Act 3, Scene 2 — Henry IV, Part 2

The argument Falstaff arrives in Gloucestershire to conscript soldiers at the home of Justice Shallow, a garrulous old man who knew Falstaff in London fifty years ago. After nostalgic small talk about dead acquaintances and old debaucheries, Shallow presents five recruits: Mouldy, Shadow, Wart, Feeble, and Bullcalf. Falstaff trades jokes at their expense, conscripts them, then lets Mouldy and Bullcalf buy their way out. The best soldier he keeps is Feeble, a woman's tailor. Alone at the end, Falstaff delivers a devastating portrait of Shallow as a fantasist — and announces his intention to use him.

Enter Shallow and Silence, meeting; Mouldy, Shadow, Wart, Feeble,

Bullcalf, a Servant or two with them.

First appearance

SHALLOW

Shallow speaks in rushes of repetition — 'come on, come on, come on,' 'where's the roll, where's the roll, where's the roll' — the verbal tic of a man who fills silence compulsively. His reminiscences grow larger with each telling. Listen for how the same story acquires new details every time he tells it.

SHALLOW dialogue

Come on, come on, come on. Give me your hand, sir, give me your hand,

sir. An early stirrer, by the rood! And how doth my good cousin

Silence?

Come on, come on, come on. Give me your hand, sir, give me your hand, sir. An early stirrer, by the rood! And how does my good cousin Silence?

come on, come on, come

First appearance

SILENCE

Silence is Shallow's cousin and foil — a man of few words in a scene full of chatter. His brevity is the joke, but it's also accurate: he's the only one here who doesn't embellish. 'We shall all follow, cousin' is a quieter observation about death than anything Shallow says.

SILENCE dialogue

Good morrow, good cousin Shallow.

good morrow, good cousin shallow.

SHALLOW dialogue

And how doth my cousin, your bedfellow? And your fairest daughter and

mine, my god-daughter Ellen?

And how does my cousin, your bedfellow? And your fairest daughter and mine, my god-daughter Ellen?

and how doth cousin,

SILENCE dialogue

Alas, a black ousel, cousin Shallow!

alas, black ousel, cousin

SHALLOW dialogue

By yea and no, sir, I dare say my cousin William is become a good

scholar. He is at Oxford still, is he not?

By yea and no, sir, I dare say my cousin William is become a good scholar. He is at Oxford still, is he not?

yea and no, sir,

SILENCE dialogue

Indeed, sir, to my cost.

indeed, sir, cost.

SHALLOW dialogue

He must, then, to the Inns o’ Court shortly. I was once of Clement’s

Inn, where I think they will talk of mad Shallow yet.

He must, then, to the Inns o’ Court shortly. I was once of Clement’s Inn, where I think they will talk of mad Shallow yet.

must, then, the

SILENCE dialogue

You were called “lusty Shallow” then, cousin.

you were called “lusty shallow”

SHALLOW dialogue

By the mass, I was called anything, and I would have done anything

indeed too, and roundly too. There was I, and little John Doit of

Staffordshire, and black George Barnes, and Francis Pickbone, and Will

Squele, a Cotswold man. You had not four such swinge-bucklers in all

the Inns o’ Court again. And I may say to you, we knew where the

bona-robas were and had the best of them all at commandment. Then was

Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of

Norfolk.

By the mass, I was called anything, and I would have done anything indeed too, and roundly too. There was I, and little John Doit of Staffordshire, and black George Barnes, and Francis Pickbone, and Will Squele, a Cotswold man. You had not four such swinge-bucklers in all the Inns o’ Court again. And I may say to you, we knew where the bona-robas were and had the best of them all at commandment. Then was Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk.

By the mass, I was called anything, and I would have done anything indeed too, and roundly too. There was I, and little John Doit of Staffor...

the mass, was

SILENCE dialogue

This Sir John, cousin, that comes hither anon about soldiers?

this sir john, cousin, that

SHALLOW dialogue

The same Sir John, the very same. I see him break Scoggin’s head at the

court gate, when he was a crack not thus high; and the very same day

did I fight with one Sampson Stockfish, a fruiterer, behind Gray’s Inn.

Jesu, Jesu, the mad days that I have spent! And to see how many of my

old acquaintance are dead!

The same Sir John, the very same. I see him break Scoggin’s head at the court gate, when he was a crack not thus high; and the very same day did I fight with one Sampson Stockfish, a fruiterer, behind Gray’s Inn. Jesu, Jesu, the mad days that I have spent! And to see how many of my old acquaintance are dead!

The same Sir John, the very same. I see him break Scoggin’s head at the court gate, when he was a crack not thus high; and the very same day...

the same sir john, the

SILENCE dialogue

We shall all follow, cousin.

shall all follow, cousin.

SHALLOW dialogue

Certain, ’tis certain, very sure, very sure. Death, as the Psalmist

saith, is certain to all, all shall die. How a good yoke of bullocks at

Stamford fair?

Certain, ’tis certain, very sure, very sure. Death, as the Psalmist saith, is certain to all, all shall die. How a good yoke of bullocks at Stamford fair?

Certain, ’tis certain, very sure, very sure. Death, as the Psalmist saith, is certain to all, all shall die. How a good yoke of bullocks at ...

certain, ’tis certain, very sure,

Why it matters Shallow's mid-sentence pivot from death to cattle prices is one of the play's best comic moments — and also a genuine portrait of rural life, where the market and mortality sit equally close.

SILENCE dialogue

By my troth, I was not there.

troth, was

SHALLOW dialogue

Death is certain. Is old Double of your town living yet?

death certain. old

SILENCE dialogue

Dead, sir.

dead, sir.

SHALLOW dialogue

Jesu, Jesu, dead! He drew a good bow, and dead! He shot a fine shoot.

John a Gaunt loved him well, and betted much money on his head. Dead!

He would have clapped i’ th’ clout at twelve score, and carried you a

forehand shaft a fourteen and fourteen and a half, that it would have

done a man’s heart good to see. How a score of ewes now?

Jesu, Jesu, dead! He drew a good bow, and dead! He shot a fine shoot. John a Gaunt loved him well, and betted much money on his head. Dead! He would have clapped i’ th’ clout at twelve score, and carried you a forehand shaft a fourteen and fourteen and a half, that it would have done a man’s heart good to see. How a score of ewes now?

Jesu, Jesu, dead! He drew a good bow, and dead! He shot a fine shoot. John a Gaunt loved him well, and betted much money on his head. Dead! ...

jesu, jesu, dead! drew

SILENCE dialogue

Thereafter as they be; a score of good ewes may be worth ten pounds.

thereafter they be;

SHALLOW dialogue

And is old Double dead?

and old double dead?

SILENCE dialogue

Here come two of Sir John Falstaff’s men, as I think.

here come two sir

Enter Bardolph and one with him.

SHALLOW dialogue

Good morrow, honest gentlemen.

good morrow, honest gentlemen.

BARDOLPH dialogue

I beseech you, which is Justice Shallow?

beseech you, which

SHALLOW dialogue

I am Robert Shallow, sir, a poor esquire of this county, and one of the

King’s justices of the peace. What is your good pleasure with me?

I am Robert Shallow, sir, a poor esquire of this county, and one of the King’s justices of the peace. What is your good pleasure with me?

robert shallow, sir,

BARDOLPH dialogue

My captain, sir, commends him to you, my captain, Sir John Falstaff, a

tall gentleman, by heaven, and a most gallant leader.

My captain, sir, commends him to you, my captain, Sir John Falstaff, a tall gentleman, by heaven, and a most gallant leader.

captain, sir, commends him

SHALLOW dialogue

He greets me well, sir. I knew him a good backsword man. How doth the

good knight? May I ask how my lady his wife doth?

He greets me well, sir. I knew him a good backsword man. How does the good knight? May I ask how my lady his wife does?

greets well, sir.

BARDOLPH dialogue

Sir, pardon. A soldier is better accommodated than with a wife.

sir, pardon. soldier

SHALLOW dialogue

It is well said, in faith, sir, and it is well said indeed too. “Better

accommodated!” It is good, yea indeed, is it. Good phrases are surely,

and ever were, very commendable. “Accommodated.” It comes of

_accommodo_. Very good, a good phrase.

It is well said, in faith, sir, and it is well said indeed too. “Better accommodated!” It is good, yea indeed, is it. Good phrases are surely, and ever were, very commendable. “Accommodated.” It comes of _accommodo_. Very good, a good phrase.

It is well said, in faith, sir, and it is well said indeed too. “Better accommodated!” It is good, yea indeed, is it. Good phrases are surel...

well said,

""Better accommodated!" It is good, yea indeed, is it. Good phrases are surely, and ever were, very commendable. "Accommodated." It comes of accommodo." Shallow is performing his education by recognizing a 'good phrase' and pseudo-tracing its etymology. He's wrong — 'accommodated' is perfectly ordinary English by this point. His excitement about it marks him as a provincial trying to sound cosmopolitan.

BARDOLPH dialogue

Pardon, sir, I have heard the word—phrase call you it? By this day, I

know not the phrase, but I will maintain the word with my sword to be a

soldier-like word, and a word of exceeding good command, by heaven.

Accommodated, that is when a man is, as they say, accommodated, or when

a man is being whereby he may be thought to be accommodated; which is

an excellent thing.

Pardon, sir, I have heard the word—phrase call you it? By this day, I know not the phrase, but I will maintain the word with my sword to be a soldier-like word, and a word of exceeding good command, by heaven. Accommodated, that is when a man is, as they say, accommodated, or when a man is being whereby he may be thought to be accommodated; which is an excellent thing.

Pardon, sir, I have heard the word—phrase call you it? By this day, I know not the phrase, but I will maintain the word with my sword to be ...

pardon, sir, have heard

Why it matters Bardolph's circular definition of 'accommodated' — it means when a man is accommodated — is a perfect satire of confident ignorance. He's doing with military bluster exactly what Shallow was doing with pseudo-Latin: performing knowledge he doesn't have.

SHALLOW dialogue

It is very just.

very just.

Enter Falstaff.

Look, here comes good Sir John. Give me your good hand, give me your

worship’s good hand. By my troth, you like well and bear your years

very well. Welcome, good Sir John.

FALSTAFF dialogue

I am glad to see you well, good Master Robert Shallow. Master Surecard,

as I think?

I am glad to see you well, good Master Robert Shallow. Master Surecard, as I think?

glad see

SHALLOW dialogue

No, Sir John, it is my cousin Silence, in commission with me.

no, sir john,

FALSTAFF dialogue

Good Master Silence, it well befits you should be of the peace.

good master silence, well

SILENCE dialogue

Your good worship is welcome.

your good worship welcome.

FALSTAFF dialogue

Fie, this is hot weather, gentlemen. Have you provided me here half a

dozen sufficient men?

Fie, this is hot weather, gentlemen. Have you provided me here half a dozen sufficient men?

fie, this hot weather,

SHALLOW dialogue

Marry, have we, sir. Will you sit?

marry, have we, sir. will

FALSTAFF dialogue

Let me see them, I beseech you.

let see them,

SHALLOW dialogue

Where’s the roll? Where’s the roll? Where’s the roll? Let me see, let

me see, let me see. So, so, so, so, so, so, so. Yea, marry, sir: Ralph

Mouldy! Let them appear as I call; let them do so, let them do so. Let

me see; where is Mouldy?

Where’s the roll? Where’s the roll? Where’s the roll? Let me see, let me see, let me see. So, so, so, so, so, so, so. Yea, marry, sir: Ralph Mouldy! Let them appear as I call; let them do so, let them do so. Let me see; where is Mouldy?

Where’s the roll? Where’s the roll? Where’s the roll? Let me see, let me see, let me see. So, so, so, so, so, so, so. Yea, marry, sir: Ralph...

where’s the roll? where’s the

MOULDY dialogue

Here, an it please you.

here, please you.

SHALLOW dialogue

What think you, Sir John? A good-limbed fellow, young, strong, and of

good friends.

What think you, Sir John? A good-limbed fellow, young, strong, and of good friends.

what think you, sir john?

FALSTAFF dialogue

Is thy name Mouldy?

Is your name Mouldy?

thy name mouldy?

MOULDY dialogue

Yea, an’t please you.

yea, an’t please you.

FALSTAFF dialogue

’Tis the more time thou wert used.

’Tis the more time you wert used.

’tis the more time thou

SHALLOW dialogue

Ha, ha, ha! most excellent, i’ faith! Things that are mouldy lack use.

Very singular good, in faith, well said, Sir John, very well said.

Ha, ha, ha! most excellent, i’ faith! Things that are mouldy lack use. Very singular good, in faith, well said, Sir John, very well said.

ha, ha, ha! most excellent,

FALSTAFF dialogue

Prick him.

prick him.

MOULDY dialogue

I was pricked well enough before, an you could have let me alone. My

old dame will be undone now for one to do her husbandry and her

drudgery. You need not to have pricked me, there are other men fitter

to go out than I.

I was pricked well enough before, an you could have let me alone. My old dame will be undone now for one to do her husbandry and her drudgery. You need not to have pricked me, there are other men fitter to go out than I.

I was pricked well enough before, an you could have let me alone. My old dame will be undone now for one to do her husbandry and her drudger...

was pricked well enough

FALSTAFF dialogue

Go to. Peace, Mouldy; you shall go. Mouldy, it is time you were spent.

to. peace, mouldy; you

MOULDY dialogue

Spent?

spent?

SHALLOW dialogue

Peace, fellow, peace. Stand aside. Know you where you are? For

th’other, Sir John. Let me see: Simon Shadow!

Peace, fellow, peace. Stand aside. Know you where you are? For th’other, Sir John. Let me see: Simon Shadow!

peace, fellow, peace. stand aside.

FALSTAFF dialogue

Yea, marry, let me have him to sit under. He’s like to be a cold

soldier.

Yea, marry, let me have him to sit under. He’s like to be a cold soldier.

yea, marry, let have

SHALLOW dialogue

Where’s Shadow?

where’s shadow?

SHADOW dialogue

Here, sir.

here, sir.

FALSTAFF dialogue

Shadow, whose son art thou?

Shadow, whose son Are you?

shadow, whose son art thou?

SHADOW dialogue

My mother’s son, sir.

mother’s son, sir.

FALSTAFF dialogue

Thy mother’s son! Like enough, and thy father’s shadow. So the son of

the female is the shadow of the male. It is often so indeed, but much

of the father’s substance!

your mother’s son! Like enough, and your father’s shadow. So the son of the female is the shadow of the male. It is often so indeed, but much of the father’s substance!

your mother’s son! Like enough, and your father’s shadow. So the son of the female is the shadow of the male. It is often so indeed, but muc...

thy mother’s son! like enough,

SHALLOW dialogue

Do you like him, Sir John?

you like him, sir

FALSTAFF dialogue

Shadow will serve for summer. Prick him, for we have a number of

shadows to fill up the muster-book.

Shadow will serve for summer. Prick him, for we have a number of shadows to fill up the muster-book.

shadow will serve for summer.

"we have a number of shadows to fill up the muster-book" Falstaff openly reveals the mechanism of Elizabethan military corruption: keeping phantom soldiers on the muster roll and collecting their pay. He called it 'misuse of the King's press' in 1 Henry IV. Here he says it in public, to a Justice of the Peace.

Why it matters This throwaway line is actually Falstaff confessing to war fraud in front of a magistrate. That Shallow doesn't notice — or doesn't care — tells us everything about the play's military world.

🎭 Dramatic irony Falstaff openly admits to keeping 'shadows' (phantom soldiers) on the muster roll — in front of a Justice of the Peace. The audience knows this is fraud. Shallow, either doesn't understand or doesn't care. The admission is buried in a joke, which is how Falstaff gets away with everything.

SHALLOW dialogue

Thomas Wart!

thomas wart!

FALSTAFF dialogue

Where’s he?

where’s he?

WART dialogue

Here, sir.

here, sir.

FALSTAFF dialogue

Is thy name Wart?

Is your name Wart?

thy name wart?

WART dialogue

Yea, sir.

yea, sir.

FALSTAFF dialogue

Thou art a very ragged wart.

you Are a very ragged wart.

thou art very ragged

SHALLOW dialogue

Shall I prick him, Sir John?

shall prick him, sir

FALSTAFF dialogue

It were superfluous, for his apparel is built upon his back, and the

whole frame stands upon pins. Prick him no more.

It were superfluous, for his apparel is built upon his back, and the whole frame stands upon pins. Prick him no more.

were superfluous, for his

SHALLOW dialogue

Ha, ha, ha! You can do it, sir, you can do it. I commend you well.

Francis Feeble!

Ha, ha, ha! You can do it, sir, you can do it. I commend you well. Francis Feeble!

ha, ha, ha! you can

FEEBLE dialogue

Here, sir.

here, sir.

FALSTAFF dialogue

What trade art thou, Feeble?

What trade Are you, Feeble?

what trade art thou, feeble?

FEEBLE dialogue

A woman’s tailor, sir.

woman’s tailor, sir.

SHALLOW dialogue

Shall I prick him, sir?

shall prick him, sir?

FALSTAFF dialogue

You may; but if he had been a man’s tailor, he’d ha’ pricked you. Wilt

thou make as many holes in an enemy’s battle as thou hast done in a

woman’s petticoat?

You may; but if he had been a man’s tailor, he’d ha’ pricked you. will you make as many holes in an enemy’s battle as you have done in a woman’s petticoat?

You may; but if he had been a man’s tailor, he’d ha’ pricked you. will you make as many holes in an enemy’s battle as you have done in a wom...

you may; but

FEEBLE dialogue

I will do my good will, sir, you can have no more.

will good

Why it matters Feeble's answer is one of the play's quiet surprises. In a scene full of bombast and evasion, the weakest-looking man gives the most dignified response. He will do his best. He can't do more. This is the right answer — and Shakespeare puts it in the mouth of the man everyone is making fun of.

FALSTAFF dialogue

Well said, good woman’s tailor! Well said, courageous Feeble! Thou wilt

be as valiant as the wrathful dove or most magnanimous mouse. Prick the

woman’s tailor: well, Master Shallow, deep, Master Shallow.

Well said, good woman’s tailor! Well said, courageous Feeble! you will be as valiant as the wrathful dove or most magnanimous mouse. Prick the woman’s tailor: well, Master Shallow, deep, Master Shallow.

Well said, good woman’s tailor! Well said, courageous Feeble! you will be as valiant as the wrathful dove or most magnanimous mouse. Prick t...

well said, good woman’s tailor!

FEEBLE dialogue

I would Wart might have gone, sir.

would wart might have

FALSTAFF dialogue

I would thou wert a man’s tailor, that thou mightst mend him and make

him fit to go. I cannot put him to a private soldier that is the leader

of so many thousands. Let that suffice, most forcible Feeble.

I would you wert a man’s tailor, that you mightst mend him and make him fit to go. I cannot put him to a private soldier that is the leader of so many thousands. Let that suffice, most forcible Feeble.

I would you wert a man’s tailor, that you mightst mend him and make him fit to go. I cannot put him to a private soldier that is the leader ...

would thou wert

FEEBLE dialogue

It shall suffice, sir.

shall suffice, sir.

FALSTAFF dialogue

I am bound to thee, reverend Feeble. Who is next?

I am bound to you, reverend Feeble. Who is next?

bound thee,

SHALLOW dialogue

Peter Bullcalf o’ th’ green!

peter bullcalf th’ green!

FALSTAFF dialogue

Yea, marry, let’s see Bullcalf.

yea, marry, let’s see bullcalf.

BULLCALF dialogue

Here, sir.

here, sir.

FALSTAFF dialogue

Fore God, a likely fellow! Come, prick me Bullcalf till he roar again.

fore god, likely fellow!

BULLCALF dialogue

O Lord! good my lord captain—

lord! good lord

FALSTAFF dialogue

What, dost thou roar before thou art pricked?

What, do you roar before you Are pricked?

what, dost thou roar before

BULLCALF dialogue

O Lord, sir, I am a diseased man.

lord, sir,

FALSTAFF dialogue

What disease hast thou?

What disease have you?

what disease hast thou?

BULLCALF dialogue

A whoreson cold, sir, a cough, sir, which I caught with ringing in the

King’s affairs upon his coronation day, sir.

A whoreson cold, sir, a cough, sir, which I caught with ringing in the King’s affairs upon his coronation day, sir.

whoreson cold, sir,

FALSTAFF dialogue

Come, thou shalt go to the wars in a gown; we will have away thy cold,

and I will take such order that thy friends shall ring for thee. Is

here all?

Come, you shall go to the wars in a gown; we will have away your cold, and I will take such order that your friends shall ring for you. Is here all?

come, thou shalt

SHALLOW dialogue

Here is two more called than your number; you must have but four here,

sir; and so, I pray you, go in with me to dinner.

Here is two more called than your number; you must have but four here, sir; and so, I pray you, go in with me to dinner.

here two more called

FALSTAFF dialogue

Come, I will go drink with you, but I cannot tarry dinner. I am glad to

see you, by my troth, Master Shallow.

Come, I will go drink with you, but I cannot tarry dinner. I am glad to see you, by my troth, Master Shallow.

come, will drink

SHALLOW dialogue

O, Sir John, do you remember since we lay all night in the windmill in

Saint George’s Field?

O, Sir John, do you remember since we lay all night in the windmill in Saint George’s Field?

sir john, you

FALSTAFF dialogue

No more of that, good Master Shallow, no more of that.

more that, good

SHALLOW dialogue

Ha, ’twas a merry night. And is Jane Nightwork alive?

ha, ’twas merry night.

FALSTAFF dialogue

She lives, Master Shallow.

she lives, master shallow.

SHALLOW dialogue

She never could away with me.

she never could away with

FALSTAFF dialogue

Never, never; she would always say she could not abide Master Shallow.

never, never; she would always

SHALLOW dialogue

By the mass, I could anger her to th’ heart. She was then a bona-roba.

Doth she hold her own well?

By the mass, I could anger her to th’ heart. She was then a bona-roba. does she hold her own well?

the mass, could

FALSTAFF dialogue

Old, old, Master Shallow.

old, old, master shallow.

SHALLOW dialogue

Nay, she must be old, she cannot choose but be old, certain she’s old,

and had Robin Nightwork by old Nightwork before I came to Clement’s

Inn.

No, she must be old, she cannot choose but be old, certain she’s old, and had Robin Nightwork by old Nightwork before I came to Clement’s Inn.

nay, she must old,

SILENCE dialogue

That’s fifty-five year ago.

that’s fifty-five year ago.

SHALLOW dialogue

Ha, cousin Silence, that thou hadst seen that that this knight and I

have seen! Ha, Sir John, said I well?

Ha, cousin Silence, that you hadst seen that that this knight and I have seen! Ha, Sir John, said I well?

ha, cousin silence, that thou

FALSTAFF dialogue

We have heard the chimes at midnight, Master Shallow.

have heard the chimes

Why it matters This line — 'We have heard the chimes at midnight, Master Shallow' — is one of the most elegiac moments in Shakespeare's comedies. Falstaff is usually performing, working an angle. Here he's not. He's remembering something true. The midnight chimes are the sound of a life lived after dark, in pleasure, now long past. Orson Welles named his Falstaff film after this line.

SHALLOW dialogue

That we have, that we have, that we have; in faith, Sir John, we have.

Our watchword was “Hem boys!” Come, let’s to dinner; come, let’s to

dinner. Jesus, the days that we have seen! Come, come.

That we have, that we have, that we have; in faith, Sir John, we have. Our watchword was “Hem boys!” Come, let’s to dinner; come, let’s to dinner. Jesus, the days that we have seen! Come, come.

That we have, that we have, that we have; in faith, Sir John, we have. Our watchword was “Hem boys!” Come, let’s to dinner; come, let’s to d...

that have, that

[_Exeunt Falstaff, Shallow and Silence._]

BULLCALF dialogue

Good Master Corporate Bardolph, stand my friend; and here’s four Harry

ten shillings in French crowns for you. In very truth, sir, I had as

lief be hanged, sir, as go. And yet, for mine own part, sir, I do not

care; but rather because I am unwilling, and, for mine own part, have a

desire to stay with my friends; else, sir, I did not care, for mine own

part, so much.

Good Master Corporate Bardolph, stand my friend; and here’s four Harry ten shillings in French crowns for you. In very truth, sir, I had as lief be hanged, sir, as go. And yet, for mine own part, sir, I do not care; but rather because I am unwilling, and, for mine own part, have a desire to stay with my friends; else, sir, I did not care, for mine own part, so much.

Good Master Corporate Bardolph, stand my friend; and here’s four Harry ten shillings in French crowns for you. In very truth, sir, I had as ...

good master corporate bardolph, stand

BARDOLPH dialogue

Go to, stand aside.

to, stand aside.

MOULDY dialogue

And, good Master Corporal Captain, for my old dame’s sake, stand my

friend. She has nobody to do anything about her when I am gone, and she

is old, and cannot help herself. You shall have forty, sir.

And, good Master Corporal Captain, for my old dame’s sake, stand my friend. She has nobody to do anything about her when I am gone, and she is old, and cannot help herself. You shall have forty, sir.

And, good Master Corporal Captain, for my old dame’s sake, stand my friend. She has nobody to do anything about her when I am gone, and she ...

and, good master corporal captain,

BARDOLPH dialogue

Go to, stand aside.

to, stand aside.

FEEBLE dialogue

By my troth, I care not. A man can die but once. We owe God a death.

I’ll ne’er bear a base mind. An ’t be my destiny, so; an ’t be not, so.

No man’s too good to serve’s prince, and let it go which way it will,

he that dies this year is quit for the next.

By my troth, I care not. A man can die but once. We owe God a death. I’ll ne’er bear a base mind. An ’t be my destiny, so; an ’t be not, so. No man’s too good to serve’s prince, and let it go which way it will, he that dies this year is quit for the next.

By my troth, I care not. A man can die but once. We owe God a death. I’ll ne’er bear a base mind. An ’t be my destiny, so; an ’t be not, so....

troth, care

Why it matters Feeble's speech is the scene's moral center. In a sequence full of men trying to avoid service, the woman's tailor — the most mockable figure in the scene — accepts his fate with complete equanimity. 'We owe God a death' is a phrase that will echo forward in the plays, appearing again in Henry V. The weakest-looking man turns out to have the most courage.

BARDOLPH dialogue

Well said, th’art a good fellow.

Well said, th’Are a good fellow.

well said, th’art good

FEEBLE dialogue

Faith, I’ll bear no base mind.

faith, i’ll bear base

Enter Falstaff and the Justices.

FALSTAFF dialogue

Come, sir, which men shall I have?

come, sir, which men shall

SHALLOW dialogue

Four of which you please.

four which you please.

BARDOLPH dialogue

Sir, a word with you. I have three pound to free Mouldy and Bullcalf.

sir, word with you.

FALSTAFF dialogue

Go to, well.

to, well.

SHALLOW dialogue

Come, Sir John, which four will you have?

come, sir john, which four

FALSTAFF dialogue

Do you choose for me.

you choose for me.

SHALLOW dialogue

Marry, then, Mouldy, Bullcalf, Feeble, and Shadow.

marry, then, mouldy, bullcalf, feeble,

FALSTAFF dialogue

Mouldy and Bullcalf: for you, Mouldy, stay at home till you are past

service; and for your part, Bullcalf, grow till you come unto it. I

will none of you.

Mouldy and Bullcalf: for you, Mouldy, stay at home till you are past service; and for your part, Bullcalf, grow till you come unto it. I will none of you.

Mouldy and Bullcalf: for you, Mouldy, stay at home till you are past service; and for your part, Bullcalf, grow till you come unto it. I wil...

mouldy and bullcalf: for you,

SHALLOW dialogue

Sir John, Sir John, do not yourself wrong. They are your likeliest men,

and I would have you served with the best.

Sir John, Sir John, do not yourself wrong. They are your likeliest men, and I would have you served with the best.

sir john, sir john,

FALSTAFF dialogue

Will you tell me, Master Shallow, how to choose a man? Care I for the

limb, the thews, the stature, bulk, and big assemblance of a man? Give

me the spirit, Master Shallow. Here’s Wart. You see what a ragged

appearance it is. He shall charge you and discharge you with the motion

of a pewterer’s hammer, come off and on swifter than he that gibbets on

the brewer’s bucket. And this same half-faced fellow, Shadow; give me

this man. He presents no mark to the enemy. The foeman may with as

great aim level at the edge of a penknife. And for a retreat, how

swiftly will this Feeble, the woman’s tailor, run off! O, give me the

spare men, and spare me the great ones. Put me a caliver into Wart’s

hand, Bardolph.

Will you tell me, Master Shallow, how to choose a man? Care I for the limb, the thews, the stature, bulk, and big assemblance of a man? Give me the spirit, Master Shallow. Here’s Wart. You see what a ragged appearance it is. He shall charge you and discharge you with the motion of a pewterer’s hammer, come off and on swifter than he that gibbets on the brewer’s bucket. And this same half-faced fellow, Shadow; give me this man. He presents no mark to the enemy. The foeman may with as great aim level at the edge of a penknife. And for a retreat, how swiftly will this Feeble, the woman’s tailor, run off! O, give me the spare men, and spare me the great ones. Put me a caliver into Wart’s hand, Bardolph.

Will you tell me, Master Shallow, how to choose a man? Care I for the limb, the thews, the stature, bulk, and big assemblance of a man? Give...

will you tell me, master

BARDOLPH dialogue

Hold, Wart. Traverse. Thas, thas, thas.

hold, wart. traverse. thas, thas,

FALSTAFF dialogue

Come, manage me your caliver. So, very well, go to, very good,

exceeding good. O, give me always a little, lean, old, chopt, bald

shot. Well said, i’ faith, Wart. Th’art a good scab. Hold, there’s a

tester for thee.

Come, manage me your caliver. So, very well, go to, very good, exceeding good. O, give me always a little, lean, old, chopt, bald shot. Well said, i’ faith, Wart. Th’Are a good scab. Hold, there’s a tester for you.

Come, manage me your caliver. So, very well, go to, very good, exceeding good. O, give me always a little, lean, old, chopt, bald shot. Well...

come, manage your caliver.

SHALLOW dialogue

He is not his craft’s master, he doth not do it right. I remember at

Mile-End Green, when I lay at Clement’s Inn—I was then Sir Dagonet in

Arthur’s show—there was a little quiver fellow, and he would manage you

his piece thus. And he would about and about, and come you in and come

you in. “Rah, tah, tah,” would he say. “Bounce” would he say; and away

again would he go, and again would he come. I shall ne’er see such a

fellow.

He is not his craft’s master, he does not do it right. I remember at Mile-End Green, when I lay at Clement’s Inn—I was then Sir Dagonet in Arthur’s show—there was a little quiver fellow, and he would manage you his piece thus. And he would about and about, and come you in and come you in. “Rah, tah, tah,” would he say. “Bounce” would he say; and away again would he go, and again would he come. I shall ne’er see such a fellow.

He is not his craft’s master, he does not do it right. I remember at Mile-End Green, when I lay at Clement’s Inn—I was then Sir Dagonet in A...

not his craft’s

FALSTAFF dialogue

These fellows will do well. Master Shallow. God keep you, Master

Silence: I will not use many words with you. Fare you well, gentlemen

both. I thank you. I must a dozen mile tonight. Bardolph, give the

soldiers coats.

These fellows will do well. Master Shallow. God keep you, Master Silence: I will not use many words with you. Fare you well, gentlemen both. I thank you. I must a dozen mile tonight. Bardolph, give the soldiers coats.

These fellows will do well. Master Shallow. God keep you, Master Silence: I will not use many words with you. Fare you well, gentlemen both....

these fellows will well.

SHALLOW dialogue

Sir John, the Lord bless you! God prosper your affairs! God send us

peace! At your return, visit our house, let our old acquaintance be

renewed. Peradventure I will with ye to the court.

Sir John, the Lord bless you! God prosper your affairs! God send us peace! At your return, visit our house, let our old acquaintance be renewed. Peradventure I will with ye to the court.

Sir John, the Lord bless you! God prosper your affairs! God send us peace! At your return, visit our house, let our old acquaintance be rene...

sir john, the lord bless

🎭 Dramatic irony Shallow says 'perhaps I'll come with you to court' as a casual hope. The audience has just heard Falstaff, in his aside to us, decide he will exploit Shallow. The warm farewell is already the beginning of the con.

FALSTAFF dialogue

Fore God, I would you would, Master Shallow.

fore god, would you

SHALLOW dialogue

Go to, I have spoke at a word. God keep you.

to, have spoke

FALSTAFF dialogue

Fare you well, gentle gentlemen. [_Exeunt Justices_.] On, Bardolph,

lead the men away. [_Exeunt Bardolph, recruits, &c._] As I return, I

will fetch off these justices. I do see the bottom of Justice Shallow.

Lord, Lord, how subject we old men are to this vice of lying! This same

starved justice hath done nothing but prate to me of the wildness of

his youth, and the feats he hath done about Turnbull Street, and every

third word a lie, duer paid to the hearer than the Turk’s tribute. I do

remember him at Clement’s Inn, like a man made after supper of a

cheese-paring. When he was naked, he was, for all the world, like a

forked radish, with a head fantastically carved upon it with a knife.

He was so forlorn, that his dimensions to any thick sight were

invincible. He was the very genius of famine, yet lecherous as a

monkey, and the whores called him mandrake. He came ever in the

rearward of the fashion, and sung those tunes to the overscutched

huswives that he heard the carmen whistle, and sware they were his

fancies or his good-nights. And now is this Vice’s dagger become a

squire, and talks as familiarly of John a Gaunt as if he had been sworn

brother to him, and I’ll be sworn he ne’er saw him but once in the

tilt-yard, and then he burst his head for crowding among the marshal’s

men. I saw it and told John a Gaunt he beat his own name, for you might

have thrust him and all his apparel into an eel-skin; the case of a

treble hautboy was a mansion for him, a court. And now has he land and

beefs. Well, I’ll be acquainted with him if I return, and ’t shall go

hard but I’ll make him a philosopher’s two stones to me. If the young

dace be a bait for the old pike, I see no reason in the law of nature

but I may snap at him. Let time shape, and there an end.

Fare you well, gentle gentlemen. [_Exeunt Justices_.] On, Bardolph, lead the men away. [_Exeunt Bardolph, recruits, &c._] As I return, I will fetch off these justices. I do see the bottom of Justice Shallow. Lord, Lord, how subject we old men are to this vice of lying! This same starved justice has done nothing but prate to me of the wildness of his youth, and the feats he has done about Turnbull Street, and every third word a lie, duer paid to the hearer than the Turk’s tribute. I do remember him at Clement’s Inn, like a man made after supper of a cheese-paring. When he was naked, he was, for all the world, like a forked radish, with a head fantastically carved upon it with a knife. He was so forlorn, that his dimensions to any thick sight were invincible. He was the very genius of famine, yet lecherous as a monkey, and the whores called him mandrake. He came ever in the rearward of the fashion, and sung those tunes to the overscutched huswives that he heard the carmen whistle, and sware they were his fancies or his good-nights. And now is this Vice’s dagger become a squire, and talks as familiarly of John a Gaunt as if he had been sworn brother to him, and I’ll be sworn he ne’er saw him but once in the tilt-yard, and then he burst his head for crowding among the marshal’s men. I saw it and told John a Gaunt he beat his own name, for you might have thrust him and all his apparel into an eel-skin; the case of a treble hautboy was a mansion for him, a court. And now has he land and beefs. Well, I’ll be acquainted with him if I return, and ’t shall go hard but I’ll make him a philosopher’s two stones to me. If the young dace be a bait for the old pike, I see no reason in the law of nature but I may snap at him. Let time shape, and there an end.

Fare you well, gentle gentlemen. [_Exeunt Justices_.] On, Bardolph, lead the men away. [_Exeunt Bardolph, recruits, &c._] As I return, I wil...

fare you well, gentle gentlemen.

"like a man made after supper of a cheese-paring" Falstaff's portrait of young Shallow as assembled from a cheese-rind after supper is one of Shakespeare's most specifically visual insults. It conjures a figure so insubstantial he seems accidental — made from leftover scraps. The forked-radish image that follows is equally precise.

"this Vice's dagger become a squire" The 'Vice' is the stock comedy villain from the old morality plays — a clown who carried a dagger. Falstaff is comparing the young Shallow to this theatrical figure, both for his slight build (a dagger) and his moral type. Now this Vice has become a prosperous squire.

Why it matters Falstaff's closing soliloquy is one of the play's great prose passages. He doesn't just mock Shallow — he performs the act of seeing through a man who has spent his whole life constructing a false self. The joke is double: Falstaff, who also performs a false self, is the one doing the unmasking. And his plan to use Shallow plants a seed that will drive the play's final act.

[_Exit._]

The Reckoning

This scene is pure comic relief placed exactly where relief is needed — between Henry IV's sleepless night and the rebel camp at Gaultree. But it earns its place. The conscription parade is genuinely funny, and Feeble's speech about death ('We owe God a death') is one of the play's most unexpectedly moving moments. And Falstaff's closing soliloquy — the portrait of Shallow as a forked radish, a man made from a cheese-paring — is some of his finest prose. Underneath the comedy is something darker: these are real men being sent to die in a war they have nothing to do with.

If this happened today…

A military contractor arrives in a small town to recruit. The local official who's hosting him is a nostalgic bore who keeps reminiscing about the wild times they apparently had together fifty years ago — none of which the contractor remembers happening the way the official tells it. The contractor interviews five candidates: one is fine, one is technically a shadow of a man, one is a tailor, one has a cold from ringing church bells. Two of them bribe their way out. The tailor turns out to have more dignity than all of them. After everyone leaves, the contractor turns to camera and describes the official as a forked radish.

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