BOOK REVIEW: Henry VIII by William Shakespeare

King Henry VIIIKing Henry VIII by William Shakespeare
My rating: 5 of 5 stars

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This play takes place over a period of time, for want of a better measure, straddling the first two [of six] marriages of Henry VIII. It doesn’t reach the ill-fated end of Anne Boleyn, but rather finishes with the baptism of the girl child she birthed [Elizabeth, who will later be Queen.] [Of course, the failure to produce a male child was the downfall of Katherine of Aragon’s Queenship, so the birth of Elizabeth doesn’t bode well.]

In as much as a history has a theme, this one would be the conflict between the aristocracy and the clergy. This is first, and most extensively, seen through the rise and fall of Cardinal Wolsey, who wins the favor of the King in the Cardinal’s conflict with the Duke of Buckingham, but later Wolsey gets ousted after an aristocratic cabal diverts the Cardinal’s mail to the King. Henry discovers that Wolsey has recommended denial of an annulment of Henry’s marriage to Katherine, despite the fact that Wolsey was telling the King to his face that the marriage’s end had his endorsement. Later, we find aristocrats (the King’s Council) taking on the Archbishop of Canterbury, Cranmer, but Henry sides with the Archbishop as he once had with Wolsey.

The play’s major events are the execution of Buckingham, the divorce from Katherine, the marriage to Anne Boleyn, and the birth of Elizabeth.

This isn’t the most compelling of the Shakespearean histories, but it does have its intrigues. No doubt it would be a bolder play in the absence of the authoritarian nature of monarchy, but it’s still worth reading.

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BOOK REVIEW: Richard III by William Shakespeare

King Richard IIIKing Richard III by William Shakespeare
My rating: 5 of 5 stars

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Like Macbeth, this is the story of one man’s unchecked ambition bringing about his ruin. Richard wants to be king. The problem is that his eldest brother (Edward) is already king. The good news for Richard is that Edward is sick. The bad news is that Edward has two sons (and a daughter,) and there’s another elder brother (i.e. Clarence.) While Richard is willing to let nature take its course with Edward, he’ll have to get rid of everyone else between himself and the Crown.

Richard is different from Macbeth in that Richard’s psychopathy is more like that of Iago from “Othello.” Macbeth is conflicted and, though he keeps digging himself deeper, the burden of guilt leads to a descent into madness. Richard is anxious, but it’s not clear that he feels bad about what he’s done (i.e. having his brother’s boys killed, as well as his own brother, his wife, and a number of aristocrats.) When his own mother tells him she wishes she’d strangled him to death with his umbilical cord it rolls off him with the cool detachment one expects of a psychopath. That said, in the last act, he is visited by a series of ghosts. These visitations and his subsequent monologue might give indication that he’s realized how awful he is, but one could also argue that he’s just worried about the precarious state of his kingship.

The hammer drops when Richmond, a nephew of Henry VI, leads forces against Richard. In part, the aforementioned ghosts (which could be interpreted as bad dreams) psychologically do in Richard. (Though the ghosts also visit Richmond with the opposite message, a positive one.) But also, Richmond has proven his leadership skill by forging alliances with the French and the Scots, and turning Lord Stanley (despite Stanley having a son held hostage by Richard.)

While this play not only lacks the character nuance of Macbeth as well as The Scottish Play’s brilliant poetic language, it does have more great lines than the other “War of the Roses” plays (i.e. Henry VI, Pt. I – III.) [e.g. It opens with “Now is the winter of our discontent” and, of course, there’s “A horse! A horse! My kingdom for a horse!”]

This conclusion to the War of the Roses story is well worth reading.

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BOOK REVIEW: Henry VI, Part 3 by William Shakespeare

King Henry VI, Part 3King Henry VI, Part 3 by William Shakespeare
My rating: 5 of 5 stars

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Here we witness a tug-of-war for the British monarchy that plays out to a decisive conclusion (eventually.) It begins with Henry VI as king, but the Duke of York has gained the upper-hand. Henry makes a deal that, upon his death, succession will pass back to the Duke’s line, but not before. The Duke reluctantly agrees, but the deal makes everyone else furious. Margaret (Henry’s Queen) is upset because her son has lost his right to succession. The Duke’s sons are also displeased because they think their father should strike while the iron is hot, rather than risking that Henry’s strength and popularity will rise.

The Queen’s displeasure leads her and Clifford (enemy to the Duke, who killed Clifford’s father) to go on the offensive to reacquire the line of succession. They kill the Duke’s youngest son, a child, and then the Duke, himself. This would strengthen Henry’s position, but fortune doesn’t shine for long on anyone in this play, and soon the Duke’s sons capture Henry and Edward (the Duke’s eldest son) is crowned. But then Edward lusts after the first woman he meets as King, the widow Lady Grey, and being rebuffed in his plan to make Grey his “side piece,” he proposes to her. Unfortunately, Edward has already dispatched the Earl of Warwick to propose to the sister of the French King. This leads to the humiliation of Warwick (not to mention the French King’s sister,) and Warwick (with French troops) goes back and dethrones Edward. This, too, is short-lived. Edward consolidates support, captures Henry, and defeats Warwick. As the play ends it might seem stability has been achieved, but we know Edward’s brother, Richard, has ambitions.

While this one of Shakespeare’s earliest plays and it’s constrained by events, it’s worth a read. It has a lot to say about how arrogance, lust, and timidness can all precede a downfall.

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BOOK REVIEW: Henry VI, Part 2 by William Shakespeare

Henry VI, Part 2Henry VI, Part 2 by William Shakespeare
My rating: 5 of 5 stars

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Whereas the previous part of this trilogy was a war story largely set in France, this middle section is much about courtly intrigues and more local threats to the Crown. It does see the “War of the Roses” infighting between York and Somerset come to a head, as well as a successful plot by the new Queen and Suffolk (who might be making the beast with two backs) to get rid of the much beloved Gloucester (the King’s protector / advisor.) And there’s a brief but tumultuous rebellion led by a commoner who thinks himself kingly material, Jack Cade.

Despite the fact that the historical events of this play are among the latter half of those covered in Shakespeare’s histories – chronologically — it is believed that this is one of Shakespeare’s first (and, quite possibly, THE first.) Like other early Shakespearean works (e.g. “Titus Andronicus,”) it doesn’t have all the bells and whistles by way of beautiful language. That said, it’s loaded with tension and has elements one might recognize from latter works, such as the comedically capricious nature of crowds. (Shown when the people yo-yo between Cade’s rebellion and the aristocrats who argue for loyalty to the Crown.)

The possibility that this might be Shakespeare’s first may seem unlikely because it turned out to be “Part II.” However, one piece of supporting evidence is the play’s intense cliff-hanger. [Henry VI, Part 1 is comparatively self-contained, but this this part ends with the King being pursued by York’s forces — who’ve dominated in a skirmish against loyalist forces.]

This may be an early play, and – thus — not one of the Shakespeare’s most mellifluous works, but it’s engaging and definitely worth a read.

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BOOK REVIEW: Seven Shakespeares, Vol. 1 by Harold Sakuishi

Seven Shakespeares Vol. 1 (comiXology Originals)Seven Shakespeares Vol. 1 by Harold Sakuishi
My rating: 4 of 5 stars

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The title and premise of this manga-style historical fiction graphic novel are presumably influenced by Gilbert Slater’s 1931 work that proposed that William Shakespeare as poet / playwright is a myth and that, in actuality, seven different writers produced the canon attributed to Shakespeare. While there remains disagreement and speculation about precisely what was composed by Shakespeare – as opposed to either being heavily co-authored or exploiting his name recognition – I don’t believe this extreme expression of the idea is so popular anymore.

But it doesn’t really matter for the purpose of this story because Sakuishi’s work suggests some truly outlandish, if intriguing, origins of the Shakespeare canon. In the case of this first volume, it is an adorable young Chinese witch (for lack of a better term,) Li, who goes from learning English via crude a pointing-out-concrete-nouns approach to penning sonnets that will be considered some of the best poetry humanity has ever known, and she does so over a period of weeks.

The volume includes light supernatural elements – either that or superstitious people in conjunction with unseen and / or unbelievable activities. So, it’s a cross-genre work. Most of the story revolves around a Chinese community who feel beleaguered by the gods or fates, and who attempt to sacrifice Li to appease said deities.

I found the premise to be intriguing. The art was cleanly rendered in the manga style. The story didn’t feel quite as clean, with some events feeling random and inorganic. If you’re looking to get some lightly dramatized historical fiction, you’d probably feel this is a bit fanciful, but if you’re down for the story’s exaggerated nature, it’s a compelling tale.


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BOOK REVIEW: Henry VI, Part 1 by William Shakespeare

King Henry VI, Part 1King Henry VI, Part 1 by William Shakespeare
My rating: 5 of 5 stars

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Like some of the other histories, this one is not so much about the titular character (Henry VI) as it takes place during his reign, and, in this case, it’s the very beginning of young Henry VI’s rule. In fact, this play begins with Henry V’s funeral. Henry VI does play a role as the naïve, new ruler who has the childlike wisdom of one who can’t see why everybody is getting so upset about what seem like trifling matters (e.g. infighting) when more crucial problems are at hand (e.g. France in revolt.) This is best seen in the young King’s gentle rebuke of the aristocrats for the big deal they are making about the color of rose being worn – which includes Henry’s innocent wearing of a white rose to make a point. (The events leading up to the War of the Roses feature prominently in the story, i.e. the civil war between the House Plantagenet and the House York.)

All that being said, if one were to pick a protagonist for this play it would have to be the great military commander, Talbot (pitted against his French counterpart, Joan of Arc — referred to as Pucelle throughout the play.) Early in the play, Talbot is captured, and this throws the English into a panic because he’s considered the linchpin of their forces in France (and because England is in a fragile state with Henry VI being young and inexperienced.) Talbot’s release is negotiated (the French, perhaps, being dismissive of how crucial the English see Talbot as being.) This dismissiveness is later seen in an episode with the Countess of Auvergne. The Countess, surprised to find Talbot is not a giant – given his reputation, thinks she is about have him arrested. When asked how he obtained such an outsized reputation, Talbot calls for his men, who promptly make an overwhelming show of force, clarifying wherein his power lies and putting to rest the idea that her men can take him. Act IV sees the tragic end of Talbot and his son, who each try to get the other to leave a battlefield dominated by the French, but neither will do so and so they die together.

The reason the great Talbot gets outplayed is two-fold. First, Joan (Pucelle) convinces the Duke of Burgundy to change sides, which significantly changes the balance of forces. Second, the English infighting between Somerset and York plays out in Talbot being denied reinforcements. The tragedy of this being that Talbot is universally-beloved, and it’s through no fault of his own that he can’t get the backup he needs. He is lost due to the pissing contest of lesser men.

Act V shows us how a peace is brokered that hinges on an arranged marriage for the young Henry. This provides us a [kind of] story wrap-up, i.e. a moment of stability. However, it’s no surprise that there are more parts to come, because there is a tremendous amount of divisiveness yet to play out. There is the embryonic War of the Roses, and a related great deal of contention over the deal that was brokered to end the war in France. For one thing, at one point Henry was doubly betrothed, and there was dissention about which fiancé he should pursue. But even if there hadn’t been a second choice, there was still room for conflict over what was seen as a bad deal (no dowry to be paid from the Princess’s side and – in fact – the relinquishment of territories – a reverse dowry if you will.)

A lot of people consider this to be one of Shakespeare’s worst plays. (The insult is often not against Shakespeare as many also believe he only partially penned this play, as well as some of the other lesser-loved plays.) I must say, as Histories go, I found this one to be quite readable. (Of course, I didn’t despise “Titus Andronicus” either – though it is mega-bloody and perhaps not as nuanced a story as the later tragedies.) I think the Act IV tragedy and the political infighting made for some intense emotional resonance. In general, the histories are constrained by how interesting the events are rather than how creative the playwright can order them (though a number of the tragedies follow events – as they were known — fairly closely.)

Part of the complaint may have to do more with language than story, and from this perspective, I must say there are not a lot lines that leap out at one in the manner typical of Shakespeare.

At any rate, I wouldn’t necessarily dismiss this play based on its (relatively) diminished stature, lest one make the same mistake as the Countess.


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BOOK REVIEW: The Narrative Poems by William Shakespeare

The Narrative Poems (The Pelican Shakespeare)The Narrative Poems by William Shakespeare
My rating: 5 of 5 stars

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While William Shakespeare is overwhelmingly known as a playwright who also wrote a collection of sonnets, back in his day some of his poetic stories were quite well-received. This volume collects the five narrative poems that Shakespeare is believed to have authored (or partially authored.)

Venus and Adonis: This is one of the two long-form narrative poems of Shakespeare. It tells the tale of the goddess Venus’s obsession with Adonis, her many attempts to woo the hunky lad, and the tragedy that befalls him, breaking her heart. It’s written in six-line stanzas of iambic pentameter with a quatrain of alternating line rhymes and an end couplet of a third rhyme.

The Rape of Lucrece: This is the other long narrative poem of Shakespeare. Lucrece’s husband, Collatine, is off on campaign and brags about how perfect is his wife, Lucrece. The “gentleman” he is telling this to is Tarquin, and the high-praise of Lucrece sets the seed of obsession in Tarquin’s mind. When he then finds himself in Collatine’s neighborhood (with Collatine still off to war,) he pays Lucrece a visit and is invited to stay over. That night he breaks into her bedchambers and – after threatening to kill her and a random male servant whose corpse he’ll shove into bed with her – Tarquin rapes her. After mulling over her options, Lucrece calls for Collatine’s return and after getting the promise of Collantine and his fellow soldiers to have revenge for her, she tells them who raped her immediately before ending her own life by dagger.

It’s written in the rhyme royal seven-line stanzas of iambic pentameter made famous by Chaucer.

The Phoenix and the Turtle: This is a very different poem from the others. In terms of format, it abandons iambic pentameter in favor of shorter, punchier lines. Stylistically, it’s a bit more obscure and allegorical than most Shakespearean poetry.

The gist of the tale is the description of a funeral for the perfect couple. [I guess that an important thing to know is that “Turtle” is used as short for turtledove, and so it’s not a tale of bestial interspecies lovin’.] Besides the lines being shorter, the entire poem is short and sweet, ending with a philosophical lament about truth and beauty.

The Passionate Pilgrim: While we’re back to iambic pentameter (and mostly sonnets) this work is a departure other ways. First, rather than being a narrative poem proper, this is really a love poetry collection. Second, while the collection consists of twenty poems, Shakespeare is believed to have only written five of them (I, II, III, V, and XVI.) Of those, the first four are sonnets, and the last is an eighteen-line poem. Third, this is not new or exclusive material. The first two sonnets came to be included in the 154-sonnet collection of Shakespeare (138 and 144,) and the other verse is from “Love’s Labour’s Lost.”

A Lover’s Complaint: The weeping of a maiden attracts the attention of a passerby, who she tells her tale of woe, having been wooed by a young man who got his milk and high-tailed it before he was forced to buy the cow. Besides being a woman’s tale of woe, it also shares with “The Rape of Lucrece” the fact that it is written in rhyme royal. It’s much shorter than “The Rape of Lucrece.”

I would highly recommend poetry readers dig into these lesser know Shakespearean works.


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BOOK REVIEW: Henry V by William Shakespeare

Henry VHenry V by William Shakespeare
My rating: 5 of 5 stars

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In this, the final play of the Henriad, the new King Henry V is advised that France should be his to control. He’s not entirely sold, that is until the French King’s son — the Dauphin of France — sends King Henry a trunk of tennis balls as a poke at the King’s youth and past reputation for frivolity. This is a sore spot for Henry. The Dauphin’s complete contempt for Henry puts control of France at risk, much to the chagrin of the French King who urges the Dauphin to have some respect.

The confrontation comes to a head at Agincourt, a battle that is known as one of the great upsets in the history of warfare. English forces routed the French with a fraction of the troops, not to mention while lacking the home field advantage. In reality, the Agincourt victory was largely attributable to savvy positioning – i.e. a strategic chokepoint that didn’t allow the French to fully exploit their numeric superiority — plus the English longbow, which proved to be a devastating weapon for the battle at hand. In Shakespeare’s play, the victory is attributable to what is probably the best “rally the troops” address in the history of literature, the St. Crispin’s Day Speech.

Acts III and IV are where the real action take place, and – of the two – I’m partial to Act III. In the third act, Henry dons the cloak of a common man, and makes the rounds of the troops in disguise. [It’s reminiscent of the way the Duke in “Measure for Measure” disguises himself as a friar to get a feel for what’s really going in his dominion, but – in this case — it’s only for a short time. While morale is surprisingly good, given the degree to which the English are outnumbered, the disguised King does get in an argument with a skeptical soldier about whether the King would really not ransom himself. This will lead to a later comedic scene in which Henry collects on the bet, using a soldier to pretend to be his disguised alter ego, only revealing that it was – in fact – he, the King, after he’d had his fun. [And it was all in good fun, no “off with the head” moment transpired.] It’s at the end of Act III that Henry gives the rousing St. Crispin’s Day Speech.

Act IV is largely concerned with the battle and its aftermath, including the aforementioned collection of the bet. In Act V, Henry attempts to woo the French Princess Catharine. Henry is smitten by her, and their marriage is a good way to cement a bilateral relationship that can have some staying power – rather than falling back into an immediate war for the crown. The challenge is that Catharine speaks no English, and Henry speaks only a smattering of French. If I knew French, this act might have been hilarious, but – as I don’t – the gag goes on a little long. But eventually, they are promised to each other, and all is well.

This is probably my favorite Shakespearean History. The battle fought by a scrappy underdog force and the effective leadership of Henry make for an exciting tale of warfare. If you’re only going to read one of the histories, this wouldn’t be a bad one to pick up. I’d highly recommend this work.


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BOOK REVIEW: Henry IV, Part 2 William Shakespeare

Henry IV, Part 2Henry IV, Part 2 by William Shakespeare
My rating: 5 of 5 stars

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This continuation of the story of the reign of Henry IV, like the preceding part, is really the story of Prince Hal, the rapscallion who will be transformed into King Henry V. And transformation is the central theme of the play [as it often is in great stories.] In the previous part, we saw that Hal pulled it together to do what needed to be done while the rebellion raged, but here we see a bit of a relapse at the beginning as he returns to Eastcheap to hang out with friends. The Lord Chief Justice has a stern talking to Falstaff to discourage the incorrigible rascal from leading Hal down a destructive path, a talk that fails, causing a defensive Falstaff to take umbrage at the official’s words. However, by the end of the play we see how the weight of the crown forces Hal into what feels like a more permanent changing of ways. To borrow and misapply a Biblical quote: When he became a king, he put the ways of debauchery behind himself.

Prince Hal isn’t the only one who’s changing, Falstaff is also experiencing a transformation, but not so much one of growing up or growing more virtuous, but rather one of getting old. This is seen most vividly when Hal and his past conspirator, Poins, spy on Falstaff and Doll Tearsheet, a tavern girl. Hal breaks the espionage off, realizing there is no adventure to be had in the endeavor.

While Henry IV’s forces (including, prominently, Hal) won the day in the previous play, a peace settlement hasn’t been reached. With Hal out gallivanting and Henry IV having fallen ill, the task of concluding a peace agreement falls to Hal’s brother, Prince John. No-nonsense John receives the rebels’ grievances and says he will see to it that they are all rectified, and then (when their guard has fallen,) he tells them that there is still the matter of the rebellion for which they will have to be put to death. Which they are.

The play climaxes with Henry IV on his deathbed. Hal goes in to visit him, and mistakes the King’s feeble vital signs for death. Overwhelmed not only with grief, but also with an anger at the very crown for subjecting his father to more stress than the old man could bear, Hal takes the crown and walks off in dread contemplation. When the King revives and sees the crown is gone, he questions his men as to where it’s gone, and they say Hal must have it as he was sitting with Henry IV the last any of them knew. Henry IV is outraged that his son should care so much for the crown and so little for father that he’s not willing to wait until the old man’s death to abscond with the crown. When Hal is summoned, Henry IV tells his son as much via more extensive and eloquent comments. When the King completes his rebuke of Hal, Hal responds by saying that it’s not the case at all. Hal refutes that he is eager to be the King, and instead sees the crown as a kind of enemy that he is nonetheless fated to confront. The King is happy with Hal’s articulate explanation, and father and son are on good terms when Henry IV dies – this time for real.

The play reaches resolution when Henry V’s state of mind is revealed. This can be seen vis-à-vis two characters. First, the Lord Chief Justice is afraid Henry V may have an axe to grind about the senior official’s attempts, on behalf of Henry IV, to rein in Hal (including pressuring Falstaff.) Second, Falstaff takes it as a given that his position will be vastly elevated by his old drinking buddy’s rise to King. It turns out that both men are wrong in their assumptions. The newly matured Henry V is gracious to the Lord Chief Justice, and makes a show of turning Falstaff away.

This play is sometimes considered the penultimate of what has been called the Henriad, and so the story bleeds into the next, “Henry V.” It’s definitely a work that should be read by those interested in Shakespeare’s histories.


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BOOK REVIEW: Henry IV, Part 1 by William Shakespeare

King Henry IV, Part 1King Henry IV, Part 1 by William Shakespeare
My rating: 5 of 5 stars

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While it may be Henry the IV’s reign that is threatened during the course of this play, it’s the King’s son, Prince Hal, who plays the lead role. “Hal” goes by that name because the cast features an abundance of Henrys. Besides the King and Hal, Hal’s principal rival is also a Henry (though that one, Henry Percy, goes by “Hotspur” in the interest of avoiding Henry-based confusion. [Additionally, Hotspur’s dad is a Henry, as well.])

While one might expect that the play’s principal conflict derives from intense competition for use of the name “Henry,” readers of Richard II will note that King Richard II handed over the crown to Henry Bolingbroke (a.k.a. Henry IV) under contentious conditions. The fact that Henry Bolingbroke wasn’t the next in line of succession and that he forced his predecessor out doesn’t bode well for an undisputed claim to the throne, and Henry IV’s rule is faced with everything from passive aggressive opposition to outright armed rebellion. At the start of the play, we see an indication of this conflict in Hotspur’s unwillingness to hand over a number of prisoners that his forces had taken in battle. Hotspur’s family were allies to Henry against Richard II, and the King’s unwillingness either to meet some of the Percy family demands or to recognize their role in his current kingship has made them hostile towards Henry IV.

In the first half of the play, Prince Hal is shown to be a rascal who enjoys hanging out in the pub with the likes of Sir John Falstaff. (You may know the pudgy, cowardly, and fib-prone Falstaff from his role in “The Merry Wives of Windsor.”) While Hal tends to be the voice of reason among his pub-crawling friends, Falstaff provides a low bar against which to compare one’s virtue. One event offers us great insight into Hal’s character early in the play – not to mention great amusement. When Falstaff convinces a few friends to engage in a bit of banditry, robbing a courier to get some money for mead (or ale, or whatever they drank) Hal says he has a conflict. However, Hal and his friend Poins don their own highwaymen attire and rob Falstaff’s robbers. Later, Hal and Poins are greatly amused by hearing Falstaff tell the tale of how he and his three compatriots barely got out alive against fifty enemy bandits — the Prince knowing full well that it was just two men (Poins and he) who robbed the four, and with no violence, whatsoever. Hal gives the money back, showing he is not of the same ilk as Falstaff, but it’s telling that the Prince goes to all the trouble (and risk) of a counter-robbery just as a prank.

The second half of the play centers on a rebellion that is being carried out against the King, led by Hotspur and his father. As this is going on, Hal realizes he needs to step up his game and give up his mischievous ways. When a reconciled King Henry IV and Prince Hal approach for the Battle of Shrewsbury, both the King and the Prince make offers to the enemy that are intended to prevent the carnage of all-out war. Prince Hal’s offer is that he and Hotspur (who is not present at the time) engage in single combat (a duel) to avoid the tragedy of a battle of armies. In this offer, he speaks of Hotspur very graciously, while acknowledging his own faults. Neither offer is passed on to Hotspur by his elder, though he does learn of Hal’s proposition before the two come into combat in the melee of war (a fight that Hal wins – an important victory, given that Hal is a major character in the next two Shakespearean Histories, i.e. Henry IV, Part 2 and Henry V [Prince Hal will become Henry V.]) Hotspur’s father (i.e. the Earl of Northumberland and the one who met with Henry IV and Hal) didn’t pass on the offers because he was concerned that Hotspur might take the Prince up on his offer, and that the outcome would be devastating for the Percy family. This is an informative bit of duplicity that highlights Hotspur’s apparent virtue and the duplicity of his elders (i.e. the Earls of Northumberland and Worcester.)

Because Shakespeare’s Histories follow the flow of real-world events, some are more evocative as stories than others (because some of the Kings’ stories were more engaging than others.) There’s a general consensus that Henry IV, Part 1 is among the better historical plays. The arc of the story demonstrates clear character growth in Hal. In its comedic moments, the play is quite funny, but that doesn’t diminish the tension and tragedy of the story overall. It’s definitely worth a read. Even if you only plan to read a few of the historical plays, this should probably be among them.


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