Well have we done, thrice valiant countrymen.
But all’s not done; yet keep the French the field.
Well have we done, thrice valiant countrymen. But all’s not done; yet keep the French the field.
Well have we done, thrice valiant countrymen. But all’s not done; yet keep the French the field.
Well have we done, thrice valiant countrymen. But all’s not
The Duke of York commends him to your Majesty.
The Duke of York commends him to your Majesty.
The Duke of York commends him to your Majesty.
The Duke of York commends him to your Majesty.
Lives he, good uncle? Thrice within this hour
I saw him down; thrice up again, and fighting.
From helmet to the spur all blood he was.
Lives he, good uncle? Thrice within this hour I saw him down; thrice up again, and fighting. From helmet to the spur all blood he was.
Lives he, good uncle? Thrice within this hour I saw him down; thrice up again, and fighting. From helmet to the spur all blood he was.
Lives he, good uncle? Thrice within this hour I saw him down
Henry's order to kill all French prisoners — conveyed in three lines of off-handed verse — is the most morally disturbing moment in the play, and Shakespeare does not linger on it. Historically, Henry V did order the killing of prisoners at Agincourt, though the reasons are debated: some historians say it was a tactical response to a rumored French rally; others point to the massacre of the English boys and baggage-keepers. In chivalric law, killing surrendered prisoners was a serious violation. Shakespeare gives Henry the cover of military necessity and the Boys' deaths as moral justification, but the order itself is simply stated and the audience must reckon with it. Fluellen's outrage in 4-7 is directed at the boys' massacre, not the prisoner killing — which tells us something about contemporary attitudes. But the discomfort is there, and Shakespeare puts it there deliberately.
In which array, brave soldier, doth he lie,
Larding the plain; and by his bloody side,
Yoke-fellow to his honour-owing wounds,
The noble Earl of Suffolk also lies.
Suffolk first died; and York, all haggled over,
Comes to him, where in gore he lay insteeped,
And takes him by the beard; kisses the gashes
That bloodily did yawn upon his face.
He cries aloud, “Tarry, my cousin Suffolk!
My soul shall thine keep company to heaven;
Tarry, sweet soul, for mine, then fly abreast,
As in this glorious and well-foughten field
We kept together in our chivalry.”
Upon these words I came and cheer’d him up.
He smil’d me in the face, raught me his hand,
And, with a feeble gripe, says, “Dear my lord,
Commend my service to my sovereign.”
So did he turn and over Suffolk’s neck
He threw his wounded arm and kiss’d his lips;
And so espous’d to death, with blood he seal’d
A testament of noble-ending love.
The pretty and sweet manner of it forc’d
Those waters from me which I would have stopp’d;
But I had not so much of man in me,
And all my mother came into mine eyes
And gave me up to tears.
In which array, brave soldier, does he lie, Larding the plain; and by his bloody side, Yoke-fellow to his honour-owing wounds, The noble Earl of Suffolk also lies. Suffolk first died; and York, all haggled over, Comes to him, where in gore he lay insteeped, And takes him by the beard; kisses the gashes That bloodily did yawn upon his face. He cries aloud, “Tarry, my cousin Suffolk! My soul shall yours keep company to heaven; Tarry, sweet soul, for mine, then fly abreast, As in this glorious and well-foughten field We kept together in our chivalry.” Upon these words I came and cheer’d him up. He smil’d me in the face, raught me his hand, And, with a feeble gripe, says, “Dear my lord, Commend my service to my sovereign.” So did he turn and over Suffolk’s neck He threw his wounded arm and kiss’d his lips; And so espous’d to death, with blood he seal’d A testament of noble-ending love. The pretty and sweet manner of it forc’d Those waters from me which I would have stopp’d; But I had not so much of man in me, And all my mother came into mine eyes And gave me up to tears.
In which array, brave soldier, does he lie, Larding the plain; and by h's bloody side, Yoke-fellow to h's honour-owing wounds, The noble Earl of Suffolk also lies. Suffolk first died; and York, all haggled over, Comes to him, where in gore he lay insteeped, And takes him by the beard; k'sses the gashes That bloodily did yawn upon h's face. He cries aloud, “Tarry, my cousin Suffolk! My soul shall yours keep company to heaven; Tarry, sweet soul, for mine, then fly abreast, As in th's glorious and well-foughten field We kept together in our chivalry.” Upon these words I came and cheer’d him up. He smil’d me in the face, raught me h's hand, And, with a feeble gripe, says, “Dear my lord, Commend my service to my sovereign.” So did he turn and over Suffolk’s neck He threw h's wounded arm and k'ss’d h's lips; And so espous’d to death, with blood he seal’d A testament of noble-ending love. The pretty and sweet manner of it forc’d Those waters from me which I would have stopp’d; But I had not so much of man in me, And all my mother came into mine eyes And gave me up to tears.
in which array, brave soldier, does he lie, larding the plain; and by his bloody
I blame you not;
For, hearing this, I must perforce compound
With mistful eyes, or they will issue too.
I blame you not; For, hearing this, I must perforce compound With mistful eyes, or they will issue too.
I blame you not; For, hearing this, I must perforce compound With mistful eyes, or they will issue too.
I blame you not; For, hearing this, I must perforce compound
Exeter's description of York and Suffolk's deaths is the most emotionally intimate passage in a play full of public rhetoric. The image of York kissing Suffolk's wounds, urging his soul to wait so they can fly to heaven together, is a portrait of male love as fierce and tender as anything in the comedies. 'As in this glorious and well-fought field we kept together in our chivalry' — they fought together, died together, and York cannot imagine going to heaven without him. Shakespeare gives this scene to Exeter as a witnessed account rather than a staged event, which makes it more moving: the audience imagines it rather than seeing it. Henry's near-tears are the play's most private moment of emotion, and it lasts about thirty seconds before the alarum sounds.
The Reckoning
The briefest and most emotionally complex scene in Act 4. Henry almost weeps hearing about York and Suffolk's deaths — the human king visible for a moment beneath the warrior king. Then an alarum sounds, the French are regrouping, and Henry snaps back into command and gives the most morally troubling order in the play: kill all the prisoners. The scene moves in forty seconds from tenderness to brutality, which is exactly what war requires.
If this happened today…
A CEO pauses in the middle of a crisis call to be genuinely moved by news that two trusted colleagues were lost in the process. For thirty seconds, everyone on the call sees the human being. Then another alarm comes in — everything's about to collapse — and he's back: cold, fast, ruthless. Whatever he just felt has to be suspended. The call goes on.