April 14, 2017
Thanks to Alissa Simon, HMU Tutor, for today’s post.
When reading historical documents, it may be easy to forget the more mundane effects that occur when two cultures collide. However, Shakespeare’s Henry the Fifth paints an example of this exact thing. In the play, the actual collision is often thought to take place in the battle between France and England, however it is actually through details of everyday life that Shakespeare exemplifies the angst of cultural divides. Shakespeare frames this combination of two cultures very well in his dramatic interpretation of the life of Henry the Fifth. Having just discussed both the text and the BBC’s version of Henry the Fifth, I owe much of my rambling to a continued conversation from our film series. I am indebted to those participants for having inspired so much continued thought about this play.
To say that Henry the Fifth is a history play is not entirely true. It is, however, a well-developed sketch of a young king taking possession of land in France. In combining two empires, Shakespeare incorporates the French language directly into the text which offers an accurate portrayal of the experience. In addition, he includes characters with accented speech and he foregrounds a variety of ethnicities. Shakespeare also incorporates the classic technique of a chorus, a practice which stems from ancient Greek theatre, which helps to introduce the scenes and move through both time and place.
Henry the Fifth begins with an introduction from the Chorus, which frames the play. The film brilliantly portrays this as a voice-over narrator who renders commentary on the action. At the end of the film (spoiler alert!), we find out that the Boy is actually the narrator. For me, this creates an astonishing and brilliant use of the Chorus. In this case, the frame becomes the actual lens of the Boy as he has seen and lived through these times and with these characters. As an actual witness to their pranks, emotions, jokes and lives, he becomes an authority and a sage. In Henry IV, Part 2, it was Henry himself who sent the Boy to wait on Falstaff. So, it is very fitting to use his particular lens to navigate both Falstaff’s death (at the beginning of the play) all the way through to Henry’s own death. Throughout the play, the Boy attempts to separate himself from characters he finds unworthy (such as Pistol and Bardolph). He takes the audience a step closer to understanding honor and virtue through the life of Henry the Fifth. Therefore, his view of the battles and the politics becomes extremely important.
The film begins and ends with Henry V’s funeral. The audience immediately understands the transitory nature of life, even the life of this great king, who died at the age of 44. It is somber to note that his young, French wife has an infant. At the end of the film, she kisses the infant and carries him away from Henry’s casket. This moment follows closely on the heels of the courtship scene (which ends the text). Therefore, it accentuates the painful separation which comes so close upon the actual union. Shakespeare understands that everyone identifies with life, death and love. The final scene of Henry the Fifth surprises us with Henry’s tenderness and care for Katherine, which itself comes close on the heels of the fierce battle scenes. Henry presses Katherine to speak English, but while she struggles with the language, she does not struggle to show her interest in Henry’s proposal.
I am not surprised to find that Shakespeare writes brilliantly both in English and in French. Shakespeare uses French in a way that is, again, universally unmistakable. First, in a scene with Katherine and Alice, her attendant, Katherine attempts to learn a few English words. The scene beautifully demonstrates what it is like to learn a foreign language. In addition, it walks the audience through Katherine’s excitement and nervousness represented by her approach to English. Then, in the end of the play, Shakespeare combines French and English as Henry V asks Kate to marry him. This documents, of course, a real experience in these communities which often clashed. Even the reader must change the manner in which they approach these sections of text. This abrupt language change clearly communicates the experience of fracture, but also of the fact that some experiences are universal and require no translation.
Plays often shift linguistic paradigms and there are many bridges to gap. In other words, the text of a play is not meant to stand alone on the page, but to be read out loud, acted and imagined. The addition of French is only another way of expressing the idea that we are always translating outside experience into personal experience.
Once again, I thank the group for a wonderful discussion of Henry the Fifth. I look forward to our next film course in the fall. For more information on the film series, email rf*****@hm*.edu.
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