Henry V is a history play by William Shakespeare, believed to have been written around 1599. It tells the story of King Henry V of England, focusing on events immediately before and after the Battle of Agincourt (1415) during the Hundred Years' War. In the First Quarto text, it was entitled The Cronicle History of Henry the fift, which became The Life of Henry the Fifth in the First Folio text.
The play is the final part of a tetralogy, preceded by Richard II, Henry IV, Part 1, and Henry IV, Part 2. The original audiences would thus have already been familiar with the title character, who was depicted in the Henry IV plays as a wild, undisciplined lad known as "Prince Harry" and by Falstaff as "Hal". In Henry V, the young prince has become a mature man and embarks on a successful conquest of France.
Elizabethan stages did not use scenery. Acknowledging the difficulty of conveying great battles and shifts of location on a bare stage, the Chorus (a single actor) calls for a "Muse of fire" so that the actor playing King Henry can "[a]ssume the port [bearing] of Mars". He asks, "Can this cockpit
[i.e. the theatre] hold / The vasty fields of France?" and encourages
the audience to use their "imaginary forces" (imaginations) to overcome
the stage's limitations: "Piece out our imperfections with your
thoughts."
The early scenes deal with the embarkation of Henry's fleet for France, and include a real-life incident in which the Earl of Cambridge and two others plotted to assassinate Henry at Southampton.
(Henry's clever uncovering of the plot and his ruthless treatment of
the plotters show that he has changed from the earlier plays in which he
appeared.)
When the Chorus reappears, he describes the country's dedication to
the war effort – "They sell the pasture now to buy the horse." The
chorus tells the audience, "We'll not offend one stomach with our play",
a humorous reference to the fact that the scene of the play crosses the
English Channel.
The Chorus appears again, seeking support for the English navy:
"Grapple your minds to sternage of this navy", he says, and notes that
"the ambassador from the French comes back / Tells Harry that the king
doth offer him / Katharine his daughter."
At the siege of Harfleur, Henry utters one of Shakespeare's best-known speeches, beginning "Once more unto the breach, dear friends..."
Before the Battle of Agincourt, victory looks uncertain, and the
young king's heroic character emerges in his decision to wander around
the English camp at night, in disguise, so as to comfort his soldiers
and determine what they really think of him. He agonizes about the moral
burden of being king, noting that a king is only a man. Before the
battle, Henry rallies his troops with the famous St Crispin's Day Speech (Act IV Scene iii 18-67), referring to "we few, we happy few, we band of brothers".
Following the victory at Agincourt, Henry attempts to woo the French princess, Catherine of Valois.
This is difficult because neither speaks the other's language well, but
the humour of their mistakes actually helps achieve his aim. The action
ends with the French king adopting Henry as his heir to the French
throne and the prayer of the French queen, "that English may as French,
French Englishmen, receive each other, God speak this Amen."
Before the play concludes, however, the Chorus reappears and ruefully
notes, of Henry's own heir's "state, so many had the managing, that
they lost France, and made his England bleed, which oft our stage hath
shown" – a reminder of the tumultuous reign of Henry VI of England, which Shakespeare had previously brought to the stage in a trilogy of plays: Henry VI Part 1, Henry VI Part 2, and Henry VI Part 3.
As with all of Shakespeare's serious plays, also a number of minor
comic characters appear whose activities contrast with and sometimes
comment on the main plot. In this case, they are mostly common soldiers
in Henry's army, and they include Pistol, Nym, and Bardolph from the Henry IV plays. The army also includes a Scot, an Irishman, and an Englishman, and Fluellen, a comically stereotyped Welsh soldier, whose name is an attempt at a phonetic rendition of "Llywelyn". The play also deals briefly with the death of Falstaff, Henry's estranged friend from the Henry IV plays, whom Henry had rejected at the end of Henry IV, Part 2.
Link to the review by The Morning Call here
Macbeth is a tragedy by William Shakespeare; it is thought to have been first performed in 1606. It dramatizes the damaging physical and psychological effects of
political ambition on those who seek power for its own sake. Of all the
plays that Shakespeare wrote during the reign of James I, who was patron of Shakespeare's acting company, Macbeth most clearly reflects the playwright's relationship with his sovereign. It was first published in the Folio of 1623, possibly from a prompt book, and is his shortest tragedy.
A brave Scottish general named Macbeth receives a prophecy from a trio of witches that one day he will become King of Scotland.
Consumed by ambition and spurred to action by his wife, Macbeth murders
King Duncan and takes the Scottish throne for himself. He is then
wracked with guilt and paranoia. Forced to commit more and more murders
to protect himself from enmity and suspicion, he becomes a
tyrannical ruler. The bloodbath and consequent civil war swiftly take
Macbeth and Lady Macbeth into the realms of madness and death.
Shakespeare's source for the story is the account of Macbeth, King of Scotland, Macduff, and Duncan in Holinshed's Chronicles
(1587), a history of England, Scotland, and Ireland familiar to
Shakespeare and his contemporaries, although the events in the play
differ extensively from the history of the real Macbeth. The events of
the tragedy are usually associated with the execution of Henry Garnet for complicity in the Gunpowder Plot of 1605.
In the backstage world of theatre, some believe that the play is
cursed, and will not mention its title aloud, referring to it instead as
"The Scottish Play".
Over the course of many centuries, the play has attracted some of the
most renowned actors to the roles of Macbeth and Lady Macbeth. It has
been adapted to film, television, opera, novels, comics, and other media.
Synopsis:
Act I
The play
opens amidst thunder and lightning, and the Three Witches decide that
their next meeting shall be with Macbeth. In the following scene, a
wounded sergeant reports to King Duncan of Scotland that his
generals—Macbeth, who is the Thane of Glamis, and Banquo—have just
defeated the allied forces of Norway and Ireland, who were led by the
traitorous Macdonwald and the Thane of Cawdor. Macbeth, the King's kinsman, is praised for his bravery and fighting prowess.
In the following scene, Macbeth and Banquo discuss the weather and
their victory. As they wander onto a heath, the Three Witches enter and
greet them with prophecies. Though Banquo challenges them first, they
address Macbeth, hailing him as "Thane of Glamis," "Thane of Cawdor,"
and that he shall "be King hereafter." Macbeth appears to be stunned to
silence. When Banquo asks of his own fortunes, the witches respond
paradoxically, saying that he will be less than Macbeth, yet happier,
less successful, yet more. He will father a line of kings though he
himself will not be one. While the two men wonder at these
pronouncements, the witches vanish, and another thane, Ross,
arrives and informs Macbeth of his newly bestowed title: Thane of
Cawdor, as the previous Thane of Cawdor shall be put to death for
treason. The first prophecy is thus fulfilled, and Macbeth, previously
skeptical, immediately begins to harbour ambitions of becoming king.
King Duncan welcomes and praises Macbeth and Banquo, and declares that he will spend the night at Macbeth's castle at Inverness;
he also names his son Malcolm as his heir. Macbeth sends a message
ahead to his wife, Lady Macbeth, telling her about the witches'
prophecies. Lady Macbeth suffers none of her husband's uncertainty and
wishes him to murder Duncan in order to obtain kingship. When Macbeth
arrives at Inverness, she overrides all of her husband's objections by
challenging his manhood and successfully persuades him to kill the king
that very night. He and Lady Macbeth plan to get Duncan's two
chamberlains drunk so that they will black out; the next morning they
will blame the chamberlains for the murder. They will be defenseless as
they will remember nothing.
Act II
While Duncan
is asleep, Macbeth stabs him, despite his doubts and a number of
supernatural portents, including a hallucination of a bloody dagger. He
is so shaken that Lady Macbeth has to take charge. In accordance with
her plan, she frames Duncan's sleeping servants for the murder by
placing bloody daggers on them. Early the next morning, Lennox, a
Scottish nobleman, and Macduff, the loyal Thane of Fife,
arrive. A porter opens the gate and Macbeth leads them to the king's
chamber, where Macduff discovers Duncan's body. Macbeth murders the
guards to prevent them from professing their innocence, but claims he
did so in a fit of anger over their misdeeds. Duncan's sons Malcolm and
Donalbain flee to England and Ireland, respectively, fearing that
whoever killed Duncan desires their demise as well. The rightful heirs'
flight makes them suspects and Macbeth assumes the throne as the new King of Scotland
as a kinsman of the dead king. Banquo reveals this to the audience, and
while sceptical of the new King Macbeth, he remembers the witches'
prophecy about how his own descendants would inherit the throne; this
makes him suspicious of Macbeth.
Act III
Despite his success, Macbeth, also aware of this part of the prophecy, remains uneasy. Macbeth invites Banquo to a royal banquet,
where he discovers that Banquo and his young son, Fleance, will be
riding out that night. Fearing Banquo's suspicions, Macbeth arranges to
have him murdered, by hiring two men to kill them, later sending a Third Murderer.
The assassins succeed in killing Banquo, but Fleance escapes. Macbeth
becomes furious: he fears that his power remains insecure as long as an
heir of Banquo remains alive.
At a banquet, Macbeth invites his lords and Lady Macbeth to a night of drinking and merriment. Banquo's ghost
enters and sits in Macbeth's place. Macbeth raves fearfully, startling
his guests, as the ghost is only visible to himself. The others panic at
the sight of Macbeth raging at an empty chair, until a desperate Lady
Macbeth tells them that her husband is merely afflicted with a familiar
and harmless malady. The ghost departs and returns once more, causing
the same riotous anger and fear in Macbeth. This time, Lady Macbeth
tells the lords to leave, and they do so.
Act IV
Macbeth,
disturbed, visits the three witches once more and asks them to reveal
the truth of their prophecies to him. To answer his questions, they
summon horrible apparitions, each of which offers predictions and
further prophecies to put Macbeth's fears at rest. First, they conjure
an armoured head, which tells him to beware of Macduff (IV.i.72).
Second, a bloody child tells him that no one born of a woman shall be
able to harm him. Thirdly, a crowned child holding a tree states that
Macbeth will be safe until Great Birnam Wood comes to Dunsinane Hill.
Macbeth is relieved and feels secure because he knows that all men are
born of women and forests cannot move. Macbeth also asks if Banquo's
sons will ever reign in Scotland: the witches conjure a procession of
eight crowned kings, all similar in appearance to Banquo, and the last
carrying a mirror that reflects even more kings. Macbeth realises that
these are all Banquo's descendants having acquired kingship in numerous
countries. After the witches perform a mad dance and leave, Lennox
enters and tells Macbeth that Macduff has fled to England. Macbeth
orders Macduff's castle be seized, and, most cruelly, sends murderers to
slaughter Macduff, as well as Macduff's wife and children. Although
Macduff is no longer in the castle, everyone in Macduff's castle is put
to death, including Lady Macduff and their young son.
Act V
Meanwhile,
Lady Macbeth becomes wracked with guilt from the crimes she and her
husband have committed. At night, in the king's palace at Dunsinane, a
doctor and a gentlewoman discuss Lady Macbeth's strange habit of
sleepwalking. Suddenly, Lady Macbeth enters in a trance with a candle in
her hand. Bemoaning the murders of Duncan, Lady Macduff, and Banquo,
she tries to wash off imaginary bloodstains from her hands, all the
while speaking of the terrible things she knows she pressed her husband
to do. She leaves, and the doctor and gentlewoman marvel at her descent
into madness. Her belief that nothing can wash away the blood on her
hands is an ironic reversal of her earlier claim to Macbeth that "[a]
little water clears us of this deed" (II.ii.66).
In England, Macduff is informed by Ross that his "castle is
surprised; [his] wife and babes / Savagely slaughter'd" (IV.iii.204–5).
When this news of his family's execution reaches him, Macduff is
stricken with grief and vows revenge. Prince Malcolm, Duncan's son, has
succeeded in raising an army in England, and Macduff joins him as he
rides to Scotland to challenge Macbeth's forces. The invasion has the
support of the Scottish nobles, who are appalled and frightened by
Macbeth's tyrannical and murderous behaviour. Malcolm leads an army,
along with Macduff and Englishmen Siward (the Elder), the Earl of Northumberland,
against Dunsinane Castle. While encamped in Birnam Wood, the soldiers
are ordered to cut down and carry tree limbs to camouflage their
numbers.
Before Macbeth's opponents arrive, he receives news that Lady Macbeth
has killed herself, causing him to sink into a deep and pessimistic
despair and deliver his "Tomorrow, and tomorrow, and tomorrow" soliloquy
(V.v.17–28). Though he reflects on the brevity and meaninglessness of
life, he nevertheless awaits the English and fortifies Dunsinane. He is
certain that the witches' prophecies guarantee his invincibility, but is
struck with fear when he learns that the English army is advancing on
Dunsinane shielded with boughs cut from Birnam Wood, in apparent
fulfillment of one of the prophecies.
A battle culminates in Macduff's confrontation with Macbeth, who
kills Young Siward in combat. The English forces overwhelm his army and
castle. Macbeth boasts that he has no reason to fear Macduff, for he
cannot be killed by any man born of woman. Macduff declares that he was
"from his mother's womb / Untimely ripp'd" (V.8.15–16), (i.e., born by Caesarean section) and is not "of woman born" (an example of a literary quibble),
fulfilling the second prophecy. Macbeth realises too late that he has
misinterpreted the witches' words. Though he realises that he is doomed,
he continues to fight. Macduff kills and beheads him, thus fulfilling
the remaining prophecy.
Macduff carries Macbeth's head onstage and Malcolm discusses how
order has been restored. His last reference to Lady Macbeth, however,
reveals "'tis thought, by self and violent hands / Took off her life"
(V.ix.71–72), but the method of her suicide is undisclosed. Malcolm, now
the King of Scotland, declares his benevolent intentions for the
country and invites all to see him crowned at Scone.
Although Malcolm, and not Fleance, is placed on the throne, the
witches' prophecy concerning Banquo ("Thou shalt get kings") was known
to the audience of Shakespeare's time to be true: James VI of Scotland
(later also James I of England) was supposedly a descendant of Banquo.
Link to the review by The Morning Call here
The Two Gentlemen of Verona is a comedy by William Shakespeare, believed to have been written between 1589 and 1593. It is considered by some to be Shakespeare's first play,
and is often seen as showing his first tentative steps in laying out
some of the themes and motifs with which he would later deal in more
detail; for example, it is the first of his plays in which a heroine
dresses as a boy. The play deals with the themes of friendship and infidelity, the conflict between friendship and love, and the foolish behaviour of people in love. The highlight of the play is considered by some to be Launce, the clownish servant of Proteus, and his dog Crab, to whom "the most scene-stealing non-speaking role in the canon" has been attributed.
Two Gentlemen is often regarded as one of Shakespeare's weakest plays. It has the smallest named cast of any play by Shakespeare
Synopsis:
As the play begins, Valentine is preparing to leave Verona for Milan
so as to broaden his horizons. He begs his best friend, Proteus, to come
with him, but Proteus is in love with Julia, and refuses to leave.
Disappointed, Valentine bids Proteus farewell and goes on alone.
Meanwhile, Julia is discussing Proteus with her maid, Lucetta, who tells
Julia that she thinks Proteus is fond of her. Julia, however, acts
coyly, embarrassed to admit that she likes him. Lucetta then produces a
letter; she will not say who gave it to her, but teases Julia that it
was Valentine's servant, Speed, who brought it from Proteus. Julia,
still unwilling to reveal her love in front of Lucetta, angrily tears up
the letter. She sends Lucetta away, but then, realising her own
rashness, she picks up the fragments of the letter and kisses them,
trying to piece them back together.
Meanwhile, Proteus' father has decided that Proteus should travel to
Milan and join Valentine. He orders that Proteus must leave the next
day, prompting a tearful farewell with Julia, to whom Proteus swears
eternal love. The two exchange rings and vows and Proteus promises to
return as soon as he can.
In Milan, Proteus finds Valentine in love with the Duke's daughter,
Silvia. Despite being in love with Julia, Proteus falls instantly in
love with Silvia and vows to win her. Unaware of Proteus' feelings,
Valentine tells him the Duke wants Silvia to marry the foppish
but wealthy Thurio, against her wishes. Because the Duke suspects that
his daughter and Valentine are in love, he locks her nightly in a tower,
to which he keeps the only key. However, Valentine tells Proteus that
he plans to free her by means of a corded ladder, and together, they
will elope. Proteus immediately informs the Duke, who subsequently
captures and banishes Valentine. While wandering outside Milan, Valentine runs afoul of a band of outlaws,
who claim they are also exiled gentlemen. Valentine lies, saying he was
banished for killing a man in a fair fight, and the outlaws elect him
their leader.
Meanwhile, in Verona, Julia decides to join her lover in Milan. She
convinces Lucetta to dress her in boy's clothes and help her fix her
hair so she will not be harmed on the journey. Once in Milan, Julia
quickly discovers Proteus' love for Silvia, watching him attempt to
serenade her. She contrives to become his page boy
– Sebastian – until she can decide upon a course of action. Proteus
sends Sebastian to Silvia with a gift of the same ring that Julia gave
to him before he left Verona, but Julia learns that Silvia scorns
Proteus' affections and is disgusted that he would forget about his love
back home, i.e. Julia herself. Silvia deeply mourns the loss of
Valentine, who Proteus has told her is rumoured dead.
Not persuaded of Valentine's death, Silvia determines to flee the
city with the help of Sir Eglamour. They escape into the forest but when
they are confronted by the outlaws, Eglamour flees and Silvia is taken
captive. The outlaws head to their leader (Valentine), but on the way,
they encounter Proteus and Julia (still disguised as Sebastian). Proteus
rescues Silvia, and then pursues her deeper into the forest. Secretly
observed by Valentine, Proteus attempts to persuade Silvia that he loves
her, but she rejects his advances.
Proteus insinuates that he will rape her ("I'll force thee yield to
my desire"), but at this point, Valentine intervenes and denounces
Proteus. Horrified at what has happened, Proteus vows that the hate
Valentine feels for him is nothing compared to the hate he feels for
himself. Convinced that Proteus' repentance
is genuine, Valentine forgives him and seems to offer Silvia to him. At
this point, overwhelmed, Julia faints, revealing her true identity.
Upon seeing her, Proteus suddenly remembers his love for her and vows
fidelity to her once again. The Duke and Thurio are brought as prisoners
by the outlaws. Seeing Silvia, Thurio claims her as his, but Valentine
warns Thurio that if he makes one move toward her, he will kill him.
Terrified, Thurio renounces Silvia. The Duke, disgusted with Thurio's
cowardice and impressed by Valentine's actions, approves his and
Silvia's love, and consents to their marriage. The two couples are
happily united, and the Duke pardons the outlaws, telling them they may
return to Milan
Link to review by The Morning Call here
Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Originally published in the First Folio
of 1623, where it was listed as a comedy, the play's first recorded
performance occurred in 1604. The play's main themes include justice,
"mortality and mercy in Vienna," and the dichotomy between corruption
and purity: "some rise by sin, and some by virtue fall." Mercy and
virtue predominate, since the play does not end tragically.
Measure for Measure is often called one of Shakespeare's problem plays. It was, and continues to be, classified as comedy, though its tone may defy those expectations.
Synopsis:
Vincentio, the Duke of Vienna,
makes it known that he intends to leave the city on a diplomatic
mission. He leaves the government in the hands of a strict judge, Angelo.
In the next scene, we find a group of soldiers on a Vienna street,
expressing their hopes, in irreverent banter, that a war with Hungary is
afoot, and that they will be able to take part. Mistress Overdone, the
operator of a whorehouse frequented by these same soldiers, appears and
tells them "there's one yonder arrested and carried to prison was worth
five thousand of you all." She tells them that it is "Signor Claudio,"
and that "within these three days his head to be chopped off" as
punishment for "getting Madam Julietta with child." Lucio, one of the
soldiers who is later revealed to be Claudio's friend, is astonished at
this news and rushes off. Then comes Pompey Bum, who works for Mistress
Overdone as a pimp, but disguises his profession by describing himself
as a mere 'tapster' (the equivalent of a modern bartender), avers to the
imprisonment of Claudio and outrageously explains his crime as "Groping
for trouts in a peculiar river." He then informs Mistress Overdone of
Angelo's new proclamation, that "All houses [of prostitution] in the
suburbs of Vienna must be plucked down." The brothels in the city "shall
stand for seed: they had gone down too, but that a wise burgher put in
for them." Mistress Overdone is distraught, as her business is in the
suburbs. "What shall become of me?" she asks. Pompey replies with a
characteristic mixture of bawdy humor and folk-wisdom, "fear you not:
good counselors lack no clients: though you change your place, you need
not change your trade... Courage! there will be pity taken on you: you
that have worn your eyes almost out in the service, you will be
considered."
Claudio is then led past Pompey and Overdone on his way to prison,
and we learn what has happened to him. Claudio married Juliet, but, as
they have not completed all the technicalities, they are still legally
unmarried when Juliet gets pregnant. Angelo, as the interim ruler of the
city, decides to enforce a law that fornication is punishable by death,
so Claudio is sentenced to be executed. Claudio's friend, Lucio, visits
Claudio's sister, Isabella, a novice nun, and asks her to intercede
with Angelo on Claudio's behalf.
Isabella obtains an audience with Angelo, and pleads for mercy for
Claudio. Over the course of two scenes between Angelo and Isabella, it
becomes clear that he lusts after her, and he eventually offers her a
deal: Angelo will spare Claudio's life if Isabella yields him her
virginity. Isabella refuses, but when she threatens to publicly expose
his lechery, he tells her that no one will believe her: his reputation
is too austere. Instead, she visits her brother in prison and counsels
him to prepare himself for death. Claudio desperately begs Isabella to
save his life, but Isabella refuses. As a novice nun, she feels that she
cannot sacrifice her own immortal soul (and that of Claudio, if he
causes her to lose her virtue) to save Claudio's transient earthly life.
The Duke has not in fact left the city, but remains there disguised
as a friar (Lodowick) in order to spy on the city's affairs, and
especially on the actions of Angelo. In his guise as a friar, he
befriends Isabella and arranges two tricks to thwart Angelo's evil
intentions:
- First, a "bed trick" is arranged. Angelo has previously refused to fulfill the betrothal
binding him to Mariana, because her dowry had been lost at sea.
Isabella sends word to Angelo that she has decided to submit to him,
making it a condition of their meeting that it occurs in perfect
darkness and in silence. Mariana agrees to take Isabella's place, and
she has sex with Angelo, although he continues to believe he has enjoyed
Isabella. (In some interpretations of the law, this constitutes
consummation of their betrothal, and therefore their marriage. This is
the same interpretation that assumes that Claudio and Juliet are legally
married.)
- After having sex with Mariana (whom he believes is Isabella), Angelo
goes back on his word, sending a message to the prison that he wishes
to see Claudio's head, necessitating the "head trick." The Duke first
attempts to arrange the execution of another prisoner whose head can be
sent instead of Claudio's. However, the villain Barnardine refuses to be
executed in his drunken state. As luck would have it, a pirate named
Ragozine, of similar appearance to Claudio, has recently died of a
fever, so his head is sent to Angelo instead.
This main plot concludes with the 'return' to Vienna of the Duke as
himself. Isabella and Mariana publicly petition him, and he hears their
claims against Angelo,
which Angelo smoothly denies. As the scene develops, it appears that
Friar Lodowick will be blamed for the 'false' accusations leveled
against Angelo. The Duke leaves Angelo to judge the cause against
Lodowick, but returns in disguise moments later when Lodowick is
summoned. Eventually, the friar reveals himself to be the Duke, thereby
exposing Angelo as a liar and Isabella and Mariana as truthful. He
proposes that Angelo be executed but first compels him to marry Mariana—
with his estate going to Mariana as her new dowry, "to buy you a better
husband." Mariana pleads for Angelo's life, even enlisting the aid of
Isabella (who is not yet aware her brother Claudio is still living). The
Duke pretends not to heed the women's petition, and—only after
revealing that Claudio has not, in fact, been executed—relents. The Duke
then proposes marriage to Isabella. Isabella does not reply, and her
reaction is interpreted differently in different productions: her silent
acceptance of his proposal is the most common in performance. This is
one of the "open silences" of the play.
A sub-plot concerns Claudio's friend Lucio, who frequently slanders
the duke to the friar, and in the last act slanders the friar to the
duke, providing opportunities for comic consternation on Vincentio's
part and landing Lucio in trouble when it is revealed that the duke and
the friar are one and the same. His punishment, like Angelo's, is to be
forced into an undesired marriage: in this case with the prostitute Kate
Keepdown.
Link to the review by The Morning Call here
