but if I knew that I could not have her father's good will, I would so rouse the towers over his ears that I would make him glad to bring her to me upon his hands and knees. [Exit. 393. [Exeunt.] The events mentioned in Scene ii. of this Act appear to follow very closely upon Henry's return to England. This is due to the compression of the narrative to suit it for the stage. In 1417 the King had again landed in France, overrun Normandy, and captured Rouen after a terrible siege. He was aided by the Burgundians, after their duke's murder by agents of the Dauphin; this ended the struggle, and practically placed France at the feet of the English sovereign. Questions on Henry V. 1. How was the Prologue delivered in Shakespeare's time? 2. Explain the allusions to the form of the Elizabethan playhouse in this Prologue. 3. What functions does the Chorus perform in this play? Is it in any way similar to the Chorus of the Greek drama? ACT FIRST. 4. What was the nature of the bill that the Archbishop of Canterbury and the Bishop of Ely discuss in the first Scene? What would be its effect if passed? How do craft and chance serve to turn aside attention from the bill? 5. How is the changed life of the King referred to? Does the picture of the King as presented by the play confirm Canterbury's opinions of his gifts in divinity, politics, war, and eloquence? 6. What was the Salic law? How did it bar Henry from the throne of France? By what arguments did the Archbishop of Canterbury prove it inoperative in his case? 7. Do any of the higher motives lead Henry to contest his right to the French throne? How sincere are Henry's conscientious or religious scruples against a misapprehension of his dynastic rights? 8. Has the insulting message and present of the French Dauphin any effect in furnishing additional motive for war to what might otherwise seem insufficient? What ground does Henry take in his reply? Comment on Henry's assumption that he is to be the agent of God's vengeance on the sender of tennis-balls. ACT SECOND. 9. What is the picture presented by the Prologue? What is the conspiracy? What humorous allusion to the English Channel? 10. What new character is added to the group of Eastcheap? |