It is common for young royals to rebel against their families and to seek parental figures among those who may appear to negatively influence their ideals and morals. Typically bored with expectations and tight rules, yet financially secure, the youngsters may surround themselves with vice and spend their time accompanied by characters who, at first glance, represent a lack of honor. In William Shakespeare’s Henry IV, Part 1, Prince Hal’s friendship with the thieving and lying Falstaff may appear detrimental to the Prince’s future. In fact, Emma Smith, a prominent contributor to the University of Oxford, calls Falstaff an “anti-hero” in her lecture that explores the perplexing question: “Why is Falstaff fat” (Henry VI, Part 1 podcast). Nevertheless, Falstaff represents a positive influence on Hal and teaches the Prince many valuable life lessons that the Prince otherwise may have never acquired. The old knight explains the lack of substance behind the words honor and sacrifice, warns Prince Hal about the dangers of ambition, and inspires the prince to celebrate life with Falstaff’s verbosity and innocent transgressions.
To begin with, Falstaff uncovers the hypocrisy of honor and sacrifice, two major forces behind war making decisions of the ruling class. In fact, Falstaff openly mocks the predilection for sacrifice promoted in sixteenth century England. He masterfully describes the uselessness of honor in human life and ridicules the sacrifice that men offer to God.
…but how if honour prick me off when I come on?
How then? Can honour set to a leg? No: or an
arm? No: or take away the grief of a wound?…
Honour is a mere scutcheon: and so ends my catechism. (5.1.80)
According to Falstaff, honor is merely a word that has no meaning. Honor neither influences the life of an individual nor brings any tangible fruits. Those who sacrifice their lives in the name of God are fighting for an idea that is vain. After organizing recruits for a battle and leading them against Hotspur’s rebels, Falstaff plays dead on the field of Shrewsbury. In fact, instead of arms, he brings to the battle a sack with a bottle. Falstaff does not regret his behavior as his only desire is to stay alive. The drunk giant chooses a life and has no interest in honor and sacrifice. Neither does he feels ashamed of lying and taking credit for the killing of the enemy.
To die is to be a
counterfeit, for he is but the counterfeit of a man who hath not the
life of a man: but to counterfeit dying, when a man thereby liveth,
is to be no counterfeit but the true and perfect image of life indeed. (5.4.89)
Falstaff feels no shame in pretending as long as he saves his own life. He believes that dying for an idea is useless. People do not owe God their death in mere sacrifice. War and sacrifice lead to violence which in turn, destroys life. Falstaff, on the other hand, chooses life with its pleasures and drinks to live.
Another important lesson that Falstaff imparts on Prince Hal warns about the dangers of ambition. Many of Shakespeare’s characters suffer from thirst for power that leads them towards madness, including Lady Macbeth, who loses her mind in an attempt to win over the throne for her husband. Recognizing ambition and desire to overpower others may propel a ruler toward tragedy, “Dost thou hear, Hal? never call a true piece of gold a counterfeit: / thou art essentially mad without seeming so” (2.4.45). Falstaff’s message is foreboding as madness usually stands behind power and ambition. The fat knight realizes that the future king might seek vanity and power just as many rulers before him. Upon noticing the body of Falstaff on the battlefield, Hal shows relief that his old mentor perished. His farewell is full of denigration as he promises, “Death hath not struck so fat a deer to-day, / Though many dearer, in this bloody fray. / Emboweled will I see thee by and by” (5.4.89). Hal’s words reveal the change in the royal offspring, who treats his mentor with lack of respect, calling him fat and promising to bury him. Vanity and thirst for power envelop the prince who attempts to abandon his previous friends who could become inconvenient in his current status.
Thus, when Hal transforms into King Henry V, and chooses ambition over his old friendships, Hal steps on the path of of violence and destruction. Deciding to invade France in the name of God and bring destruction and death to many, king Henry V rejects the ideals of his mentor Falstaff. A Christian king executes prisoners in the name of God, thirsty for power and gripped by ambition. According to Smith, Henry submits to the pathological violence with his uncontrollable murder of innocent victims (Henry V podcast). His ambition transforms him into a deplorable madman.
Furthermore, Falstaff represents the joy of life with both his obesity and verbosity. In the second scene, when Falstaff and Hal are together in the London apartment of the prince, they banter with sophisticated insults that characterize Falstaff’s speech and reveal his influence on the young prince.
Thou art so fat-witted, with drinking of old sack and
unbuttoning thee after supper and sleeping upon benches after
noon, that thou hat forgotten to demand that truly which thou
wouldst truly know. (1.2.10)
The tirade shows the profound influence of his mentor, Falstaff, who according to Harold Bloom, is an “ocean of language” (61). Not only does Falstaff teach the prince to speak eloquently but he models for him how to recover, producing what Bloom calls a “Falstaffian Sublime” (15).
Thou hast the most unsavory similes, and art indeed the most
comparative, rascalliest, sweet young prince. But, Hal, I prithee,
trouble me no more with vanity. I would to God thou and I knew
where a commodity of good names could be bought. (1.2.12)
Falstaff wittily reminds Hal about the purpose of life and the danger of vanity. He celebrates misdemeanors, but warns about arrogance and pride. Falstaff is truly fond of the young prince and offers parental care to the royal offspring, instructing him on the norms and behaviors for a better life.
Finally, Falstaff teaches Hal to enjoy life and its pleasures. Falstaff gives himself entirely to his desires and his unconstrained appetite for food and wine is evident in his enormous figure.
Yet, Falstaff’s obesity is another highlight that life should be enjoyed, not sacrificed. He is compared to a carnival, a joy that is impossible to contain.
A goodly portly man, i’faith, and a
Corpulent; of a cheerful look, a pleasing eye, and a
Most noble carriage, and, as I, think, his age some
Fifty, or by’r Lady, inclining to three score. (2.4.43-44)
Falstaff describes himself wittily, noting both his joy of life as well as his corpulence. He believes that he is a person with a good heart and excellent company who brings joy and cheer to his friends. In Smith’s lecture, the researcher suggests that Falstaff let his vices take over his life, proving that Falstaff is unable to contain his appetite (Henry IV, Part 1 podcast). Similar to a Mardi Gras, a carnival is full of simple, albeit vulgar entertainment, plethora of food and drink and misdemeanors. Yet, it brings joy and celebration to a dull life.
Thus, while some researchers may consider Falstaff an anti-hero, who leads Prince Hal away from his responsibilities and duties, the giant is a caring mentor, who shares with his friend wisdom of life. Falstaff, a glutton and a frequent visitor to taverns, preaches that life should be enjoyed to the fullest. He dispels the myth that sacrifice is a must and rejects the notion of violence. Moreover, he warns the prince about the dangers of vanity and pride that lead to violence and loss of mind. Falstaff, is not a counterfeit; he exemplifies his ideas and he stays true to his friends. Despite Falstaff’s warning, Hal abandons his mentor’s ideas and becomes a counterfeit, who brings destruction and violence in the name of the creator.