KING. So shaken as we are, so wan with care, Find we a time for frighted peace to pant And breathe short-winded accents of new broils To be commenc'd in stronds afar remote. No more the thirsty entrance of this soil Shall daub her lips with her own children's blood. No more shall trenching war channel her fields, Nor Bruise her flow'rets with the armed hoofs Of hostile paces. Those opposed eyes Which, like the meteors of a troubled heaven, All of one nature, of one substance bred, Did lately meet in the intestine shock And furious close of civil butchery, Shall now in mutual well-beseeming ranks March all one way and be no more oppos'd Against acquaintance, kindred, and allies. The edge of war, like an ill-sheathed knife, No more shall cut his master. Therefore, friends, As far as to the sepulchre of Christ- Whose soldier now, under whose blessed cross We are impressed and engag'd to fight- Forthwith a power of English shall we levy, Whose arms were moulded in their mother's womb To chase these pagans in those holy fields Over whose acres walk'd those blessed feet Which fourteen hundred years ago were nail'd For our advantage on the bitter cross. But this our purpose now is twelvemonth old, And bootless 'tis to tell you we will go. Therefore we meet not now. Then let me hear Of you, my gentle cousin Westmoreland, What yesternight our Council did decree In forwarding this dear expedience.
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Written between 1596 and 1597, Henry IV Part One represents Shakespeare's increasingly mature talent in staging the history of the early Tudor monarchy. Midway in the cycle of Shakespeare's History Plays, which begin with Richard II and ultimately culminate in his last play, Henry VIII, Henry IV Part One tells the story of the troubled reign of Henry IV following his deposition of Richard II. The historical action revolves around the attempt by Henry Percy (known as Hotspur) to overthrow Henry at the Battle of Shrewsbury. However, over half the play deals with the transformation of Henry's profligate son, Prince Hal (the future King Henry V), from tavern joker to national icon.
The whole play is stolen from its kings and princes by Shakespeare's greatest comic creation, the "fat-kidneyed rascal" Sir John Falstaff, king of his own dominions--the taverns and brothels of London's Eastcheap district. The tavern scenes of the play are some of the most evocative accounts of 16th-century popular London life. They revolve around the comical but ultimately sinister relationship between Falstaff and his young apprentice Hal, who learns to "so offend to make offence a skill" as he learns the slippery ropes of realpolitik and kingship. The play is considered by many to be the liveliest and most profound of Shakespeare's History Plays, and remains one of its most popular examples. --Jerry Brotton
"The Weils's New Cambridge ^1 Henry IV takes a skillful route...making judicious choices at every level, from its nicely gauged textual commentary to its full account of the play's scholarly, critical, and theatrical histories. Clearly written with nonspecialists in mind, it should prove especially exciting for that audience, but there is much for the specialist reader as well." Shakespeare Quarterly
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