Henry Iv – Moral Centre

Hanh-Thy Chau 2M N. Wittlin February 25, 2003 ENG2DB-02 A Revision of Morality in Shakespeares Henry IV, pct adept Who is the moral centre in Shakespeares Henry IV, give out one? This will ceaselessly be a question challenging the intentions of Shakespeares literature. However, didnt Wittlin say dont start with however else its after a semi-colon the question in this revision of morality in Shakespeares Henry IV, Part one is, is there even a moral center in Shakespeares Henry IV, Part one?Humanity is incapable of peremptory probity therefore, there is no moral centre in Henry IV, Part one since the three major characters, King Henry, Prince Hal, and Sir John Falstaff, are all evenhandedly morally flawed. Shakespeare reveals the imperfection of humane nature through the behaviour of his these characters. First of all, King Henry sets a presumed reputation as the religious, loved and strong draw of England in Henry IV, Part one for his subjects. However, his supposed virtues a re only results of his concealed faults. Ironically, the King can be quite blasphemous, despicable, and pathetic.Throughout the play, Henry is manifestly repenting for his conduct in his acquirement of the British thr avouch. This is shown in his belief of whether God will have it so, /To punish my King Henrys mistreadings (III. ii. 4-11) and that God pardon (III. iii. 29) Hal for his unpunished sins of his disconsolate company. Furthermore, King Henrys disgraceful conduct clearly reveals the false reception of love from his subjects. This is especially revealed in his relationship based on conditional love with Prince Hal. His opinion of Hal, which changed from a state of riot and dishonour (I. i. 4) to one of charge and sovereign (III. iii. 161), is only established on restricted affection and Hals social image, preferably than a personal generosity between parent and child. In addition, another of King Henrys loathsome features is again shown through his attainment of the thr one deceitful behaviour. Furthermore, the Kings pathetic nature is revealed by his insecurity. The play begins with the King expressing his paranoid worries, be so shaken and macabre with care (I. i. 1-2), accordingly presenting the audience with its first impression of the supposedly strong leader.King Henry deceitfully attempts to use the chase of the pagans in these holy palm/for our Englands advantage (I. i. 24-27) to distract the civil providedchery (I. i. 13) back home in England. Overall, the liveliness events of King Henry IVs does not present a very moral reputation for a man of worthy of such power and prestige. Secondly, Prince Hal clearly shows both positive aspects and negative aspects, as his character undergoes enormous change in Henry IV, Part one. Hal gives the audience the impression of his intentions to throw off (I. iii. 05) his uncouthly behaviour moral to please the King, the alleged victim in Henry IV, Part one. Hal believes he can find pardon on his tru e submission (III. ii. 28) by satisfy his fathers expectations for the thrones heir and discard the values of his loving surrogate father, Falstaff. As revealed in the previous quotation of pardoned submission, one of Hals admirable aspects is his open ability to conduct his faults however, it seems his judgement regarding the class, justice, and honour system remains stereotyped by knightly tradition.Although Prince Hals resultant persona is traditionally considered positive, Hals most commonly shown qualities in the play are characterized as manipulative, superficial and unemotional, all of which further reveal his immoral faults. Hals manipulative nature is exposed throughout Henry IV, Part one. Prince Hals manipulative intelligence is first revealed in his soliloquy, where he vows to falsify mens hopes/ andso offend to make offense a achievement (I. iii. 205-211).Hals aptitude for manipulating is further proven in his sudden abandonment of Falstaff and his low class company, a s foreshadowed when Hal symbolically states that by breaking through the unhealthful and ugly mistsmy Hals re variateationshall show more goodly (I. ii. 196-). In this quote, the clouds represent Falstaff and company and the beauty in reference to is the reformed Hal. An addition to Hals im amoral traits is his superficiality. Hals superficiality is shown in his judgement of physical image.This is shown in his constant vulgar references to Falstaffs obesity a fat-witted with drinking of old sack (I. ii. 2) and his abandonment of Falstaffs role in his life after his reformation. Hals commitment to the traditional expectations of honour results in the betrayal of Falstaffs hedonistic approach on life and his only endeavour is to please the man who had offered a pitiful excuse of love incomparable to what Falstaff had to offer unconditional love. These examples of Hals superficiality also realize Hals lack of sympathy for others.Hals cold behaviour towards others is shown in his hypo critical approach for Falstaffs hedonistic maybe use self-gratifying attitude. Hal is unaware of his own form of intemperance he strives to improve his own self-image at the expense of others. Despite Hals admirable traits as a respectable member of court, as a human being, Prince Hals amorality is quite apparent by the distinction of his fulfils. Lastly, despite Sir John Falstaffs self-gratifying lifestyle, he seems to be the most moral character in Henry IV, Part one, although not wholly moral because as previously addressed, human nature is inept of utter goodness.Due to Sir John Falstaffs philosophies, numerous have claimed to be fond of his self-indulging ways but admit the ridicule behind paying formal respect to such a person. Falstaff cleverly manipulates others for his own welfare however, it is only in good nature. This is proven in Act III scene iii, when Falstaff distorts the situation of his debt to Mistress Quickly into one of an accusation of her being the thief of his pickedpocket wasnt he really pick pocketed? (III. iii. 53), and more wittingly forgives her in the end as she goes to prepare his meal, intending no spite upon the hostess.Falstaff deceives, cowards not an action cannot be used in this senctense, drinks of old sack (I. ii. 2) and commits virtually every sin. Shakespeare masterfully moulds these negative aspects into unusual forms of virtue in Falstaffs character by showing that Falstaff means no harm. In doing this, Shakespeare cleverly twists the faults upon the regal members of society by building the play upon the disputes between themselves thus, showing the power of such shrewd issues, barely considered sinful, causing civil butchery (I. i. 13), whereas the sinful ways of Old Jack Falstaff (II. iv. 72) has no such effect. Although Falstaffs pleasure priorities may be rather farfetched, his giftis youthful irresponsibility, which moldiness be cherished even though it cannot last (p. xx). Falstaffs commonly repeated idea tha t young men must live (II. ii. 90) emphasizes his belief in the value of youthful irresponsibility and luxury. Shakespeare grants Falstaff the embodiment of human nature itself, excluding extreme wicked sins, leaving Falstaffs childlike benevolence untouched this is shown as he pompously states, I have more flesh than another man, and therefore more frailty (III. ii. 167-169). Falstaff serves as a bringer of human nature as he serves to foil all other characters therefore revealing everyone moral flaws yet remaining the most moral character overdue to his youthful benevolence. In conclusion, Shakespeare brilliantly provokes the audiences involvement in his plays by presenting them with intellectual trials to the mysteries of life. Because r u sure that u want to start a sentence with that absolute morality is unachievable, Shakespeare does not put forward a definite moral center in Henry IV, Part one.There will always be a balance of both positive and negative forces as the faults and virtues of King Henry, Prince Hal and Sir John Falstaff were discussed. This is very good. You explained your points well just a couple of minor mistakes but I think youll get a good mark. Sorry for not responding I was eating dinner sorry. Talk to you later ok. Bye Word compute 1 189 Works Cited Shakespeare, William. Henry IV, Part one. Toronto Bantam Books, 1988