When a magician performs his trick, he uses bright colored feathers and scarves to hind what is really going on beneath his cloak. Lacking bright colored tapestry, Claudius is left with only his words to help him hide the truth. Rather than reverting to physical distractions, Claudius relies on the structure of his speech to disguise the truth. In his first speech to the people that opens act one scene two, Claudius is hiding the fact that his coming to power is neither legitimate nor socially acceptable. Claudius distracts the crowd from this truth through his diction, as he uses first person plural pronouns, and his syntax, as he implements antithesis and sectioning in his speech.

Claudius, having no connection to the royal blood and no authority over the people of Denmark, tries to assert his position as the new King and formally part of the Denmark royalty. Claudius addresses the nation for the first time in act one scene two of the play. In the opening of his speech, Claudius uses ten first person plural pronouns in an attempt to hide that his coming to power was illegitimate . Rather than using the word “you” that would simply unify the crowd, Claudius uses pronouns such as “our”, “us” and “we”to include himself in the unification in an attempt to be accepted by the population (I.ii.1,2,6). By using these inclusive pronouns, Claudius tries to join the Denmark royalty and distract the crowd from the fact that his true and rightful position is separate from the throne.

Claudius also distracts the crowd in his speech through his syntactical choice of antithesis. In lines eight through thirteen, Claudius uses antithesis in phrases such as “our sometime sister, now our queen”, “with an auspicious and a dropping eye”, “mirth in funeral”, “dirge in marriage”, and “delight and dole” (I.ii.8-11). With this syntactical structure, Claudius is pairing together contrasted ideas and yet continues his rhythmic speech pattern, giving an air of normalcy. Similarly, Claudius, embodying the contrast of ‘Brother of the King’ and ‘King’, is trying to make himself appear normal. The repetition of these antithetical phrases is Claudius’ attempt to distract the population from the fact that his coming to power was not socially acceptable.

Claudius’ final way of distracting the crowd from the illegitimate truth of his power is through his overall structure of the speech. Claudius sections his speech into three parts. In the first section, lines one through sixteen, Claudius addresses Hamlet’s death and the power transition. In the second section, lines seventeen through twenty-five, he gives detail on the situation with Fortinbras, and then in the final section, lines twenty-six through thirty-nine, expresses Denmark’s response and calls the people to action. In ending with a call to action saying “and we here dispatch / You, good Cornelius, and you, Voltemand”,  Claudius is taking advantage of the psychological theory that an individual will retain the most recent information given to them (I.ii.34). This means that since Claudius put the controversial remarks about his coming to power in the beginning of the speech, the crowd is less likely to remember it and will rather focus on the final section of his speech, the situation with Fortinbras.  In structuring his speech this way, Claudius distracts the people from the truth of his illegitimate rise to power.

Almost as important as the message being spoken, is the body language with which it is delivered. Just as body language can strengthen what is being said, so too can the way the message is written reinforce the point it the speaker is making. This concept is particularly evident in King Henry’s speech in Shakespeare’s Henry V.  In Henry’s speech in act three scene six, he expresses to Montjoy that the English troops are tired, but they will continue to fight. The King does this not only through his words, but through his syntax and use of literary devices. Through the use of commas and the lack of alliteration and repetition, King Henry conveys that the English army is tired, but through his use of iambic pentameter, first person pronouns, and punctuation, he asserts that the English will still fight.

In King Henry’s speech in act three scene six, he admits that, although the English army has been successful in not losing any soldiers, they are tired. This message is evident not just in his words, but also in his use of commas and lack of alliteration and repetition. In his speech of twenty-eight lines, Henry uses twenty-seven commas and semicolons. The commas are often placed at the end of the lines, but are also dispersed through the middle of the lines. The punctuation in the middle of the line provides a break in the speech like the break that the army needs. Like the war, King Henry’s speech seems to be dragging on. Henry relies on the commas to move his speech along just as he is trying to find something to keep the English army moving forward despite them being exhausted. The lack of repetition and alliteration in Henry’s speech also expresses how tired the army is. If the King had used repetition it would add power and might to his speech, giving the illusion of confidence and reinforcements. Similarly, the use of alliteration would portray a sense of consistency as the sound and words would blend together, strengthening the message and image of the English army. He does not use these literary devices, however, and does not portray this message. Rather the lack of these devices shows that the English army is struggling. Tired and seemingly hesitant to rally together and continue fighting, the English “would not seek a battle” with the French (162).

King Henry asserts, however, that although his army is tired, they will not back down. If the French attempts to advance and engage in another battle, England “will not shun it” (163). Henry shows the seriousness of his message of retaliation through his use of iambic pentameter, use of personal pronouns, and punctuation at the end of his speech. Prior to his speech that begins on line 137, King Henry and the other actors of the scene are speaking in prose. Henry’s move from the relaxed tone and casual style of prose to the regimented and precise style of iambic pentameter is very significant. The transition of syntax makes the King’s tone more serious and his message more credible. The rhythm of the iambic pentameter mimics the rhythm of marching troops. Despite King Henry’s words saying the troops are tired,  the rhythm goes on, just as the English soldiers will. Like the syllabic pattern of the line, King Henry’s shows his actions are predictable, he will fight back if the French pursue a battle.
Henry’s assertion that the English will still fight is also evident in the his use of personal pronouns. In his speech, Henry uses twenty-three personal pronouns. Of these personal pronouns however, thirteen function as the royal we, whereas ten are Henry referring strictly to himself. Although this ratio does not seem like an incredibly stark contrast, it is still significant because it shows a building sense of comradery. Henry begins his speech using first person pronouns to only refer to himself, saying, “”I do not seek him now”, “I tell thee”, “that I do brag” and “I must repent” (III.vi.138, 146, 149, 150). When King Henry reaches the closing lines of his speech, however, where he asserts the English’s will to fight, he only uses the ‘royal we’ and plural form of the personal pronouns saying, “If we may pass, we will: if we be hind’red, / We shall your tawny ground with your red blood / Discolor” and “We would not seek a battle as we are. / Nor, as we are, we say, we will not shun it” (III.vi.158-160, 162-163). This is significant because it shows the rallying of the English troops. Henry is not alone in his crusade, but rather his forces are joined like his pronouns, showing England will not back down from battle. This definitiveness is also evident in his punctuation choices at the end of his speech. The lines of King Henry’s speech end mostly with commas, until the last two lines where he says, “Nor, as we are, we will not shun it. / So tell your master.” (III.vi.163-164).  This punctuation choice is significant because it expresses the assertiveness of the claim that England will continue to fight. He sharply ends the sentences like he ends the questioning of England’s motivation to continue the war. England may be tired, but they will fight.