An Accidental Allegory

 

In the last three plays of Shakespeare’s historical tetralogy, Prince Hal, who eventually develops into the successful King Henry V, is perhaps the most dynamic of all the characters throughout the course of the plays. However, it is important to note that his transformation from carefree youth to virtuous and respectable king is not the result of an overnight switch but a slow and gradual learning process complete with its ups and downs. From his very first appearance in Henry IV Part I all the way up till the end of Henry V, Hal’s increasing maturity is evident. Never once is his character static, for even after he becomes the most favored king England has had in a long time, he continues to learn and grow from his experiences and decisions. While Hal has often been an object of criticism for his disreputable youth and even harsher condemnation for his occasional “relapses,” that very part of him is what makes him more realistic than any of the other characters, thus diminishing the gap between him and a contemporary audience and making him much more relatable. What causes him to be even more fascinating yet, however, are the parallels that can be drawn between Prince Hal-turned-King Henry V and the Christian life. In a way that Shakespeare probably never intended, the respective stages of Hal’s life in Henry IV Part I, Henry IV Part II, and Henry V line up quite nicely with the different phases of entering into salvation, namely, spiritual darkness, justification, and sanctification which ends in glorification.

 

In Henry IV Part I, Prince Hal is first introduced into the play by King Henry IV. Interestingly enough, Shakespeare’s first projection of Hal to his audience is negative; not from just any cheap gossip down in the taverns, but from an authoritative and credible source—his own father—who presents a heartfelt lamentation, wishing for Hotspur to be his son in the place of Hal (1.1.78-90). Indeed, such a claim is quite extreme. For a father to go to the extent of denying his own son, the disappointment must be rather acute. However, it is not long before Hal is given the opportunity to reveal himself to the audience, and while he is indeed surrounded by lousy company and is busy plotting mischievous pranks, Hal does not come across as the delinquent his father portrays him to be. Instead, he commands himself with an air of dignity and relates to Falstaff and his friends with appropriate authority that is neither bashful nor overbearing. Although Hal is engaged in questionable activity, it remains obvious that he is a prince. As Aaron H. Esman notes, Hal is “merely an observer, never a participant in the criminal acts of Falstaff’s gang” (31). He indulges in the pleasures of life and enjoys his friends, but knows his limitations and is not embarrassed to hide his refrain. Roughish as he is, his friends are careful to respect him and acknowledge his position.

 

At the same time, Hal is no saint either. As mentioned, he actually does enjoy the life he leads and is not ignorant of his father’s disapproval, not to mention the many wagging tongues among the people of England concerning his notorious behavior and yet he continues to lead that lifestyle. Marc Grossman argues that Hal’s soliloquy which is often misconstrued to be the ultimate revelation to the audience of his hidden political agenda (172) is really more of a reflection of shame for having just agreed to join Poins to play a joke on Falstaff (175-76). His familiarity with the lowlifes was never a scheme that he planned from his early adolescence just to shock everyone in the end, but neither is the soliloquy a single moment of realization that hits him, causing him to instantly make up his mind to change. Hal never intentionally went to Eastcheap to ruin his reputation; he simply got caught up with it. Considering his position, however, it is probably not too much to assume that an increasing sense of shame has perhaps haunted him for years, especially whenever he relents to doing something that may reflect badly on his father. According to Grossman, it is his concern for the crown due to his participation in Poins’ prank on Falstaff (and therefore the robbery) that drives him to this point where his desire to change is so poignant that it results in a decision to make that change happen (176). Even so, his so-called decision to change is stated in the future tense, indicating that he does plan to change—just not quite yet. In Grossman’s words, “he will make up tomorrow for the shameful thing he does today” (177). His soliloquy is his way of reassuring himself that he will compensate for all his past and present mistakes by proving himself to be better than anyone expects that they might disregard his wrongdoings. In so doing, he justifies not just all he has done, but what he is about to do.

 

While this perspective of Hal’s soliloquy puts him in a contemptible position that most people would be tempted to criticize, his struggle between knowing what is wrong, wanting to change, but not wanting to change just yet, is a real internal battle in many people’s lives. It is also evident of many who have heard the Gospel and believe that it is true, but are simply unwilling to make that commitment to Christ. The simple fact is that change is hard and sin is fun. However, as written by Carol Sicherman, “The idea of redemption is central to Shakespeare's conception of the Prince” (508).  Likewise, the idea of redemption is central to the Gospel. Like Hal, many non-believers are aware of the sacrifices they will have to make once they give themselves to God and so they continue to revel in their ways. Too often, the phrase “I’m just not ready yet” has been heard. Nevertheless, as Hal’s royal blood pricks at his conscience, prompting him to change his ways so that he would be transformed into the king he is meant to be, Christ woos His chosen ones to turn away from the ways of the world and surrender to Him that they would reach the full potential of who He made them to be.

 

Following the foreshadowing that Shakespeare presents in Hal’s soliloquy, the audience thus anticipates his change. Hugh Dickinson states: As spectators, we demand that a character ratify his decision by acting upon his word. He may succeed or fail, but he must make the attempt; he can prove himself only by action” (38). True to his word, Hal makes the attempt and proves himself through his action—first by restating his intentions to his father which, according to Sicherman, is where his “distinctive royal character begins to emerge” (508), and then by executing his plan in battle. As promised, Hal, or Prince Henry by this point, defeats Hotspur at Shrewsbury, but not before he jumps to his father’s rescue and saves his life. His father’s acknowledgment of him becomes apparent here, and Prince Henry’s increase in maturity becomes evident not only in his verbal exchange with Hotspur before their duel, but also in his speech to Hotspur after killing him. The change in him is not just in his physical ability to defeat the enemy, but also on his inside where his value for honor plays out.

 

Additionally, he also begins to distance himself from the corrupt company he has been keeping which he knows is of negative influence on him. After his escapade with Poins whereby they successfully prank Falstaff, Hal is no longer found in the taverns. Instead, he is, from that point onward, mostly in the company of the king. Perhaps the most poignant moment of the play happens when Prince Henry, upon turning away from Hotspur’s dead body finds Falstaff lying on the ground, presumably dead as well. Here, his words to Falstaff cut right to the heart of the matter, wherein he says, not without regret yet decisively, “O, I should have a heavy miss of thee/ If I were much in love with vanity” (5.4.104-05). This marks Prince Henry’s farewell to his old life and to Hal. Falstaff, the representation of his old life; of the vanity he used to pursue is as good as dead to him. By walking away from Falstaff, Prince Henry is consciously walking away from his frivolous youth and toward his rightful place by King Henry’s side.

 

In the context of salvation, the act of walking away from the old life and embracing the new is recognized as repentance which leads to justification. Eduardo J. Echeverria writes that “[j]ustification deals with our true moral guilt. (247)” In other words, by recognizing that guilt, confessing it, and asking Jesus to be Lord of one’s life, one’s sins are once and for all paid for in full by the blood of Christ, and before the Judge, one is justified—free of condemnation. Just as Prince Henry walks away from Falstaff and enters into his father’s renewed favor, a new believer walks away from his or her old life and into fellowship with the Savior. As 2 Corinthians 5:17 says, “Therefore, if anyone is in Christ, the new creation has come: The old has gone, the new is here!” (NIV) By the end of Henry IV Part I, Prince Henry is quite literally a new creation. However, the next phase of his life is about to begin: a period of transition where Prince Henry will have to acquaint himself with his new position and prepare himself to become king.

 

In Henry IV Part II, Prince Henry begins to experience the inevitable. Having lived the majority of his youth in bad company and then proving himself to be a true prince, he now has a set of expectations that he is obligated to meet. Throughout the kingdom, people are watching him—watching and waiting for him to fail—and the ghosts of his past haunt him; much like his conscience did in the old days. Unfortunately, his desire this time lines up more with the ghosts rather than with his newly established roles. Of course, it does not help that the old devil Falstaff has returned from the dead, more foul and vicious than ever. Prince Henry’s first appearance in Part II reveals his vulnerability has he confesses his struggles to Poins. Exceedingly aware of the reputation he has to now maintain, concerned about how people may wrongly perceive his actions, and torn between wanting to go back to his old ways and living honorably, Prince Henry’s actions are now carefully calculated, his every decision pondered over, and his emotions cautiously masked. While many, like Esman, are prone to quickly accusing him of falling back to his old ways and making comments like “The leopard does not change his spots” (32), one must realize that, given Henry’s position, his actions and reactions are quite natural. The issue is not so much about the leopard changing its spots as it is about progress being a gradual process. “One step forward, two steps back” should be the saying that is used in this context.

 

Nothing about leadership, power, or simply leading a good and virtuous life comes with ease. When the prince made the decision to change, the impending shadows of relapses were already in existence, just waiting for him to encounter them. The more important details that need to be focused on is not whether he has these relapses, but how he handles them and whether or not he comes out of them a stronger and better person. Despite the challenges he faces in Part II, it is more significant to note that he overcomes his weaknesses, and by the time his father breathes his last breath, Prince Henry is ready to be Henry V. Then, wanting to ensure that he would be able to leave his past behind once and for all, he banishes Falstaff, the embodiment of his temptations, from his presence.

 

In the process of salvation, this stage is recognized as sanctification. Echeverria writes that “sanctification deals with the power of sin” (247), and could not have put it better. As can be seen in Hal’s life, the moment he proves himself, he is expected to remain in the king’s favor. However, once the excitement dies down and the process of assimilation takes place, his old ways begin to lure him back to the taverns. Similarly, upon becoming justified, a believer is expected to live in a way that glorifies God. As 1 Corinthians 10:31 admonishes, “so whether you eat or drink or whatever you do, do it all for the glory of God” (NIV).  However, like Hal, once the spiritual high wears out and reality sets in, temptations begin to entice the new believer back to the ways of the world. For most of the Christian life, the ability to resist temptations, endure challenges, and grow in one’s faith is based on one’s relationship with the Lord. In order to become closer and more intimate with Christ, one needs to intentionally seek Him and renounce the devil. Just as Hal banished Falstaff from his sight so as not to be corrupted by his negative influences, 1 Thessalonians 5:22 teaches believers to reject “every kind of evil” (NIV). Nevertheless, the pursuit of holiness is not equivalent to leading a dull and strictly pious life. In the next phase of Henry V’s life, he demonstrates how one can uphold virtue and honor without turning into a complete bore.

 

In Henry V, King Henry is revered as the most respected king England has ever had. In the words of Westmorland, “Never king of England/Had nobles richer and more loyal subjects” (1.2.126-27). Having overcome the trials he did in his youth and conquering his transitional period, Henry, fully equipped to lead his country. Unlike his father who claims that he never meant to steal the throne from Richard, Henry inherits the crown completely aware of his responsibilities. In many ways, his drastic transformation and the lessons he learns along the way are necessary for him to become the king that he is in Henry V. Not only does Henry V learn from his own mistakes, he also learned from his father’s mistakes and takes extreme precaution not to repeat the faults of his father or to be self motivated under any circumstance. John Mark Mattox gives a clear depiction of this in saying that, when considering war with France, Henry V “seeks to hear not merely what he wants to hear, but rather a true and just rendition of the English claim” (32). Even so, it becomes evident in this play that has much as Henry V has changed in disposition, he is still the same Henry as he was way back when he went by the name of Hal. Even though he walked away from his old life, his personality and character is still the same as that of Hal. To illustrate, Sicherman writes:

 

Henry has assimilated other, and more admirable, of Hal's major characteristics, characteristics which link him with figures in the previous plays: his assurance that one may seem weak yet be strong (which recalls Hotspur before Shrewsbury, although Hotspur's assurance is equivocal); his complex wit and easy humor (Falstaff's legacy); and his ability to play variations on a single metaphor (of clothing, a debt to his father). (516)

Most significantly, it is apparent that Henry has not lost his sense of humor. Unable to resist the amusement of a practical joke, Henry is a prankster as Hal, as Prince Henry, and as King Henry V.

 

Although Sicherman perceives King Henry’s joke on Williams as a negative (516), his little scheme also serves to show that as much as King Henry has improved for the better, he is still very much human and still makes blunders which occasionally get the better of him. As the play comes to a close, the epilogue informs the audience that although King Henry V’s reign is short lived, it is without doubt a successful one which brings England to great heights. His death and the legacy that he leaves behind remains in the hearts of the people and although his son does not exactly do him justice, Henry V will always be recognized as a great king.

 

Henry V parallels with a deeper level of sanctification, showing that even mature Christians are still constantly getting molded to become better people. As close as they may be walking with the Lord, there is always the possibility of failure. However, such is life. Additionally, Henry’s preservation of his former self and his appreciation for humor also demonstrates that Christians do not have to become anyone other than themselves even while they undergo sanctification. Dr. Tim Elmore writes: Most cars have trunks where we store luggage, but you can only fit so much. Some of us have far too much baggage…On flights, bags can cost us. We must discard [excess baggage] so they don’t prevent us from moving forward” (25).  When Hal transitioned over to Prince Henry, he had loads of baggage weighing him down that he needed to leave behind. However, in order to decide what he had to leave, he also had to decide what he was going to keep. Similarly in the Christian life, leaving behind the unnecessary baggage is a necessity in order to move on. Nevertheless, no one person is all bad and there are always good attributes that can be maintained that will not thwart the name of Jesus.

 

Unfortunately, a common misconception among Christians is that loving God comes with losing all aspects of fun. Samuel Joeckel writes that “many dogmatic Christians today lack a sense of humor” (417). Thankfully, such is not the case with the Christian life. Although David J. Bennett notes that “the Gospels never mention Jesus laughing,” (350), he later confirms that Jesus indeed had a sense of humor (351). After all, God Himself is the inventor of humor and it is important for believers not to misunderstand that walking with Jesus must be dreary and depressing. Ultimately, a believer who has gone through an entire lifetime of sanctification enters into the state of glorification in which he or she is given a new and perfect body. Just as King Henry V leaves behind a romanticized ideal version of himself after death, a believer enters into perfection upon meeting the Savior face to face.

 

Although Shakespeare’s tetralogy was written as his interpretation of the historical events that took place, it is quite fascinating to see how the character of Hal develops in such a way that parallels to closely to the Christian life. As the plays progress and Hal matures, the struggles that he encounters, the criticism he withstands, and the person he blossoms into presents a good depiction of how a Christian is able to enter into God’s Kingdom, be formed into His likeness, and to finally step into His very glorious presence.

           

           

Works Cited

 

Bennett, David J. “The Humor of Christ: A Different Methodological Approach.” Humor: International Journal of Humor Research 24.3 (2011): 349-356. Academic Search Complete. Web. 29 Sept. 2013.

 

Dickinson, Hugh. “The Reformation of Prince Hal” Shakespeare Quarterly 12.1 (1961):33-46. JSTOR. Web. 29 September. 2013.

 

Elmore, Tim. Habitutes for the Journey: Images That Form Leadership Habits & Attitudes. Atlanta: Poet Gardner Publishers. 2013. Print.

 

Esman, Aaron H. “Shakespeare’s Adolescents” Adolescent Psychiatry 22 (1998): 25-36. Proquest Central. Web. 29 September. 2013.

 

Grossman, Marc. “The Adolescent and the Strangest Fellow: Comic and Morally Serious Perspectives in 1 Henry IV.” Essays in Literature 22.2 (1995): 170-195. Academic Search Complete. Web. 29 Sept. 2013.

 

Joeckel, Samuel. “Funny as Hell: Christianity and Humor Reconsidered.” Humor: International Journal of Humor Research 21.4 (2008): 415-433. Academic Search Complete. Web. 29 Sept. 2013.

 

Mattox, John Mark. “Henry V: Shakespeare's Just Warrior.” War, Literature & the Arts: An International Journal of the Humanities 12.1 (2000): 30-53. Academic Search Complete. Web. 29 Sept. 2013.

 

Shakespeare. “The First Part of King Henry the Fourth.” The Complete Shakespeare Pelican. Stephen Orgel and A. R. Braunmuller. New York: Penguin Group, 2002. 1044-79. Print.

 

Shakespeare. “The Second Part of King Henry the Fourth.” The Complete Shakespeare Pelican. Stephen Orgel and A. R. Braunmuller. New York: Penguin Group, 2002. 1080-1122. Print.

 

Shakespeare. “The Life of King Henry the Fifth.” The Complete Shakespeare Pelican. Stephen Orgel and A. R. Braunmuller. New York: Penguin Group, 2002. 1123-64. Print.

 

Sicherman, Carol Marks. “‘King Hal’: The Integrity of Shakespeare’s Portrait” Texas Studies of Literature and Language 21.4 (1979):503-521. JSTOR. Web. 29 September. 2013.

 

The Holy Bible, New International Version. Grand Rapids: Zondervan House, 1984. Print.