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
eyes of other people see that makes a person honourable. Some examples of this
rhetoric used by Shakespeare are: Aafford no extraordinary gaze . . . admiring eyes
. . . eyelids down @ (3.2.78,80,81), indicating that through these public eyes
Prince Hal does not demand the respect needed to be as successful a king as King
Henry believes he himself is. Then, Shakespeare uses A sight @ in the same passage
to give insight to the 'mask' Henry wears that must make him blind:
. . . save mine, which hath desired to see thee more,
which now doth that I would not have it do,
make blind itself with foolish tenderness. (3.2.89-91)

Again Shakespeare is using this act to play out the King=s idea of how his son
Hal appear to be less honourable than Hotspur, but, will put aside his honourable
mask towards some of the misdoing by his son for the sake of saving his (Hal=s)
princely image.
Another aspect of Shakespeare's style is the long passages at the end of each scene
that are, usually, given to the main (or most important) figure on stage at the
time. In this scene, however, much of what King Henry is saying to Prince Hal is
contained in a long passage. Although these passages by the king are not at the
end of the scene, but, contained within the scene it could be that Shakespeare
wants to show that the king is indeed an important character until Hal begins his
own pilgrimage of reconciliation. As well these long passages give King Henry a
chance to repeat and parallel a large amount of information to Prince Hal.
In his last long speech to Hal, King Henry repeats his disfavour in his son=s
ability to be king stating that Ahe (Hotspur) bath more worthy interest to the
state than thou the shadow of succession@ (3.2.98-99). Also King Henry uses this
opportunity to explain what he thinks are the honourable qualities he feels Hotspur
has over Prince Hal:
Leads ancient lords and reverend bishops on
To bloody battles and to bruising arms.
What never-dying honour hath he got
Against renowned Douglas ( 3.2.104-107)!

Finally, Shakespeare allows Prince Hal to answer to all the allegations presented
by King Henry. One element of Shakespeare's style here is the long passage which
denotes Prince Hal as an important character gaining respect from the king. First
Hal tells King Henry that AGod forgive them that so much have swayed Your Majesty's
good thought away from me @ (3.2.130-131). Hal then goes on to say that he wants
to announce his right to be king as the son of King Henry by proving his honour and
loyalty to the king though the only honourable thing left to Aredeem all this on
Percy=s head@ (3.2.133).
This last passage summarises Prince Hal=s feelings that up until now he has been
seen through a mask unworthy of his father=s honour. Like the king before him Hal
wishes to cast off this mask and earn respect through the forth coming rebellion;
much as did King Henry gain respect and honour by going into battle with Richard
II.
In conclusion, Shakespeare uses elements of style such as topos, and anaphora, as
well as imagery and rhetoric to parallel and contrast King Henry=s honour with
Hal=s perceived lack of honour. This scene in act three is a critical moment
between a father and son set up by Shakespeare to enable both character to Acast
off@ their masks and show the reality of their true selves and asks the question of
whether honour is truly what we say it is.
Works Cited

Shakespeare, William. 1Henry IV. In The Norten Anthology of English Literature.

Eds. M.H. Abrams et all. 5th Ed.
New York: Norton, 1987. Pg. 505-574