Although Shakespeare's Henry IV, Part One, is ostensibly about the titular character and his son, the future King Henry V, both Henrys are constantly put overshadowed by Sir John Falstaff. Falstaff is one of Shakespeare's most beloved and enduring characters for a reason; his character contains pieces of multiple archetypal personalities and stock characters including the Deputy, the Picaro, the Fool, the Miles Gloriosus, and the Plautine Parasite. Each of these character types contributes their best or worst parts to create an unforgettable whole. Frye points out that: "We know very little about the contemporary reception of Shakespeare's works, but one of the things we do know is that Falstaff was exactly the same kind of popular favorite that he is now, and for exactly the same reasons" (271). Shakespeare has used some of these character types in the past, most notably Vice. In Richard III Shakespeare uses Vice to a large extent in creating his fictional composite of the historical king. The same skill at grafting fictional qualities onto historical figures comes back into play with Falstaff and is the main reason why Falstaff remains such an enduring icon of drama. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The medieval character Vice is the descendant of The Vice, an archetypal villain who represented the Seven Deadly Sins in allegorical English morality plays. Although the Deputy spreads dissent and contempt for law and order, he is usually portrayed as a comedic trickster rather than a purely evil force. The Deputy stands out from other villains in that he uses his skill with words to achieve his goals through deception and confusion. Vice often attracts audiences even as it disrupts the natural order of whatever situation it intrudes upon. Falstaff, long a fan-favorite character from all of Shakespeare's works, clearly fits the description of funny, witty, and sinful. His fat figure attests to his gluttony and laziness, his frequenting of the tavern demonstrates his weakness for lust, and his theft and boasting arise from his avarice and pride. Critics like Withington have long taken note of this saying: “Under the individuality that makes Falstaff such a lovable figure, critics have found gluttony, lust, and other deadly sins, along with traces of the parasite” (743). In fact, the Prince himself, playing the role of his father the King, accuses Falstaff of being Vice: “Why, however, do you converse with that trunk of humours... that reverend Vice, that gray Iniquity” (2.4.443-448). Falstaff also subverts those around him, dragging Prince Hal down from his royal pedestal and further corrupting Bardolph and Nym. Although Hal has the common sense and wit to escape Falstaff's influence, Bardolph and Nym are not so bright and end up hanged for plunder. Sir John's corrupting influence, his sharp tongue and his sympathy for the audience are all elements of the traditional role of the Vice character. The picaro is a kind of Renaissance lipstick, a believer in the counterculture who has no personal or social ties. The picaro is often depicted as a nomad, moving often and following an ever-changing trail of opportunity. What he finds he quickly consumes before moving on, never focusing on the future or, by extension, the accumulation of wealth or power. The picaro is a survivor. Falstaff also easily fits this description. Having no career, no ambition, and no home other than the tavern, he survives by riding horsesfootsteps of Prince Hal. Rothschild notes that “Falstaff's life in this social fringe is marked by chronic poverty, which he alleviates mainly with his wit” (18). When war arrives he adapts and takes advantage of the situation to squander the army's money. With the possible exception of the prince and his drinking companions, Falstaff has no sympathy for the suffering of men and sees others solely as exploitable.resources. He audibly expresses his contempt for ideals and values ​​in his "what is honor" soliloquy. The attitude he expresses in this speech gives further credence to the thesis that at least part of his personality is rooted in the Renaissance picaresque tradition. The Miles Gloriosus, or braggart soldier, is a classical Roman and Greek dramatic character whose main trait is his exaggerated braggadocio, which contrasts with his poor performance or cowardice in battle, to very comical effect. Grady summarizes this aspect of Falstaff's nature by writing, “Falstaff is also the embodiment of the destructive selfishness that is one of the most important potential outcomes of modern subjectivity” (613). Falstaff plays this role in myriad situations throughout the show. When he tells Prince Hal about the thieves he fought off, the number steadily increases every time he opens his mouth. The same thing happens later in the battle scenes, when Falstaff boasts of his conquest of Hotspur, despite having played dead on the battlefield to avoid risking his life in combat. This act in particular displays characteristics not only of the braggart but also of the picaro and the parasite. Falstaff does not fight, claims to have fought valiantly, undermines Prince Hal's valor by claiming to have killed Hotspur, and uses undeserved honor to further his own survival. The Plautine Parasite is a character based on the idle poor of Republican Rome who earned their living. live by clinging to the idle rich. They led a life of frivolous fun and degenerate luxury through flattery, often suffering the end of a joke with nothing more than a smile. Likewise, Falstaff rebels not only against Prince Hal but also against the landlady of the Tavern, suffering reproaches and insults and responding only with jokes and smiles. An entire scene is dedicated to Prince Hal's participation in a robbery with the sole purpose of humiliating Falstaff by catching him in a lie. Falstaff expresses himself increasingly lyrically about food and wine, the parasite's only interests. Draper argues that "Falstaff, in fact, does not respect his social inferiors, his peers, or his superiors: he seems to respect only those who can provide him with dinner, and only when they do" (396-397). finally, he is a sort of court jester or wise idiot who, although seemingly mad, helps other characters realize the truth behind actions or events happening around them. Royals often employed professional fools both for entertainment and to give advice, with the main requirement being a sharp wit and persistence in using it. Falstaff can be seen as Prince Hal's fool, as Hal derives amusement and companionship from him and in return supports him in his erratic behavior. Gus Van Sant's My Own Private Idaho portrays the character of Falstaff as a wandering homeless man who dispenses advice and wisdom to street children. Sir John has an epic spirit and is not afraid to use it. Falstaff's battlefield speech about the nature and futility of honor gets to the heart of the matter in a way that only a madman can. Please note: this is just an example. Get a custom paper from our expert writers now. Get a custom essay Shakespeare's use of stock characters and 49 (1934): 743-751.