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Where Character Is King

Gregory Doran’s Henriad

Alice Dailey

Henry V, actorly method precluded connections between embodied character and the script from which that character claimed verbal and physical agency. In its mixture of achievement and flaw, ‘King and Country’ suggests how a mutually informing

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Shakespeare and War

Honour at the Stake

Patrick Gray

‘Invisible Bullets’, Stephen Greenblatt 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

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The Better Part of Stolen Valour

Counterfeits, Comedy and the Supreme Court

David Currell

of a patriotic-nationalist rather than an 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

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Beautified Q1 Hamlet

Douglas Bruster

pentameter helps explain the next row of the stemma, which features two quartos published by Thomas Creede, The True Tragedy of Richard III and The Famous Victories of Henry V. The former was published in 1594; while the latter's first surviving edition

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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.

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‘As a Stranger Give it Welcome’

Foreignness and Wonder in Jacobean London

Lois Potter

gratuitous praise of the Scots captain, a very minor figure, in Henry V. 10 The new king arrived in England eager to create a united Britain, and urged the two nations to think of each other as brothers. Some writers tried to fall in with this design

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Shakespeare’s Unjust Wars

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

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A World Elsewhere

Documentary Representations of Social Shakespeare

Susanne Greenhalgh

towards finding ‘truth’ through emotionally charged performance. One actor seemingly achieves this objective when his performance of Henry V's Agincourt speech ends in the ‘authenticity’ of a tearful embrace of a fellow inmate, and Caliban is urged to

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John of Lancaster’s Negotiation with the Rebels in 2 Henry IV

Fifteenth-Century Northern England as Sixteenth-Century Ireland

Jane Yeang Chui Wong

the which I do 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

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‘Our golden crown’

Analysis of Religious Intertextuality in Shakespeare's Richard II, and Its Translation into Spanish

Luis Javier Conejero-Magro

, Part 1 , Henry IV, Part 2 and Henry V ) helps emphasise the differences between the English monarchs portrayed. The last Plantagenet monarch, Richard II, and his two Lancastrian successors, the father and son Henry IV and Henry V, represent