The Character of Falstaff in Henry IV Part I
In Henry IV Part I, Shakespeare presents a collection of traditional heroes. Hotspur’s laudable valor, King Henry’s militaristic reign, and Hal’s princely transformation echo the socially extolled values of the Elizabethean male. Molding themselves after societal standards, these flat characters contrast Sir John Falstaff’s round, spirited personality. Through Falstaff’s unorthodox behavior and flagrant disregard for cultural traditions, Shakespeare advocates one’s personal values above society’s.
Extolled as the "essence of Shakespeare’s dramatic art" (Bloom 299) and ridiculed as the symbol of self-indulgence and vice, the character of Sir John Falstaff, a loquacious knight, elicits a dichotomy within the Shakespearean critical community. This controversy originates in the rendition of Shakespeare’s intention in creating Sir John Falstaff. Literary critics such as John Dover Wilson and Edgar Stoll espouse that Shakespeare created Falstaff to serve as Hal’s "attendant spirit...typifying Vanity in every sense of the word" (Wilson 17). These anti-Falstaff carpers claim that the theme of Henry IV Part I, being a morality play, is the "growing-up of a madcap prince into the ideal king" (Wilson 22). If this were the case then Falstaff, "a besotted and disgusting old wretch" (Shaw qtd. in Goddard 71), represents an obstacle that Hal must overcome to tranform into a regal king. Asserting that Hal "associates Falstaff...with the devil" (Wilson 20), being the antithesis of heroism and virtue, Falstaff "symbolizes...the feasting and good cheer for which Eastcheap stood, and reflects...the shifts, subterfuges, and shady tricks that decayed gentleman and soldiers were put to if they wi...
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...is rivals; Hal gives up any personal freedom he might have displayed in order to follow in his father’s footsteps. Falstaff survives, not only years, but through centuries as well. Lauded, ridiculed, and analyzed Falstaff surpasses death by continuously published literary criticism and interpretation. No other Shakespearean character is as studied, examined, or investigated. Fascinating to spectators, Falstaff is a "character that will follow [the audience] out of the theatre."
Works Cited
Hazlitt, William. Hazlitt's Works. 8 vols. Ed. W. Carew Hazlitt. London: George Bell, 1905.
Hazlitt, William. Hazlitt’s Criticism of Shakespeare: A Selection. Ed. R. S.White. New York: Edwin Mellen, 1996
Becker
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998
Bradley
Desai
Morgann
Shaw
Stoll
Wilson
Goddart
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Falstaff’s blatantly honest soliloquy has provided the audience with a direct insight into his mind, and contrasts well with Hal and Hotspur’s speeches, in which their moral order and regard for honour is evident. Falstaff helps to show the change in Hal to the audience. Falstaff himself is no different to the Falstaff of Act 1, unlike Hal who has obviously undergone a great deal of change. Falstaff’s speech is highly typical of the tavern world’s way of thinking: straightforward, sometimes humorous, spoken in prose, and only the values of the tavern world taken into consideration, with no regard for such insubstantial, un-physical concepts as honour. In this way, and spoken directly to the audience, Falstaff effectively expresses his unashamed resolution not to submit to moral order.
The first influence that Shakespeare illustrates over Prince Hal is that of Falstaff, a fat old man who seems to spend his life in seedy taverns accruing massive amounts of debt. From his devious scheme to rob unknowing travelers at the beginning of the story to his diatribe on what honor is not, it is clear that Falstaff has a very distinct notion of his own personal honor, and he seems to be trying to project that same notion onto Hal; however, as Hal becomes closer to his father, Falstaff's honor becomes less appealing. Falstaff treats Hal and King Henry IV to his own personal code of honor-or lack thereof:
He is accepted for his faults and further appreciated for his humor. Once receptive to Falstaff’s follies, an underlying wisdom can be found. Shakespeare offers Falstaff as a guide to living beyond the confines of convention, out of all the order. Disguised in banter, Falstaff calls into question values of morality and nobility. His manner is harmless in both words and actions. Of all the loyalty and disloyalty that incites political turbulence in the play, Falstaff remains inert. He does not enact any cruel aggression in effort to achieve power. Nevertheless, Falstaff commits slight though significant transgressions against Prince Hal and aristocratic values. These transgressions begin in conversation and eventually result in Falstaff’s action on the
Toliver, Harold E. "Falstaff, The Prince, and the History Play." Sanderson, Henry the Fourth, Part 1. 169-193.
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Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero.
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He is happy being a drunkard and someone who indulges what he wants. But he also realizes that it is not the type of life that a prince, or a king, should associate himself with, which leads him to his pleading—another reason the scene is prophetic. He pleads with Henry about his morality, much like he will do later in the play and in Henry IV: Part II. Though the play extempore is supposed to prepare Henry for his encounter with his father. Falstaff realizes it may be a good time to practice the inevitable encounter that he will have with Hal once he becomes king. This argument can be further developed when one realizes that it was Falstaff that called for the play extempore, not Hal. Falstaff knew he wanted a trial run before Hal’s kingship, so he gave himself one. However, Hal’s only reaction to Falstaff’s final speech is his line, “I do, I will” (2.4. 465). Some may take this as his answer to Falstaff that he will pardon him, and continue to be his friend. But the argument could be made that Hal is saying that line more to himself than to Falstaff. He is saying that he will do what’s necessary to be a good king. That he does have what it takes to leave a life he enjoys for a life of
Falstaff is a central element in the two parts of Henry IV, he is supports the structure of the play. Yet he does seem to be a mainly fun maker, a character whom we laugh with and laugh at. The perfect example for this was the fat knight's account of the double robbery at Gadshill. The part of plump Jack is joyously expanded and diversified, for the delight of men and the glory of, Shakespeare. It is plain that the role of Sir John is not restricted to what is indispensable to Shakespeare's main purpose. Falstaff lies at the very foundation of these plays, that it is a structural necessity.
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