I wanted to reflect on the play as a whole, looking back to my ‘Expectations’ back at the end of January.
Good literature is like a magic trick.It makes you believe you are in a different time and place, and care for characters who are constructs, and react to their (also fictitious) actions as if you were a participant.
[subtitled: “It’s always the quiet ones you need to watch out for.”]
As I finished the play, it occurred to me that women play a much larger role than I might have guessed back in the heady days of January, when I started seriously thinking about this project.Perhaps I might refine that to say that French women.
What was/is it about the allure of French women to English men?
The bookshelf has had another update … this is the sort of thing that floats my boat on evenings when I don’t have urgent schoolwork to do; the sort of thing that makes pupils look aghast when they ask what I do with my life instead of watching TV!
Writing about this act has been an almost painful task.
It would have been too too easy to continue with the ‘Carry On Up the Dolphin’ theme I’d adopted for Act II, but I didn’t feel up to it, aside from referencing the incorrigible overfamiliarity of Charles:
Ay marry, sweeting, if we could do that,
France were no place for Henry’s warriors. (III.iii.21-2)