The Socially Marginal Characters Are Not the Least in Henry V and The Rover - Book Report/Review Example

The socially marginal characters are not the least in Henry V and The Rover. This essay examines the socially marginal characters in Shakespeare's Henry V and Aphra Behn's The Rover. The thesis states that gender is not a discerning factor for socially marginal characters since both sexes are equally vulnerable to be marginalised. It is how one conducts oneself that respect and importance can be earned. Aphra Behn was herself a marginal character. Her gender posed a great obstacle. (Owens & Goodman, 1996: 131). As her luck would have it, circumstances changed. 'It also seems to be the case that the changed moral climate of the Restoration brought about new social freedoms for some women, which we will look at more closely later.'(Owens & Goodman, 1996: 137). Behn persisted in writing plays until her works proved themselves worthy and her marginal status was somewhat reversed as she was accorded recognition as a playwright. In The Rover, the socially marginalized characters are the women and the materialistically poor men. Act One, Scene One opens with Florinda and Hellena discussing the former's impending marriage. Florinda says that their father gives 'unjust commands' to a forced marriage against her will. Florinda pleads with her brother Pedro, saying; 'I hate Vincentio, sir, and I would not have a man so dear to me as my brother follow the ill customs of our country and make a slave of his sister. And, sir, my father's will I'm sure you may divert.' (Act One, Scene One, Lines 56-8). The daughter, sister and woman's choice fall under the domination of patriarchy. The woman is treated as a commodity in marriage. She is a marginal character because her opinion has little importance or influence, as seen when Florinda voices her choice in Belvile but is gunned down by Pedro. Florinda has a dowry provided by her deceased uncle but that is to be used to marry into a bigger fortune. Belvile is marginal character who is discredited against because he has neither wealth nor social position because he is a poor, banished English cavalier. Florinda admits that Antonio has the edge over Belvile because; 'For he has all the advantages of nature,/ The moving arguments of youth and Fortune.' (Act One, Scene One, Lines 144-45). The traits of socially marginal characters are mentioned by Owens & Goodman. (Owens & Goodman 151-2). Behn has established that socially marginal characters are prejudiced against because of their female gender or material poverty. A socially marginal character can make the difference when s/he exerts the correct efforts. Women are treated as sexual objects of desire but when they have the guts to fight back, they gain some respect and control over their freedom. Angellica fights the simple sale of her favours with Willmore because he has manipulated her pride. She not only gives herself willingly away but finances him with five hundred crowns too. She is a marginal character with substance as she shows she has a heart to desire genuine love. However, her lowly social status as a prostitute has marginalised her and she is not accorded respect due to her doubly inferior status of gender and profession. Behn couples Angellica and Willmore to show the irony of two marginal characters romancing each other. She reminds us that the socially marginalised are also humans with needs and desires. Behn presents Angellica favourably to show empathy for her. Willmore is a socially marginal character because he is poor. He cannot afford to buy Angellica but does not let his material wealth inferiority obstruct his lust for her. Willmore is a bad marginal character that functions as the clown, or the equivalent of the Shakespearian fool / jester. He unwittingly provides comic relief with his clumsy behaviour. In Act Three, Scene Five, Florinda is hiding in her garden when Willmore chances upon her and foils her planned rendezvous with Belvile. Willmore's roving nature with women is eventually tamed by Hellena, who offers him her dowry of three hundred thousand crowns. This shows that a socially marginal character is not the least in terms of morality and that they will reform if they are offered the chance to do so. Henry V was written by William Shakespeare. The act opens with the Archbishop of Canterbury slighting the incumbent King Henry by suggesting that he can be bribed to start a war with France, with the discreet benefit of protecting the Church's coffers. In Act One, Scene Two, Henry asks for the opinion of the Archbishop of Canterbury. He acts as though he is the King with marginal importance who needs the permission of the Church to declare war on France. Henry says; 'For we will hear, note and believe in heart That what you speak is in your conscience wash'd As pure as sin with baptism.' (Act One, Scene Two). By according himself marginal importance, Henry shifts the responsibility of the invasion of France on the Archbishop. (Owens & Goodman, 1996: 38). The French Dauphin too, thinks that Henry is of marginal importance and insults him by delivering a box of tennis balls. (Act One, Scene Two). Henry decides to avenge himself. In Act Two, Scene Two, Cambridge, Scroop and Grey underestimate King Henry by the grave mistake of placing marginal importance on his person. They have corrupted themselves with bribery from France, to kill their King. They are themselves betrayed and punished for the capital crime of fatal treason against King Henry. Henry traps the traitors into laying out the terms for punishment. He initiates mercy but they wish to upstart him by calling off mercy. Little do they know that Henry would turn that argument against them. Henry has played a trick on them. He acts as though his opinion was of marginal importance and finally allays the responsibility of the bestowment of mercy on God. (Act Two, Scene Two). In The Rover, the marginalised characters are those with low social status by virtue of their female gender or economic position. Belvile is marginalised in his chances of marrying Florinda because he is a poor cavalier. (Owens & Goodman, 1996: 266). In Henry V, Shakespeare takes a controversial stand by making King Henry a marginal character in spite of his sovereignty. Henry is a marginal character because he is not respected and he does not respect himself. Henry is not rich as compared to the Archbishop of Canterbury because the latter says that he can afford to bribe and buy him to wage war against France. (Act One, Scene One). Behn's play has many socially marginalised characters and several of these are women. Shakespeare's play has only one major marginalised character and does not include any disadvantaged women. There are several differences in the ways the two playwrights present their major marginalised characters. This essay will explore the comparisons and contrasts between two major characters, Belvile and Henry. Belvile is socially marginalised by his position but he is presented as an honourable character even by Pedro, who does not like him. (Owens & Goodman 1996: 266). He assumes responsibility for Willmore's rash act of injuring Antonio by taking up arms to duel on Antonio's behalf when Antonio requested him to do so. (Act Four, Scene One). Henry is not presented as honourable and above fault for he is shown to be irresponsible, allaying the duty of leading the country to the Archbishop of Canterbury (Act One, Scene Two) and to God. (Act Three, Scene One). It is ironic how both the socially marginalised Belvile and Henry have to impersonate other characters to work on improving their social standing. Belvile impersonates Antonio while fighting with Pedro, in order to win Florinda's hand. (Act Four, Scene Two, Owens & Goodman 1996: 300). Belvile succeeds while wearing the camouflage of Antonio because Antonio has a better social and economic status, is a personal friend of Pedro and all along has been favourably received by Pedro. In contrast, Henry impersonates as a common soldier to win his troops' morale when he talks to them under disguise to rally their morale. (Act Four, Scene One). The playwrights made their socially marginalised characters feel their inferiority when others interact with them. Belvile is bullied by Pedro when he dishonourably withdraws his consent for him to marry Florinda. Belvile says to Pedro; 'You know I ought to claim a victor's right, But you're the brother to the divine Florinda, To whom I'm such a slave. To purchase her I durst not hurt the man she holds so dear.' (Act Four, Scene Two, Owens & Goodman 1996: 301). Henry is insulted by the Archbishop of Canterbury, Cambridge, Scroop, Grey, his common soldiers, the Dauphin and the French. Henry observes all his grievances and laments; 'What watch the king keeps to maintain the peace, Whose hours the peasant best advantages.' (Act Four, Scene One). The audience is manipulated to feel sympathy for a marginalized character who is even more marginalized when Lady Luck or Fortune disfavours him. Belvile is unlucky in love in at least three instances. Behn used juxtaposition to create the comedy of mistiming. The first instance is when Florinda waits for Belvile in her garden, with an unlocked door and Willmore enters before Belvile and destroys the elopement plan. (Act Three, Scene Five, Owens & Goodman 1996: 293). The second instance is when Pedro snatches Florinda away from Belvile's hand when he discovers that the 'Antonio' he fought with is actually Belvile in camouflage. (Act Four, Scene Two, Owens & Goodman 1996: 301). The third instance happens when Florinda seeks temporary refuge in Blunt's house while escaping from her brother Pedro. Blunt refuses to accept any excuses from Florinda, Frederick, Willmore or Belvile and insists on violating her modesty. (Act Five, Scene One, Owens & Goodman 1996). As the number of men who express interest in ravishing Florinda increase, the audience feels the tension, suspense and sympathy for her and Belvile when he arrives at the scene. Belvile has been thwarted in his pursuit of Florinda and in this scene, cannot defend Florinda against the men nor vindicate his claim on her. Henry is marginalised in his battle against the French. The English forces are outnumbered five to one, the soldiers have low morale and the king is the scapegoat for the atrocities of war. Shakespeare has heaped the odds against Henry to invoke sympathy for him. Henry redeems himself with his glorious victories at each step along the way. Behn and Shakespeare show how the socially marginalised characters maintain their righteous fights and are vindicated when Justice rules in their favour. The end. Works Cited. Behn, Aphra. The Rover. In The Open University (Ed.), (1996), Shakespeare, Aphra Behn and the Canon (pp. 262-334). UK: Routledge. Owens, W.R. & Goodman, Lizabeth. (1996). Shakespeare, Aphra Behn and the Canon. Henry V by William Shakespeare. UK: Routledge. Shakespeare, W. (2000). King Henry V by William Shakespeare. Retrieved May 16, 2007, from The Literature Network database http://www.online-literature.com/shakespeare/henryV/ Read More