December 2015

The Henrys continue and we’ve finished reading Henry V but still have two films to watch. Surprisingly, I’m not getting the Henrys mixed up in my head, though I go from IV to V several times a day. And soon the VI’s will start.

Slowly, slowing information about Shakespeare Calling – the book is spreading. The British Shakespeare Association is promoting it as is the Swedish Shakespeare Society. Thank you both for that! (see further under ‘Further…’ below). Below you will find the links for on-line purchase. Please encourage your local book shops and libraries to buy it! And once again, thank you all for visiting the blog throughout the years and for supporting this project.

Shakespeare Calling – the book

For those of you in the UK, Sweden and the rest of Europe:

https://www.vulkanmedia.se/butik/bocker/shakespeare-calling-the-book-av-ruby-jand-2/

or

http://www.bokus.com/bok/9789163782626/shakespeare-calling-the-book/

or Adlibris, CDON or Bibliotekstjänsten

For those of you in the rest of the world and/or those who usually shop at Amazon.com:http://www.amazon.com/Shakespeare-Calling-book-Ruby-Jand/dp/9163782626/ref=sr_1_1?s=books&ie=UTF8&qid=1436073737&sr=1-1&keywords=Ruby+Jand+shakespeare+calling Now also available as a Kindle book.

From Davis and Frankforter’s The Shakespeare Name Dictionary:

• Wales is such a fascinating place. We really must go there one day. Shakespeare mentions it a lot of course, in the history plays and Cymbeline. It has a long and interesting history and it was more often than not in conflict with England but in the 1470’s a Welshman by the name of Tudor ascended the throne and by Acts of Parliament in 1536 and 1542 the two were united. Sort of.
• Wednesday is a good old day, named for the Norse god Odin. It’s mentioned in The Comedy of Errors, Romeo and Juliet, Richard II, The Merchant of Venice, Henry IV Parts One and Two, Coriolanus, Othello, and The Winter’s Tale.

Shakespeare sightings:

• In The Whispering City by Sara Moliner (translated from the Spanish Don des lenguas) linguist Beatriz points out to her cousin Ana that literature is filled with conflicts over inheritance and mentions Lear as an example.
• In Jeanette Winterson’s novel The Daylight Gate, Shakespeare’s plays are not only mentioned but he is a character himself:
• Magistrate Roger Nowell and independent woman of means Alice Nutter discuss having seen The Tempest, a play suspiciously about ‘magick’ in London. It will soon be performed in their part of the world, Lancashire.
• Prosecuting clerk Potts calls Shakespeare ‘an upstart crow’ (hm, a stolen quote from one of Shakepseare’s playwright rivals) and a traitor and is very suspicious of the play Macbeth.
• Later Shakespeare discusses Catholicism with Nutter and argues with Potts Nowell about black masses and magic and sympathy with King James
• Potts compares his own writing of trial reports with the inferior writing of Shakespeare.
• In Nation by Terry Pratchett
• one of the leaders of the island Nation makes a speech before a battle with the invading Raiders worthy of ‘the Agincourt speech from Henry the Fifth. Or at least what it might have been if Shakespeare had been small and dark and wore a little loincloth instead of trousers, or tights in Shakespeare’s case.’
• on the last page one of the descendants of Mau, one of the main characters, reflects: ‘What a piece of work is Man…’
• In the excellent book The Year 1000 what life was like at the turn of the first millennium by Robert Lacey and Danny Danziner
• We are reminded that Juliet’s birthday is on ‘Lammas eve’, one of the oldest English country festivals. It has nothing to do with lambs or religion but celebrates ‘hlafmaesse, loaf-mass, the day when the hungry gap ended and the first loaf could be made from the new harvest.’
• We are also reminded that Macbeth was a historical person who was better at keeping the Vikings out than his southern colleague Ethelred. The three sisters’ ‘skin of frog’ has its basis in the fact that this to us unpleasant ingredient has in fact psychedelic qualities – ‘medieval morphine’ as the authors put it.
• In the first season of The Third Rock from the Sun the subject of death comes up and Harry says: To die, to sleep, / To sleep, perchance to Dream; aye, there's the rub, For in that sleep of death, what dreams may come, / When we have shuffled off this mortal coil, / Must give us pause. Dick says: ‘What’s that from?’ Harry answers, ‘Oh, some Mel Gibson film.’  This might be the best exchange of the whole series…
• Seen in the tube station: an advert of Hamlet, premiering at the Royal Dramatic Theatre in January. Maybe we’ll make it to this one?
• In Arthur C. Clarke’s very silly but almost endearing novel about the colonisation of Mars, The Sands of Mars, the crew watch an old film of Hamlet and the main character Gibson compares himself to Falstaff for becoming giddy upon going out into the green fields (I told you it was silly – Mars? Green fields? It seems to have kangaroo-like natives too…so, endearing, in its way).
• On Swedish TVs Kulturnyheter there was an item about invented languages and it started with a clip of ‘To be or not to be’ in Klingon.
• The second season in The Last Tango in Halifax mentions Shakespeare several times:
• Caroline’s school is doing King Lear and she suggests that the new baby be called Cordelia. Or maybe Goneril or Regan, though that’s a joke. Later she says the play was good and she’s proud of them.
• When Judith accuses John of stealing her story he says, ‘It’s my family. It’s my story, you don’t even know them.’ And Judith answers, ‘Shakespeare didn’t know Richard the Third but that didn’t stop him writing a shitty play about him!’
• Celia and Alan are playing Trivial Pursuit and Celia is disgruntled over getting a category she doesn’t like. Before Alan even reads the question she answers, ‘Sherlock Holmes, the Beatles or Shakespeare!’
• In My Fair Lady Professor Higgins reminds Eliza Doolittle: ‘Remember, your language is the language of Shakespeare.’
• In Deborah Moggach’s Something to Hide Petra suggests that she and Jeremy go to see the King Lear playing just down the road but they don’t bother. Later Petra gazes at the pillow upon which Jeremy’s head had so recently rested and thinks, ‘…oh happy horse, to bear the wright of Antony…’  
• In Mark Haddon’s The Red House there is some Shakespeare:
• Melissa is directing A Midsummer Night’s Dream at school. This allowed her to smoke. Um….? And the logic here is…?
• Shakespeare, the pyramids, human beings are in Daisy’s list of what’s astonishing
• In another long and strange list of obscure things by someone – I haven’t figured out who, it’s quite a confusing book, but very good – Cymbeline is mentioned. I supposed it could be considered obscure. 

Further since last time:

• Saw:  the excellent Macbeth with the Stockholm English Speaking Theatre in Old Town in Stockholm. I wrote on Facebook (and it will be coming in Swedish in the Swedish Shakespeare Society’s magazine any day now):
• With a cast of three and a crowded 14^th century cellar in Stockholm’s Old Town, Macbeth is brought to very close-up life. The three sisters do not appear physically but their eerie voices (one of them remarkably like Moaning Myrtle in the Harry Potter films) are very strong. Sound effects and lighting create all the imagination we need for the abbreviated story, one of the spectators in the front row was given the chance to play Banquo’s son Fleance by holding Banquo’s sword and lantern. The play was performed both in the tiny bar and in the almost-as-tiny theatre. Very atmospheric but sorry – not for wheelchairs, barely for crutches.The cast – Keith Foster as Macbeth, Kristina Leon as Lady Macbeth and the versatile and hard-working Richard Asker as Banquo, Macduff and Seyton – are brilliant. To mention a few examples of many: The domestic scenes with husband and wife – other than having a murder on their minds, excellently ordinary. Lady Macbeth’s ‘out damned spot’ monolog, Macduff’s ‘all dead?’ monolog and Macbeth’s ‘tomorrow and tomorrow and tomorrow’ monolog with his wife’s dead body in his arms - – all heart-breaking. 
• Finished reading aloud with Hal: Henry V
• Watched: the Globe version of Henry V, which sadly was a disappointment. Read more next time at the end of the text on the play.
• Ordered: Making Shakespeare: from Stage to Page by Tiffany Stern
• Shakespeare Calling – the book now is now being promoted by: http://www.britishshakespeare.ws/new-book-by-bsa-member/
• Shakespeare Calling – the book is now being promoted by: http://shakespearesallskapet.se/ Swedes, you should definitely join this society! 

Posted this month

• This report
• ‘Mo’ Henry Blues’ in Henry IV Part Two

Mo' Henry Blues in Henry IV Part Two

Mo’ Henry Blues

in

Henry IV Part Two

     Henry plays an even smaller role in this, his second (third if you count Richard II) play. He doesn’t even enter the stage until Act III and then he is in his nightgown. Hardly kingly.

     He is not a happy king. He suffers, as many of Shakespeare’s kings do, from insomnia, while imagining that his subjects are happily snoozing away:

How many thousand of my poorest subjects

Are at this hour asleep? O sleep, O gentle sleep,

Nature’s soft nurse, how have I frighted thee,

That thou no more wilt weigh my eyelids down

And steep my senses into forgetfulness? (Act 3.1)

     He goes on for twenty more eloquent lines to end with that most quoted lament amongst the world’s royalty: ‘Uneasy lies the head that wears the crown.’

     Not only is he tired, he is ill. He is dying. He fears his kingdom is dying. To Warwick:

Then you perceive the body of our kingdom

How foul it is, what rank diseases grow

And with what danger, near the heart of it? (Act 3.1)

     He is still haunted by the past, by Richard, the man upon whose throne he now sits, the man whose crown sits uneasy on his head. He broods, and remembers, and fears Richard’s prophesy:

‘The time shall come,’ thus did he follow it,

‘The time will come that foul sin, gathering head,

Shall break into corruption.’ So went on,

Foretelling this same time’ condition

And the division of our amity. (Act 3.1)

     And again, still, he longs for redemption:

And were these inward wars once out of hand,

We would, dear lords, unto the Holy Land. (Act 3.1)

     Several scenes go by before we see the king again and then he is fretting about Prince Harry, who in spite of his princely heroism at the end of Part One, is still behaving in a most unprincely manner with his friends in Eastcheap. King Henry fears for his kingdom when he himself is no longer amongst the living:

The blood weeps from my heart when I do shape

In forms imaginary th’ unguided days

And rotten times that you shall look upon

When I am sleeping with my ancestors.

For when his headstrong riot hath no curb,

When raged and hot blood are his counsellors,

When means and lavish manners meet together,

O, with what wings shall his affections fly

Towards fronting peril and opposed decay! (Act 4.2)

     Warwick assures him the prince is just faking it, studying ‘his companions / Like a strange tongue, wherein, to gain the language’ (Act 4.2).  But Henry is too ill to take comfort and when given the news of the rebels’ capitulation he cries

Will fortune never come with both hands full,

…She either gives stomach and no food –

Such are the poor, in health – or else a feast

And takes away the stomach – such are the rich….

… I should rejoice now at this happy news,

And now my sight fails, and my brain is giddy. (Act 4.2)

     The king collapses and is put to bed. Thereupon follows the famous scene in which Prince Harry puts on his father’s crown. When the king awakens and sees this, his heart is broken.

I stay too long by thee, I weary thee.

… O foolish youth!

Thou seek’st the greatness that will o’erwhelm thee….

Thou hast stolen that which after some few hours

Were thine without offense…

… thou lovedst me not,

And thou wilt have me die assured of it….

What? Canst thou not forbear me half an hour?

Then get thee gone and dig my grave thyself…

Henry the Fifth is crowned…

O my poor kingdom, sick with civil blows!

When that with my care could not withhold thy riots,

What wilt thou do when riot is thy care? (Act 4.2)

     Prince Harry’s long monolog of repentance and explanation has never convinced me but King Henry allows himself to believe his son and they are reunited.

     Henry wishes Harry a more secure reign than he has had and laments of the crown Harry covets: ‘I myself know well / How troublesome it sat upon my head’ (Act 4.2).

     Thus Henry IV dies.

     Some scholars have described Henry as cold and unfeeling, grasping and power-hungry. Maybe because characters in the play itself do. I don’t see him that way.  I see him as a man who inexplicably finds himself in a situation not entirely of his own choosing. Yes, he could have refused the crown in Richard II but Richard essentially forced him to take it. Conscientious man that he is, Henry Bullingbrook does the best he can. Throughout both plays he struggles. Adrian Poole writes, ‘The king is consumed with care about everything over which he is supposed to rule – his realm, his son, himself’ (Introduction, Penguin edition, p. xxxii).

     He succeeds in the end to rule over a somewhat united kingdom. His son? As we know, but Henry doesn’t, Prince Harry becomes the heroic Henry V. In spite of their reconciliation Henry cannot fully believe that his wayward son is reformed and will be able to rule wisely. He is aware to the end of ‘the nightmare possibility that the Prince will not after all be able to redeem the time or his promise, and that under Harry Harry, England will get stuck in a murderous and licentious chaos from which there is no escape’ (Poole, p. xxvii).

     In spite of these fears the king embraces his son. Much has been made of Lear’s tragic role as a father. I find Henry’s role as a father much more heart-rendering. Lear was an awful father. Henry tries to be a good father and is, considering.

     Ruling over himself? Does he ever succeed in that? Not really. His usurpation of the throne from Richard plagues him to the end and almost the last thing he says is, ‘How I came by the crown, O heaven forgive’ (Act 5.1). And the fates laugh at his longing to redeem himself by going on a crusade to the holy land. The prophesy that he will not die but in Jerusalem ironically comes true. The room in which he collapsed is called Jerusalem. Thus

…bear me to that chamber. There I’ll lie.

In that Jerusalem shall Harry die (Act 5.1).

     I would have wished King Henry a happier end. I’ve always liked him. I will miss him.

    

Works cited:

• William Shakespeare, the Complete Works, the RSC edition, 2007. Edited by Jonathan Bate and Eric Rasmussen
• Poole, Adrian. Introduction to the Penguin edition of Henry IV Part Two, 1977. Editor: Stanley Wells

 Films seen:

• BBC, 1979. Director: David Giles. Cast: Prince Hal – David Gwillim; King Henry – Jon Finch; Falstaff – Anthony Quayle; Hotspur – Tim Pigott-Smith; Mortimer – Robert Morris; Lady Mortimer – Sharon Morgan; Owain Glyndwr – Richard Owens. 
• This is a well-done production. Jon Finch is very good as Henry, Quayle is a convincing Falstaff and the others are generally very good too.  The only question mark is Gwillim as Hal, probably because I saw Branagh as Henry V first. Gwillim was better the second time (or was it the third) that we watched the play, but for me Hal will always be Branagh.
• The Globe, 2012. Director: Dominic Dromgoole. Cast: Prince Hal – Jamie Parker; King Henry – Oliver Cotton; Falstaff – Roger Allam; Mistress Quickly – Barbara Marten; Pistol – Sam Crane; Doll Tearsheet – Jade Williams
• The boisterousness continues. Roger Allam is the star; he continues to be the best Falstaff ever. The characters of Hal and Henry are not given their full potential here. Barbara Marten as Mistress Quickly is fun to watch. Again, as always, the Globe itself is a very strong presence and carries the play all by itself at times.
• Chimes at Midnight, 1965. Director: Orson Wells. Cast: Prince Hal – Keith Baxter; King Henry – John Gielgud; Falstaff – Orson Welles; Mistress Quickly – Margaret Rutherford; Doll Tearsheet – Jeanne Moreau.
• Combining both plays as well as Henry V, Orson Welles portrays a tragic Falstaff in this beautiful black and white somewhat low key labour of love. This is the second time we’ve watched this film.  Welles considered it his best but I found it very hard to like the first time and a second watching didn’t improve it though the black and white is strong and the cast, except for the hammy stars Welles and Gielgud, are good.
• My Own Private Idaho, 1991. Director: Gus van Sant. Cast: (Scott Favor) Prince Hal – Keanu Reeves; (Jack Favor) King Henry – Tom Troupe; (Bob Pigeon) Falstaff – William Richert; Mike Waters - Poins (or somebody) – River Phoenix.
• Truly a strange movie, this too makes use of both Part One and Part Two. Why Van Sant chose to incorporate a great deal of the plays, often literally word for word, into his story is a mystery to me but somehow it works. Sort of.  I still like it after this, the third or fourth viewing.
• The Hollow Crown, Henry IV Part II, 2012. Director: Richard Eyre. Cast: Prince Hal – Tom Hiddleston; King Henry – Jeremy Irons; Falstaff – Simon Russell Beale; Mistress Quickly – Julie Walters; Pistol – Paul Ritter; Doll Tearsheet – Maxine Peake.
• Again Hiddleston and Irons give masterly performances. Even Beale makes one pity Falstaff for being old and pathetic. As often with Shakespeare plays, it gets stronger and pulls together in the end. The ‘I know thee not, old man’ scene is very well done. The hoodlum Hal is now king and the boisterous and self-serving Falstaff is rejected.           

Seen on stage: Yes. Seen at the Roundhouse in London on April 16, 2008, it was the first complete Shakespeare play we had ever seen in English. Had we but known, we could have seen more. The Roundhouse was presenting all of the History Plays, but this was at the beginning of our Shakespeare days, and we didn't have a clue. Still we saw this one. And that was a giant step in the whole process leading to this blog.