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Hen. 5. But Kate, tell me in plain terms, canst thou love the

king of England? I cannot do as these countries do, that
spend half their time in wooing: Tush, wench, I am

none such, but wilt thou go over to England?
Kath. I would to God that I had your Majesty as fast in love

as you have my father in wars; I would not vouchsafe
so much as one look, until you had related (abated) all

these unreasonable demands.
Hen. Tush, Kate, I know thou wouldst not use me so hardly:

but tell me canst thou love the king of England ? Kath. How should I love him that hath dealt so hardly with

my father?

Hen. But I'll deal as easily with thee as thy heart can im

agine or tongue require: how sayst thou; what will it be? Kath. If I were of my own direction I could give you answer:

but seeing I stand at my father's direction, I must first

know his will. 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.


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?


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.


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?

II. What phrase does Nym use for all occasions? Indicate the cause of his quarrel with Pistol? What kind of courage does each possess?

12. How does Hostess Quickly estimate the courage of Nym?

13. What impression does one get of the end of Doll Tearsheet? In addition to the reference to her, what facts point to the increasing degradation of the group?

14. What does Mrs. Quickly say about the cause of Falstaff's illness? How does this incite to a higher regard for the knight?

15. How do the companions of Falstaff judge the King for his treatment of the knight?

16. How in Sc. ii. are the conspirators detected? Is this event presented in a manner adequate to its dramatic possibilities?

17. How are mercy and justice exhibited in contrast?

18. What opportunities for disloyalty had been offered to the three conspirators?

19. What is your impression of the sermon Henry reads to them?

20. On what ground does he base his reasons for their condemnation?

21. How is Bardolph affected by the death of Falstaff ?

22. Comment on the pathos of Hostess Quickly's account of Falstaff's end.

23. What Psalm has been suggested as the subject of Falstaff's words when, as Mrs. Quickly said, a' babbled of green fields?

24. What is Falstaff's last witticism on Bardolph? What is Bardolph's reply? Have you discovered any higher trait in Bardolph than his affection for his master?

25. Had Shakespeare promised that Sir John should appear in this play? What probably induced him to leave the knight out?

26. Is the effect of pathos more moving than if Falstaff's death had been enacted before the eyes of the spectator?

27. What is contributed to the action by Sc. iv.? What is the attitude of the French towards the invading army? What serves to increase the impression of their fatuousness?


28. What is foretold by the Prologue? How is the undramatic nature of the play apologized for? 29. How does Shakespeare describe the frenzy of war in Sc. i.?

30. What faint echo does one get of Falstaff in the speech of the Boy, Sc. ii., lines 12, 13?

31. What view of Nym, Bardolph, and Pistol does the Boy furnish?

32. What second set of humorous characters are brought upon the scene? What is the idiosyncrasy of Fluellen? Is there shown in the Welshman, the Scotsman, and the Irishman a differentiation of national traits?

33. What new picture of the horrors of war is given in Henry's peech (Sc. iii.) before the gates of Harfleur?

34. Where is the pusillanimity of the Dauphin first shown?

35. Indicate the implication of the lesson in English pursued by Katharine in Sc. iv. Has there been any preparation for this Scene? Critics have sometimes regarded this as silly; what impression does the Scene make upon you?

36. How is the Frenchman's misapprehension of England shown in Sc. v.? Who of the French is not deceived as to the English?

37. Why does Shakespeare introduce a long list of French nobles who are to be sent into action? Where is the correlative of this Scene?

• 38. By what means did Pistol succeed in deceiving Fluellen as to his valour? What does this reveal of Fluellen?

39. Why would Fluellen not speak in behalf of Bardolph?

40. How is Henry made to condemn another of his old associates? For what was Bardolph hanged?

41. What is the effect of the message (Sc. vi.) Montjoy brings to Henry immediately upon Fluellen's account of the results of the action at the bridge?

42. Speak of some qualities of the French displayed in Sc. vii. What is the attitude of the Constable of France towards the Dauphin? What is the characteristic temper of the Constable of France ?


43. Comment on the philosophic tendencies of Henry's mind as seen at the beginning of Sc. i. Judging from this and earlier Scenes, do you think he sees clearly into facts?

44. What is argued of Henry's popularity that Pistol felt no disposition to disparage him behind his back? How is Pistol's degradation foreshadowed ?

45. What is Fluellen's hobby? Does the King rightly apprehend (line 85) the cause of Fluellen's solicitude?

46. State the propositions concerning the loyalty of the subject and the responsibility of the King that Bates and Williams lay before Henry.

47. Does Henry in his long reply miss the main point of their question and argue only its corollary? Do the soldiers perceive his fallacy?

48. What is the real motive for the quarrel between enry and Williams?

49. Have not the soldiers a higher conception of the kingly responsibility, though only partially apprehended, than Henry shows in the poetical soliloquy that follows the withdrawal of the soldiers? Does Henry revert to some of his pre-kingly prejudices in these words? How is his temper similar to his father's?

50. What new reflection moves him to the final invocation ?

51. Note the effect of Sc. ii. in showing two points of view among the French forces. Define them.

52. What is the tenour of Henry's harangue in Sc. iii.? Is any colour lent to it by the reflections in Sc. i.?

53. How does the speech of Henry towards the end of Sc. iii. complete the impression of the inequalities of the forces in the impending conflict? On the other hand, how is the feeling of English success assured?

54. Why is there no battle-scene in a play that chiefly concerns itself with the glorification of battle? What is the satirical purpcse (Sc. iv.) of the scene between Pistol and the French soldier ? What additional stroke is provided by the Boy in the closing speech of the Scene?

55. Does Sc. v. arouse a feeling of sympathy for the French? How does Shakespeare depict them in disaster?

56. What was the probable fate of the Boy? How is the last mention made of Falstaff ?

57. By what methods does the mind of Fluellen work? 58. How is the quarrel of Henry and Williams disposed of?

59. In the numbering of the slaughter'd French (Sc. viii.) how many of those designated by the French king for battle were found among the killed ?

60. What impression do you derive of Henry's religiosity in his thanks after the battle? Does the dramatist so exhibit the facts of the story as to lead the spectator to take the same point of view that Henry does? If not, what is the irony intended by this character?

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