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Act 5, Scene 2
Themes
Key
LitCharts assigns a color and icon to each theme in Henry VI Part 1, which you can use to track the themes throughout the work.
Individualism vs. Nationalism
Gender and Politics
Courage vs. Cowardice
Religion, Power, and Manipulation
Impulse and History
Summary
Analysis
An alarum sounds, and Pucelle enters, shocked that “the Regent” (the Duke of York) has been so victorious in battle. With French defeat seeming almost inevitable, Pucelle calls on the spirits that have aided her in her past visions. Thunder sounds, and a group of devilish “fiends” enter. But though Pucelle begs the fiends for guidance, the demonic creatures refuse to answer her questions.
While the French have used Pucelle’s visions as proof that God is on their side, the English have disparaged Pucelle as an “enchantress” in league with the devil. In this shocking scene, the play gives credence to the English interpretation, demonstrating that the otherworldly power helping Pucelle has always been “fiendish” and satanic. And implicitly, by depicting Pucelle’s visions as demonic, the play suggests that England (and not France) is the party aligned with pure Christian faith.
Themes
Pucelle grows more and more desperate, offering the fiends her body, her soul, and even “blood-sacrifice.” But the fiends just walk away in silence, causing Pucelle to lament that her “ancient incantations” were not strong enough. Knowing all hope is lost, Pucelle prepares for English victory, lamenting that France at last must “let her head fall into England’s lap.”
Both the reference to “blood-sacrifice” and the reference to “ancient incantations” emphasize that Pucelle’s visions come from the devil rather than God—and suggest that Pucelle sought out these visions instead of being chosen as a prophet (as she previously claimed). Finally, Pucelle’s comment that France must “let her head fall into England’s lap” conflates France’s defeat with femininity—and paints England as the more masculine caretaker of France.
Themes
In a montage, Burgundy and York fight hand-to-hand while English soldiers capture Pucelle. Now that Pucelle is in his clutches, York taunts her as an “ugly witch,” sneering that she belongs in bed with Charles. As they exit, Pucelle curses at York, and York threatens that Pucelle will soon be burned at the stake.
Earlier, Pucelle explained that her visions from the biblical Mary made her beautiful. But now that the play has revealed these visions to be a lie, York can go after Pucelle as “ugly” and sexually impure (instead of the chastity implied by Pucelle’s affiliation with virginal Mary).
Themes
Another alarum sounds, and Suffolk enters with Margaret, the beautiful daughter of Reignier, Duke of Anjou (also known as the King of Naples). Suffolk is instantly in love with Margaret, but he has a wife at home. At first, Suffolk is so taken by his desire that he can barely speak, causing Margaret to wonder if he is “mad.” But eventually, Suffolk comes up with a plan: if he cannot have Margaret for himself, he will woo her as a bride for his king, Henry VI.
The fast pace of these scenes, paired with the clanging alarums, help to underscore that even momentous historical events (like Suffolk’s first meeting with the future English queen Margaret) can happen in an instant. That Margaret is introduced as a character so late in the play also gestures to the fact that part of the purpose of Henry VI Part 1 is to explain how key players in English history ended up in their positions.
Themes
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The scene shifts, and Suffolk arrives at the walls of Reignier’s castle. Suffolk explains that he has taken Margaret prisoner—but that he will release her, if Reignier agrees to have his daughter marry Henry VI. Reignier assents, on one condition: if Margaret marries Henry VI, then Henry must stop waging war in Anjou and the duke’s other territories.
Just as Burgundy easily switched sides from England to France, Reignier is now quick to align himself with Henry VI, as long as it will protect his own lands. The play thus hints that even the most seemingly passionate nationalists are in fact motivated by personal self-interest.
Themes
After Reignier leaves, Suffolk presses Margaret to send a message to her future husband. But after Margaret emphasizes her virginity and servitude in her message to Henry, she steals a kiss with Suffolk, saying the kiss is meant only for the duke, and not for her future husband (the king). Margaret leaves, and Suffolk again expresses his desire. But he decides that it is safer to focus on Margaret’s bond with Henry; after all, an affair with Margaret would present a “labyrinth,” where “Minotaurs and ugly treasons lurk.”
This secret kiss foreshadows the role that Suffolk will play in Henry and Margaret’s marriage, as Suffolk would eventually have an affair with the future queen. Fascinatingly, Suffolk’s reference to the “labyrinth” and the “Minotaur” here again nods to the Greek story of Icarus and Daedalus, perhaps helping to raise the stakes of English royal politics to mythic proportions.
Themes
