Michael Gorski
ERH 321WX-01
Short Assignment on Henry IV, Part 1
28 January 2015
Help Received: EasyBib to cite
Perception Versus Reality: An Analysis of Chapter 5: Honor and Arms: Elizabethan Neochivalric Culture and the Military Trades
Part A.
In Chapter 5, the author examines the honor of the Elizabethan era and their origin. The attitudes and actions of characters in Henry IV, Part 1 are closely examined and the author displays the gap between the perception of honor in the culture of Shakespeare and the dark reality of actual warfare during the medieval time period. The author identifies this in three key concepts of “The Chivalric Heritage,” “Elizabethan Rites and Chivalric Rights,” and “War.” Chapter 5: Honor and Arms: Elizabethan Neochivalric Culture and the Military Trades gives the reader insight into the transformation of chivalrism to neochivalrism and its relation Henry IV, Part 1, more specifically, Shakespeare’s utilization to display the raw reality of medieval warfare in what the author calls a “double history (Hodgdon, 319).”
The section pertaining to “Chivalric Heritage” highlights the origins of chivalry back to medieval times. It originated in medieval Europe and grew out of what the author calls “disordered sociopolitical conditions.” It highlights the reality that chivalry was not the ideal cause that history paints it to be. Chivalry was bred amongst the nobility and therefore the idea of honor was deeply rooted in family ties. Loyalty to ones’ family, at whatever cost, was essential and a trademark of chivalry. In reality, the idea of chivalry was bloody and violent. The author also highlights the inconsistencies between the Northern Lineage culture and the London courts. This section accurately displays the divide between chivalry perceived as a noble ideal and the reality of chivalry as a bloody and violent affair that did not foster honor in the truest sense.
In “Elizabethan Rites and Chivalric Rights,” the author highlights the transformation of chivalric practices and the aftermath that came about. There were remnants of practices still present in the Elizabethan culture; the most prominent example the author focuses on is warfare. Warfare during the medieval times served a functional purpose and part of chivalry was martial combat. Fighting skills defined character and translated to the battlefield. With the shift in culture, war became fantasized and glorified as a means of gaining social prowess. Flashy armor and weaponry dominated the arena and it was more for entertainment. The societal shift that focused less on soldiers was accompanied by the change from functional to ceremonial warfare.
In the final section titled “War,” the author explores Shakespeare display of warfare and the stark contrast of actual medieval warfare. As previously stated, Elizabethan society had romanticized combat and created it as entertainment. In reality, the great duel between Hal and Hotspur, which decides who inherits the identity of being King Henry’s son and therefore the honor connected to the family lineage, is a prime example of the cultural mentality. Most citizens did not understand the harsh realities of war and the death that accompanied battle. Society attempted to create soldier’s that fit their noble mentality of chivalry, but in reality the soldier’s were generally corrupt. This fits with the author’s analysis of society’s perception of a fantasy world in which ideals are reality, but in actuality the ideals are haze the hinders the view of reality, in which corruption and violence accompany chivalry.
Chapter 5 highlights the concept of honor in the Elizabethan era and its similarities and differences to medieval chivalry. The transformation of chivalry and its forgotten past are brought to light and the author highlights the connection with Shakespeare’s Henry IV, Part 1. The transformed image of chivalry is brought up against the original practices and it displays the obvious contrast. This ties in with Shakespeare’s main goal of shattering cultural perception and displaying the reality of chivalry.
Part B.
In Henry IV, Part 1, Shakespeare places an emphasis on chivalry and displaying the gap between the perception of chivalry and its reality. He devotes certain scenes to the concept of chivalry that focuses on honor. A noble picture of honor was fantasized by society and Shakespeare paints a more realistic picture through many characters. He seeks to enlighten the citizens of his time. Chivalry was seen by society as a noble and highly regarded concept, but in reality it was bloody and violent affair. Shakespeare’s illustration of the conflict between Hal and Hotspur for King Henry’s affirmation displays the reality of chivalry very well. The public created a fantasy world in which they could experience honor through romanticized combat and with a cultural shift over the centuries, chivalry became more of an ideal and its stained past was forgotten.
Elizabethan culture focused on what the author of Chapter 5 denotes as neochivalry. As society has advanced, so has this institution. Even though many practices remain in place and the remnants are there, chivalry has taken on a tremendous transformation. People have forgotten the reality that it was a bloody, violent, and corrupt system of trading power disguised as honor. Shakespeare shatters the glass in many instances, showing the public chivalries true colors and how not even the nobles lived up to the great expectations.
He uses characters throughout the plot to show this gap between reality and perception. One prime example is with the character Falstaff. He is a captain or some form of knight who is also a corrupt thief and liar. The Elizabethan culture had tried to transform the soldier into a noble and honorable occupation, but many soldiers were still very corrupt. Shakespeare displays this corruption through Falstaff’s many behaviors and incidents involving him throughout the plot. In a particular scene, Falstaff questions why honor is relevant, because it only benefits a dead man. A second example of reality that Shakespeare reveals is the king usage of multiple body doubles to avoid death or conflict. The king is supposed to be an example to his people, but he cowers behind this ruse. Both instances display the mindset of the people in society at the time and serve as an illustration for the gap between perceived and realistic honor.
Shakespeare’s most accurate illustration that demonstrates that chivalry and honor were violent and bloody is seen in the general storyline of the play. The rebellion to gain nobility for Hotspur’s family, Hotspur’s fascination with battle and violence, Hal and Hotspur fighting to gain the King’s approval and Hotspur’s death are all examples of actions to establish honor towards a certain lineage or family. The king immediately shifts favor after Hotspur’s death, without hesitation. Hal was pretending to be a terrible son, but in reality it was a ruse, so he could become great when the time called for it. This entire rebellion and the supporting elements display the cutthroat and dishonorable politics linked to chivalry. Shakespeare displays the irony very well with the plot and specific instances.
Shakespeare writes King Henry IV, Part 1 to display a gap between fantasy of ideals and the reality. Honor was held in high regard in Elizabethan society and was based on a distorted view of medieval chivalry. Shakespeare brings to light the actual concept of honor within the medieval chivalric system. Its association with backstabbing and reality is clearly seen throughout the general plot of the play and even in the attitudes and actions of certain characters. Shakespeare highlights the key difference between perception versus reality.
Works Cited
Hodgdon, Barbara. “Chapter 5: Honor and Arms: Elizabethan Neochivalric Culture and the Military Trades.” The First Part of King Henry the Fourth: Texts and Contexts. Boston: Bedford, 1997. 318-34. Print.
Shakespeare, William, and Barbara Hodgdon. “The First Part of King Henry the Fourth.” The First Part of King Henry the Fourth: Texts and Contexts. Boston: Bedford, 1997. 19-117. Print.