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By Root 19153 0

V’ is slender. There is abundance of comic element, but death has removed Falstaff, whose last moments are described with the simple pathos that comes of a matchless art, and, though Falstaff’s companions survive, they are thin shadows of his substantial figure. New comic characters are introduced in the persons of three soldiers respectively of Welsh, Scottish, and Irish nationality, whose racial traits are contrasted with telling effect. The irascible Irishman, Captain MacMorris, is the only representative of his nation who figures in the long list of Shakespeare’s dramatis personæ. The scene in which the pedantic but patriotic Welshman, Fluellen, avenges the sneers of the braggart Pistol at his nation’s emblem, by forcing him to eat the leek, overflows in vivacious humour. The piece in its main current presents a series of loosely connected episodes in which the hero’s manliness is displayed as soldier, ruler, and lover. The topic reached its climax in the victory of the English at Agincourt, which powerfully appealed to patriotic sentiment. Besides the ‘Famous Victories,’ there was another lost piece on the subject, which Henslowe produced for the first time on November 28, 1595. ‘Henry V’ may be regarded as Shakespeare’s final experiment in the dramatisation of English history, and it artistically rounds off the series of his ‘histories’ which form collectively a kind of national epic. For ‘Henry VIII,’ which was produced very late in his career, he was only in part responsible, and that ‘history’ consequently belongs to a different category.

Essex and the rebellion of 1601.

A glimpse of autobiography may be discerned in the direct mention by Shakespeare in ‘Henry V’ of an exciting episode in current history. In the prologue to act v. Shakespeare foretold for Robert Devereux, second earl of Essex, the close friend of his patron Southampton, an enthusiastic reception by the people of London when he should come home after ‘broaching’ rebellion in Ireland.

Were now the general of our gracious empress,

As in good time he may, from Ireland coming,

Bringing rebellion broached on his sword,

How many would the peaceful city quit

To welcome him!—(Act v. Chorus, ll. 30-4.)

Essex had set out on his disastrous mission as the would-be pacificator of Ireland on March 27, 1599. The fact that Southampton went with him probably accounts for Shakespeare’s avowal of sympathy. But Essex’s effort failed. He was charged, soon after ‘Henry V’ was produced, with treasonable neglect of duty, and he sought in 1601, again with the support of Southampton, to recover his position by stirring up rebellion in London. Then Shakespeare’s reference to Essex’s popularity with Londoners bore perilous fruit. The friends of the rebel leaders sought the dramatist’s countenance. They paid 40s. to Augustine Phillips, a leading member of Shakespeare’s company, to induce him to revive at the Globe Theatre ‘Richard II’ (beyond doubt Shakespeare’s play), in the hope that its scene of the killing of a king might encourage a popular outbreak. Phillips subsequently deposed that he prudently told the conspirators who bespoke the piece that ‘that play of Kyng Richard’ was ‘so old and so long out of use as that they should have small or no company at it.’ None the less the performance took place on Saturday (February 7, 1601), the day preceding that fixed by Essex for the rising. The Queen, in a later conversation with William Lambarde (on August 4, 1601), complained that ‘this tragedie’ of ‘Richard II,’ which she had always viewed with suspicion, was played at the period with seditious intent ‘forty times in open streets and houses.’ At the trial of Essex and his friends, Phillips gave evidence of the circumstances under which the tragedy was revived at the Globe Theatre. Essex was executed and Southampton was imprisoned until the Queen’s death. No proceedings were taken against the players, but Shakespeare wisely abstained, for the time, from any public reference to the fate either of Essex or of his patron Southampton.

Shakespeare’s popularity and influence.