Exeter's speech. But those words were but a reflection added to his approval of Westmoreland's opinion. The long descriptive speech of the Archbishop has therefore no dramatic necessity. The last few lines belong to the situation, but the rest is one of those pieces of political speculation, of which there are many in Elizabethan literature. It may be compared with Gonzalo's speculation in The Tempest, II, i, 141 ff. 2. The King's fine exclamation on ceremony, IV, i, 229–283. This speech is entirely appropriate, entirely characteristic of the honest and straightforward man who utters it. But it certainly does not belong in any special way just where it stands. The really important idea is not that of ceremony, but of the responsibility of the King for those whom he commands, as is indicated in 11. 229–232. That is the idea that explains the King's whole attitude. The transition to the topic of ceremony (11. 232-238) is natural, however, and the speech is a fine one. 3. The Duke of Burgundy's description of France, V, ii, 23-67. This speech stands in closer connection with the rest of the scene than the others. Still its main interest is rhetorical rather than dramatic. 4. The Archbishop's description of the King, I, i, 24-59. Quite appropriate to its place in the play as this speech is, setting the key of general reflection, yet it is really an independent thing; having, as Mr. White remarks in his note, no basis in fact, it has not much more in the situation whence it arises. pendent Here also we may perhaps put the soliloquy of the Less inde- Boy (III, ii, 26–54) and the argument on speeches. the King's responsibility (IV, i, 146–184), though these have rather more connection with their places. Still that their interest is really in dependent of their dramatic place will be seen on comparing them with the speeches of the second kind. The speeches of the second kind are those that arise more exactly from the dramatic situa tion. Such are: More dramatic speeches. The Archbishop's Explanation of the Salic Law. I, ii, 33–95. Henry's Accusation of the Conspirators. II, ii, 79–144. Henry to his Army at Harfleur. III, i, 1–34. Henry to the Governor of Harfleur. III, iii, 1–43. Henry to Montjoy. III, vi, 142-169. Henry before the Battle. IV, iii, 18–67. Henry to Montjoy. IV, iii, 90-125. Exeter's Description of the Death of the Duke of York. IV, vi, 7–32. Henry to Katharine. V, ii, 132-168. These speeches, though more dramatic than those just mentioned, are still examples of rhetorical poetry. They are meant for delivery, they are speeches in the modern sense of the word, and as such they are extremely characteristic of the play and of the Elizabethan stage. Let us then read them in the spirit in which they were written, as elaborate, sonorous, theatrical declamation. We Disappearrhetorical from the stage. ance of the quality If we are to appreciate Henry V we must appreciate this kind of poetry. It is not much in fashion today, at least on the English stage: our dramatists avoid long speeches and our actors neglect the elocution necessary to deliver them. lay stress on very different matters: our theatre appeals to the eye almost as much as to the ear; our aim is to be realistic rather than imaginative. But in reading Henry V we must accustom ourselves to this rhetorical poetry, for it is the most striking element of the play. modern Construction of Henry V. A few words may be added on some other points. The subject-matter of the play Shakespeare found, as has been noted, in the pages of Holinshed. Without comparing the play with the chronicle, it will be useful to make a summary of the dramatic action, both in general and in detail. action of the The dramatic action here has a more obvious unity than in some other of Shakespeare's histories. It is always worth while, however, to try to state the subDramatic stance of the dramatic motive of any of his play. plays in a few words, to uncover the main idea from the externals in which it is presented, to get a good notion of the true unity of the play. The dramatic action of Henry V may be stated very shortly as follows. Argument Henry the Fifth declares war upon France to make good the claims upon that country which he had inherited from Edward the Third. He gathers an army and makes a brilliant beginning in the capof the play. ture of Harfleur. In marching from that town to Calais he comes up with the main army of the French and wins a glorious and decisive victory at Agincourt. His success compels peace, in which his claims are recognized. A marriage between the Princess Katharine and himself is arranged as a pledge of continued good feeling. These are the facts. Dramatically, however, we may say that Shakespeare's purpose was to present, by means of this glorious achievement of English arms, a picture of ideal kinghood and ideal English character. Thus the main figures will be Henry himself and typical figures chosen to represent his army from highest to lowest. Purpose of the play. We may go further in stating the action from the dramatic standpoint. It may be conveniently Dramatic arranged in an analysis by act and scene. ment. develop Prologue. An apology for the attempt to present such great things with such small means. (See p. 15.) Act I. The Causes of the War. Scene i. The Archbishop of Canterbury and the Bishop of Ely, in a conversation upon the interests of the church, disclose the position of King Henry the Fifth, his character and his plans. In this scene Shakespeare, as often elsewhere, introduces the main dramatic motive by means of minor characters; so he has done in Hamlet and Romeo and Juliet, though not in all the plays. Scene ii. The King has called the Archbishop to expound the law to him in regard to the claims he has made on France. Has he right on his side when he makes demand of the French King to be recognized as sovereign of Aquitaine, Normandy, Maine and Anjou, under the threat that he will otherwise take arms to enforce his claim to the throne of France itself? The Archbishop argues at length that he has right on his side. War is determined on and plans are made for the safety of the kingdom during the King's absence. The French ambassadors who are at hand are summoned. They deliver a scornful message from the French heir apparent and receive a declaration of the King's purpose. Act II. Preparation for the War. Prologue. All England is stirred to excitement in preparation. Scene i. Even the old blackguards and rascals of the King's earlier days are aroused. Pistol, Bardolph, and Nym make preparation to join the army. Falstaff would be going too, but word comes that he is dead. This is one of the humorous scenes that Shakespeare often sandwiches in between the serious and poetic scenes. Scene ii. Before the King leaves England all must be safe at home. Henry has discovered a conspiracy among the high nobles of his court. The conspirators are arrested and sent to the block, and the King is ready to start. Scene iii. The humorous ruffians are seen again. Scene iv. The French hear of Henry's purpose. There is a difference of opinion as to what action shall be taken. The Dauphin thinks that the nobility of France have but to show themselves to drive the English from their country. The Constable urges that the matter is of more importance. The Duke of Exeter, Henry's uncle and representative, is introduced, and delivers England's demand and defiance. Act III. The Campaign in France. Prologue. Chorus tells of the embarkation of the army and of England left behind. Scene i. Henry leads his army to the assault of Harfleur. Scene ii. The humorous ruffians appear, and also stalwart representatives of the real strength of King Henry's army, Gower the Englishman, Fluellen the Welshman, Jamy the Scotchman, and Macmorris the Irishman. They give us word of the siege. Scene iii. Henry demands the surrender of the town, which is conceded. Scene iv. In the French King's palace the Princess Katharine takes a lesson in English. There is question of her marriage with Henry, and she wishes to prepare for any fortune. Scene v. The French nobles make more warlike preparation for meeting the English. Scene vi. The English army on its march to Calais comes upon the French at the river Ternois. The French attempt to hold a bridge, but the English capture it. The French Herald bears to Henry the defiance of the French King. Scene vii. The French nobles, encamped near Agincourt, long for day, that they may attack the English. Act IV. The Battle of Agincourt. Prologue. Chorus tells of the night before Agincourt, and turns attention especially to the royal captain of the English army. Scene i. Henry passes about his camp in disguise, to feel the spirit of his men and encourage the waverers. We see all ranks and kinds of Englishmen: the lords, the captains, and the private men; the brave and the boastful. With each Henry has a word, pausing especially, as was common with English kings, in story at least, to talk familiarly with the sturdy yeomen. In fact, he gets into a dispute with one of them and leaves a glove as a gage. Scene ii. The French prepare for battle. Scene iii. The English prepare. Scene iv. The battle is joined. The boaster Pistol falls in with a Frenchman whom he can beat, and takes him prisoner. This humorous scene is almost the only hint we get of the battle which is in progress; if the cowards in the English army do so much, what must not the brave do ? Scene v. The French are in retreat. Scene vi. The English are not quite sure of the victory they have won. Scene vii. The King is assured of his victory and the losses of the French. He gives the glory to God. Scene viii. The half-humorous incident of the glove is taken up |