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Character sketch of falstaff
The comical character of Falstaff in Henry IV pdf
The comical character of Falstaff in Henry IV pdf
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Shakespeare's Henry Plays - A Comparative Study of Falstaff on Film
The Character of Sir John Falstaff is an integral part of any adaptation of Shakespeare's "Henry" plays. The treatment of this character effects the way the production will be taken by the audience as the treatment of Falstaff is directly related to the understanding of the character of Prince Hal (later Henry V). Kenneth Branagh's Henry V, the BBC versions of parts one and two of Henry IV, and Orson Welles' amalgamation Chimes at Midnight all show Falstaff in different lights, producing three different takes, not only on the character himself, but also on the interpretation of Prince Hal, and the entire workings of the production.
In the case of Kenneth Branagh's Henry V Falstaff is seen only in flashback. This version of Falstaff (portrayed by actor Robbie Coltrane) is displayed as the jovial and kind side of Falstaff with little of the nefarious nature that is seen in the texts of Henry IV parts one and two. Branagh as the screenwriter actually reassigns certain lines to achieve his end, including, but not limited to, the reassignment of some of Falstaff's lines to others, as well as the reassignment of lines from one scene to another, all to display Falstaff as a happy Santa Claus of a man all but devoid of evil intentions or Machiavelian deceit. The first of the myriad flashbacks in the film begins with the assignment of Falstaff's description of himself as "A goodly, portly man in faith," (1 Henry IV.II.iv.421) to Pistol. This shows that in Branagh's version Falstaff is as well respected by his comrades as he is by himself. This is somewhat in contrast to the way he is commonly illustrated, which is as a man who abuses deceit, but is not fooling ...
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...Falstaff as played by Welles. It is this multifaceted nature that has Hal attempt (in a scene paraphrased from the text of Henry V) to go back on his decision toward the end and grant Falstaff favor (albeit too late). Welles' Falstaff is the best example of the cross section of aspects that Falstaff has in the texts.
While certainly each portrayal of Falstaff is from it's own school of thought, ranging from the idea of Falstaff as the pure, kind friend, to that of Falstaff as the selfish villain, to that of Falstaff as the moderate, complex character, each effectively displays an accurate Falstaff with his own hold on Prince Hal. These three versions show that the treatment of Jack Falstaff, regardless of his prominence in each production, can change the interpretation of the actions of Henry V as well as the reasons behind his choices for many of his actions.
Prince Hal is initially portrayed as being incapable of princely responsibilities in light of his drinking, robbery and trickery. Yet, Shakespeare reveals that Hal is in fact only constructing this false impression for the purpose of deceit. Prince Hal’s manipulative nature is evident in his first soliloquy, when he professes his intention to “imitate the sun” and “break through the foul and ugly mists”. The ‘sun’ Prince Hal seeks to ‘imitate’ can in this case be understood as his true capacity, as opposed to the false impression of his incapacity, which is symbolised by the ‘foul and ugly mists’. The differentiation of Hal’s capacity into two categories of that which is false and that which is true reveals the duplicity of his character. Moreover, Hal is further shown to be manipulative in the same soliloquy by explaining his tactic of using the “foil” of a lowly reputation against his true capacity to “attract more eyes” and “show more goodly”. The diction of “eyes” symbolically represents public deception, concluding political actions are based on strategy. It is through representation and textual form that we obtain insight into this
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.
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.
Jekyll and Mr. Hyde”. In the novel doors lead to the beginning of change and often lead to significant changes in the plot. This is shown by Dr. Jekyll’s cabinet doors, when the door is closed it is still thought that Dr. Jekyll is good, but when it is opened it revels Dr. Jekyll’s true nature which is Mr. Hyde (Stevenson 33). This is also the case in this metafiction. In the novel doors are also often a representation of good and evil. This is shown by the two descriptions of both Dr. Jekyll’s and Mr. Hyde’s door. When the novel’s narrator tells us that the doctor's home is part of a ''square of ancient, handsome houses,'' and that its door ''was a great air of wealth and comfort.'' (Stevenson 10) this is representing the good side of Henry Jekyll. In this metafiction when Henry walks through the doorway he releases and evil within
In 1 Henry IV, Prince Henry’s gradual development was evident throughout the play. A comparison of Harry’s character during the first act against Harry in the fifth act almost seems like two different people. Prince Henry has carried out his plan to prove to people that he will be a worthy King by following his father into battle and killing the leader of the rebel army. Prince Henry’s act of bravery marks the transition between the young Henry and the mature Henry but more importantly, has earned Henry the respect and acceptance from his father.
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.
Within the text of The Strange Case of Dr. Jekyll and Mr. Hyde, Robert Louis Stevenson portrays a complex power struggle between Dr. Jekyll, a respected individual within Victorian London society, and Mr. Hyde a villainous man tempted with criminal urges, fighting to take total control of their shared body. While Dr. Jekyll is shown to be well-liked by his colleagues, Mr. Hyde is openly disliked by the grand majority of those who encounter him, terrified of his frightful nature and cruel actions. Throughout Dr. Jekyll and Mr. Hyde, Stevenson portrays the wealthy side of London, including Mr. Utterson and Dr. Jekyll, as respected and well-liked, while showing the impoverish side as either non-existent or cruel.
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
first we think that as Falstaff is the older one of the two, that he
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.
Shakespeare, William. The Life of King Henry the Fifth. New York: Unicorn Publishers Inc, 1950. Pg. 173-295.
Dr. Jekyll being an eminent doctor, with a powerful social and educational background, has an extremely sophisticated and refined appearance “a large, well-made, smooth-faced man of fifty” (44). As the quote suggests Dr. Jekyll has a majestic and renowned persona. The charity he does for the society, and his living Standards are all visible through the appearance he manifests. On the other hand, Hyde being Dr. Jekyll’s contrivance, to carry out evil purposes has an unattractive appearance and a repellent demeanor. “There is something wrong with his appearance; something displeasing, something downright detestable” (35). As per the quote Hyde looks very ugly. His deeds are uglier and compliances suitably to his physical self. Dr. Jekyll is subjugated by the Victorian rules and regulations to lead his evilness in disguise. In Victorian era, a quintessential gentleman is well dressed and is on highly social ranking, which Dr. Jekyll very well fits in. He cannot satisfy his unexpressed desires in his original self. Therefore Jekyll transforms himself into Hyde, to keep his reputation and self-image intact. The appearance is not just subjected to their physical self, it also reflects through their living environment. Dr. Jekyll lives in a well-furnished mansion with “a great air of wealth and comfort” (42). This depicts the quality of the home and the morally right actions that conspires in the house, whereas Hyde lives in a laboratory with “the dingy, windowless structure…distasteful sense of strangeness” (50). The imagery in this quote is used to describe the condition of Hyde’s poor living environment. The look of Hyde’s house and his own appearance is all against the typical Victorian society’s standard. This makes Dr. Jekyll to pr...
Falstaff’s honor speech does not imply cowardice, rather it exemplifies the contrast between himself and King Henry IV. In King Henry IV part one, act 5, Fallstaff explains why honor is not an ideal he strives for. He says that honor drives him to battle and asks, if he dies for honor, what is the reward? Honor will not assist him if he is wounded, it is nothing but air, a word. It is only achievable through death, and it is useless to the dead. Therefore, in the upcoming battle Falstaff will not, as characters in heroic plays had done for centuries, sacrifice himself for love of country. He will instead look out for his own self interest, and attempt to earn acclaim from the actions of others.
... version of Henry's court and Henry's camp, the dramatic effect constituted, in its way, a reasonably accurate depiction of Henry's achievement in England." (Pilkington 1-2) I believe that Shakespeare's Henry V contains more charm and less fanaticism than the true Henry V. Shakespeare has created a fairly accurate depiction of life in this time period, altering only what he saw fit for his own lifetime.
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.