st crispin's day speech meaning

‘St Crispin’s Day’ speech with translation

The Feast of St Crispin’s Day speech is spoken by England’s King Henry V in Shakespeare’s Henry V history play ( act 4 scene 3 ). The scene is set on the eve of the battle of Agincourt at the English camp in northern France, which took place on 25 October 1415 (Saint Crispin’s Day). Through the course of the speech, Henry V motivates his men – his ‘band of brothers’, outnumbered greatly by the French – by recalling previous English military defeats of the French.

St Crispin’s Day speech, original text

What’s he that wishes so? My cousin Westmoreland? No, my fair cousin: If we are mark’d to die, we are enow To do our country loss; and if to live, The fewer men, the greater share of honour. God’s will! I pray thee, wish not one man more. By Jove, I am not covetous for gold, Nor care I who doth feed upon my cost; It yearns me not if men my garments wear; Such outward things dwell not in my desires: But if it be a sin to covet honour, I am the most offending soul alive. No, faith, my coz, wish not a man from England: God’s peace! I would not lose so great an honour As one man more, methinks, would share from me For the best hope I have. O, do not wish one more! Rather proclaim it, Westmoreland, through my host, That he which hath no stomach to this fight, Let him depart; his passport shall be made And crowns for convoy put into his purse: We would not die in that man’s company That fears his fellowship to die with us. This day is called the feast of Crispian: He that outlives this day, and comes safe home, Will stand a tip-toe when the day is named, And rouse him at the name of Crispian. He that shall live this day, and see old age, Will yearly on the vigil feast his neighbours, And say ‘To-morrow is Saint Crispian:’ Then will he strip his sleeve and show his scars. And say ‘These wounds I had on Crispin’s day.’ Old men forget: yet all shall be forgot, But he’ll remember with advantages What feats he did that day: then shall our names. Familiar in his mouth as household words Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, Be in their flowing cups freshly remember’d. This story shall the good man teach his son; And Crispin Crispian shall ne’er go by, From this day to the ending of the world, But we in it shall be remember’d; We few, we happy few, we band of brothers; For he to-day that sheds his blood with me Shall be my brother; be he ne’er so vile, This day shall gentle his condition: And gentlemen in England now a-bed Shall think themselves accursed they were not here, And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin’s day.

St Crispin’s Day Speech Translation

Who’s wishing that? My cousin Westmorland? No, my dear cousin, if we are marked down to die we are enough for our country to lose, and if marked down to live, the fewer the men the greater the share of honour. For the love of God, don’t wish for one man more. By Jove, I’m not interested in gold, nor do I care who eats at my expense. It doesn’t bother me who wears my clothes. Such outward things don’t come into my ambitions. But if it is a sin to long for honour I am the most offending soul alive. No, indeed, my cousin, don’t wish for another man from England. God’s peace, I wouldn’t lose as much honour as the share one man would take from me. No, don’t wish for one more. Rather proclaim to my army, Westmorland, that anyone who doesn’t have the stomach for this fight should leave now. He will be guaranteed free passage and travel money will be put in his purse. We would not like to die with any man who lacks the comradeship to die with us. This day is called the Feast of Crispian. He who outlives this day and gets home safely to reach old age will yearly on its anniversary celebrate with his neighbours and say, “Tomorrow is Saint Crispian.” Then he will roll up his sleeve and show his scars and say “I got these wounds on Crispin’s day.” Old men are forgetful, but even if he remembers nothing else he’ll remember, with embroideries, what feats he did that day. Then our names, as familiar in his mouth as household words – Harry the King, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester – will be remembered in their toasts. This good man will teach his son, and Crispin Crispian will never pass from today until the end of the world without us being remembered: we few; we happy few; we band of brothers! The man who sheds his blood with me shall be my brother; however humble he may be, this day will elevate his status. And gentlemen in England, still lying in their beds, will think themselves accursed because they were not here, and be in awe while anyone speaks who fought with us upon Saint Crispin’s day.’

Watch St Crispin’s Day Speech Performed

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How Shakespeare Rescued St Crispin’s Day From Obscurity

25 th October is St Crispin’s Day. Henry V is structured around that day because  this   was the day on which Henry defeated the French at Agincourt. It’s also the day on which two other celebrated battles were fought: the  Battle of Balaklava  in the Crimean War, immortalised by Tennyson in his poem,  The Charge of the Light Brigade , 1854, and the  Battle of Leyte Gulf  in the Pacific, 1944.

St Crispin’s Day is burned into our culture because of Henry’s speech. St Crispin’s Day is actually the feast day of  both St Crispin and St Crispinian, Roman twins, the patron saints of cobblers – for that’s what they were, teaching the gospels to the Gauls by day and making  and mending shoes by night. In modern times they are also the patron saints of cyclists, of all things!

The brothers fell foul of the authorities because of their Christian preaching and were tortured and beheaded in 256. Strangely, although the majority of recognised saints are legendary rather than historical figures, St Crispin’s Day was removed from the Catholic list of feast days because the Vatican decided that there was little evidence of their existence.

But because of one of the most famous passages in Shakespeare’s works we remember St Crispian and St Crispinian ( Crispian in Shakespeare).

Henry V giving his St Crispin’s day speech

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I have never heard a better example of why Shakespeare was such a good poet. The ” translation ” is frankly rubbish as he doesn’t need translation. The original is a stirring speech and anybody who has an elementary understanding of English would appreciate. Clearly the teaching of English in schools needs improvement.

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Henry V Shakescleare Translation

Henry V Translation Act 4, Scene 3

Enter GLOUCESTER, BEDFORD, EXETER, ERPINGHAM, with all his host, SALISBURY, and WESTMORELAND

GLOUCESTER, BEDFORD, EXETER, ERPINGHAM with his army, SALISBURY, and WESTMORELAND enter.

Where is the king?

The king himself is rode to view their battle.

He rode out to look at their army himself.

WESTMORELAND

Of fighting men they have full threescore thousand.

They have a good sixty thousand fighting men.

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There’s five to one. Besides, they all are fresh.

That's five to one. And they're all fresh.

God’s arm strike with us! 'Tis a fearful odds. God be wi' you, princes all. I’ll to my charge. If we no more meet till we meet in heaven, Then joyfully, my noble Lord of Bedford, My dear Lord Gloucester, and my good Lord Exeter, And my kind kinsman, warriors all, adieu.

May God fight for us! It's frightening odds. God be with you, princes. I'll go to my troops. If we don't meet again until we meet in heaven, then I joyfully say goodbye, noble Lord of Bedford, dear Lord Gloucester, and good Lord Exeter, and 

[to ERPINGHAM]  you, my kind relative, all of you soldiers.

Farewell, good Salisbury, and good luck go with thee.

Goodbye, good Salisbury, and good luck.

Farewell, kind lord. Fight valiantly today. And yet I do thee wrong to mind thee of it, For thou art framed of the firm truth of valor.

Goodbye, kind lord. Fight bravely today. But I'm insulting you by reminding you of that, because you're made out of bravery itself.

Exit SALISBURY

SALISBURY exits.

He is as full of valor as of kindness, Princely in both.

He is as full of bravery out of kindness, and has the amount of each quality one expects in a prince.

Enter KING HENRY

KING HENRY enters.

Oh, that we now had here But one ten thousand of those men in England That do no work today.

I wish we now had here just ten thousand of the men in England who aren't working today.

What’s he that wishes so? My cousin Westmoreland? No, my fair cousin. If we are marked to die, we are enough To do our country loss; and if to live, The fewer men, the greater share of honor. God’s will, I pray thee wish not one man more. By Jove, I am not covetous for gold Nor care I who doth feed upon my cost; It yearns me not if men my garments wear; Such outward things dwell not in my desires. But if it be a sin to covet honor, I am the most offending soul alive. No, faith, my coz, wish not a man from England. God’s peace, I would not lose so great an honor As one man more, methinks, would share from me, For the best hope I have. Oh, do not wish one more! Rather proclaim it, Westmoreland, through my host, That he which hath no stomach to this fight, Let him depart. His passport shall be made, And crowns for convoy put into his purse. We would not die in that man’s company That fears his fellowship to die with us. This day is called the feast of Crispian. He that outlives this day and comes safe home, Will stand o' tiptoe when the day is named And rouse him at the name of Crispian. He that shall see this day, and live old age, Will yearly on the vigil feast his neighbors And say, “Tomorrow is Saint Crispian.” Then will he strip his sleeve and show his scars, And say, “These wounds I had on Crispin’s day.” Old men forget; yet all shall be forgot But he’ll remember with advantages What feats he did that day. Then shall our names, Familiar in his mouth as household words, Harry the King, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, Be in their flowing cups freshly remembered. This story shall the good man teach his son, And Crispin Crispian shall ne'er go by, From this day to the ending of the world, But we in it shall be rememberèd— We few, we happy few, we band of brothers; For he today that sheds his blood with me Shall be my brother; be he ne'er so vile, This day shall gentle his condition; And gentlemen in England now abed Shall think themselves accursed they were not here, And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin’s day.

Who wishes that? My cousin Westmoreland? No, good cousin. If we are doomed to die, there are enough of us to harm our country by our loss; and if to live, the fewer men there are, the greater share of honor each one gets. By God, please don't wish for even one more man. By God, I don't desire gold and I don't care who takes my money to pay for food; I don't mind if men wear my clothes; I don't desire such worldly things. But if it's a sin to desire honor, I am the most sinful man alive. No, really, cousin, don't wish for a single man from England. God, I wouldn't give up so great a share of honor as one more man, I think, would take from me, in exchange for getting my greatest wish. Don't wish for one more! But, Westmoreland, announce to my army that anyone who doesn't feel like fighting should leave. We'll give him a passport and money to pay for his travel back. I don't want to die in the company of a man who is afraid to die in mine. This day is the feast day of Crispin. Anyone who lives through this day and gets home safely will stand on tiptoe when the day is mentioned and jump up at the name of Crispin. Anyone who lives through this day and lives to old age will hold a feast for his neighbors on the day before and say "Tomorrow is Saint Crispin's day." Then he will raise his sleeve and show his scars and say, "I got these wounds on Crispin's day." Old men forget; but everything else will be forgotten and he'll still remember, with additions, all the deeds he did that day. Then our names, familiar to him as household words, Harry the King, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, will be remembered by them as they drink. The good man will teach his son that story, and Saint Crispin's day will never go by, from this day to the end of the world, without us being remembered—we few, we lucky few, we band of brothers. Because anyone who sheds his blood today with me will be my brother. However low-born he is, this day will make him a nobleman. And gentlemen now in their beds in England will be miserable that they were not here, and they will think that they are not real men when anyone is speaking who fought with us on Saint Crispin's day.

Enter SALISBURY

SALISBURY enters.

My sovereign lord, bestow yourself with speed. The French are bravely in their battles set, And will with all expedience charge on us.

My king, get ready quickly. The French are well prepared for battle, and will soon charge at us.

All things are ready if our minds be so.

Everything is ready if our minds are.

Perish the man whose mind is backward now!

Death to anyone who wants to run away now!

Thou dost not wish more help from England, coz?

You don't wish for more help from England, cousin?

God’s will, my liege, would you and I alone, Without more help, could fight this royal battle!

By God, my king, I wish you and I alone, without more help, could fight this royal battle!

Why, now thou hast unwished five thousand men, Which likes me better than to wish us one. —You know your places. God be with you all.

What, you've just wished away five thousand men, which I like better than to wish to add one. 

[To others]  You know your positions. May God be with you all.

Tucket. Enter MONTJOY

A trumpet sounds. MONTJOY enters.

Once more I come to know of thee, King Harry, If for thy ransom thou wilt now compound, Before thy most assurèd overthrow. For certainly thou art so near the gulf Thou needs must be englutted. Besides, in mercy, The constable desires thee thou wilt mind Thy followers of repentance, that their souls May make a peaceful and a sweet retire From off these fields where, wretches, their poor bodies Must lie and fester.

Once more I've come to ask you, King Harry, if you'll agree to a sum for your ransom before your certain defeat. Because certainly you are so near the whirlpool that you'll necessarily be swallowed by it. Besides, as an act of mercy, the constable asks that you remind your followers to repent, so that their souls retreat peacefully and sweetly from these fields where, poor things, their poor bodies must lie and rot.

Who hath sent thee now?

Who has sent you now?

The constable of France.

I pray thee, bear my former answer back. Bid them achieve me and then sell my bones. Good God, why should they mock poor fellows thus? The man that once did sell the lion’s skin While the beast lived was killed with hunting him. A many of our bodies shall no doubt Find native graves, upon the which, I trust, Shall witness live in brass of this day’s work. And those that leave their valiant bones in France, Dying like men though buried in your dunghills, They shall be famed; for there the sun shall greet them And draw their honors reeking up to heaven, Leaving their earthly parts to choke your clime, The smell whereof shall breed a plague in France. Mark, then, abounding valor in our English, That being dead, like to the bullet’s crazing, Break out into a second course of mischief, Killing in relapse of mortality. Let me speak proudly: tell the constable We are but warriors for the working day; Our gayness and our gilt are all besmirched With rainy marching in the painful field. There’s not a piece of feather in our host— Good argument, I hope, we will not fly— And time hath worn us into slovenry. But, by the Mass, our hearts are in the trim, And my poor soldiers tell me, yet ere night They’ll be in fresher robes, or they will pluck The gay new coats o'er the French soldiers' heads And turn them out of service. If they do this, As, if God please, they shall, my ransom then Will soon be levied. Herald, save thou thy labor. Come thou no more for ransom, gentle herald. They shall have none, I swear, but these my joints, Which, if they have, as I will leave 'em them, Shall yield them little. Tell the constable.

Please, send the same answer back as last time. Tell them they'll have to catch me before they sell my bones. Good God, why do they have to mock poor men this way? The man who sold the lion's skin while the beast was alive, died while hunting him. Many of our bodies will no doubt be buried in our own countries, on which, I trust, carved in brass will be a reminder of the work we do today. And those who leave their brave bones in France, dying like men though buried in piles of dung, will be famous. Because the the sun will greet them and drag their honor stinking up to heaven, leaving their flesh to choke your climate, the smell of which will start a plague in France. See, then, huge bravery in our Englishmen, who although they're dead, like a bullet breaking in two, break out into a second path of mischief, killing by being dead. Let me speak proudly: tell the constable we're just working-day heroes. Our beautiful things and gold are dirty from painful marching in the rain. There's not a single decorative feather in our whole army, which goes to show we won't fly away, and time has worn us down and made us messy. But, by God, our hearts are in order, and my poor soldiers tell me that before night they'll be wearing fresher clothes, or they'll pull the beautiful new uniforms over the French soldiers' heads and so throw them out of the army. If they do this, as (if God wishes it) they will, my ransom will be paid soon. Herald, save yourself pointless work. Don't come any more for ransom, gentle herald. They will have none, I swear, except my joints here, which, in the state I'll leave them, won't be worth much to them. Tell the constable that.

I shall, King Harry. And so fare thee well. Thou never shalt hear herald anymore.

I will, king Harry. Goodbye. You will never hear a herald ever again.

I fear thou wilt once more come again for a ransom.

I am afraid you will come once more for a ransom.

YORK enters.

My lord, most humbly on my knee I beg The leading of the vaward.

My lord, I beg humbly, on my knees, to lead the charge.

Take it, brave York. Now, soldiers, march away, And how Thou pleasest, God, dispose the day.

Do it, brave York. Now, soldiers, march away, and make the day go however you want, God.

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To help you look at any scene in Henry V and interrogate it, it’s important to ask questions about how it's written and why.

Shakespeare’s plays are driven by their characters and every choice that’s made about words, structure and rhythm tells you something about the person, their relationships or their mood in that moment. You should always try and ask yourself, like actors do, why is the character saying what they are saying or doing what they are doing? What is their motive?

Just like Detectives, we need to look for clues to help us answer those questions each time and below you can find some interrogation techniques we use to analyse text, introduced by the actors that use them. 

Analysing the Chorus

The Chorus is a member of the acting company who appears on stage alone and speaks directly to the audience six times. They deliver a prologue before each Act and one epilogue that finishes the play. The Chorus acts as a kind of narrator and uses these soliloquies to plead with the audience to use their imagination to help create the drama.

In this video, RSC actor Oliver Ford Davies also describes the Chorus as an ‘unreliable narrator’, a voice that gives the ‘official history’, a tidied up version of what really happens in war.

Can you find examples of the Chorus fulfilling these different roles in Henry V?

Even though the Chorus has the role of a narrator, they are still a character and their emotions can help capture the audience’s attention and bring the drama to life. Watch Mark Quartley exploring monologues as he shares some of the things he looks for to help understand how a character is feeling in a speech. The example he is using is a monologue from The Tempest but you can look for the same clues in the words spoken by Chorus in Henry V.

As you read the Chorus’ prologue to Act 3, see if you can notice the things Mark tells us to look out for:

• Word choice

Questions to consider

What can we learn about the Chorus from this soliloquy? Ask yourself:

• Do the sounds of the words help bring the action to life? Which sounds stand out?
• Are there lines or parts of the speech that stand out because of how they sound?

If you are able to read along, you will also notice the punctuation and where each line ends. This soliloquy is written in verse, like a poem. Ask yourself:

• Does the punctuation in the text match with Oliver’s choices in the video?
• Think about where the character is breathing and pausing; why is he doing this? What effect will it have on an audience?
• Does the actor emphasise the last word of each line in his performance?
• If you wrote down all the words at the end of each line, what would you think the soliloquy was about? Does that feel right?

Using Mark’s strategies, we’ve started to look at what the Chorus’ language tells us about this character in the Act 3 prologue. See if you can complete the grid below and finish the four points which explain what this speech reveals about how the Chorus is affecting the audience at this point in the play.

Explanation

Evidence Select an option

Explanation Click text to edit

Evidence Click text to edit

Point Click text to edit

What else can I do to explore the Chorus?

• Try applying these same strategies to all of the Chorus’ soliloquies to reveal any changes in the character’s language and behaviour. How is the language being used to affect the audience at different stages of the play?
• Take a look at the action in the scenes directly after the Chorus’ speeches. Is it what we are expecting? If not, what effect does this have on us? What would the play be like if there wasn’t a Chorus?
• Keep a record of the images in the Chorus’ language. Which images stand out particularly? Why might this be? Notice which images the Chorus uses to describe Henry. What does this tell us about how the Chorus wants us to see him? Find out more by looking at the Analysing the Imagery section.

Analysing Henry’s St Crispin’s Day speech

In this video, RSC actor Alex Hassell says that Henry V is a play about how war 'costs everyone something'. Henry is aware of this cost. He cares about his country and the opinions of his soldiers matter to him. He makes some very powerful and now famous speeches to his troops during the play. The St. Crispin’s Day speech from Act 4 Scene 3 is particularly difficult as he is asking a very tired and outnumbered army to risk their lives.

Here, you can watch Alex deliver this speech in the 2015 RSC production of Henry V. As you listen, take note of which words and images stand out. How is the actor using the speech to affect his troops? What is it about the language in this speech that makes this possible?

How does Henry V inspire his troops in this speech?

The St. Crispin’s Day speech is delivered to Henry’s troops in order to inspire them. In it, he uses lots of different rhetorical devices in order to sway his troops and encourage them to fight on behalf of their country, particularly playing on their emotions.

As you watch the clip of Alex Hassell performing this speech, see if you can identify four examples of Henry causing an emotional response in his listeners. What is the impact of these?

• What are the key images that stand out for you in this speech? What visual pictures do they suggest in your mind and how does that help you imagine the mood of this moment in the play?
• How regular is the rhythm in this speech? Can you find lines in the speech where the normal rhythm is disturbed? What might those disturbances suggest about how Henry feels or how he is trying to affect his men?
• What do you notice about the verbs that Henry uses in this speech?
• Can you find examples of alliteration or assonance and how do you think these devices affect the mood of the speech?

Using Mark’s strategies we’ve started to look at the language Henry uses in this monologue and what it tells us about him at this moment in Act 4 Scene 3. See if you can complete the grid below and finish the four points which explain how Henry V inspires his troops in the play.

What else can I do to explore Henry’s language?

• Most of Henry’s speeches are delivered to other people. In Act 4 Scene 1, he has a long soliloquy in which he shares his deepest thoughts only with the audience. Ask yourself:
• How might the variation in the length of sentences affect the choices an actor makes in considering how the character feels?
• Do the choice of verbs and images tells us anything about how Henry feels at this moment, compared to his choice of language in other speeches?
• What do you notice if you emphasise the last word of each line? What do you notice if you read just the first word of each line?
• Try applying these same strategies to the other speeches Henry has in the play. Consider how Henry's language changes in different moments in the play and what this might reflect about how he feels at those moments.
• Take a look at the scene that comes before this soliloquy. Some of it is explored in Language Key Scenes on Act 4 Scene 1.

Analysing the Imagery

As with all Shakespeare’s plays, there are lots of types of imagery used in Henry V. It’s a great idea to keep a list of key quotes and examples of these types of imagery in each act and who uses them as you explore the play.

Here are three types of imagery that come up a lot in Henry V and are useful to look out for:

War and Death Imagery

• In a play about conflict, war and death imagery is very important. Henry, ‘the warlike Harry, is first introduced by the Chorus in the Prologue as ‘Mars’ the god of war himself. The image of Mars is used again by the Grandpré in Act 4 Scene 2, but this time as a threat to the English, who he describes as being so weak, their ‘bones’ are ready for ‘carrion’ (birds that feed on corpses).
• Later in Act 4 Scene 3, Henry creates a fierce and grisly image when he tells Montjoy the ‘valiant bones’ of the English dead, although ‘buried in your dunghills’ will grow in the sun, taking their souls to heaven and leaving their ‘earthly parts’ to ‘breed a plague in France’.
• How many examples of war and death imagery can you find in the play and what do they reveal about the character who uses them?

Consuming and appetites imagery

• Hunger and eating are particularly powerful images in Henry V to describe both men’s appetite for conflict and the destructive power of war itself. Exeter, for example, in Act 2 Scene 4 talks of ‘this hungry war’ that ‘opens his vasty jaws’ and the Chorus describes the English threat to the town of Harfleur as ‘fatal mouths gaping’, an image which also makes us think of the breach that is made in Harfleur’s wall.
• The traitors’ crimes in Act 2 Scene 2 are described by Henry as being ‘chewed, swallowed and digested’, meaning they were well thought out and deliberate.
• How many examples of eating and consuming imagery can you find in the play and what do they add to the drama when they are used?

Nature and Animal Imagery

• Shakespeare uses strong and contrasting images from nature in Henry V. Canterbury calls Henry a ‘lion’s whelp’ in Act 1 Scene 2, a fierce and proud image of the young King which is repeated when Exeter reminds him of the ‘former lions’ in his blood. Later in the scene, Henry describes himself as a rising sun that ‘will dazzle all the eyes of France’. In Act 4 the Chorus also uses the image of the sun for Henry but as a generous and warming force ‘Thawing cold fear’.
• Unflattering images of animals are used often to describe the enemy. In Act 3 Scene 7, Orléans compares the English fighting the French as ‘a valiant flea that dare eat his breakfast on the lip of a lion’ and in Act 1 Scene 2 Westmoreland uses a ‘weasel’ to describe the ‘Scot’ as a sneaky enemy who attacks when you’re weak and unprotected and ‘Comes sneaking and so sucks her princely eggs’.
• Take a closer look at the extract from Act 1 Scene 2 below to explore how Canterbury uses nature imagery in his speech to Henry. Why do you think Shakespeare uses this language at this point in the scene? Why is animal and nature imagery so important in the rest of the play?

Thinking about Act 1 Scene 2, we’ve started to look at what the nature imagery and word choices in the scene tells us about Canterbury and Henry and, in particular, how Canterbury is trying to influence Henry. See if you can complete the grid below and finish the four points which explain what this language shows about their relationship at this point in the play.

Analysing the themes

As with all of Shakespeare’s plays, there are lots of themes that appear in Henry V. It’s a great idea to keep a list of key quotes and themes in each act.

Here are three themes that can be seen in Henry V and are useful to look out for:

Theme of identity

• The theme of identity is very important in Henry V as it represents what everyone is fighting for and what matters to them. The French and the English are enemies and obviously have negative opinions about each other. The French call the English ‘Norman bastards!’ in Act 3 Scene 5 and criticise their ‘foggy’ weather whereas the French are known by the English for their boasting ‘Yet, forgive me, God, / That I do brag thus. This your air of France / Hath blown that vice in me’ (Henry, 3:6). Many characters show pride in their identity. Fluellen seeks great comfort in Henry being Welsh like him ‘By Jeshu, I am your majesty’s countryman, I care not who know it.’ ( Fluellen, 4:7). Shakespeare also uses Fluellen and the other two Captains, the fiery Irishman, MacMorris, the Scottish Jamy, to show how allies from different countries can hold prejudices against each other’s identity: ‘What ish my nation? Who talks of my nation?’ (MacMorris, 3:2)
• See how many references you can find in the play to the English and the nature of the English people. Can these be split into categories of positive and negative? In which situations is English seen in a positive way and by whom? When is it negative?

Theme of gender and status

• People’s status in society is important, especially in war where there is a structure of authority and women are hardly seen. In Henry V, we see characters of all types of status, from royalty and noblemen to the Captains and working-class soldiers, right down to the Eastcheap Three. Shakespeare gives them all a voice to show us how war affects people on every level. Henry, of course, is King but addresses the common man often, perhaps hoping this will bring him closer to his troops and make them better fighters. He personally addresses the ‘good yeoman’ in Act 3 Scene 1 and his famous ‘band of brothers’ line from the St. Crispin’s Day speech attempts to puts him on the same level as his men. This also reminds us that in war, anyone can die, no matter who you are. We are reminded, however, that the bodies of noble men will always be more important ’So do our vulgar drench their peasant limbs / In blood of princes’ (Montjoy 4:7).
• How many times do characters call each other ‘brother’ in the play? What does this say about these relationships and the person saying it?
• War is entirely dominated by men in Henry V. Katherine is one of only three women in the play and is used mostly as a war prize ‘She is our capital demand’ (Henry, 5:2). Because of this, the appearances by women stand out. Look at the times when women feature or are mentioned in scenes and what it adds to the play at that particular moment. Why do you think Shakespeare puts Queen Isabel in Act 5 Scene 2?

Theme of Kingship

• What it means to be a king is an important theme in Henry V. We know that Henry has only just begun to emerge from ‘the veil of wildness’ (Ely, 1:1) and accept his responsibilities as a monarch. This change in him could be a growing maturity, although he does claim in Henry IV Part I that he is pretending to transform. Henry makes sure he has a legal right to the French throne before he risks any lives going to war. However, the soldier, Michael Williams, believes the king is responsible for all who die in war ‘if these men do not die well, it will be a black matter for the king that led them to it’ (Williams, 4:1). Henry finds this so hard to hear that it ends in a quarrel and leads to his heartfelt soliloquy in Act 4 Scene 1, when he reveals that he finds the burden of kingship difficult ‘What infinite heart’s-ease Must kings neglect, that private men enjoy?’
• Henry can be seen as a portrait of a good Christian king.... A king’s responsibility to God is important to Henry right throughout the play. He is always looking for signs that God is on his side and, when he finally learns that his armies have won the Battle of Agincourt, his first thought is to credit God ‘Praised be God, and not our strength, for it!’ How many references to God can you find in Henry’s speeches?
• Canterbury gives a long speech in Act 1 Scene 2 about Henry’s right to the French throne and the ‘Salic law’ which the French have used to prevent Henry inheriting the throne through his female ancestors. How important is this law to the events of the play? How different would the play be without this speech?
• Henry V is such an enduringly interesting play because it does not simply present Henry as a hero but as a deeply complex figure of leadership – he could be diagnosed as a psychopath – which doesn’t mean he is evil of course but in the way that many CEOs are thought to have psychopathic tendencies. Shakespeare gives us scenes and structures that question the image of hero Christian king and would have been very influenced by the writings of Machiavelli and Erasmus.

Teacher Notes

The following activities will help you to explore the role of the chorus and the theme of identity with students.

Through the eyes of men (2015)

This activity can be found on page 9 and looks at the different characters’ motivations for fighting, including the Boy, Pistol, Bardolph and Nym.

The Opening speech (2015)

This activity can be found on page 3 and explores the language and structure of the Chorus.

You can also print the PEE grids from each of the sections on this page to help students explore the language of central characters and some of the imagery used in more detail.

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How ‘St. Crispin’s Day’ Was Shakespeare’s Master Class in Giving Battle Speeches

William Shakespeare (1564-1616) is universally acclaimed as the English language’s most famous writer and greatest dramatist, authoring 39 plays and 157 poems (overwhelmingly sonnets). England’s acknowledged national poet, even his plays are judged poetry—written in iambic pentameter, principally blank verse, sprinkled with block prose passages.

An astute observer of the human condition, Shakespeare’s peerless genius brilliantly plumbs its depth and breadth. In his historical play (written circa 1599), King Henry V’s, first line, Shakespeare’s “chorus” invokes “a Muse of fire” for burning inspiration capturing the play’s drama.

He most famously succeeds in his renowned “St. Crispin’s Day speech,” magnificently imagining how Henry must have inspired his greatly outnumbered “band of brothers” (6,000 Englishmen—mainly longbowmen backed by dismounted, armored men-at-arms—facing 15,000-20,000 French mounted knights), cut-off and surrounded deep inside France, to ignore the overwhelming odds and seize victory from certain defeat. 

A Battle Speech “Masterpiece”

Shakespeare’s “Henry’s” pre-battle speech is a masterpiece of leadership and psychological manipulation, playing upon all the emotions and motivations of why men fight, despite facing certain death.

“Henry” first dismisses pleas for more men by asserting, “The fewer the men the greater share of honor.” Next, he appeals to his soldiers’ vanity, assuring them their battlefield heroics will be eternally remembered and they “Will stand a tip-toe when this day is nam’d.”

Finally, he pledges to fight shoulder-to-shoulder with them, sharing their fate, since “he to-day that sheds his blood with me Shall be my brother.”

Shakespeare may never have led men in desperate battle, but he knew instinctively how to do it!

In the historical Agincourt battle, October 25, 1415, the stunning against-the-odds English victory (6,000 French dead—10 times Henry’s losses—plus 2,000 French knights captured for ransom) was wrought by the deadly efficiency of Henry’s longbowmen (protected from French cavalry by sharpened stakes) and a timely downpour creating a muddy quagmire “killing ground” on the English battle line’s front. 

“Band of Brothers”

King Henry V Act IV, Scene III—The English Camp

Henry responds to his cousin, Earl Westmoreland’s wish for more soldiers.

If we are mark’d to die, we are enough

To do our country loss; and if to live,

The fewer men the greater share of honor,

God’s will! I pray thee, wish not one man more.

O do not wish one more!

Rather proclaim it, Westmoreland, through my host

That he which hath no stomach for this fight,

Let him depart; his passport shall be made,

And crowns for convoy put into his purse:

We would not die in that man’s company

That fears his fellowship to die with us.

He that outlives this day, and comes safe home,

Will stand a tip-toe when this day is nam’d,

And rouse him at the name of Crispian.

He that shall live this day, and see old age,

Will yearly on the vigil feast his neighbors,

And say, To-morrow is Saint Crispian:

Then will he strip his sleeve and show his scars,

And say, These wounds I had on Crispin’s day.

This story shall the good man teach his son;

And Crispin Crispian shall ne’er go by,

From this day to the ending of the world,

But we in it shall be remembered, —

We few, we happy few, we band of brothers;

For he to-day that sheds his blood with me

Shall be my brother; be he ne’er so vile,

This day shall gentle his condition;

And gentlemen in England now a-bed

Shall think themselves accurs’d they were not here,

And hold their manhoods cheap while any speaks

That fought with us upon Saint Crispin’s day.

this article first appeared in military history quarterly

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