Throughout history, great leaders have been great orators and nowhere is Henry’s excellence as a King more evident than in his rallying, famous words at the siege of Harfleur. “Once more unto the breach, dear friends, once more”8, he cries. Those two small words, ‘dear friends’ tell the audience that Henry considers himself an equal both with his nobles and his soldiers – qualities that were bound to make him popular. Using imagery and metaphors – “imitate the action of a tiger”9, “like greyhounds in the slips”10 (p96) – he encourages his men. However, he is exploiting their patriotism, ending, “Follow your spirit and upon this charge Cry “God for Harry, England and Saint George!” 11
As a leader of men Henry shines. He leads by example, talking of brotherhood and friendship with his nobles. His ability to put himself on the same level as the common man is further illustrated when Henry disguises himself as a soldier and walks among his troops to ascertain the morale of his men. Ordinary soldiers make it clear that they are only there because they are the King’s subjects and as such, “If his cause be wrong, our obedience to the King wipes the crime of it out of us”12. Speaking on their level, in continuous prose, the language of the common man, Henry responds determinedly, “Every subject’s duty is the King’s, but every subject’s soul is his own ”13, making it clear that they are responsible for their own actions.
This shelving of responsibility, by Henry, is apparent throughout the play. We see him lay the blame for the war on the Dauphin and the will of God, and the slaughter of the French prisoners is blamed back on the French. On the one hand, Henry is cold, clear and decisive and this is exemplified by his restrained response to the Dauphin’s ‘tennis balls’14 insult. Yet the decision for war had already been made and Henry just turns this episode around to put the blame for the war on to the French.
We see a different side of Henry in the courtship scenes with Katherine. He uses his expertise with words to woo her but could easily be just ‘playing a role’ in order to get what he wants, Katherine as his wife – albeit a marriage of convenience.
In contrast to Shakespeare, Aphra Behn was a feminist playwright and the first English woman to make her living from writing. The Rover was written at the height of the Restoration; the King was back in power and things had become less puritanical. Theatres were re-opened and for the first time women were allowed to act on stage. Mirroring her own life, Behn’s female characters challenged the roles society expected them to play, in the same way that she did.
The Rover is very much a play about women, showing them flouting the rules of society and chasing the men. Behn is very critical of her male characters and in particular, ‘The Rover’, Captain Willmore. He is an “extravagant rake”15. He is lecherous, promiscuous, a bully and takes advantage of women yet he must have some redeeming features as he seems to get away with this exploitation.
The play is set at carnival time when two sisters, Hellena and Florinda, dress up like gypsies and go into town where they meet English sailor Captain Willmore who is on shore leave after many months at sea. He is a man without a conscience and wants nothing more than to enjoy the pleasures of as many women as possible – “Love and mirth are my business in Naples”16. He makes no pretence and Behn uses imagery, “Thou know’st I’m no tame sigher, but a rampant lion of the forest”17 to show Willmore’s openness about his sexuality and desires. He makes no attempt to hide his rakishness.
We see, many times, how he uses words cleverly to get his own way and further his own interests. “Prithee dear Creature, give me credit for a Heart, for faith, I’m a very honest fellow”18 he tempts Hellena. He has no qualms about seducing her. She tells him she has sworn to die a virgin and that there are dangers that accompany anyone who seeks her heart. “Then thou art damned without redemption, and as I am a good Christian, I ought in charity to divert so wicked a design”19. Enticed by the challenge, Willmore declares his undying adoration for her. He is a smooth talker and his dialogue his full of sexual innuendo using imagery and religious metaphor depicting sexual appetite that in turn is likened to food - “I long to come first to the Banquet of Love! and such a swinging Appetite I bring”20.
Similar metaphors are repeated later. When Hellena suspects that Willmore has had sex with someone else he responds, “Faith long fasting Child, spoils a Mans Appetite”21. In the same way Willmore cajoles Hellena, “I love to steal a dish and a bottle with a Friend, and hate long Graces – come let’s retire and fall too.”22
Despite pursuing Hellena he still wants other women. However, he has no intention of paying the courtesan Angellica for her services and when he sees the price tag of 1000 crowns for a month of her services he asks her “Pray how much may come to my share for a pistole?”23. Instead of being insulted by his offer she falls to his words, “’tis with those arms I can be only vanquished, made a slave”24 and ends up leaving with him. This is a man who can charm both lady and courtesan, and he repeatedly manages to earn back their love even after they catch him out with other women.
Willmore’s lack of respect for women is most evident when, very drunk, he nearly rapes Florinda - “What has God sent us here? A female! By this light, a woman! I’m a dog if it be not a very wench!”25. “Thou art a good Christian, obliged in conscience to deny me nothing. Now, come, be kind without any more idle prating”26 he drunkenly continues.
Nor does he have any scruples about taking money from women. He thinks he will gain financially from a relationship with the rich courtesan Angellica, quite liking the idea of a rich patroness. He is unable to distinguish between love and lust. However, he has met his match in Hellena, who shares his appetite for adventure and love and whose streak of bold independence inspires him to fidelity. Despite all his protestations - “Love and Beauty have their own Ceremonies; Marriage is as certain a bane to Love, as lending money is to Friendship.”27 the story ends with Willmore being cleverly manipulated into marriage by Hellena.
Both playwrights are critical of their leading men but with different results. Both leading men are able to use words cleverly and to their advantage, Clearly, Henry is more honourable than Captain Willmore. Yet Willmore’s character could well be likened to Henry in his youth before he ‘grew up’ and became King. Perhaps marriage will do the same for Willmore.
1507 words
References:
1. Shakespeare, William (1996) Henry V, edited by A.R. Humphries, Penguin, Act II, Chorus, p.75, line 6
2. Ibid., Act 1, Scene 1, p.63, lines 55 & 56
3. Ibid., p.62, line22
4. Ibid., p.62, line 23
5. Ibid., p.62, lines 25-27
6. Ibid., Act 1, Scene 2, p.67, line 96
7. Ibid., p.65, line 22
8. Ibid., Act 3, Scene 1, p.96, line 1
9. Ibid., Act 3, Scene 1, p.96, line 6
10. Ibid., Act 3, Scene 1, p.96, line 31
11. Ibid., Act 3, Scene 1, p.97, line 34
12. Ibid., Act IV, Scene 1, p.124, line 128
13. Ibid., Act IV, Scene 1, p.127, line 172
14. Ibid., Act 1, Scene 2, p.73, line 259
15. Owens, W.R. & Goodman, L. (ed) (1996) Shakespeare, Aphra Behn and the Canon, The Open University, p.161
16. Owens, W.R. & Goodman, L. (ed) (1996) Shakespeare, Aphra Behn and the Canon, The Open University, The Rover, Act 1, Scene 2, p.270, line 67
17. Ibid., Act 1, Scene 2, p.270, line 95
18. Ibid., Act 1, Scene 2, p.271, line 14
19. Ibid., Act 1, Scene 2, p.271, lines 141 & 142
20. Ibid., Act 1, Scene 2, p.272, line 73
21. Ibid., Act III, Scene 1, p.287, line 139
22. Ibid., Act V, Scene 1, p.322, line 402
23. Ibid., Act II, Scene 2, p.282, line 31
24. Ibid., Act II, Scene 2, p.283, line 120
25. Ibid.,, Act III, Scene 5, p.293, line 12
26. Ibid., Act III, Scene 5, p.293, line 34
Bibliography:
Shakespeare, William (1996) Henry V, edited by A.R. Humphries, Penguin
Owens, W.R. & Goodman, L. (ed) (1996) Shakespeare, Aphra Behn and the Canon, The Open University, The Rover
Owens, W.R. & Goodman, L. (ed) (1996) Shakespeare, Aphra Behn and the Canon, The Open University
Brooks, Marilyn, Davies, Jessica and Pedlar, Valerie (2001) Approaching Plays, The Open University, Milton Keynes
Padley, Steve (ed) (2001) Approaching Prose Fiction, The Open University, Milton Keynes
A210: Video 3, The Rover, The Open University
A210 programme: The Authentick and Ironicall Historie of Henry V, The Open University