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Social classes in shakespeares plays
Social hierarchy in Shakespeare's time
Social class represented in Shakespeare plays
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Hierarchies and Social Class In the 1400s, status played an integral role in a person’s place in society. These ideas, based off of the Chain of Being, was intended for those with higher amounts of “spirit” to have elevated social rank This created many dynamic differences between each class of people. However, most serfs and other commoners had good relations with the upperclass. Shakespeare brought out this divide in many of his works including Henry V. He specifically accomplished this through the use of irony. In Henry V, Shakespeare uses the English Hierarchy to shine light on the juxtaposition between the upper and lower classes through the use of the Chain of Being, the stereotypical relationships between yeoman and nobles and …show more content…
During this, Henry tells the lowly gentlemen “And you, good yeoman, Whose limbs were made in England, show us here The mettle of your pasture.” This statement is ironic because Henry wants the farmers to deem themselves worthy of their birth, despite the fact that they are ordinary men rather than noblemen. Another time we witness this contrast between social class is through the exchange between Henry and Williams. Because Henry disguised himself, Williams is unafraid to admit his own brutal opinions to the King himself. This is another ironic scene because Williams is unaware that he is talking to Henry and they decide to duel later after the battle. Finally, in Henry’s St. Crispin’s day speech, he refers to each man as a “band of brothers” meaning that despite where you fit within the social charts, in this battle, they were united After this battle though, they pronounce the name of the fallen nobility as individuals and fail to name each of the lower class men. This showed that there was only a small amount of time in which social class and the Chain of Being did not matter. Through the use of irony, Shakespeare exhibits the differences in the hierarchy through uses of
For hundreds of years, those who have read Henry V, or have seen the play performed, have admired Henry V's skills and decisions as a leader. Some assert that Henry V should be glorified and seen as an "ideal Christian king". Rejecting that idea completely, I would like to argue that Henry V should not be seen as the "ideal Christian king", but rather as a classic example of a Machiavellian ruler. If looking at the play superficially, Henry V may seem to be a religious, moral, and merciful ruler; however it was Niccolo Machiavelli himself that stated in his book, The Prince, that a ruler must "appear all mercy, all faith, all honesty, all humanity, [and] all religion" in order to keep control over his subjects (70). In the second act of the play, Henry V very convincingly acts as if he has no clue as to what the conspirators are planning behind his back, only to seconds later reveal he knew about their treacherous plans all along. If he can act as though he knows nothing of the conspirators' plans, what is to say that he acting elsewhere in the play, and only appearing to be a certain way? By delving deeper into the characteristics and behaviors of Henry V, I hope to reveal him to be a true Machiavellian ruler, rather than an "ideal king".
After many failed attempts to obtain a divorce from his first wife Catherine of Aragon, King Henry VIII took momentous steps that led to "The Reformation," a significant occurrence in the history of religion. Prior to the reformation, all of England's inhabitants including King Henry VIII prescribed to Catholicism. In fact, King Henry VIII was such a strong supporter that he was given the title "Defender of the Faith" by the pope for his efforts in protecting Catholicism against the Protestants. However, all these changed upon the pope's denial of Henry's request for a divorce.
The given documents are examples of the monarch’s ability to assert their authority through word. The different proclamations illustrate the problems of the time, and how the assumed power of the monarch addressed it. It is assumed that their power goes to include power over the church and all papal authority, ultimate power over Parliament, power over other lands, and it goes as far as suggesting that their power has been bestowed upon them by God. The assumed nature and extent of the Tudors’ power alters over time, each king reacting to a different situation. King Henry VII establishes a strong and clear claim to the crown for the Tudors when there were doubts about his claim. King Henry VIII extends the power of the monarch by annexing the
...in themes similar to those found in the two Henry IV plays, such as usurpation, rebellion, and the issue of lineage of royal right. But Richard II and King Henry V are decidedly more serious in tone, and in comparing them to I Henry IV and II Henry IV, the argument can be made that it is these two latter plays which resound with greater realism with the broader spectrum of life which they present. Shakespeare carefully balances comedy and drama in I Henry IV and II Henry IV, and in doing so the bard gives us what are perhaps the most memorable characters in all of English literature.
Henry is trying to tell Bates that the King is not responsible for whatever happens to a soldier at war just because he has sent him, and uses the example above to illustrate this.
Throughout the play, Prince Henry develops from a rascal to a responsible adult and by doing so, earns the respect and acceptance from his father King Henry IV. In act one, Shakespeare introduces the idea that Prince Henry is an inadequate heir to the throne. The play
Shakespeare, William. "Henry V." The Norton Shakespeare: Histories. Eds. Stephen Greenblatt, Walter Cohen, Jean E. Howard, and Katherine Eisaman Maus. London: Norton, 1997. 726-795.
In the play Henry V written by Shakespeare. Henry was presented as the ideal Christian king. His mercy, wisdom, and other characteristics demonstrated the behavior of a Christian king. Yet at the same time he is shown to be man like any other. The way he behaves in his past is just like an ordinary man. But in Henry’s own mind he describes himself as “the mirror of all Christian kings” and also a “true lover of the holly church.
In Shakespeare's Henry IV Part One, the characters' many different conceptions of honor govern how they respond to situations. Each character's conception of honor has a great impact on the character's standing after the play. For instance, Falstaff survived because he dishonorably faked his own death, and his untrue claim that he was the one who killed Hotspur may get him a title and land. On the other hand, Hotspur lies dead after losing a duel for honor. Hotspur, who is in many ways the ideal man by the standards of his time, is killed by his lust for honor. In creating Hotspur, Shakespeare has created a variation on the tragic hero of other works: the stubborn tragic hero, who, dying for his fault of honor, does not at last understand his weakness.
King Henry was once young and seemingly uninterested in his role as a future King of England. Many of Henry’s legendary and heroic traits did not originate in Henry V; instead, they appeared in previous Shakespearean plays including Henry IV. As the British heir apparent, young Henry was known as “Prince Hal, Henry, Harry, Prince Harry, Harry Monmouth, and the Prince of Wales” (Britannica). In Henry V, King Henry is this play’s main protagonist. Shakespeare’s audience briefly witnesses the gradual transformation of Henry from a youthful hell-raiser and playboy to a dignified King. Henry’s immature reputation is described by the Bishop of Canterbury when he says that “a heady currance scour[s] his faults” (I.i.36). In Henry IV, the audience is first introduced to Prince Hal, at his apartment in London and a cheap tavern called the Boar’s Head in Eastcheap, where the future King mingled and formed networks with drinking buddies. There he pla...
In conclusion, the social hierarchy in King Lear is one that values land and royalty by marriage. The desire to obtain either of the two was so great in the characters of Edmund, Goneril, Reagan and Cornwall that they were willing to go against the hierarchy itself and abandon all notions of morality. It was the actions of these four characters combined that brought about the destruction of the royal family and the downfall of Lear’s kingdom.
Hal’s remark to his father indicates a now strong, independent mind, predicting that Douglas and Hotspur will not accept Henry’s offer because of their love for fighting. Henry’s reply in turn indicates a change in attitude towards his son, a newfound respect. Acknowledging Hal’s prediction, the king orders preparations to begin, and we see he has his own set of solid moral values: knowing that their ‘cause is just’ helps him to reconcile with his highly honourable conscience that there is indeed cause for war. Still maintained is the conflict between the very format of the text, with Hal and Henry’s conversation held in formal verse typical of the court world, in which Hal is now firmly embedded. Falstaff, however, sustains his equally typical prose speech, which indicates to the audience the enduring division between the court and tavern worlds.
Shakespeare distinguished social classes by contrasting poetic meter between characters in A Midsummer’s Night Dream. The working class, Athenian Nobles and the fantasy world collided together to create chaos. As Shakespeare broke down the tradition of social classes, he created chaos and the motif of disorder in his play. Ultimately, the sense of order is rooted in tradition and when tradition is torn away society has nothing left to fall back on.
Social class was the foundation of everyday life during the Middle Ages. Social class played a significant role in the lives of medieval people. The aristocracy class and the immoral lower class were often viewed by society as practically different races. In The Canterbury Tales, Geoffrey Chaucer shows the wide variance among the classes in every aspect of their daily lives. The zeitgeist of the Middle Ages can be seen through his illustration of differences between classes in moral behavior, economic power, the autonomy and education of women during the Middle Ages.
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.