Henry V (play)
Henry V is a history play by William Shakespeare, believed to have been written near 1599. It tells the story of King Henry V of England, focusing on events immediately before and after the Battle of Agincourt (1415) during the Hundred Years' War. In the First Quarto text, it was titled The Cronicle History of Henry the fift,:p.6 which became The Life of Henry the Fifth in the First Folio text.
The play is the final part of a tetralogy, preceded by Richard II, Henry IV, Part 1, and Henry IV, Part 2. The original audiences would thus have already been familiar with the title character, who was depicted in the Henry IV plays as a wild, undisciplined young man. In Henry V, the young prince has matured. He embarks on an expedition to France and, his army badly outnumbered, defeats the French at Agincourt.
The Elizabethan stage lacked scenery. It begins with a Prologue, in which the Chorus (a lone speaker addressing the audience) apologizes for the limitations of the theatre, wishing there were "a Muse of fire", with real princes and a kingdom for a stage, to do justice to King Henry's story. Then, says the Chorus, King Henry would "[a]ssume the port [bearing] of Mars". The Chorus encourages the audience to use their "imaginary forces" to overcome the limitations of the stage: "Piece out our imperfections with your thoughts ... turning the accomplishment of many years / Into an hour-glass".
Shakespeare's plays are in five acts. In Henry V, the first two deal largely with the king and his decision to invade France, persuaded that through ancestry, he is the rightful heir to the French throne. The French Dauphin, son of King Charles VI, answers Henry's claims with an insulting gift of tennis balls.
The Chorus reappears at the beginning of each act to advance the story. At the beginning of Act II, he describes the country's dedication to the war effort: "Now all the youth of England are on fire .... They sell the pasture now to buy the horse, / Following the mirror of all Christian kings ...." Act II includes a plot by the Earl of Cambridge and two comrades to assassinate Henry at Southampton. (Henry's clever uncovering of the plot and his ruthless treatment of the conspirators show that he has changed from the earlier plays in which he appeared.)
In Act III Henry and his troops cross the English Channel to attack the French port of Harfleur. The Chorus appears again: "Grapple your minds to sternage of this navy/And leave your England, as dead midnight still". The French king, says the Chorus, "doth offer him / Katharine his daughter, and with her, to dowry, / Some petty and unprofitable dukedoms." Henry is not satisfied.
At the siege of Harfleur, the English are beaten back at first, but Henry urges them on with one of Shakespeare's best-known speeches. "Once more unto the breach, dear friends, once more; / Or close the wall up with our English dead...." After a bloody siege, the English take Harfleur, but Henry's forces are so depleted that he decides not to go on to Paris. Instead, he decides to move up the coast to Calais. The French assemble a powerful army and pursue him.
They surround him near the small town of Agincourt, and in Act IV, the night before battle, knowing he is outnumbered, Henry wanders around the English camp in disguise, trying to comfort his soldiers and determine what they really think of him. He agonizes about the moral burden of being king, asking God to "steel my soldiers' hearts". Daylight comes, and Henry rallies his nobles with the famous St Crispin's Day Speech (Act IV Scene iii 18–67): "We few, we happy few, we band of brothers".
Armed mostly with longbows, the English surprise the French, and themselves, with an overwhelming victory. The French suffer 10,000 casualties; the English, fewer than 30. "O God, thy arm was here," says Henry.
Act V comes several years later, as the English and French negotiate the Treaty of Troyes, and Henry tries to woo the French princess, Catherine of Valois. Neither speaks the other's language well, but the humour of their mistakes actually helps achieve his aim. The scene ends with the French king adopting Henry as heir to the French throne, and the prayer of the French queen "that English may as French, French Englishmen, receive each other, God speak this Amen."
Before the play concludes, however, the Chorus reappears and ruefully notes, of Henry's own heir's "state, so many had the managing, that they lost France, and made his England bleed, which oft our stage hath shown" – a reminder of the tumultuous reign of Henry VI of England, which Shakespeare had previously brought to the stage in a trilogy of plays: Henry VI Part 1, Henry VI Part 2, and Henry VI Part 3.
As in many of Shakespeare's history and tragedy plays, a number of minor comic characters appear, contrasting with and sometimes commenting on the main plot. In this case, they are mostly common soldiers in Henry's army, and they include Pistol, Nym, and Bardolph from the Henry IV plays. The army also includes a Scot, an Irishman, and an Englishman, and Fluellen, a comically stereotyped Welsh soldier whose name is phonetically close to "Llywelyn". The play also deals briefly with the death of Sir John Falstaff, Henry's estranged friend from the Henry IV plays, whom Henry had rejected at the end of Henry IV, Part 2.
Shakespeare's primary source for Henry V, as for most of his chronicle histories, was Raphael Holinshed's Chronicles; the publication of the second edition in 1587 provides a terminus post quem for the play. Edward Hall's The Union of the Two Illustrious Families of Lancaster and York appears also to have been consulted, and scholars have supposed that Shakespeare was familiar with Samuel Daniel's poem on the civil wars. An earlier play, the Famous Victories of Henry V is also generally believed to have been a model for the work.
Date and textEdit
On the basis of an apparent allusion to Essex's mission to quell Tyrone's Rebellion, the play is thought to date from early 1599.:p.5 The Chronicle History of Henry the fifth was entered into the Register of the Stationers Company on 14 August 1600 by the bookseller Thomas Pavier; the first quarto was published before the end of the year—though by Thomas Millington and John Busby rather than Pavier. (Thomas Creede did the printing.)
Q1 of Henry V is a "bad quarto", a shortened version of the play that might be an infringing copy or reported text. A second quarto, a reprint of Q1, was published in 1602 by Pavier; another reprint was issued as Q3 in 1619, with a false date of 1608—part of William Jaggard's False Folio. The superior text first was printed in the First Folio in 1623.
Criticism and analysisEdit
Views on warfareEdit
Readers and audiences have interpreted the play’s attitude to warfare in several different ways. On the one hand, it seems to celebrate Henry's invasion of France and military prowess. Alternatively, it can be read as a commentary on the moral and personal cost of war. Shakespeare presents it in all its complexity.
The American critic Norman Rabkin described the play as a picture with two simultaneous meanings. Rabkin argues that the play never settles on one viewpoint towards warfare, Henry himself switching his style of speech constantly, talking of "rape and pillage" during Harfleur, but of patriotic glory in his St Crispin's Day Speech.
Some critics connect the glorification of nationalistic pride and conquest with contemporary English military ventures in Spain and Ireland. The Chorus directly refers to the looked-for military triumphs of Robert Devereux, 2nd Earl of Essex, in the fifth act. Henry V himself is sometimes seen as an ambivalent representation of the stage machiavel, combining apparent sincerity with a willingness to use deceit and force to attain his ends.
Other commentators see the play as looking critically at the reason for Henry's violent cause. The noble words of the Chorus and Henry are consistently undermined by the actions of Pistol, Bardolph, and Nym. Pistol talks in a bombastic blank verse that seems to parody Henry's own style of speech. Pistol and his friends, thus, show up the actions of their rulers. Indeed, the presence of the Eastcheap characters from Henry IV has been said to emphasise the element of adventurer in Henry's character as monarch.
The play's ambiguity has led to diverse interpretations in performance. Laurence Olivier's 1944 film, made during the Second World War, emphasises the patriotic side, ignoring the fact that the enemy of the play, the French, were in fact allies in that conflict,[b] while Kenneth Branagh's 1989 film stresses the horrors of war. A 2003 Royal National Theatre production featured Henry as a modern war general, ridiculing the Iraq invasion.
In recent years, there has been scholarly debate about whether or not Henry V can be labeled a war criminal. Some denounce the question as anachronistic, arguing that contemporary legal terminology can’t be applied to historical events or figures like those depicted in the play. However, other scholars have pushed back on this view. For instance, Christopher N. Warren looks to Alberico Gentili’s De armis Romanis, along with Henry V itself, to show how early modern thinkers (including Shakespeare) were themselves using juridical approaches to engage with the past. As a result, Warren argues, the question of whether Henry V was a war criminal is not only legitimate, but also “historically appropriate.”
A mock trial of Henry V for the crimes associated with the legality of the invasion and the slaughter of prisoners was held in Washington, DC in March 2010, drawing from both historical record and Shakespeare's play. Titled "The Supreme Court of the Amalgamated Kingdom of England and France", participating judges were Justices Samuel Alito and Ruth Bader Ginsburg. The outcome was originally to be determined by an audience vote, but due to a draw, it came down to a judges' decision. The court was divided on Henry’s justification for war, but unanimously found him guilty on the killing of the prisoners after applying “the evolving standards of the maturing society”. Previously, the fictional "Global War Crimes Tribunal" ruled that Henry’s war was legal, no noncombatant was killed unlawfully, and Henry bore no criminal responsibility for the death of the POWs. The fictional "French Civil Liberties Union", who had instigated the tribunal, then attempted to sue in civil court. The judge concluded that he was bound by the GWCT’s conclusions of law and also ruled in favour of the English. The Court of Appeals affirmed without opinion, thus leaving the matter for the Supreme Court’s determination.
The Chorus refers to Essex's 1599 campaign in Ireland without any sense that it would end in disaster. The campaign began in late March and was scuttled by late June, strongly suggesting that the play was first performed during that three-month period.
A tradition, impossible to verify, holds that Henry V was the first play performed at the new Globe Theatre in the spring of 1599—the Globe would have been the "wooden O" mentioned in the Prologue—but Shapiro argues that the Chamberlain's Men were still at The Curtain when the work was first performed, and that Shakespeare himself probably acted the Chorus. In 1600, the first printed text states that the play had been played "sundry times". The earliest performance for which an exact date is known, however, occurred on 7 January 1605, at Court.
The longest-running production of the play in Broadway history was the staging starring Richard Mansfield in 1900 which ran for 54 performances. Other notable stage performances of Henry V include Charles Kean (1859), Charles Alexander Calvert (1872), and Walter Hampden (1928).
Major revivals in London during the 20th and 21st centuries include:
- 1900 Lyceum Theatre, Lewis Waller as Henry
- 1914 Shaftesbury Theatre, F.R. Benson as Henry
- 1916 His Majesty's Theatre, Martin Harvey as Henry
- 1920 Strand Theatre, Murray Carrington as Henry
- 1926 Old Vic Theatre, Baliol Holloway as Henry
- 1928 Lyric, Hammersmith, Lewis Casson as Henry (Old Vic Company)
- 1931 Old Vic Theatre, Ralph Richardson as Henry
- 1934 Alhambra Theatre, Godfrey Tearle as Henry
- 1936 Ring, Blackfriars, Hubert Gregg as Henry
- 1937 Old Vic Theatre, Laurence Olivier as Henry
- 1938 Drury Lane Theatre, Ivor Novello as Henry
- 1951 Old Vic Theatre, Alec Clunes as Henry
- 1955 Old Vic Theatre, Richard Burton as Henry
- 1960 Mermaid Theatre, William Peacock as Henry
- 1960 Old Vic Theatre, Donald Houston as Henry
- 1965 Aldwych Theatre, Ian Holm as Henry (Royal Shakespeare Company)
- 1972 Aldwych Theatre, Timothy Dalton as Henry (Prospect Theatre Company), also in 1974 in Roundhouse Theatre
- 1976 Aldwych Theatre, Alan Howard as Henry (Royal Shakespeare Company)
- 1985 Barbican Theatre, Kenneth Branagh as Henry (Royal Shakespeare Company)
- 2003 National Theatre, Adrian Lester as Henry
- 2013 Noël Coward Theatre, Jude Law as Henry V (Michael Grandage Company)
- 2015 RSC and The Barbican, Alex Hassell as Henry V
On British television, the play has been performed as:
- 1951 Clement McCallin as Henry, Marius Goring as Chorus, Willoughby Gray as Pistol
- 1953 Colin George as Henry, Toby Robertson as Chorus, Frank Windsor as Pistol
- 1957 John Neville as Henry, Bernard Hepton as Chorus, Geoffrey Bayldon as Pistol
- 1960 Robert Hardy as Henry, William Squire as Chorus, George A. Cooper as Pistol
- 1979 David Gwillim as Henry, Alec McCowen as Chorus, Bryan Pringle as Pistol
- 2012 Tom Hiddleston as Henry, John Hurt as Chorus, Paul Ritter as Pistol
In 2017, the Pop-up Globe, the world's first temporary replica of the second Globe Theatre, based in Auckland, New Zealand, performed 34 Henry V shows. London-trained Australian actor Chris Huntly-Turner took on the role of Henry, Irish actor Michael Mahony as Chorus, and UK-New Zealand actor Edward Newborn as Pistol/King of France.
Three major film adaptations have been made. The first, directed by and starring Laurence Olivier in 1944, is a colourful and highly stylised version which begins in the Globe Theatre and then gradually shifts to a realistic evocation of the Battle of Agincourt. Olivier's film was made during the Second World War and was intended as a patriotic rallying cry at the time of the invasion of Normandy.
The second major film, directed by and starring Kenneth Branagh in 1989, attempts to give a more realistic evocation of the period and lays more emphasis on the horrors of war. It features a mud-spattered and gruesome Battle of Agincourt. Where Olivier staged the comic scenes as comedy, Branagh played them as serious drama.
In 2004, post-modern choreographer David Gordon created a dance-theatre version of the play called Dancing Henry Five, which mixed William Walton's music written for the Olivier film, recorded speeches from the film itself and by Christopher Plummer, and commentary written by Gordon. The piece premiered at Danspace Project in New York, where it was compared favorably to a production of Henry IV (parts 1 and 2) at Lincoln Center. It has been revived three times – in 2005, 2007, and 2011 – playing cities across the United States, and received a National Endowment for the Arts American Masterpieces in Dance Award.
Henry V – A Shakespeare Scenario is a 50-minute work for narrator, SATB chorus, boys' choir (optional), and full orchestra. The musical content is taken from Walton's score for the Olivier film, edited by David Lloyd-Jones and arranged by Christopher Palmer. It was first performed at the Royal Festival Hall in London, in May 1990. Performers for this premiere were Christopher Plummer (narrator), the Academy Chorus, Choristers of Westminster Cathedral, and Academy of St Martin-in-the-Fields. The conductor was Sir Neville Marriner. A CD of the work with these performers was released by Chandos in 1990.
O For a Muse of Fire is a symphonic overture for full orchestra and vocal soloist, written by Darryl Kubian. The work is 12 minutes long, and was premiered by the New Jersey Symphony Orchestra in March 2015. The work is scored for full orchestra, with vocal soloist. The vocal part incorporates selected lines from the text, and the vocal range is adaptable to different voice types. The soloist for the premiere performances with the New Jersey Symphony was former October Project lead singer (and former Sony Classical artist) Mary Fahl.
- Appears in the Folio, but not the Quarto, version of the play. Taylor conjectures that Shakespeare replaced the "cold and distasteful" John of Lancaster, who had appeared in Henry IV, with the "decidedly more likeable Clarence.":p.101
- Olivier's movie paradoxically attempts to create patriotic fervour in a war against Germany where the French were Britain's allies by celebrating a past heroic English victory over those very allies
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The concern of productions in the contemporary era…is bringing the darker, more sceptical passages into a living relation with the more heroically straightforward.
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- "Judgment at Agincourt". C-SPAN. 16 March 2010. link to video
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- Rockwell, John. "Reverberations: Three Shakespeares, Each With a Purpose, Each Hoping to Thrill" New York Times (16 January 2004)
- "FY 2010 Grant Awards: American Masterpieces: Dance" Archived 12 October 2011 at the Wayback Machine on the National Endowment for the Arts website
- Serotsky, Paul. "Walton – Suite: "Henry V" notes by Paul Serotsky". MusicWeb International. Retrieved 31 March 2015.
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- Baldo, Jonathan (1996). "Wars of Memory in Henry V". Shakespeare Quarterly. Folger Shakespeare Library. 47 (2): 132–159. doi:10.2307/2871099. eISSN 1538-3555. ISSN 0037-3222. JSTOR 2871099 – via JSTOR. (Subscription required (help)).
- Coleman, David (2008). "Ireland and Islam: Henry V and the "War on Terror"". Shakespeare. Taylor & Francis. 4 (2, Part One. Criticism: Shakespeare and Islam. Guest edited by Mark Hutchings): 169–180. doi:10.1080/17450910802083492. eISSN 1745-0926. ISSN 1745-0918. (Subscription required (help)).
- Rabkin, Norman (1977). "Rabbits, Ducks, and Henry V". Shakespeare Quarterly. Folger Shakespeare Library. 28 (3): 279–296. doi:10.2307/2869079. eISSN 1538-3555. ISSN 0037-3222. JSTOR 2869079 – via JSTOR. (Subscription required (help)).
- Warren, Cristopher N. (2017). "Henry V, Anachronism, and the History of International Law". In Hutson, Lorna. The Oxford Handbook of English Law and Literature, 1500–1700. Oxford Handbooks. Oxford: Oxford University Press. pp. 709–727. doi:10.1093/oxfordhb/9780199660889.013.41. ISBN 9780199660889 – via Oxford Handbooks. (Subscription required (help)).
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