31 – WILLIAM
SHAKESPEARE – HENRY IV PART TWO – BBC – 1979
Henry IV Part One was in
many ways plot-lacking and not that dramatic. It had some brilliancy from the
innovation of Falstaff and the Prince of Wales having a night life in some
tavern with shady people and even some crooks, with a lot of humor in that environment,
Falstaff being some kind of popular character at times gross and full of wit. I
must say that Shrewsbury
was slightly light to hold our attention and fascinate our interest.
But this second part of
King Henry IV is quite different. We are at the end of the rebellions. The last
one, that of the House of York and their archbishop has to be curbed and
brought down. It is in the most vicious way. Prince John of Lancaster is leading the army. He makes the
rebels believe, after a fair lesson about the archbishop daring lead a
rebellion against the King, the true representative of God in England, that
they will answer their demands and provide due correction to what requires some
redressing, and thus that peace can be declared and celebrated with wine. The
rebels are dumb enough to disband their troops who rush at once away, and then
Prince John can have the rebels arrested on the spot and led into captivity for
execution. True enough Prince John had not promised any pardon to the rebels,
only the redress of their grievances.
This performed with
little means of course we would only have Falstaff and his wit along with the
Prince of Wales and his wallowing in popular mirth to carry the play. It is
done with a lot of pleasure and fun, plus some marital or matrimonial suffering
for the women, at times wives, of these drunkards and merry suckers. Falstaff
adds some tricky situation in Gloucester where he has some “friends,” or so he
calls them, a certain Shallow that lives with a certain Silence, two country
justices, in whose home he stops over going to and returning from the war to
have fun, drink and eat. He owes Shallow some money, maybe one thousand pounds
if we believe the two borrower and borrowee, So we have some hectic celebrating
there. But the play would still be light.
Yet in fact the play is
carried by Henry IV in his deranged sickness. He is not insane and he has not
lost his memory. He remembers too well how un-lawfully he seized the crown, and
he is haunted by this feudal crime that was disguised as a voluntary abdication.
It is this haunting guilt that makes him sick, deranged, practically insane
though with his full consciousness and memory. There the King is brilliant in
his slow degeneracy from haunted to fully paranoid and psychotic in his guilt
that makes him identify with the crown and thus with his crime and his body
becomes the prey of all sorts of ailing because of this assumed and
interiorized repentance and disgrace. Brilliant in face language and body
language (essential with all the close-up images due to the fact this is a TV
film, Brilliant in his language that is engrossed with all of Shakespeare’s style.
This phenomenal performance
is amplified by that of the Prince of Wales who rushes on the last day of this
ordeal and stays with the King he believes is dead and he yields to the childish
desire to try the crown on and goes to another room to strut with it in
solitude. Unluckily his father is not dead and he comes back to life and finds
out, with all the courtiers around, that the crown has been taken away. The Prince
of Wales is brought back and he gives the crown back and there the accusation
from the father, the contrition of the son and the acceptance of this
confession by the father is worth a life time of good theater.
And never live to show
the incredulous world
The noble change that I
have purposed!
Coming to look on you,
thinking you dead,
And dead almost, my
liege, to think you were,
I spake unto this crown
as having sense,
And thus upbraided it: 'The
care on thee depending
Hath fed upon the body of my
father;
Therefore, thou best of gold
art worst of gold:
Other, less fine in carat,
is more precious,
Preserving life in medicine
potable;
But thou, most fine, most
honour'd: most renown'd,
Hast eat thy bearer up.' Thus, my most royal liege,
Accusing it, I put it
on my head,
To try with it, as with
an enemy
That had before my face
murder'd my father,
The quarrel of a true
inheritor.” (Act IV,
Scene iv)
This accusatory personification
of the crown gives the repentance a density that is obviously effective on the
father who accepts the repentance, and even makes the “stealing of the crown” a
divine decision to enable the son to express his love for his father so
intensely. Maybe the son is a good actor, impersonating the repenting culprit
but he sure does it, if he does, with great style.
These scenes are so
powerful that good acting added to the great language provides the best ever,
the most emphatic ever situation that becomes poignant when the King finally
dies practically in front of us.
But Shakespeare then has
to transform the Prince of Wales from a wild teenager who is sowing his wild
oats everywhere in London into the new King straight away after his father’s
death in court, and he has to pacify his three younger brothers and associate
them to the new power that is going to be free of any guilt since he received the
crown in the best and most legal way. He does that with what sounds like love
even if he is the King and they are not. He may love them after all. But he has
to assert his power with the Lord Chief Justice who once, on the King his
father’s order, actually put him in prison. He does that with the grace and the
authority of a king acknowledging the Lord Chief Justice’s absolute fairness
and equanimity when dealing with the ruffian he was before up to just right
now.
You can imagine the joy
of Falstaff and his band who believe they have won the main prize of some bingo
game. They go to the coronation and in the street the king comes by Falstaff tries
to attract his attention. The King’s answer is a model of greatness and grace
wrapped up in pure authority.
How ill white hairs
become a fool and jester!
I have long dream'd of such
a kind of man,
So surfeit-swell'd, so
old and so profane;
But, being awaked, I do
despise my dream.
Make less thy body
hence, and more thy grace;
Leave gormandizing; know
the grave doth gape
For thee thrice wider
than for other men.
Reply not to me with a
fool-born jest:
Presume not that I am
the thing I was;
For God doth know, so
shall the world perceive,
That I have turn'd away
my former self;
So will I those that
kept me company.
When thou dost hear I am
as I have been,
Approach me, and thou
shalt be as thou wast,
The tutor and the feeder
of my riots:
Till then, I banish
thee, on pain of death,
As I have done the rest
of my misleaders,
Not to come near our
person by ten mile.
For competence of life I
will allow you,
That lack of means
enforce you not to evil:
And, as we hear you do
reform yourselves,
We will, according to
your strengths and qualities,
Give you advancement. [To the Lord Chief Justice] Be it your
charge, my lord,
To see perform'd the
tenor of our word. Set on.” (Act V, Scene ii)
And even in this situation he promises a change of heart if
they deliver a change of behavior. And he has them arrested and banished ten
miles away. I must say that this play gets to some real grandeur because of
these elements: the death of Henry IV and the (re-)birth of Henry V.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 3:21 PM