the degree to which embodied character is indeed a ‘hybrid production’, to borrow Hartley’s phrase – an ‘embodied phenomenon’ produced through the actor’s engagement with spoken text. As Doran’s cycle moved into the reign of Henry V, actorly method
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Shakespeare and War
Honour at the Stake
Patrick Gray
undercuts critics such as William Hazlitt who see Henry V as ‘ironic’, as well as those such as Norman Rabkin who see the play as ‘radically ambiguous’. The problem with the play’s ‘apparent subversion of the monarch’s glorification’, Greenblatt argues, is
The Better Part of Stolen Valour
Counterfeits, Comedy and the Supreme Court
David Currell
aristocratic-individualist ideology. The nationalist perspective informs the night thoughts that Hal (now Henry V) shares on the emptiness to him personally of ‘general ceremony’. 12 Publicly the next morning, of course, he tells a different, Homeric story
The Disciplines of War, Memory, and Writing
Shakespeare’s Henry V and David Jones’s In Parenthesis
Adrian Poole
David Jones's In Parenthesis (1937) is the most ambitious attempt in English literary writing to commemorate the experience of the Great War. In its allusions to Shakespeare's Henry V Jones is less interested in the king than in 'Fluellen' and his mantra, 'the disciplines of war'. In Parenthesis de-centres not just Henry V, not just Shakespeare, but the conventional reading of English literary history itself. Important as the idea of discipline was to Jones - disciplines of war, of memory, of art - in the figure of 'Dai Great-coat' he celebrates an excess that challenges and eludes what 'Fluellen' represents. In doing so Jones exposes the uses and the limits of Shakespeare for the creative artist writing in English, not least when it comes to representing the experience of war and the action of memory.
Douglas Bruster
Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.
Franziska Quabeck
’s characters’ statements on war has led to very different conclusions as to what, if any, coherent perspective on war can be seen as generally upheld across his oeuvre as a whole. Despite Norman Rabkin’s influential appeal to understand Shakespeare’s Henry V
John of Lancaster’s Negotiation with the Rebels in 2 Henry IV
Fifteenth-Century Northern England as Sixteenth-Century Ireland
Jane Yeang Chui Wong
arrest thee, traitor, of high treason. And you, Lord Archbishop, and you, Lord Mowbray, Of capital treason I arrest you both. 1 This scene is arguably even more troubling than Henry V’s slaughter of the French prisoners in Harfleur. 2 In 2 Henry IV
Elizabeth Hoyt and Gašper Jakovac
example, sees an ambitious man (p. 141). Next up are the principles of responsibility and proportionality. In light of Henry V , Quabeck argues that for Shakespeare, it is impossible for a ruler, no matter how hard he tries, to transfer the responsibility
The Madness of King Charles III
Shakespeare and the Modern Monarchy
Richard Wilson
the play was perhaps written to address. The dramatist called on ‘princes to act, / And monarchs to behold the swelling scene’ ( Henry V , Pro.3–4). So, scholars glimpse in Hamlet aspects of both James VI of Scotland and his brother-in-law Christian IV
James Everest and Clare Whitehead
Dollimore and Alan Sinfield’s discussion of the ideological tensions present in Henry V . After outlining their conception of ideology, the authors provide a reading of the play that highlights the complexities in the depictions of nationalist fervour and
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