Research

Historical Research for Macmorris and Bedford

Henry V by William Shakespeare was written around 1599, during a time of political unrest between England and Ireland. Shakespeare’s inclusion of Irish captain Macmorris is likely influenced by the Nine Years' War, in which Irish leaders resisted English rule. This context shaped English perceptions of the Irish as rebellious, uncivilized, barbaric, unpredictable, and culturally “other.” Irish Identity was viewed through a colonial lens and suggests the long history of a power struggle over not just Ireland, but also Scotland and Wales. Having other Cultural identities included in the English army displays England’s attempt to assert control and unity across its territories in both the play and during Shakespeare’s present day. It also highlights how Irish identity has historically been questioned and marginalized.

Bedford was based on a real person, John of Lancaster, one of Henry V’s younger brothers. He was a key leader in the Hundred Years’ War and even after Henry’s death he continued leadership positions such as being the Regent of France for Henry VI of England. He was a critical part of maintaining English control in France during a very fragile period of its history. His role in the play and in real life helped reinforce Henry’s legitimacy and effectively establish propaganda. The Duke of Bedford was given different responsibilities over the years, but perhaps the biggest challenge he faced was when he was Regent of France. At the beginning of a fragile regime change, he was the glue keeping things running. Much of his work related to moving finances around to help regain money and fund the ongoing conflict. He was mainly successful because he didn’t see himself as a foreign ruler and that instead he represented the legitimized French sovereign. He maintained already existing French institutions and assured the cooperation of his French citizens. The French could then essentially convince themselves that they were supporting a French government, even if it was being run by a foreign King. Bedford’s reputation with the Norman Estates provides a clear picture of the character of his administration. Even though Bedford had to heavily tax the people of France, he did so under a law that required a vote of popular consent from Estates. He did what many considered very good work. After Bedford’s death, it is said that many of the systems he built, fell apart.

Critical

The national identities presented in Henry’s army are harmful stereotypes. Shakespeare included the cultural differences in an exaggerated manner to reinforce English dominance in both the play and from a patriotic standpoint in Shakespeare's mind. In this instance, the Irish stereotype includes Macmorris’ aggressive temperament and a stylized speech pattern. In terms of the play, the argument between Fluellen and Macmorris is critical to the story because it reveals the tension within the English forces, which goes against what’s being advertised throughout the play, the “United English Army”. It also challenges the English' s colonial idea of a singular national identity.

Captain Macmorris’ character is presented as an Elizabethan perception of a stereotype of an Irishman. Stereotypes are seen with other nations represented in Henry’s army in characters such as Captain Fluellen (Welsh) and Captain Jamy (Scottish). In the Elizabethan era, English ideologies perpetuated colonial ventures through the use of propagandized literature that used offensive imagery to demean Ireland and its people. And in the play Macmorris presents a question that indirectly asks about national identity that brings attention to the English stereotype of Irishry. As a character, Macmorris is in a weird in-between position here. Between fighting alongside the colonizer and being colonized. It’s a deeply uncomfortable position to be in. Even during Shakespeare’s time,during the Nine Years’ War, the English perception of Ireland was not a good one. The release of the play Henry V did not help the negative stereotype of “the stage-Irishman”, MacMorris was used for comedic effect, especially the usage of each of Fluellen’s, Jamy’s and Macmorris’s accents are meant to confuse each other for the comedic bit.

The Duke of Bedford in Henry V can really be seen less as an individual character and more of a functionally moving piece that embodies political unity and aristocratic support for the crown. He promotes cohesion and helps justify Henry’s war, and that is Bedford’s main role within the noble ensemble. He is the opposite portrayal of Macmorris, because Bedford represents stability, order, assured national pride, and unquestioned loyalty. His lack of presence on stage suggests his usage is structural rather than psychological, helping to create the impression of a unified ruling class that backs their king under the guise of the larger goal of the Hundred Years’ War.

Theoretical

The play can be interpreted through several theoretical lenses, including a postcolonial perspective. From this viewpoint, Captain Macmorris can be seen as embodying a colonized identity, one that seems sensitive to how others perceive the Irish. This helps explain his sharp reaction when Fluellen challenges him. In this moment, Fluellen seems to assert authority, effectively putting Macmorris “in his place.” What makes this interaction particularly compelling is Fluellen’s motivation. His position within Henry’s army is not entirely secure either; his Welsh identity could just as easily be marginalized. If not for his cultural and political alignment with Henry, Fluellen might occupy a role similar to Macmorris. This raises an important question: Why does Fluellen reinforce the same hierarchy that could exclude him? Macmorris’ unresolved question, “What is my nation? ,” ultimately captures the instability of identity under colonial pressure. Rather than offering a clear answer, the play leaves this tension open, reflecting the complexity of belonging within a system shaped by power and domination and also reinforcing colonial authority. This reveals that the idea of “nationhood” is something to be performed and negotiated.

Henry V dramatizes the historical conflict between England and France, symbolically staging what scholars call the “British problem.” The “British problem” refers to the internal infighting and the need to justify a foreign war. As a newly crowned ruler, Henry uses the invasion of France to strengthen his legitimacy and unify a divided nation. At the same time, the Church supports the war effort as a strategic distraction, preventing Henry from turning his attention toward their wealth and power (Ivic). Henry himself is portrayed as culturally hybrid and somewhat unstable in his own identity. He is called “brother Ireland,” courts Katherine in terrible French, and identifies himself as Welsh in some moments of the play. These contradictions suggest that the play’s emerging sense of English nationalism conflicts with the realities of an early stage multi-national British state. One that was simultaneously engaged in violent conflict with Ireland (Ivic). It is no secret that this play is one of Shakespeare's most patriotic plays, it’s literally the story of the English hero Henry V.

Bedford can be interpreted theoretically as a representation of larger systems of power. He is basically what helps feed the machine, he embodies the state. As stated previously, he helps construct the legitimacy of King Henry. He helps propel propaganda that displays a political narrative. Whatever Bedford does it’s to ultimately serve the interest of the nobility. He doesn’t have an arch throughout the show that displays personal growth and development, his meaning is created through the relationships he has. This perspective frames Bedford as a figure defined not by internal transformation, but by his role in maintaining order, hierarchy, and upholding public appearance.

Theoretical Real World Comparison

During the Design Presentation Kevin mentioned that for Henry’s costume he was inspired by Volodymyr Zelenskyy. It really got me thinking about the show's modern design. That there are some interesting parallels between the show and current events. Bear in mind that these parallels are theoretical and meaningful, but don’t oversimplify the reality of each of the wars. Because the reasons for each war were different and we must acknowledge that. What’s useful in this comparison is how wars are claimed to be justified and how they’re experienced.

One similarity that stood out to me is the usage of narrative and legitimacy. In the play, King Henry frames his invasion of France as legally and morally justified, relying on Archbishop Canterbury's argument that Henry has a rightful claim to the throne. This mirrors how modern conflicts are typically framed through legal or historical claims. In the instance of Ukraine, Vladimir Putin uses historical arguments about identity and land claims to justify Russia’s invasion. These claims are widely rejected internationally, but it still functions as a form of political storytelling, not unlike Henry's claims.

Another similarity is the use of propaganda and rhetoric. Henry’s speeches, especially before battles, are designed to unify and motivate his soldiers. Today’s leaders do similar things through speeches and social media. Volodymyr Zelenskyy has used speeches to rally both his country and international support, showing us how leadership during wartime still depends heavily on persuasive language. He even posts updates on the war nearly every day.

There’s also themes of national identity in both instances. In Henry V, the English army contains different national identities (Welsh, Irish, Scottish), and the war helps bring a sense of united “Englishness” among them. In Ukraine, the war has strengthened Ukrainian national identity in response to invasion. Unity has been forged around language, culture, and sovereignty in the face of ongoing threat.

Lastly, the human cost of war is another connection to make. Shakespeare includes scenes speaking of the total number of dead on each side, reminding the audience that war isn’t just about glory and honor. Similarly in Ukraine we see (minus censorship), the human suffering, displacement, and experiences of soldiers and civilians turned soldiers, and the death. I remember seeing a video of a destroyed apartment complex and there was an undetonated missile in the middle of a woman’s apartment. I also remember seeing a video that was of students, my age, at the time having to learn inside a bomb shelter. Seeing how war changed everything was really eye-opening.

P.S.- Unrelated to the war in Ukraine, and I’ve mentioned it before in the journals, but over spring break I had the privilege of traveling to Hawaii. We were bringing my grandfather to see Pearl Harbor for the first time in his life. He was alive when the war happened and he would tell me stories that he remembered. But going there and seeing The U.S.S. Arizona memorial reminded me of the human cost of war. It was a heavy and deeply sad feeling, because we were literally standing over the sunken ship where many sailors were stuck inside as it sunk. We were standing over a grave. The sheer amount of people that died in The U.S.S. Arizona and in the attack are numbers that the human brain can’t fathom. It got me thinking about Henry V and how its message is very anti-war and that wars turn men into monsters.

Theatrical for Macmorris and Bedford

Uta Hagen's "Nine Questions" for MacMorris

The following questions must be answered for each character study in order to define your role with as many specifics as possible. Consider these questions as research questions and continue to add answers and details as you explore and rehearse your character.

1. WHO AM I?

Name: Macmorris

Sex: Male

Age: Early Twenties

Place of Birth: Dublin, Ireland

Accent: Regional Dublin Irish accent

Current Residence: Somewhere within Warwickshire, England.

Religion: Most likely raised Catholic and actively practices

Ethnic background: Celtic

Languages: Gaeilge, English.

Family: Comes from a large family, many siblings.

Marital status: Not married

Children: None

Education: The extent of his literacy could possibly just be from Bible Study.

Occupation: Soldier for King Henry’s army

Socio-Economic Status: Middle to Low Class, more likely Low Class.

WHAT TIME IS IT (Century, season, year, day, minute, significance of time)

The show goes through the years 1415 through 1420. The seasons range from late summer through winter. The show takes place in part of the Hundred Years war. But simultaneously we designed the show also through a modern lens and from the perspective of the Boy.

3. WHERE AM I? (Country, city, neighborhood, home, room, area of room)

The set is in a fixed location, however for the show this answer changes throughout. We start in Warwickshire (at least that’s where historically Henry V’s castle is located), and then we move to Southampton, the port of call before we sail to France. Then we end up in France, and end up in the town of Harfluer where we lay siege. After winning at Harfleur, we marched a long and grueling way to Calais. However, there’s a battle in Agincourt first before we head to Calais. The final scene is in Calais where Henry claims the throne and declares Katherine’s hand in marriage.

4. WHAT SURROUNDS ME? (Animate and inanimate objects-complete details of environment)

As we travel throughout this war campaign, we end up in several terrains. Henry’s Castle, within the walls of a lavish courtroom, the bustling docks of Southampton, trudging through dense forest and difficult terrain, the trenches of Harfleur, the campsites in the forest along the way, the wide and muddy field of Agincourt, and finally the extravagant court room in Troyes, France.

5. WHAT ARE THE GIVEN CIRCUMSTANCES? (Past, present, future and all of the events)

Past given circumstances

Would be wherever I was living before I ended up in England.

Present circumstances:

He is an Irishman with conflicted national identity (i.e. should he identify as an Englishman since England has been trying to Anglicize Ireland for hundreds already of years at the beginning of the play, or should he go against that and Identify as Irish and face discrimination. Even though when he tries to identify as an Englishman he’d face discrimination anyway).
His Part in a Military Failure not only reflects on him but also Henry’s Army as a whole especially since he is leading the mining operation.
His job in overseeing and helping dig the mines (tunnels) to undermine the walls of Harfleur is arguably one of the most grueling in the army.
He is someone who values time and being on time is important to him, especially in the military.
He is furious that the work has stopped, noting that in "one more hour" he would have successfully blown up the town.
He thinks that because Fluellen is Welsh and the King is Welsh, Fluellen is treated better.
Despite being angry about the tunnels, part of him is relieved when the town sounds a parley.
He strongly dislikes Captain Fluellen. He thinks the man is too obsessed with the Roman Wars and he is too engrossed in the rules when we should be taking action while the opportunity is hot in their hands. He is also dealing with the condescension of Captain Fluellen, who accuses him of not managing the mines according to military discipline.
Macmorris is highly defensive and hot-tempered, taking offense at Fluellen’s questioning of his knowledge and anyone who denigrates his "nation".
He plays right into the stereotype of the “hot-headed Irishman" that both the English perceived at the time of the play and how Sheakespare’s time perceived Irish people.
As an Irish officer in the English army, he is under immense stress representing not only the people of Ireland, but also upholding the standards of the English Army.

Future Circumstances:

I would likely continue serving under Henry until his passing, and probably serve under his son too.

6. WHAT IS MY RELATIONSHIP? (Relation to total events, other characters, and to things)

My relationship to total events are the result of England’s colonization of Ireland, I wouldn’t be here if England hadn’t been trying to take over. My relationship to other people is generally in good standing with my comrades and My King, with the exception of Captain Fluellen.

7. WHAT DO I WANT? (Character's need. The immediate and main objective)

I want to assert respect for myself and the people of Ireland. I also want to shut down any questioning of my identity. Additionally, I was to re-establish my authority within the group. Lastly, I want Fluellen to acknowledge that the roman wars aren’t everything and that taking action is needed.

8. WHAT IS IN MY WAY? (The obstacles which prevent character from getting his/her need)

Primarily Fluellen is in my way. Additionally, my identity is in my way, there are people of the belief that my people are seen as less than.

WHAT DO I DO TO GET WHAT I WANT? (The action: physical and verbal, also-action verbs)

I challenge the remarks that Fluellen makes, instead of letting them go, I raise the stakes emotionally. Physically, I approach Fluellen he “runs”, I chase, meant to intimidate and get across my points. I threaten him to get him to basically shut up, and get him to be afraid so he can’t challenge me further.

Uta Hagen's "Nine Questions" for Bedford

WHO AM I

Name: John of Lancaster, Duke of Bedford

(Bedford is based on a real person)

Sex: Male

Age: Early Twenties

Place of Birth: Kenilworth, Warwickshire, England

Born: June 20th, 1389

Died: September 14th, 1435 at the age of 46.

Accent: My best guess is a regional midlands English accent

Current Residence: Warwickshire, England, in Kenilworth Castle.

Religion: Most likely raised Catholic and actively practices.

Ethnic background: Anglo-Saxon, since his father’s name derives from Anglo-Saxons.

Languages: English, French, and likely Latin too.

Family: Father: Henry IV of England, Mother: Mary de Bohun, Siblings: Henry of Monmouth, Thomas of Lancaster, Duke of Clarence, Humphrey, Duke of Gloucester, Phillipa of Lancaster, and Blanche of Lancaster

Marital status: Anne of Burgundy (married 1423, died 1432), Jacquetta of Luxembourg (married 1433)

Children: No surviving legitimate or illegitimate heirs.

Education: Most likely educated to a high degree

Occupation(s): Prince, Knight (1399), Knight of the Garter(1400), Master of the Mews and Falcons (1402), Constable of England (1403), Warden of the East March (1403-1414), Made Earl of Kendal, Earl of Richmond, and Duke of Bedford (all in 1414), and Regent of France (under my nephew in 1422).

(Yeah he was doing something every year…sheesh!)

Socio-Economic Status: Royalty/High Class

WHAT TIME IS IT (Century, season, year, day, minute, significance of time)

3. WHERE AM I? (Country, city, neighborhood, home, room, area of room)

4. WHAT SURROUNDS ME? (Animate and inanimate objects-complete details of environment)

WHAT ARE THE GIVEN CIRCUMSTANCES? (Past, present, future and all of the events)

Past circumstances:

I was born in 1389 at Kenilworth Castle, third son of Henry IV, I was raised with my siblings as a Prince and born into my father’s unstable regime change. I grew up in instability following the overthrow of Richard II of England. I was trained as a Prince, Nobleman, and soldier from a young age. I was involved in governance and military preparations from a young age.

Present Circumstances:

I help with preparations for war with France during the Hundred Years’ War. I’m part of Henry’s inner circle. I help reinforce Henry’s authority, especially with traitors, maintain unity and morale among the nobles, and support the political justification for this war. I trust my brother implicitly, despite some rash decisions he may make. I work closely with my Uncle Exeter, My brother Gloucester, and my good friend Lord Canterbury.

Future Circumstances:

I hold a lot of responsibility, I become an important leader in France. After my older brother Henry’s death, I serve as the Regent of France for my young nephew Henry VI of England. I continue fighting in the Hundred Years’ War and help maintain English control of France for some time. My leadership helps uphold my brother's Legacy and memory. I marry Anne of Burgundy, a strategic marriage, until her passing. I later marry Jacquetta of Luxembourg until my death in 1435, leaving myself with no legitimate heirs in the end.

Total given circumstances:

Bedford is a royal son shaped by political instability and was positioned under shaky monarchies his whole life. A loyal brother to a powerful king, to his country and countrymen. His whole life was dedicated to the support of his brother. He was raised to be a noble trained for war and governance. The world he lives in at the time heavily values legitimate Kings on the throne and a country not unified will be taken advantage of and invaded. Greater responsibility has been placed on him after Henry’s death. He tends to be more level headed than his brother, Bedford is controlled, observant, and Loyal (but not naive). If Henry is the charismatic leader, Bedford is the glue that keeps the Kingdom standing.

6. WHAT IS MY RELATIONSHIP? (Relation to total events, other characters, and to things)

Bedford is tied to Henry’s goal as a whole. The play is set inside the Hundred Years’ War and Henry’s goals are to justify Invading France, maintain unity internally, and prove Henry’s legitimacy and claim to France. He is helping make things happen. His primary relationship is to Henry, the King. I trust Henry's judgement, even if I may not agree with it. I have a shared responsibility to make sure the crown maintains authority, because if Henry fails, Bedford fails too. If they fail, they lose legitimacy and power. He also works closely with the other Nobles, such as his Uncle Exeter, his brother Gloucester and his good friend the Archbishop of Canterbury. Bedford works within a system of power based in hierarchy. Not only does he work with the royal side of things, he also helps within the Church as well. He sees France as a political target. Something to be controlled and taken. His relationship with his nation is a deep loyalty, that he would fight and die for.

7. WHAT DO I WANT? (Character's need. The immediate and main objective)

I want to support Henry’s authority and the success of his campaign. I also want to help create a unified front behind Henry’s claim to France. Additionally, I want to be a loyal brother and royal son.

8. WHAT IS IN MY WAY? (The obstacles which prevent character from getting his/her need)

Anything that stands in the way of Henry’s goals is in my way. One thing that’s in my way is political uncertainty, Henry’s claim isn’t necessarily rock-solid, it relies heavily on the word of the Church. The “British Problem” is also in my way, we’re not entirely unified due to not having total cooperation from Ireland and Scotland. The plot against Henry from Scroop, Cambridge, and Grey stands in my way. My own personal doubts could stay in my way as well, I can’t show weakness and appear un-unified, that would greatly help our enemies. Lastly, failure of losing the war would massively stand in the way.

WHAT DO I DO TO GET WHAT I WANT? (The action: physical and verbal, also-action verbs)

To achieve what I want I agree and reinforce anything that aligns with Henry’s goals. I use calm authority to get things done and keep any negative opinions to myself. I also align myself physically and vocally with Henry. Additionally I avoid conflict that could create any sort of division. Lastly, if there are any problems I remove them from the equation (ex. Scroop, Cambridge, and Grey).

Sources for Project Overall

Baker, David. “‘Wildeh Irissheman’;Colonialist Representation in Shakespeare? Henry V.” English Literary Renaissance, University of Chicago Press, 1992.

Eskelson, T. C. (2021). Journal of Education and Learning; vol. 10, no. 2; 2021. States, Institutions, and Literacy Rates in Early-Modern Western Europe. https://files.eric.ed.gov/fulltext/EJ1290524.pdf

Ellis, P. S. (2011, February 17). History - turning Ireland English. BBC. https://www.bbc.co.uk/history/british/tudors/elizabeth_ireland_01.shtml

By: Paulina Kewes, May 18, 2023. (2023a). Kingship, legitimacy, and war in henry V. Online Library of Liberty. https://oll.libertyfund.org/publications/reading-room/2023-05-18-kewes-kingship-legitimacy-and-war-henry-v

Irish

Race and identity in henry V: Blogs & features. Shakespeare’s Globe. (n.d.). https://www.shakespearesglobe.com/discover/blogs-and-features/2023/01/11/race-and-identity-in-henry-v/

Richard A. Newhall. “The War Finances of Henry V and the Duke of Bedford.” The English Historical Review, vol. 36, no. 142, 1921, pp. 172–98. JSTOR, http://www.jstor.org/stable/552292. Accessed 30 Apr. 2026.

Rowe, B. J. H. “The Estates of Normandy under the Duke of Bedford, 1422-1435.” The English Historical Review, vol. 46, no. 184, 1931, pp. 551–78. JSTOR, http://www.jstor.org/stable/553219. Accessed 30 Apr. 2026.

Fun Agincourt visual

Y-Buzz

Ray, D. (2025). Uta Hagen’s Nine Questions. Scribd. https://www.scribd.com/document/527847095/Uta-Hagen-9-Q-s

Mettinger, Elke. "The ‘Irish Problem’through the Lens of Elizabethan Media." Acta Neophilologica 57.2 (2024): 5-28.

Murphy, A. (2016). Shakespeare, ethnicity, and Nationalism: Introduction - foster - 2016 - studies in ethnicity and Nationalism - Wiley Online Library. Wiley Online Library. https://onlinelibrary.wiley.com/doi/abs/10.1111/sena.12193

Heng, Geraldine. “Inventions/Reinventions: Race Studies, Modernity, and the Middle Ages.” The Invention of Race in the European Middle Ages. Cambridge: Cambridge University Press, 2018. 15–54. Print.

History Education, N. C. for. (2025, September 23). Gaelic resistance: Two Nine Years’ War struggles in Ireland. ncheteach.org. https://ncheteach.org/resource/gaelic-resistance-two-nine-years-war-struggles-in-ireland/

Onions, C. T. (1970, January 1). A Shakespeare Glossary : Onions, C. T. (Charles Talbut), 1873-1965 : Free download, Borrow, and streaming. Internet Archive. https://archive.org/details/shakespearegloss00oniouoft/page/14/mode/2up

Stroh, Silke. “NOTES.” Gaelic Scotland in the Colonial Imagination: Anglophone Writing from 1600 to 1900, Northwestern University Press, 2017, pp. 255–304. JSTOR, http://www.jstor.org/stable/j.ctt22727mv.13. Accessed 29 Apr. 2026.

Studio, W. W. (2024b, May 20). John, duke of Bedford. Wars of the Roses. https://www.warsoftheroses.com/people/john-duke-of-bedford/

Woltmann, S. (2022). Laban Movement Analysis: An introduction for actors | backstage. Laban Movement Analysis: An Introduction for Actors. https://www.backstage.com/magazine/article/laban-movement-analysis-guide-50428/

Wikimedia Foundation. (2026, February 20). John of Lancaster, duke of Bedford. Wikipedia. https://en.wikipedia.org/wiki/John_of_Lancaster,_Duke_of_Bedford

Ivic, Christopher. "" Our Inland": Shakespeare's" Henry V" and the Celtic Fringe." Ariel: A Review of International English Literature 30.1 (1999).

Baker, David J. "“Wildehirissheman”: Colonialist Representation in Shakespeare's Henry V." English Literary Renaissance 22.1 (1992): 37-61.