The picture of Falstaff (above, top of page) is a detail from 1760s.

—. “The Sanctorale, Thomas of Woodstock’s English Bible, and the Orthodox Appropriation of Wycliffite Tables of Lessons.” 153-174. [In this essay, Peikola describes different styles of the (lists of lessons for the feasts of saints) in Wycliffite Bibles and argues that changes over time point to an increasingly orthodox readership. In addition to outlining this broader phenomenon, he analyzes polemical comments in the Bible thought to be owned by Thomas of Woodstock, Duke of Gloucester (London, British Library, MS Egerton 618) that challenge the sainthood of many canonized by the church.]

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The Character of Falstaff in Henry IV Essay - 1644 …

Falstaff: Comedy and Falstaff’s Language Essay - 373 …

IF Shakespear's fondness for the ludicrous some-times led to faults in his tragedies (which was not often the case) he has made us amends by the character of Falstaff. This is perhaps the most substantial comic character that ever was invented. Sir John carries a most portly presence in the mind's eye; and in him, not to speak it profanely, "we behold the fulness of the spirit of wit and humour bodily." We are as well acquainted with his person as his mind, and his jokes come upon us with double force and relish from the quantity of flesh through which they make their way, as he shakes his fat sides with laughter, or "lards the lean earth as he walks along." Other comic characters seem, if we approach and handle them, to resolve themselves into air, "into thin air"; but this is embodied and palpable to the grossest apprehension: it lies "three fingers deep upon the ribs," it plays about the lungs and the diaphragm with all the force of animal enjoyment. His body is like a good estate to his mind, from which he receives rents and revenues of profit and pleasure in kind, according to its extent, and the richness of the soil. Wit is often a meagre substitute for pleasurable sensation; an effusion of spleen and petty spite at the comforts of others, from feeling none in itself. Falstaff's wit is an emanation of a fine constitution; an exuberance of good-humour and good-nature; an overflowing of his love of laughter and good-fellowship; a giving vent to his heart's ease, and over-contentment with himself and others. He would not be in character, if he were not so fat as he is; for there is the greatest keeping in the boundless luxury of his imagination and the pampered self-indulgence of his physical appetites. He manures and nourishes his mind with jests, as he does his body with sack and sugar. He carves out his jokes, as he would a capon or a haunch of venison, where there is cut and come again; and pours out upon them the oil of gladness. His tongue drops fatness, and in the chambers of his brain "it snows of meat and drink." He keeps up perpetual holiday and open house, and we live with him in a round, of invitations to a rump and dozen. —Yet we are not to suppose that he was a mere sensualist. All this is as much in imagination as in reality. His sensuality does not engross and stupefy his other faculties, but "ascends me into the brain, clears away all the dull, crude vapours that environ it, and makes it full of nimble, fiery, and delectable shapes." His imagination keeps up the ball after his senses have done with it. He seems to have even a greater enjoyment of the freedom from restraint, of good cheer, of his ease, of his vanity, in the ideal exaggerated description which he gives of them, than in fact. He never fails to enrich his discourse with allusions to eating and drinking, but we never see him at table. He carries his own larder about with him, and he is himself "a tun of man." His pulling out the bottle in the field of battle is a joke to shew his contempt for glory accompanied with danger, his systematic adherence to his Epicurean philosophy in the most trying circumstances. Again, such is his deliberate exaggeration of his own vices, that it does not seem quite certain whether the account of his hostess's bill, found in his pocket, with such an out-of-the-way charge for capons and sack with only one halfpenny-worth of. bread, was not put there by himself as a trick to humour the jest upon his favourite propensities, and as a conscious caricature of himself. He is represented as a liar, a braggart, a coward, a glutton, etc., and yet we are not offended but delighted with him; for he is all these as much to amuse others as to gratify himself. He openly assumes all these characters to shew the humourous part of them. The unrestrained indulgence of his own ease, appetites, and conveni-ence, has neither malice nor hypocrisy in it. In a word, he is an actor in himself almost as much as upon the stage, and we no more object to the character of Falstaff in a moral point of view than we should think of bringing an excellent comedian, who should represent him to the life, before one of the police offices. We only consider the number of pleasant lights in which he puts certain foibles (the more pleasant as they are opposed to the received rules and necessary restraints of society), and do not trouble ourselves about the consequences re-sulting from them, for no mischievous consequences do result. Sir John is old as well as fat, which gives a melancholy retrospective tinge to the character; and by the disparity between his inclinations and his capacity for enjoyment, makes it still more ludicrous and fantastical.

falstaff and harry Essay - 1725 Words - StudyMode

Even though the hero of the play is Prince Henry, or Hal as we know him, the reader may find themselves more focused on Falstaff, one of the other major characters that Shakespeare created for comical relief....

I will concentrate on four specific characters of the play; King Henry, Prince Harry, Hotspur and Falstaff.
Hal has decided to join the real world, within which he belongs, and pushes Falstaff and his Utopia life aside as foolish.

FREE English Report: Hamlet and Falstaff Essay

He is the most romantic figure in Shakespeare; but his romanticism is entirely the romanticism of humor." The setting is now set for the Falstaff in The Merry Wives of Windsor.

"In the Wives ," Baker continues to say, "Falstaff deliberately descends from his throne of wit, his Utopia nonsense, and sets himself a definite, practical task, that of overcoming the virtue of two bourgeois wives of Windsor...Now, if there is one thing that Falstaff is not is not, it is a romantic lover." That would put him in the real world filled with real emotions, emotions and circumstances he has no idea how to handle.

Falstaff’s famous speech in lines 127-139 of Act V shows us how he regards the Prince’s world of honor and duty....

An Essay On The Dramatic Character Of Sir John Falstaff

At first we think that as Falstaff is the older one of the two, that he would be the more mature and dominant one in the friendship, the one who leads Hal astray.

Free Essay: Prince Hal was the hero of the play, but Falstaff was the character to follow

Would You Choose King Henry V and War, or Falstaff and Peace?

Poole, Kristen. “Saints Alive! Falstaff, Martin Marprelate, and the Staging of Puritanism.” Shakespeare Quarterly 46.1 (Spring 1995): 47-76.