Modern Connections
One of Shakespeare's most beloved characters is the rotund, elderly knight Sir John Falstaff. He captivated Elizabethan theater-goers and continues to charm contemporary audiences. Critics attribute his enduring popularity to his complex personality. Falstaff may appear cowardly when he flees from the Gadshill robbery in Henry IV, Part One, yet he displays bravery on the battlefield at Shrewsbury in the same play and later outside the forest of Gaultree in Henry IV, Part Two. While he is deceitful and insensitive in his interactions with Shallow in Henry IV, Part Two, his genuine affection for Doll Tearsheet in the same play and for Prince Hal in both parts of Henry IV is evident.
Falstaff's appeal also lies in his audacious behavior. When caught in a lie or an insult, he typically concocts an incredible yet amusing excuse. This is seen when he exaggerates the details of the Gadshill robbery in Henry IV, Part One and when he maligns Hal and Poins at the Boar's Head Tavern in Henry IV, Part Two. As Poins cautions the prince in Henry IV, Part Two, "my lord, [Falstaff] will drive you out of your revenge and turn all to a merriment..." if he is allowed to get away with it (II.iv.297-98).
Historical accounts suggest that Falstaff was immensely popular during Elizabethan times. He even stars in Shakespeare's The Merry Wives of Windsor, which some believe was written to leverage his popularity, much like movie sequels or television spin-offs today. Modern viewers might be shocked when Hal, newly crowned as king, harshly rejects Falstaff at the end of Henry IV, Part Two. How can he speak so cruelly to an old friend who has provided so much entertainment? Critics note that Elizabethan audiences were likely less sentimental about this matter than we are today. Living under a monarchy, they probably understood that with his ascension to the throne, Prince Hal had to transform into King Henry, necessitating a complete break from his disreputable past to focus on governing the nation.
Bibliography and Further Reading
Bacon, Wallace A. "Margery Bailey Memorial Lectures I: The Diseased State in Henry IV, Part Two." Speech Monographs 40 (June 1973): 75-87. Bacon defends Hal's decision to reject Falstaff, arguing that Henry IV, Part Two aims to reassure us of the prince's potential to be a competent leader. Bacon also delves into the play's disease imagery, highlighting that much of it revolves around Falstaff.
Barish, Jonas A. "The Turning Away of Prince Hal." Shakespeare Studies (U.S.) 1 (1965): 18-28. Barish supports the view that Falstaff remains endearing in Henry IV, Part Two despite his decline. Consequently, when Hal rejects him at the play's conclusion, we sympathize with Falstaff and criticize the new king for his apparent lack of compassion.
Henze, Richard. "Odds and Opportunities in 2 Henry IV." Southern Quarterly 15 (July 1977): 403-11. Henze argues that Falstaff's rejection and the rebels' downfall occur because neither comprehends society's underlying values: Falstaff lives for immediate gratification without considering his future prospects, and the rebels fail to recognize that traditional honor has been replaced by opportunism.
Holland, Norman N. Introduction to Henry IV, Part Two, by William Shakespeare. In The Complete Signet Classic Shakespeare, edited by Sylvan Barnet, 678-85. New York: Harcourt Brace Jovanovich, 1972. Holland notes that Henry IV, Part Two, as a play centered on betrayals and dashed expectations, shares a similar tone with Shakespeare's tragedies and problem plays.
Humphreys, A. R. Introduction and Appendices to King Henry IV, Part II , by William Shakespeare, edited by A. R. Humphreys, xi-xci, 189-242. The Arden Edition of the Works of William...
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Shakespeare. London: Methuen and Co. Ltd., 1971. Humphreys offers a comprehensive overview of the play, including its dating and sources. He particularly examines the play's exploration of statecraft versus morality, underscores Hal's development as a capable ruler, analyzes Hal's rejection of Falstaff, and discusses the critical backlash against Prince John's deceit of the rebels at Gaultree in IV.ii.
Knowles, Richard. "Unquiet and the Double Plot of 2 Henry IV." Shakespeare Studies (U.S.) 2 (1966): 133-140. Knowles explores the play's sound imagery, noting that elements such as noise, clamor, riot, deafness, and quietness appear in the serious plot and are parodied in the comedic plot, both contributing to the theme of disorder.
Levin, Harry. "Falstaff's Encore." Shakespeare Quarterly 32 (Spring 1981): 5-17. Levin's analysis of Falstaff's role in Henry IV, Part Two focuses on the Boar's Head Tavern scene (II.iv) and the aging Falstaff's interactions with Doll Tearsheet and Hostess Quickly.
Levitsky, Ruth M. "Shakespeare's 2 Henry IV, Il.iv." Explicator 35 (Summer 1977): 23-24. Levitsky argues that Hostess Quickly's hesitation to admit swaggerers like Pistol into her tavern stems from the Puritan warning against swearing rather than his bullying behavior. Ironically, she regularly hosts Falstaff and his friends, who swear far more than Pistol.
Manley, Frank. "The Unity of Betrayal in II Henry IV." Studies in the Literary Imagination 5 (April 1972): 91-110. Manley explores the theme of betrayal within the play. He discusses the repercussions of King Henry's overthrow of Richard II, Prince John's Gaultree strategy, Prince Hal's dynamic with his father, and the new king's rejection of Falstaff. Manley identifies two forms of betrayal in the play—genuine and apparent. He concludes that Hal engages in apparent betrayal concerning his father, the monarchy, and Falstaff.
Pettigrew, John. "The Mood of Henry IV, Part 2." In Stratford Papers, 1965-67, edited by B. A. W. Jackson, 145-67. Shannon: Irish University Press, 1969. Pettigrew asserts that Henry IV, Part Two stands as a distinct play with its own cohesive structure, rather than merely being a sequel to Henry IV, Part One. He describes the atmosphere of Henry IV, Part Two as somber and subdued, emphasizing themes of aging and decay, which contrast with the more vibrant, youthful tone of Henry IV, Part One.
Schell, Edgar T. "Prince Hal's Second 'Reformation.'" Shakespeare Quarterly 21 (Winter 1970): 11-16. Schell argues that Hal's second reformation, depicted in Henry IV, Part Two (following his first in Henry IV, Part One), addresses the technical challenges of crafting Henry IV, Part Two as a follow-up to Henry IV, Part One. Since the prince has already reformed, this second transformation is necessary only from the perspective of his anxious father.
Seng, Peter J. "Songs, Time, and the Rejection of Falstaff." Shakespeare Survey 15 (1962): 31-40. Seng analyzes the songs in Henry IV, Part Two, noting that Falstaff's song in II.iv illustrates his "degradation," while Silence's songs in V.iii highlight the inevitability of Falstaff's rejection.
Setting
The tapestry of settings in Henry IV, Part II serves to illustrate the contrasting worlds and character dynamics central to the play's narrative. Each locale contributes distinctively to the unfolding drama, offering insights into the social and political landscapes of the time.
On the bustling streets of London, the play paints a vivid picture of the chaotic and boisterous life led by the lower classes. This is the realm where Sir John Falstaff and his unsavory companions thrive, embodying the vigor and moral ambiguity of urban life. Their escapades and the comic chaos they create provide a sharp contrast to the more somber and strategic machinations within the royal circles.
In stark contrast stands Westminster Palace, the heart of royal power adjacent to the venerable Westminster Abbey. Here, the ailing King Henry IV wrestles with the implications of the ongoing rebellion led by Northumberland and his cohorts. The king's preoccupation with securing his realm is juxtaposed with personal concerns as his health declines. Prince Henry, his heir, arrives at the palace, absorbing the monarch's advice to engage the nobility through "foreign quarrels," a strategy intended to maintain domestic peace and consolidate power. King Henry’s belief in a prophecy that he would die in "Jerusalem" leads to a poignant moment when he discovers a chamber in the palace named "Jerusalem," where he ultimately meets his end, passing the crown to his son, who ascends as King Henry V.
Meanwhile, in the rural setting of Justice Shallow’s house in Gloucestershire, Falstaff’s comedic misadventures continue as he attempts to recruit soldiers for the king’s army. These scenes provide a satirical commentary on the haphazard nature of military recruitment and the ineptitude of those involved, further underscoring the play’s exploration of authority and its discontents.
Further north, Warkworth Castle serves as the strategic base for the earl of Northumberland, the head of the Percy family and a principal figure in the rebellion against King Henry IV. This castle is a symbol of defiance and ambition, highlighting the regional power struggles that threaten the stability of the kingdom.
Finally, in the remote and foreboding Gaultree Forest in Yorkshire, the play reaches a critical juncture. Here, Prince John, another son of Henry IV, executes a cunning strategy to deceive and capture rebel leaders Mowbray, Hastings, and the archbishop of York. The geographical distance between Yorkshire and London allows the king and Prince Henry to disavow this act of treachery, maintaining their honor while ruthlessly quelling dissent.
Each of these settings not only anchors the narrative but also reflects the broader themes of power, loyalty, and the complex interplay between personal ambition and political obligation that define Shakespeare’s historical drama.
