Some see Henry IV Part One as Shakespeare’s own ‘morality play’ – such plays were well-received by medieval audiences. The moral themes of manipulation and exploitation are prominent ones, and ones which present themselves throughout the play in the nature of ulterior motives between supposed friends and political factions. Shakespeare’s resounding message however, is that manipulation is inescapable when power over others is to be had.

In Elizabethan hierachical society, one expects the character with the most power to be the King himself. However, within the opening scene we see a man amid political instability with a crack in his power, which is due to his own fear that his rule is illegitimate. The deposition of King Richard II would have been seen by many as an offence against God; as the ruler was seen as God’s representative. An ominous undertone resounds through this: the power that Henry has acquired is already flawed and abused. Here, a precedent has been set: by usurping the throne dishonestly, Henry has increased the vulnerability of his acquired power to abuse. His recognition of this ‘crack’ in his power is s

Manipulation of power and people is therefore an unavoidable part of a monarch-governed society. Power can grant such an immeasurable array of opportunities that it takes a true leader not to exploit it for selfish reasons. Henry IV Part One also tests sincerity, of both leadership (the illegitimacy of Henry’s rule) and so seeming ‘friendship’ (the mutual dependence of Falstaff and Hal upon each other.)

This wrong judgement is later confirmed in Hal’s soliloquy. He speaks in verse; a technical feature that Shakespeare gives the nobles, to emphasise their dignity and apparent sense of order. It is a contrast with the prose spoken by the likes of Falstaff and his men. Hal’s manipulation of the language is symbolic of the way he exploits both Falstaff’s cronies and his father. It is as if Hal is concealing his true self: his inner incination to become king. He says “I know you all, and will awhile uphold; The unyoked humour of your idleness.” Here, he is addressing his speech to Falstaff and all his companions at the Boar’s Head Tavern. By this he means that he is able to see through the transparent cupidity of their lifestyles. Hal uses the imagery of the sun (“Herein will I imitate the sun”) behind a cloud to symbolise the way in which he will throw off his wild rebellious behaviour to reveal his inner, truly regal identity. He refers to Falstaff and his cronies as ‘base contagious clouds’, which implies he is using his knowledge of their reliance on him for his own selfish needs. He comments: “If all the year were playing holidays; To sport would be so tedious as to work.” With this metaphor he implicates that if he were ideally and nobly behaved all the time, then he would not be as praiseworthy in the eyes of his subjects. In this way, he is not only fooling the Falstaff and his company, but also his father Henry and all those who have doubted his nobility. He is exploiting Falstaff’s hope in him and also his father’s despair.

However the relevance of Hotspur to the themes of power and manipulation is suggested by Henry. He says in the opening scene, in description of Hotspur, “Amongst a grove the very straightest plant.” This imagery is symbolic of the rigidity of Hotspur’s honour: he is unbending and resolute when those around him are surrounding to the manipulation of external influences. Yet, ironically, the plant which allows itself to sway with the wind is the plant that will be able to survive in the long term. Here, Shakespeare’s message is clear: it is better to accommodate and accept such manipulation than to oppose it. In this way, it is Hotspur’s obsession that is the end of him; he, like so many of the characters in the play, is his own worst enemy.

Encountering the real king later at Shrewsbury, Douglas asks of him “What art thou; That counterfeit’st the person of the King?” This question alludes to Henry’s need for duplicity and deceit in order to triumph at Shrewsbury. This is another example of power being manipulated and consequently being self-destructive. Whilst Henry’s authority as king means he can employ and plant as many decoys as he likes, it also means that he has now become able to be impersonated. His own abuse of power has meant he has undermined his own leadership.

Hal’s relationship with Falstaff reaches a pivotal point in their improvised dialogue between Henry and Hal in Act Two, Scene Four. After Falstaff’s poor imitation of him, Hal demands “Dost thou speak like a king?” and takes over the role of Henry. His acting ability is such that manipulation is easy for him; he recognises the way people think and act, and can therefore see their weaknesses. ‘Acting’, whilst linking him to the world of entertainment and leisure with Falstaff and his cronies, also means he is rarely genuine (as we see in his soliloquy) and this makes him a powerful yet fickle leader. When Falstaff protests “Banish plump Jack and banish all

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