your return,
3.2.267 Fore God would you I would you would
would
3.2.268 word, God keep you. word. Fare you well.
3.2.272 Shallow, Lord, Lord, Shallow. How
how
4.1.182 peace, which God so peace, which heaven so
4.1.232 in God's name then in heaven's name then
forward forward
4.1.250 the books of God the books of heaven
4.1.252 voice of God himself voice of heaven itself
4.1.260 zeal of God zeal of heaven
4.1.295 Upon my soul they Upon my life, they
4.1.360 God, and not we Heaven, and not we,
4.1.403 or by the Lord, I will or, I swear, I will have it
have it
4.2.1 Now lords, if God Now, lords, if heaven
doth doth
4.2.182 Which God shall Which heaven shall
guard: guard.
4.2.287 God witness Heaven witness
4.2.312 Let God for ever Let heaven forever
4.2.316 God put it in Heaven put it in
4.2.321 God knows Heaven knows
4.2.356 O God forgive O heaven forgive
4.2.374 Laud be to God, Laud be to heaven!
5.1.37 yet God forbid yet, heaven forbid,
5.2.20 O God, I fear Alas, I fear
5.2.44 and God save and heaven save
5.2.51 For by my faith it For, to speak truth, it
5.2.144 And God consigning And, heaven consigning
5.2.146 God shorten Heaven shorten
5.3.5 Fore God you have You have here
here
5.3.12 Sir John: by the mass John. I have
I have
5.3.16 praise God for praise heaven for
5.3.56 By the mass you'll You'll crack
crack
5.3.59 By God's liggens* I thank thee
I thank thee
5.3.74 Sir John, God save you. Sir John, save you,
5.3.78 By'r'lady** I think a be Indeed, I think he be
5.3.84 I pray thee now I prithee now
5.3.123-4 blessed are they that Happy are they which
5.4.1 I would to God that I would I might
I might
5.4.11 O the Lord that O, that
5.4.12 but I pray God the But I would the
5.4.22 O God that right O, that right
5.5.8 God bless thy lungs Bless thy lungs
5.5.41 God save thy grace Save thy grace
5.5.43 God save thee Save thee,
5.5.57 For God doth know For heaven doth know
5.5.73 Yea Mary Aye, marry
SCENE-BY-SCENE ANALYSIS
INDUCTION
The allegorical figure of Rumour opens the play, posing questions about the nature of truth and the power of language. Rumour's speech emphasizes confusion and uncertainty, not just in battle, but in the whole kingdom, divided by civil war. Rumour has given deliberately misleading information as to the outcome of the battle of Shrewsbury (at the end of Henry IV Part I) claiming that the king and Prince Henry were defeated and Hotspur triumphant, whereas in fact the opposite is true. The significance of past to present is clear and the inability to come to terms with the past leads to conflict in the future.
ACT 1 SCENE 1
Lines 1-146: Lord Bardolph reports to Northumberland that King Henry has been mortally wounded at Shrewsbury and that Northumberland's son, Hotspur, has killed Prince Henry. He compares their victory to "Caesar's fortunes," placing the events of the play in a wider historical context and raising the recurrent theme of time. It becomes clear, however, that he has not witnessed these events and is merely repeating what he has been told, reinforcing the arguments made by Rumour in the Induction. Travers and Morton bring different reports. Travers' information is also based on rumor, but suggests that the rebels have not done as well as Lord Bardolph believes. Despite Bardolph's attempts to reassure Northumberland, Morton reveals the truth: Hotspur is dead. Northumberland does not need to be told this, however, as he can see the truth in Morton's appearance: "the whiteness in thy cheek / Is apter than thy tongue to tell thy errand." When Bardolph refuses to believe him, Morton explains that he actually saw Prince Henry kill Hotspur. He describes how the death of Hotspur, "whose spirit lent a fire / Even to the dullest peasant in his camp," caused the rebel soldiers to flee from the battle. Morton announces that the king's forces, led by Prince John and Westmorland, are on their way to fight Northumberland.
Lines 147-225: Playing on the theme of oppositions, Northumberland announces that "In poison there is physic": the death of his son has given him the strength to fight. "Enraged with grief," he makes a rousing declaration, calling for an end to everything ("Let order die!"), using the meta-theatrical image of a play that has gone on too long, "a ling'ring act," to describe the civil conflict. Bardolph and Morton urge him to be rational, arguing that they all knew the possible outcome, and that none of their apprehensions could have prevented Hotspur's "stiff-borne action" and death. Bardolph declares that they must go into battle again, and Morton agrees, adding that he has heard that the Archbishop of York is prepared to join the rebels. He argues that the presence of the Archbishop "Turns insurrection to religion," giving credence to their cause and fresh confidence to their troops.
ACT 1 SCENE 2
Lines 1-51: In direct contrast to the serious nature of the previous scene, Falstaff's disreputable behavior generates comedy. He delivers a long complaint about how, although he is "witty," he is also "the cause" of wit in others. He complains that his Page, a gift from Prince Henry, makes him look foolish, comparing himself to a "sow that hath o'erwhelmed all her litter but one." He continues to joke about the disparity in their sizes, referring to his Page as an "agate" and threatening to return him to the prince as an ornament. He also comments humorously on the youthful nature of the prince. He is interrupted by the arrival of the Lord Chief Justice, and tries to sneak away.
Lines 52-220: The Lord Chief Justice recognizes Falstaff from his role in a robbery (see Henry IV Part I), but his Servant tells him that Falstaff did "good service" in the battle at Shrewsbury, another instance of rumor belying truth. The Lord Chief Justice sends his Servant to attract Falstaff's attention, but Falstaff tells his Page to pretend that he is deaf. This episode generates comedy but also highlights the wider theme of miscommunication. The Lord Chief Justice reminds Falstaff that, before the battle of Shrewsbury, he sent for him to answer to charges that might have resulted in the death penalty. Falstaff uses his military service as a defense, and the Lord Chief Justice concedes that this "hath a little gilded over" his part in the robbery. He warns Falstaff that he should stay out of trouble and suggests that he should act more appropriately, reinforcing the sustained images of opposing youth and age: Falstaff's "white beard" contrasts with his earlier references to the prince's youthful, beardless countenance. The Lord Chief Justice wishes the prince had a "better companion." Falstaff continues to antagonize him until he leaves. Falstaff then expresses his intention to profit from the wars, ironically echoing Northumberland's claim that "In poison there is physic" with his intention to "turn diseases to commodity."
ACT 1 SCENE 3
The Archbishop of York, Hastings, Mowbray, and Lord Bardolph discuss the preparations of the rebels and the odds on their success. Mowbray sees the need to fight, but questions whether their numbers are strong enough. Hasting reports that they have "five and twenty thousand men," and that they are in "hope" of Northumberland joining them. Lord Bardolph questions whether their army will be strong enough without Northumberland's forces, and suggests that they wait until they are certain of his support, revealing his cautious nature as he warns against "Conjecture, expectation and surmise." In contrast, Hastings is optimistic, insisting that the king must divide and therefore weaken his powers by fighting the French, the Welsh, and the rebels at the same time. York announces that they should proclaim their cause publicly, suggesting that the English people are "sick of their
own choice" of king, and commenting scathingly that they are treating Henry in the same way as they treated Richard II. He concludes that "Past and to come seems best; things present worst," again emphasizing the theme of time and its effects.
ACT 2 SCENE 1
Lines 1-117: Hostess Quickly has summoned two officers, Fang and Snare, to arrest Falstaff, who she claims has "stabbed" her in his refusal to pay the money he owes. In a long-winded speech, laden with unwitting sexual innuendo, she describes how Falstaff has wronged her, and how he "cares not what mischief he doth, if his weapon be out." Falstaff arrives, accompanied by Bardolph (no relation to Lord Bardolph), whom he instructs to cut off Fang's head, and throw the "quean" (whore), Hostess Quickly, into the gutter. A noisy fight breaks out, which is interrupted by the arrival of the Lord Chief Justice. He chastises Falstaff, who should be on his way to York by now. Hostess Quickly complains about his behavior and the money he owes her. Falstaff pretends that she is mad, but the Lord Chief Justice is unmoved, showing his understanding of Falstaff's character and immunity to his fabrications and charm. He commands him to pay his debts, and Falstaff takes the Hostess aside as Gower enters.
Lines 118-172: While the Lord Chief Justice asks Gower for news, Falstaff persuades the Hostess to pawn her "plate and tapestry" to lend him yet more money, and arranges that the prostitute Doll Tearsheet will join him that evening for supper at the tavern. Falstaff is left with the Lord Chief Justice and Gower, who ignore him while they discuss the king's affairs.
ACT 2 SCENE 2
For the first time in the play, we see a member of the royal household: so far, the narrative, and therefore audience interest, has focused on the rebels and Falstaff. Even now, we only hear of the king through report, a device suggesting that, despite its eponymous title, the play is about more than Henry IV; concerning itself instead with his country and people, and the development of the character of Prince Henry. The prince is with Poins, one of his former, disreputable, companions. The prince complains that he is "weary" and torn between his old ways and his new responsibilities. He describes how his "heart bleeds" because of his father's illness, but that he is unable to show his true feelings, because, like Poins, people would think that he was being "a most princely hypocrite." Bardolph brings a nonsensical letter to Prince Henry from Falstaff. When the prince learns that Falstaff will be dining with Doll Tearsheet at the tavern that evening, he and Poins decide to disguise themselves as waiters so as to see Falstaff "in his true colours," emphasizing that Henry has yet to complete his metamorphosis from reprobate to royal prince.
ACT 2 SCENE 3
Northumberland urges his wife and widowed daughter-in-law to support him in his decision to fight the king, but Lady Percy begs him not to go to war. She reminds him that he did not go when Hotspur needed his support, effectively leaving him to die. Her grief is evident, and her description of the noble Hotspur, "the glass / Wherein the noble youth did dress themselves," serves to contrast with Prince Henry, who, while in the process of becoming a more responsible and honorable character, is still attracted to his old, irresponsible lifestyle. Northumberland is swayed by Lady Percy's arguments, showing his weakness as an ally in the rebels' cause. He agrees to go to Scotland while the first stages of the battle are under way.
ACT 2 SCENE 4
Once again, the low-status characters provide comic contrast to the events of the main plot, while reinforcing some of its key themes and concerns. This scene also serves to establish the growing estrangement between Falstaff and the prince.
Lines 1-207: Two waiters discuss the arrangements for Falstaff's meal, and go to find the disguises for Prince Henry and Poins. Hostess Quickly and Doll Tearsheet arrive, followed by Falstaff, and a humorous, bawdy exchange follows between them all. There are a number of joking references to venereal disease, a subject that is returned to throughout the scene and which, although comic, serves as a metaphor for the wider corruption of the kingdom. They are interrupted by a waiter who informs Falstaff that "Ancient Pistol" has asked to speak to him. When Pistol enters, the conversation becomes more riotous and confusing, compounded by Pistol's nonsensical speeches and threats against Doll Tearsheet, to which she replies with bawdy indignation. The emphasis on Pistol's and Bardolph's military titles reminds the audience of wider events, but Doll's mockery of Pistol, "You a captain?" contrasts with the more serious soldiery in the play. Bardolph tells Pistol to leave before it "grow[s] to a brawl" but, when he tries to throw him out, Pistol draws his sword. Despite Doll's protests, Falstaff draws as well, and Pistol is driven out. Doll Tearsheet sympathizes with Falstaff and, although her language is rough, it is also strangely tender, revealing a gentler side to Falstaff in his relationship with her. The Musicians arrive, and Falstaff invites Doll to sit on his knee. She good-naturedly asks him when he is going to "leave fighting" and "begin to patch up" his "old body for heaven," one of the increasing number of references to Falstaff's age.
Lines 208-355: Prince Henry and Poins enter, disguised. As they listen in, Doll questions Falstaff about them, reinforcing the theme of misrepresentation/rumor as he describes Henry as a "shallow young fellow" and dismisses Poins' reputed wit as being "as thick as Tewkesbury mustard." Finally, Falstaff recognizes the prince and Poins, and Henry reveals angrily that they have heard everything. As Falstaff tries to make excuses, they are interrupted by Peto, who reports that the king is at court and that there is a great deal of military activity under way: "weak and wearied" messengers are arriving from the north, and "a dozen captains" are searching for Falstaff to take command of his troops. Henry is ashamed that he has "idly" wasted "precious time" when the "tempest of commotion, like the south / Borne with black vapour, doth begin to melt." His language provides a sudden, serious note and the previous humor is forgotten in his brief, dismissive "goodnight" to Falstaff. Falstaff takes a fond farewell of Hostess Quickly and Doll Tearsheet.
ACT 3 SCENE 1
Late at night, the king is occupied with the business of war. He sends his Page with letters and embarks on a soliloquy that reveals his troubled mind, a technique that moves the audience from the previously distanced presentation of the character to a position of sudden, intimate insight. He dwells on how his "poorest subjects" are "at this hour asleep," comparing the simple lives of everyday people with the overbearing responsibilities of kingship: "Uneasy lies the head that wears a crown." Surrey and Warwick arrive, and King Henry compares his kingdom to a "body" that is infected with "rank diseases," echoing the imagery of the previous scene. He wishes he could know the future, and then considers the past, reinforcing the theme of time as he dwells on how Richard II and Northumberland had once been "great friends" and then, "two years after / Were they at wars," and how "but eight years since" Northumberland had been his own ally, only to betray him. He reminds them how Richard prophesied "this same time's condition And the division of our amity." Warwick reasons that Richard could guess that Northumberland might betray Henry, having betrayed him. Focusing once more on the present, the king reports that "the bishop and Northumberland Are fifty thousand strong," but Warwick responds that "Rumour doth double / Like the voice and echo," and urges Henry to go to bed before he makes himself more unwell. Henry agrees, comforting himself with the thought that once the "inward wars" of his kingdom are over, he will make his long-planned pilgrimage "unto the Holy Land."
ACT 3 SCENE 2
Justices Shallow and Silence await the arrival of Falstaff in Gloucestershire (a diversion from his march to York). This inclusion of characters from rural, "middle-class" England serves to emphasize the country-wide impact of the civil war, providing a contrast to the city and court, and the diametric of nobles and low-status characters seen so far. The presentation of Shallow and Silence is gently mocking: their names characterize their conversational styles, as Shallow talks endlessly about his past and his previous acquaintance with Falstaff, and Silence says very little. Underlying this mild humor, however, their preoccupation with the past echoes that o
f the king, and their constant return to the theme of death emphasizes the growing focus on mortality in the play.
They are interrupted by Bardolph and Falstaff, who inspect the men that Shallow and Silence have assembled for recruitment. Comedy is generated through the recruits' names and corresponding characters: "Mouldy," "Wart," and "Feeble," for example, and the humor that Falstaff derives from this. When Falstaff goes to dinner with Silence and Shallow, Bardolph accepts bribes from two recruits to ensure that they will not have to join up. When the others return, he tells Falstaff, who praises him and avoids selecting these men, revealing Falstaff's essentially corrupt nature. The scene ends with Falstaff's soliloquy, in which he mocks his old acquaintance, Shallow, and claims that he will make some money from him in the future, "if" he returns from the wars, a qualification that reminds us of the play's increasing concerns with mortality.
ACT 4 SCENE 1
Lines 1-185: The Archbishop of York meets with Mowbray and Hastings in Gaultree forest to prepare for battle. They have sent scouts to find out the strength of the king's armies. The Archbishop tells them that he has received a letter from Northumberland, claiming that he cannot raise satisfactory support and will not be joining them. A Messenger arrives with the news that the king's men are "scarcely off a mile" and that his armies number about thirty thousand. As Mowbray urges the others to battle, they are approached by Westmorland, acting as emissary from Prince John. Westmorland addresses the Archbishop, reminding him of his holy position and suggesting that the role of a "reverend father" is to sustain peace. He asks why the Archbishop has turned to "the harsh and boisterous tongue of war." The Archbishop returns to the recurring image of disease as he describes how the country has been brought "into a burning fever / And we must bleed for it." He argues that he has "justly weighed" the arguments for and against war, but that the king's refusal to hear the "griefs" of his subjects has left him no choice. Westmorland reiterates that it is not the Archbishop's role to involve himself, but Mowbray argues that it is the role of "all / That feel the bruises of the days before," emphasizing once again the influence of the past. Westmorland agrees to take a "schedule" of the rebels' "general grievances" to Prince John.