Throughout the play there is controversy between the King and Hal as a direct result of Hal’s performance as a Prince. From gallivanting in the tavern, to fighting in the battle of Shrewsbury, Hal becomes the son that King Henry has been pressuring him to be all along. The father/son relationship is a significant theme in this play, alongside Prince Hal’s other relationships with important male figures such as Hotspur and Falstaff. Falstaff is one of the favorites of this play, rather obvious that he is the brunt of a multitude of jokes; somehow maintains certain poise. On the other hand, we have Hotspur, a talented and brave young man the King wishes were his son: “That some night-tripping fairy had exchanged/ In cradle-clothes our children where they lay/ And called mine “Percy,” his “Plantagenet”!/ Then would I have his Harry, and he mine” (1.1.86-89).
Shakespeare and the Energies of Drama Henry IV, Signet Classic, pp. 260-261. Johnson, Samuel. The Plays of William Shakespeare Henry IV, Signet Classic, pp.234- 235. Kahn, Coppelia.
The Taming of the Shrew, written by William Shakespeare, is historical proof that flirting and temptation, relating to the opposite sex, has been around since the earliest of times. Because males and females continue to interact, the complications in this play remain as relevant and humorous today as they did to Elizabethan audiences. This is a very fun play, full of comedy and sexual remarks. It's lasting impression imprints itself into the minds of its readers, for it is an unforgettable story of sex, flirting, and happiness. The Taming of the Shrew remains as relevant today because of its relation to the age-old story of the battle of the sexes and dynamics of marriage, as well as the woman's struggle with both of these.
Studies in English Literature 38 (1998): 265-80. Squire, Sir John. Shakespeare as a Dramatist. London: Cassell and Company, 1935. Stevenson, William B.
Ed. Harold Bloom, Broomall, PA: Chelsea House, 2000. 24-28. Pearlman, E. “The Invention of Richard Gloucester.” Shakespeare’s Histories (Bloom’s Major Dramatists). Ed.
Burns. Cambridge: Cambridge UP, 1991. 347-373. Shakespeare, William. King Lear.
"The Problem of Julius Caesar." Shakespeare Quarterly. 6 (1955): 297. Segal, Robert A. ed. In Quest of the Hero.
Hamlet is “a little more than kin” because he is now not just a distant relative of Claudius but, also a son to him. The second part of Hamlet’s response contains a double entendre on the word kind. In this situation, the word kind means both loving, as an adjective, and as a noun means category or brand. Hamlet describes Claudius both unloving and of a different type than himself. Hamlet’s sharp words, while providing humor, lets the audience understand the odious feelings Hamlet possesses for his uncle.
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.