Shakespeare’s Merry England, Part 2: The Fatness of Falstaff

Richard II, boy king

Besides being rooted in his nation’s present, Jack Cade’s campaign is also embroiled in its past: his insurrection could never have got under way if he had not claimed descent from the ‘legitimate’ successor to the deposed King Richard II.  The emaciated Cade, then, owes his rise and fall to the same conditions that permit the rise and fall of that ‘gross fat man’ Jack Falstaff: the disorder that followed Richard’s deposition from the throne of England.  But Falstaff’s body is far more intimately involved with the physical condition of his country than Cade’s is.   From the beginning of Richard II, when England succumbs to the social sickness that will plague it throughout the civil wars of the fifteenth century, the body forms the focus of Shakespeare’s Second Tetralogy – the epic series of plays comprising Richard II, Henry IV Parts 1 and 2, and Henry V.  And the mountain of flesh Falstaff, who dominates the two central plays of the series, is living, breathing proof both of England’s diseased condition and of its irrepressible vitality, its lively hope, like that of a pregnant mother, of better times to come.[1]

Falstaff is no commoner: he is a hereditary knight who has fallen on hard times but lives in expectation of rejoining the ranks of the nobility once Hal comes into his inheritance.[2]  But Falstaff’s body has been swollen by the attentions of commoners, especially brewers and barmen; it holds sway in the streets and taverns of the city where commoners throng; and it consumes the cheap luxury commodities that enrich the commoners’ leisure hours.  He links the material preoccupations of the commoners to the airy obsessions of the ruling classes as no-one else does in Shakespeare; and he does so through the miracle of his corporal vastness, which is as much a product of his exuberant language as it is of his physical presence on the stage of English history.

Patrick Stewart as John of Gaunt

In Richard II, a king’s self-indulgent playfulness, his arrogant assumption that his royal powers are absolute and that he may therefore ignore the contracts that bind him to his subjects, unleash a sequence of consequences that are described in metaphors of physical debility.  Richard’s arbitrariness first manifests itself when he banishes two of his nobles in the opening act, with devastating effects on their bodies.  The pair, who are initially in perfect health (Bolingbroke describes himself as ‘lusty, young, and cheerly drawing breath’ (1.3.66)), abruptly find their limbs out of control, bereft of their former agility.  As the other exile, Mowbray, tells the King, by sending him to a foreign land ‘Within my mouth you have engaol’d my tongue, / Doubly portcullis’d with my teeth and lips’ (1.3.166-7), while Bolingbroke compares the severing of their flesh from English soil to the parting of soul from body (1.3.194-7).  Meanwhile Bolingbroke’s father, the dying John of Gaunt whose spirit is literally about to leave his body, accuses the King of damaging his own constitution as well as those of his nobles and his kingdom.  The fashionable monarch ‘limps after’ the trendy customs of Italy (2.1.23), ‘tires’, ‘chokes’ and ‘consumes’ himself with a ‘rash, fierce blaze of riot’ (2.1.33-9), and binds up that ‘teeming womb of royal kings’ England in crushing legal restraints to pay for his own excesses (2.1.51ff.).  John of Gaunt’s body, as emaciated as his name suggests, is for him the emblem of England’s decay, bled dry by the King’s frivolous rapacity (2.1.73-83).  But it also illustrates the accelerated decrepitude that Richard is bringing on himself as he commits his ‘anointed body’ to the care of ‘those physicians that first wounded thee,’ his reckless favourites (2.1.98-9).  And once old Gaunt is dead, Richard’s diseases multiply apace.  His Queen quickly detects ‘Some unborn sorrow ripe in Fortune’s womb’ about to fall on his head instead of the son he has failed to father (2.2.10); and when Bolingbroke reappears on the scene, proclaiming his intention to reclaim the ancestral property Richard stole from him during his exile, the Queen recognizes the ambitious young man as her ‘sorrow’s dismal heir’ (2.2.63) – metaphorically designating him both as a substitute prince of the royal blood and as an embodiment of his kingdom’s future misery.  In the same scene, the Duke of York compares Bolingbroke to an illness invading the nation’s bloodstream in response to the King’s lifestyle: ‘Now comes the sick hour that [Richard’s] surfeit made’ (2.2.84).  From this time forth, Richard with his ‘ruin’d ears’  (3.3.34) and eyes blinded with tears is marked as subject to a more powerful monarch, Death, who occupies the ‘court’ of the King’s living corpse, ‘grinning at his pomp’ with fleshless jaws (3.2.155-70).  Richard begets his own death, in other words, like a parodic heir apparent, a grotesque alternative dynasty to replace the dynasty that he never succeeds in founding.  At the end of his life he is still fathering imaginary, abortive heirs: ‘A generation of still-breeding thoughts’ that plague him in prison after his abdication (5.5.8), content with nothing till they are finally made nothing by Richard’s death.

But for Bolingbroke, too, as Richard’s heir, the prognosis is none too good.  If he is Richard’s and England’s sickness, the time will inevitably come when the disease will grow to a crisis, when ‘foul sin gathering head / Shall break into corruption’, as Richard puts it (5.1.58-9).  Richard predicts that this crisis will be brought about by Bolingbroke’s friend and ally, the Earl of Northumberland: and his prediction is remembered eight years later by the ailing Bolingbroke – now Henry IV of England – in the third act of 2 Henry IV (3.1.76-7).  The two parts of Henry IV chart the progress of England’s infection, and Falstaff is at once its most visible symptom, its most eloquent diagnostician and (perhaps) its comic cure.[3]

Tom Hiddleston as Hal, Simon Russell Beale as Falstaff

Every detail of the environment he inhabits was predicted in Richard II.  Richard’s addiction to laughter forms the model for Hal’s tavern-haunting, as Henry IV points out (‘For all the world / As thou art to this hour was Richard then’ (1 Henry IV 3.2.93-4)), and Hal’s drinking-bouts with Jack recall Richard’s rowdy exploits with his boon companions Bushy, Bagot and Green.  Bolingbroke’s rise to power in Richard II, sustained by the commoners who love him, is described by Richard’s Queen as a process whereby ‘triumph is become an alehouse guest’ (5.1.15), and spurs Hal to nurture a still greater intimacy with the residents of alehouses.  Falstaff’s commentary on affairs of state, too, has a precedent in Richard II, in the commentary of an egalitarian gardener on the state of England in Act Three (3.4.24ff.).  More unsettlingly, the brittle and temporary nature of the friendship between Falstaff and Hal – a brittleness that is repeatedly emphasized by the Prince – resembles the superficial friendships cultivated by Bolingbroke in his rise to power.  ‘I count myself in nothing else so happy,’ Bolingbroke tells Northumberland as he returns from exile, ‘As in a soul rememb’ring my good friends’ (Richard II, 2.3.46-7); but it is the breakdown of friendship between Bolingbroke and Northumberland that precipitates rebellion when Bolingbroke is King.  In his relationship with Falstaff Hal comically recreates the history of the monarchs who preceded him, scrutinizing the conditions that led first Richard and then Henry to lose control over the course of events, as they presented their subjects with every opportunity to reinvent them at will, to trespass on the royal prerogative of self-definition.  Through Falstaff Hal acquires the art both of reinventing himself and of evading definition by others: a comic skill, but the art of the wit rather than the fool, of the acknowledged master of delightful improvization rather than the helpless butt of collective laughter.  With Falstaff, too, Hal learns the art of controlling others – even the most uncontrollable people of all, the clever clowns.  Or at least, so Hal presumes; how far he succeeds has always been a matter of debate.

The splitting of the reign of Henry IV into two plays corresponds to the splitting of his kingdom into factions – another symptom of the disease of state contracted first by Richard and then by Henry.  It structurally reinforces, too, the astonishing multiplication of would-be kings and heirs that emerge as a direct result of Henry’s illegal seizure of power from the legitimate monarch.  Both plays are full, not so much of pretenders to the throne as of competing versions of the King himself and the Prince his son.  The First Part opens with Henry wishing it could be proved that his son Hal had been substituted at birth for the young war-hero Hotspur, who seems so much more princely in his conduct than the prince (1.1.77-90).  Later, Henry tells Hal how his younger brother Prince John has acted as Hal’s substitute in the Privy Council (3.2.32-3); and this is what stings Hal to predict the moment when he will substitute himself for his rival Hotspur, making him ‘exchange / His glorious deeds for my indignities’ in a deadly encounter on the battlefield (3.2.145-6).  Hal, then, is regularly ‘performed’ both by his subjects and in his father’s imagination; and Henry IV finds himself performed yet more often by those beneath him.  The rebel lords see him as their creation (he enjoys ‘that same greatness… which our own hands / Have holp to make so portly’ (1.3.12-13)), and take it on themselves to read his thoughts, assuming that he ‘studies day and night’ to pay his debt to them with their deaths (1.3.182) – an assumption that is directly responsible for their insurrection.  In Act Two, Hal and Falstaff take it in turns to play the King in an impromptu comedy performed in an Eastcheap tavern (2.4.368ff.).  In Act Four it is Hotspur’s turn to be christened by Douglas ‘the king of honour’ (4.1.10) (Hal has earlier dubbed himself ‘the king of courtesy’ (2.4.10)).  And in the battle of Shrewsbury there are dozens of men playing the King, ‘marching in his coats’ as decoys for the rebels’ blades (5.3.25).  As a result, the battlefield seems to be comically thronged with Henries, a host of visored monarchs whose outsides give no clue to their inward identity, so that the frustrated Douglas finds he must ‘murder’ all the royal wardrobe ‘piece by piece’ before he can reach the King (5.3.27).  This giddying multiplication of Henries slows down in 2 Henry IV, but even here Falstaff and the Lord Chief Justice contend with Henry for the position of father to the Prince of Wales.  Henry IV, then, is not two parts but many, as if his expert performance of the previously restricted role of king has inspired all ambitious men to think they can emulate his acting skills with impunity.  As with Macbeth, the leap of imagination he took in usurping the monarchy unleashes the power of his subjects’ imaginations, so that nothing is unthinkable – no act of treason, courage or ambition – for as long as he retains the throne of England.

Jeremy Irons as Henry IV

But the two parts of Henry IV also indicate a split within Henry himself, a deadly separation of his vital components that is one physical consequence of his failure to commit himself, in Richard II, on the subject of whether he was or was not a legitimate contender for the crown.  According to early modern medical theory, derived from the teachings of the Roman physician Galen, the human body is composed of four elements or humours, the microcosmic equivalents of the four elements that make up the world: earth, air, fire and water.[4]  A healthy body has its four humours in perfect harmony, holding each other in a precarious equilibrium, whereas in an ailing person one or more of these humours dominate, reducing the others to a secondary role and enfeebling the whole constitution as a result.  The two parts of Henry IV suggest through metaphor that the humours in the body of the English nation have been radically destabilized.  In the first part, the elements of fire and air hold sway; the emphasis is on the self-destructive energies of youth, on the dangerous love of sheer speed that is one of youth’s characteristics, and on the violent rivalries between young men that had such damaging effects in Romeo’s Verona.  In the second part, earth and water prevail over fire and air, old age supplants youth as the presiding genius of the time, a chill settles on the language of the contesting English factions, and everyone seems to stir themselves reluctantly into sluggish action, forcing their bodies to move – whether in rebellion or counter-rebellion – with pain and difficulty, and desisting from motion with obvious relief.  In Part One, the heat of the times engenders warm friendships between men and loving exchanges between husbands and wives.  Hal’s affectionate farewell to Falstaff when he thinks him dead is the high point of their relationship (5.4.101-9), and the exchanges between Harry Hotspur and Kate his wife evoke an atmosphere of marital closeness, strong desires and cheerful bickering that endears them to the play’s spectators.  In the second part, relationships are at best cooler, at worst shattered by rejection and betrayal.   Family members are distant from one another: Hotspur’s wife Kate, who has survived her husband’s death at the end of Part One, urges her father-in-law Northumberland to break his word to his fellow rebels for no better reason than that he has already broken his word to Hotspur his son, the man she loved (2.3.9ff.); while the mood of the play is incapsulated in Henry IV’s despairing cry to his own sons – from whose number at this moment Hal is conspicuously absent – ‘O me! Come near me, now I am much ill’ (4.3.111).  The contrast between the two parts may best be summarized by the climactic encounters between the rebels and the forces of the crown in each play.  The first culminates in a duel between two young men, fuelled by hot words and ending with the gushing of youthful blood.  The second culminates in an act of treachery, where a rebel force headed by old men are tricked into disbanding with a promise of mercy, then massacred by the army of the cold-blooded Prince John.  Heat and cold, youth and old age, and the elements associated with these conditions, seem to have undergone an agonizing divorce in Henry’s reign, and the instability of a state has never been more brilliantly realized in artistic form than it is in this astonishing diptych.

Orson Welles as Falstaff

Falstaff provides a satirical running commentary on the divorce between the humours and their associated elements that afflicts the plays.  In Part One he absurdly masquerades as a man of Hal’s and Hotspur’s generation, bellowing ‘young men must live’ as he robs the travellers at Gadshill (2.2.90) and melting his fat in streams of perspiration as he flees from the scene of the crime (2.2.107-8), in grotesque imitation of the ‘beads of sweat’ shed by the sleeping Hotspur as he dreams of battles to come (2.3.56-9).  The tavern scenes over which Falstaff presides are lit by fires – the ‘everlasting bonfire-light’ of his retainer Bardolph’s inflamed nose (3.3.41), and the infernal conflagrations conjured up by repeated references to devils and hell (Jack himself is ‘a devil… in the likeness of an old fat man’ (2.4.441-2)).  In the second part the fat knight’s pretensions to youth are exploded early on by the Lord Chief Justice, and for the rest of the action Falstaff is acutely conscious of his age, reminded of it repeatedly by the nostalgic ramblings of Justice Shallow and the tendency of the whore Doll and others to ‘speak like a death’s head’ by bidding him ‘remember mine end’ (2.4.34-5).  If Falstaff’s constitution is never quite cold in the Second Part – unlike that of other old men, such as Northumberland, the Archbishop of York, and the King  – it is because his blood has been artificially heated by alcohol, as he explains in his famous speech on the inflammatory qualities of a ‘good sherris-sack’ (4.4.85-124).  Nevertheless, this speech ties in with the many allusions to water and other chilling liquids that fill the play; and a look at these ties will help to show how the Falstavian comic ‘subplot’ operates with relation to the political ‘main plots’ in the two Parts.

In Part Two, water metaphors dominate the language of the rebels, who associate their insurrection with one of the sudden deluges that brought periodic devastation to the English countryside.  In the first scene, Northumberland declares that the death of his son Hotspur has unleashed a flood of grief in him that will overwhelm the nation.  ‘Now let not Nature’s hand / Keep the wild flood confin’d’, he cries (1.1.153-4), and later the Archbishop of York takes up the theme, telling the King’s representative that he and his colleagues were ‘enforc’d from our most quiet… / By the rough torrent of occasion’ (4.1.71-2), and promising that if their demands are met ‘We come within our aweful banks again’ (4.1.176).[5]  Henry IV’s followers, too, associate water with insurrection and impending anarchy.  As the king lies dying his younger sons speak of the omens that announce his imminent death, and the chaos that will follow once his wild son Hal assumes the crown: ‘The river hath thrice flow’d, no ebb between’, says Clarence, ‘And the old folk… Say it did so a little time before / That our great-grandsire Edward sick’d and died’ (4.4.125-8).  Hal responds, when he inherits the throne, by proclaiming the return of moderation to the ‘tide’ of his blood:

          The tide of blood in me
Hath proudly flow’d in vanity till now.
Now doth it turn, and ebb back to the sea,
Where it shall mingle with the state of floods,
And flow henceforth in formal majesty. (5.2.129-33)

Falstaff’s speech on sack, then – the fortified Spanish wine that stirs up the forces of ‘this little kingdom, man’ (4.3.108), and has made Hal ‘very hot and valiant’ (4.3.121) – contributes to the many references to liquid that distinguish this play from its fire-filled predecessor.  And although the liquid Falstaff mentions is a fiery one, counteracting with its warming properties the ‘cold blood’ he says the Prince inherited from his father (4.3.117), its effects are only temporary, and its after-effects as cooling as those of any other inundation.  We have good reason to be aware of this when Falstaff delivers his eulogy, because in the previous scene we have seen Hal’s brother Prince John drinking with the rebels in token of the settlement reached between them and the King; and this loving cup turns out to be a poisoned one.  ‘Let’s drink together friendly and embrace,’ Prince John proposes to the gullible insurgents, ‘That all… eyes may bear those tokens home / Of our restored love and amity’ (4.2.63-5); but as soon as the drink has been taken and the rebel army disbanded he has his new ‘friends’ arrested and carted off to ‘Treason’s true bed’ (4.2.123) – the executioner’s block – like drunks carried home after a night of over-indulgence.  Drink makes men sick, as Falstaff himself informs us at the beginning of the play when he complains of the gout it has given him (1.3.244-5).  And Falstaff’s celebration of Hal’s drink-induced warmth, too, turns cold when Hal freezes him out in the final act, rejecting him as irrelevant to his new kingly role.  The old man’s sickness and death, so touchingly reported in Henry V, follow on naturally from the fact that Hal no longer needs either him or sack – or indeed ‘small beer’, the poor man’s tipple that Hal recalls with fondness early in Part Two (2.2.5-11) – to counteract the natural coldness of his dead father.

Carlos Àlvarez in Verdi’s Falstaff

If Falstaff’s encomium of sack meshes with the metaphorical fabric of Part Two, his equally celebrated speech or ‘catechism’ on honour occupies a similar place in the figurative design of Part One (5.1.127-41).  Honour is the preferred currency of the hot-blooded aristocrats who lead the rebellion in this part, and as Falstaff suggests, it is entirely constructed from air.  At the beginning of the play Hotspur declares his intention of lifting his favoured claimant to the throne, Lord Mortimer, ‘As high in the air as this unthankful King’ (1.3.134); and the phrase makes insurrection sound like a kind of trapeze artistry, a dangerous and futile exercise in acrobatics.  When he later boasts of the ease with which he might ‘pluck bright honour from the pale-fac’d moon’ (1.3.200) his uncle Worcester notes the emptiness of his rhetoric: ‘He apprehends a world of figures here, / But not the form of what he should attend’ (1.3.207-8).  His speeches are glowing castles in the air, constructed and dismantled at a moment’s notice.  The anonymous letter he receives warning him of the ‘lightness’ of his plot (2.3.12) triggers a lengthy speech from Hotspur dismissing the writer’s objections, which ends by blowing away the young man’s own anxieties in a trice and rendering itself superfluous: ‘Hang him, let him tell the King, we are prepared’ (2.3.33-4).  Similarly, his lengthy speech detailing the rebels’ grievances in Act Four is retracted as soon as uttered: when Blunt asks, ‘Shall I return this answer to the King?’ the young man replies, ‘Not so, Sir Walter.  We’ll withdraw awhile’ (4.3.106-7).  Hotspur’s nightmares, which so worry his wife, are insubstantial visions, and made more so by Hotspur’s airy dismissal of Lady Percy’s worries.  And the rebel is equally quick to dismiss his co-conspirator Glendower’s claims to supernatural powers as so much wind.  The portents that occurred at the Welshman’s birth were for Hotspur merely a ‘kind of colic’ suffered by the earth (3.1.26), while Glendower himself is no more than a windbag: ‘I had rather live / With cheese and garlic, in a windmill, far, / Than feed on cates and have him talk to me / In any summer house in Christendom’ (3.1.155-8).[6]   The insubstantial airiness of Hotspur and his confederates has been well established, then, by the time Falstaff composes his catechism on honour, and the speech is the pin that finally bursts the rebels’ balloon.  The word honour, he says – the groundwork of their action – is nothing but a sign without a referent, an empty cipher: ‘What is honour?  A word.  What is in that word honour?  What is that honour?  Air.  A trim reckoning!’ (5.1.133-5).  The last phrase sums up the fat knight’s attitude: honour will not pay any bills (reckonings), and its thinness makes it Falstaff’s meagre opposite, reduced to non-existence by comparison with his massive girth.  Its lightness betrays the lightness of the insurgents, who aspire or mount upwards to power like the fire and wind that dominate the play’s imagery, and who crack jokes – something Hotspur does in the midst of his most serious business as enthusiastically as Hal or Jack – while leading their followers to a futile and unnecessary death.  If Falstaff is disgraceful in his willingness to lie, bluster, con and steal his way through life, he is of infinitely greater substance or weight – as Cade was, despite his thinness – than the aristocratic men of honour he mocks, who (as Henry IV points out) justify their rebellion with washed out ‘water-colours’ (5.1.80) instead of sound political argument.

But the importance of Falstaff’s role as commentator stems not so much from his sensitivity to the governing metaphors of his time – after all, every character shares this sensitivity to some degree – as from his mastery of the arts of comedy.  He is the greatest improviser in Shakespeare’s work, the greatest springer of outrageous verbal surprises and inventor of fire-new phrases; and these abilities come into their own in the age of Henry IV, when uneasy laughter reigns supreme in England.  This is Shakespeare’s astounding contribution to the legend of Henry V as purveyed in the Famous Victories.  Where the earlier play gives young Prince Harry a virtual monopoly on laughter – a monopoly that is reinforced, not undermined by the admiring mimicry of the clown Derrick – in the Second Tetralogy nearly every major political player has his own peculiar brand of humour, and Falstaff has unrivalled access to them all.  It is this all-embracing comic vision to which Hal gains access by seeking Falstaff’s company; and in acquiring it he gains directorial control over the spectacular theatrical performance that is kingship, outmanoeuvring all his rivals with his carefully cultivated wit.[7]

Joe Armstrong as Hotspur

For Hal’s father Henry IV, the dominance of the comic in England began in the reign of Richard, the ‘skipping King’ who ‘ambled up and down, / With shallow jesters, and rash bavin wits’ until his subjects got sick of his constant playing and got rid of him (1 Henry IV, 3.2.60-1).  But his death did not rid the land of his jesting spirit: Hotspur is one of its inheritors, and the most noteworthy thing about his rebellion, like that of Jack Cade, is how funny it is – and how relentlessly its humour directs itself against the King.  On his first appearance, Hotspur transforms the King’s messenger into a contemptible fop, a ‘popinjay’ whose misplaced arrogance clearly reflects on the master he serves: ‘he made me mad / To see him shine so brisk, and smell so sweet, / And talk so like a waiting-gentlewoman / Of guns, and drums, and wounds, God save the mark!’ (1.3.49-55).[8]  By implication, the King who sent him is equally alien to military action, equally willing to belittle the military achievements of his victorious generals – and equally funny.  The morose Henry IV seems an unlikely candidate for comic status, but Hotspur assures his fellow conspirators that he is a ‘king of smiles’ (1.3.243) whose ‘jeering and disdain’d contempt’ has ‘fool’d, discarded’ and shaken them off (1.3.176-81).  And in saying so Hotspur lays the grounds for treachery and rebellion.  Reducing the King to the stature of a clown makes his overthrow seem easy, a matter of training a starling to shriek ‘Mortimer’ constantly in the monarch’s ear (1.3.221-3), of finding a ‘noble plot’ (1.3.273) – it hardly seems to matter which one – and of hurling yourself bodily into the bloody ‘sport’ of the battlefield (1.3.296).  The Hotspur rebellion is an elaborate joke – a joke that turns sour at the end of the play – and this is what Falstaff’s commentary on it graphically demonstrates.

At each stage of the play the scenes dominated by Falstaff parody the actions of the rebels.  Falstaff’s absurd self-inflation – his claims to heroism at Gadshill and the battle of Shrewsbury, his accusation of Mistress Quickly for stealing valuables he never possessed, even his baseless insults of the Prince in Part Two – exposes the self-inflation of the rebels, whose claims to honour and condemnation of Henry rest on an equally insubstantial basis.  Falstaff is the master of the ‘incomprehensible lie’ or preposterous fib (1.2.181-2), which is, like his body, ‘gross as a mountain, open, palpable’ (2.5.222), but which he can defend or disown with the agility of a master fencer; and the palpable grossness of his lies alerts us to the equal grossness of the rebels’ fabrication of their case against their monarch.  Besides these general resemblances, there are specific echoes of the rebels’ plot in Falstaff’s, some of which we have already noted.  In the second scene, Falstaff asks Hal to change the designation of highway robbers when he is king; instead of thieves, he says, they should be rechristened ‘Diana’s foresters, gentlemen of the shade, minions of the moon’ (1.2.25-6); and his efforts to mythologize their lawlessness are no more absurd than the rebels’ efforts to dignify their cause with resonant titles.  Later in the same scene, Falstaff looks forward to seeing the ‘true prince… prove a false thief’ when Hal takes part in the robbery at Gadshill (1.2.151-2); and in doing so he anticipates the following scene, where the rebels effectively accuse Henry of stealing the crown like a common criminal (1.3.138-57).  Later still, Hal and Poins betray Falstaff after the robbery at Gadshill, robbing him of his ill-gotten booty in the interest of producing ‘laughter for a month, and a good jest for ever’ (2.2.94-5).  Immediately afterwards Hotspur enters reading a letter from an unnamed friend, which tells him that ‘The purpose you undertake is dangerous, the friends you have named uncertain, the time itself unsorted, and your whole plot too light, for the counterpoise of so great an opposition’ (2.4.9-12).  Hal’s plot against Falstaff, designed to deflate his monstrous pretensions, is no lighter than Hotspur’s light plot against his monarch, which aims to immortalize the names of its perpetrators through blood.  And Hal’s betrayal of Falstaff – in Part One, at least – is a harmless one, a source of perpetual merriment to be commemorated in successive generations of jest-books and farces; where Hotspur’s betrayal of his former friend the King, and his later betrayal by his own allies (Glendower, Mortimer and his own father Northumberland fail to join him at the decisive battle of Shrewsbury) have dreadful consequences for his followers as well as for himself.  Hotspur’s lightness, then, is exposed by Falstaff and Hal as a deplorable lapse in comic taste.  And the nastiness of this lapse becomes more obvious as the play goes on: when Hal describes Hotspur telling his wife that killing ‘six or seven dozen of Scots at breakfast’ is ‘a trifle’ (2.4.101-7), for instance, or when Falstaff leads his company of ‘ragamuffins’ to be slaughtered on Shrewsbury field (5.3.35-8).  By Part Two, insurrection is no longer comic – or if it is, the humour it produces is of the grimmest kind, like the horrible joke played on the insurgents by Prince John, who tells them as he sends them to the block, ‘Most shallowly did you these arms commence, / Fondly brought here, and foolishly sent hence’ (4.2.118-9).  At this stage in the Tetralogy, nobody is inclined to laugh at the disastrous shallowness and folly of the ruling classes.

Prince Hal at the Boar’s Head, artist unknown

Like Hotspur’s humour, Hal’s is closely connected to betrayal.  Shakespeare’s contemporary John Donne saw all humour as a form of betrayal: a betrayal of the expectations of its audience, who are surprised or shocked into laughter by its spontaneous reversals of their settled assumptions about what is to come.  Of all humorists in the Second Tetralogy it is Hal who is most concerned to overthrow the expectations of his audience.  His carefully-planned career constitutes an elaborate prank whose punch-line he sets up at the beginning of Part One: in the end, he says, he will ‘falsify men’s hopes’ with his abrupt reformation (1.2.206) and display himself as he is, like the sun breaking through ‘base contagious clouds’ in order to intensify the glory of his half-forgotten form (1.2.193).  That Hal sees this as a joke is confirmed by his description of this future moment as a ‘playing holiday’ (1.2.199) – a break from, rather than a continuation of, the apparent holiday he has enjoyed in Falstaff’s company.  As many commentators have noted, there is something cruel about this well-laid comic plot; and indeed Hal’s laughter at Falstaff’s expense often smacks of cruelty, even in the genial Part One.  He is always insulting, needling or threatening him – most famously when Falstaff tells him that to banish ‘plump Jack’ would be to banish all the world, and Hal replies, ‘I do, I will’ (2.4.473-4).  In response Falstaff is always threatening half-seriously to break off relations between them, like a lover conscious that his relationship is hurtful to his own health and may eventually end his life.  Hal’s father fears that his relationship with Falstaff will do him moral harm, and this conventional view – that the young are always corrupted by the old, never vice versa – is reiterated by Falstaff himself when he plays the role of the King in an impromptu play: ‘pitch (as ancient writers do report) doth defile[.]  So doth the company thou keepest’ (2.4.408-10).  But the Prince proves wholly impervious to Falstaff’s gracelessness, and it is Falstaff who is always the loser by their connection.  ‘Thou hast done much harm upon me, Hal,’ he says in their very first scene together, ‘God forgive thee for it’ (1.2.90-1); and the element of pain in their relationship is later summed up in a phrase of Hal’s: ‘Were’t not for laughing, I should pity him’ (2.2.109).  The power is always on Hal’s side, and it is in teaching him how to take advantage of this power that Falstaff proves most useful to the heir apparent.

Hal’s humour, then, is a calculated matter, and as such it is the obverse of Falstaff’s.  The Prince lays down careful comic plots: the robbery of Falstaff at Gadshill, the plan to expose the fat knight’s hypocrisy by eavesdropping on him disguised as a tapster in Part Two (2.2.163-70) – whereas Falstaff specializes in fashioning spontaneous responses to other people’s machinations.  Jack’s only long-term plan is to get power and influence when Hal inherits the crown, and from the beginning it seems inevitable that Hal will overthrow this plan with a counter-plot of his own, prepared and executed with almost bureaucratic precision.  The Prince displays the same cold, bureaucratic sense of humour when he exposes a conspiracy against him in Henry V by presenting the traitors – his former friends – with scrolls detailing their treason at the point when they least expect it (2.2.13ff.).  In a treacherous world, Hal is the master traitor; though oddly enough, his treason consists in keeping his word rather than breaking it, since honesty is the last thing anyone expects from a ruling class riddled with oath-breakers.

The contrast between Hal’s and Falstaff’s comic styles is at its sharpest in their differing attitudes to time and money.  The rebellion in Part One is sparked off by the rebels’ awareness that the King is irrecoverably indebted to them for supporting him in his rise to power: ‘The King,’ says Worcester, ‘will always think him in our debt, / And think we think ourselves unsatisfy’d, / Till he hath found a time to pay us home’ (1.3.280-2), and the insurgents therefore think themselves obliged to deny him this valuable time, to forestall his attack on them with a speedy attack of their own.  Hal’s aim, then, is to avoid debts as far as he can, to put others in his debt as much as possible, and to pay off any debts he owes instantly, before they can accumulate interest.  At Shrewsbury he tells the rebel Douglas that ‘It is the Prince of Wales that threatens thee, / Who never promiseth but he means to pay’ (5.4.41-2); and sure enough, Hal is always dispensing funds to defray expenses, from the bills Falstaff owes at the Boar’s Head to the money stolen at Gadshill.  This is one source of his power over Falstaff; and it is also a source of his power over Hotspur, who is in Hal’s debt for the advantages he gains by occupying Hal’s rightful position as apparent heir to the kingdom.  The Prince describes Hotspur as his ‘factor’ or financial manager, employed to ‘engross up glorious deeds on my behalf’ until such time as Hal ‘will call him to… account’, when Hotspur will ‘render every glory up, / Yea, even the slightest worship of his time, / Or I will tear the reckoning from his heart’ (3.2.147-52).  For Hal, then, time is money, and even his seeming period of idleness with Falstaff is productive, since his investment in Hotspur accumulates interest in the Prince’s absence.  He has an instinctive grasp of the principles of emergent capitalism that marks him out as a member of a new generation, as Hotspur, with his adherence to a redundant code of chivalry, or Henry, with his abiding conviction of the inherent sanctity of kingship, are not.

Orson Welles as Falstaff, Keith Baxter as Hal

Falstaff, meanwhile, is an inveterate evader of taxes, an accumulator of debts he never means to repay, a shameless sponger.  Time for him is to be stretched and distorted at will, beguiled with amateur dramatics, lost in an alcoholic haze, falsified as he falsifies his age.  ‘What a devil hast thou to do with the time of the day?’ Hal asks him on his first appearance (1.2.6), and in doing so introduces us to a world that is governed by different priorities than those of Henry IV, who in the previous scene was urgently seeking ‘a time for frighted peace to pant’ (1.1.2), but whose efforts to free himself from the tyranny of time are repeatedly frustrated in the course of the two central plays of the Tetralogy.  Falstaff and his tavern, then, are a place of retreat for Hal, an escape from the pressures of the official calendar and a breathing-space in which to draw up a calendar of his own; and both these functions vindicate comedy from the common Elizabethan charge of being a waste of time – the charge Richard II memorably invoked when he said, in the scene of his death, ‘I wasted time, and now doth time waste me’ (5.5.49).  The tavern is also a location in which the nature of capital can be contemplated at leisure.  For Falstaff, money like time is subject to the imagination: insubstantial, governed by no fixed rules, and therefore incapable of getting any kind of hold on him – just as he is unable to get any hold on it.  The credit with which he pays for his drink – credit he derives from his friendship with Hal, whose financial prospects are theoretically boundless – is wholly imaginary, like the money he claims was stolen from him as he slept.  He obtains money by imaginative improvisation: taking advantage of his command of a company in the civil wars to garner cash from prosperous men who are too scared to fulfil their feudal duty of fighting for the crown (4.2.11-47); or collecting from Hotspur the debt he owes to Hal (it is for his non-existent part in killing Hotspur in Part One that he climbs to social pre-eminence in Part Two).  Falstaff matches Hal’s ability to collect debts from other people with a seemingly boundless capacity for escaping ‘shot-free’ (1 Henry IV, 5.3.30) – a skill that helps him to avoid injury from gun-shots in battle as easily as he avoids paying bills in peacetime.  This capacity for transferring one’s obligations, debts and guilt to other people is another thing Hal will find invaluable when he inherits the kingdom, at which point Hal begins to exert all his imaginative faculties, in Falstavian fashion, to offload the obligations, debts and guilt he inherited with it.  But the price Hal pays for acquiring Falstaff’s skills of comic evasion is his casting-off of Falstaff; a deed for which audiences have found it hard to forgive him, despite the seeming success of his efforts to obtain forgiveness for his deeds from heaven.

Adolf Schrödter, Falstaff and Page

NOTES

[1] Valerie Traub compares Falstaff’s body to that of a pregnant woman in Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama (London, 1992), pp. 56-61.

[2] For Falstaff’s class see Paul N. Siegel, The Gathering Storm: Shakespeare’s English and Roman History Plays: a Marxist Analysis (London, 1992), ch. 6.

[3] For the health-giving properties of laughter, attested to by Hippocrates, as well as its ill effects on the body, see Laurent Joubert, Treatise on Laughter, especially Book 3, chs. 14, 15 and 16, pp. 126-33.  The English physician Andrew Borde, who studied like Joubert at the University of Montpellier, thought that mirth could be both therapeutic and dangerous: ‘there be many… myrthes and consolacions, some being good and laudable, and some vytuperable… myrth is when a man lyveth out of det, and may have meate and drinke and cloth, although he have never a peny in his purse; but nowe a dayes, he is merye that hath golde and sylver,, and ryches with lechery; and all is not worth a blewe poynte.’  Elsewhere Boorde opines: ‘A mery herte and mynde, the whiche is in reste and quyetnes,, without adversyte and to moche worldly busyness, causeth a man to lyve longe, and to loke yongly, although he be agyd.  Care and sorowe bryngeth in age and deth, wherefore let every man be mery; and yf he can not, let hym resorte to mery company to breke of his perplexatyves.’  Andrew Boorde’s Introduction and Dyetary, ed. F. J. Furnivall, Early English Text Society (London, 1870), pp. 88 and 300.

[4] For an account of the humours see F. David Hoeniger, Medicine and Shakespeare in the English Renaissance  (Newark, London and Toronto, 1992), ch.5, esp. pp. 102-7.  The chapter culminates in an analysis of Falstaff’s defence of sherris-sack.  The centrality of the humours to the Second Tetralogy is hinted at in the title of the 1600 quarto of 2 Henry IV: The Second Part of Henry the Fourth, Continuing to his Death, and Coronation of Henry the Fifth.  With the Humours of Sir John Falstaff, and Swaggering Pistol.  For metaphors of the body in early modern England see Leonard Barkan, Nature’s Work of Art: The Human Body as Image of the World (New Haven, 1975).

[5] Northumberland uses the same metaphor when he decides to betray his fellow rebels: ‘’Tis with my mind / As with the tide swell’d up unto his height, / That makes a still-stand, running neither way’ (2 Henry IV, 2.3.62-4).

[6] Before the battle of Shrewsbury, too, Hal notes that ‘The southern wind / Doth play the trumpet to his purposes, / And by his hollow whistling in the leaves / Foretells a tempest’ (1 Henry IV, 5.1.3-6) – a bad omen for the rebels who have been associated with air and wind.

[7] Leonard Tennenhouse gives an account of what Hal learns from Falstaff in ‘Strategies of State and Political Plays: A Midsummer Night’s Dream, Henry IV, Henry V, Henry VIII’, Political Shakespeare: Essays in Cultural Materialism, ed. Jonathan Dollimore and Alan Sinfield, second edition (Manchester, 1994), pp. 109-28.  For another perspective see Graham Holderness, Shakespeare Recycled: The Making of Historical Drama (New York etc., 1992), ch. 6.

[8] In this speech, too, air dominates the elements: Hotspur is ‘breathless’ from his  exertions during the battle, and the ‘perfumed’ courtier is offended by the smell of a corpse that comes ‘Betwixt the wind and his nobility’ (I Henry IV, 1.3.31-44).

 

 

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