THE RENAISSANCE CONCEPT OF CHIVALRIC HONOUR IN SHAKESPEARE’S SECOND TETRALOGY

Abstract

ABSTRACT

One of the key topics to interpret Shakespeare’s historical plays is honour. However, this notion is often difficult to define, since the author joins different concepts, which at times oppose one another, like in the case of Falstaff and Hotspur. Therefore, after reading Shakespeare’s plays, the reader cannot fully grasp the meaning of honour: Falstaff’s question “What is honour? A word” empties the concept. My interest on the topic was raised by the blurring concept of names and titles: they are inherited by blood, represent virtue and family, and Renaissance men were even ready to die for it. My analysis on names led to the more complex concept of honour, where titles played an active role. I focused on honour in Shakespeare’s second tetralogy, to prove that this concept evolved and developed play after play. Therefore, my first chapter will give an historical background of the evolving meaning of the notion, from the Middle Ages to the Renaissance. The second chapter will show the concrete meaning of honour for a 16th-century man, dealing with vices and virtues, education, wealth and language. Chapter three will talk about betrayal and offence causing revenge, duels and wars. Chapter four will provide the highest example of virtue, the king, highlighting the opposition between the king’s two bodies. Having theorised every feature of honour, I will conclude my text with Falstaff’s reflexion on honour.