Part 13

_Enter the_ KING _without a gown, a sword thrust up into his side bleeding_.

KING.

Out alas? what shall I do? my life is finished; Wounded I am by sudden chance, my blood is minished: Gog’s heart, what means might I make my life to preserve? Is there nought to be my help? nor is there nought to serve? Out upon the court, and lords that there remain! To help my grief in this my case will none of them take pain? Who but I in such a wise his death’s wound could have got? As I on horse-back up did leap, my sword from scabbard shot, And run me thus into the side, as you right well may see. A marvell’s chance unfortunate, that in this wise should be. I feel myself a-dying now, of life bereft am I: And death hath caught me with his dart, for want of blood I spy. Thus gasping here on ground I lie, for nothing I do care; A just reward for my misdeeds my death doth plain declare. [_Here let him quake and stir._

AMBIDEXTER.

How now, noble king? pluck up your heart; What, will you die, and from us depart? Speak to me, and you be alive: He cannot speak; but behold now with death he doth strive! Alas, good king: alas, he is gone! The devil take me, if for him I make any moan. I did prognosticate of his end, by the mass; Like as I did say, so is it come to pass. I will be gone; if I should be found here, That I should kill him it would appear: For fear with his death they do me charge, Farewell, my masters, I will go take barge: I mean to be packing, now is the tide: Farewell, my masters, I will no longer abide. [_Exit_ AMBIDEXTER.

_Enter three_ LORDS.

FIRST LORD.

Behold, my lords, it is even so, As he to us did tell; His grace is dead upon the ground, By dent of sword most fell.

SECOND LORD.

As he in saddle would have leapt, His sword from sheath did go, Goring him up into the side; His life was ended so.

THIRD LORD.

His blood so fast did issue out, That nought could him prolong: Yet before he yielded up the ghost, His heart was very strong.

FIRST LORD.

A just reward for his misdeeds The God above hath wrought; For certainly the life he led Was to be counted nought.

SECOND LORD.

Yet a princely burial he shall have, According his estate; And more of him here at his time We have not to dilate.

THIRD LORD.

My lords, let us take him up, To carry him away.

BOTH.

Content we are, with one accord, To do as you do say. [_Exeunt all._

* * * * *

EPILOGUS.

Right gentle audience, here have you perused The tragical history of this wicked king; According to our duty, we have not refused, But to our best intent express’d everything: We trust none is offended for this our doing. Our author craves likewise, if he have squared amiss, By gentle admonition to know where the fault is.

His good will shall not be neglected to amend the same; Praying all to bear therefore with his simple deed, Until the time serve a better he may frame: Thus yielding you thanks, to end we decreed That you so gently have suffered us to proceed, In such patient wise as to hear and see: We can but thank you therefore, we can do no more, we.

As duty binds us, for our noble queen let us pray, And for her honourable council, the truth that they may use, To practise justice, and defend her grace each day; To maintain God’s word they may not refuse, To correct all those, that would her grace and grace’s laws abuse; Beseeching God over us she may reign long, To be guided by truth, and defended from wrong.

[228] [Like “King Darius’ doleful strain,” in allusion to the old interlude on that subject.]

[229] [The play was licenced to John Allde in 1569-70. See Collier’s “Extracts,” i. 205. As that printer continued in business till 1584, and the earliest dated piece with the younger Allde’s name bears the same date, “Cambyses” may have been republished about 1585; but it does not seem to have been licenced.]

[230] Shakespeare’s Clowns are genuine successors of the old Vice; and, as an editor of that poet has well observed, Punch still exhibits the entire character.

[231] [One of them is printed by Collier.]

[232] [Might not this incident have suggested to Shakespeare the leading one in “Measure for Measure”?]

[233] [This incident was no doubt suggested by a well-known passage in the earlier play of “Thersites.”]

[234] Here is evidently a line omitted, which it is impossible to supply by conjecture.

[235] [Old copy, _the_.]

[236] [Old copy, _of_.]

[237] [Old copy, _the_.]

[238] [Greediness or greed.]

[239] [Old copy, _want_.]

[240] [Old copy, _taste it still_.]

[241] [Intention.]

[242] [By our lady.]

[243] [By my faith; and a little further on we have _bum troth_--by my troth.]

[244] [Old copy, _do_.]

[245] [Old copy, _in_.]

[246] [Old copy, _beautie_.]

[247] [Forget. A very rare word.]

[248] [This reference to Watling Street as an early emporium for cloth is interesting, and does not seem to have been noticed.]

[249] [Here Preston makes Ambidexter refer to Bonner as dead, an event which happened in 1569, and as this play was licenced in 1569-70, it must have been written immediately prior to its entry at Stationers’ Hall.]

THE MISFORTUNES OF ARTHUR.

_EDITION._

_Certaine Devises and shewes presented to her Majestie by the Gentlemen of Grayes-Inne, at her Highnesse Court in Greenewich, the twenty eighth day of Februarie in the thirtieth yeare of her Majesties most happy Raigne. At London. Printed by Robert Robinson. 1587. 8o. Black-letter._

MR COLLIER’S PREFACE.

It appears that eight persons, members of the Society of Gray’s Inn, were engaged in the production of “The Misfortunes of Arthur,” for the entertainment of Queen Elizabeth, at Greenwich, on the 8th February 1587-8, viz., Thomas Hughes, the author of the whole body of the tragedy; William Fulbecke, who wrote two speeches substituted on the representation and appended to the old printed copy; Nicholas Trotte, who furnished the introduction; Francis Flower, who penned choruses for the first and second acts; Christopher Yelverton, Francis Bacon, and John Lancaster, who devised the dumb-shows, then usually accompanying such performances; and a person of the name of Penruddock, who, assisted by Flower and Lancaster, “directed the proceedings at court.”

Regarding Hughes and Trotte no information has survived. Fulbecke was born in 1566; became, as we are told, an eminent writer on the law, and in the year when this tragedy was brought out, published a work called “Christian Ethics.” The “Maister Francis Bacon,” spoken of at the conclusion of the piece, was, of course, no other than [the great] Bacon; and it is a new feature in his biography, though not perhaps very prominent nor important, that he was so nearly concerned in the preparation of a play at court. In February 1587-8, he had just commenced his twenty-eighth year. Christopher Yelverton, as early as 1566, had written the epilogue to Gascoigne’s “Jocasta,” and on the present occasion was probably resorted to for his experience in such undertakings. Regarding Flower, Lancaster, and Penruddock we have nothing to communicate.

“The Misfortunes of Arthur” is a dramatic composition only known to exist in the Garrick Collection.[250] Judging from internal evidence, it seems to have been printed with unusual care under the superintendence of the principal author. In the course of it, some lines and words were cancelled, and those which were substituted were pasted over the objectionable passages. In the notes we have given both versions, and the whole is reprinted as nearly as possible in its original shape. The mere rarity of this unique drama would not have recommended it to our notice; but it is not likely that such a man as Bacon would have lent his aid to the production of a piece which was not intrinsically good, and unless we much mistake, there is a richer and a nobler vein of poetry running through it than is to be found in any previous work of the kind. The blank verse is generally free and flowing, although now and then deformed by alliteration, and rendered somewhat monotonous by the want of that variety of rhythm, which Marlowe may be said to have introduced, and which Shakespeare scarcely exceeded.

Most of the characters, and particularly those of Arthur and Mordred, are drawn with distinctness and vigour: the fiery and reckless ambition of the son is excellently contrasted with the cool determination and natural affection of the father. As an illustration of the former we may refer to many passages, but especially to several in the third scene of the second act; while the character and disposition of the latter are depicted in a masterly manner both before and after the final battle. This catastrophe, as far as relates to the death of Mordred, is mentioned by Dante in canto xxxii. of his “Inferno”--

“Non quelli a cui fu rotto il petto e l’ombra. Con esso un colpo per la man d’Artu.”

The substance of the story is to be found in the “Morte Arthur.” The action is one, but the unities of time and place are disregarded; and although the tragedy in many respects is conducted upon the plan of the ancients, there are in it evident approaches to the irregularity of our romantic drama. It forms a sort of connecting link between such pieces of unimpassioned formality as “Ferrex and Porrex,” and rule-rejecting historical plays, as Shakespeare found them and left them.

THE NAMES OF THE SPEAKERS.

GORLOIS, _Duke of Cornwall’s Ghost_. GUENEVERA, _the Queen_. FRONIA, _a Lady of her train_. ANGHARAD, _Sister to the Queen_. MORDRED, _the Usurper_. CONAN, _a faithful Councillor_. _Nuntius of Arthur’s landing_. _The Herald from Arthur_. GAWIN, _King of Albany_. GILLA, _a British Earl_. GILLAMOR, _King of Ireland_. CHELDRICH, _Duke of Saxony_. _The Lord of the Picts._ ARTHUR, _King of Great Britain_. CADOR, _Duke of Cornwall_. HOEL, _King of Little Britain_. _The Herald from Mordred_. ASCHILLUS, _King of Denmark_. _The King of Norway_. _A number of Soldiers_. _Nuntius of the last battle_. GILDAS, _a nobleman of Britain_.

CHORUS.

THE INTRODUCTION.

An introduction, penned by Nicholas Trotte, Gentleman, one of the Society of Gray’s Inn, which was pronounced in manner following:--viz., Three Muses came on the stage apparelled accordingly, bringing five Gentlemen Students with them, attired in their usual garments, whom one of the Muses presented to Her Majesty as captives. The cause whereof she delivered by speech as followeth:--

Of conquest (gracious queen) the signs and fruits, Achieved ’gainst such as wrongfully withheld The service by choice wits to Muses due, In humblest wise these captives we present. And lest your highness might suspect the gift, As spoil of war that justice might impeach, Hear and discern how just our quarrel was, Avouched (as you see) by good success. A dame there is, whom men Astrœa term, She that pronounceth oracles of laws, Who to prepare fit servants for her train, As by commission, takes up flow’ring wits, Whom first she schooleth to forget and scorn The noble skills of language and of arts, The wisdom which discourse of stories teach: The ornaments which various knowledge yields. But poesy she hath in most disdain, And marshals it next Folly’s scorned place. Then, when she hath these worthy prints defac’d Out of the minds that can endure her hand. What doth she then supply instead of these? Forsooth, some old reports of altered laws, Clamours of courts, and cavils upon words, Grounds without ground, supported by conceit, And reasons of more subtlety than sense. What shall I say of moot points strange, and doubts Still argued, but never yet agreed? And she that doth deride the poet’s law, Because he must his words in order place, Forgets her forms of pleading, more precise-- More bound to words than is the poet’s lore: And for these fine conceits she fitly chose A tongue that barbarism itself doth use. We, noting all these wrongs, did long expect Their hard condition would have made them wise, To offer us their service, plac’d so ill; But finding them addicted to their choice, And specially desirous to present Your Majesty with fruits of province new, Now did resolve to double force and skill, And found and us’d the vantage of the time, Surpris’d their fort, and took them captives all. So now submiss, as to their state belongs, They gladly yield their homage long withdrawn, And Poetry, which they did most contemn, They glory now her favours for to wear. My sisters laugh’d to see them take the pen, And lose their wits all in unwonted walks: But to your highness that delight we leave, To see these poets new their style advance. Such as they are, or nought or little worth, Deign to accept, and therewith we beseech, That novelty give price to worthless things.

_Unto this speech one of the Gentlemen answered as followeth:_

Good ladies, unacquaint with cunning reach, And eas’ly led to glory in your pow’r, Hear now abash’d our late dissembled minds. Nor now the first time, as yourselves best know, Ye Muses sought our service to command: Oft have ye wandered from Parnassus Hill, And showed yourselves with sweet and tempting grace, But yet return’d, your train increas’d with few. This resolution doth continue still: Unto Astrea’s name we honour bear, Whose sound perfections we do more admire Than all the vaunted store of Muses’ gifts, Let this be one (which last you put in ure In well depraving that deserveth praise) No eloquence, disguising reason’s shape, Nor poetry, each vain affection’s nurse, No various history, that doth lead the mind Abroad to ancient tales from instant use, Nor these, nor other mo, too long to note, Can win Astrea’s servants to remove Their service once devote to better things. They, with attentive minds and serious wits, Revolve records of deep judicial acts; They weigh with steady and indifferent hand Each word of law, each circumstance of right: They hold the grounds which time and use hath sooth’d,[251] Though shallow sense conceive them as conceits-- Presumptuous sense, whose ignorance dare judge Of things remov’d by reason from her reach. One doubt, in moots by argument increas’d, Clears many doubts experience doth object. The language she first chose, and still retains, Exhibits naked truth in aptest terms. Our industry maintaineth unimpeach’d: Prerogative of prince, respect to peers, The Commons’ liberty and each man’s right; Suppresseth mutin force and practice fraud, Things that for worth our studious care deserve: Yet never did we banish nor reject Those ornaments of knowledge nor of tongues: That slander envious ignorance did raise. With Muses still we intercourse allow, T’enrich our state with all their foreign freight; But never homage nor acknowledgment, Such as of subjects allegiance doth require. Now hear the cause of your late conquest won. We had discovered your intent to be (And, sure, ye ladies are not secret all; Speech and not silence is the Muse’s grace) We well perceiv’d (I say) your mind to be T’ employ such prisoners, as themselves did yield, To serve a Queen, for whom her purest gold Nature refin’d, that she might therein set Both private and imperial virtues all. Thus (Sovereign Lady of our laws and us) Zeal may transform us into any shape. We, which with trembling hand the pen did guide, Never well pleas’d, all for desire to please; For still your rare perfections did occur, Which are admir’d of Muses and of men. O, with how steady hand and heart assur’d, Should we take up the warlike lance or sword, With mind resolv’d to spend our loyal blood Your least command with speed to execute! O, that before our time the fleeting ship Ne’er wandered had in watery wilderness, That we might first that venture undertake In strange attempt t’ approve our loyal hearts! Be it soldiers, seamen, poets, or what else, In service once enjoin’d, to ready minds Our want of use should our devoir increase. Now since instead of art we bring but zeal, Instead of praise we humbly pardon crave. The matter which we purpose to present, Since straights of time our liberty controls, In tragic notes the plagues of vice recounts. How suits a tragedy for such a time? Thus--for that since your sacred Majesty In gracious hands the regal sceptre held, All tragedies are fled from State to stage.

NICHOLAS TROTTE.

* * * * *

The misfortunes of Arthur (Uther Pendragon’s son) reduced into tragical notes by Thomas Hughes, one of the society of Gray’s Inn, and here set down as it passed from under his hands, and as it was presented, excepting certain words and lines, where some of the actors either helped their memories by brief omission, or fitted their acting by some alteration; with a note in the end of such speeches as were penned by others, in lieu of some of these hereafter following.

_The Argument of the Tragedy._

At a banquet made by Uther Pendragon for the solemnising of his conquest against the Saxons, he fell enamoured of Igerna, wife to Gorlois, Duke of Cornwall who, perceiving the king’s passion, departed with his wife and prepared wars at Cornwall, where also, in a stronghold beyond him, he placed her. Then the king levied an army to suppress him, but waxing impatient of his desire to Igerna, transformed himself, by Merlin his cunning, into the likeness of Gorlois, and after his acceptance with Igerna he returned to his siege, where he slew Gorlois. Igerna was delivered of Arthur and Anne, twins of the same birth. Uther Pendragon, fifteen years after, pursuing the Saxons, was by them poisoned. Arthur delighted in his sister Anne, who made him father of Mordred. Seventeen years after, Lucius Tiberius of Rome demanded a tribute, due by conquest of Cæsar. Arthur gathered his powers of thirteen kings besides his own, and leaving his queen Guenevera in the tuition of Mordred, to whom likewise he committed the kingdom in his absence, arrived at France where, after nine years’ wars, he sent the slain body of Tiberius unto Rome for the tribute. During this absence, Mordred grew ambitious, for th’ effecting whereof he made love to Guenevera, who gave ear unto him. Then by th’ assistance of Gilla, a British lord, he usurped, and for maintenance entertained with large promises the Saxons, Irish, Picts, and Normans. Guenevera hearing that Arthur was already embarked for return, through despair purposing diversely, sometimes to kill her husband, sometimes to kill herself, at last resolved to enter into religion. Arthur at his landing was resisted on the strands of Dover, where he put Mordred to flight. The last field was fought at Cornwall where, after the death of one hundred and twenty thousand, saving on either side twenty, Mordred received his death, and Arthur his deadly wound.

_The Argument and Manner of the First Dumb-Show._

Sounding the music, there rose three furies from under the stage, apparelled accordingly with snakes and flames about their black hair and garments. The first with a snake in the right hand, and a cup of wine, with a snake athwart the cup, in the left hand. The second with a firebrand in the right hand, and a Cupid in the left. The third with a whip in the right hand and a Pegasus in the left. While they went masking about the stage, there came from another place three nuns, which walked by themselves. Then after a full sight given to the beholders, they all parted, the furies to Mordred’s house, the nuns to the cloister. By the first fury with the snake and cup was signified the banquet of Uther Pendragon, and afterward his death, which ensued by the poisoned cup. The second fury, with her firebrand and Cupid, represented Uther’s unlawful heat and love conceived at the banquet, which never ceased in his posterity. By the third, with her whip and Pegasus, was prefigured the cruelty and ambition which thence ensued and continued to th’ effecting of this tragedy. By the nuns was signified the remorse and despair of Guenevera that, wanting other hope, took a nunnery for her refuge. After their departure, the four which represented the Chorus took their places.

_The Argument of the First Act._

1. In the first scene the spirit of Gorlois, Duke of Cornwall, the man first and most wronged in this history, being despoil’d both of wife, dukedom, and life, craveth revenge for these injuries, denouncing the whole misfortune ensuing.

2. In the second scene Guenevera, hearing that Arthur was on the seas returning desperately, menaceth his death, from which intent she is dissuaded by Fronia, a lady of her court, and privy to her secrets.

3. In the third scene Guenevera perplexedly mindeth her own death, whence being dissuaded by her sister, she resolveth to enter into religion.

4. In the fourth scene Mordred goeth about to persuade Guenevera to persist in her love, but misseth thereof; and then is exhorted by Conan (a nobleman of Britain) to reconcile himself to his father at his coming, but refuseth so to do, and resolveth to keep him from landing by battle.

THE MISFORTUNES OF ARTHUR.

THE FIRST ACT AND FIRST SCENE.

GORLOIS.[252]