928 shakespeare, William
Through this play, Shakespeare examines the
themes of coming of age, pride, and violence.
Henry IV, Part 1 is a violent play that also con-
tains some of the best comedic scenes in Western
literature. Its wide-ranging appeal is a result of
Shakespeare examining some of humankind’s more
complex dimensions.
Alexander L. Kaufman
comInG oF aGe in Henry IV, Part 1
From the beginning of Henry IV, Part 1 to its close,
Henry, Prince of Wales (called Hal), undergoes a
profound change in his behavior and personality. As
readers, we are witness to Hal’s maturation from a
knavish thug to the living embodiment of the future
of England: Henry V. Through a series of contrast-
ing scenes and characters, Shakespeare makes it
clear that the play’s protagonist is not the titular
character; rather, it is Hal, who is coming of age
during a period of political and personal instability.
When we first meet Hal, he is holding court
in his personal apartment. He and his friends are
engaging in behavior that is anything but courtly,
and certainly not the type one would associate with
a future king: They are planning to rob pilgrims.
Sir John Falstaff, who is Hal’s mentor and, in a
sense, surrogate father, only heightens this juvenile
performance by referring to the band as “gentle-
men of the shade” and “men of good government”
(1.2.26–27). Hal is certainly not following in his
father’s footsteps. In the previous scene, we wit-
nessed the king engrossed in matters of the state, all
the while bemoaning his son’s criminal ways. Yet by
Hal’s first soliloquy, it is evident that he is aware his
actions need to change. He will play along with his
friends for some time; however, he vows to “imitate
the sun” (1.2.197) and plans to show his true abili-
ties when it is most advantageous: “I’ll so offend, to
make offence a skill, / Redeeming time when men
think least I will” (1.2.216–217).
After the robbery, Hal and his friends recon-
vene at the Boar’s Head Tavern. It is here at the
bar where Hal has grown up, where he has learned
life’s lessons. However, Hal’s teacher is Falstaff, who
is a lazy, overweight, foulmouthed drunk. After
listening to a series of Falstaff ’s rants regarding
the plague of cowards in England, it is clear to Hal
that the real “sanguine coward” (2.4.242) is Falstaff.
His future, he realizes, may be all too similar to
Falstaff ’s if he does not change his course. While
his time with Falstaff and his other friends (Poins,
Gadshill, Peto, and Bardolf ) has included many
illegal activities, it has also provided Hal with a
venue to lead, to study human behavior, and to wit-
ness the benefits of acting in a mature manner. The
mock interrogation scene that closes act 2, scene 4,
in which Falstaff plays Henry IV, demonstrates that
Hal has learned more at the tavern than the court.
The mock interrogation scene serves Hal quite
well, for once he is in his father’s company, we see a
marked change in his behavior. The prince is more
mature, he is well-spoken, and he is humble. This,
of course, is in direct contrast to Hal’s nemesis,
Hotspur, who has organized a rebellion against the
king’s forces and has demonstrated nothing but
prideful acts of warmongering and the ability to dis-
pense vainglorious boasts. Henry IV is preparing for
war, yet he is unsure of his son’s intentions, abilities,
and even allegiances. Hal listens to his father’s per-
sonal (and harsh) criticism, but he remains respectful
and obedient, telling the king, “I shall hereafter, my
thrice-gracious lord, / Be more myself ” (3.2.92–93).
Here are two turning points: the turning point of
the dramatic structure of the play and also the turn-
ing point in Hal’s character where he asserts more
responsibility and maturity. His father still does not
pay him any mind; it is only after Hal’s declaration
that he will better Hotspur on the field of battle
that Henry bestows upon him “charge and sover-
eign trust” (3.2.161). Back at the Boar’s Head, Hal
does not relapse; he fairly settles a quarrel between
Falstaff and the Hostess, and he gives orders to his
soldiers like a true king. Even Falstaff, whom Hal
has given command of a company of foot soldiers,
declares Hal’s speech to be “Rare words” (3.3.205).
As the two sides prepare for battle, it is evident
that Hotspur, through his excessive temper and
unwise military strategy, has lost the respect and
trust of his men. Hal, however, is making a positive
name for himself, and word of his sudden trans-
formation is spreading in the rebel camp. Hotspur,
unaware of Hal’s maturation, calls the Prince a
“nimble-footed madcap” (4.1.95), and he is quickly
rebuked and corrected by Sir Richard Vernon. The