I started this months ago, but never finished it until now… anyway, here’s Hotspur’s ghost, sitting on the roof of the chapel at Shrewsbury battlefield, which I visited earlier this summer!
This #OEDraw combines two of my favorite things: Harry Potter and Shakespeare! Since Robbie Coltrane played both Hagrid and Falstaff they get to be drinking buddies. Mistress Quickly is not amused (granted from a different version of Henry IV/V but it’s Julie Walters, so HP). POTULENT: 1. (adj.) Drunken; given to or characterized by drinking. 2. (n.) Something which can be drunk.
Today’s play page update features not one, not two, but THREE Henries! I have to confess, these are six of my favorite plays (ok, not Henry IV, part 2, as much as I love the deathbed reconciliation scene.)Olivier’s film of Henry V was my gateway into Shakespeare nerd-dom, seeing an RSC tour of all three Henry VIs andRichard III cemented my allegiance to the history plays, and the title of my webcomic COMES DIRECTLY FROM HENRY IV, PART 1.
Give me that sweet, sweet Plantagenet in-fighting, thank you.
It hasn’t even been two weeks yet, and somehow I have a trillion notes?? How is this possible? In other news, analysing Henry IV part 1 makes it a much more interesting play, gotta love the references to castration, am I right? Have some notes I made on Donna Zuckerberg’s book “Not All Dead White Men”.
aka: butch hotspur max omw to steal your girl but don’t worry i’ll probably get distracted by an argument along the way. important that you know i’m wearing this shirt
(bonuses: the best eyeliner heart i’ve ever drawn + i do own a sword actually)
At the end of January, after going to see the RSC’s Cycle of Kings at the Barbican I decided I wanted to complete a sketchbook and a large scale illustration inspired by Shakespeare’s plays Richard II, Henry IV part 1 & 2, and Henry V. This is a (very geeky) extract from my blog about the whole process - which you can read in full here!
Firstly, I needed to choose which animal was going to represent each King. Richard II’s emblem was the White Hart and I think the image of a Stag suits Richard – tall, slight, stately, rather decorative. And importantly, the Deer is a prey animal, something that was hunted and killed. The choice for Henry V was obviously always going to be a lion. It was too famous an association to ignore, and it’s an image all over his flags/armour usually. “Your brother kings and monarchs of the earth Do all expect that you should rouse yourself, As did the former lions of your blood.” Henry IV was the one I had the most trouble with. He needed to be something practical, something fairly solid, but not too regal (that was my feeling anyway). In the end I chose a Bloodhound, as these were traditionally used in the hunting of stags, and had that slightly uncompromising, military aspect.
Very early in the play, Richard II, the Duchess of Gloucester makes a passionate speech to John of Gaunt and uses the metaphor of a tree to link the royal family together. “Edward’s seven sons, whereof thyself art one, Were as seven vials of his sacred blood, Or seven fair branches springing from one root” I really liked this image – and really it’s quite pivotal to the idea of who everybody is, how they’re all related, and later the Wars of the Roses – so I tried to bring it into my ideas. There are seven tines to Richard’s antlers, and a silhouetted tree with seven branches forms the background of the illustration.
The contrast between the three Kings was also important to me. Richard alone wears a crown. I wanted the ‘usurper’ King Henry and his son to remain bare-headed to reflect their questionable claim to the throne, their lack of ‘divine right’, and to reference the quote “Uneasy lies the head that wears a crown” from Henry IV part 2. Richard is also depicted holding a mirror, rather than sword or sceptre, to reflect his vanity and lack of military success, as well as his preoccupation with the idea of what makes him a King rather than an ordinary man. “For there it is, cracked in an hundred shivers.”
The idea of contrasting levels, high and low, (mentioned a lot throughout the tetralogy) was also something I wanted to include. Richard is sitting upon the ground, partly in reference to the famous “for God’s sake let us sit upon the ground” moment, but also because of the way he refers to Bolingbroke (Henry IV) ascending as he himself is brought down, be it the metaphor of the buckets in a well, or the cares that come with the crown. “That bucket down and full of tears am I, Drinking my griefs whilst you mount up on high.” I wanted Henry IV to be sat upon the throne himself. I hoped to convey the feeling that once he’d won it, he would be loathe to ever leave it again, for fear someone would steal it away from him once more (as indeed Hotspur and his band of rebels try to do in part one). He lectures Hal about the dangers of being seen too much by the common people and I see Henry IV as a King who would shut himself up in the throne room for days at a time, very concerned that his conduct was always judged to be that of a King.
Finally, Henry V stands upright on the field of battle, clearly a warrior as well as a King. However, a dead crow lies at his feet alongside the skull of a Deer. One of my favourite little moments of Henry V is when he says; “Not today, O Lord, O not today, think not upon the fault My Father made in compassing the crown!” The shadow of Richard’s deposition and murder are ever-present in the plays and I tried to show that even Henry V – the ‘star of England‘ – was still haunted by death, and doubts over the validity of his claim to the throne.There’s quite a few other little things in there but I could quite literally ramble on all day, and no one wants that, so I’ll maybe leave some parts unexplained, with an air of ambiguity (it’s nice to try and pretend to be mysterious every once in a while).I really enjoyed working on this project and plan to do three smaller front-facing portraits to go with it, as well as finishing off what’s left of my sketchbook.
