Although the first part of Shakespeare's Henry IV is ostensibly about the title character and his son, the future King Henry V, both Henrys are constantly overshadowed by Sir John Falstaff. Falstaff is one of Shakespeare's most beloved and enduring characters for a reason: his character contains pieces of several archetypal personalities and stock characters, including the Vice, the Picaro, the Fool, Miles Gloriosus, and the Parasite Plautine. Each of these character types brings 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 plays, but one of the things we do know is that Falstaff was exactly the same kind of popular favorite that he is today, and for exactly the same reasons” (271). Shakespeare has used some of these character types in the past, notably Vice. In Richard III, Shakespeare uses vice to a large extent to create his fictional composite of the historical king. The same skill at grafting fictional qualities onto historical figures comes into play with Falstaff and is the main reason why Falstaff remains such an enduring icon of drama. Say no to plagiarism. Get Custom Essay on “Why Violent Video Games Should Not Be Banned”?Get Original EssayThe medieval character Vice is the descendant of The Vice, an archetypal villain who represented the seven deadly sins in allegorical morality plays English. Although Vice spreads dissent and contempt for law and order, he is usually depicted as a comical trickster rather than a purely evil force. Vice differs from other villains in that he uses his talent with words to achieve his goals through trickery and confusion. Often, Vice seduces the public even as it disrupts the natural order of any situation in which it becomes involved. Falstaff, long a fan-favorite character in all of Shakespeare's plays, clearly fits the description of fun, witty, and sinful. His large figure testifies to his gluttony and laziness, his frequenting the tavern proves his weakness for lust, and his theft and boasting come from his greed and pride. Critics like Withington have long taken note of this saying: "Beneath the individuality that makes Falstaff such a lovable character, critics have found gluttony, lust, and other deadly sins, as well as traces of the parasite." (743). Indeed, the Prince himself, playing the role of his father the King, accuses Falstaff of being the Vice: "Why do you converse with this portmanteau of humors...this reverend Vice, this gray Iniquity" (2.4.443 -448). Falstaff also subverts those around him, knocking Prince Hal off his royal pedestal and further corrupting Bardolph and Nym. Although Hal has the good sense and quick 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 barbed tongue, and his sympathy for the audience all relate to the traditional role of the Vice character. The picaro is a red renaissance type, a counterculture believer who has no personal or societal ties. The picaro is often depicted as a nomad, moving often and following a changing trail of opportunities. 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, no homeother than the tavern, he survives by following in Prince Hal's footsteps. Rothschild notes that “Falstaff's life on this social fringe is marked by chronic impecuniosity, which he relieves mainly through his wit” (18). When war breaks out, 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 plight of men and views others only 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 lends further credence to the argument that at least part of his personality is rooted in the picaresque tradition of the Renaissance. The Miles Gloriosus, or boastful soldier, is a classic character in Roman and Greek drama whose main trait is his excessive boasting – which contrasts with his underperformance or cowardice in battle to great comic effect. Grady summarizes this aspect of Falstaff's nature by writing: "Falstaff is also an embodiment of the destructive selfishness that is one of the most important potential outcomes of modern subjectivity" (613). Falstaff plays this role in a multitude of situations throughout the play. When he tells Prince Hal about the thieves he fought, 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, although he played dead on the battlefield to avoid risking his life in battle. This act in particular shows the characteristics of not only the braggart but also the picaro and the parasite. Falstaff does not fight, claims he fought valiantly, undermines Prince Hal's worth by claiming he killed Hotspur, and uses this undeserved honor to further his own survival. The Plautine Parasite is a character based on the idle poor of Republican Rome who survived. live by attaching yourself to the idle rich. They led lives of frivolous fun and degenerate luxury through flattery, often suffering the butt of a joke with barely a smile. Similarly, Falstaff distances himself not only from Prince Hal but also from the tavern hostess, enduring reprimands and insults and responding only with witticisms and smiles. An entire scene is devoted to Prince Hal's participation in a robbery with the sole purpose of humiliating Falstaff by catching him in a lie. Falstaff becomes increasingly lyrical about food and wine, the parasite's only interests. Draper argues that "Falstaff, in fact, does not respect his social inferiors, his equals, or his betters: he seems to respect only those who can provide him with his dinner and only when they do so" (396-397). Finally, he is a kind of jester or wise idiot who, although seemingly crazy, helps other characters realize the truth behind the actions or events happening around them. Royalty often employed professional fools both for fun and to give advice, the main requirement being a sharp mind and the tenacity to use it. Falstaff can be seen as Prince Hal's fool, as Hal derives fun and companionship from him and in return supports him in his erratic behavior. My Own Private Idaho by Gus Van Sant depicts the character of Falstaff as a wandering homeless man who dispenses advice and wisdom to street children. Sir John has an epic mind 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 fool can. Keep in mind: this is just a sample. Get 49 (1934): 743-751.