Overview
Synopsis
After King Henry IV’s victory at the Battle of Shrewsbury, it would seem that his civil troubles are over. However, the rebels Northumberland, Mowbray, Hastings, and the Archbishop of York are not ready to let go of their grievances. At the same time, Henry IV is conflicted regarding his son, Prince Hal. The heir to the throne of England seems to be going back to his rowdy and errant ways with Sir John Falstaff and his pals of Eastcheap. But Prince Hal is truly reflective of his place in the monarchy, and the responsibilities coming upon him as his father’s health rapidly declines. Henry IV, Part Two is not only a meditation on the end of one king, but the celebration of the rise of the next Henry to wear the crown.
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Context
Less popular than its predecessor, Henry IV, Part Two was likely written between 1596 and 1599 (after the performances of Henry IV, Part One). It was not entered into the Stationer’s Company Register until 1600. That same year, it was published in quarto, but not printed again until the First Folio of 1623.
Like Shakespeare’s other history plays, Henry IV, Part Two is based on Raphael Holinshed’s Chronicles, which detail the history of the kings of England. It is the third play in the
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Induction
Rumour enters, “painted full of tongues.” He boasts that he is responsible for the wild stories and misinformation that plague the battlefield of Shrewsbury. King Henry IV’s forces were victorious against the rebels, but Rumour is spreading the news that Hotspur (the rebel leader) won and killed Prince Hal: “from Rumour’s tongues / They bring smooth comforts false, worse than / true wrongs.”
Act One
At Warkworth Castle, Lord Bardolph brings the news from Shrewsbury: Hotspur
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Character Portrayals
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Monologues
Scenes
Key Terms
An old English curse or mild oath meaning 'curse upon,' often found in Shakespearean texts.
A large format publication of plays, including the First Folio of Shakespeare, significant to theatre history.
An archaic or poetic word meaning 'from here' or 'as a result'; common in English Renaissance texts. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A dramatic genre that dramatizes historical events, especially English history, as seen in Shakespeare’s plays.
A term in classical medicine and drama referring to bodily fluids that affect temperament; also used to mean comedy. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
A servant or deceitful man, often used in Shakespearean plays as a term of insult or social rank. This archetype is common in comedic and villainous roles in English Renaissance drama, revealing class tensions and dramatic contrasts.
An archaic term meaning ‘tomorrow’ or ‘the next day,’ often found in English Renaissance texts to signify passage of time or poetic formality.
An introductory speech or scene that sets up the context or themes of a play. Prologues are commonly used in classical drama to prepare the audience for what follows.
To destroy or demolish, often used in dramatic texts to describe ruin or downfall. It adds gravitas to climactic or tragic scenes.
A speech delivered by a character alone on stage, revealing inner thoughts or emotions to the audience. Common in Shakespearean plays.
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Guide Written By:
Cindi Calhoun
Theatre teacher, director, writer, and seamstress