Honour hath no skill in surgery then? No. They’ll fill a pit as well as better.Ĭan Honour set to a leg? No. While you live, tell truth and shame the devil!įood for powder, food for powder. That trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloak-bag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend Vice, that grey Iniquity, that father Ruffian, that Vanity in years?įalstaff: Banish plump Jack, and banish all the world. There lives not three good men unhanged in England, and one of them is fat and grows old. It would be argument for a week, laughter for a month, and a good jest for ever. Where fathom-line could never touch the ground,Īnd pluck up drowned honour by the locks. To pluck bright honour from the pale-faced moon, Who doth permit the base contagious cloudsīy heaven, methinks it were an easy leap, Let us be Diana’s foresters, gentlemen of the shade, minions of the moon. Thou art so fat-witted with drinking of old sack and unbuttoning thee after supper and sleeping upon benches in the afternoon, that thou hast forgotten to demand that truly which thou wouldst truly know. Which fourteen hundred years ago were nailed Hear more about these classes and Cry Havoc! in this interview with Wolfert on the Folger’s Shakespeare Unlimited podcast.Over whose acres walked those blessed feet
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Wolfert offers free weekly acting classes aimed at helping veterans readjust to life as civilians. “New line of verse, new symptom, new line of verse, new symptom, right to the speech.”
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“In fact, Jonathan Shay in his book Achilles in Vietnam takes a line of Shakespeare’s verse from Lady Percy’s speech and next to it puts symptoms out of the diagnostic manual on post-traumatic stress disorder,” says Wolfert. Some heavy business hath my lord in hand,Īnd I must know it, else he loves me not.” Such as we see when men restrain their breath That beads of sweat have stood upon thy browĪnd in thy face strange motions have appeared, Hal, Hotspur and Personality in Henry IV, Part 1 Introduction: William Shakespeare's Henry IV, Part 1, composed during the last years of the 16th century, is as much as character study as it is a retelling of a moment in history. Thy spirit within thee hath been so at warĪnd thus hath so bestirred thee in thy sleep, Of prisoners’ ransom and of soldiers slain, Of sallies and retires, of trenches, tents, Speak terms of manage to thy bounding steed,Ĭry “Courage! To the field!” And thou hast talk’d In thy faint slumbers I by thee have watched,Īnd heard thee murmur tales of iron wars, To thick-eyed musing and curst melancholy? Why hast thou lost the fresh blood in thy cheeksĪnd given my treasures and my rights of thee Why dost thou bend thine eyes upon the earth,Īnd start so often when thou sit’st alone? ‘If the truth wasn’t always being confused with flattery these days, I would praise you highly. ‘Well said, my noble Scot,’ he told Douglas. Thy stomach, pleasure, and thy golden sleep? Hotspur was conferring with Worcester and the young Douglas in the rebel camp near Shrewsbury. Tell me, sweet lord, what is ‘t that takes from thee “She comes in and gives the best description of post-traumatic stress disorder in the English language, and it was written 400 years ago.”įor what offense have I this fortnight been “Hotspur, who has just come from combat, is about to leave the next morning,” Wolfert says. The performance evokes and explains the psychological toll that war can take on those who serve in the armed forces. Army veteran and actor Stephan Wolfert uses this speech in his one-man show, Cry Havoc! which draws together lines in Shakespeare’s plays spoken by soldiers and former soldiers, including Macbeth, Othello, and Richard III.
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Shakespeare’s plays are full of battles dominated by men, but one of his most compelling speeches about the life of a soldier comes from a woman: Lady Percy in Henry IV, Part 1, speaking to her husband, Hotspur. Ellen Adair as Lady Percy and David Graham Jones as Hotspur, Henry IV, Part I, Folger Theatre, 2008.
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