Kennon - Identity Post #5

 The first part of Henry IV is rife with characters navigating and shifting their identities. Whether Prince Hal is stepping back from his title and casually drinking with his friends, Falstaff is attempting to impersonate a nobleman, or Hotspur is presenting himself as boldly as possible to intimidate his enemies, Shakespeare's characters alter their language and actions to assume whatever role they see fit. 

Much of the discussion of identity in Henry IV, pt. 1 comes from Harry, the problem-child prince and protagonist of the play, shifting his speech and behavior to highlight or down-play his regal status. As a general rule in Shakespeare, prose is spoken by commoners or characters in casual settings, while verse is reserved for nobility. Prince Hal, heir to the throne and also a frequenter or seedy taverns and brothels, slips seamlessly between the two modes of speech. When talking and joking among his “commoner” friends Hal speaks in verse, and in political situations he is able to switch to iambic pentameter faster than Falstaff can down a beer. In Act II he brags that he "is so good a proficient in one quarter, I can drink with any tinker in his own language,”(Act II, sc 4 ll. 15-17) a shrewd skill for any politician to have whether in Shakespeare’s time or today. Hal does not allow his identity to be isolated to any one facet – he is not defined solely by his ancestry and title of prince, nor is he simply a rogue who is only capable of drinking and soliciting whores. He instead walks the line between the two, or rather leaps from one side to another, with deftness and speed that keeps audiences and other characters wondering what he will do (or become) next.

Prince Hal’s fat, drunk, but ultimately loyal friend and character foil Falstaff is somewhat more limited in his identity. He of course has no title or noble graces to fall back on, but still makes attempts to mythologize himself using his language and dishonesty. He refers to himself in the third-person a great deal, which allows him to place an idea of himself in the minds of others whether for the sake of humor or trickery. A notable example of this third-person reference is when Falstaff refers to himself as "sweet Jack Falstaff, kind Jack Falstaff, true Jack Falstaff, valiant Jack Falstaff" (Act II, sc 4 ll. 458-460).

Considering that so much of Henry IV pt. 1’s plot is based on primogeniture and the consequential dynamics between fathers and sons and the other men in their lives, it is unsurprising that this is not one of Shakespeare’s plays that features strong-identitied women. Though there are only 3 consequential female characters in the play, their identities are very much impacted by the language they use and their relationships to other men. Lady Percy, arguably the most prominent of these women, expresses discontent with lack of attention from her husband, indicating her identity as a wife as well as her husband’s hyper masculinity.

Henry IV is a prime example of how title and political motivation simply add another dimension and level of complexity to identity rather than define it. Prince Hal as well as the other characters use language and actions to navigate and perform these facets of identity, ensuring that there is never a dull moment for the people of Henry’s England or for Shakespeare’s audiences.