Themes Henry VI, Part 3

1 themes

1.1 revenge
1.2 power , barbarism
1.3 family conflict , family dissolution

themes

drawing john hamilton mortimer act 1, scene 4 (the duke of york wipes away tears handkerchief soaked in rutland s blood).


revenge

one of obvious themes in play revenge, cited numerous times various different characters driving force actions. @ different points in play, henry, northumberland, westmorland, clifford, richard, edward , warwick cite desire revenge major factor in guiding decisions, , revenge becomes shared objective between both sides of conflict, each seek redress apparent wrongs perpetrated other; in 3 henry vi, witness final degradation of chivalry: play contains of horrific scenes in canon england s warlords sacrifice honour remorseless ethic of revenge.

the theme of revenge introduced in opening scene. upon seeing york seated on royal throne, henry reminds allies of conflict yorkists in attempt motivate them; earl of northumberland, [york] slew thy father,/and thine lord clifford, , both have vowed revenge/on him, sons, favourites , friends (1.1.54–56). northumberland responds if not, heavens revenged on me (1.1.57). later, after henry has resigned crown house of york , has been abandoned clifford, westmorland , northumberland, exeter explains, seek revenge , therefore shall not yield (1.1.191). later, after edward has been installed king, oxford refuses acknowledge him, arguing call him king, injurious doom/my elder brother lord aubrey vere/was done death? , more so, father (3.3.101-102).

revenge, however, not confined lancastrians. upon learning of death of father, richard overwhelmed manic thirst vengeance;

i cannot weep, body s moisture

scarce serves quench furnace-burning heart,

nor can tongue unload heart s great burden,

for selfsame wind should speak withal

is kindling coals fires breast

and burns me flames tears quench.

to weep make less depth of grief;

tears babes, blows , revenge me.

richard, bear thy name, ll venge thy death,

or die renown d attempting it.

(2.1.79-88)

similarly, upon hearing of death of brother, warwick vows, here on knee vow god above/i ll never pause again, never stand still,/till either death hath closed these eyes of mine/or fortune given me measure of revenge (2.3.29–32). during time in france, warwick again cites revenge part of reason joining lancastrians; did let pass th abuse done niece? (3.3.188 – reference incident reported in both hall , holinshed edward attempted rape either warwick s daughter or niece; edward did attempt thing once in earl s house against earl s honesty (whether have deflowered daughter or niece, certainty not both honours openly known) surely such thing attempted king edward ). few lines later, warwick exclaims, revenge [edward s] wrong lady bona (3.3.197). acknowledges revenge primary motive in joining lancastrians, not devotion cause; ll chief bring [edward] down again,/not pity henry s misery,/but seek revenge on edward s mockery (3.3.264–266). indeed, perhaps warwick sums revenge ethic of play; in act 2, scene 6, upon finding clifford s body, warwick orders clifford s head replace york s @ gates of city, declaring measure measure must answer d (l.54).

h.c. selous illustration of death of york in act 1, scene 4; plays of william shakespeare: historical plays, edited charles cowden clarke , mary cowden clarke (1830)

of characters advocate revenge however, clifford far passionate. obsession revenge death of father takes root before play begins, in penultimate scene of 2 henry vi;

wast thou ordained, dear father,

to lose thy youth in peace, , achieve

the silver livery of advis d age,

and in thy reverence , thy chair-days, thus

to die in ruffian battle? @ sight

my heart turned stone; , while tis mine

it shall stony. york not our old men spares;

no more babes. tears virginal

shall me dew fire,

and beauty tyrant oft reclaims

shall flaming wrath oil , flax.

henceforth not have pity.

meet infant of house of york,

into many gobbets cut it

as wild medea young absyrtus did.

in cruelty seek out fame.

(5.2.45-60)

early in 3 henry vi, clifford makes clear nothing has changed in desire revenge father s death. when warwick mentions father, clifford responds urge no more, lest instead of words,/i send thee, warwick, such messenger/as shall revenge death before stir (1.1.99–101). later, refusing bow york, clifford exclaims may ground gape , swallow me alive/where shall kneel him slew father (1.1.162–163). murder of rutland particularly important in terms of clifford s pursuit of vengeance, scene punctuated debate limits , moral implications of exacting revenge on did no wrong in first place;

rutland

sweet clifford, hear me speak before die:

i mean subject thy wrath;

be thou revenged on men, , let me live.



clifford

in vain thou speak st, poor boy: father s blood

hath stopped passage thy words should enter.



rutland

then let father s blood open again:

he man, , clifford cope him.



clifford

had thy brethren here, lives , thine

were not revenge sufficient me:

no, if digged thy forefathers graves

and hung rotten coffins in chains,

it not slake mine ire, nor ease heart.

the sight of of house of york

is fury torment soul,

and till root out accurs d line

and leave not 1 alive, live in hell.

therefore -

robert ker porter illustration of murder of rutland in act 1, scene 3; engraved cranston (1800)

he lifts hand.



rutland

o let me pray, before take death!

to thee pray; sweet clifford pity me.



clifford

such pity rapier s point affords.



rutland

i never did thee harm, why wilt thou slay me?



clifford

thy father hath.



rutland

but twas ere born.

thou hast 1 son: sake pity me,

least in revenge thereof, sith god just,

he miserably slain i.

ah, let me live in prison days,

and when give occasion of offence,

then let me die, thou hast no cause.



clifford

no cause? thy father slew father: therefore die.



he stabs him.



rutland

dii faciant laudis summa sit ista tuæ.



clifford

plantagenet, come plantagenet,

and thy son s blood cleaving blade

shall rust upon weapon, till thy blood

congealed this, make me wipe off both.

(1.3.19-52)

clifford subverts notions of morality , chivalry in dogged pursuit of revenge, determined visit onto house of york same type of suffering delivered onto him death of father. culminates during torture of york in act 1, scene 4. moments after capturing york, clifford wants execute him immediately, prevented doing margaret, wishes talk to, , taunt, york prior killing him. when margaret tells york die soon, clifford points out, office, father s sake (l.109). clifford remains relatively silent throughout of scene, speaking prior stabbing of york, , again, citing revenge foremost in mind; here s oath, here s father s death (l.175).

however, death of father s killer, clifford seems remain obsessed revenge. during single combat richard @ battle of towton, clifford attempts evoke desire revenge in richard pointing out how killed 2 members of richard s family;

now richard, here thee alone,

this hand stabbed thy father york

and hand slew thy brother rutland,

and here s heart triumphs in death

and cheers these hands slew thy sire , brother

to execute upon thyself;

and have @ thee.

(2.4.5-11)

even @ point of own death, clifford cannot let go of revenge, transferring own obsession onto enemies, , assuming in death, have measure of revenge yearns for; come york , richard, warwick , rest,/i stabbed father s bosom, split breast (2.6.28–29).

power , barbarism

illustration of death of henry in act 5, scene 6; works of mr. william shakespeare, edited nicholas rowe (1709)

despite prevalence of revenge in earlier parts of play, loses significance motivating factor nature of conflict changes , develops pursuit of power, without recourse past antagonisms. revenge ceases primary driving force many of characters, lust power taking over, , past conflicts rendered unimportant each side desperately races victory; revenge ethic has been outstripped expedient violence no aim other seizure of power.

for example, when edward , richard urging york break oath henry, edward says, kingdom, oath may broken;/i break thousand oaths reign 1 year (1.2.16–17), showing attraction power has characters, , willing attain it. later, echoing warwick s statement reasons joining lancastrians, richard outlines why has remained loyal yorkists; stay not love of edward crown (4.1.125), again showing attraction of power , subversion of other concerns, including familial relations. example when prince edward killed in act 5, scene 5. death brought because taunts plantagenet brothers, , lose temper him, not because exacting revenge ongoing feud family. similarly, when richard kills henry, motives have nothing conflict between family , henry s. murders him because henry stands in way of attempts gain throne. michael hattaway writes, family loyalties may have been initial cause of feuds, audience watching 3 henry vi feel individual ambition rather family honour fuels vendettas inform play. both [families] seem have forgotten quarrel between [them] dynastic one: claims legitimacy , authority in play validated forces can muster jane howell, director of bbc shakespeare adaptation argues, anarchy loosed , re left different set of values – every man himself. re time of change in there no code except survival of fittest – happens richard.

the play depicts happens when nation turns on in epic savagery, dissolving own social foundations. in sense, play has no antagonist, , both sides in conflict depicted capable of atrocities in pursuit of victory. example, opening moments of play see richard introduced carrying head of duke of somerset, killed @ end of 2 henry vi. degradation of chivalric customs , human decency emphasised when york responds richard s arrival talking head itself; grace dead, lord of somerset (1.1.18). michael hattaway sees scene important prologue play insofar act of desecration signifies extinguishing of residual chivalric code of conspicuous virtue, eclipsing of honour main force.

another example of barbarism perpetrated yorkists abuse of clifford s body in act 2, scene 6, edward, richard, clarence , warwick speak corpse in derision, sardonically wondering why doesn t answer them. richard s treatment of henry s body in final scene example of lack of reverence dead; after henry s death, richard stabs corpse, proclaiming down, down hell, , sent thee hither (5.6.67).

as such, power being seen many of characters ultimate goal, play deals themes of disloyalty , betrayal, , outlines results of political factionalism , social breakdown; once calm world seen spiralling toward chaos barbarism , immorality come fore. e.m.w. tillyard has written of henry vi trilogy; second part had showed murder of duke humphrey of gloucester, rise of york, destruction of 2 of humphrey s murderers , enmity of 2 survivors, york , queen margaret. through these happenings country had been brought edge of chaos. in third part, shakespeare shows chaos itself, full prevalence of civil war, perpetration of 1 horrible deed after another. in second part there had remained chivalric feeling [...] in third part decencies of chivalric warfare abandoned.

family conflict , family dissolution

just revenge gives way desire power, national political conflict give way petty interfamily feud. example, play opens in aftermath of first battle of st albans (1455), , dramatises agreement between henry , york house of lancaster cede throne house of york upon henry s death. however, in reality, agreement brought not first battle of st albans battle of northampton in 1460, shakespeare chose not dramatise. furthermore, legal settlement whereby henry agreed relinquish crown house of york upon death came due lengthy parliamentary debate, not personal agreement between henry , york, depicted in play. such, wide-ranging political debate spanning 5 years, , involving virtually every peer in country telescoped in play immediate agreement between 2 men, illustrating personal nature of conflict.

another example of character personalises national conflict , turns political struggle personal quest clifford, desire revenge death of father seems reason fighting. clifford seems unconcerned henry s ability lead country, , desire personal vengeance seems outweigh sense has of aiding house of lancaster because believes right thing do. similarly, warwick s later actions in play, himself acknowledges, have nothing ensuring henry remain king, based wholly on personal feelings towards edward; more concerned bringing down house of york elevating house of lancaster. such, york-warwick alliance degenerates inter-family feud, more petty in tit-for-tat predictability york , lancaster s squabbles. although conflicts depicted in play national, treated many of characters personal quarrels.

this concentration on personal , familial aspects of war leads major theme in play; dissolution of family. throughout play, family ties shown fragile , under threat. first breach of familial bonds comes when henry agrees pass crown house of york after death. disinherits son , renders crown piece of transferable property, rather symbol of dynastic heritage or monarchic succession. of henry s followers aghast @ decision, none more margaret, exclaims,

ah, wretched man, had died maid

and never seen thee, never borne thee son,

seeing thou hast proved unnatural father.

hath deserved lose birthright thus?

hadst thou loved him half i,

or felt pain did him once,

or nourished him did blood,

thou wouldst have left thy dearest heart-blood there,

rather have made savage duke thine heir

and disinherited thine son.

(1.1217-226)

margaret not alone in efforts convince henry decision wrong. clifford attempts persuade him, arguing fathers not pass on successes sons unnatural;

ambitious york, did level @ thy crown,

thou smiling, while knit angry brows.

he duke have son king

and raise issue loving sire,

thou being king, blessed goodly son

didst yield consent disinherit him,

which argued thee unloving father.

unreasonable creatures feed young,

and though man s face fearful eyes,

yet in protection of tender ones,

who hath not seen them, wings

which sometime have used fearful flight,

make war him climbed unto nest,

offering own lives in young s defence?

for shame, liege, make them precedent.

were not pity goodly boy

should lose birth-right father s fault,

and long hereafter unto child,

great-grandfather , grandsire got,

my careless father fondly gave away ?

ah shame this! on boy,

and let manly face, promiseth

successful fortune, steel thy melting heart,

to hold thine own , leave thine own him.

(2.2.19-42)

henry however, disagrees clifford, arguing passing on burden of kingship not natural thing father do, brings no reward when title unlawfully obtained in first place ( things ill got, had ever bad success : henry referring deposition , assassination of richard ii own grandfather, henry iv). disinheriting son, henry seems think protecting prince, ensuring never suffer hardships himself experienced when left usurped inheritance own father ( ll leave son virtuous deeds behind , father had left me no more );

but clifford tell me, didst thou never hear

that things ill got, had ever bad success?

and happy son

whose father hoarding went hell?

i ll leave son virtuous deeds behind,

and father had left me no more,

for rest held @ such rate

as brings thousandfold more care keep

then in possession jot of pleasure.

(2.2.45-53)

as such, while margaret , clifford argue henry has destroyed family in deal york, henry himself seems feel has done offspring favour , prevented him experiencing future suffering.

york s deal henry doesn t have implications henry s family however, has implications york s. york willingly sacrifices personal glory sake of heirs, electing not become king himself promise sons , grandsons kings instead. however, after deal henry, york s family torn apart. act 1, scene 2 symbolically begins edward , richard arguing; no quarrel slight contention (l.6). act 1, scene 3 depicts murder of york s youngest son, whilst in act 1, scene 4, york himself tortured , murdered, knowledge rutland dead. in sense, york functions symbolic character insofar personal losses underlining york s political tragedy [magnify] play s theme of civil war s destruction of family relationships.

h.c. selous illustration of father , son tragedy in act 2, scene 5; plays of william shakespeare: historical plays, edited charles cowden clarke , mary cowden clarke (1830)

the dissolution of house of york doesn t end death of york himself. later, in act 3, scene 2, richard further dissolves family revealing ambition usurp edward s throne, , thereby disinherit edward s children, own nephews; ay, edward, use women honourably./would wasted, marrow, bones, , all,/that loins no hopeful branch may spring/to cross me golden time (ll.124–127). after murdering henry, richard outlines plan bring about, vowing turn edward against clarence:

clarence beware, thou keep st me light,

but sort pitchy day thee,

for buzz abroad such prophecies

that edward shall fearful of life,

and purge fear, ll thy death. (5.6.84–88)

in ambition, richard proves successful, utterly destroying own family in process.

act 2, scene 5 1983 bbc shakespeare adaptation.

also important theme of family dissolution act 2, scene 5, father unwittingly kills son, , son unwittingly kills father. stuart hampton-reeves argues scene symbolic 1 referring conscription debate in england during 1580s , 1590s. dutch revolt against spanish empire had begun in 1568, , although england , france both supporting dutch, had officially remained neutral fear of angering spanish. however, in 1585, elizabeth signed treaty of nonsuch, officially brought england conflict, promise of 6,500 troops (which changed 8,000 troops) dutch. such, supply these troops, mobilisation needed , government replaced traditional feudal system, whereby local nobles raised armies among own tenantry, national conscription. not without controversy, , incident involving fathers , sons allude both practices; feudal system , national system. upon discovering has killed father, son laments london king pressed forth./my father, being earl of warwick s man,/came on part of york, pressed master (2.5.64–66). son had left family home , travelled london, had been conscripted king s army upon outbreak of war. father had stayed @ home , had been compelled join army of local noble (i.e. warwick). ended on opposite sides in conflict, regional stability gives way national discord , social breakdown, , war begins quite literally tear families apart.