Suf. Then call our captains and our colours forth! We'll crave a parley, to confer with him. A Parley sounded. Enter REIGNIER, on the walls. See, Reignier, see thy daughter prisoner! Reig. To whom? 130 Suffolk, what remedy? 135 Suf. Yes, there is remedy enough, my lord: Reig. Speaks Suffolk as he thinks? Suf. And here I will expect thy coming. 140 [Exit from the walls. Trumpets sound. Enter REIGNIER. Reig. Welcome, brave earl, into our territories: Command in Anjou what your honour pleases. Suf. Thanks, Reignier, happy for so sweet a child, Fit to be made companion with a king. What answer makes your grace unto my suit? Reig. Since thou dost deign to woo her little worth Ff. 145 150 130. A parley sounded] Cambridge; Trumpet sounds a parley Capell; Sound Enter . ] Ff. 144. [Exit. . ] Capell; omitted Ff. ... 132. what remedy] See Merry Wives of Windsor, v. v. 250, the earliest example in New Eng. Dict., except a Scotch one from Dunbar, 1500-1520. See again Twelfth Night, I. v. 56: "There's no help for it." 133. unapt] "not propense or ready" (Schmidt). Occurs in Venus and Adonis, 34; 1 Henry IV., and Coriolanus in the same sense. 134. exclaim on] See above, III. iii. 60. To abuse in language, or accuse. 142. face] deceive, humbug, feign. New Eng. Dict. quotes Roger Ascham, The Scholemaster, 1570 (Arber, p. 54): "To laughe, to lie, to flatter, to face; Foure waies in Court to win men grace." And Hay any Work (1589): "Thou canst cog, face, and lye as fast as a dog can trot." Spenser recalled Ascham in Mother Hubberd's Tale (11. 504-506) :— "For there [at the Court] thou needs must learne to laugh, to lie, To face, to forge, to scoffe, to companie, To crouche, to please," To be the princely bride of such a lord, Upon condition I may quietly Enjoy mine own, the country Maine and Anjou, 155 My daughter shall be Henry's, if he please. Suf. That is her ransom; I deliver her; And those two counties I will undertake Your grace shall well and quietly enjoy. Reig. And I again, in Henry's royal name, As deputy unto that gracious king, Give thee her hand for sign of plighted faith. Suf. Reignier of France, I give thee kingly thanks, 160 [Aside.] And yet, methinks, I could be well content 165 I'll over then to England with this news So farewell, Reignier: set this diamond safe 170 Reig. I do embrace thee, as I would embrace The Christian prince, King Henry, were he here. Mar. Farewell, my lord. Good wishes, praise and prayers [Going. Suf. Farewell, sweet madam! But hark you, Margaret; 175 Mar. Such commendations as becomes a maid, Suf. Words sweetly placed and modestly directed. Mar. Yes, my good lord; a pure unspotted heart, 155. stroke of war] a standard term, like" stroke of death." See Tambur laine, Part II. II. v. (Dyce, 16, b): "Since he is yielded to the stroke of war." 166. mine own attorney] See note, v. v. 56. And Comedy of Errors, v. i. 100: "And will have no attorney but myself." And Richard III. v. iii. 83. Favourite language in Shakespeare's early plays. 176. princely] See above, 11. 70, 140, 143 and 152. Five times in one scene, an allowance that Shakespeare must have overlooked. Greene was very fond of ΙΟ 180 174. [Going] Cambridge; Shee is princely." Such people, such words. In Kyd's Spanish Tragedy (III. xii.) an ambassador repeats "kingly" three or four times in a few lines. The guise of court. Occurs again 182. unspotted heart] 2 Henry VI. III. i. 100. expression of Peele's :"But though from court to cottage he depart, His saint is sure of his unspotted heart" (Polyhymnia). 183. Never yet taint] never yet attainted, or attaint, as in v. v. 81 below. "Taint" in the sense of tinge, tint (as of Suf. And this withal. To send such peevish tokens to a king. [Kisses her. 185 [Exeunt Reignier and Margaret. Suf. O! wert thou for myself. But, Suffolk, stay; Thou may'st not wander in that labyrinth; 186. Exeunt] Capell; omitted Ff. 2, 3, 4. a blush, a flower's hue), is common in Greene, verb and noun. "Love" here has an impure sense of lust. Shakespeare uses "taint" or "tainted with as a reproach in the plays. See Part III. III. i. 40. 186. peevish] silly, foolish. 188, 189. labyrinth; There Minotaurs]" Minotaurs," meaning monsters, is seldom found in the plural, but it occurs in Greene's Never too Late (Grosart, viii. 104), ante 1590: "Here be such monstrous Minotaures as first devour the threed, and then the person." See too Spenser, Faerie Queene, III. x. 40. Shakespeare has no other mention of the Minotaur, but he appears very frequently in Greene's euphuistical love-tales. Spenser has them again in Mother Hubberd's Tale: "Griffons, Minotaures, Crocodiles, Dragons, Beavers and Centaures." 192. natural graces art] Compare for this sentiment, King Lear, IV. vi. 86; All's Well that Ends Well, 11. i. 121; Timon of Athens, v. i. 88, etc. 192. extinguish] Only again in Lucrece, 313. 193. Repeat their semblance] reproduce the mental representation of them. Shakespeare was decidedly affected to this word "semblance," but it is rather obscure here. Compare Greene, James the Fourth (Grosart, xiii. 291): "Go to mine Ida, tell her that my soule 190 195 [Exit. Greene uses the word with the meaning recognition in Mamillia (ii. 55): "She passed on without any semblance of his sight"-ar '—an obsolete sense that might better explain this line. See extract from Holinshed at 1. ii. 50, for the ordinary use of "semblance." The foregoing scene is composed of such simple featureless verse, since Margaret's appearance, that it is scarcely capable of identification. The frequent occurrence of "princely "-five times in 100 lines-a favourite word with Greene, recalls that writer, but he is rarely so prosaic. In Greene's Frier Bacon Lacy courts Margaret, the keeper's daughter, for himself when he should be wooing her for his prince (Henry the Third's son), but beyond this outline the parallel does not stretch. For the "traffic" between Reignier and Suffolk see extract at the beginning of the Act, which covers the following scene as well, time and place being disregarded historically. The transition of method and style, or from one hand and mind to another, is nowhere more marked in this play than between this scene and its successor, however delightful be the matter. In the later plays we shall see that Margaret becomes a more finished and important poetical creation at the hands of Shakespeare himself. SCENE IV.-Camp of the Duke of York in Anjou. York. Bring forth that sorceress, condemn'd to burn. Enter LA PUCELLE guarded, and a Shepherd. Shep. Ah, Joan, this kills thy father's heart outright! Ah, Joan, sweet daughter Joan, I'll die with thee! Puc. Decrepit miser! base ignoble wretch! I am descended of a gentler blood: Thou art no father nor no friend of mine. Shep. Out, out! My lords, an please you, 'tis not so; 2. kills thy father's heart] An old expression; see Love's Labour's Lost, v. ii. 149, note, Arden edition, p. 131. See again As You Like It, III. ii. 260; Winter's Tale, Iv. iii. 88; Richard II. v. i. 100; Henry the Fifth, 11. i. 92. 3. sought] searched; used here as though it were the participle of "search," not "seek." Compare "unsought" in Comedy of Errors, 1. i. 136. 5. timeless] untimely, premature. A Shakespearian word. See Two Gentlemen of Verona, III. i. 21; Richard II. IV. i. 5; 3 Henry VI. III. ii. 187, and v. vi. 42; Richard III. 1. ii. 117; Titus Andronicus, II. iii. 265; Romeo and Juliet, v. iii. 162. Steevens gave an example of "timeless death" from Drayton's Legend of Robert Duke of Normandy (taken from here), 1596. A regular Marlowe use. Compare Tamburlaine, Part II. (last lines): earth and heaven his timeless death deplore." And Edward the Second (Dyce, 186, a) : "This ground. "Let Shall be their timeless sepulchre or And The Massacre at Paris (begin- "the blood of innocents, And brought by murder to their 5 ΙΟ In Without finding Marlowe's own work 7. Decrepit] See Love's Labour's Lost, I. i. 139; Venus and Adonis, 1148; Sonnet 37. Worn with age. 7. miser] a miserable wretch. Not elsewhere in Shakespeare in this sense. Compare Sir Philip Sidney's Arcadia, book ii. (ed. 1738, ii. p. 217): "Most blessed paper, which shalt kiss that hand, whereto all blessedness is in nature a servant, do not yet disdain to carry with thee the woeful words of a miser now despairing" (ante 1586). Steevens quotes from Holinshed, and from Jacob and Esau, 1568. No doubt Spenser gave the word fresh life in Faerie Queene, II. i. 9, and 11. iii. 8. 7. ignoble] of low descent. See above III. i. 178; 3 Henry VI. Iv. i. 70, and Richard III. III. vii. 127. 8. gentler blood] See Iv. i. 44 above, and note. "Men, noble and ignoble,' occurs in the chroniclers Fabyan, Hall and Grafton. 13. first fruit] In Winter's Tale, III. ii. 98, it is "first fruits" (plural for War. Graceless! wilt thou deny thy parentage? God knows thou art a collop of my flesh; Puc. Peasant, avaunt! You have suborn'd this man, Shep. 'Tis true I gave a noble to the priest The morn that I was wedded to her mother. Thy mother gave thee when thou suck'dst her breast, 13. bachelorship] No other example in New Eng. Dict. excepting from Lamb's Elia. See note below at "attorneyship," v. v. 56. 14, 20, 32. deny] disown. Romeo and Juliet, 11. ii. 34. 15. This argues kind of life] Compare 2 Henry VI. 111. iii. 30: "So bad a death argues a monstrous life." See too Othello, III. iv. 38. This is evidence of Shakespeare, if needs be. . 17. obstacle] "An old vulgar corruption of 'obstinate,' which has oddly lasted since our author's time till now (Johnson). New Eng. Dict. has an example from a 1536 Will. Steevens quotes from Chapman's May Day (1611) and The Tragedy of Hoffman, 1631. He says further: "It may be met with in Gower." 18. a collop of my flesh] Ritson quoted from The History of Morindos and Miracola, 1609-a far cry. The expression is an old one, occurring in Golding's Ovid (v. 650-651) :— my daughter is a Jewell deare A collup of mine owne flesh cut as 15 20 25 Henry IV. II. iv. 321) which I have not pursued. The shepherd affects not to understand any meaning of “noble” except the pecuniary one, in a quite Shakespearian way. In "The XV Yere" of Edward the Third, Grafton says (vol. i. p. 347): "And in this yere the king caused a new coyne of Gold to be coyned called the Noble, of the value of vj shillings viij pence or ix pence, &c. Wherein was mixed and quartered the armes of Fraunce and England" (1339-1340). 25. good my girl] A favourite transposition of Shakespeare's, occurring in the majority of his plays. See note at Love's Labour's Lost, III. i. 144 (Arden edition, p. 52). 27. nativity] See Comedy of Errors, IV. iv. 32 and As You Like It, IV. i. 36. Not commonly used in the ordinary sense of birth. For the sentiment compare Greene's George-a-Greene (Grosart, xiv. 131): "I say, Sir Gilbert, looking on my daughter, I curse the houre that ere I got the girle." And Faerie Queene, III. vi. 2:— In th' Horoscope of her nativitee." 28. suck'dst] See note at "meant'st," III. ii. 222, Part II. Occurs again Coriolanus, III. ii. 129, and Titus Andronicus, II. iii. 144. The use of these forms, now stilted or disused, belonged to the formerly much commoner "thou" and “thee.” As in biblical language. |