Henry IV, Part 2

By William Shakespeare and Paul Werstine

Henry IV, Part 2 is the only Shakespeare play that is a “sequel,” in the modern sense, to an earlier play of his. Like most sequels, it repeats many elements from the previous work, Henry IV, Part 1. This play again puts on stage Henry IV’s son, Prince Hal, who continues to conceal his potential greatness by consorting with tavern dwellers, including the witty Sir John Falstaff.

As in Part 1, Prince Hal and Falstaff seek to best each other in conversation, while Falstaff tries to ingratiate himself with Hal and Hal disdains him. Part 2 adds some fresh characters, the rural justices Shallow and Silence and Shallow’s household. Political rebellion, while important to the plot, does not loom as large as in Part 1. There are no glorious champions; combat is replaced by deception, cunning, and treachery.

The authoritative edition of Henry IV, Part 2 from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers, includes:

-Freshly edited text based on the best early printed version of the play
-Full explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the play’s famous lines and phrases
-An introduction to reading Shakespeare’s language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Library’s vast holdings of rare books
-An annotated guide to further reading

Essay by A. R. Braunmuller

The Folger Shakespeare Library in Washington, DC, is home to the world’s largest collection of Shakespeare’s printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.

• Language: English
• Publisher: Simon & Schuster
• Release date: Aug 16, 2016
• ISBN: 9781501149948

William Shakespeare

William Shakespeare (1564–1616) is arguably the most famous playwright to ever live. Born in England, he attended grammar school but did not study at a university. In the 1590s, Shakespeare worked as partner and performer at the London-based acting company, the King’s Men. His earliest plays were Henry VI and Richard III, both based on the historical figures. During his career, Shakespeare produced nearly 40 plays that reached multiple countries and cultures. Some of his most notable titles include Hamlet, Romeo and Juliet and Julius Caesar. His acclaimed catalog earned him the title of the world’s greatest dramatist.

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THE NEW FOLGER LIBRARY SHAKESPEARE

Designed to make Shakespeare’s great plays available to all readers, the New Folger Library edition of Shakespeare’s plays provides accurate texts in modern spelling and punctuation, as well as scene-by-scene action summaries, full explanatory notes, many pictures clarifying Shakespeare’s language, and notes recording all significant departures from the early printed versions. Each play is prefaced by a brief introduction, by a guide to reading Shakespeare’s language, and by accounts of his life and theater. Each play is followed by an annotated list of further readings and by a Modern Perspective written by an expert on that particular play.

Barbara A. Mowat is Director of Research emerita at the Folger Shakespeare Library, Consulting Editor of Shakespeare Quarterly, and author of The Dramaturgy of Shakespeare’s Romances and of essays on Shakespeare’s plays and their editing.

Paul Werstine is Professor of English at the Graduate School and at King’s University College at Western University. He is a general editor of the New Variorum Shakespeare and author of Early Modern Playhouse Manuscripts and the Editing of Shakespeare and of many papers and articles on the printing and editing of Shakespeare’s plays.

Folger Shakespeare Library

The Folger Shakespeare Library in Washington, D.C., is a privately funded research library dedicated to Shakespeare and the civilization of early modern Europe. It was founded in 1932 by Henry Clay and Emily Jordan Folger, and incorporated as part of Amherst College in Amherst, Massachusetts, one of the nation’s oldest liberal arts colleges, from which Henry Folger had graduated in 1879. In addition to its role as the world’s preeminent Shakespeare collection and its emergence as a leading center for Renaissance studies, the Folger Shakespeare Library offers a wide array of cultural and educational programs and services for the general public.

EDITORS

BARBARA A. MOWAT

Director of Research emerita

Folger Shakespeare Library

PAUL WERSTINE

Professor of English

King’s University College at Western University, Canada

From the Director of the Folger Shakespeare Library

It is hard to imagine a world without Shakespeare. Since their composition more than four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.

Readers of the New Folger Editions are part of this ongoing process of taking up Shakespeare, finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented as a resource for study, artistic exploration, and enjoyment. As a new generation of readers engages Shakespeare in eBook form, they will encounter the classic texts of the New Folger Editions, with trusted notes and up-to-date critical essays available at their fingertips. Now readers can enjoy expertly edited, modern editions of Shakespeare anywhere they bring their e-reading devices, allowing readers not simply to keep up, but to engage deeply with a writer whose works invite us to think, and think again.

The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, D.C., is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.

I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.

Michael Witmore

Director, Folger Shakespeare Library

Contents

Editors’ Preface

Shakespeare’s Henry IV, Part 2

Reading Shakespeare’s Language: Henry IV, Part 2

Shakespeare’s Life

Shakespeare’s Theater

The Publication of Shakespeare’s Plays

An Introduction to This Text

Characters in the Play

Henry IV, Part 2

Text of the Play with Commentary

Act 1

Induction

Scene 1

Scene 2

Scene 3

Act 2

Scene 1

Scene 2

Scene 3

Scene 4

Act 3

Scene 1

Scene 2

Act 4

Scene 1

Scene 2

Scene 3

Act 5

Scene 1

Scene 2

Scene 3

Scene 4

Scene 5

Longer Notes

Textual Notes

Textual Problems in Henry IV, Part 2

Historical Background: Sir John Falstaff and Sir John Oldcastle

Henry IV, Part 2: A Modern Perspective by A. R. Braunmuller

Further Reading

Key to Famous Lines and Phrases

Commentary

Act 1

Induction

Scene 1

Scene 2

Scene 3

Act 2

Scene 1

Scene 2

Scene 3

Scene 4

Act 3

Scene 1

Scene 2

Act 4

Scene 1

Scene 2

Scene 3

Act 5

Scene 1

Scene 2

Scene 3

Scene 4

Scene 5

Editors’ Preface

In recent years, ways of dealing with Shakespeare’s texts and with the interpretation of his plays have been undergoing significant change. This edition, while retaining many of the features that have always made the Folger Shakespeare so attractive to the general reader, at the same time reflects these current ways of thinking about Shakespeare. For example, modern readers, actors, and teachers have become interested in the differences between, on the one hand, the early forms in which Shakespeare’s plays were first published and, on the other hand, the forms in which editors through the centuries have presented them. In response to this interest, we have based our edition on what we consider the best early printed version of a particular play (explaining our rationale in a section called An Introduction to This Text) and have marked our changes in the text—unobtrusively, we hope, but in such a way that the curious reader can be aware that a change has been made and can consult the Textual Notes to discover what appeared in the early printed version.

Current ways of looking at the plays are reflected in our brief introductions, in many of the commentary notes, in the annotated lists of Further Reading, and especially in each play’s Modern Perspective, an essay written by an outstanding scholar who brings to the reader his or her fresh assessment of the play in the light of today’s interests and concerns.

As in the Folger Library General Reader’s Shakespeare, which the New Folger Library Shakespeare replaces, we include explanatory notes designed to help make Shakespeare’s language clearer to a modern reader, and we hyperlink the notes to the lines that they explain. We also follow the earlier edition in including illustrations—of objects, of clothing, of mythological figures—from books and manuscripts in the Folger Shakespeare Library collection. We provide fresh accounts of the life of Shakespeare, of the publishing of his plays, and of the theaters in which his plays were performed, as well as an introduction to the text itself. We also include a section called Reading Shakespeare’s Language, in which we try to help readers learn to break the code of Elizabethan poetic language.

For each section of each volume, we are indebted to a host of generous experts and fellow scholars. The Reading Shakespeare’s Language sections, for example, could not have been written had not Arthur King, of Brigham Young University, and Randal Robinson, author of Unlocking Shakespeare’s Language, led the way in untangling Shakespearean language puzzles and shared their insights and methodologies generously with us. Shakespeare’s Life profited by the careful reading given it by the late S. Schoenbaum, Shakespeare’s Theater was read and strengthened by Andrew Gurr and John Astington, and The Publication of Shakespeare’s Plays is indebted to the comments of Peter W. M. Blayney. Among the texts we consulted, we found Thomas L. Berger’s Malone Society Reprint The Second Part of King Henry the Fourth 1600 especially helpful. We, as editors, take sole responsibility for any errors in our editions.

We are grateful to the authors of the Modern Perspectives; to Leeds Barroll and David Bevington for their generous encouragement; to the Huntington and Newberry Libraries for fellowship support; to King’s College for the grants it has provided to Paul Werstine; to the Social Sciences and Humanities Research Council of Canada, which provided him with a Research Time Stipend for 1990–91; to R. J. Shroyer of the University of Western Ontario for essential computer support; to the Folger Institute’s Center for Shakespeare Studies for its fortuitous sponsorship of a workshop on Shakespeare’s Texts for Students and Teachers (funded by the National Endowment for the Humanities and led by Richard Knowles of the University of Wisconsin), a workshop from which we learned an enormous amount about what is wanted by college and high-school teachers of Shakespeare today; and especially to Steve Llano, our production editor at Pocket Books, whose expertise and attention to detail are essential to this project

Our biggest debt is to the Folger Shakespeare Library: to Michael Witmore, Director of the Folger Shakespeare Library, who brings to our work a gratifying enthusiasm and vision; to Gail Kern Paster, Director of the Library from 2002 until July 2011, whose interest and support have been unfailing and whose scholarly expertise continues to be an invaluable resource; and to Werner Gundersheimer, the Library’s Director from 1984 to 2002, who made possible our edition; to Deborah Curren-Aquino, who provides extensive editorial and production support; to Jean Miller, the Library’s Art Curator, who combs the Library holdings for illustrations, and to Julie Ainsworth, Head of the Photography Department, who carefully photographs them; to Peggy O’Brien, former Director of Education at the Folger and now Director of Education Programs at the Corporation for Public Broadcasting, who gave us expert advice about the needs being expressed by Shakespeare teachers and students (and to Martha Christian and other master teachers who used our texts in manuscript in their classrooms); to Allan Shnerson and Kevin Madden for their expert computer support; to the staff of the Academic Programs Division, especially Amy Adler, Mary Tonkinson, Kathleen Lynch, Keira Roberts, Carol Brobeck, Kelleen Zubick, Toni Krieger, and Martha Fay; and, finally, to the generously supportive staff of the Library’s Reading Room.

Barbara A. Mowat and Paul Werstine

King Henry IV.

From John Speed, The Theatre of the empire of Great Britaine . . . (1627 [i.e. 1631]).

Shakespeare’s Henry IV, Part 2

Shakespeare is credited with writing about three dozen surviving plays, and Henry IV, Part 2 is unique among them in being a sequel to an earlier play of his, Henry IV, Part 1. Like many of the movie sequels that are so familiar to us today, Henry IV, Part 2 reproduces the plot structure of its popular antecedent with considerable fidelity. Like Part 1, Part 2 puts on stage Prince Hal, son of King Henry IV and heir to the throne, who remains committed to the plan he disclosed early in Part 1 of distancing himself from his father’s court and of concealing his potential greatness as a future ruler by consorting with tavern dwellers. Among Prince Hal’s companions again appears Sir John Falstaff, whose delightfully witty set speeches have perhaps even greater prominence in this sequel than they did in Part 1. Falstaff ’s part was apparently a strong attraction when the play was first printed, as strong as the fat old knight continues to be for many today, for the title page of the play’s first printing included reference to the humours of sir Iohn Falstaffe. And the title page went on to name his lieutenant, the swaggering Pistoll, a loud, quarrelsome brawler whose speeches are often a fascinating combination of bits from classical mythology and, occasionally, also from plays written by Shakespeare’s predecessors. As in Part 1, Prince Hal’s relationship with his tavern companions is complex: he and Falstaff seek to best each other in conversation, while Falstaff tries to ingratiate himself with Hal and Hal disdains him.

But Part 2 adds to Falstaff ’s companions some fresh characters, the rural justices Shallow and Silence and Shallow’s household. In years past Shallow and Falstaff were young men together in London. Now the rich, old Shallow is helping the impoverished and unscrupulous Captain Falstaff recruit troops to crush yet another of the rebellions against the rule of Henry IV. In Shallow and Silence, Falstaff thinks he detects opportunities to be exploited in filling his purse, and he tries to ingratiate himself with them just as he does with Prince Hal, while also attempting to maintain a sense of his superiority over them. Part 2 then joins to the verbal competition between Prince Hal and Falstaff a struggle between Falstaff ’s talents as a parasite and Justice Shallow’s wiliness in his own self-promotion.

Political rebellion, while certainly a major feature of Part 2’s plot, does not loom as large as it did in Part 1, which climaxed in an apparently decisive combat between the rebel champion Harry Hotspur and the victorious Prince Hal defending his father’s claim to the throne. In Part 2 there are no glorious champions on either side of the conflict, and combat is supplanted by deception, cunning, and treachery. Part 2 is, in many ways, much darker and more grim than Part 1. As the title page to Part 2 candidly reports, this play is continuing the story of Henry IV to his death. But however much Part 2 is just a sequel, it is nonetheless a powerfully moving work of dramatic art. Its fascination for many lies in its unblinking representation of much in life from which we ordinarily shield ourselves: exhaustion, disappointment, betrayal, hypocrisy, old age, and death.

After you have read the play, we invite you to turn to the essay "Henry IV, Part 2: A Modern Perspective," written by Professor A. R. Braunmuller of the University of California at Los Angeles, contained within this eBook.

Reading Shakespeare’s Language: Henry IV, Part 2

For many people today, reading Shakespeare’s language can be a problem—but it is a problem that can be solved. Those who have studied Latin (or even French or German or Spanish), and those who are used to reading poetry, will have little difficulty understanding the language of Shakespeare’s poetic drama. Others, though, need to develop the skills of untangling unusual sentence structures and of recognizing and understanding poetic compressions, omissions, and wordplay. And even those skilled in reading unusual sentence structures may have occasional trouble with Shakespeare’s words. More than four hundred years of static—caused by changes in language and in life—intervene between his speaking and our hearing. Most of his immense vocabulary is still in use, but a few of his words are no longer used, and many of his words now have meanings quite different from those they had in the sixteenth and seventeenth centuries. In the theater, most of these difficulties are solved for us by actors who study the language and articulate it for us so that the essential meaning is heard—or, when combined with stage action, is at least felt. When we are reading on our own, we must do what each actor does: go over the lines (often with a dictionary close at hand) until the puzzles are solved and the lines yield up their poetry and the characters speak in words and phrases that are, suddenly, rewarding and wonderfully memorable.

Eastcheap.

From Hugh Alley, A caveat for the city of London . . . (1598).

Shakespeare’s Words

As you begin to read the opening scenes of a Shakespeare play, you may notice occasional unfamiliar words. Some are unfamiliar simply because we no longer use them. In the opening scenes of this play, for example, you will find the words forspent (worn out), hilding (good-for-nothing), outbreathed (out of breath), gan (began to), and vaward (vanguard). Words of this kind are explained in notes to the text and will become familiar the more of Shakespeare’s plays you read.

In Henry IV, Part 2, as in all of Shakespeare’s writing, more problematic are the words that are still in use but that now have different meanings. In the opening scenes of Henry IV, Part 2, for example, the word grief has the meaning of grievance, jealousies is used where we would say suspicions, orchard is used where we would say garden, and flood where we would say ocean. Again, such words will be explained in the notes to the text, but they, too, will become familiar as you continue to read Shakespeare’s language.

Some words are strange not because of the static introduced by changes in language over the past centuries but because these are words that Shakespeare is using to build a dramatic world that has its own space, time, and history. In Henry IV, Part 2, within the larger world of early-fifteenth-century England that the play creates, Shakespeare uses one set of words to construct the worlds of King Henry’s court and of the meetings at which his mighty rivals plot to unseat him from his throne. He uses a second set of words to construct the world of commoners—the hostess of the tavern, the sheriff ’s officers, the butcher, the bona roba, the pantler, the vitlars, the rural justices of the peace, the corporal, the ancient, and the captains. The world of King Henry and his noble allies and opponents is luxurious, with its silken points, perfumed chambers, and canopies of costly state. The exclusive privilege of enjoying such luxury is maintained through success in combat, which is idealized as stiff-borne action and dole of blows, in which best-tempered courage faces with forehead bold and big the hideous god of war. Commoners enjoy lesser pleasures: small beer, sack in a parcel-gilt goblet by a seacoal fire, or a mess of vinegar with a good dish of prawns. And those commoners who must fill up the muster book do not idealize war, nor are they idealized. According to Falstaff, Simon Shadow is like to be a cold [rather than zealous] soldier, and Francis Feeble will be as valiant as the wrathful dove or most magnanimous mouse. The exalted martial language of the play’s highborn characters is reproduced with a difference in the ranting of Falstaff ’s officer Pistol during a tavern brawl: What, shall we have incision? Shall we imbrue? Then death rock me asleep, abridge my doleful days. Why then, let grievous, ghastly, gaping wounds untwind the Sisters Three.

Shakespeare’s Sentences

In an English sentence, meaning is quite dependent on the place given each word. The dog bit the boy and The boy bit the dog mean very different things, even though the individual words are the same. Because English places such importance on the positions of words in sentences, on the way words are arranged, unusual arrangements can puzzle a reader. Shakespeare frequently shifts his sentences away from normal English arrangements—often to create the rhythm he seeks, sometimes to use a line’s poetic rhythm to emphasize a particular word, sometimes to give a character his or her own speech patterns or to allow the character to speak in a special way. When we attend a good performance of the play, the actors will have worked out the sentence structures and will articulate the sentences so that the meaning is clear. When reading the play, we need to do as the actor does: that is, when puzzled by a character’s speech, check to see if the words are being presented in an unusual sequence.

Shakespeare often, for example, rearranges subjects and verbs (e.g., instead of He goes we find Goes he). In Henry IV, Part 2, when Northumberland says There am I till time and vantage crave my company (2.3.70–71), he is using such a construction. Shakespeare also frequently places the object before the subject and verb (e.g., instead of I hit him, we might find Him I hit). Northumberland’s This thou wouldst say (1.1.87) is an example of such an inversion, as is Gower’s The rest the paper tells (2.1.141). The normal order would be Thou wouldst say this and The paper tells the rest. Sometimes Shakespeare inverts the entire normal order of subject-verb-adjective-object to confront us with object-adjective-verb-subject; an example is the Archbishop’s statement An habitation giddy and unsure hath he (1.3.93–94).

Inversions are not the only unusual sentence structures in Shakespeare’s language. Often in his sentences words that would normally appear together are separated from each other. Again, this is often done to create a particular rhythm or to stress a particular word. Take, for example, Rumor’s self-introduction in the play’s first lines: "I, from the orient to the drooping west, making the wind my post-horse, still unfold the acts commencèd on this ball of earth. Here, the phrase from the orient to the drooping west and the phrase making the wind my post-horse and the adverb still all separate subject (I) from verb and object (unfold the acts). Or take Northumberland’s lines Contention, like a horse full of high feeding, madly hath broke loose" (1.1.12–13). Here, the subject and verb Contention hath broke loose are separated by the phrase like a horse full of high feeding and by the adverb madly. In order to create for yourself sentences that seem more like the English of everyday speech, you may wish to rearrange the words, putting together the word clusters (I unfold the acts . . . or Contention hath broke loose . . .). You will usually find that the sentence will gain in clarity but will lose its rhythm or shift its emphasis.

Often in Henry IV, Part 2, rather than separating basic sentence elements, Shakespeare simply holds them back, delaying them until other material to which he wants to give greater emphasis has been presented. Prominent examples appear in Westmoreland’s formal address to the rebels led by the Archbishop:

                                                        If that rebellion

Came like itself, in base and abject routs,

Led on by bloody youth, guarded with rage,

And countenanced by boys and beggary—

I say, if damned commotion so appeared

In his true, native, and most proper shape,

You, reverend father, and these noble lords

Had not been here to dress the ugly form

Of base and bloody insurrection

With your fair honors. You, Lord Archbishop,

Whose see is by a civil peace maintained,

Whose beard the silver hand of peace hath touched,

Whose learning and good letters peace hath tutored,

Whose white investments figure innocence,

The dove and very blessèd spirit of peace,

Wherefore do you so ill translate yourself

Out of the speech of peace, that bears such grace,

Into the harsh and boist’rous tongue of war,

Turning your books to graves, your ink to blood,

Your pens to lances, and your tongue divine

To a loud trumpet and a point of war?

(4.1.35–55)

Westmoreland’s speech begins with five and a half lines of conditional clauses. The lengthy conditionals delay the appearance of the sentence’s subject and verb for so long that Westmoreland is made to reassert the if at the beginning of the sentence’s fifth line (I say if ) so that the audience can keep track of the sentence’s structure until he gets to the subject and verb (You . . . had not been here). By not addressing the Archbishop directly in this sentence until after characterizing the nature of the Archbishop’s act of rebellion in the harshest terms, Westmoreland can

Reviews for Henry IV, Part 2

[trilliams · Rating: 4 out of 5 stars]

Falstaff has an entire speech about drinking. Of course. Not as entertaining as the first part, but acts IV and V make it worth it.

[medievalgirl-1 · Rating: 4 out of 5 stars]

This play was the third in a series of 8 which together formed Shakespeare’s masterful saga of 'History' plays chronicling the turbulent final century of the Plantagenet Dynasty from the deposition of Richard II in 1399 to the death of Richard III at Bosworth field in 1485.

Altogether, they have all the high drama of an epic saga with their vivid accounts of treachery, ambition, power, betrayal, feuding and war in an age of bloody upheaval.
If all this sounds gloomy and depressing, there are also colourful well-developed and memorable characters including the 'man mountain' plump and usually tipsy John Falstaff and the heroic Henry V as well as plenty of courage, chivalry and deeds of daring-do with a smattering of romance and humour.

Whoever said Shakespeare was boring? It should be said, however, that I could not fully appreciate these plays by simply reading them- they had to be seen as well. They are not, after all, novels, and reading through them in the way one would a book can be a tedious experience.

An increasingly unstable and insecure King Henry faces yet more rebellion and opposition from within and without.
Beset by failing health and troubled all the more by his conscience and fear of divine judgement upon him and his line for his crime of the deposition and murder of the rightful King.
The Earl of Northumberland and other nobles gather together their forces to make war against the King once again, but their readiness to negotiate proves fatal.
Meanwhile, Prince Hal still frequents the taverns of London, but his old friend Falstaff has come up with a new scheme to make gain money, prestige and hopefully the favour of the King and is the source of as much humour as before.
As King Henry's troubled reign comes to an end, however, Price Hal has some must mature to accept the great responsibility which is soon to be thrust upon him, even though it comes at the price of disowning his former companions of friends.

[aliceanna-1 · Rating: 3 out of 5 stars]

Falstaff is at his best in this play. Hal's abuse of him almost inspires sympathy for the blackguard. The transformation of the irresponsible Hal into a stately King is, however, rather hard to swallow.The death scene of HIV is a wonderful scene. It's easier for me to see Hal take the crown for his own head before his father is even cold (or dead for that matter) than it is for me to see Hal become a serious young man.

[coach_of_alva · Rating: 4 out of 5 stars]

This play is not as enjoyable as its predecessor, largely because the remaining rebels to be mopped up are foolish weasels, not the roaring lion that Hotspur was. There remains the tension between father and son, which ends in a moving deathbed reconciliation and the prince's coming-of-age as king. More interesting is the career of Sir John Falstaff in the countryside, as we are allowed to see how a man of some shrewdness and no honor survives and profits while the kingdom is in an uproar, and the introduction of Justice Shallow, who so wants to be the Elizabethan equivalent of "cool." The play ends with the new king forbidding the evil old man his presence. This is a necessity, especially considering the old fool's plans for graft and glory, but it is a sad necessity.

[amerynth · Rating: 2 out of 5 stars]

Shakespeare's "Henry IV: Part Two" really doesn't live up to the marvelous story told in part one. I read somewhere that both parts were originally a single play and Shakespeare broke it into two... I don't know whether that's true but I find it fairly easy to believe.There isn't much of a story here-- the battle is over and everyone is just waiting for Henry III to expire so his son can take over. It's pretty slow moving and not terribly interesting.

[katieloucks · Rating: 1 out of 5 stars]

I'm not big into the histories

[dinadansfriend · Rating: 4 out of 5 stars]

This play ends with the death of Henry IV of England, and the crowning of Henry V and his dramatic rejection of Falstaff. I prefer it to the first part, and find the play has more pacing and tighter characterization. I guest I'm not that fond of Falstaff, having had to deal with the fallout from some "Lovable Rogues" in my own life. The Henry IV camp deals with the rebellion in the north, and Hotspur Percy gets killed.Read it 9 times, apparently.

[mrslee_1 · Rating: 3 out of 5 stars]

Not a scholarly review here, just a note for myself that I read this. The drama was pretty good, but my reading mood was off and so it took me two months to finish. Not good for continuity. Even so, I was able to pick up the main characters and plot. All the side characters became rather muddled for me though. Not sure what to think of Henry V. Seems a rather calculating and mean sort of man. Used Falstaff harshly, although I don't have much sympathy or care for Falstaff, either. Not sure why people have loved him so, I found him repulsive. Possibly the language barrier? I would like to read this in a more modern language to see if it makes a difference. Loved Henry the IV's speech about sleep, or the lack thereof. Also, one of the women who gave her father-in-law (or was he her father?) what-for because he deserted her husband when he needed him most.

[shanaqui_1 · Rating: 3 out of 5 stars]

Didn't actually need to read this for my course, but since it comes between Henry IV Part One and Henry V, I thought I'd read it to make sure I have all the details.

I didn't like it as much as Part One -- it doesn't seem to tie together as well, and anyway I'm not fond of the character of Falstaff. Perhaps on stage it'd be funny and worth watching, but I didn't enjoy those scenes just reading it.

[stillatim · Rating: 3 out of 5 stars]

Overall, I thought this was less interesting than Henry V, but that might just be because I paid more attention to HV (I have to teach it; I read this for kicks). There's not a whole lot of beautiful Shakespeare moments, the humor didn't hit me (possibly my fault, of course), and the best bit was probably the Induction, in which Rumour discourses on herself. On the upside, I learned the word 'fustilarian' and the phrase 'I'll tickle your catastrophe!', and I'm pretty sure I now understand the title of Javier Marias' 'Your Face Tomorrow': "What a disgrace it is to me to remember thy name! or to know thy face tomorrow!", says the prince in II.2. Here he's mocking/despairing over those who abandon their friends when they become famous; by the end of the play (V.5) he's the person who's abandoning his friends. This adds a fair bit to Marias' repeated question, "Can I know your face tomorrow?", which for most of the novel seems more epistemic and existential. If he got it from Henry IV, 'YFT' takes on a whole new moral overtone. I guess I should re-read it even sooner than I'd planned.

This now has nothing to do with Henry IV, which I doubt I'll re-read anytime soon.

[ubiquitousuk-784690 · Rating: 2 out of 5 stars]

There were two real highlights in this play: The first is the interaction of Henry IV with his court and with Hal as his death approaches. The second is the ultimate transition of Hal into Henry V, who rejects his erstwhile friends in a scene both touching and uplifting. But much of the rest of the play was a real chore to read, being written in 16thC vernacular prose and possessing little in the way of plot development. Perhaps Henry IV was more like 1.5 plays than 2.