I decided that once I had graduated from university I would post my English Literature essay’s on my site as a reference point for English Literature students. This essay and other’s on this site are my own work and have been referenced accordingly. Please feel free to use my essay’s but remember to reference my work to avoid plagiarism.
Henry V is the concluding episode in Shakespeare’s tetralogy of history plays. It was estimated to be written in 1599 during the reign of Elizabeth 1. Critics have found the play to be puzzling and Shakespeare’s portrayal of King Henry unclear. Rabkin suggested that Shakespeare intentionally created Henry V as a play with two interpretations which resulted in the audience making up their own mind.  Shakespeare’s depiction of King Henry was influenced by Machiavelli’s ‘The Prince’ as well as being integrated with the Tudor philosophy of The Kings Two Bodies. By using these approaches Shakespeare created a plot where Henry was able to weave between the private and public spheres. The audience may have perceived Henry V as either a well-rounded king or a crafty politician whose actions were deliberate and calculated. The paper will discuss the relationship between the private and public in Henry V and will examine the theory of the Kings Two Bodies as well as relate some extracts from Machiavelli’s ‘The Prince’ to the Kings behaviours and actions. Furthermore, the essay will explore the key scenes in which the king adopts his role as a politician both publicly and privately which creates the illusion of the perfect monarch and argue that whilst he was aware of the sacrifices he had to endure, his actions were for the purpose of his kingship only.
The Kings Two Bodies derived from the English jurists of the Tudor and defined the King as having both the body politic and the body natural. According to the theory, the body politic describes the king as an eternal entity; his body will not age or weaken. The king cannot do wrong or even think wrongly, therefore, the king has no weaknesses. In addition, the king is described as superhuman and invisible therefore sees and hears everything. The body natural is polar opposite of this and is subject to all the flaws of the average person such as old age, weakness, corruption and fallibility. Shakespeare used both aspects of this theory in Henry V in order to create the impression of the perfect king. Katrotowicz explains that the kings ‘capacity to take in the body natural is not confounded by the body politic, but remains still.’ (p.12). The evidence in this essay will display how Henry V was fully aware of his body natural yet his actions were purely that of the body politic; maintaining that his relationship between the public and private was merely an act which fulfilled his role as the monarch.
Salamon suggested that ‘the private/ public polarity is somewhat less obvious, taking the form by and large, of a unifying structural concept.’ This was an intentional tactic by Shakespeare who chose to exemplify the King as a compassionate leader. Henry underplayed his ceremonial role when it was beneficial to blend in with his public and he was able to exaggerate the spectacular when he needed to exude the body politic.
The Shakespearian audience would have known the former king as Prince Hal from the tetralogy. He was unruly, his friends were thieves, he gambled and drank with commoners. It would, therefore, have shocked the audience that Price Hal could adopt his kingship so completely. For this reason, when Henry V flits from public to private, the audience is not surprised. Rabkin poses the question, ‘Can political resourcefulness be combined with qualities more like those of an audience as it sees itself?’ (p.281). Shakespeare’s effective transformation of Prince Hal to Henry V leaves no doubt that this is possible.
The transformation of Henry V is glorified by Canterbury who, in a conversation with Ely, establishes that the new king has fully adopted the body politic;
The breath no sooner left his father’s body
But his wildness, mortified in him,
Seemed to die too; yea, at that very moment,
Consideration like an angel came
And whipped th’offending Adam out of him,
Leaving his body as a paradise
T’envelop and contain celestial spirits.
Canterbury described the transformation of Henry as a death of his former private self, this allowed his body to become a paradise in order to become god’s representative on earth. However, unknown to his council, the sudden change in Henry was always planned. According to Paris, Prince Hal’s behaviour in Henry 1V part two may have been a moral education for him. By associating himself with commoners he was able to increase his skills in dealing with a range of different people and by stooping so slow, he was able to achieve the grand effect of transformation he was looking for. Shakespeare’s depiction of Prince Hal made his illusion of the perfect King in Henry V more accessible by exposing him as a private citizen. However; Prince Hal openly admits that his persona as a drunken thief and gambler is a deliberate and calculated act;
Yet herein will I imitate the sun,
Who doth permit the base contagious clouds
To smother up his beauty from the world,
That, when he please again to be himself,
Being wanted, he may be more wondered at
By breaking through the foul and ugly mist
Of vapors that did seem to strangle him.
This admittance from Prince Hal suggests that he is less comfortable with the body natural and will become himself when he adopts the body politic. For Rabkin, Shakespeare’s portrayal of Prince Hal is deceptive, ‘the day has had to come when Hal, no longer able to live in two worlds, would be required to make his choice, and the Prince has had to expel from his life the very qualities that made him better than his father.’ (p.285) Prince Hal however, made his decision long before his kingship; his qualities were fabricated in order to assume a private persona which died the instant his father did.
When Henry V decided to invade France it is unclear whether the King believed he had a legitimate claim to the throne. Henry’s decision, however, may have been personally motivated due to his dying father’s suggestion that Henry should busy the minds of his public with foreign wars in order for them to forget the way in which he stole the crown from the former King Richard. It could be said that he did it to confirm his tyranny over his subjects. Machiavelli states that it is ‘necessary for a prince wishing to hold his own to know how to do wrong, and to make use of it or not according to necessity.’  Shakespeare hoped that by presenting the morality in Henry in his previous plays that the audience would be convinced that he is torn between his public job and his duty to protect his citizens.
If Shakespeare succeeded in convincing his audience of the Kings morality, there must have been an element of doubt when the chorus asked the audience to imagine the grand spectacle of the ship at Hampton pier. The elaborate spectacle served to overshadow the England that was left behind ‘Guarded with grandsires, babies and old women.’, (King Henry V, iii.0.20) It is obvious in this instance that Henry V has little regard for his countries weaker civilians and is motivated by his own agenda. Debord described the value and importance of spectacle as ‘something enormously positive […] the attitude which it demands in principle is passive acceptance which in fact it already obtained by its manner of appearing without reply, by its monopoly of appearance. Shakespeare was able to display the disparity between the King’s private and public figures by involving the citizens in ceremony in order to motivate and distract them from the his true intentions. Later, the King declines the use of spectacle when after defeating the French, he has the opportunity upon his return to England to meet his public with a grand ceremony, yet he chooses not to do so. This action was an effective way of making the commoners feel that there was no public and private divide between themselves and the monarch.
Spectacle was also presented in Henry V in the form of speech. Henry V was able to use his skills as a public speaker to ensure his army felt equal to himself;
And you good yeomen,
Whose limbs are made in England, show us here
The mettle of your pasture; let us swear
That you are worth your breeding which I doubt
For there is none of you so mean and base
That hath not noble lustre in your eyes. (King Henry V, iii.i.25-30)
It is this intertwining of the public and the private that made Henry V such a good politician and increased his power as a monarch.
Shakespeare exemplifies the morality in Henry V prior to the final battle, when he has to muster a masterful speech to prevent his army from being defeated;
By Jove, I am not covetous for gold,
Nor care I who doth feed upon my cost;
It earns me not if men my garments wear:
Such outward things dwell not in my desires. (King Henry V iv.3.24-27)
Henry dismisses his position of monarch in this scene and the triviality of his royal garments; it is a cunning speech which deceives his soldiers into assuming that he is the body natural and that he sees no difference between himself and his subjects. Henry goes further than this by announcing, ‘We few, we happy few, we band of brothers. For he, today that sheds blood with me Shall be my brother.’(King Henry V, vi.3.61-62) Henry V is aware at this point that he has to combine the private and the public in order to gain loyalty from his soldiers and by treating them as brothers he gains their respect. Machiavelli wrote, ‘a prince, so long as he keeps his subjects united and loyal, ought not to mind the reproach of cruelty’ (p.2). Shakespeare used this approach to demonstrate the effectiveness of personal persuasion for political necessity.
On the eve of the final battle, Henry delves into the private world and disguises himself as a commoner. In discussion with soldiers Williams and Bates, he tells them, ‘I think the king is but a man, as am I […] all his senses have human conditions; his ceremonies laid by, in his nakedness he appears but a man […] his fears, out of doubt, be of the same relish as ours are. […] by showing it, should dishearten his army.’ (King Henry V iv.i.102-112) The response from the soldiers is that of doubt, they mistrust his reasons for going to war and describe the implications that the King will have to face from his people if they are defeated. It is at this point that Henry diverts any blame or wrongdoing, ‘Every subject’s duty is the King’s, but every subject’s soul is his own’ (King Henry V, iv.i.176-177) It should be noted that when Henry is speaking as a commoner his dialect changes from his usual verse to prose, the style of language used by the common citizens. This highlights the variation of private and public within Henry.
What Shakespeare has produced in this scene is the body politic trying to convince his soldiers that beneath the spectacle of the king is a person merely doing a job. This scene, although mischievous, displays the King as his true self. Henry V is aware that in order to effectively perform his role as monarch he must supress the body natural yet display it to his advantage. According to Machiavelli, ‘it is necessary to know how to disguise this characteristic and to be a great pretender’ (p.4).
It is only when the King is alone that he fully allows his personal thoughts to be presented;
What infinite heart’s ease
Must kings neglect that private men enjoy!
And what have kings that privates have not too,
Save ceremony, save general ceremony? (King Henry V, iv.i.233-237)
Are though aught else but place, degree and form,
Creating awe and fear in other men,
Wherein thou art less happy, being feared,
Than they in fearing? (King Henry V, iv.i.243-246)
By allowing the audience to indulge in Henry’s soliloquy, Shakespeare hoped to provoke a sense of empathy towards the King. This enabled him to fulfil his aspiration of presenting Henry V as the perfect monarch. Henry is, however, aware of the sacrifices he has had to make and this private moment is reserved only for himself and the audience.
Shakespeare’s ability to humanise the King enabled his acts of cruelty towards his friends to be digested more easily. In order for Henry to fulfil his public duty, he was forced to sacrifice his private inclinations and banish those he loved. At the end of Henry 1V, Henry publicly banished and humiliated his friend Falstaff in order to display his body politic. Furthermore, in Henry V the King ordered the death of his friend Scrope, who conspired to kill him. In addition, his friend Bardolph was sentenced to death for stealing from a church. These acts display Henry’s ability to uphold the law and disregard his former private life in order to be a sincere monarch.
In this paper I discussed The Kings Two Bodies and how Shakespeare used this theory to explore the relationship between the private and public in Henry V. In doing so he was able to create an illusion that allowed the audience to view the King with two different interpretations, one as a well-rounded king and the other as a crafty politician whose actions were deliberate and calculated. In addition, I incorporated some extracts from The Prince which Shakespeare used as a comparison to King Henry. In order to explore the relationship between the private and public, I described the character of Prince Hal in Shakespeare’s previous plays which allowed the audience to feel empathy for King Henry’s actions. Furthermore, I discussed Henry V’s transformation from a private citizen to a public monarch and the challenges he faced when motivating his people to fight the war in France with him. As a result, I confirmed that Shakespeare integrated the private and public within Henry V which revealed that Henry’s actions were for the purpose of his kingship only.
 Norman Rabkin, ‘Rabbits, Ducks, and Henry V: Shakespeare’s Quarterly, 28 (1977) ,279296 (p. 280)
 Ernst Hartwig Kantorowicz, The King’s Two Bodies: A Study in Medieval Political Theology (New Jersey: Princeton University Press, 1957)
Brownell Salomon, ‘Thematic Contraries and theDramaturgy of Henry V’, Shakespeare Quarterly,31 (1980), 343356 (p.345)
 William Shakespeare, King Henry V, ed T.W. Craik (London: Bloomsbury Publishing Plc, 1995) i.i.25-30
 Bernard J. Paris, Character as a subversive force in Shakespeare: The history and Roman Plays (USA: Fairleigh Dickinson University Press, 2002), p.80
 William Shakespeare, The Complete Works of William Shakespeare, (New Lanark: Geddes & Grosset, 2001), i.2.201-221
 Erasmus, The ‘Adages’ of Erumus, ed, Margaret Mann Philips (Cambridge: CUP, 1964), p.349
Nicolo Macheavelli, Extracts from The Prince, (1513) http://www.fordham.edu/halsall/basis/machiavelli-prince.asp [accessed 03 December 2013] p.1
 Guy Debord, Society of the Spectacle (Paris: Editions Buchet-Chastel Libre, 1967), p.3