Study Guide to Henry IV, Part 2 by William Shakespeare

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645425632
• Edition: 1
• Topic: Manuali di studio
• Subtopic: Guide di studio

A comprehensive study guide offering in-depth explanation, essay, and test prep for William Shakespeare’s Henry IV, Part 2, the gripping third installment of kingship and rebellion. As a detail rich history of the sixteenth century, Shakespeare skillfully combines history and comedy, moving from intense battle scenes of kings to simple scenes of country life. Moreover, his compelling themes of power struggle and burdensome royal life are demonstrated through his imagery and characterization. This Bright Notes Study Guide explores the context and history of Shakespeare’s classic work, helping students to thoroughly explore the reasons it has stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&As The Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including
essay questions and answers as well as topics for further research.

INTRODUCTION TO WILLIAM SHAKESPEARE

 

On April 26, 1564, William Shakespeare, son of John Shakespeare and Mary Arden, was christened in Holy Trinity Church, Stratford-on-Avon. His birthday is traditionally placed three days before. He was the eldest of four boys and two girls born to his father, a well-to-do glover and trader, who also held some minor offices in the town government. He probably attended the local free school, where he picked up the “small Latin and less Greek” that Ben Jonson credits him with. (“Small” Latin to that knowledgeable classicist meant considerably more than it does today.) As far as is known, this was the extent of Shakespeare’s formal education. In November of 1582, when he was eighteen, a license was issued for his marriage to Ann Hathaway, a Stratford neighbor eight years older than himself. The following May their child Susanna was christened in the same church as her father. While it may be inferred from this that his marriage was a forced one, such an inference is not necessary; engagement at that time was a legally binding contract and was sometimes construed as allowing conjugal rights. Their union produced two more children, twins Judith and Hamnet, christened in February, 1585. Shortly thereafter Shakespeare left Stratford for a career in London. What he did during these years - until we pick him up, an established playwright, in 1592 - we do not know, as no records exist. It is presumed that he served an apprenticeship in the theatre, perhaps as a provincial trouper, and eventually won himself a place as an actor. By 1594 he was a successful dramatist with the Lord Chamberlain’s company (acting groups had noble protection and patronage), having produced the Comedy of Errors and the Henry VI trilogy, probably in collaboration with older, better established dramatists. When the plague closed the London theatres for many months of 1593-94, he found himself without a livelihood. He promptly turned his hand to poetry (although written in verse, plays were not considered as dignified as poetry), writing two long narrative poems, Venus and Adonis and The Rape of Lucrece. He dedicated them to the Earl of Southampton, undoubtedly receiving some recompense. The early nineties also saw the first of Shakespeare’s sonnets circulating in manuscript, and later finding their way into print. In his early plays - mostly chronicle histories glorifying England’s past, and light comedies - Shakespeare sought for popular success and achieved it. In 1599 he was able to buy a share in the Globe Theatre, where he acted and where his plays were performed. His ever-increasing financial success enabled him to buy a good deal of real estate in his native Stratford, and by 1605 he was able to retire from acting. Shortly thereafter he began to spend most of his time in Stratford, to which he retired around 1610. Very little is known of his life after he left London. He died on April 23, 1616, in Stratford, and was buried there. In 1623 the First Folio edition of his complete works was published by a group of his friends as a testimonial to his memory. This was a very rare tribute, because at the time plays were generally considered to be inferior literature, not really worthy of publication. These scanty facts, together with some information about the dates of his plays, are all that is definitely known about the greatest writer in the history of English literature. The age in which Shakespeare lived was not as concerned with keeping accurate records as we are, and any further details about Shakespeare’s life have been derived from educated guesses based on knowledge of his time. Shakespeare’s plays fall into three major groups according to the periods in his development when he wrote them:

EARLY COMEDIES AND HISTORIES

The first group consists of romantic comedies such as A Midsummer Night’s Dream (1593-5), and of strongly patriotic histories such as Henry V (1599). The early comedies are full of farce and slapstick, as well as exuberant poetry. Their plots are complicated and generally revolve around a young love relationship. The histories are typical of the robust, adventurous English patriotism of the Elizabethan era, when England had achieved a position of world dominance and power.

THE GREAT TRAGEDIES

The second period, beginning with Hamlet and ending with Antony and Cleopatra, is the period of the great tragedies: Hamlet (1602); Othello (1604); King Lear (1605); Macbeth (1606); and Antony and Cleopatra (1607-8). Shakespeare seems to have gone through a mental crisis at this time. His vision of the world darkens, and he sees life as an epic battle between the forces of good and evil, between order and chaos within man and in the whole universe. The forces for good win out in the end over evil, which is self-defeating. But the victory of the good is at great cost and often comes at the point of death. It is a moral victory, not a material one. These tragedies center on a great man who, because of some flaw in his makeup, or some error he commits, brings death and destruction down upon himself and those around him. They are generally considered the greatest of Shakespeare’s plays.

THE LATE ROMANCES

In the third period Shakespeare returns to romantic comedy. But such plays as Cymbeline (1609-10), The Winter’s Tale (1610-11), and The Tempest (1611) are very different in point of view and structure from such earlier comedies as Much Ado About Nothing (1599) and Twelfth Night (1600). Each of these late romances has a situation potentially tragic, and there is much bitterness in them. Thus the destructive force of insane jealousy serves as the theme both of the tragedy, Othello, and the comedy, The Winter’s Tale. They are serious comedies, replacing farce and slapstick with rich symbolism and supernatural events. They deal with such themes as sin and redemption, death and rebirth, and the conflict between nature and society, rather than with simple romantic love. In a sense they are deeply religious, although unconnected with any church dogma. In his last play, The Tempest, Shakespeare achieved a more or less serene outlook upon the world after the storm and stress of his great tragedies and the so-called “dark comedies.”

SHAKESPEARE’S THEATRE

Shakespeare’s plays were written for a stage very different from our own. Women, for instance, were not allowed to act; so female parts, even that of Cleopatra, were played by boy actors whose voices had not yet changed. The plays were performed on a long platform surrounded by a circular, unroofed theatre, and were dependent on natural daylight for lighting. There was no curtain separating the stage from the audience, nor were there act divisions. These were added to the plays by later editors. Because the stage jutted right into the audience, Shakespeare was able to achieve a greater intimacy with his spectators than modern playwrights can. The audience in the pit, immediately surrounding the stage, had to stand crowded together throughout the play. Its members tended to be lower class Londoners who would frequently comment aloud on the action of the play and break into fights. Anyone who attended the plays in the pit did so at the risk of having his pockets picked, of catching a disease, or, at best, of being jostled about by the crude “groundlings.” The aristocratic and merchant classes, who watched the plays from seats in the galleries, were spared most of the physical discomforts of the pit.

ITS ADVANTAGES

There were certain advantages, however, to such a theatre. Because complicated scenic, lighting and sound effects were impossible, the playwright had to rely on the power of his words to create scenes in the audience’s imagination. The rapid changes of scene and vast distances involved in Antony and Cleopatra, for instance, although they create a problem for modern producers, did not for Shakespeare. Shakespeare did not rely - as the modern realistic theatre does - on elaborate stage scenery to create atmosphere and locale. For these, as for battle scenes involving large numbers of people, Shakespeare relied on the suggestive power of his poetry to quicken the imagination of his audience. Elizabethan audiences were very lively anyway, and quick to catch any kind of word play. Puns, jokes, and subtle poetic effects made a greater impression on them than on modern audiences, who are less alert to language.

HENRY IV, PART 2

INTRODUCTION

While it is fairly certain that Shakespeare planned to write a historical series of four plays, two of which would be devoted to Henry IV, he might have abandoned the project of writing the second part had not the first been met with so favorable a reception. Part One was evidently performed in 1597. The audience appreciated its historical content, but they were captivated by the character of Falstaff who dominated the comic sub-plot of the play. In Part Two, Shakespeare gave Falstaff an even larger role. Ingeniously, he gradually eased the young Prince Hal (who was to become King Henry V at the end of Part Two) out of the comic part and into the historical framework of the play. When the first unauthorized Quarto of “2 Henry IV” appeared in 1600, it was clear that Falstaff was still in high favor, for a sub-title adjoined to the proper name of the play stressed the fact that “the humors of Sir John Falstaff and swaggering Pistol” were to be found therein.

In less able hands, the Elizabethan habit of mixing history and comedy usually resulted in disjointed plays, with irrelevant matter interrupting the main plot continually. In “2 Henry IV,” Shakespeare created unity and depth of characterization by making the comic sub-plot a part of the main plot. Hal’s youthful fears of royal responsibility send him to the taverns where he cavorts with low companions. But even in the taverns, Hal is sometimes reflective and is consistently aware that the dream-world of lower life must one day be set aside for princely realities. Sir John Falstaff, by inclination, belongs to the tavern class, but he is a knight if not a gentleman and must take part in the king’s wars if commanded to do so. Shakespeare made Hal and Falstaff move freely between the two worlds - that of the serious state and that of the carefree tavern and thereby served the public craving for history and comedy without compromising his integrity as an artist and dramatist.

“2 Henry IV” was issued twice in the Quarto edition and again in the 1623 Folio edition of Shakespeare’s “Works,” published after his death by friends of the genius. Although Part Two has been less popular than Part One in recent times, it was performed several times during Shakespeare’s lifetime. After his death, Part Two was performed privately sometime before 1644, was revived in 1703, and again in 1720 and 1758. The 1758 performance was produced by the famous actor David Garrick who inspired the Shakespeare festival at Stratford-on-Avon, the first of many such festivals which were to follow in nineteenth and twentieth-century England, Canada, and America.

SOURCES OF 2 HENRY IV

The historical material for both parts of Henry IV was adapted from “The Chronicles of England, Scotland, and Ireland” (1577; 1587) by Raphael Holinshed, who in turn borrowed material from Edward Hall’s “The Union of the Two Noble and Illustrate Families of Lancaster and York” (1548). Another source may have been Samuel Daniel’s poem “The Civil Wars between the Two Houses of Lancaster and York” (1595), or a lost work which supplied Daniel and Shakespeare with the same information. These sources are not always accurate, and Shakespeare followed some of the chroniclers’ mistakes in his plays. In addition, he telescoped events to achieve greater dramatic unity.

Several incidents in the play are borrowed from other sources. Hal’s trouble with the Chief Justice is related in Sir Thomas Elyot’s “The Boke Named the Governour” (1531), in Stow’s “Annals of England” (1592), and in “The Famous Victories of Henry the Fifth,” performed before 1588 and printed in 1598. An analogue for Hal’s rejection of Falstaff is found in “The Famous Victories” and in Holinshed’s chronicle. To some extent, the comic scenes are based on contemporary life in London as well as on the source books. The technique of alternating serious scenes with the low comedy of humble life is derived from the English morality play, which was still in vogue in Shakespeare’s childhood.

SHAKESPEARE’S HISTORY PLAYS

Just before h...

Table of contents

• Front Cover
• Title Page
• Copyright Page
• Contents
• 1) Introduction to William Shakespeare
• 2) Introduction to Henry IV, Part 2
• 3) Textual Analysis
• 4) Character Analyses
• 5) Critical Commentary
• 6) Essay Questions and Answers
• 7) General Biography and Criticism