Henry IV and Paradise Lost

Henry IV and Paradise Lost

This paper presents a critical analysis of the physicality and heroism nature of Hotspur in Henry IV, as depicted in part 1 and that of Satan in Paradise Lost. The analysis focuses on the individual pursuits of these characters and how they go about in their journey to attain their quests. The two characters have a common goal of seizing power. Whereas Hotspur starts a rebellion to take over power and gain glory and honor, Satan attempts to overthrow God. Besides, the essay illustrates how both of these two characters fail in their pursuits.

In Act one of Henry IV, scene 1, Hotspur is portrayed as a gallant who has played a significant role in defeating the scots; thus, winning a crucial victory for the nation. Still, in Act 1, scene 3, Hotspur attempts to justify to the infuriated King Henry the reason for not returning the prisoners. Upon the King’s leaving, Hotspur is so furious that he courageously refers to King Henry’s precursor as “that sweet rose.” Shakespeare takes advantage of this passionate outburst in depicting the unstable temperament of Hotspur. From this Act, it is clear that Hotspur has courageously decided to confront the King regardless of the calamitous consequences. However, Hotspur takes the stand since he has a strong conviction in it. Besides, he is passionate about his decision. Hotspur says that he will ease his heart, even though it will be the cause of his death. In Act 1, Shakespeare presents Hotspur’s character as that of a gallant hero who wins in war. Hotspur is a warrior with no fear and full of fiery passion.

Hotspur acts as a vital catalyst for the actions of Prince Hal. Hal’s preparation to take up the crown is heightened when he accepts his fate and embraces the fact that he is a rival to the warrior, Hotspur, and he confronts him in the war field. The high-tempered Hotspur, popular for his valor, but blinded by his too much obsession to honor and glory, represents the society’s level full of self-righteous tempered individuals who will plunge the nation into trouble in the egocentric quest for lofty ideals. The aspect of honor is of significant consideration in the entire of Act 1.

The first clue into the concept of honor, as depicted by Hotspur, is seen in praise form from King Henry. The King declares Hotspur as the typical example of honor. Certainly, Hotspur deserves the title of honor. The quest for his ostentatious ideal consumes him and determines every aspect of his decision and step. However, through the whole play, it is evident that hi commitment to honor is obsessive and destructive. King Henry’s words hold true. Though, the apparent increasing nature of Hotspur’s irrationality renders the King’s words ironical. The moments Shakespeare’s hero shares with Lady Percy, his wife, clearly show proof of his too much obsession for honor. Hotspur is too preoccupied with his chivalric obligation; hence, making his actions to be mostly about power possession.

On reflection of the entire play, it is clear that Shakespeare used Hotspur as a central and pivotal character in the storyline of the play. Despite his eventual death, Hotspur was a hero, who portrayed great courage, valor, and honor. From the start, Hotspur had a major challenge, besides his several great traits. His major flaw can be argued to be his trait of being too courageous, more valor, and too honorable. This can be seen from his ultimate downfall. Even though Hotspur was aware of the reasons for the backing of several of his troops, he ignored the fact that he could lose the fight. Instead of backing down and wait for reinforcement, he was overwhelmed by his title of bravery and honor. Shakespeare used these aspects to portray a different Hotspur other than the one we are introduced to at the start of the play. In the first scene, Hotspur was portrayed as a complete hero without faults in his character. On the contrary, he is portrayed as impatient and quick-tempered. It is sad that Hotspur is blinded by the concept of glory and honor to the extent of being oblivious of other qualities like common sense and self-respect.

Satan, as a character in John Milton’s Paradise Lost, is a very complicated and dynamic character.  The description of the physical dimensions of Satan, as well as the tools associated with him,  portray him as a hero. He possesses long and large limbs, with bulk as massive as that of Titan, who confronted Jove or like that of Leviathan, the hugest creature of God swimming in the ocean stream. Satan has a huge stature that drives backward and rolls the billows the flames on both his right and left side when he stands. He carries with him a ponderous, heavy weighing, and huge shield on his shoulder. The shield is likened to the moon when telescopically observed. This imagery description might be true if we regard the epic as depicting Satan as character materializing hope, directing his hopes towards gaining power via land acquisition.

Milton dedicates a large part of the poem towards building the character of Satan. In comparison with Hotspur’s blindness in honor, Satan’s major flaw is pride. He portrays himself as an innocent character, overlooked for a vital promotion. However, his thinking ability is selfish in Heaven, which is contrary to the code of conduct in Heaven where angels are selfless, with equality, much love, and happiness amongst themselves. This trait of Satan compares in equal measure of Hotspur’s selfish interest in his ideal pursuits for power and honor. Similar to Hotspur’s strong conviction that the rebellion would be successful, Satan strongly believed that he would defeat and overthrow God, portraying his obsession for vanity and pride. Unlike Hotspur, who did not incorporate trickery in amassing support from his troops, Satan is seen as determined in his evil nature of delivering a fraudulent speech and lies in every story. Satan diligently tricks his counterpart devils in Hell through his act of ensuring his action plan is presented by Beelzebub.

The reader’s perception of Satan’s character changes greatly in his last appearance in the poem. At the start, he is portrayed as a strong character, imposing figure possessing exceptional abilities as a public statesman and a leader. However, as the poem ends, he skulks back to Hell in his serpent form. The gradual degradation of Satan is dramatic, given the sequence of the various shapes he transforms into. In the beginning, Milton presents him as a just-fallen angel with an enormous stature, looking lie a meteor or comet as he departs Hell. He, later on, he disguises himself as a humble cherub, then in the form of a cormorant, a toad, and eventually a snake. In the first part of the poem, he convinces his fellow devils to subscribe to his action plan. However, in the end, he reasons out that the Hell that is conceived in his mind is the main cause of more of his devilish deeds. Upon his return to Earth once more, he is convinced that the Earth is a more beautiful place than Heaven. After all, he has the conviction that he can have the chance to live on Earth.

Given the above analysis, it is sufficing to conclude that individuals who were once thought of as heroes and powerful figures can be victims of a fateful and detrimental end. This is the case with Henry IV’s character, Hotspur, who was once a warrior and great fighter. The hero blinded by the desire to gain power and honor was defeated by Hal. He died without winning the course he started. Similarly, Milton’s character, Satan, had forgotten Heaven’s splendid nature, having been sent away long ago. He is at last demented; thus, believing in his own deceits. Therefore, he paints the picture of relentless intellectual actions while lacking the moral thinking ability. Once an influential angel, Satan became blinded to the Grace of God. Hence, forever cannot reconcile his previous life with his everlasting punishment.