Henry V 931The chaotic nature of the battle also takes the life
of Falstaff, or so he wants others to think. In reality,
Falstaff, who is so deficient of honor, embraces the
violence and pretends to be dead (even before Hal)
so as to avoid death. Falstaff even mutilates Hot-
spur’s corpse after hearing Hal eulogize him.
By the close of the play, the theme of violence is
brought together. All those who rebelled are either
dead or (like Worcester and Vernon) will soon be
executed. But the violence will continue, for as the
play ends, Henry informs his men that he will split
his forces and send some to the North and the
remainder to the West to finally halt all pockets of
resistance. Violence, as we have seen, is a destructive
force to all involved; however, it is also a necessity
so as to attempt to bring order and stability to the
kingdom.
Alexander L. Kaufman
SHakESPEarE, wiLLiam Henry V
(1600)
Henry V is one of Shakespeare’s most popular history
plays, a genre in Renaissance England that focused
on the lives of English kings. Shakespeare wrote two
tetralogies (four-play sequences) spanning English
history from Richard II through Henry IV, V, and
VI, ending with Richard III. Despite appearing
historically in the middle, Shakespeare wrote Henry
V last, and many critics view it as the culmination
of his exploration of English history. It interrogates
questions of kingship, responsibility, fraternity,
nationalism, and the multiple identities of the
British Isles.
This play examines the reign of the king Henry
V (who reigned from 1413 to 1422), focusing on
his war with France, which climaxed in the Battle
of Agincourt (1415). Theatergoers in Renaissance
England would have been familiar with Henry V
and his notoriously wild youth from Shakespeare’s
Henry IV, Parts 1 and 2, as well as from popular
history. Henry V begins by asserting Henry’s trans-
formation from immaturity to national hero as he
lays a claim (though a somewhat questionable one)
on the French throne. When the French refuse to
take Henry seriously, he decides to invade. His foray
into France is hampered by traitors; hungry, ill, and
reluctant soldiers; and a much larger French army.
Despite being victorious in the siege of Harfleur,
Henry’s army seems doomed prior to the Battle of
Agincourt. Before the battle, Henry delivers what is
known as the “St. Crispin’s Day Speech” (named for
the day on which the battle occurred) in which he
utters his famous phrase “We few, we happy few, we
band of brothers” (4.3.60). As they were historically,
the English are victorious. In defeat, the French
negotiate a truce stipulating that Henry marries the
princess Catherine, and their future son become heir
to both England and France.
This play explores themes including gender,
community, heroism, identity, nationalism,
responsibility, social class, and violence.
Christopher L. MorrownatIonaLISm in Henry V
It is no surprise to find that a history play focusing
on an English hero like Henry V would be con-
cerned with questions of nationalism, especially in
a monarchy where a nation takes its very identity
from its king. Furthermore, the action of such plays
occurs on a national level, where the definition of
one nation is made through comparison with one or
more others.
In the instance of Henry V, this action is a war
with neighboring France. Nothing raises patriotic
support for a nation like war, which can extend
the nation through conquest but also requires its
citizens to defend it. In the prologue to act 3, the
Chorus asks the audience to use their imagination
to follow the navy and to “leave your England, as
dead midnight still, / Guarded with grandsires,
babies, and old women, / . . . / For who is he, whose
chin is but enriched / With one appearing hair, that
will not follow / Those culled and choice-drawn
cavaliers to France” (3.0.19–24). The play involves
everyone who is able—including the audience—in
the cause of nation in order to act for England and
against France. France itself assumes the opposite
definition—a villain through which the English
define themselves the heroic opposite. For instance,
the French are cast as inferior soldiers prone to cow-
ardice. Henry tells the French messenger, “I thought
upon one pair of English legs / Did march three
Frenchman” (3.6.135–136). He is suggesting that