Romanticism, as stated in the American Heritage Electronic Dictionary is, "An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions." Falstaff is the ideal romantic character. In an article written by Harry T. Baker titled, "The Two Falstaffs" Baker writes against all the critics who claim that the Falstaff from Henry IV parts I and II is a different character then the Falstaff in The Merry Wives of Windsor. He believes that, "although, as the critics declare, Falstaff is not himself, this is due to the [change in] situation, not to the inconsistency of character portrayal."
In Henry IV parts I and II we see Falstaff as the romantic character that is stated in the definition above, defying everything that the Classical character, Prince Hal, stands for and believes.. He refuses to take life seriously. He believes that "War is as much of a joke to him as a drinking bout at the Boar's Head." He uses people solely for his own purposes, either for money or for food and drink. He is rude and crude to all those around him and is one of the best liars who continually gets caught in his lies but makes new ones to cover for the old failed ones. Yet Baker states that, "His presence of mind and quickness of retort are always superb; his impudence is almost sublime. Yet the man thus corrupt, thus despicable, makes himself necessary to the prince that despises him, by the most pleasing of all qualities, perpetual gaiety. Falstaff creates around his capacious bulk a sort of Utopia which frees us temporarily from the worries and troubles of the actual world. What does it matter that Falstaff ridicules chivalry, honor, truth-telling, and bravery in battle? He is not to be taken seriously...he is a wholly comic character."
At the end of Henry IV part II we can see what happens to Falstaff when he is surrounded by reality, he is caught off guard and is out of place. Baker states that when Falstaff is entangle with the realities of life "he cannot shine." We see this first at the coronation of Hal, once his friend in mischief, when Falstaff is told, quite bluntly by Hal that " I know thee not, old man.
Have you ever felt like you didn’t belong somewhere? Do you know what it feels like to be told you don’t belong in the place of your birth? People experience this quite frequently, because they may not be the stereotypical American citizen, and are told and convinced they don’t belong in the only place they see as home. In Gloria Anzaldúa’s “How to Tame a Wild Tongue”, Anzaldúa gives the reader an inside look at the struggles of an American citizen who experiences this in their life, due to their heritage. She uses rhetorical appeals to help get her messages across on the subliminal level and show her perspective’s importance. These rhetorical appeals deal with the emotion, logic and credibility of the statements made by the author. Anzaldúa
Humans are addicted to judging others on their first impression. Humans will never read into the book, they just look at the cover. Many people, both fictional and nonfictional can not be judged until you study them. Someone who first appears to be only comic relief, could end up to be a very important character. Sir John Falstaff is but one of these people. Falstaff's righteousness hides under his vocalization. John Falstaff's character is hard to understand without analyzing his words. He loves to play games with his speech. Falstaff tricks his audience with complex words and phrases. Often John would win over his opponent by tricking them into saying things that they did not mean or getting them to think that he is not that bad. Falstaff said this in Part I act II scene IV. "... A question not to be asked. Shall the son of England prove a thief and take purses? A question to be asked. There is a thing, Harry, which thou hast often heard of, and it is known to many in our land by the name of pitch. This pitch, as ancient writers do report, doth defile; so doth the company thou keepest. For, Harry, now I do not speak to thee in drink, but in tears; not in pleasure, but in passion; not in words only, but in woes also; and yet there is a virtuous man whom I have often noted in thy company, but I know not his name." In this passage, the Prince and Fastaff trade places in speech and try to make the other look dumb. Fastaff later goes on to say that this wonderful person that the King is talking about. The way Falstaff does this proves him to be very keen. He proves that even though he may look dumb, he will still put up a good fight. Falstaff is very bold about his thoughts and opinions. He stands out because he is not afraid to think his own way. While most people agree, because of the other people around them, Falstaff chooses to make his own decisions and think for himself. This is proven when Falstaff and the prince switch places in a verbal fight. Every one else in the book thinks of the Prince as a perfect young man because he is the prince, however Falstaff is too smart for this, he points out that the prince is a thief.
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
Falstaff who seems to be Hal’s role model while in the Tavern, is putting forth a great deal of effort to have Hal conform into the lowlife that he himself has made himself out to be. Falstaff teaches Hal how to lie, cheat, and steal, but Hal seems to have a mind of his own. He tells his father that at any given moment he can change his character and be what his father wants him to be. Henry declines to believe these statements.
Romanticism is the movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual. This idea of Romanticism gave power to the individual that they never once had; people believed that others are inherently good. This time of dynamic and radical changes led to many writers who voiced their opinion on different matters of various concern. People were able to voice their opinion much more than they have in the past giving more power to the individual. It was this attitude that writers had that criticized many institutions. Among these writers is Robert Burns, in the texts To a Mouse and To a Louse, they contain three important messages of different attitudes, irony, and being thankful for what you have.
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.
Hal is the Prince of Wales and heir to the British throne was able to manipulate both the nobles and the court in order to satisfy his needs. Firstly, his ability to speak confidently between the lower class and upper class allowed him to gain authority of many things. In the beginning of the play, Poins tells Hal and Falstaff there is a robbery planned for...
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
Like most, the stories we hear as children leave lasting impacts in our heads and stay with us for lifetimes. Hughes was greatly influenced by the stories told by his grandmother as they instilled a sense of racial pride that would become a recurring theme in his works as well as become a staple in the Harlem Renaissance movement. During Hughes’ prominence in the 20’s, America was as prejudiced as ever and the African-American sense of pride and identity throughout the U.S. was at an all time low. Hughes took note of this and made it a common theme to put “the everyday black man” in most of his stories as well as using traditional “negro dialect” to better represent his African-American brethren. Also, at this time Hughes had major disagreements with members of the black middle class, such as W.E.B. DuBois for trying to assimilate and promote more european values and culture, whereas Hughes believed in holding fast to the traditions of the African-American people and avoid having their heritage be whitewashed by black intellectuals.
Steele expresses, "What becomes clear to me is that people like myself, my friend, and middle-class blacks generally are caught in a very specific double bind that keeps two equally powerful elements of our identity at odds with each other" (Steele 212) But as long as you, yourself, are ok with your double bind, it shouldn't matter what other people think. You can't help what you were born into.
In “How to Tame a Wild Tongue,” author Gloria Anzaldua portrays all the negative aspects of having to dispose of her hispanic roots and taming her wild tongue to do so. She begins the article by describing her agonizing trip to the dentist and how they were forcefully pulling metal bits from her mouth. She talks of the terrible smell that is wafted when she tries to express the pain. At one point the dentist says, “We’re going to have to do something about your tongue.”(Anzaldua 2947) Her tongue kept forcing its way past the cotton border to get to the surgical utensils and drills. The dentist also remarks about her tongue saying, “I’ve never seen anything as strong or as stubborn.”(Anzaldua 2947) In that moment Anzaldua is taken back to her childhood, a time when
Lemay, Michael and Elliot Robert Barkan, eds. U.S. Immigration and Naturalization Laws and Issues. Westport, Conn. Greenwood Press, 2009.
By saying that he is the “darker brother” he asserts his identity, but also makes a reference to brotherhood. Since he is talking about America, one can say that Hughes is referring to the brotherhood of all men in America, and therefore we are all related. The next couple of lines begins to show a historical reference to slavery, when house servants were to not be seen when guest appeared at the houses of white folks.This demonstrates the difference of private relationships versus public relationships, because in private being seen at the din...
Romanticism first came about in the 18th century and it was mostly used for art and literature. The actual word “romanticism” was created in Britain in the 1840s. People like Victor Hugo, William Wordsworth, and Percy Bysshe Shelley had big impacts on this style of art. Romanticism is an art in which people express their emotion. Whatever they believed is put into a picture, painting, poem, or book. Romanticism goes deep into a mind. It is very deep thinking and it’s expressing yourself through that deep thinking. Romanticism is the reaction to the Enlightenment and the enlightenment aka the “Age of Reason” took place during the 1700s to 1800s. The enlightenment emphasized being rational and using your mind; on the other hand, romanticism focuses on emotion and imagination. It says don’t just focus on rationality and reason.
The relationship between a father and his son is an important theme in Shakespeare's Henry IV, Part One, as it relates to the two main characters of the play, Prince Hal and Hotspur. These two characters, considered as youths and future rulers to the reader, are exposed to father-figures whose actions will influence their actions in later years. Both characters have two such father-figures; Henry IV and Falstaff for Prince Hal, and the Earl of Northumberland and the Earl of Worcester for Hotspur. Both father-figures for Hal and Hotspur have obvious good and bad connotations in their influence on the character. For example, Falstaff, in his drinking and reveling, is clearly a poor influence for a future ruler such as Prince Hal, and Worcester, who shares Hotspur's temper, encourages Hotspur to make rash decisions. The entire plot of the play is based on which father-figure these characters choose to follow: had they chosen the other, the outcome would have been wholly different.