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Frontmatter
- Leon Harold Craig
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Contents
- Leon Harold Craig
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1 - Begins the Woefullest Division: The Tragic Reign of King Richard II
- Leon Harold Craig
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Summary
There is no action of man in this life, that is not the beginning of so long a chayn of Consequences, as no humane Providence, is high enough, to give a man a prospect to the end. And in this Chayn, there are linked together both pleasing and unpleasing events; … he that will do any thing for his pleasure, must engage himselfe to suffer all the pains annexed to it; and these pains, are the Naturall Punishments of those actions, which are the beginning of more Harme than Good. And hereby it comes to passe, that Intemperance, is naturally punished with Diseases; Rashnesse, with Mischances; Injustice, with the Violence of Enemies; Pride, with Ruine; Cowardise, with Oppression; Negligent government of Princes, with Rebellion; and Rebellion, with Slaughter.
—Hobbes, Leviathan, chap. 31, para. 40The historian G. M. Trevelyan observed that ‘the reign of Richard II has interested people more, perhaps, than any other equally brief period of English medieval history’, because (he explains) in the ‘long-drawn-out process’ whereby the so-called Middle Ages came to an end, the events of Richard's reign hold ‘a peculiarly important place’. From Shakespeare's depiction of the final year of that unhappy reign, seen in the context of the historical sequence of plays his Richard II initiates, one may surmise that he held a similar view—indeed, suspect that Shakespeare's portrayal has substantially contributed to the peculiar interest Trevelyan notes.
Doubtless much of that interest, whatever its source, derives from an awareness that the deposing of Richard precipitated a century of civil strife in England, leading to the Wars of the Roses, which in turn resulted in the termination of some three and a half centuries of unbroken Norman-Plantagenet rule and the ascension of the House of Tudor (whose early years continued to be troubled by disturbances in favour of rival claimants). By the time Shakespeare wrote his dramatic accounts of English history, the de facto basis of royal authority in England, of its ‘legitimacy’, had been radically transformed. For though lip service continued to be paid to its de jure basis of ‘divine right’, that principle was increasingly viewed as moribund even as it was first being declaimed as absolute.
Index of Names
- Leon Harold Craig
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Dedication
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Acknowledgements
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2 - A Punishing of Mistreadings: The Turbulent Reign of King Henry IV Proceeds
- Leon Harold Craig
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Summary
The Kingdome of God is gotten by violence: but what if it could be gotten by unjust violence? were it against Reason so to get it, when it is impossible to receive hurt by it? and if it be not against Reason, it is not against Justice: or else Justice is not to be approved for good. From such reasoning as this, Successfull wickednesse hath attained the name of Vertue: and some that in all other things have disallowed the violation of Faith; yet have allowed it, when it is for the getting of a Kingdome. … This specious reasoning is neverthelesse false.
—Hobbes, Leviathan, chap. 15, para. 4The eponym of the two plays bearing the title King Henry IV is not in fact the principal focus of these dramas. This is a bit puzzling. After all, it is not as if Henry IV was merely a cipher in the turbulent events of his reign, or the pawn of more powerful and active men (as one might reasonably say about his grandson, Henry VI). Rather, as Shakespeare showed in Richard II, Henry Bolingbroke was a strong, popular, ambitious, talented, and vastly experienced nobleman capable of seizing for himself the Crown of England. Nor was the period of his rule one in which nothing of consequence happened. Had our philosopher-poet wished to, he could have woven an entertaining and instructive tapestry in which this Henry was the central commanding figure. He declined to do so. Instead, he used the father's reign as mainly the backdrop for a largely mythic portrayal of the son who will succeed him, and thereafter become England's most glorious warrior king, Henry V. ‘Mythic’, in that Shakespeare's portrayal of Prince Hal prior to his succession as a profligate young ‘wanton’ whose preferred associates are a motley collection of London's lowlife is pure invention. One companion in particular would seem scarcely credible as the crony of a Crown Prince: the immortal Falstaff, universally acknowledged to be a preeminent example of Shakespeare's creative genius.
3 - The Noble Change Long Purposed: The Turbulent Reign of King Henry IV Concludes
- Leon Harold Craig
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Summary
Sudden Glory, is the passion which maketh those Grimaces called Laughter; and is caused either by some sudden act of their own, that pleaseth them; or by the apprehension of some deformed thing in another, by comparison thereof they suddenly applaud themselves. And it is incident most to them, that are conscious of the fewest abilities in themselves; who are forced to keep themselves in their own favour, by observing the imperfections of other men.
—Hobbes, Leviathan, chap. 6, para. 42Prince Hal's story continues in the second part of Henry IV, but in a different key, as it were—indeed, the play as a whole has a different tonal colour. The sense of urgency that pervaded part 1 is noticeably muted, when not simply absent. To be sure, there are still threats to Henry's reign, but they are neither as dramatically dominant as was that of Hotspur and his co-conspirators, nor are they dealt with in such a violent and exciting manner. The rebellion led by Archbishop Scroop, Mowbray, and Hastings never comes to an open battle at Gaultree, as did the near-run thing at Shrewsbury, but is instead defeated by trickery. There is a second challenge that does come to blows, but we no sooner learn of its existence than of its defeat: ‘The Earl of Northumberland, and the Lord Bardolph, / With a great power of English and of Scots, / Are by the shrieve of Yorkshire overthrown’ (4.4.97–99). Moreover, with the exception of the spectacle that Prince Hal has crafted for his ascending the throne as King Henry the Fifth, there is not much of either political or philosophical substance being dramatized in this play. But what an exception that is! For the lesson conveyed by a proper understanding of this sensational coup de théâtre is one of comprehensive importance, though doubtless many find it not to their taste. Perhaps it is meant to test the depth of a person's ‘love of truth’. Since preparing for this spectacular finale is apparently the philosopher-poet's underlying intention guiding almost everything portrayed in the action which precedes it, that intention serves to focus my interpretive comments on the events leading up to this contentious conclusion.
Bibliography
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Epigraph
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4 - A Curious Mirror of Christian Kings: The Brief Glorious Reign of King Henry V
- Leon Harold Craig
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Summary
A Commander of an Army in chiefe, if he be not Popular, shall not be beloved, nor feared as he ought to be by his Army; and consequently cannot performe that office with good successe. He must therefore be Industrious, Valiant, Affable, Liberall and Fortunate, that he may gain an opinion both of sufficiency, and of loving his Souldiers. This is Popularity, and breeds in the Souldiers both desire, and courage, to recommend themselves to his favour; and protects the severity of the Generall, in punishing (when need is) the Mutinous, or negligent Souldiers.
—Hobbes, Leviathan, chap. 30, para. 28The following commentary treats Shakespeare's Henry V in terms of five general topics. First, its beginning with a pair of perplexed ecclesiarchs in a private conspiratorial conversation about the new King—a scene which contrasts so dramatically with the one they anticipate: a formal conclave of the King and his Court. Second, the conspiracy to kill the King, puzzling both as to the conspirators’ motivation and to the King's timely learning of it. Third, Henry's strategy whereby to make good his claim to be the rightful King of France. Fourth, assessing Henry as a man and as a king. Fifth, the Battle of Agincourt, with particular attention to the King's notorious order to kill the French prisoners.
I conclude the story of Henry, however, with an ‘Alternative Epilogue’ that is inspired by, but ranges beyond, the text of Shakespeare's play. It is the result of my accepting his tacit invitation to imagine what might have been.
The seemingly miraculous transformation of roguish Prince Hal into virtuous King Henry dominates the opening scene of a play that thereafter is dedicated primarily to depicting the splendid character of this warrior monarch and the glorious achievements of his reign. Since the idea of Henry's having contrived such a sensational metamorphosis is entirely Shakespeare's invention, we must assume that it has some special importance in the philosopher-poet's account, even though his Chorus silently passes over it to focus attention instead on another apparent miracle: the English victory at Agincourt, the first and most celebrated of the series of military successes Henry achieved in his attempt to impose his will upon France.
Prologue
- Leon Harold Craig
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Summary
In a good Poem, whether it be Epique, or Dramatique; as also in Sonnets, Epigrams, and other Pieces, both Judgement and Fancy are required: But the Fancy must be more eminent; because they please for the Extravagancy; but ought not to displease by Indiscretion.
In a good History, the Judgement must be eminent; because the goodnesse consisteth, in the Method, in the Truth, and in the Choyse of the actions that are most profitable to be known. Fancy has no place, but onely in adorning the stile.
—Hobbes, Leviathan, chap. 8, paras. 4–5The plays of Shakespeare's so-called second tetralogy, unlike those of the first, constitute a coherent whole in more than an historical sense. For despite their respective titles, they are unified by their underlying focus on a single individual of unique historical stature, whose entire political career is shaped by a problem fundamental to both politics and philosophy. The man and his problem is the spine supporting the limbs upon which the flesh of these four dramas is overlain. All the machinations, the battles, all the interwoven actions and reactions of all the actors, both high and low, derive a special significance from how they bear on the life story of England's most famous warrior king.
Each play does have its own integrity, of course, lent by its own set of themes and issues, and they are treated as such in the chapters which follow. Still, the fact remains that the tetralogy as a whole is mainly about the making of this almost legendary figure, as acknowledged in the coining of Henriad to identify collectively this quartet of dramas. Accordingly, how each play contributes to that end is my primary focus. As Shakespeare tells it, the life story of Henry V is shaped by the problem which from early youth haunted him: that of establishing his own legitimacy as King of England—a challenge which points beyond itself to the problem of political legitimacy per se. It arises in the context of a regime riddled with corruption, and ruled by a monarch who displays tyrannical inclinations, partly if not wholly because he presumes to rule by ‘divine right’.
An Alternative Epilogue: Imagining What Might Have Been
- Leon Harold Craig
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Summary
Though nothing can be immortall, which mortals make; yet, if men had the use of reason they pretend to, their Commonwealths might be secured, at least, from perishing by internall diseases. For by the nature of their Institution, they are designed to live, as long as Mankind, or as the Lawes of Nature, or as Justice it selfe, which gives them life. Therefore when they come to be dissolved, not by externall violence, but intestine disorder, the fault is not in men, as they are the Matter; but as they are the Makers, and orderers of them.
—Hobbes, Leviathan, chap. 29, para. 1Was Henry's attempt to conquer France the epitome of an extravagant, vainglorious, immoral, and ultimately futile ambition, as not a few of his modern critics claim? Or could he have succeeded in achieving what his invasion began: to make good his claim to be the rightful King of France as well as of England, and by uniting the two realms end the chronic conflict between them? Why not? A bold ambition, to be sure, and doubtless difficult to accomplish. But he had at least one factor in his favour: no part of France was a republic. For all of its provincial variety, it was a nation whose various provinces—‘all her almost kingly dukedoms’—were long accustomed to princely rule. And as Machiavelli teaches:
When cities or provinces are used to living under a prince, and his bloodline is eliminated—since on the one hand they are used to obeying, and on the other they do not have the old prince—they will not agree to make one from themselves and they do not know how to live free. So they are slower to take up arms, and a prince can gain them with greater ease and secure himself against them. But in republics there is greater life, greater hatred, more desire for revenge; the memory of their ancient liberty does not and cannot let them rest.
In judging the practicality of his enterprise, one should bear in mind that the ‘reverse’ had already been done.
Notes
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The Philosopher's English King
- Shakespeare's "Henriad" as Political Philosophy
- Leon Harold Craig
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This book on Shakespeare's Henriad studies the tetralogy as a work of political thought. Leon Craig, author of two previous volumes on Shakespeare's political thought, argues that the four plays present Shakespeare's teaching on the question of who has the right to rule, one of the perennial questions of political philosophy. Offering original interpretations of each of the plays, Craig discusses divine right in Richard II, political upheaval and disputed rule in Henry IV Parts 1 and 2, and just rule in Henry V. In addition Craig shows how the four plays constituteone narrative -- starting in Richard II and concluding in Henry V -- telling the story of the making of a legitimate ruler, England's most famous warrior king, Henry V. The Philosopher's English King provides a meticulous account of Shakespeare's philosophy of legitimate rule, contributing to the burgeoning scholarship on Shakespeare as a political thinker and showing yet again that the poet deserves to be placed among the ranks of such political philosophers as Plato, Machiavelli, and Hobbes.
Leon Craig is professor emeritus of political science at the University of Alberta.
Contributors
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Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. 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Leo Strauss and NietzscheLaurence Lampert Chicago: University of Chicago Press, 1996, pp. x, 229
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- Canadian Journal of Political Science/Revue canadienne de science politique / Volume 29 / Issue 3 / September 1996
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- 10 November 2009, pp. 605-608
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Philosopher's Digest - T. K. Seung: Plato Rediscovered: Human Value and Social Order (Lanham, MD: Rowman and Littlefield, 1996. Pp. xviii, 327. $64.00. $26.96, Paper.)
- Leon Harold Craig
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- The Review of Politics / Volume 59 / Issue 1 / Winter 1997
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- 05 August 2009, pp. 165-169
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