Toxic Masculinity in Henry V

Toxic masculinity motivates the characters and plot of Henry V by William Shakespeare. The play revolves around King Henry V and how he is a model leader of England during the Hundred Years War. Henry uses what a “true” man should be to inspire his soldiers when morale is low. Further, manlihood is seen in the characters or lack thereof. Characters that fail to follow the high expectations of masculinity are killed. Audience members recognize the importance of masculinity throughout the play, although the outcomes of those stereotypes are dangerous seen in the superficial friendships and suppression of authentic self

‘Thy Hunger-Starved Men’: Shakespeare’s Henry plays and the contemporary lot of the common soldier

Between 1589 and 1599 Shakespeare wrote six Henry plays, two on the reign of Henry IV, one on that of Henry V and three covering that of Henry VI. An important preoccupation, which runs through all of these plays, is the conditions in which common soldiers lived. The years leading up to the appearance of the first of the plays, 1 Henry VI, saw many outbreaks of discontentment on the part of the soldiers in Elizabeth I’s army. The mass recruitment of troops for Ireland in the 1590s increased such discontentment. This paper examines the contemporary lot of the common soldiers, and shows that Shakespeare’s interest in their situation was one that articulated pervasive, early modern anxieties

Continental women mystics and English readers

In 1406 Sir Henry later Lord Fitzhugh, trusted servant of King Henry IV, visited Vadstena, the Bridgettine monastery for men and women in Sweden. Vadstena was the mother-house of the Order of the Most Holy Saviour and had been founded by the controversial continental mystic St Bridget of Sweden, who had died in 1373 and had been canonized in Fitzhugh was so impressed by what he saw that he gave one of his manors near Cambridge as the future site for an English Bridgettine foundation. It was not until 1415 that Henry V, son of Henry IV, laid the foundation-stone of Syon Abbey at Twickenham in Middlesex and Fitzhugh's dream became a reality. But Fitzhugh's generous gesture is an indication of the degree of pious and aristocratic interest in the Swedish visionary and prophet in early fifteenth-century England

Volume 4, Number 8 - May 1924

Volume 4, Number 8 - May 1924. 40 pages including covers and advertisements. Contents Vonnery, Francis, Death Callahan, Albert J., John Francis Walsh Fratus, Frederick J., Arthur Ernest Cannon Halloran, John J., Joseph Bernard Walsh Keleher, James F., Prayer Barry, T. Henry, The Observer The Hotchpotch Editorials Holohan, Edward V., College Chronicle Mitchell, Joseph V., Alumni Lynch, James H., Exchange Bradley, Howard F., Athletic

“All would be royal”: The effacement of disunity in Shakespeare’s Henry V

This paper seizes on the unresolved moment of conflict between Henry and the common soldier Williams in Shakespeare's Henry V to demonstrate the ways in which traditional criticism has occluded dissent and co-opted the common soldier on behalf of a perceived empathy towards the king on the part of the author. A look at documented evidence shows that Shakespeare was articulating a common reality in this unresolved moment, one which dsiplays rather than effaces contemporary discontent with the lot of the ordinary soldier

Oregon Shakespeare Festival: Changing the Social Order

Daniel Pollack-Pelzner views the first four plays of the Oregon Shakespeare Festival\u27s 2018 season (Karen Zacarías\u27s Destiny of Desire, Kate Hamill\u27s adaptation of Sense and Sensibility, Othello, and Henry V) as expressions of social change

Manipulated Manipulation: The Political Origins and Implications of Shakespeare\u27s Henry V

Shakespeare’s Henry V has long been one of the most ambiguous adaptations of the story of England’s most celebrated historical figure: King Henry V. This adaptation raises the question of why Shakespeare presents Henry V in a way that not only differs significantly from the other accounts of Henry V’s life, but is also entirely ambiguous as to whether this presentation of Henry V’s character is optimistic or pessimistic in nature. In my thesis, I will argue that the ambiguities present in Henry V are actually a result of Shakespeare\u27s own stress over the political succession looming over England at the time of the play’s creation, and how those fears, questions, and concerns over leadership seep into his work

Volume 4, Number 6 - March 1924

Volume 4, Number 6 - March 1924. Contains 38 pages including covers and advertisements. Contents Keleher, James F., St. Thomas, Teacher of Teachers O\u27Reilly, J. C., A Vindication of the Fat Man Eldy, Francis, Query Ford, Earle F. and Lynch, James H., Not in the Act Keleher, James F., Lent Barry, T. Henry, The Observer The Hotchpotch Editorials Holohan, Edward V., College Chronicle Mitchell, Joseph V., Alumni Lynch, James H., Exchange Bradley, Howard F., Athletic

We with Merth Mowe Savely Synge: Henry V, Royal Musician

King Henry V of England, his battle prowess aside, was a well-acclaimed musician and musical patron. Thus, this thesis first examines the role of music in defining the reign of Henry, through his patronage of the Chapel Royal and its various composers, and his founding of Syon Abbey in 1415. Music was an essential component in defining the relationship between God and monarch, to which end, Henry both composed and promoted music. This royal creative, and political process is discernible in two extant Mass movements, which are preserved in the Old Hall Manuscript, and whose authorship is given as, Roy Henry. Earlier scholarly consensus identified Roy Henry as King Henry IV; current views suggest his son, Henry V. This thesis aligns Roy Henry with Henry V, by way of comparative and stylistic analysis of the two Mass movements within the context of fifteenth-century English sacred music

Ireland and Islam: Henry V and the 'War on terror'

Scholars have long been aware that the original performances of Shakespeare's Henry V (1599) are deeply implicated in debates surrounding an expensive, unpopular and politically sensitive foreign war; the Elizabethan military apparatus in Ireland, and in particular the mission of Robert Devereux, Second Earl of Essex, to quell the rebellion of Hugh O'Neill, Earl of Tyrone, loom behind the text, threatening at every moment to rupture the illusion of a glorious English king. Critics are also sensitive to the ways in which Shakespeare's play has been appropriated for propagandistic purposes in a number of later conflicts; most saliently for the purposes of this article, the British media's interpretation of the ongoing “war on terror” has frequently read the conflict explicitly through the language and imagery of Shakespeare's play. Perhaps the most startling way in which Henry V has been in operation can be seen in the way in which large sections of the media reach quickly for the “Irish” parallel, comparing the “Islamic terrorists” to the “Irish Republicans” of recent decades. One of the political implications of this is that Henry V's uneasy strategy of incorporating ethnic “others” is promoted as the preferred means of dealing with a perceived cultural threat, and (sometimes unintended) parallels are drawn between the early modern Irish and contemporary Islamic populations of the “British” isles