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sparity between his inclinations and his capacity for enjoyment, makes it still more ludicrous and fantastical. The secret of Falstaff's wit is, for the most part, a masterly presence of mind, an absolute self-possession, which nothing can disturb. His repartees are involuntary suggestions of his self-love; instinctive evasions of everything that threatens to interrupt the career of his triumphant jollity and self-complacency. His very size floats him out of all his difficulties in a sea of rich conceits, and he turns round on the pivot of his convenience, with every occasion and at a moment's warning. His natural repugnance to every unpleasant thought or circumstance, of itself makes light of objections, and provokes the most extravagant and licentious answers in his own justification. His indifference to truth puts no check upon his invention. The more improbable and unexpected his contrivances are, the more happily does he seem to be delivered of them, the anticipation of their effect acting as a stimulus to the gaiety of his fancy. The success of one adventurous sally gives him spirits to undertake another thing, and his exaggerations and excuses are "open, palpable, monstrous as the father that begets them." His dissolute carelessness of what he says discovers itself in the first dialogue with the Prince. B. The Romanticism of the Falstaff's Character Falstaff is such a character. Romanticism, as stated in the American Heritage Electronic Dictionary is, "An artistic and intellectual movement originating in Europe in the late 18th century and characterized by a heightened interest in nature, emphasis on the individual's expression of emotion and imagination, departure from the attitudes and forms of classicism, and rebellion against established social rules and conventions." Falstaff is the ideal romantic character. The character of Falstaff, in Shakespeare’s play Henry IV Part One, serves as an emblem of frivolity and carelessness within a world filled with social and political significance. Falstaff scorns the world of politics and moral decisions in favor of existing from moment to moment. Though he dislikes this "other world", Falstaff realizes he must sometimes come in contact with it. Falstaff’s famous speech in lines 127-139 of Act V shows us how he regards the Prince’s world of honor and duty. Through this speech, Falstaff places himself firmly out of any moral world concerned with justice or honor, instead living for no other reason than life itself. For instance, Falstaff’s speech comes after the King and Prince Hal decide to war against the army of Hotspur. Though they wait on word from Worcester, the probability of conflict seems high. Falstaff knows that when the battle comes, he is going to be in the middle of it. Shortly before his speech on the nature of honor, Falstaff shows fear that he might be hurt. In lines 121-2 Falstaff asks Hal to protect him if he should fall during battle. The Prince’s rejection of the request shows his scorn for Falstaff’s desire to passively preserve only his own life. Throughout the last half of the play, as the Prince drifts away from Falstaff, Falstaff’s role in the action of the play as a whole diminishes. The importance placed upon the idea of honor allows Hal to assume his rightful position beside the King, while Falstaff dims into the background. Falstaff’s idea of honor is directly linked to his sense of time itself. In the opening lines of his speech, Falstaff says, "‘Tis no