Marjorie Garber identified four different dramatic worlds within the play:
The Court, Represented by King Henry
King Henry is a portrayed as a self-doubting ruler. The play questions the legitimacy and divine mandate of his rule, having grabbed it from Richard II. The apparent failure of Hal to succeed him leads him to "believe that thou art only marked/ For the hot vengeance and the rod of heaven/To punish my mistreadings."
Henry IV Part I reaches an interim resolution, with King Henry's victory over Hotspur’s armies, and also sets the stage for the theme of monarchy succession in Henry IV Part II.
The Tavern, Represented by Falstaff
Falstaff’s role is integral to understanding the play, given not only by his amount of stage lines and presence, which exceed the rest of the cast, but also the depth of his character .
The Countryside, Represented by Hotspur
Hotspur attacks King Henry’s monarchy from the countryside, presenting the idea that King Henry does not hold a secure rule over his lands. Hotspur’s character is important in several aspects:
Hotspur’s Heroism
Hotspur is "a son who is the theme of honour’s tongue", a brilliant fighter and worthy successor to kingship. Garber argues that Hotspur might be seen as a ‘Marlovian hero’ portrayed in a "quasi-mythic" light, importantly firstly as contrast to Hal, and secondly as a polarity which he must mediate with, between the other spectrum of influence that is Falstaff.
Language
Mark Van Doren considers Hotspur as ‘"he created speaking man", and critics have debated the style and importance of his ‘thick’ accent. Regardless, his language strengthens his character as hot-blooded and passionate, if somewhat impatient and rash. This is best seen in two scenes, the first where he rages against the king who has "put down Richard, that sweet lovely rose,/And plant this thorn, this canker" into rule, and secondly, in his anger at Glywndr’s speeches about magic, whom he sees as foolish and tedious.
Women
Hotspur is the only character who has a lady, and his interactions with Lady Percy can be considered, as by Jean Howard, as an indication of vulnerability which characters do not possess. The role of wives and women is worth considering in greater depth, including a comparison with those in other plays.
Wales, Represented by Glyndwr
Glyndwr represents a realm of magic in Wales: "at my birth/ The front of heaven was full of fiery shapes", evoking images of the supernatural that Shakespeare will portray in greater vividness by Macbeth. Within the play though, his appearance might be interesting, but not as significant as the other conflicts. Garber points out that the play is not a romance and Glyndwr’s role is the least stressed, though perhaps the most suggestive, of the four worlds.
Blending of Four Distinct Worlds
Jean Howard explains how Henry IV Part I exceeds a conventional chronicle history to achieve a mode of chorography, writing about the various groups in relation to specific places and societies. According to Marjorie Garber, Henry IV Part I can hence be seen to contain elements of the other Shakespearean genres of comedy, tragedy and romance.
The effect is to create a sense of richness and variety, with the theatre becoming a microcosm of English society and the surroundings. Through multiple plots and the juxtaposition of worlds, Shakespeare creates "the illusion of complex temporal simultaneity and social and geographical heterogeneity."(Walter Cohen)
Bibliography:
- The Norton Shakespeare: Based on the Oxford Edition edited by Stephen Greenblatt, Walter Cohen, Jean Howard, Katherine Eisaman Maus
- Shakespeare after All by Marjorie Garber
- Shakespeare by Mark Van Doren
Jing Heng Fong - I'm starting university this year, and look forward to writing and gaining experience at Suite.
