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"When blood is their argument": class, character, and historymaking in Shakespeare's and Branagh's Henry V.
(114-26).
68 Branagh enthusiastically celebrated the homosocial element in the play: "There's tremendous adrenaline, tremendous bonding, tremendous camaraderie" (Nightingale |note 27~, 18).
69 The Archbishop registers the scandal of Henry's companions when he describes them as "unletter'd" and "rude," part of the "popularity" (1.1.55, 59).
70 On the importance of combat to the cult of chivalry see Malcolm Vale, War and Chivalry (Athens: Univ. of Georgia Press, 1981) and Richard C. McCoy, The That |these events~ had a real truth in history, sharpens the sense of pain, while it hangs a leaden weight on the heart and the imagination . . . |W~e think that the actual truth of the particular events, in proportion as we are conscious of it, is a drawback on the pleasures as well as the dignity of tragedy.
William Hazlitt(1)
Premised on the antagonism between history's "real ground" and the imaginative pleasures of tragedy, Hazlitt's meditation reveals a tension that underlies much discussion of Shakespeare's history plays. Hazlitt's polarizing of history and pleasure is echoed in Shakespeare's Henry V when the Archbishop extols Henry's rhetorical gifts:
List his discourse of war, and you shall hear A fearful battle rend'red you in music.
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