Recognition of the War Scenes in Henry V
In order to investigate the war scenes in Henry V, it was necessary to study all the play. This play was read by the writer many times. For the clearer and deeper understanding of it, the supervisor advised me to do form studies, semiotics, and ethnological studies as well as to study the history of theater and literary criticism as well as the analyses of the story of the play. Studying the above mentioned subjects has opened new horizons for the writer of this article: mythology, religious studies, theology as well as political sciences.
While studying these areas, the writer understood the similarities, harmony as well as notable differences among the European tales and myths and to an extent among the Egyptian as well as between the Roodani and Mithraism stories with the play mentioned. The play was read once more and the similarities, harmony as well as notable differences were written down.
In the research that follows the major and special characters of the play have been investigated in a positivistic as well as scientific way from the point of view of mythology, form and their roles in the story of the play.
In order to investigate the war scenes in Henry V, it was necessary to study all the play. This play was read by the writer many times. For the clearer and deeper understanding of it, the supervisor advised me to do form studies, semiotics, and ethnological studies as well as to study the history of theater and literary criticism as well as the analyses of the story of the play. Studying the above mentioned subjects has opened new horizons for the writer of this article: mythology, religious studies, theology as well as political sciences.
While studying these areas, the writer understood the similarities, harmony as well as notable differences among the European tales and myths and to an extent among the Egyptian as well as between the Roodani and Mithraism stories with the play mentioned. The play was read once more and the similarities, harmony as well as notable differences were written down.
In the research that follows the major and special characters of the play have been investigated in a positivistic as well as scientific way from the point of view of mythology, form and their roles in the story of the play.
Then during the research, the way that these characters took part in the war scenes, their similarities and differences as well as their harmonies are investigated with similar mythical characters in the scenes of war and contest both in the mythical stories as well as in the play mentioned.
The Variances of the Research:
Independent Variance: European Myths, The territory and the people of England
Dependant Variance: People and form of the play Henry V
Ameliorating Variances: Machiavelli Renaissance Thought and Shakespeare’s own Selection
Investigating the Existing Theories about History, Myths and Literature
Researchers like Chadwick Brothers say: “The history of any nation has been a period of heroism and the myths have come into being around them. Lord Raglan has also said: After 150 years every traditional and historical custom changes and comes out as a myth.
The myth writers of England used to draw mythical pictures of Elizabeth, Greek myths such as Astraeia (The god of Justice) Diana (the goddess of purity, hunting and month) and Pandora; quite similar to the myth in its change to history and the history can be changed to a myth. The origin and the source of the old and traditional rchsigue of Richard III, is the religious plays of the Middle Ages and the period after it; in it the mystic and secretive elements as well as the elements that talk about future as well as the dreams that were talking about the hidden events as well as predictions and ghosts.
The character of Richard has many aspects some of which are mythical and they are the results of myths and religion.
Richard plays the role Herode; he is the symbol of crime and corruption on the basis on the traditional ethics of the past. He is the enemy of peace and happiness, he is omen; he is the big blasphemous and a separated devil; the elements used in writing this play and in its formation which reminds us of the religious customs and reception; it shows the spirit of the work.
The Form studies of the Angels Story:
In the first book of the historical roots of the folk tales, Claude Levi Strauss considers his school structuralism and Vladimir Propp consider his style semiotics. In writing we usually make a mistake and use the terms interchangeably in mistake. In Levi Strauss’s own words structure is the recovering and categorization of terms, names and different forms of a myth, story or cult in similar works and then to find the similarities, harmonies as well as their oppositions. The outstanding example of this can be Sweet lips and the Twins in the Myth and Meaning of Strauss. But semiotics in Strauss’s words (quoting Propp is decreasing the names, people and forms to more concrete and more abstract terms; this means if we have two stories and in one of them the hero kills a dragon and in other story the hero kills a cow; on the basis of what I have understood from Strauss’s article in the historical roots of the fairy tales, Strauss does not see any similarity between these two stories but Propp consider them similar; Propp’s method is close to Le Redutionisme.
In somewhere else Strauss talks about the difference between Structuralism and semiotics: “semiotics is the linear and the superficial or concrete level of the tale and semiotics is the vertical or in depth and hidden study of the myths and stories. It is impossible to express ideas about the meaning of a myth unless the customs and the cults as well as the knowledge and the knowledge and beliefs of the people who have made it.
In the present research we have made use of Propp’s semiotics in investigating the plays even though I have made use of structuralism as well.
The war with a fish which devours the hero that is regarded as the first stage of dragon; previously the hero was a person who was once lauded and now the person who kills the devourer is the hero and then the others are killed and it is only the dragon that remains.
Propps isolated seven basic roles assumable by the characters, seven dramatis personae each of which corresponds to a particular sphere of action or set of functions:
1. the hero (seeker or victim),
2. the villain,
3. the princess (a sought-for person) and her father,
4. the dispatcher,
5. the donor,
6. the helper, and
7. the false hero.
The same character can play more than one role and the same role can be played by more than one character.
In Semantique structurale, Greimas, who was investigating discourse signification, refined Propp's notion of dramatis persona and developed an actantial model which involved six actants or basic roles and which has proved very influential: Subject (looking for the Object), Object (looked for by the Subject), Sender (of the Subject on its quest for the Object), Receiver (of the Object to be secured by the Subject), Helper (of the Subject), and Opponent (of the Subject). One actant can be represented by several different actors and several actants can be represented by one and the same actor. In an adventure story, for example, the protagonist may have several enemies, all of whom function as Opponent; and in a simple love story, the boy may function as both Subject and Receiver while the girl functions as both Object and Sender. Moreover, not only human actors but also animals, things, and concepts can fulfill the roles described by the actantial model.
Like Propp, Allan Sourion presented a different form of calculus of the roles; he believes that the analyzed texts can be reduced and instead of seven actants he specified 6 roles and dubbed them functions. He further insists that this paradigm is valid for all periods and for all genres and he has given astronomical names to these functions and has made use of the given names for the rewriting of this dramatic calculus.
1 . Lion or the force of the drama in which the major character or the protagonist of Propp is centralized or focused
2 . Sun or the agent of benevolence and value which the hero seeks such as (crown or the bench, freedom, Holy Grail and . . . . . . . .
3 . The land or the receiver of the sun which the hero tries to get or in another words it is the final goal or the end destination of the receiver of the sun whom the hero wants the sun for; for example the hero seeks freedom for his country.
4 . Bahram or the competitor: (Antagonist or an obstacle on the way of the hero to reach his goal)
5 . The arbiter: whose role is to provide benevolence for the lion or Bahram. This role might be played by the followings: God, goddesses and the ruler as well as . . . . . . . .
6 . Month or helper whose role is to strengthen the other five cases and has the role of catalyzing agent
On the basis of Sorio’s ideas the adaptation of Macbeth would be as follow:
1. Lion – hero – Macbeth
2. The benevolence that is sought is the crown and the throne of Scotland
3. The potential receiver of this benevolence is Macbeth himself
4. The creator of the obstacle in the way of the major character is the King
5. Fortune that is predicated in what the fortune tellers have foretold. Good News is given to Macbeth.
6. Lady Macbeth helps Macbeth.
Professor Rodent, in his book called “The Heroism of Wine Baghoha”?, a native Northern American tribe, has specified four periods in the course of the historical changes of the heroes from one another:
1. The deceiver (Rabbit – Fox ), the animal character does evil deeds and follows his every whim including his sensations and passions as well as corruption but thereafter he moves towards becoming a fully fledged character.
2. The Hound is the creator of the culture who can also change but still acts on the basis of his instincts and passions but he has become a little better than he used to be.
3. Red Horn, an archaic archetype of heroism in which the hero come successfully out of some tests such as riding and war and his supporter, the raid bird would compensate for the possible weaknesses and thereby he comes close to the world of the humans.
4. The Twins or the sons of the sun; they are the two faces of the human being: A. Flesh: Meat, body, passion and B. Stump: Root, origin, Body and Flesh is ameliorate and mild and without innovation while stump is dynamic and is ready to revolt; the overridden of the flesh is revolt. Stump is active and does great jobs. There is no devil in the heavens and earth that might be equal to them; in the period of the twins and the death of the hero as a person who might be very proud and too prejudice.
The character of the deceiver is completely understood in the character of the Gloucester; the hound is a little bit similar to Macbeth; the red horn is close to Henry V and Stump and Flesh reminds us of Macbeth and Lady Macbeth.
Now for more familiarity of the readers with the similar structures or to study the similarities of Henry with the war scenes I have hereby mention a list of it.
The hero is making himself ready to depart Henry V, Actors and the generals and soldiers as well as the bishops, the war = in Henry V the war is with the fish as the beginning of the war with the dragon = the conquer of Harlfor before the final defeat of France, the bride = the daughter of the French King, The Old: the king of France and the Duke of York, the false Hero = Duphin, daughter of the King and King of France
The characters of the fairy tales might also be found in the other stories but these stories are out of the norms of the fairy tales such as the stories of Gooneh, Anderson and Brentano.
Propp believed that he could separate the fairy tales from the other stories but I am now investigating the other stories, thoughts and ideas about the formation of the other fairy tales.
Marina Warner: Archetype Scholar: Shakespeare offers a model of the process of archetype study in practice but he makes use of the essence of the myths from different sources; he also uses the Celtic Fairly tales as well as the original tales of the sailors as well as the Mediterranean as well as classic myths and the archetypes. With limited framing of these elements, he created different and various as well as multi – language myths; these myths have in turn changed with the newer myths related to England of the time of Henry V and Richard III as well as the beginning of the Flood Emperor. One of the happiness of the Renaissance artists was to place the Christian and the pagan elements besides each other. Ted Hughes says:
Religious archetypes form the themes of the structures of all Shakespeare’s plays from All Is Well That Ends Well to the Tempest.
Archetypes:
Freud divides the human unconscious in to two major layers:
1. The unconscious or the hidden and beneath layer of the human psyche which is like Iceberg’s tip of which 95 percent in under water and is out of watch.
2. The Conscious Layer
Yung’s division is more precise and real as well as applicable:
1. Communal or everlasting psychological residue
2. Personal unconscious
3. Conscious mind
Based on what Yung has said the Communal or everlasting psychological residue is like the genetic characteristics that are transferred through Chromosome; it is also transferred from one generation to other generations; the archetypes do not appear consciously and are not transferred through objective ways and their being found on what human beings made can not be consciously made; the artists as well as the writers make use of them unconsciously.
Specifying and Defining the Society and the Statistical Community
The Land and the People of England
There is a vast expanse of time before the Norman Conquest in 1066, from which fragments of literary texts remain, although these fragments make quite a substantial body of work. If we consider that the same expanse of time has passed between Shakespeare’s time and now as passed between the earliest extant text and 1066, we can begin to imagine just how much literary expression there must have been. But these centuries remain largely dark to us, apart from a few illuminating flashes and fragments, since almost all of it was never written down, and since most of what was preserved in writing was destroyed later, particularly during the 1530s.
Britain has always been a hospitable place; Stonehenge was built about 4000 years ago and it was used in the religious ceremonies of the Britons; Britons are people of a tribe from the name of whom the present Britain has come from.
Isadora says: The name Britons comes from Bruti meaning fool and it is called Britons because they are really foolish people; although Henry hired a famous and very adept person to connect him and his fore fathers to Kadoladar of the Troy.
In 55 B . C . the Romans passed Munch Sea and defeated England and ruled England until 443. Britons were Romanized and used to watch the Roman Plays and as soon as the Emperor of Rome Accepted Christianity Britain became Christianized. Of course there were some Britons in Wales and Cornwall who preserved their customs and traditions away from being observed the Roman soldiers.
Then the violent German Goths attacked Rome in 3 and 4 to Rome and the Celts attacked the western part of England from Ireland. The Scots started to attack Britain from the north and the Saxons were ready to attack England from the east.
As time passed by and houses as well as the English settlements were set side by side with Saxon parts and each group got some information from the other group; The Saxons were harsh and impolite people; they were full of energy and enmity; in addition they used to be men of sea and capable sailors; the Britons who were housed in Britain were more civilized and artistic in comparison with the Saxons but they were a bit angry people; they had little patience in comparison to their conquerors.
The opposition of the culture and wild actions can be understood in its clearest form in Henry V.
In 850 the attack started again; this time the Norwegian and Danish sailors attacked the farmers of England.
The majority of the southern and eastern parts of England as well as London went under control of the Danish; if there had not been the wisdom of a man, England would have been one of the Scandinavian countries.
This man was King Alfred (the ruler of the west Saxon). As he was defeated in land he withdrew towards the Jungles and hid among the farmers; he formed the first English Navy force and accordingly defeated the Danish.
Until one thousand years later the English people did not forget the lesson that Alfred taught them and it was the fact that Britain has to defend itself in the sea.
Even at the time of the Feudal it was not possible for the people to have personal freedom; English Feudalism was never as strict as that France; in 1086 the two cultures of England and France were completely different from one another.
These differences are very obvious in the war scenes of Henry V. For the upper class of France it is the safe preservation of the honor and value of their feudalism and nationalism in the war scenes that is important. While the great men of the English Army especially Henry V were emphasizing on the unity of the people with the King; the very interesting technique that Shakespeare has used in Henry V is that he had shown the poor people of England in his play but he did not do so with the French people; the only person that has a dialogue in the play and does not belong to the upper class is a French soldier in scene IV of Act IV. He creates a comic scene by the use of English and French Soldier’s dialogue.
The Yorkshire herdsman understands the language of a Cornwall person with a great difficulty; the people from Liverpool and Scotland and Ireland do not understand what each says and even the pronunciation of the name of the cities are different in what they say.
This is best seen in Henry V in its fullest form. When Colonel Flonen disputes with Colonel Maurice, they interpret each other’s speech insult and critical of the other. Hereby a comic scene is created
Henry V Act III scene II
Description of Data: European Archetypes
Among the Celtic myths there is a an archetype called Kohalen; according to the ideas of the writer the structure of the characters of this play are the background that has helped Shakespeare in writing Macbeth, Richard II and even Henry V now here are the functions of the Kohalen Functions on the basis of the book of the World Myths that are drawn from p . p . 469 – 472:
1. One of the members of a family absents himself from home {absentation) and An interdiction is addressed to the hero {interdiction).
2. The interdiction is violated {violation). The villain makes an attempt at reconnaissance {reconnaissance).
3. The villain receives information about his victim {delivery).The villain attempts to deceive his victim in order to take possession of him or his belongings {trickery).
4. The victim submits to deception and thereby unwittingly helps his enemy {complicity). The villain causes harm or injury to a member of a family {villainy).
5. One member of a family either lacks something or desires to have something {lack). Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched {mediation, the connective incident).
6. The seeker agrees to or decides upon counteraction {beginning counteraction).The hero leaves home {departure).
7. The hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or a helper {the first function of the donor). The hero reacts to the actions of the future donor {the hero's reaction).
8. The hero acquires the use of a magical agent {provision or receipt of a magical agent). The hero is transferred, delivered, or led to the whereabouts of an object of search (spatial transference between two kingdoms, guidance).
9. The hero and the villain join in direct combat (struggle). The hero is branded (branding, marking).
10. The villain is defeated (victory).
11. The initial misfortune or lack is liquidated (liquidation of misfortune or lack). The hero returns (return).
12. The hero is pursued (pursuit, chase). Rescue of the hero from pursuit (rescue).
13. The hero, unrecognized, arrives home or in another country (unrecognized arrival). A false hero presents unfounded claims (unfounded claims).
14. A difficult task is proposed to the hero (difficult task). The task is resolved (solution).
15. The hero is recognized (recognition).The false hero or villain is exposed (exposure).
16. The hero is given a new appearance (transfiguration). The villain is punished (punishment).
17. The hero is married and ascends the throne (wedding).
The Symbols, Beliefs as well as Ariaee Customs in Europe and Britain:
George Damsel writes:
Among the Indian and European people from South Baltic and from the North Sea to Iran and India speak Sanskrit, Iranian, Greek, Latin and German as well as Celtic and . . . . . . There are complete similarities in their world view on three ideological concepts which are reflected in the myths.
In King Arthur story there are some mystic things that are kept in the place of Arthur; saber and a dart from which blood is falling, the holy Grail, and on a plate there are some pieces of meat these are the symbols of war, kingship and the spirituality as well as domesticity of Arthur who will sit on the throne after three tests. Taking the saber from the stone (is the sign of war) and giving a wise and true answer (the duty of king and his faithfulness) and the just distribution of wealth.
In tenth C. in Torah the structure of the three part of India and Europe was discovered: Sam and Yafth, the symbol of the clergymen and the fighters as well as the laziness of the first class, the kings and the courtiers, war (the symbol of lack and corruption in the second class, warriors) and Famine (the overturned symbol of the third class, the farmers and the workers). According to Damsel the Celts are the preservers and the safe keepers of the Indian and the European Christianity; in a three vol. book Mythe et Epopee the three special task of India and Europe are mentioned in the Indian, Iranian, Greek as well as Roman, Scandinavian and Celtic and thereby proves his hypothesis.
Mehr Cult:
Many of the Mehr places in ancient Rome, Germany and England have had the highest number of mehr places; he is a person who is born on 25th of December after the birth of the Christ; his father in some narratives is the father of Sun who is brought up with a cow in his childhood and he is busy with playing with cows and in his youth he is busy with hunting then a crow brings a message from God to sacrifice the Cow.
Then Mehr cuts the head of the cow and makes a holy wine out of the meat and the blood of the cow that is served with the god of sun in the last supper; the god of sun sends s wheel of fire and mehr gets in it and transcends towards the sun.
In the cult of Mehr Coronus, the god of time, is shown to be bi – sexual whose head is like that of the human beings and his body is that of the human beings; a dragon surrounds his body; the lion in the cult of mehr is in most of the times a symbol of mehr himself and the dragon is the symbol fo Coronus Zorvan.
The prayers of the Mehr used not to differentiate a lot between Coronus and Mehr; they used to consider him as the god of opportunity and time and war and victory and justice as well as pregnant and the drunkards as well as the light and arbiter.
Mehrs used to have seven layers:
1 . Crow (messenger): he wears the mask of a crow and he was not still considered a member of the mehr group but he was able to see the cults and was not allowed to take part. The use of the mask was to let him have the opportunity of remaining invisible and can get out.
2 .Wife In a symbolic marriage ceremony she become the wife of mehr and signs the treaty of loyalty
3 . They used to kill the soldier symbolically and turn him in to pieces; it was a symbol that showed he is able to take his head for granted for the sake of Mehr.
4 . Lion: He used to wear the mask of a Lion and its symbol was fire and honey
5 . Perese: during a ceremony he achieves the position of a perese
6. the messenger of sun: he used to become the confidante of the old man and possibly in the religious ceremonies he played the role of the god of the sun.
7 . Pater: is their leader and guide as well as their oldest person and had complete authority over the lives of the prayers of Mehr. His advices should have been performed and they should not be taken in to questions; the old person usually used to play the role of the god and he used to kill a cow and the holy wine was made at his order from the meat and the blood of this cow and they used to distribute it.
Shakespeare and Machiavelli:
The authorities of the church at first had accepted the King and then in 1557 placed it among the prohibited books; the book of the sermons and the book of king were not translated in to English until 1636 and 1640 respectively. The knowledge of the English people about Machiavelli is originated from a book that was written by an author named Jeantieh and in French; the title of the book was Machiavelli; Shakespeare, Webster, Ford and Ben Johnson were the adherent of the ideas of Machiavelli and were enthusiastic to reflect his ideas in their works.
Henry Sohami says:
Inclination towards Machiavelli, political Expediency, Ambition as well as Feudal Revenge and tribal disputes in different works are clearly seen in the works of Shakespeare without supporting any side of the clashes.
The King has had to learn both the methods of the fox as well as that of the Lion because the lion can not escape the traps and the fox can not also escape the hands of the powerful fighters; for this reason one has to be a fox to understand the traps and to be a lion to disperse the wolves.
Investigating the War Scenes of Henry V:
Epic has a notable place in the structure of Henry V; epic expresses a symbolic critical point in the life of a nation who through an adventurous fight understands his identity, manner and its fortune; George Luckacs says:
The political data for the poet, in its direct form, are quantitatively endless and dispersed and are not to be supposed without epical means in a truthful way.
Act I:
A House : Chorus , hero , The Place and the location of the play.
Scene 1 : (a hall in the palace) 1 . The description of weakening of the heavenly position 2 . description of the absence of the hero and his death and final resurrection 3 . wise description of the hero to the heavenly forces of the scenes
The second scene : the palace of the king: 1 . Discussion over the unlawfulness of the false hero (the king of France ) , 2 . The promise of the help on the part of the heavenly heroes 3 . Mourning sessions of the heavenly forces 4 . Being ready for going on a trip 5 . The message of the false hero to the hero , 6 . The message of the hero to the false hero 7 . The mourning of the hero
Act II:
The Hall , prediction of the future , scene 1 : A street in London 1 . Description of the helpers of the heroes 2 . reunion and the unity of the helpers of the hero 3 . being ready to go on a trip
Scene II: Southampton, the room of the Council) 1 . The hero escapes from a threat (treason) that is going to endanger him 2 . He kills those who are threatening him 3 . The readiness of the hero to go on a trip 4 . the mourning of the hero . Scene III (London in front of a Bar) 1 . The readiness of the hero to go on a trip 2 .the mourning of the false hero 3 . Cursing the hero 4 . The message of the hero to the False hero 5 . The mourning sessions of the hero companion
Act III:
A hall and predicting the future: Scene 1 : (France in front of Harfloor Gate) 1 . The mourning of the hero for the fish 2 . Fighting with the fish as the beginning if fighting with the dragon (false hero)
Scene II: In front of the Harfloor gate) 1 . the afraid helpers of the hero 2 .the brave helpers of the hero 3 . the difference among the helpers of the hero
Scene 4 : (Ravan, The Palace of the King) : the readiness of the daughter taken in to prison by the dragon for the coming of the hero
Scene 5 : (Roen a hall in the palace): 1 . the report on the description of the war 2 . the weakening of the helpers of the false hero 3 .the mourning of the helpers of the false hero
Scene 6 : The camp of the English in Packard 1 . Description (report of the war) 2 . the appearance of difference among the helpers of the hero 3 . the assassination of the evil helpers of the hero 4 . the suggestion of the false hero to the hero to surrender 5 . the mourning of the hero
Scene 7 . (the camp of the French near Ejin Court) The mourning of the helpers of the false hero . . . . .
Act IV
The Hall 1 . description of the war 2 . the signs of evil (murmur, the darkness of anger, the victims of the evil night; it behaves like an ugly and dirty magician (scene 1 ): (the Camp of the English Solders in Ejin Court) 1 . the readiness of the hero to fight 2 . the readiness of the helpers of the hero to fight 3 . gaining information on the helpers of the hero by the hero himself 4 . the severe dependence of the helpers of the hero on the hero 5 . feeling responsible on the part of the hero with regard to his helpers 6 . the feeling of dissatisfaction of the hero with his material belonging 7 . the humble state of the hero despite his high position 7 . the movement of the hero toward the war arena . . . . .
Scene II: (the camp of the French) : The mourning of the false hero and his helpers 2 . Their readiness for fighting 3 . Moving towards the war arena
Scene III: (the Camp of the English Soldiers) The readiness of the hero’s helpers for the war 2 . the mourning of the hero in face of his helpers 3 . the last message of the false hero the hero to surrender and the negative answer of the hero 5 . the mourning of the hero against the messenger of the false hero 5 . the mourning of the hero in the face of the messenger of the false hero 6 . the movement of the hero and his helpers towards the war arena
Scene 4 : the war field 1 . the weakest supporter of the hero has taken hold of a helper of the false hero 2 . the helper of the false hero pays money to save his life . . . . .
Scene 5 : another part of the war arena 1 . the complaint of the helper of the false hero about the fact that defeat is too close 2 . the decision of the helpers of the hero to go to the war arena again and to become victorious
Scene 6 : (another part of the war arena): The victory of the hero is close 2 . some of the helpers of the hero are killed 3 . the helpers of the false hero attack for the second time
Scene 7: (another part of the war arena) : 1 . the description of the immanent victory of the hero in near future 2 .comparing the hero with an old hero 3 . the leading of the helpers of the hero by the hero in the war arena 4 . the False hero has accepted his defeat and announces his defeat to the real hero 5 . the hero calls his helpers to be re – arranged . . . . . .
Scene 8: (in front of the act of King Henry) 1 . the little differences of the helpers of the hero 2 . getting rid of these differences at the order and suggestion of the hero. 3 .announcing the names of the names of those who have been killed including the son of the false hero 4 . Thanking of the heavenly forces on the part of the hero . . . . .
Act 5:
Scene 1 : (the camp of the English soldiers ) the happiness and joking of the helpers of the hero among each other
Scene II: 1 . the entrance of the hero to the palace of the false hero 2 . Welcoming the hero on the part of the family and relatives of the false hero 3 . Asking hero for peace and immunity on the part of the relatives and supporters f the false hero 4 . Announcing the elements that the hero wants to give immunity to them 5 . Announcing the love of the hero to the daughter of the false hero (such as the girl who is in the prison of the dragon) 6 . Acceptance of the love of the hero on the part of the daughter of the false hero 7 . Acceptance of the peace treaty elements on the part of the false hero 8 . the agreement of the false hero on the marriage of these two 9 . The pray of the helpers of the hero and those of the false hero for the marriage of these two as well as for the peace that is coming to settle 10 . Readiness of the hero for marriage . . . . .
Conclusion: 1 . Predicting the future 2 .the death of the hero 3 . Peace is no more dominant 4 . Domination of disorder on the country of the hero
Conclusion:
1 . in Henry V the majority of the scenes are dedicated to war because they show the war more precisely; it also deals with the paved distances that are passed by the troops.
2 . If we put aide the un – serious scenes and the details of the war then we will have a national or epical propaganda that would never have achieved the world status that is has now. Shakespeare did not choose the best and the easiest way rather he dealt with the issues of the war through his own creativity; dealing with different accents of Floen, Mc Maurice and Jimmy also show Shakespeare’s extensive look at different groups of the people as well as it shows different dimensions of the war. . . . . .
3 . Gloucester: War is a place of differences; the commander gives order and follows the military and political goals of the war; the soldier is just a part of the organic machine of the army and his failure or success is the result of the mechanical movement of the machine. . . . . .
In Henry V the behavior of the French commanders seem to be more mechanical in comparison to those of the English Army. Shakespeare did not look at the English soldiers like the parts of an organic machine rather he had made the French soldiers the parts of a machine; in scene IV of act iV the behavior of the French soldier is more mechanical and his French language make it worse and may be its reason is the addressees of the time of Shakespeare who were not interested in the humanizing their enemies.
4 . Shakespeare placed comic scenes in Henry V for two reasons:
A . Decreasing the seriousness as well as the epical characteristics of the play in the speeches of the chorus, Henry and the voices of the trumpets as well as the shooting of the Cannon Balls
B . With a more careful look we will understand that trough sermon and speech as well as mourning Henry expects his soldiers and this is very difficult to be shown in the play and performance; therefore he presents a picture of the fearful and corrupted as well as drunken soldiers of England so as to be contrasted with the brave and daring soldiers of England; thereby he can condemn the fear and weakness of Nymphs and Pistol as well as Bardolph. . . . . .
5 . The French do not understand the arrangement and patience as well as delicacy and reality of the English soldiers; may be the following three reasons are regarded as the reasons for their defeat:
A . Belittling the English soldiers and mourning and joking to a great extent without having appropriate basis
B . Hurry and speed . . . . . in war without real and true schedule and real preparation
C . Like Webster, Masinger, Ford as well as Ben Johnson, Shakespeare is interested in reflecting and representing the ideas of Machiavelli in his works; Henry is the symbol of a lion that is talked about in the King of Machiavelli; he is a lion that symbolizes England.
7 . In Henry V, Shakespeare was under the influence of the European myths such as (Celtic, Mithraism, Scandinavian as well as Christian); for example compare Kohalen Myth with Henry V.
1 . A false hero takes the place of a real hero
2 . a hero has lately renounced the animal life and has quitted his animalistic life to become a human
3 . Two clergy men reminds him of his spiritual and sublime position
4 . The hero is. . . . . preparing to take his position as it is worthy of him
5 . He is saved from the plot that he himself has discovered
6 . He assassins those who have attacked the rights of the enemy
7 . His troops are tired but they are still fighting
8 . he defeats the enemy and takes the daughter of the false hero as his wife and ascends to his real position
9 . After victory, he dies while he is still young
Like Levi-Strauss, Greimas found much to admire in Propp's Morphology but he also found much that could be further analyzed, theorized, and generalized. In Semantique structurale, Greimas, who was investigating discourse signification, refined Propp's notion of dramatis persona and developed an actantial model which involved six actants or basic roles and which has proved very influential: Subject (looking for the Object), Object (looked for by the Subject), Sender (of the Subject on its quest for the Object), Receiver (of the Object to be secured by the Subject), Helper (of the Subject), and Opponent (of the Subject). One actant can be represented by several different actors and several actants can be represented by one and the same actor. In an adventure story, for example, the protagonist may have several enemies, all of whom function as Opponent; and in a simple love story, the boy may function as both Subject and Receiver while the girl functions as both Object and Sender. Moreover, not only human actors but also animals, things, and concepts can fulfill the roles described by the actantial model: a diamond can represent the Object of the Subject's quest and an ideological imperative can function as the Sender. According to Greimas, narrative is a signifying whole because it can be grasped in terms of the structure of relations obtaining among actants. Greimas also performed a paradigmatic analysis of Propp's thirty-one functions and concluded that basic narrative developments represent transformations from negative beginnings (disruption of order and alienation) to positive ends (establishment of order and integration). These transformations are effected through a series of tests undertaken by a Subject who has made a contract with the Sender.
8 . In Mehr Symbolism, the cow is the symbol of the world, passion, materials, pride and wild nature as well as the devil part of the human; in other words he is the Titan; the world is revitalized with killing him and the divine order restores. The character of Henry V is revitalized after he killed the devil of his nature (as the clergy man says) and then restores to his divine peace and immunity.
Such as Mehr, Henry V, after attending to his mission in this world, dies and is called to go to the other world. . . . . .
The Mehr cult sign in Henry V, are: the devil, swearing on sun and this day, swearing on Zeus (the mehr supporters consider Mehr as Zeus), dog, like Alexander, Owl (Henry: I am not seeking gold) = (he is not seeking the crown and the throne in Mehr cult), an eroded cliff at the foot of a tumultuous sea, hunting, Pegasus: a horse with furious breath, The father of Henry with a crown of god on his head (here, the father of Henry is like the god of Sun and Henry is the son of sun ), a meal of cow meat, Great Mars (the god of war: mehr), in Henry’s army, Cupid (a small child who throws arrows, the god of love in ancient Greek) who is combined in Europe; in this play dog is used while it has positive meanings; the troops of Henry V are called out in its name; both in the language of Henry as well as in the Language of the French troops, mehr is present with a positive meaning as the god of war; when Henry swears on Zeus (the god of gods) he is also drawing a simile between himself and the other kings: he is the king of kings. . . . . .
Writer: Ali Farhad Pour
Source: Book "Lost notes" to try and change "Mohsen Babaee Rabii," and by the Revolution and Sacred Defense Theater Association and published
While studying these areas, the writer understood the similarities, harmony as well as notable differences among the European tales and myths and to an extent among the Egyptian as well as between the Roodani and Mithraism stories with the play mentioned. The play was read once more and the similarities, harmony as well as notable differences were written down.
In the research that follows the major and special characters of the play have been investigated in a positivistic as well as scientific way from the point of view of mythology, form and their roles in the story of the play.
Then during the research, the way that these characters took part in the war scenes, their similarities and differences as well as their harmonies are investigated with similar mythical characters in the scenes of war and contest both in the mythical stories as well as in the play mentioned.
The Variances of the Research:
Independent Variance: European Myths, The territory and the people of England
Dependant Variance: People and form of the play Henry V
Ameliorating Variances: Machiavelli Renaissance Thought and Shakespeare’s own Selection
Investigating the Existing Theories about History, Myths and Literature
Researchers like Chadwick Brothers say: “The history of any nation has been a period of heroism and the myths have come into being around them. Lord Raglan has also said: After 150 years every traditional and historical custom changes and comes out as a myth.
The myth writers of England used to draw mythical pictures of Elizabeth, Greek myths such as Astraeia (The god of Justice) Diana (the goddess of purity, hunting and month) and Pandora; quite similar to the myth in its change to history and the history can be changed to a myth. The origin and the source of the old and traditional rchsigue of Richard III, is the religious plays of the Middle Ages and the period after it; in it the mystic and secretive elements as well as the elements that talk about future as well as the dreams that were talking about the hidden events as well as predictions and ghosts.
The character of Richard has many aspects some of which are mythical and they are the results of myths and religion.
Richard plays the role Herode; he is the symbol of crime and corruption on the basis on the traditional ethics of the past. He is the enemy of peace and happiness, he is omen; he is the big blasphemous and a separated devil; the elements used in writing this play and in its formation which reminds us of the religious customs and reception; it shows the spirit of the work.
The Form studies of the Angels Story:
In the first book of the historical roots of the folk tales, Claude Levi Strauss considers his school structuralism and Vladimir Propp consider his style semiotics. In writing we usually make a mistake and use the terms interchangeably in mistake. In Levi Strauss’s own words structure is the recovering and categorization of terms, names and different forms of a myth, story or cult in similar works and then to find the similarities, harmonies as well as their oppositions. The outstanding example of this can be Sweet lips and the Twins in the Myth and Meaning of Strauss. But semiotics in Strauss’s words (quoting Propp is decreasing the names, people and forms to more concrete and more abstract terms; this means if we have two stories and in one of them the hero kills a dragon and in other story the hero kills a cow; on the basis of what I have understood from Strauss’s article in the historical roots of the fairy tales, Strauss does not see any similarity between these two stories but Propp consider them similar; Propp’s method is close to Le Redutionisme.
In somewhere else Strauss talks about the difference between Structuralism and semiotics: “semiotics is the linear and the superficial or concrete level of the tale and semiotics is the vertical or in depth and hidden study of the myths and stories. It is impossible to express ideas about the meaning of a myth unless the customs and the cults as well as the knowledge and the knowledge and beliefs of the people who have made it.
In the present research we have made use of Propp’s semiotics in investigating the plays even though I have made use of structuralism as well.
The war with a fish which devours the hero that is regarded as the first stage of dragon; previously the hero was a person who was once lauded and now the person who kills the devourer is the hero and then the others are killed and it is only the dragon that remains.
Propps isolated seven basic roles assumable by the characters, seven dramatis personae each of which corresponds to a particular sphere of action or set of functions:
1. the hero (seeker or victim),
2. the villain,
3. the princess (a sought-for person) and her father,
4. the dispatcher,
5. the donor,
6. the helper, and
7. the false hero.
The same character can play more than one role and the same role can be played by more than one character.
In Semantique structurale, Greimas, who was investigating discourse signification, refined Propp's notion of dramatis persona and developed an actantial model which involved six actants or basic roles and which has proved very influential: Subject (looking for the Object), Object (looked for by the Subject), Sender (of the Subject on its quest for the Object), Receiver (of the Object to be secured by the Subject), Helper (of the Subject), and Opponent (of the Subject). One actant can be represented by several different actors and several actants can be represented by one and the same actor. In an adventure story, for example, the protagonist may have several enemies, all of whom function as Opponent; and in a simple love story, the boy may function as both Subject and Receiver while the girl functions as both Object and Sender. Moreover, not only human actors but also animals, things, and concepts can fulfill the roles described by the actantial model.
Like Propp, Allan Sourion presented a different form of calculus of the roles; he believes that the analyzed texts can be reduced and instead of seven actants he specified 6 roles and dubbed them functions. He further insists that this paradigm is valid for all periods and for all genres and he has given astronomical names to these functions and has made use of the given names for the rewriting of this dramatic calculus.
1 . Lion or the force of the drama in which the major character or the protagonist of Propp is centralized or focused
2 . Sun or the agent of benevolence and value which the hero seeks such as (crown or the bench, freedom, Holy Grail and . . . . . . . .
3 . The land or the receiver of the sun which the hero tries to get or in another words it is the final goal or the end destination of the receiver of the sun whom the hero wants the sun for; for example the hero seeks freedom for his country.
4 . Bahram or the competitor: (Antagonist or an obstacle on the way of the hero to reach his goal)
5 . The arbiter: whose role is to provide benevolence for the lion or Bahram. This role might be played by the followings: God, goddesses and the ruler as well as . . . . . . . .
6 . Month or helper whose role is to strengthen the other five cases and has the role of catalyzing agent
On the basis of Sorio’s ideas the adaptation of Macbeth would be as follow:
1. Lion – hero – Macbeth
2. The benevolence that is sought is the crown and the throne of Scotland
3. The potential receiver of this benevolence is Macbeth himself
4. The creator of the obstacle in the way of the major character is the King
5. Fortune that is predicated in what the fortune tellers have foretold. Good News is given to Macbeth.
6. Lady Macbeth helps Macbeth.
Professor Rodent, in his book called “The Heroism of Wine Baghoha”?, a native Northern American tribe, has specified four periods in the course of the historical changes of the heroes from one another:
1. The deceiver (Rabbit – Fox ), the animal character does evil deeds and follows his every whim including his sensations and passions as well as corruption but thereafter he moves towards becoming a fully fledged character.
2. The Hound is the creator of the culture who can also change but still acts on the basis of his instincts and passions but he has become a little better than he used to be.
3. Red Horn, an archaic archetype of heroism in which the hero come successfully out of some tests such as riding and war and his supporter, the raid bird would compensate for the possible weaknesses and thereby he comes close to the world of the humans.
4. The Twins or the sons of the sun; they are the two faces of the human being: A. Flesh: Meat, body, passion and B. Stump: Root, origin, Body and Flesh is ameliorate and mild and without innovation while stump is dynamic and is ready to revolt; the overridden of the flesh is revolt. Stump is active and does great jobs. There is no devil in the heavens and earth that might be equal to them; in the period of the twins and the death of the hero as a person who might be very proud and too prejudice.
The character of the deceiver is completely understood in the character of the Gloucester; the hound is a little bit similar to Macbeth; the red horn is close to Henry V and Stump and Flesh reminds us of Macbeth and Lady Macbeth.
Now for more familiarity of the readers with the similar structures or to study the similarities of Henry with the war scenes I have hereby mention a list of it.
The hero is making himself ready to depart Henry V, Actors and the generals and soldiers as well as the bishops, the war = in Henry V the war is with the fish as the beginning of the war with the dragon = the conquer of Harlfor before the final defeat of France, the bride = the daughter of the French King, The Old: the king of France and the Duke of York, the false Hero = Duphin, daughter of the King and King of France
The characters of the fairy tales might also be found in the other stories but these stories are out of the norms of the fairy tales such as the stories of Gooneh, Anderson and Brentano.
Propp believed that he could separate the fairy tales from the other stories but I am now investigating the other stories, thoughts and ideas about the formation of the other fairy tales.
Marina Warner: Archetype Scholar: Shakespeare offers a model of the process of archetype study in practice but he makes use of the essence of the myths from different sources; he also uses the Celtic Fairly tales as well as the original tales of the sailors as well as the Mediterranean as well as classic myths and the archetypes. With limited framing of these elements, he created different and various as well as multi – language myths; these myths have in turn changed with the newer myths related to England of the time of Henry V and Richard III as well as the beginning of the Flood Emperor. One of the happiness of the Renaissance artists was to place the Christian and the pagan elements besides each other. Ted Hughes says:
Religious archetypes form the themes of the structures of all Shakespeare’s plays from All Is Well That Ends Well to the Tempest.
Archetypes:
Freud divides the human unconscious in to two major layers:
1. The unconscious or the hidden and beneath layer of the human psyche which is like Iceberg’s tip of which 95 percent in under water and is out of watch.
2. The Conscious Layer
Yung’s division is more precise and real as well as applicable:
1. Communal or everlasting psychological residue
2. Personal unconscious
3. Conscious mind
Based on what Yung has said the Communal or everlasting psychological residue is like the genetic characteristics that are transferred through Chromosome; it is also transferred from one generation to other generations; the archetypes do not appear consciously and are not transferred through objective ways and their being found on what human beings made can not be consciously made; the artists as well as the writers make use of them unconsciously.
Specifying and Defining the Society and the Statistical Community
The Land and the People of England
There is a vast expanse of time before the Norman Conquest in 1066, from which fragments of literary texts remain, although these fragments make quite a substantial body of work. If we consider that the same expanse of time has passed between Shakespeare’s time and now as passed between the earliest extant text and 1066, we can begin to imagine just how much literary expression there must have been. But these centuries remain largely dark to us, apart from a few illuminating flashes and fragments, since almost all of it was never written down, and since most of what was preserved in writing was destroyed later, particularly during the 1530s.
Britain has always been a hospitable place; Stonehenge was built about 4000 years ago and it was used in the religious ceremonies of the Britons; Britons are people of a tribe from the name of whom the present Britain has come from.
Isadora says: The name Britons comes from Bruti meaning fool and it is called Britons because they are really foolish people; although Henry hired a famous and very adept person to connect him and his fore fathers to Kadoladar of the Troy.
In 55 B . C . the Romans passed Munch Sea and defeated England and ruled England until 443. Britons were Romanized and used to watch the Roman Plays and as soon as the Emperor of Rome Accepted Christianity Britain became Christianized. Of course there were some Britons in Wales and Cornwall who preserved their customs and traditions away from being observed the Roman soldiers.
Then the violent German Goths attacked Rome in 3 and 4 to Rome and the Celts attacked the western part of England from Ireland. The Scots started to attack Britain from the north and the Saxons were ready to attack England from the east.
As time passed by and houses as well as the English settlements were set side by side with Saxon parts and each group got some information from the other group; The Saxons were harsh and impolite people; they were full of energy and enmity; in addition they used to be men of sea and capable sailors; the Britons who were housed in Britain were more civilized and artistic in comparison with the Saxons but they were a bit angry people; they had little patience in comparison to their conquerors.
The opposition of the culture and wild actions can be understood in its clearest form in Henry V.
In 850 the attack started again; this time the Norwegian and Danish sailors attacked the farmers of England.
The majority of the southern and eastern parts of England as well as London went under control of the Danish; if there had not been the wisdom of a man, England would have been one of the Scandinavian countries.
This man was King Alfred (the ruler of the west Saxon). As he was defeated in land he withdrew towards the Jungles and hid among the farmers; he formed the first English Navy force and accordingly defeated the Danish.
Until one thousand years later the English people did not forget the lesson that Alfred taught them and it was the fact that Britain has to defend itself in the sea.
Even at the time of the Feudal it was not possible for the people to have personal freedom; English Feudalism was never as strict as that France; in 1086 the two cultures of England and France were completely different from one another.
These differences are very obvious in the war scenes of Henry V. For the upper class of France it is the safe preservation of the honor and value of their feudalism and nationalism in the war scenes that is important. While the great men of the English Army especially Henry V were emphasizing on the unity of the people with the King; the very interesting technique that Shakespeare has used in Henry V is that he had shown the poor people of England in his play but he did not do so with the French people; the only person that has a dialogue in the play and does not belong to the upper class is a French soldier in scene IV of Act IV. He creates a comic scene by the use of English and French Soldier’s dialogue.
The Yorkshire herdsman understands the language of a Cornwall person with a great difficulty; the people from Liverpool and Scotland and Ireland do not understand what each says and even the pronunciation of the name of the cities are different in what they say.
This is best seen in Henry V in its fullest form. When Colonel Flonen disputes with Colonel Maurice, they interpret each other’s speech insult and critical of the other. Hereby a comic scene is created
Henry V Act III scene II
Description of Data: European Archetypes
Among the Celtic myths there is a an archetype called Kohalen; according to the ideas of the writer the structure of the characters of this play are the background that has helped Shakespeare in writing Macbeth, Richard II and even Henry V now here are the functions of the Kohalen Functions on the basis of the book of the World Myths that are drawn from p . p . 469 – 472:
1. One of the members of a family absents himself from home {absentation) and An interdiction is addressed to the hero {interdiction).
2. The interdiction is violated {violation). The villain makes an attempt at reconnaissance {reconnaissance).
3. The villain receives information about his victim {delivery).The villain attempts to deceive his victim in order to take possession of him or his belongings {trickery).
4. The victim submits to deception and thereby unwittingly helps his enemy {complicity). The villain causes harm or injury to a member of a family {villainy).
5. One member of a family either lacks something or desires to have something {lack). Misfortune or lack is made known; the hero is approached with a request or command; he is allowed to go or he is dispatched {mediation, the connective incident).
6. The seeker agrees to or decides upon counteraction {beginning counteraction).The hero leaves home {departure).
7. The hero is tested, interrogated, attacked, etc., which prepares the way for his receiving either a magical agent or a helper {the first function of the donor). The hero reacts to the actions of the future donor {the hero's reaction).
8. The hero acquires the use of a magical agent {provision or receipt of a magical agent). The hero is transferred, delivered, or led to the whereabouts of an object of search (spatial transference between two kingdoms, guidance).
9. The hero and the villain join in direct combat (struggle). The hero is branded (branding, marking).
10. The villain is defeated (victory).
11. The initial misfortune or lack is liquidated (liquidation of misfortune or lack). The hero returns (return).
12. The hero is pursued (pursuit, chase). Rescue of the hero from pursuit (rescue).
13. The hero, unrecognized, arrives home or in another country (unrecognized arrival). A false hero presents unfounded claims (unfounded claims).
14. A difficult task is proposed to the hero (difficult task). The task is resolved (solution).
15. The hero is recognized (recognition).The false hero or villain is exposed (exposure).
16. The hero is given a new appearance (transfiguration). The villain is punished (punishment).
17. The hero is married and ascends the throne (wedding).
The Symbols, Beliefs as well as Ariaee Customs in Europe and Britain:
George Damsel writes:
Among the Indian and European people from South Baltic and from the North Sea to Iran and India speak Sanskrit, Iranian, Greek, Latin and German as well as Celtic and . . . . . . There are complete similarities in their world view on three ideological concepts which are reflected in the myths.
In King Arthur story there are some mystic things that are kept in the place of Arthur; saber and a dart from which blood is falling, the holy Grail, and on a plate there are some pieces of meat these are the symbols of war, kingship and the spirituality as well as domesticity of Arthur who will sit on the throne after three tests. Taking the saber from the stone (is the sign of war) and giving a wise and true answer (the duty of king and his faithfulness) and the just distribution of wealth.
In tenth C. in Torah the structure of the three part of India and Europe was discovered: Sam and Yafth, the symbol of the clergymen and the fighters as well as the laziness of the first class, the kings and the courtiers, war (the symbol of lack and corruption in the second class, warriors) and Famine (the overturned symbol of the third class, the farmers and the workers). According to Damsel the Celts are the preservers and the safe keepers of the Indian and the European Christianity; in a three vol. book Mythe et Epopee the three special task of India and Europe are mentioned in the Indian, Iranian, Greek as well as Roman, Scandinavian and Celtic and thereby proves his hypothesis.
Mehr Cult:
Many of the Mehr places in ancient Rome, Germany and England have had the highest number of mehr places; he is a person who is born on 25th of December after the birth of the Christ; his father in some narratives is the father of Sun who is brought up with a cow in his childhood and he is busy with playing with cows and in his youth he is busy with hunting then a crow brings a message from God to sacrifice the Cow.
Then Mehr cuts the head of the cow and makes a holy wine out of the meat and the blood of the cow that is served with the god of sun in the last supper; the god of sun sends s wheel of fire and mehr gets in it and transcends towards the sun.
In the cult of Mehr Coronus, the god of time, is shown to be bi – sexual whose head is like that of the human beings and his body is that of the human beings; a dragon surrounds his body; the lion in the cult of mehr is in most of the times a symbol of mehr himself and the dragon is the symbol fo Coronus Zorvan.
The prayers of the Mehr used not to differentiate a lot between Coronus and Mehr; they used to consider him as the god of opportunity and time and war and victory and justice as well as pregnant and the drunkards as well as the light and arbiter.
Mehrs used to have seven layers:
1 . Crow (messenger): he wears the mask of a crow and he was not still considered a member of the mehr group but he was able to see the cults and was not allowed to take part. The use of the mask was to let him have the opportunity of remaining invisible and can get out.
2 .Wife In a symbolic marriage ceremony she become the wife of mehr and signs the treaty of loyalty
3 . They used to kill the soldier symbolically and turn him in to pieces; it was a symbol that showed he is able to take his head for granted for the sake of Mehr.
4 . Lion: He used to wear the mask of a Lion and its symbol was fire and honey
5 . Perese: during a ceremony he achieves the position of a perese
6. the messenger of sun: he used to become the confidante of the old man and possibly in the religious ceremonies he played the role of the god of the sun.
7 . Pater: is their leader and guide as well as their oldest person and had complete authority over the lives of the prayers of Mehr. His advices should have been performed and they should not be taken in to questions; the old person usually used to play the role of the god and he used to kill a cow and the holy wine was made at his order from the meat and the blood of this cow and they used to distribute it.
Shakespeare and Machiavelli:
The authorities of the church at first had accepted the King and then in 1557 placed it among the prohibited books; the book of the sermons and the book of king were not translated in to English until 1636 and 1640 respectively. The knowledge of the English people about Machiavelli is originated from a book that was written by an author named Jeantieh and in French; the title of the book was Machiavelli; Shakespeare, Webster, Ford and Ben Johnson were the adherent of the ideas of Machiavelli and were enthusiastic to reflect his ideas in their works.
Henry Sohami says:
Inclination towards Machiavelli, political Expediency, Ambition as well as Feudal Revenge and tribal disputes in different works are clearly seen in the works of Shakespeare without supporting any side of the clashes.
The King has had to learn both the methods of the fox as well as that of the Lion because the lion can not escape the traps and the fox can not also escape the hands of the powerful fighters; for this reason one has to be a fox to understand the traps and to be a lion to disperse the wolves.
Investigating the War Scenes of Henry V:
Epic has a notable place in the structure of Henry V; epic expresses a symbolic critical point in the life of a nation who through an adventurous fight understands his identity, manner and its fortune; George Luckacs says:
The political data for the poet, in its direct form, are quantitatively endless and dispersed and are not to be supposed without epical means in a truthful way.
Act I:
A House : Chorus , hero , The Place and the location of the play.
Scene 1 : (a hall in the palace) 1 . The description of weakening of the heavenly position 2 . description of the absence of the hero and his death and final resurrection 3 . wise description of the hero to the heavenly forces of the scenes
The second scene : the palace of the king: 1 . Discussion over the unlawfulness of the false hero (the king of France ) , 2 . The promise of the help on the part of the heavenly heroes 3 . Mourning sessions of the heavenly forces 4 . Being ready for going on a trip 5 . The message of the false hero to the hero , 6 . The message of the hero to the false hero 7 . The mourning of the hero
Act II:
The Hall , prediction of the future , scene 1 : A street in London 1 . Description of the helpers of the heroes 2 . reunion and the unity of the helpers of the hero 3 . being ready to go on a trip
Scene II: Southampton, the room of the Council) 1 . The hero escapes from a threat (treason) that is going to endanger him 2 . He kills those who are threatening him 3 . The readiness of the hero to go on a trip 4 . the mourning of the hero . Scene III (London in front of a Bar) 1 . The readiness of the hero to go on a trip 2 .the mourning of the false hero 3 . Cursing the hero 4 . The message of the hero to the False hero 5 . The mourning sessions of the hero companion
Act III:
A hall and predicting the future: Scene 1 : (France in front of Harfloor Gate) 1 . The mourning of the hero for the fish 2 . Fighting with the fish as the beginning if fighting with the dragon (false hero)
Scene II: In front of the Harfloor gate) 1 . the afraid helpers of the hero 2 .the brave helpers of the hero 3 . the difference among the helpers of the hero
Scene 4 : (Ravan, The Palace of the King) : the readiness of the daughter taken in to prison by the dragon for the coming of the hero
Scene 5 : (Roen a hall in the palace): 1 . the report on the description of the war 2 . the weakening of the helpers of the false hero 3 .the mourning of the helpers of the false hero
Scene 6 : The camp of the English in Packard 1 . Description (report of the war) 2 . the appearance of difference among the helpers of the hero 3 . the assassination of the evil helpers of the hero 4 . the suggestion of the false hero to the hero to surrender 5 . the mourning of the hero
Scene 7 . (the camp of the French near Ejin Court) The mourning of the helpers of the false hero . . . . .
Act IV
The Hall 1 . description of the war 2 . the signs of evil (murmur, the darkness of anger, the victims of the evil night; it behaves like an ugly and dirty magician (scene 1 ): (the Camp of the English Solders in Ejin Court) 1 . the readiness of the hero to fight 2 . the readiness of the helpers of the hero to fight 3 . gaining information on the helpers of the hero by the hero himself 4 . the severe dependence of the helpers of the hero on the hero 5 . feeling responsible on the part of the hero with regard to his helpers 6 . the feeling of dissatisfaction of the hero with his material belonging 7 . the humble state of the hero despite his high position 7 . the movement of the hero toward the war arena . . . . .
Scene II: (the camp of the French) : The mourning of the false hero and his helpers 2 . Their readiness for fighting 3 . Moving towards the war arena
Scene III: (the Camp of the English Soldiers) The readiness of the hero’s helpers for the war 2 . the mourning of the hero in face of his helpers 3 . the last message of the false hero the hero to surrender and the negative answer of the hero 5 . the mourning of the hero against the messenger of the false hero 5 . the mourning of the hero in the face of the messenger of the false hero 6 . the movement of the hero and his helpers towards the war arena
Scene 4 : the war field 1 . the weakest supporter of the hero has taken hold of a helper of the false hero 2 . the helper of the false hero pays money to save his life . . . . .
Scene 5 : another part of the war arena 1 . the complaint of the helper of the false hero about the fact that defeat is too close 2 . the decision of the helpers of the hero to go to the war arena again and to become victorious
Scene 6 : (another part of the war arena): The victory of the hero is close 2 . some of the helpers of the hero are killed 3 . the helpers of the false hero attack for the second time
Scene 7: (another part of the war arena) : 1 . the description of the immanent victory of the hero in near future 2 .comparing the hero with an old hero 3 . the leading of the helpers of the hero by the hero in the war arena 4 . the False hero has accepted his defeat and announces his defeat to the real hero 5 . the hero calls his helpers to be re – arranged . . . . . .
Scene 8: (in front of the act of King Henry) 1 . the little differences of the helpers of the hero 2 . getting rid of these differences at the order and suggestion of the hero. 3 .announcing the names of the names of those who have been killed including the son of the false hero 4 . Thanking of the heavenly forces on the part of the hero . . . . .
Act 5:
Scene 1 : (the camp of the English soldiers ) the happiness and joking of the helpers of the hero among each other
Scene II: 1 . the entrance of the hero to the palace of the false hero 2 . Welcoming the hero on the part of the family and relatives of the false hero 3 . Asking hero for peace and immunity on the part of the relatives and supporters f the false hero 4 . Announcing the elements that the hero wants to give immunity to them 5 . Announcing the love of the hero to the daughter of the false hero (such as the girl who is in the prison of the dragon) 6 . Acceptance of the love of the hero on the part of the daughter of the false hero 7 . Acceptance of the peace treaty elements on the part of the false hero 8 . the agreement of the false hero on the marriage of these two 9 . The pray of the helpers of the hero and those of the false hero for the marriage of these two as well as for the peace that is coming to settle 10 . Readiness of the hero for marriage . . . . .
Conclusion: 1 . Predicting the future 2 .the death of the hero 3 . Peace is no more dominant 4 . Domination of disorder on the country of the hero
Conclusion:
1 . in Henry V the majority of the scenes are dedicated to war because they show the war more precisely; it also deals with the paved distances that are passed by the troops.
2 . If we put aide the un – serious scenes and the details of the war then we will have a national or epical propaganda that would never have achieved the world status that is has now. Shakespeare did not choose the best and the easiest way rather he dealt with the issues of the war through his own creativity; dealing with different accents of Floen, Mc Maurice and Jimmy also show Shakespeare’s extensive look at different groups of the people as well as it shows different dimensions of the war. . . . . .
3 . Gloucester: War is a place of differences; the commander gives order and follows the military and political goals of the war; the soldier is just a part of the organic machine of the army and his failure or success is the result of the mechanical movement of the machine. . . . . .
In Henry V the behavior of the French commanders seem to be more mechanical in comparison to those of the English Army. Shakespeare did not look at the English soldiers like the parts of an organic machine rather he had made the French soldiers the parts of a machine; in scene IV of act iV the behavior of the French soldier is more mechanical and his French language make it worse and may be its reason is the addressees of the time of Shakespeare who were not interested in the humanizing their enemies.
4 . Shakespeare placed comic scenes in Henry V for two reasons:
A . Decreasing the seriousness as well as the epical characteristics of the play in the speeches of the chorus, Henry and the voices of the trumpets as well as the shooting of the Cannon Balls
B . With a more careful look we will understand that trough sermon and speech as well as mourning Henry expects his soldiers and this is very difficult to be shown in the play and performance; therefore he presents a picture of the fearful and corrupted as well as drunken soldiers of England so as to be contrasted with the brave and daring soldiers of England; thereby he can condemn the fear and weakness of Nymphs and Pistol as well as Bardolph. . . . . .
5 . The French do not understand the arrangement and patience as well as delicacy and reality of the English soldiers; may be the following three reasons are regarded as the reasons for their defeat:
A . Belittling the English soldiers and mourning and joking to a great extent without having appropriate basis
B . Hurry and speed . . . . . in war without real and true schedule and real preparation
C . Like Webster, Masinger, Ford as well as Ben Johnson, Shakespeare is interested in reflecting and representing the ideas of Machiavelli in his works; Henry is the symbol of a lion that is talked about in the King of Machiavelli; he is a lion that symbolizes England.
7 . In Henry V, Shakespeare was under the influence of the European myths such as (Celtic, Mithraism, Scandinavian as well as Christian); for example compare Kohalen Myth with Henry V.
1 . A false hero takes the place of a real hero
2 . a hero has lately renounced the animal life and has quitted his animalistic life to become a human
3 . Two clergy men reminds him of his spiritual and sublime position
4 . The hero is. . . . . preparing to take his position as it is worthy of him
5 . He is saved from the plot that he himself has discovered
6 . He assassins those who have attacked the rights of the enemy
7 . His troops are tired but they are still fighting
8 . he defeats the enemy and takes the daughter of the false hero as his wife and ascends to his real position
9 . After victory, he dies while he is still young
Like Levi-Strauss, Greimas found much to admire in Propp's Morphology but he also found much that could be further analyzed, theorized, and generalized. In Semantique structurale, Greimas, who was investigating discourse signification, refined Propp's notion of dramatis persona and developed an actantial model which involved six actants or basic roles and which has proved very influential: Subject (looking for the Object), Object (looked for by the Subject), Sender (of the Subject on its quest for the Object), Receiver (of the Object to be secured by the Subject), Helper (of the Subject), and Opponent (of the Subject). One actant can be represented by several different actors and several actants can be represented by one and the same actor. In an adventure story, for example, the protagonist may have several enemies, all of whom function as Opponent; and in a simple love story, the boy may function as both Subject and Receiver while the girl functions as both Object and Sender. Moreover, not only human actors but also animals, things, and concepts can fulfill the roles described by the actantial model: a diamond can represent the Object of the Subject's quest and an ideological imperative can function as the Sender. According to Greimas, narrative is a signifying whole because it can be grasped in terms of the structure of relations obtaining among actants. Greimas also performed a paradigmatic analysis of Propp's thirty-one functions and concluded that basic narrative developments represent transformations from negative beginnings (disruption of order and alienation) to positive ends (establishment of order and integration). These transformations are effected through a series of tests undertaken by a Subject who has made a contract with the Sender.
8 . In Mehr Symbolism, the cow is the symbol of the world, passion, materials, pride and wild nature as well as the devil part of the human; in other words he is the Titan; the world is revitalized with killing him and the divine order restores. The character of Henry V is revitalized after he killed the devil of his nature (as the clergy man says) and then restores to his divine peace and immunity.
Such as Mehr, Henry V, after attending to his mission in this world, dies and is called to go to the other world. . . . . .
The Mehr cult sign in Henry V, are: the devil, swearing on sun and this day, swearing on Zeus (the mehr supporters consider Mehr as Zeus), dog, like Alexander, Owl (Henry: I am not seeking gold) = (he is not seeking the crown and the throne in Mehr cult), an eroded cliff at the foot of a tumultuous sea, hunting, Pegasus: a horse with furious breath, The father of Henry with a crown of god on his head (here, the father of Henry is like the god of Sun and Henry is the son of sun ), a meal of cow meat, Great Mars (the god of war: mehr), in Henry’s army, Cupid (a small child who throws arrows, the god of love in ancient Greek) who is combined in Europe; in this play dog is used while it has positive meanings; the troops of Henry V are called out in its name; both in the language of Henry as well as in the Language of the French troops, mehr is present with a positive meaning as the god of war; when Henry swears on Zeus (the god of gods) he is also drawing a simile between himself and the other kings: he is the king of kings. . . . . .
Writer: Ali Farhad Pour
Source: Book "Lost notes" to try and change "Mohsen Babaee Rabii," and by the Revolution and Sacred Defense Theater Association and published
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