Hotspur, Falstaff, King Henry Iv, And Prince Hal

Prince Hal’s destiny is shaped for him by many forces: his association with the ne'er-do-well Falstaff, the expectations of his father, King Henry IV, and the constant comparison between himself and Hotspur. All three of these forces create in Hal a sense of honor that is an integral part of his education as the ideal king, and throughout the action of Henry IV, Part I, Hal is gaining a knowledge of honor that will shape him into the King that he will become. However, it seems that Hal ultimately chooses one form on honor over the other, although he must compare the honor of Falstaff and the conceptual honor of a chivalric hero before he comes to a final conclusion.

Hotspur, on the other hand, is always seen as "honorable" even though he has caused this whole war; there is no way, therefore, for anyone to correctly say what brings honor and what dishonors. The second time the word "honor" appears in the play, it is on the lips of Hotspur, who is damning the King and urging his father and Worcester to "redeem / [their] banish'd honors and [to] restore [them]selves..." (I, iii). The reader can easily see Shakespeare's notion that the concept of honor and its embodiment seldom come together in the reality of a single person—certainly the way that Hotspur wants his father and uncle to redeem themselves (by dethroning the king) is not very honorable, yet his honor is from battles won in the king's name. So despite his treasonous thoughts, his honor from battle remains with him for the rest of his life, as even the prince calls him "valiant." (V, i) Both Hotspur and the King believed in the undegenerate chivalric conception of honor, which was a lofty one. Under it, trial by battle, and war, became religious affairs. Hotspur also talks of "honor" as a symbol for a trophy of victory: he

Honor is one of those concepts that is seldom defined. One’s reputation is based on his or her honor, integrity, honesty, and purity. William Shakespeare’s Henry IV is a one of his many plays that deal with the varying ideas of honor, as well as issues of courage, loyalty, and ambition, interposing examples of dishonor, weakness, and the deceitful plots among both the drunkards and noblemen. Shakespeare utilizes suggestive metaphors to create illusions, imagery, and to reinforce the different views of the major issues people were faced with in his time and in ours. His plays often focus on the imagery, either on some obvious important symbol, or some image pattern that recurs throughout the work. Readers are

Throughout the history of the world, honor has been an important part of life. In literature, as well, honor plays an important role in many plots and the development of almost any character. Shakespeare’s play Much Ado About Nothing is no exception. In this comedy about love and marriage, honor is revealed as the primary reason for many of the actions taken by several different characters. When Claudio breaks off his wedding with Hero, he does it because he believes she is not chastised as she claims to be and in being such, she would dishonor him as well as her father if the marriage were to proceed as planned. The play is an accurate depiction of the honor code and the different standards for men and women of the time in regards to

Set in a 15th century England with rampant social and political significance, William Shakespeare’s play 1 Henry IV exhibits the existence of two juxtaposing worlds; the physical and the timeless. Qualities of the physical world are encompassed by the cunning Sir John Falstaff (Falstaff), whom upholds ideologies of humanism and Machiavellianism, demonstrating to the society that these intrapersonal concepts are useful in the preservation of one’s life. Falstaff also rejects the providential world of timeless honour and Kingship, believing that this perceptual world is not real, and instead, believes that that physical qualities of

Hotspur and Hal both view honor as something to be strived for; however, Falstaff has completely lost sight of the meaning of the word. In his speech about honor fallstaff talks about how honor is just a word, just air coming out of someone's mouth. He believes that honor only comes in death and since the dead cannot see or hear it is useless. Because he has lost sight of the meaning of honor, he fails to act ethically and behaves in the manner of a criminal and a coward. We see Falstaff rob, not pay what he owes (specifically at the inn), and misuse his commission as an officer. Before

In Geoffrey Chaucer’s poem, The Knight’s Tale, the author encapsulates chivalrous characteristics in his telling of a battle for love. In its fundamental form, chivalry idealizes a knight’s conduct, both on and off the battlefield (Gregory-Abbott). Chaucer employs this “heroic code [of] bravery, loyalty, and service to one's lord” to illustrate the idillic knight throughout the narrative (Rossignol). Chaucer’s poem, The Knight’s Tale, exhibits the ideals of chivalry in the form of two knights, desperately in love with the same woman, and a wise Duke who embodies the voice of reason. Each knight upholds honor through compassion, troths, and heroism on the battlefield, despite their afflictions with each other.

Honor can be described as many things, such as sacrificing yourself to reach a greater goal, having respect for others, or coming together to achieve a common goal. These concepts of honor can be seen through “The Charge of the Light Brigade”, Much Ado About Nothing, and The Wave. “The Charge of the Light Brigade”, written by Tennyson, is about British soldiers going into combat against Russian soldiers who they have no chance against. Much Ado About Nothing, one of Shakespeare's works, is a play that demonstrates how important honor is and that through deception it can be hard to bestow honor. Then The Wave, written by Strausser, is about a teacher who creates this group called the Wave where everyone is equal and everyone has to follow the rules in order to bring honor to the group. The

Most humans create a facade which they hide behind. A person will create an identity that fits their expected role in their family, community, and society. All of these factors play into the human ideal because no one expectation of an ideal human matches another, but people still want to meet the expectations of the people around them. One common thread comes from even under the mask that all humans wear. Within The Odyssey by Homer, The Republic by Plato, and The Holy Bible, honor is able to play a role into a human’s life in many different ways; it is what pushes people into becoming the leader, teacher, and follower of what is believed in, and honor is what creates an ideal human.

In Milun, honor has a big place in the story. For example, Milun must go to the other country to fight the one knight who claims to be better than him to defend his honor. Although when he realizes he has been beat by him he shows respect for him because he has truly been beat. His son also shows respect when he sees his gray hair and recognizes that he had hurt an older man. This shows the good side of chivalry where the knights respected each other and good duels.

Falstaff’s soliloquy questioning the value of honour is an ironic contrast with how Hotspur and Hal regard honour. By now the contrast between their highly ordered morality and Falstaff’s own moral disorder is obvious. Falstaff’s inclusion at this point, when Hal has left his side and moved on, is necessary to point out the differing morality between the two, which was once so similar. Falstaff is of paramount importance to the sub-plot dealing with Hal’s decision between continuing his carefree lifestyle or maturing into the role he is destined to play as a respected prince and later king. This soliloquy continues the theme of another of Falstaff’s in Act 4 Scene 2, in which he is equally undisturbed by his amorality, and shows that his highest concern is for his own well being.

Some would say that honor is a thing of the past; a thing long since extinct with the King Arthur and the knights of the round table. In fact, it is not, it is real and can still be seen all around through people all the time. In Charles Dicken’s novel, A Tale of Two Cities, honor and dishonor are main themes that are exemplified and enacted through many characters. To be honorable, or to act in honor, is to act in a way that is not necessarily socially acceptable, but is morally right, noble, and kind. To be dishonorable is to neglect the basic responsibility of treating every human being in the respectful manner they deserve, giving no variance to rank or status. Throughout the book different men show varying degrees of honor and dishonor.

For Hotspur, who glorifies the honor to be gained in battle against worthy foes, the more hazardous the enterprise, the greater the chance of gaining honor (Prior 14). This concept of honor contrasts greatly with that of Falstaff, a battered old soldier long turned against the nonsense of military glory, who wanders about the Shrewsbury battlefield with a bottle of sack, not a sword,

Falstaff and Hotspur differ significantly in their idea of honor. Hotspur believes honor is all about glory and being the center of attention. While Falstaff is only certain that the dead have honor but is unsure about what it is as described by this excerpt of his soliloquy, "No. What is honour?". Hotspur believes that honor is derived from epic or heroic deeds, these deeds tends to be very physical in nature such as the honor gained from battle. Bravery and the acts associated with it is an additional font from which honor can flow freely. This is described by the line, "O the blood more stirs To rouse a lion than to start a hare." It 's clearly much more

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