The King’s search for justification is evident (ll.281-289) when Henry places the blame for the loss of Frances’ husbands and sons with the Dauphin. He then gives credit to God for any victories won (290) “But this lies within the will of God” – demonstrating the King’s modesty. Henry infers that it is the Dauphin’s joke that has prompted his decision but it was in fact, it was the archbishop of Canterbury who confirmed the King’s intentions when he told him of the Salic Law. (Act 2 ll.33-95) Henry is modest about a triumph over the French claiming that it is the will of God and is anxious to hear the archbishop’s judgement before receiving throne French Ambassador. Henry, on Canterbury’s approval now sees this as a “well-hallowed” cause (l.294) Henry’s use of religion to gain power could be seen as Machiavellian though the need for God’s approval is also significant in the portrayal of Shakespeare’s perfect monarch. This contrasts with the proud French monarchy. The Dauphin’s conceit serves only to mentally strengthen Henry. The French arrogance would have forewarned an Elizabethan audience that their downfall was afoot.
The King calls himself a “wrangler” (l.265) thus portraying him as a fierce negotiator, which was an important quality in a monarch. Negotiations in wartime could include the ransom of prisoners, who were therefore a valuable commodity. Henry’s later cry of, "Then every soldier kill his prisoners!” (IV 6-37) is seen as a gallant act, for Henry would rather forego the ransom money rather than have the accumulated French prisoners gather strength and attack from behind. Henry also makes it clear that if the Dauphin is relying on his reputation, he is in for a surprise. “And we understand him well/How he comes o’er us with our wilder days,” (ll.267-268) The King has now changed the rules and refers again to the Dauphin’s mock”…this mock of his/Hath turned his balls to gun stones,” blaming him squarely – “Shall stand sore charged for the wasteful vengeance.” (ll.284)
Death is ever present – this is after all, a speech declaring war. It is particularly prevalent when Henry warns that generations will suffer the repercussions of the Dauphin’s scorn. “And some are yet ungotten and unborn.” (l.288) Is surely a threat that the greatest part of France will be wiped out? The cultivation of land and women’s’ fertility were closely linked and for a country who relied on agriculture, the loss of generations would be devastating. Henry describes the reality of the deaths to be incurred powerfully as he speaks of “widows”, “dear husbands”, and “mothers from their sons” and the “unborn”. Again Henry quickly remembers (or justifies to himself) that “…this lies all within the will of God,” Rather than accept responsibility for the deaths, he gives it all up to an ever-righteous God. As a mortal, Henry is fallible and cannot afford to be judged on his decisions.
Henry adheres to a more modern policy than the bickering French. He sees himself as fighting alongside his men with a unity between himself and his subjects,” For I have laid by my majesty, And plodded like a man for working days” (ll.277-278) Henry uses the pronoun “we” consistently, which also has the effect of unity. (The ‘Royal We’ is still in use today to muster the impression of unity.) This contrasts with the French monarchy, whose subjects are notorious for revolting against them. By combining the visit from the ambassador with the archbishop’s speech, the king satisfies any legal and moral doubts in one scene. He was, of course, intended by birth to invade the French regardless of recent developments.
Probably the most important theme in the play is that of the King as an actor. Henry knows he is a man playing the role of a king. “Be like a king and rouse my sail of greatness.” (l.275) And is aware that he does not hold the key to immortality “For that I have laid down my majesty, /and plodded like a man for working days” (ll.277-278) Henry can only be like a king. Imagination is needed here in greater proportions and the audience is aware that this is the closest they will ever get to the real Henry. The metaphorical tennis game is also significant in Henry’s role-playing. He has learnt to act like a king and has taken the hard route there. "We never valued this poor seat of England”. Henry advises the messenger that he will act the part of the ultimate leader when he invades France “…I will rise there with so full of glory.”
Blank verse was seen as the superior form of expression in poetry (hence the use of prose for Pistol and other low-life characters). Although this verse is arranged in unrhymed iambic pentameters, it does not always take the perfectly regular form of five stresses and five and five unstressed syllables alternating, for example:
/ x / / x / x / x /
But tell the Dauphin I will keep my state,
/ x / x / x / x / x /
Be like a king and show my sail of greatness.
The second line has eleven syllables and it would be almost impossible for a good actor to read this in strict iambic form – DA dum, DA dum, DA dum does not make for an interesting reading. Surely the ‘great’ in “greatness” should have more of a stress than ‘ness’? Probably the best example of rhythm in “Henry V” is Canterbury’s speech about the Salic Law. (1.2 33-95)
The Branagh interpretation of this verse (2) does tend to follow the rhythm of iambic form, alternating stressed and unstressed syllables.
/ x / x / x / x / x / x
We are glad the Dauphin is so pleasant with us
/ x / x / x / x / x
His present and his pains, we thank you for
The verse spoken, by Branagh, has a beginning, middle and end, or an introduction that is quiet and controlled, and a main part, which gathers speed and volume towards, line 271. The alliteration in lines 282-284 emphasises the ‘s’ and has a hissing effect as the King spits his venom. At line 274 “But tell the Dauphin I will keep my state” Henry (Branagh) suddenly stands out of his throne and stands tall to show that he can truly “Be like a king”. (l.275) Again at line 274 “But tell the Dauphin I will keep my state” Henry returns to almost a whisper, which forces the messenger to listen very carefully. He ends the speech in the same calm tones he began in like a refrain in a song. It is notable that when the messenger leaves, the King and his brother seem bemused rather than angry and the atmosphere has changed somewhat. They are both aware that the speech was a marvellous piece of acting and an ace in the game of war.
Though produced through the medium of film, just as much emphasis must be placed on the delivery of lines. Any amount of special effects could not compensate for a poor reading.
Simon Russell Beadle who plays Henry in the Open University Audio production (6) does not follow the iambic pentameter rhythm as closely as Branagh. He plays a king whose emotions are more apparent and his reading follows the meaning of the words rather than a rhythmic reading. For example, his voice is loud almost from the beginning and peaks at the word “hazard” (l.264). His voice is more melodious than Branagh’s though it is strangely less interesting (which probably illustrates just how effective iambic pentameter can be). As with the Branagh production, at line 275 “be like a king…” Beale acts the king by adopting grand tones. The speech is fraught with anger and emotion until line 290 “But this lies all within the will of God.” when Henry remembers himself and how he should be acting.
Henry’s powerful rhetoric is as much a weapon as the physical threat of war and the complex language would more than compensate for the lack of props etc in an Elizabethan theatre. The King is permanently on display and this rhetoric is designed to show the qualities of the perfect king. He is justified in his invasion of France, handles the French jibes with tact and diplomacy, has a head for a deal, is aware of his mortality and his politics are “gallant”. Henry, or the actor, persuades subjects and audience alike that he is a competent monarch. As A.R Humphreys says in his introduction to the New Penguin Edition, “…wonderful rhetoric, certainly, but rhetoric in the sense that words are directed to calculated effects.” (4) The genius of this momentous speech is that Henry possesses the power at the end and the messenger discovers that his people have gravely underestimated. The irony of the play is that only the King and the audience are aware that this is all an act thus forming a bond and succeeding to bridge the gap between actor and audience.
Bibliography
- ‘Vile Participation’: The Amplification of Violence in The Theatre of Henry V
Shakespeare Quarterly 42:1 (Spring 1991) 2-32; p.2
(2) Henry V Director – Kenneth Branagh Renaissance Films Plc 1989
- (3) Directors Ramblings – Paul Garnult 21/6/99
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(4) Henry V by William Shakespeare The New Penguin Shakespeare
Ed: A.R. Humphreys 1996 Ed.
All references to text taken from this edition.
- Approaching Literature – Shakespeare, Aphra Behn and the Canon
Ed: W.R. Owens & Lizbeth Goodman Routledge 1998
- A210 Henry V Audio 6 Prod: Nick Levinson The Open University 1996
- Henry V - the epic nature of the play and it’s implications: the ideal King
Author unknown
- Approaching Literature – Study Guide 3 Ed. The Open University 1997
(9) A210 Approaching Literature Tutor-marked assignments 01-07 1999
