"Now, if these men do not die well, it will be a black matter for the king that led them to it."
In a way, it's rather annoying that I've done so much musing over the disconnect between Shakespeare's plotting dialogue, specifically written to be performed on a stage, with all the limitations that implies, and the medium of television, and sumptuously shot location shots to boot. If I'd waited until now to talk about I would have had so much to say. After all, consider the chorus here- a gloriously metatextual character, probably played originally by Shakespeare himself, who refers to a "wooden O" and apologises for the compression of time which all historical dramas do and which his bits help to elide. It's particularly eyebrow-raising to hear John Hurt declaiming apologies for not being able to represent the battle scenes properly as we watch brilliantly realised battle scenes. It's a juxtaposition that seems almost deliberately intended to highlight the tension between media.
Metatextual stuff aside, though, and briefly mentioning that this is my first experience of the play, not just there's an intriguing political subtext. This play follows on directly from its predecessors, even to the point of featuring Bardolph, Pistol, Mistress Quickly and (sort of) Falstaff. We can assume, then, that there's a continuity of theme, and that the examination of the nature of kingship should be understood in relation to this continuity. In fact, There's an interesting scene, on the morning of the battle, when he pleads with God not to punish him for the sins of his father, insisting that "I Richard's body have interred anew". Hence, presumably, his determination to attribute his eventual victory to God alone, and perhaps even his very determination to pursue his claims in France- an assertion of royal legitimacy and, perhaps, one his usurping father could not have made.
Hal may be very different from his former self, as we clearly see when he approves the hanging of his old mate Bardolph. The prevention of looting in captured towns is more important to a king than old friendships, however oddly this may sit with his later orders to kill all the prisoners!!! But is he really all that good a king? Because, unusually for Shakespeare, I think I can detect a definite authorial voice at work in this play. And that voice is asking why on Earth should ordinary people suffer and die in war just to satisfy the "honour" of lords and kings. Shakespeare, I think, would have seen honour as Falstaff did, not as King Harry does here. Which, then, is the more virtuous? Shakespeare gives us a king who seems to fit all the conventional notions of the good king, and then questions that. After all, he kills prisoners, betrays his friends, and wages war for his personal "honour". It's a very different angle on kingship from its three prequels, but it's fascinating, important, and rounds out the thematic whole that is the four plays on kingship.
Tom Hiddleston is extraordinary, and pulls off the task of making Hal and King Henry seem simultaneously very, very different and yet absolutely the same person. His two main speeches are surprisingly low-key and un-Olivier-like.
To finish, it's interesting for this Leicestershire native to hear Pistol addressing his new wife, the former Mistress Quickly., as "me duck!" It seems that our ways of speaking once spread much further southwards than they do now. And it's a bit of a bolt to be reminded that King Henry died at 35, the age I am now. He conquered France… what have I done?
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