In the following essay, Taylor considers Henry IV, Parts 1 and 2 within the context of the entire second tetralogy (which includes Richard II and Henry V), detailing how key scenes thematically imitate, echo, and foreshadow other episodes within the epic drama. He also calls attention to correspondences between the second tetralogy and the epic poems of Homer and Virgil.

In the following essay, Taylor considers Henry IV, Parts 1 and 2 within the context of the entire second tetralogy (which includes Richard II and Henry V), detailing how key scenes thematically imitate, echo, and foreshadow other episodes within the epic drama. He also calls attention to correspondences between the second tetralogy and the epic poems of Homer and Virgil.

In the following essay, Everett explores the origin and development of Falstaff's character in Shakespeare's history plays, with an emphasis on the political significance of his appearance in Henry IV.

In the following essay, Everett explores the origin and development of Falstaff's character in Shakespeare's history plays, with an emphasis on the political significance of his appearance in Henry IV.

In the following essay, Ruiter demonstrates how in Henry IV, Part 2 Prince Hal shrewdly manipulates the progression from feasting and festivity to the restoration of political order in an effort to maximize his political capital as the prodigal son who alters his behavior in order to become king.

In the following essay, Ruiter demonstrates how in Henry IV, Part 2 Prince Hal shrewdly manipulates the progression from feasting and festivity to the restoration of political order in an effort to maximize his political capital as the prodigal son who alters his behavior in order to become king.

In the following essay, Grossman reads Prince Hal's “I know you all soliloquy” in Henry IV, Part 1 (I.ii) not as a promise to reform but as the prince's attempt to justify to himself his agreement to participate in the Gad's Hill robbery. At this point in the play, the critic contends, Hal is filled with shame and self-loathing because he knows his attraction to Falstaff's comic but shameless view of life must be balanced by a commitment to honor, duty, and a moral...

In the following essay, Levine discusses how Shakespeare employed the concept of credit and mercantile exchange in the Henry IV plays as a metaphor for the Lancastrian dynasty's claim to the English throne. The critic also explores how this perspective of royal political discourse—a mode of speech that involves “promises and payments” to maintain power—parallels the everyday financial dealings of Elizabethan playgoers, who relied on credit and mercantile exchange to maint...

In the following essay, Levine discusses how Shakespeare employed the concept of credit and mercantile exchange in the Henry IV plays as a metaphor for the Lancastrian dynasty's claim to the English throne. The critic also explores how this perspective of royal political discourse—a mode of speech that involves “promises and payments” to maintain power—parallels the everyday financial dealings of Elizabethan playgoers, who relied on credit and mercantile exchange to maint...

In the following essay, Hunt offers an account of the coexisting Catholic and Protestant elements characterized in Falstaff, King Henry IV, and Prince Hal, arguing that this mixture of traits does not impede any of these characters' attempts to reform themselves.

In the following essay, Hunt offers an account of the coexisting Catholic and Protestant elements characterized in Falstaff, King Henry IV, and Prince Hal, arguing that this mixture of traits does not impede any of these characters' attempts to reform themselves.

In the following essay, originally published in 1984, Watson proposes that the Henry IV plays, in addition to being morality plays, also allow Shakespeare to present an analysis of ambition in the private and public arenas.

In the following essay, originally published in 1984, Watson proposes that the Henry IV plays, in addition to being morality plays, also allow Shakespeare to present an analysis of ambition in the private and public arenas.

In the following essay, Tiffany maintains that Henry IV, Parts 1 and 2 represent Shakespeare's ironic commentary on the religious and sociopolitical rhetoric propagated by contemporary Puritans. According to the critic, Elizabethan playgoers would have detected in Falstaff many of the egalitarian aspects of Puritanism and in Prince Hal a Puritan view of monarchic authority as a kind of theatrical performance.

In the following essay, Tiffany maintains that Henry IV, Parts 1 and 2 represent Shakespeare's ironic commentary on the religious and sociopolitical rhetoric propagated by contemporary Puritans. According to the critic, Elizabethan playgoers would have detected in Falstaff many of the egalitarian aspects of Puritanism and in Prince Hal a Puritan view of monarchic authority as a kind of theatrical performance.

In the following essay, Reid maintains that the four principal characters of Henry IV, Part 1 depict the varied and relational psychological temperaments associated with the classical, Galenic system of “humors.” Based on this system, Reid interprets King Henry IV as melancholic, Hotspur as choleric, Falstaff as phlegmatic, and Hal as sanguine.

In the following essay, Reid maintains that the four principal characters of Henry IV, Part 1 depict the varied and relational psychological temperaments associated with the classical, Galenic system of “humors.” Based on this system, Reid interprets King Henry IV as melancholic, Hotspur as choleric, Falstaff as phlegmatic, and Hal as sanguine.

In the following excerpt, Goldberg examines representations of male homosocial relations and normative masculinity in Henry IV, Parts 1 and 2, particularly with regard to Hotspur and Falstaff. The critic also compares Hal to the fair friend of the sonnets and contrasts the latent sexuality of these plays with the explicit sexuality of Gus Van Sant's cinematic adaptation in My Own Private Idaho (1991).

In the following excerpt, Ryan analyzes Henry IV in terms of Frederic Jameson's Marxist theory of literature, finding that Shakespeare's plays demystify the hierarchical assumptions and teleological confusions associated with historical drama even as they portray standard ideologies.

In the following excerpt, Ryan analyzes Henry IV in terms of Frederic Jameson's Marxist theory of literature, finding that Shakespeare's plays demystify the hierarchical assumptions and teleological confusions associated with historical drama even as they portray standard ideologies.

In the following excerpt, Bevington discusses the structural unity and major themes of Henry IV, Parts 1 and 2, and considers the dramas' exposition of identity, honor, cowardice, father-son relations, and princely education.

In the following excerpt, Bevington discusses the structural unity and major themes of Henry IV, Parts 1 and 2, and considers the dramas' exposition of identity, honor, cowardice, father-son relations, and princely education.

In the following essay, Bowers details the thematic structure of Henry IV, Part 1, noting that a central concern of the play is the triumph of the centralized royal power over the feudal system—concepts dramatically personified in the figures of Hal and Hotspur, respectively.

In the following essay, Bowers details the thematic structure of Henry IV, Part 1, noting that a central concern of the play is the triumph of the centralized royal power over the feudal system—concepts dramatically personified in the figures of Hal and Hotspur, respectively.

In the following essay, Lander presents an economic reading of Henry IV, Part 1 as the dramatic representation of a crisis of value in which monetary concerns exert their influence on monarchical authority and legitimacy.

In the following essay, Lander presents an economic reading of Henry IV, Part 1 as the dramatic representation of a crisis of value in which monetary concerns exert their influence on monarchical authority and legitimacy.

David Willbern, State University of New York, Buffalo One of the earliest criticisms of Shakespearean character is Maurice Morgann's well-known but rarely read "Essay on the Dramatic Character of Sir John Falstaff," published in London in 1777 as a bold defense of the corpulent and witty knight against the charge of cowardice.1 Morgann assumed that Shakespeare's characters were like people and that Falstaff was like an historical person, with a history and an inner lif...

In the following essay, originally published in 1972, Quinones traces the development of Hal's character.

In the following essay, originally published in 1972, Quinones traces the development of Hal's character.

In the following essay, originally published in 1984, Macdonald traces the development and use of language in Shakespeare's history plays, focusing on Henry IV, Parts I and II, and examines the linguistic conventions that sustain and govern the vision of kingship as portrayed in these plays.

In the following essay, originally published in 1984, Macdonald traces the development and use of language in Shakespeare's history plays, focusing on Henry IV, Parts I and II, and examines the linguistic conventions that sustain and govern the vision of kingship as portrayed in these plays.

In the following essay, Cohen assesses the perception of history in the Henry IV plays, emphasizing a turbulent process of nation-building that survives both the murder and usurpation of Richard II and the pervasive moral uncertainty of Henry IV, Part 2.

In the following essay, Cohen assesses the perception of history in the Henry IV plays, emphasizing a turbulent process of nation-building that survives both the murder and usurpation of Richard II and the pervasive moral uncertainty of Henry IV, Part 2.

In the following essay, Council examines how Prince Hal, Falstaff, and Hotspur each respond to the code of honor documented in various Renaissance texts. The critic asserts that while Hotspur rigidly adheres to the code and Falstaff flatly rejects it, Hal remains aloof from its requirements but manipulates and exploits it to achieve political success.

In the following essay, Council examines how Prince Hal, Falstaff, and Hotspur each respond to the code of honor documented in various Renaissance texts. The critic asserts that while Hotspur rigidly adheres to the code and Falstaff flatly rejects it, Hal remains aloof from its requirements but manipulates and exploits it to achieve political success.

In the following essay, Kastan discusses the circumstances surrounding the martyrdom of Sir John Oldcastle, the historical inspiration for Shakespeare's Falstaff, and recounts the controversy that led to the removal of Oldcastle's name from Henry IV, Part 1. The critic takes exception to the editorial decision to restore Oldcastle's name to the Oxford text of the play, arguing that while second-hand Elizabethan and Jacobean reports of theatrical performances substantiate the name chang...

In the following essay, Kastan discusses the circumstances surrounding the martyrdom of Sir John Oldcastle, the historical inspiration for Shakespeare's Falstaff, and recounts the controversy that led to the removal of Oldcastle's name from Henry IV, Part 1. The critic takes exception to the editorial decision to restore Oldcastle's name to the Oxford text of the play, arguing that while second-hand Elizabethan and Jacobean reports of theatrical performances substantiate the name chang...

In the following essay, originally published in 1983, Blanpied contrasts the two parts of Henry IV, finding an “organic unity” in Part I that doesn't exist in Part II.

In the following essay, originally published in 1983, Blanpied contrasts the two parts of Henry IV, finding an “organic unity” in Part I that doesn't exist in Part II.

In the following essay, originally published in 1970, Palmer points to several instances in the Henry IV plays that anticipate Prince Hal's reformation at the end of Part II, drawing parallels between the words of the apostle St. Paul and those of the Prince.

In the following essay, originally published in 1970, Palmer points to several instances in the Henry IV plays that anticipate Prince Hal's reformation at the end of Part II, drawing parallels between the words of the apostle St. Paul and those of the Prince.

In the following essay, Dean compares Shakespeare's treatment of historical fact and politics in his history plays, focusing on Henry IV, Parts 1 and 2.

In the following essay, Dean compares Shakespeare's treatment of historical fact and politics in his history plays, focusing on Henry IV, Parts 1 and 2.

In the following excerpt, Wood surveys critical estimations of Henry IV, Parts 1 and 2 and examines the relationship between Prince Hal and Falstaff.

In the following excerpt, Wood surveys critical estimations of Henry IV, Parts 1 and 2 and examines the relationship between Prince Hal and Falstaff.

In the following excerpt, Melchiori identifies a number of structural components in Henry IV, Part 2, including qualities of the morality play, comedy of humors, city/country play, and psychodrama, as well as the thematic intermingling of time and disease.

In the following excerpt, Melchiori identifies a number of structural components in Henry IV, Part 2, including qualities of the morality play, comedy of humors, city/country play, and psychodrama, as well as the thematic intermingling of time and disease.

In the following essay, Forker examines how Henry IV, Parts 1 and 2 and the remaining plays of Shakespeare's second historical tetralogy promote a cyclical, providential, ironic, and tragicomic view of time's progress.

In the following essay, Forker examines how Henry IV, Parts 1 and 2 and the remaining plays of Shakespeare's second historical tetralogy promote a cyclical, providential, ironic, and tragicomic view of time's progress.

In the following essay, Crewe disputes critical thinking that denies substantive reformation in Prince Hal's character. Instead, Crewe proposes, the subject of reform is continuously revisited in both parts of Henry IV, making it difficult to define successful reformation in the political context of the plays.

In the following essay, Crewe disputes critical thinking that denies substantive reformation in Prince Hal's character. Instead, Crewe proposes, the subject of reform is continuously revisited in both parts of Henry IV, making it difficult to define successful reformation in the political context of the plays.

In the following essay, Mackenzie examines the mythological allusions in Henry IV, Part 1, and finds that the play lacks a truly heroic protagonist and presents a vision of England as both “tragic and unheroic.”

In the following essay, Mackenzie examines the mythological allusions in Henry IV, Part 1, and finds that the play lacks a truly heroic protagonist and presents a vision of England as both “tragic and unheroic.”

In the following essay, Cohen views the combat between Hal and Hotspur in Act III, scene ii of Henry IV, Part 1 as a ritual purification of the violence that has engulfed England.

In the following review of David Giles's production of the Henriad for BBC television, Pilkington notes the strong focus on Hal in the series, which served as a unifying force in the plays and featured Hal's development from prince to king.

In the following review of David Giles's production of the Henriad for BBC television, Pilkington notes the strong focus on Hal in the series, which served as a unifying force in the plays and featured Hal's development from prince to king.

In the following essay, Grossman points to Hal's ambivalent search for his own identity as the wayward prince's primary characteristic.

In the following essay, Grossman points to Hal's ambivalent search for his own identity as the wayward prince's primary characteristic.

In the following essay, McAlindon agrees with literary scholars who maintain that Falstaff is a parody of both Sir John Oldcastle and contemporary Puritans. The critic also contends that in addition to creating a humorous caricature of Puritanism in the fat knight, Shakespeare ingeniously transformed “a Puritan butt into an exceptionally appealing character with a quicksilver mind and tongue.”

In the following essay, McAlindon agrees with literary scholars who maintain that Falstaff is a parody of both Sir John Oldcastle and contemporary Puritans. The critic also contends that in addition to creating a humorous caricature of Puritanism in the fat knight, Shakespeare ingeniously transformed “a Puritan butt into an exceptionally appealing character with a quicksilver mind and tongue.”

In the following essay, originally published in 1965, Bradbrook offers an overview of Henry IV, Parts I and II, contending that they are political plays that address contemporary political issues.

In the following essay, originally published in 1965, Bradbrook offers an overview of Henry IV, Parts I and II, contending that they are political plays that address contemporary political issues.

In the following essay, Davis studies Henry Bolingbroke as an unsympathetic object of satire in Henry IV, Parts 1 and 2.

In the following essay, Davis studies Henry Bolingbroke as an unsympathetic object of satire in Henry IV, Parts 1 and 2.

In the following essay, Krims offers a psychoanalytic interpretation of Hotspur, examining his extreme intolerance for so-called feminine principles and traits—including inconstancy, submissiveness, and compassion—in others and in himself.

In the following essay, Krims offers a psychoanalytic interpretation of Hotspur, examining his extreme intolerance for so-called feminine principles and traits—including inconstancy, submissiveness, and compassion—in others and in himself.

In the following essay, originally published in 1974, Gottschalk presents an analysis of Prince Hal's character by examining the tavern scene in Henry IV, Part I, noting that this scene is crucial to Hal's development as a hero.

In the following essay, originally published in 1974, Gottschalk presents an analysis of Prince Hal's character by examining the tavern scene in Henry IV, Part I, noting that this scene is crucial to Hal's development as a hero.

In the following essay, Meyers contends that Shakespeare's Hal is a developing, subtle, and complex character who assumes many roles in the Henriad.

In the following essay, Meyers contends that Shakespeare's Hal is a developing, subtle, and complex character who assumes many roles in the Henriad.

In the following essay, Findlay evaluates the figure of Falstaff with reference to classical models and contemporary theory regarding economic exchange, pedagogy, and homoeroticism.

In the following essay, Findlay evaluates the figure of Falstaff with reference to classical models and contemporary theory regarding economic exchange, pedagogy, and homoeroticism.

In the following essay, originally published in 1978, Hunter theorizes that the rejection of Falstaff in the Henry IV plays dramatizes the victory of the Protestant ethic, presenting the evolution of Prince Hal as a triumph of the principles represented by this moral code.

In the following essay, originally published in 1978, Hunter theorizes that the rejection of Falstaff in the Henry IV plays dramatizes the victory of the Protestant ethic, presenting the evolution of Prince Hal as a triumph of the principles represented by this moral code.

In the following essay, Peat considers contemporary stage interpretations of Act V, scene iii of Henry IV, Part 1 in which Hal is to throw a bottle of sack at Falstaff, arguing that postwar productions have tended to dispose of this action and in so doing have diminished Falstaff's overall comic potential.

In the following essay, Peat considers contemporary stage interpretations of Act V, scene iii of Henry IV, Part 1 in which Hal is to throw a bottle of sack at Falstaff, arguing that postwar productions have tended to dispose of this action and in so doing have diminished Falstaff's overall comic potential.

In the following essay, Kern compares Falstaff with the archetypal trickster figure.

In the following essay, Kern compares Falstaff with the archetypal trickster figure.

In the following essay, originally published in 1979, Krieger analyzes Hal's political instincts and moral ambivalence in Henry IV, Parts 1 and 2, particularly as these qualities are demonstrated in his relationship to Falstaff.

In the following essay, originally published in 1979, Krieger analyzes Hal's political instincts and moral ambivalence in Henry IV, Parts 1 and 2, particularly as these qualities are demonstrated in his relationship to Falstaff.

In the following essay, Middleman discusses the apparent disunity of conception in Henry IV, Part I, noting that the action focuses equally on the political rebellion confronting Henry IV and the private struggle that Prince Hal contends with throughout the play.

In the following essay, Middleman discusses the apparent disunity of conception in Henry IV, Part I, noting that the action focuses equally on the political rebellion confronting Henry IV and the private struggle that Prince Hal contends with throughout the play.

In the following unfinished essay, originally composed in 1970, Berryman presents a comparison between the two parts of Henry IV, stressing that he does not agree with those who see the two plays as a whole.

In the following unfinished essay, originally composed in 1970, Berryman presents a comparison between the two parts of Henry IV, stressing that he does not agree with those who see the two plays as a whole.

In the following excerpted review of the 2000 Shakespeare season at Stratford-upon-Avon, Jackson describes the relatively “somber” mood of Michael Attenborough's Henry IV, the production's thematic emphasis on fathers and sons, and several strong performances, especially Desmond Barrit's witty but reticent Falstaff and William Houston's enigmatic Prince Henry.

In the following excerpted review of the 2000 Shakespeare season at Stratford-upon-Avon, Jackson describes the relatively “somber” mood of Michael Attenborough's Henry IV, the production's thematic emphasis on fathers and sons, and several strong performances, especially Desmond Barrit's witty but reticent Falstaff and William Houston's enigmatic Prince Henry.

In the following review of Ron Daniels's 1993 back-to-back staging of Henry IV, Parts 1 and 2, Brantley examines the director's anachronistic American Civil War setting and comments on the overall lack of cohesion in the dramas.

In the following review of Ron Daniels's 1993 back-to-back staging of Henry IV, Parts 1 and 2, Brantley examines the director's anachronistic American Civil War setting and comments on the overall lack of cohesion in the dramas.

In the following review of a 2000 staging of Henry IV, Part 1 at The Swan Theatre in Stratford-upon-Avon, Wall notes that this intimate venue lent itself more to the subtleties of Desmond Barrit's Falstaff than to the volubility of David Troughton's Henry IV or Adam Levy's energetic Hotspur.

In the following review of a 2000 staging of Henry IV, Part 1 at The Swan Theatre in Stratford-upon-Avon, Wall notes that this intimate venue lent itself more to the subtleties of Desmond Barrit's Falstaff than to the volubility of David Troughton's Henry IV or Adam Levy's energetic Hotspur.

In the following review of Barbara Gaines's 1999 staging of Henry IV, Parts 1 and 2 at the Chicago's Shakespeare Repertory Theater, Henning praises the outstanding performances of nearly all the cast members, and applauds the dramaturgical effects employed by Gaines and her lighting, music, and costume designers.

In the following review of Barbara Gaines's 1999 staging of Henry IV, Parts 1 and 2 at the Chicago's Shakespeare Repertory Theater, Henning praises the outstanding performances of nearly all the cast members, and applauds the dramaturgical effects employed by Gaines and her lighting, music, and costume designers.

In the following review, Brantley censures Richard Maxwell's Next Wave Festival production of Henry IV, Part 1, asserting that its intentional avant-garde affectlessness rendered the play “relentlessly, numbingly flat” and exposed the amateurishness of the cast.

In the following review, Macaulay provides a generally favorable assessment of Michael Attenborough's Royal Shakespeare Company (RSC) rendering of Henry IV, Parts 1 and 2, particularly focusing on what he regards as the fine performances of the ensemble cast.

In the following review, Macaulay provides a generally favorable assessment of Michael Attenborough's Royal Shakespeare Company (RSC) rendering of Henry IV, Parts 1 and 2, particularly focusing on what he regards as the fine performances of the ensemble cast.