Falstaff speaks mostly in figurative language rich in metaphors and similes, continually creating himself as the butt of jokes. Falstaff's gargantuan girth a comedy in itself, is alluded to as he says, “Thou seest I have more flesh than another man, and therefore more frailty.” (Lines 172-174) His reference to the size of his body can be viewed as a personification of his greed. Throughout the play he is portrayed as a loafer and a sponge. Also, during the time of the play, voluptuousness was a sign of prosperity. As for the ‘frailty’ he refers to it can serve as a metaphor for his ‘fallen state’ and moral vices.
Falstaff is consistently portrayed as an indulgent loafer and cheat, yet he adamantly attempts to come across as honourable figure. As he proclaims, ““Thou shalt find me tractable to any honest reason” (Lines 178-179). He is a master manipulator with his quick-wit and imagination he is able to turn most situations in his favor. In this scene he is caught quarreling with the hostess about his debt as is trying to weasel his way out of paying the tavern bill by accusing her of picking his pocket. However, he is caught in this blatant lie by Hal and yet still manages to promptly deflect the situation by turning it on its head. He steers the attention away from his wrongdoings by exclaiming, “You confess, then, you picked my pocket?” (Lines 174-175) With marvelous adroitness he paints himself the victim of the prince’s wrongdoing. He is able to swiftly take charge of most situations.
In the previous scene of the thwarted highway robbery he acted in the same manner by giving the impression that he had the situation under control the entire time and turned it to his advantage. In this instance he switches from the accused to the accuser as he has the gumption to forgive the hostess by saying, “Hostess, I forgive thee. Go make ready breakfast, love thy, husband, look to thy servants, cherish thy guests.” (Lines 179-180) He obliges her to serve him breakfast while proffering up condescending advise that portrays him as superior to her, perhaps on account of his Knight status and his gender. This male superiority complex that Falstaff has seems to be shared by many other male characters in this play, including the revered Hotspur that refers to his wife as, “my brach” (3.1. Line 238) a term commonly used with reference to a female canine. His last words to the hostess are, “Nay, prithee, be gone.”(Line 180) The dismissive command lacks respect and reeks of arrogance.
This belittling attitude towards women further illustrates the power that Falstaff desires in general and more expressly over Hal as he attempts to claim himself as a patriarchal figure over the misguided young prince. While from their rapport they appear to be equal in rank and morals the prince is without doubt far superior. As following the hostesses’ departure Hal claims, “I must still be good angel to thee” (Line 183-184) comparing himself to a saintly creature that is not of the world he has pointedly separated himself from Falstaff and his misdeeds. In the play Falstaff is caught in numerous lies and questionable situations such as the highway robbery. Hal confesses that, “the money is paid back again” (Line 183) this act shows that when it comes to the prince appearances are deceiving as he may come across as a wayward character yet his moral worth is that of a prince. Falstaff is displeased by the prince’s actions and admonishes him, ““O, I do not like that paying back!” (185). The two do not see eye to eye in matters of virtue and honour as can be seen from the aforementioned dialogue. However, it is becoming increasingly obvious that Hal is incorruptible.
Falstaff remains intent upon swaying the future king to his way of thinking as he confidently remarks, “rob me the exchequer the first thing thou doest, and do it with unwashed hands too” (189-190). He is still hoping the prince will be persuaded and partake in unlawful activities with him. Yet it becomes obvious from the way in which this scene unfolds that the Prince is in fact nothing like the louts he keeps in his company. He transforms into an authority figure in this scene by ordering Falstaff to take charge of a crew of mean to fight in the imminent battle. Also, the way his tone changes towards Falstaff seems to foreshadow the portly knight’s future banishment. This scene reflects the entirety of the play that is a combination of the seriousness of civil strife and political unrest mixed in with comedic relief.
Works Cited
Best, Michael. “Module 1, Richard II.” English 324 Shakespeare Course Guide: Shakespeare’s Histories and Tragedies. Athabasca: Athabasca University, 2010. 48. Print.
Best, Michael. “Module 2, Henry IV.” English 324 Shakespeare Course Guide: Shakespeare’s Histories and Tragedies. Athabasca: Athabasca University, 2010. 48. Print.
