Summary and Analysis
Act III: Scene 2
In another part of the Harfleur field, Bardolph, apparently inspired by Henry, calls, "On, on, on, on, on! To the breach, to the breach!" But Nym and Pistol remind him that they might be killed; they have no intention of dashing "to the breach." The Boy wishes that he were back in London. Fluellen, a Welsh officer in the English army, enters and commands them to fight. He drives them forward and leaves the Boy to reflect on the pickpocket schemes that Nym, Pistol, and Bardolph are involved in.
Fluellen reenters with another Welsh officer, Gower, who tells Fluellen to come with him, that the Duke of Gloucester wants to speak to him. Gloucester, along with the Irish Captain Macmorris, is "mining"-that is, digging tunnels under the city. Fluellen does not think highly of the captain.
Captain Macmorris and Captain Jamy, a Scotsman, enter then, and Fluellen compliments Captain Jamy on his military knowledge. Meantime, Captain Macmorris is angry that work on the mines has stopped and he will not be able to blast the walls of Harfleur with his mines. Fluellen tries to goad Macmorris into an argument, but the captain is unwilling to waste words, so Fluellen makes a remark about the Irish, a remark which Macmorris immediately resents. A fight is about to ensue when Captain Gower steps in before swords are actually drawn. A trumpet announces that a parley has been called, and Fluellen promises to resume the argument when a break in the action occurs.
This scene, placed between Henry's charge to his armies and his confrontation with the Governor of Harfleur (and the surrender of the town), is Shakespeare's now familiar means of using a comic interlude to comment upon the serious scenes. In contrast to the nobility of Henry's inspired charge in the preceding scene ("Once more unto the breach, dear friends, once more . . ."), Bardolph repeats the charge in a bit of low, echo-like comedy: "On, on, on, on on! To the breach," thus connecting the two scenes and also showing that not all of Henry's soldiers are inspired by his valiant and heroic leadership.
The behavior of Nym, Bardolph, and Pistol is a negative counterpoint to Henry's stress on the model Englishman's patriotic virtues. These low characters would prefer to be "in an alehouse in London . . . [and] would give all . . . for a pot of ale and safety." This comic scene, however, lacks the force of the scenes in the Henry IV plays, in which Sir John Falstaff imparted more pertinent observations about the situation. The Boy's earlier comments remind us of Falstaff, but they are, nonetheless, a poor substitute for the original.
Behind the comic aspects, however, even here Shakespeare seems to insert into these interludes something new, a deep concern about the serious waste of human lives. Nym doesn't have "a case of lives" to spare, and Pistol, in spite of his obvious cowardice and striking flamboyance, reflects: "knocks go and come; God's vassals drop and die."
When the Boy is left alone on the stage, we see another view of King Henry's inspired Englishman. In contrast to the young Boy, Bardolph is "white-livered and red-faced," Pistol has a vicious tongue but a "quiet sword," and Nym has never hurt anyone except himself — when he was drunk. Yet together, they will "steal anything and call it purchase." For the Boy, their combined "villainy goes against my weak stomach." His inexperienced and untried manhood is admirable as he deserts the three and goes off to do "some better service.
The Welsh officer Fluellen, introduced in this scene, is one of the more interesting characters in the play. While he is eager to argue and quick to show off his knowledge on almost any subject, and while he is opinionated and conceited, he is also a good soldier who shows great courage and loyalty to Henry. Ultimately, in spite of all his flaws, he will become one of the more lovable characters in the play due to his quaint and amusing ways. His antagonist in this scene, Captain Macmorris, the Irishman, is seen no more, and the long argument presented in a heavy dialect is often severely cut or omitted from many productions since it does not move the plot forward.