Henry Iv Part 1 Essay Research Paper free essay sample

Henry Iv: Part 1 Essay, Research Paper Explore the different father/son relationships in Henry IV, Part 1 ; demo how these contrasting relationships contribute to the dramas thoughts and dramatic tenseness. The chief thoughts of the drama are salvation, honor, what it required to be an ideal King, and the waywardness of young person. It is through contrasting of the different father/ boy relationships that we can see these thoughts taking signifier. The chief thoughts within the drama are all apparent within the relationship between the King and Prince but merely become clear when contrasted with the other similar relationships within the drama. The relationship between Hal and his male parent can be typified by the all excessively familiar tradition of striplings arising against authorization, which in this instance is his male parent, the King. Hal s turning away of all public duty, and his affinity with the Boar s Head Tavern in Eastcheap, causes great concern for the King. We will write a custom essay sample on Henry Iv Part 1 Essay Research Paper or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page This bitterness towards his male parent appears to stem from his Debt he had neer promised ( Act 1, Scene 1, Line 207 ) , his accident of birth go forthing him with the immense duty of being the hereafter King of England. The King believes he has done England a honorable title by deriving the throne from Richard II and is entirely cognizant that to keep order, a swayer and inheritor to the throne needs to be both responsible and honorable, something that Hal is judged by his male parent to miss, public violence and dishonor stain the forehead of my immature Harry ( Act 1, Scene 1, line 84 ) . The King even testifies to his cousin Westmorland that he would instead merchandise Hal for Hotspur, the boy of the Earl of Northumberland, confiding that Hotspur is the subject of honours lingua ( Act 1, Scene 1, line 80 ) , therefore puting both Hotspur and his boy in resistance with the purpose of startling Hal into action and set abouting his function as prince of the kingdom. Shakespeare uses the first meeting between the King and Hal to exemplify the subjects of honor and salvation. At the beginning of this Act 3 scene 2, Shakespeare clears the other characters from the phase, escalating the first meeting between the contrary boy and his dissatisfied male parent. The King Begins by demoing great letdown in Hal, inquiring whether he is the consequence of any displeasing service I have done to God ( Act 3, Scene 2, line 5 ) . King Henry is distressed by the consequence the people Hal surrounds himself with are holding on his deluxe image: Could such inordinate and low desires, Such hapless, such bare, such lewd, such average effort, such waste pleasances, ill-mannered society as there art matched withal # 8230 ; # 8230 ; # 8230 ; .. Accompany the illustriousness of thy blood ( Act 3, Scene 2, line 12 ) Transporting on with the same subject, the King voices his displeasure at Hal s behavior by saying that due to his absence from the council, thy topographic point in council 1000 hast impolitely lost, which by thy younger brother is supplied ( Act 3, Scene 2, line 32 ) , something which had neer happened before to Princes of my blood ( Act 3, Scene 2 line 35 ) . The King further underscoring the loss of regard from his people saying the psyche of every adult male Prophetically do forethink thy autumn ( Act 3, Scene 2, line 37 ) , and Hotspur hath more worthy involvement to the province than 1000, the shadow of sequence ( Act 3, Scene 2, line 98 ) . Henry so illustrates Hal s unequal claim for the throne through a comparing with Hotspur, explicating that Hotspur: leads ancient Godheads and reverend bishops on to bloody conflicts, and to bruised weaponries. What never-dying honor hath he got Against renowned Douglas! ( Act 3, Scene 2, line 104 ) Hal, vexed after hearing such derogative remarks is spurred into an emotional answer. He pleads to his male parent that he has misjudged him, for the histories of his behavior were genuinely overdone. Hal s passionate supplication confirms his trueness to his male parent and that he is willing to give up his Eastcheap friends and deliver his tarnished repute, by get the better ofing Hotspur in one-to-one combat: Do non believe it so. You shall non happen it so And God forgive them so much have swayed Your majesty s good ideas off from me. I will deliver all this on Percy s caput, # 8230 ; # 8230 ; # 8230 ; . And that shall be the twenty-four hours, whene er it lights, That this same kid of honor and fame, This gallant Hotspur, this all- praised Knight, And your unhoped Harry opportunity to run into ( Act 3, Scene 2, line 129 and 138 ) Its is Hal s reproof of his male parents remarks that helps animate him to take the concluding stairss towards his transmutation, and carry throughing another subject of the drama, salvation. Another subject from the relationship between Hal and King Henry is that of what is required to be an ideal King. It is the remarks he makes sing Hal s public character in comparing to his ain. The King uses the imagination of a fathead in June to demo that Prince Hal is heard, non regarded, seen, but with such eyes, as ill and blunted with community ( Scene 3, Act 2, line 76 ) , in contrast to how a King should be, like a comet I was wondered at ( Act 3, Scene 2, line 47 ) he had to maintain his public image fresh and new, my presence like a robe papal ( Scene 3, Act 2, line 55 ) . It is through the King s relationship with his other boy we can see his ideals in action. John of Lancaster, Hal s younger brother, appears in the tribunal scene in Act 1 Scene 1. Here we see the King turn toing his Godheads about the current rebellion and how it has postponed the pilgrims journey that had been planned. We see the King naming upon his Godheads in bend to talk, but we neer see any hint of a father/ boy relationship between John and King Henry, infact there is no communicating between the brace until Act 4 Scene 4, in the conflict between the Rebels and the King s ground forcess. The King, demoing concern for Hal, asks him to retreat thyself, thou bleedest excessively much and so with the formal reference he may of used in the King s Court, orders Lord John of Lancaster, travel you with him. A contrast with this attitude towards paternity can be seen between the relationship between Henry Percy and Hotspur. Where Henry will merely uncloak his true ego to his boies when it is most necessary, Henry Percy immediately shows more concern for his boy. Hotspur as his name may connote is really hot headed. In Act 1 Scene 3, Hotspur is called upon to support himself for non passing over all his captives to the King. When the King foliages Hotspur is seen to lose his calm and do clear his purpose of rebelliousness: And if the Satan semen and boom for them I will non direct them. I will after heterosexual And state him so, for I will ease my bosom, Albeit I make a jeopardy of my caput. His male parent rather concerned at his boy being Drunk with Choler asks him to remain and hesitate awhile ( Act 1, Scene 3, line 126 ) . This evidently shows a greater trade of understanding between the brace. Henry Percy clearly cognizant of his boies stormy nature efforts to pacify him, demoing a greater trade of familiarity and apprehension of his boy than the King and his boies, with whom he prefers to have on the mask of kingship. So it is within the relationship between Prince Hal and King Henry that the subjects of honor, salvation, and function of the male monarch are presented to us within the drama, and they do go clearer when really contrasted with the other similar relationships between King Henry and Lord John, and Harry Hotspu R and Henry Percy. Explore the different father/son relationships in Henry IV, Part 1 ; demo how these contrasting relationships contribute to the dramas thoughts and dramatic tenseness. The chief thoughts of the drama are salvation, honor, what it required to be an ideal King, and the waywardness of young person. It is through contrasting of the different father/ boy relationships that we can see these thoughts taking signifier. The chief thoughts within the drama are all apparent within the relationship between the King and Prince but merely become clear when contrasted with the other similar relationships within the drama. The relationship between Hal and his male parent can be typified by the all excessively familiar tradition of striplings arising against authorization, which in this instance is his male parent, the King. Hal s turning away of all public duty, and his affinity with the Boar s Head Tavern in Eastcheap, causes great concern for the King. This bitterness towards his male parent appears to stem from his Debt he had neer promised ( Act 1, Scene 1, Line 207 ) , his accident of birth go forthing him with the immense duty of being the hereafter King of England. The King believes he has done England a honorable title by deriving the throne from Richard II and is entirely cognizant that to keep order, a swayer and inheritor to the throne needs to be both responsible and honorable, something that Hal is judged by his male parent to miss, public violence and dishonor stain the forehead of my immature Harry ( Act 1, Scene 1, line 84 ) . The King even testifies to his cousin Westmorland that he wo uld instead merchandise Hal for Hotspur, the boy of the Earl of Northumberland, confiding that Hotspur is the subject of honours lingua ( Act 1, Scene 1, line 80 ) , therefore puting both Hotspur and his boy in resistance with the purpose of startling Hal into action and set abouting his function as prince of the kingdom. Shakespeare uses the first meeting between the King and Hal to exemplify the subjects of honor and salvation. At the beginning of this Act 3 scene 2, Shakespeare clears the other characters from the phase, escalating the first meeting between the contrary boy and his dissatisfied male parent. The King Begins by demoing great letdown in Hal, inquiring whether he is the consequence of any displeasing service I have done to God ( Act 3, Scene 2, line 5 ) . King Henry is distressed by the consequence the people Hal surrounds himself with are holding on his deluxe image: Could such inordinate and low desires, Such hapless, such bare, such lewd, such average effort, such waste pleasances, ill-mannered society as there art matched withal # 8230 ; # 8230 ; # 8230 ; .. Accompany the illustriousness of thy blood ( Act 3, Scene 2, line 12 ) Transporting on with the same subject, the King voices his displeasure at Hal s behavior by saying that due to his absence from the council, thy topographic point in council 1000 hast impolitely lost, which by thy younger brother is supplied ( Act 3, Scene 2, line 32 ) , something which had neer happened before to Princes of my blood ( Act 3, Scene 2 line 35 ) . The King further underscoring the loss of regard from his people saying the psyche of every adult male Prophetically do forethink thy autumn ( Act 3, Scene 2, line 37 ) , and Hotspur hath more worthy involvement to the province than 1000, the shadow of sequence ( Act 3, Scene 2, line 98 ) . Henry so illustrates Hal s unequal claim for the throne through a comparing with Hotspur, explicating that Hotspur: leads ancient Godheads and reverend bishops on to bloody conflicts, and to bruised weaponries. What never-dying honor hath he got Against renowned Douglas! ( Act 3, Scene 2, line 104 ) Hal, vexed after hearing such derogative remarks is spurred into an emotional answer. He pleads to his male parent that he has misjudged him, for the histories of his behavior were genuinely overdone. Hal s passionate supplication confirms his trueness to his male parent and that he is willing to give up his Eastcheap friends and deliver his tarnished repute, by get the better ofing Hotspur in one-to-one combat: Do non believe it so. You shall non happen it so And God forgive them so much have swayed Your majesty s good ideas off from me. I will deliver all this on Percy s caput, # 8230 ; # 8230 ; # 8230 ; . And that shall be the twenty-four hours, whene er it lights, That this same kid of honor and fame, This gallant Hotspur, this all- praised Knight, And your unhoped Harry opportunity to run into ( Act 3, Scene 2, line 129 and 138 ) Its is Hal s reproof of his male parents remarks that helps animate him to take the concluding stairss towards his transmutation, and carry throughing another subject of the drama, salvation. Another subject from the relationship between Hal and King Henry is that of what is required to be an ideal King. It is the remarks he makes sing Hal s public character in comparing to his ain. The King uses the imagination of a fathead in June to demo that Prince Hal is heard, non regarded, seen, but with such eyes, as ill and blunted with community ( Scene 3, Act 2, line 76 ) , in contrast to how a King should be, like a comet I was wondered at ( Act 3, Scene 2, line 47 ) he had to maintain his public image fresh and new, my presence like a robe papal ( Scene 3, Act 2, line 55 ) . It is through the King s relationship with his other boy we can see his ideals in action. John of Lancaster, Hal s younger brother, appears in the tribunal scene in Act 1 Scene 1. Here we see the King turn toing his Godheads about the current rebellion and how it has postponed the pilgrims journey that had been planned. We see the King naming upon his Godheads in bend to talk, but we neer see any hint of a father/ boy relationship between John and King Henry, infact there is no communicating between the brace until Act 4 Scene 4, in the conflict between the Rebels and the King s ground forcess. The King, demoing concern for Hal, asks him to retreat thyself, thou bleedest excessively much and so with the formal reference he may of used in the King s Court, orders Lord John of Lancaster, travel you with him. A contrast with this attitude towards paternity can be seen between the relationship between Henry Percy and Hotspur. Where Henry will merely uncloak his true ego to his boies when it is most necessary, Henry Percy immediately shows more concern for his boy. Hotspur as his name may connote is really hot headed. In Act 1 Scene 3, Hotspur is called upon to support himself for non passing over all his captives to the King. When the King foliages Hotspur is seen to lose his calm and do clear his purpose of rebelliousness: And if the Satan semen and boom for them I will non direct them. I will after heterosexual And state him so, for I will ease my bosom, Albeit I make a jeopardy of my caput. His male parent rather concerned at his boy being Drunk with Choler asks him to remain and hesitate awhile ( Act 1, Scene 3, line 126 ) . This evidently shows a greater trade of understanding between the brace. Henry Percy clearly cognizant of his boies stormy nature efforts to pacify him, demoing a greater trade of familiarity and apprehension of his boy than the King and his boies, with whom he prefers to have on the mask of kingship. So it is within the relationship between Prince Hal and King Henry that the subjects of honor, salvation, and function of the male monarch are presented to us within the drama, and they do go clearer when really contrasted with the other similar relationships between King Henry and Lord John, and Harry Hotspur and Henry Percy.

Biography of Mark Twain

Biography of Mark Twain Mark Twain, born Samuel Langhorne Clemens Nov. 30, 1835 in the small town of Florida, MO, and raised in Hannibal, became one of the greatest American authors of all time. Known for his sharp wit and pithy commentary on society, politics, and the human condition, his many essays and novels, including the American classic,The Adventures of Huckleberry Finn, are a testament to his intelligence and insight. Using humor and satire to soften the edges of his keen observations and critiques, he revealed in his writing some of the injustices and absurdities of society and human existence, his own included. He was a humorist, writer, publisher, entrepreneur, lecturer, iconic celebrity (who always wore white at his lectures), political satirist, and social progressive. He died on April 21, 1910 when Halley’s Comet was again visible in the night sky, as lore would have it, just as it had been when he was born 75 years earlier. Wryly and presciently, Twain had said, â€Å"I came in with Halleys Comet in 1835. It is coming again next year (1910), and I expect to go out with it. It will be the greatest disappointment of my life if I dont go out with Halleys Comet. The Almighty has said, no doubt: Now here are these two unaccountable freaks; they came in together, they must go out together.†   Twain died of a heart attack one day after the Comet appeared its brightest in 1910. A complex, idiosyncratic person, he never liked to be introduced by someone else when lecturing, preferring instead to introduce himself as he did when beginning the following lecture, â€Å"Our Fellow Savages of the Sandwich Islands† in 1866: â€Å"Ladies and gentlemen: The next lecture in this course will be delivered this evening, by Samuel L. Clemens, a gentleman whose high character and unimpeachable integrity are only equalled by his comeliness of person and grace of manner. And I am the man! I was obliged to excuse the chairman from introducing me, because he never compliments anybody and I knew I could do it just as well.† Twain was   a complicated mixture of southern boy and western ruffian striving to fit into elite Yankee culture. He wrote in his speech, Plymouth Rock and the Pilgrims,1881: â€Å"I am a border-ruffian from the State of Missouri. I am a Connecticut Yankee by adoption. In me, you have Missouri morals, Connecticut culture; this, gentlemen, is the combination which makes the perfect man.† Growing up in Hannibal, Missouri had a lasting influence on Twain, and working as a steamboat captain for several years before the Civil War was one of his greatest pleasures. While riding the steamboat he would observe the many passengers, learning much about their character and affect. His time working as a miner and a journalist in Nevada and California during the 1860s introduced him to the rough and tumble ways of the west, which is where, Feb. 3, 1863, he first used the pen name, Mark Twain, when writing one of his humorous essays for the Virginia City Territorial Enterprise in Nevada. Mark Twain was a riverboat term that means two fathoms, the point at which it is safe for the boat to navigate the waters. It seems that when Samuel Clemens adopted this pen name he also adopted another persona - a persona that represented the outspoken commoner, poking fun at the aristocrats in power, while Samuel Clemens, himself, strove to be one of them. Twain got his first big break as a writer in 1865 with an article about life in a mining camp, called Jim Smiley and His Jumping Frog, also called The Celebrated Jumping Frog of Calaveras County. It was very favorably received and printed in newspapers and magazines all over the country. From there he received other jobs, sent to Hawaii, and then to Europe and the Holy Land as a travel writer. Out of these travels he wrote the book, The Innocents Abroad, in 1869, which became a bestseller. His books and essays were generally so well-regarded that he started lecturing and promoting them, becoming popular both as a writer and a speaker. When he married Olivia Langdon in 1870, he married into a wealthy family from Elmira, New York and moved east to Buffalo, NY and then to Hartford, CT where he collaborated with the Hartford Courant Publisher to co-write The Gilded Age, a satirical novel about greed and corruption among the wealthy after the Civil War. Ironically, this was also the society to which he aspired and gained entry. But Twain had his share of losses, too - loss of fortune investing in failed inventions (and failing to invest in successful ones such as Alexander Graham Bell’s telephone), and the deaths of people he loved, such as his younger brother in a riverboat accident, for which he felt responsible, and several of his children and his beloved wife. Although Twain survived, thrived, and made a living out of humor, his humor was borne out of sorrow, a complicated view of life, an understanding of life’s contradictions, cruelties, and absurdities.   As he once said, â€Å"There is no laughter in heaven.†Ã‚   HUMOR Mark Twain’s style of humor was wry, pointed, memorable, and delivered in a slow drawl. Twain’s humor carried on the tradition of humor of the Southwest, consisting of tall tales, myths, and frontier sketches, informed by his experiences growing up in Hannibal, MO, as a steamboat pilot on the Mississippi River, and as a gold miner and journalist in Nevada and California. In 1863 Mark Twain attended in Nevada the lecture of Artemus Ward (pseudonym of Charles Farrar Browne,1834-1867), one of America’s best-known humorists of the 19th century. They became friends, and Twain learned much from him about how to make people laugh. Twain believed that how a story was told was what made it funny   - repetition, pauses, and an air of naivety. In his essay How to Tell a Story Twain says, â€Å"There are several kinds of stories, but only one difficult kind- the humorous. I will talk mainly about that one.† He describes what makes a story funny, and what distinguishes the American story from that of the English or French; namely that the American story is humorous, the English is comic, and the French is witty. He explains how they differ: â€Å"The humorous story depends for its effect upon the manner of the telling; the comic story and the witty story upon the matter. The humorous story may be spun out to great length, and may wander around as much as it pleases, and arrive nowhere in particular; but the comic and witty stories must be brief and end with a point. The humorous story bubbles gently along, the others burst. The humorous story is strictly a work of art, - high and delicate art, - and only an artist can tell it; but no art is necessary in telling the comic and the witty story; anybody can do it. The art of telling a humorous story - - understand, I mean by word of mouth, not print - was created in America, and has remained at home.† Other important characteristics of a good humorous story, according to Twain, include the following: A humorous story is told gravely, as though there is nothing funny about it.The story is told wanderingly and the point is â€Å"slurred.†A â€Å"studied remark† is made as if without even knowing it, â€Å"as if one were thinking aloud.†The pause: â€Å"The pause is an exceedingly important feature in any kind of story, and a frequently recurring feature, too. It is a dainty thing, and delicate, and also uncertain and treacherous; for it must be exactly the right lengthno more and no less- or it fails of its purpose and makes trouble. If the pause is too short the impressive point is passed, and the audience have had time to divine that a surprise is intended- and then you cant surprise them, of course.† Twain believed in telling a story in an understated way, almost as if he was letting his audience in on a secret. He cites a story, The Wounded Soldier, as an example and to explain the difference in the different manners of storytelling, explaining that:   Ã¢â‚¬Å"The American would conceal the fact that he even dimly suspects that there is anything funny about it†¦. the American tells it in a ‘rambling and disjointed’ fashion and pretends that he does not know that it is funny at all,† whereas â€Å"The European ‘tells you beforehand that it is one of the funniest things he has ever heard, then tells it with eager delight, and is the first person to laugh when he gets through.† †¦.†All of which,† Mark Twain sadly comments, â€Å"is very depressing, and makes one want to renounce joking and lead a better life.† Twain’s folksy, irreverent, understated style of humor, use of vernacular language, and seemingly forgetful rambling prose and strategic pauses drew his audience in, making them seem smarter than he. His intelligent satirical wit, impeccable timing, and ability to subtly poke fun at both himself and the elite made him accessible to a wide audience, and made him one of the most successful comedians of his time and one that has had a lasting influence on future comics and humorists. Humor was absolutely essential to Mark Twain, helping him navigate life just as he learned to navigate the Mississippi when a young man, reading the depths and nuances of the human condition like he learned to see the subtleties and complexities of the river beneath its surface. He learned to create humor out of confusion and absurdity, bringing laughter into the lives of others as well. He once said, â€Å"Against the assault of laughter nothing can stand.† MARK TWAIN PRIZE Twain was much admired during his lifetime and recognized as an American icon. A   prize created in his honor, The Mark Twain Prize for American Humor, the nation’s top comedy honor, has been given annually since 1998 to â€Å"people who have had an impact on American society in ways similar to the distinguished 19th century novelist and essayist best known as Mark Twain.† Previous recipients of the prize have included some of the most notable humorists of our time. The 2017 prizewinner is David Letterman, who according to Dave Itzkoff, New York Times writer, â€Å"Like Mark Twain †¦distinguished himself as a cockeyed, deadpan observer of American behavior and, later in life, for his prodigious and distinctive facial hair. Now the two satirists share a further connection.† One can only wonder what remarks Mark Twain would make today about our government, ourselves, and the absurdities of our world. But undoubtedly they would be insightful and humorous to help us â€Å"stand against the assault† and perhaps even give us pause. RESOURCES AND FURTHER READING Burns, Ken, Ken Burns Mark Twain Part I, https://www.youtube.com/watch?vVs, https://amphilsoc.org/sites/default/files/proceedings/150305.pdfMoss, Walter, Mark Twain’s Progressive and Prophetic Political Humor, http://hollywoodprogressive.com/mark-twain/The Mark Twain House and Museum, https://www.marktwainhouse.org/man/biography_main.php For Teachers: Learn More About Mark Twain, PBS, pbs.org/marktwain/learnmore/index.htmlLesson 1: Mark Twain and American Humor, National Endowment for the Humanities, https://edsitement.neh.gov/lesson-plan/mark-twain-and-american-humor#sect-introductionLesson Plan | Mark Twain and the Mark Twain Prize for American Humor, WGBH, PBS, https://mass.pbslearningmedia.org/resource/773460a8-d817-4fbd-9c1e-15656712348e/lesson-plan-mark-twain-and-the-mark-twain-prize-for-american-humor/#.WT2Y_DMfn-Y