1: Henry IV: AAppearance Vs Reality

Title	1: Henry IV: AAppearance Vs Reality
# of Words	1309
# of Pages (250 words per page double spaced)	5.24

1:  Henry IV: AAppearance vs.  Reality"

Shakespeare’s play Henry IV begins with a king (King Henry) beginning a pilgrimage after killing King Richard II.  Henry  believes that by gaining the throne of England he has done an honourable deed, yet he admits that the fighting and bloodshed could continue, A. . .   ill sheathed knife . . . @ (I.1.17).  He, also, admits  that his own son, Prince Hal,  is not honourable enough to occupy the throne, Asee riot and dishonour stain the brow of my young Harry"  (I.1.17).
Shakespeare continues the topos of honour and redemption into Act three, scene two, where he uses elements such as anaphora, topos, imagery and rhetoric in a meeting between King Henry and Prince Hal that is both  crucial and  climatic to the overall structure of the theme of honour.
At the beginning of Act III  sc. ii,  Shakespeare clears all other characters from the stage to allow King Henry=s first meeting, face to face with Prince Hal, to be focused and intense.  King Henry is the first to speak and sets a sombre tone as he begins to unmask himself to his son A. . .  some displeasing service I have done @  (3.2.5).   As well Shakespeare allows King Henry to bring Prince Hal=s mask to attention by using anaphora:
Could such inordinate and low desires,
Such poor, such bare, such lewd, such
mean attempt, such barren pleasures,
rude society as there art matched withal . . . (3.2.12-15).

The word such is used to emphasise his [Henry]  displeasure of Hal=s friends and the image they  portray around him causing Hal in the eyes of Henry to lose his princely image.
Shakespeare, then allows Prince Hal to defend himself to his father’s interpretations of his (Hal) character.  Again, there is a contrast between what King Henry perceives and what is reality.  The king is obviously distressed over Hal=s choice of friends  and how they affect this  ‘Princely image’.   Hal  on the other hand asks for Apardon on my true submission @ (3.2.27), claiming that such people (friends) tell stories that may not always be true Aaft the ear of greatness must hear @ (3.2.24).
It seems that King Henry still has some reservations about Prince Hal=s ‘appearance’ and how that effects his (Hal=s) place on the throne; which may be some what ironic coming from a king that truly bases popularity, Aopinion that did help me to the crown @ (3.2.42), on public opinion though a rebellion is organising  around him.
During the King=s speech to Hal, Shakespeare employs many elements of style to review and parallel King Henry=s mask to Prince Hal=s appearance and foreshadow a possible outcome for Prince Hal, A. . . prophetically do forethink thy fall @ (3.2.38).  By using the imagery of a comment Shakespeare is trying to impress on Prince Hal that in the eye of the public Alike a comet I [he] was wondered at "  (3.2.47).  King Henry had to  keep himself Afresh and new, my presence like a robe pontifical @ (3.2.55-56), while in public.  In contrast Shakespeare uses the image of a A cuckoo in June @ to show that Prince Hal is  Aheard, not regarded, seen, but with such eyes, as sick and blunted with community @ (3.2.76-77).
As Prince Hal answers,  Shakespeare reminds the reader that the intention of this meeting is reconciliation of both King Henry and Prince Hal.  In act one, King Henry states AI will from henceforth rather be myself @ (1.3.5).  To parallel the king=s remarks Shakespeare has Hal repeat the same idea AI shall hereafter, my thrice gracious lord, be more myself (3.2.92-93).
Though there is a saying that Athe eyes are windows into a man=s soul@ Shakespeare uses the rhetoric of A eyes @ and A sight @ to be negative in that it is what the...This is ONLY a preview of the article. If you would like to view the entire document, you must subscribe to Electronic References. Please register below now!

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