Henry IV Parts One and Two (No Fear Shakespeare): Volume 17

by William Shakespeare and Hubert William Ord

Book Overview

Read Shakespeare's plays in all their brilliance--and understand what every word means

Don't be intimidated by Shakespeare These popular guides make the Bard's plays accessible and enjoyable.

Each No Fear guide contains: The complete text of the original playA line-by-line translation that puts Shakespeare into everyday languageA complete list of characters with descriptionsPlenty of helpful commentary

• Format: Paperback
• Language: English
• ISBN: 141140436X
• ISBN13: 9781411404366
• Release Date: September 2005
• Publisher: Sparknotes
• Length: 552 Pages
• Weight: 1.20 lbs.
• Dimensions: 1.4" x 5.3" x 7.4"
• Age Range: 12 to 15 years
• Grade Range: Grades 7 to 10

Customer Reviews

Humbling

Compared to Part I, Part II maintains a better balance between the court and Eastcheap. Royalty is allowed moments of glory: Henry IV in his berating of Hal and Hal in his response and in his speech banishing Falstaff. Hal is given to some complex emotions when he picks up the crown lying next to his dying father. Northumberland surprises with a sudden spark, punning "Hotspur, Coldspur?" at the news that his son may be dead. Falstaff continues to be a magician creating reality from words. (This may be the main reason he is so fun to be around). Enigmatically, this corrupt liar, coward and a thief through and through manages to remain appealing. By contrast, our opinion of John of Lancaster is immediately sunk with the singular unseemly scene in which he cons the rebels. Of course, Falstaff is not as much a black magician as Richard III, who in a course of one speech, convinced Lady Ann, whose husband he killed, to be romantically interested in him. Falstaff's magic is not as sinister, but in it he is similarly effective, as when in a course of a short conversation, he convinces the Hostess, who is asking him to repay what he owes her, to lend him more. His prose does not make him as elegantly spoken as some better versed Shakespearean characters, but it is nicely of a piece with his remarkable internal freedom. Falstaff is fascinating: deeply flawed, he is appealing well beyond his deserves. Maybe by admiring Falstaff, we learn to be a bit more forgiving of human imperfections in us and others...

Folger Library - the best

This is about Folger Shakespeare Library. I read Hamlet, Tempest and Henry IV Part I and Part II in their editions, as well as Antony and Cleopatra, and Merchant of Venice. Folger Library editions provide almost line by line commentary, as well as longer commentaries to certain more obscure places in the text; also there are articles about Shakespeare's language and historical context for each play. I read "The Merchant of Venice" in "The Annotated Shakespeare" edition as well, so I can compare: Folger Library editions provide much more commentaries and other material, including even some pictures from medieval and Renaissance books which are relevant to the text of a particular play.

The single editions have much more background

This is the play where Henry IV squashes the Percy rebellion but himself becomes ill and dies. So, Price Hal becomes King Henry V and this leads to the next play of that name.The wonderful Falstaff is also on glorious display. This is also the play with the famous tavern scene (Act II, Scene IV) that can be read endlessly with new enjoyment.Everyone has his or her own take on Falstaff and his treatment at the hands of Henry V, but I dislike it even though I understand it. Prince Hal and his transformation into Henry V is not someone I admire a lot. Nor is Falstaff's manner of living, but his wit is so sharp and his intelligence so vast that it is easy to still delight in him.But, you certainly don't need me to tell you anything about Shakespeare. Like millions of other folks, I am in love with the writing. However, as all of us who read Shakespeare know, it isn't a simple issue. Most of us need help in understanding the text. There are many plays on words, many words no longer current in English and, besides, Shakespeare's vocabulary is richer than almost everyone else's who ever lived. There is also the issue of historical context, and the variations of text since the plays were never published in their author's lifetime.For those of us who need that help and want to dig a bit deeper, the Arden editions of Shakespeare are just wonderful. -Before the text of the play we get very readable and helpful essays discussing the sources and themes and other important issues about the play. -In the text of the play we get as authoritative a text as exists with helpful notes about textual variations in other sources. We also get many many footnotes explaining unusual words or word plays or thematic points that would likely not be known by us reading in the 21st century.-After the text we get excerpts from likely source materials used by Shakespeare and more background material to help us enrich our understanding and enjoyment of the play.However, these extras are only available in the individual editions. If you buy the "Complete Plays" you get text and notes, but not the before and after material which add so much! Plus, the individual editions are easier to read from and handier to carry around.

"Henry IV, Part 1":

When rating Shakespeare, I am comparing it to other Shakespeare. Otherwise, the consistent "5 stars" wouldn't tell you much. So when I rate this book five stars, I'm saying it's one of the best of the best.As a matter of fact, it isn't unusual for Shakespeare's "histories" to be more interesting to the modern reader than either his comedies or his tragedies; they fit the modern style that doesn't insist that comedies must have everything work out well in the end, or that tragedies must be deadly serious with everyone dying at the end, as was the convention in Shakespeare's time. Thus, this book has a serious plot, real drama, and blood and destruction, yet still has many extremely funny scenes. And as Shakespearean plays go, it's a fairly easy read, although in places the footnotes are still neccessary. The only caveat I will make is that one needs to remember not to consider Shakespeare's histories particularly historical; they have about as much historical accuracy as the Disney version of Pocahontas. Treat them as excellent stories based (very) loosely on history, and you'll do fine.It's a real shame that the language has changed so much since Shakespeare was writing that his plays are no longer accessable to the masses, because that's who Shakespeare was writing for. Granted, there is enough seriousness to satisfy the intelligensia, but there is generally enough action and bawdy humor to satisfy any connouiseur of modern hit movies, if only they could understand it, and this book is no exception. Unfortunately, once you change the language, it's no longer Shakespeare, until and unless the rewriter can be found who has as much genius for the modern language as Shakespeare had for his own. I don't think I'll hold my breath waiting.

Henry IV, Part I: Civil and Domestic Drama

Shakespeare's "Henry IV Part I" shows King Henry IV dealing with complex problems: England is in the midst of civil unrest, as the Percy family, angered by their treatment after unwittingly helping Henry IV ascend to the throne, threatens to depose the monarch. At home, Henry IV is despairing over the development of his son, Henry, Prince of Wales, heir to the throne. Prince Henry consorts with thieves, rogues, and scoundrels - his scandalous personal relationships seem to threaten the King's peace of mind more than the state of his kingdom. Aside from these larger concerns that frame the play, "Henry IV Part I" deals more with Prince Henry than it does with the monarch of the title. Throughout the play, Prince Henry is seen more amongst the rabble commoners than attending to matters of state. He is guided in his licentiousness by the enormously funny (pun intended) Sir John Falstaff, whose schemes and drunkenness are more innocent and endearing in Part I than they become in Part II. Falstaff's reckless and conceited behaviour casts a shadow over the entire play, symbolic as it is of Prince Henry's moral dilemma and of the precarious state of the nation. Falstaff instantly calls to mind Kenneth Grahame's magnificent Mr. Toad from "The Wind in the Willows," and is Toad's direct literary forefather. Falstaff is the most interesting and dynamic figure in "Henry IV Part I" and certainly the most memorable character in the play.Prince Henry discovers that his responsibilities outweigh his fondness for Spanish wine, and is called to lead the King's army against that of the arrogant 'Hotspur' Percy, himself a rising political force. Their confrontation, brilliantly scripted and enacted, is central to Shakespeare's entire Lancaster-York saga, and should be read closely and with special attention.Of the two parts of "Henry IV," Part I is by far the best and most flawlessly executed. The King's problems provide an adequate backdrop for the development of Prince Henry; 'Hotspur' is an excellent antagonist (with the whole Percy family offering a great contrast with that of the King); and Falstaff performs his role without dominating the play, as he tends to in Part II. Shakespeare does not need my praise or endorsement, but his "Henry IV Part I" blows me away. It is absolutely fantastic.