Chapter 20

The mother covered her face, and burst into tears. But when Virgil mentioned her son by name, ("Tu Marcellus eris,") which he had artfully deferred till the concluding lines, Octavia, unable to control her agitation, fainted away. She afterwards, with a magnificent spirit, ordered the poet a gratuity of ten thousand sesterces for each line of the panegyric.[80] It is probable that the agitation she suffered on this occasion hastened the effects of her disorder; for she died soon after, (of grief, says the historian,) having survived Antony about twenty years.

VOLUMNIA.

Octavia, however, is only a beautiful sketch, while in Volumnia, Shakspeare has given us the portrait of a Roman matron, conceived in the true antique spirit, and finished in every part. Although Coriolanus is the hero of the play, yet much of the interest of the action and the final catastrophe turn upon the character of his mother, Volumnia, and the power she exercised over his mind, by which, according to the story, "she saved Rome and lost her son." Her lofty patriotism, her patrician haughtiness, her maternal pride, her eloquence, and her towering spirit, are exhibited with the utmost power of effect; yet the truth of female nature is beautifully preserved, and the portrait, with all its vigor, is without harshness.

I shall begin by illustrating the relative position and feelings of the mother and son; as these are of the greatest importance in the action of the drama, and consequently most prominent in the characters. Though Volumnia is a Roman matron, and though her country owes its salvation to her, it is clear that her maternal pride and affection are stronger even than her patriotism. Thus when her son is exiled, she burst into an imprecation against Rome and its citizens:--

Now the red pestilence strikes all trades in Rome, And occupations perish!

Here we have the impulses of individual and feminine nature, overpowering all national and habitual influences. Volumnia would never have exclaimed like the Spartan mother, of her dead son, "Sparta has many others as brave as he;" but in a far different spirit she says to the Romans,--

Ere you go, hear this: As far as doth the Capitol exceed The meanest house in Rome, so far my son, Whom you have banished, does exceed you all.

In the very first scene, and before the introduction of the principal personages, one citizen observes to another that the military exploits of Marcius were performed, not so much for his country's sake "as to please his mother." By this admirable stroke of art, introduced with such simplicity of effect, our attention is aroused, and we are prepared in the very outset of the piece for the important part assigned to Volumnia, and for her share in producing the catastrophe.

In the first act we have a very graceful scene, in which the two Roman ladies, the wife and mother of Coriolanus, are discovered at their needle-work, conversing on his absence and danger, and are visited by Valeria:--

The noble sisters of Publicola, The moon of Rome; chaste as the icicle, That's curded by the frost from purest snow, And hangs on Dian's temple!

Over this little scene Shakspeare, without any display of learning, has breathed the very spirit of classical antiquity. The haughty temper of Volumnia, her admiration of the valor and high bearing of her son, and her proud but unselfish love for him, are finely contrasted with the modest sweetness, he conjugal tenderness, and the fond solicitude of his wife Virgilia.

VOLUMNIA.

When yet he was but tender-bodied, and the only son of my womb; when youth with comeliness pluck'd all gaze his way; when, for a day of king's entreaties, a mother should not sell him an hour from her beholding--considering how honor would become such a person; that it was no better than picture-like to hang by the wall, if renown made it not stir,--was pleased to let him seek danger where he was like to find fame. To a cruel war I sent him, from whence he returned, his brows bound with oak. I tell thee, daughter--I sprang not more in joy at first hearing he was a man-child, than now in first seeing he had proved himself a man.

VIRGILIA.

But had he died in the business, madam? how then?

VOLUMNIA.

Then his good report should have been my son; I therein would have found issue. Hear me profess sincerely: had I a dozen sons, each in my love alike, and none less dear than thine and my good Marcius, I had rather eleven die nobly for their country, than one voluptuously surfeit out of action.

_Enter a_ GENTLEWOMAN.

Madam, the lady Valeria is come to visit you.

VIRGILIA.

Beseech you, give me leave to retire myself.

VOLUMNIA.

Indeed you shall not. Methinks I hear hither your husband's drum: See him pluck Aufidius down by the hair: As children from a bear, the Volces shunning him: Methinks I see him stamp thus, and call thus-- "Come on, you cowards! you were got in fear, Though you were born in Rome." His bloody brow With his mail'd hand then wiping, forth he goes; Like to a harvest-man, that's task'd to mow Or all, or lose his hire.

VIRGILIA.

His bloody brow! O Jupiter, no blood!

VOLUMNIA.

Away, you fool! it more becomes a man Than gilt his trophy. The breast of Hecuba, When she did suckle Hector, look'd not lovelier Than Hector's forehead, when it spit forth blood At Grecian swords contending. Tell Valeria We are fit to bid her welcome. [_Exit Gent._

VIRGILIA.

Heavens bless my lord from fell Aufidius!

VOLUMNIA.

He'll beat Aufidius's head below his knee. And tread upon his neck.

This distinction between the two females is as interesting and beautiful as it is well sustained. Thus when the victory of Coriolanus is proclaimed, Menenius asks, "Is he wounded?"

VIRGILIA.

O no, no, no!

VOLUMNIA.

Yes, he is wounded--I thank the gods for it!

And when he returns victorious from the wars, his high-spirited mother receives him with blessings and applause--his gentle wife with "gracious silence" and with tears.

The resemblance of temper in the mother and the son, modified as it is by the difference of sex, and by her greater age and experience, is exhibited with admirable truth. Volumnia, with all her pride and spirit, has some prudence and self-command; in her language and deportment all is matured and matronly. The dignified tone of authority she assumes towards her son, when checking his headlong impetuosity, her respect and admiration for his noble qualities, and her strong sympathy even with the feelings she combats, are all displayed in the scene in which she prevails on him to soothe the incensed plebeians.

VOLUMNIA.

Pray be counsell'd: I have a heart as little apt as yours, But yet a brain that leads my use of anger To better vantage.

MENENIUS.

Well said, noble woman: Before he should thus stoop to the herd, but that The violent fit o' the time craves it as physic For the whole state, I would put mine armour on, Which I can scarcely bear.

CORIOLANUS.

What must I do?

MENENIUS.

Return to the tribunes.

CORIOLANUS.

Well. What then? what then?

MENENIUS.

Repent what you have spoke.

CORIOLANUS.

For them? I cannot do it to the gods; Must I then do't to them?

VOLUMNIA.

You are too absolute, Though therein you can never be too noble, But when extremities speak.

I pr'ythee now, my son, Go to them with this bonnet in thy hand; And thus far having stretch'd it, (here be with them) Thy knee bussing the stones, (for in such business Action is eloquent, and the eyes of the ignorant More learned than the ears,) waving thy head, Which often, thus, correcting thy stout heart Now humble, as the ripest mulberry, That will not hold the handling. Or, say to them, Thou art their soldier, and being bred in broils Hast not the soft way which, thou dost confess, Were fit for thee to use, as they to claim, In asking their good loves; but thou wilt frame Thyself, forsooth, hereafter theirs, so far As thou hast power and person.

MENENIUS.

This but done, Even as she speaks, why all their hearts were yours For they have pardons, being asked, as free As words to little purpose.

VOLUMNIA.

Pr'ythee now, Go, and be rul'd: although I know thou hadst rather Follow thine enemy in a fiery gulf Than flatter him in a bower.

MENENIUS.

Only fair speech.

COMINIUS.

I think 'twill serve, if he Can thereto frame his spirit.

VOLUMNIA.

He must, and will: Pr'ythee, now say you will, and go about it.

CORIOLANUS.

Must I go show them my unbarb'd sconce? Must I With my base tongue give to my noble heart A lie, that it must bear? Well, I will do't; Yet were there but this single plot to lose, This mould of Marcius, they to dust should grind it, And throw it against the wind. To the market-place You have put me now to such a part, which never I shall discharge to the life.

VOLUMNIA.

I pr'ythee now, sweet son, as thou hast said, My praises made thee first a soldier, so To have my praise for this, perform a part Thou hast not done before.

CORIOLANUS.

Well, I must do't: Away, my disposition, and possess me Some harlot's spirit!

* * * *

I will not do't: Lest I surcease to honor mine own truth, And by my body's action, teach my mind A most inherent baseness.

VOLUMNIA.

At thy choice, then: To beg of thee, it is my more dishonor, Than thou of them. Come all to ruin: let Thy mother rather feel thy pride, than fear Thy dangerous stoutness: for I mock at death With as big heart as thou. Do as thou list-- Thy valiantness was mine, thou suck'dst it from me But owe thy pride thyself.

CORIOLANUS.

Pray be content; Mother, I am going to the market place-- Chide me no more.

When the spirit of the mother and the son are brought into immediate collision, he yields before her; the warrior who stemmed alone the whole city of Corioli, who was ready to face "the steep Tarpeian death, or at wild horses' heels,--vagabond exile--flaying," rather than abate one jot of his proud will--shrinks at her rebuke. The haughty, fiery, overbearing temperament of Coriolanus, is drawn in such forcible and striking colors, that nothing can more impress us with the real grandeur and power of Volumnia's character, than his boundless submission to her will--his more than filial tenderness and respect.

You gods! I prate, And the most noble mother of the world Leave unsaluted. Sink my knee i' the earth-- Of thy deep duty more impression show Than that of common sons!

When his mother appears before him as a suppliant, he exclaims,--

My mother bows; As if Olympus to a molehill should In supplication nod.

Here the expression of reverence, and the magnificent image in which it is clothed, are equally characteristic both of the mother and the son.

Her aristocratic haughtiness is a strong trait in Volumnia's manner and character, and her supreme contempt for the plebeians, whether they are to be defied or cajoled, is very like what I have heard expressed by some high-born and high-bred women of our own day.

I muse my mother Does not approve me further, who was wont To call them woollen vassals; things created To buy and sell with groats; to show bare heads In congregations; to yawn, be still, and wonder When one but of my ordinance stood up To speak of peace or war.

And Volumnia reproaching the tribunes,--

'Twas you incensed the rabble-- Cats, that can judge as fitly of his worth, As I can of those mysteries which Heaven Will not have earth to know.

There is all the Roman spirit in her exultation when the trumpets sound the return of Coriolanus.

Hark! the trumpets! These are the ushers of Marcius: before him He carries noise, and behind him he leaves tears.

And in her speech to the gentle Virgilia, who is weeping her husband's banishment--

Leave this faint puling! and lament as I do In anger--Juno-like!

But the triumph of Volumnia's character, the full display of all her grandeur of soul, her patriotism, her strong affections, and her sublime eloquence, are reserved for her last scene, in which she pleads for the safety of Rome, and wins from her angry son that peace which all the swords of Italy and her confederate arms could not have purchased. The strict and even literal adherence to the truth of history is an additional beauty.

Her famous speech, beginning "Should we be silent and not speak," is nearly word for word from Plutarch, with some additional graces of expression, and the charm of metre superadded. I shall give the last lines of this address, as illustrating that noble and irresistible eloquence which was the crowning ornament of the character. One exquisite touch of nature, which is distinguished by italics, was beyond the rhetorician and historian, and belongs only to the poet.

Speak to me, son; Thou hast affected the fine strains of honor, To imitate the graces of the gods; To tear with thunder the wide cheeks o' the air, And yet to charge thy sulphur with a bolt That should but rive an oak. Why dost not speak? Think'st thou it honorable for a nobleman Still to remember wrongs? Daughter, speak you: He cares not for your weeping. Speak thou, boy; Perhaps thy childishness may move him more Than can our reasons. There is no man in the world More bound to his mother; yet here he lets me prate Like one i' the stocks. Thou hast never in thy life Show'd thy dear mother any courtesy; _When she, (poor hen!) fond of no second brood, Has cluck'd thee to the wars, and safely home, Laden with honor._ Say my request's unjust, And spurn me back: but, if it be not so, Thou art not honest, and the gods will plague thee That thou restrain'st from me the duty which To a mother's part belongs. He turns away: Down, ladies: let us shame him with our knees. To his surname Coriolanus 'longs more pride, Than pity to our prayers; down, and end; This is the last; so will we home to Rome, And die among our neighbors. Nay, behold us; This boy, that cannot tell what he would have, But kneels, and holds up hands, for fellowship, Does reason our petition with more strength Than thou hast to deny't.[81]

It is an instance of Shakspeare's fine judgment, that after this magnificent and touching piece of eloquence, which saved Rome, Volumnia should speak no more, for she could say nothing that would not deteriorate from the effect thus left on the imagination. She is at last dismissed from our admiring gaze amid the thunder of grateful acclamations--

Behold, our patroness,--the life of Rome.

CONSTANCE.

We have seen that in the mother of Coriolanus, the principal qualities are exceeding pride, self-will, strong maternal affection, great power of imagination, and energy of temper. Precisely the same qualities enter into the mind of Constance of Bretagne: but in her these qualities are so differently modified by circumstances and education, that not even in fancy do we think of instituting a comparison between the Gothic grandeur of Constance, and the more severe and classical dignity of the Roman matron.

The scenes and circumstances with which Shakspeare has surrounded Constance, are strictly faithful to the old chronicles, and are as vividly as they are accurately represented. On the other hand, the hints on which the character has been constructed, are few and vague; but the portrait harmonizes so wonderfully with its historic background, and with all that later researches have discovered relative to the personal adventures of Constance, that I have not the slightest doubt of its individual truth. The result of a life of strange vicissitude; the picture of a tameless will, and high passions, forever struggling in vain against a superior power: and the real situation of women in those chivalrous times, are placed before us in a few noble scenes. The manner in which Shakspeare has applied the scattered hints of history to the formation of the character, reminds us of that magician who collected the mangled limbs which had been dispersed up and down, reunited them into the human form, and reanimated them with the breathing and conscious spirit of life.

Constance of Bretagne was the only daughter and heiress of Conan IV., Duke of Bretagne; her mother was Margaret of Scotland, the eldest daughter of Malcolm IV.: but little mention is made of this princess in the old histories; but she appears to have inherited some portion of the talent and spirit of her father, and to have transmitted them to her daughter. The misfortunes of Constance may be said to have commenced before her birth, and took their rise in the misconduct of one of her female ancestors. Her great-grandmother Matilda, the wife of Conan III., was distinguished by her beauty and imperious temper, and not less by her gallantries. Her husband, not thinking proper to repudiate her during his lifetime, contented himself with disinheriting her son Hoel, whom he declared illegitimate; and bequeathed his dukedom to his daughter Bertha, and her husband Allan the Black, Earl of Richmond, who were proclaimed and acknowledged Duke and Duchess of Bretagne.

Prince Hoel, so far from acquiescing in his father's will, immediately levied an army to maintain his rights, and a civil war ensued between the brother and sister, which lasted for twelve or fourteen years. Bertha, whose reputation was not much fairer than that of her mother Matilda, was succeeded by her son Conan IV.; he was young, and of a feeble, vacillating temper, and after struggling for a few years against the increasing power of his uncle Hoel, and his own rebellious barons, he called in the aid of that politic and ambitious monarch, Henry II. of England. This fatal step decided the fate of his crown and his posterity; from the moment the English set foot in Bretagne, that miserable country became a scene of horrors and crimes--oppression and perfidy on the one hand, unavailing struggles on the other. Ten years of civil discord ensued, during which the greatest part of Bretagne was desolated, and nearly a third of the population carried off by famine and pestilence. In the end, Conan was secured in the possession of his throne by the assistance of the English king, who, equally subtle and ambitious, contrived in the course of this warfare to strip Conan of most of his provinces by successive treaties; alienate the Breton nobles from their lawful sovereign, and at length render the Duke himself the mere vassal of his power.

In the midst of these scenes of turbulence and bloodshed was Constance born, in the year 1164. The English king consummated his perfidious scheme of policy, by seizing on the person of the infant princess, before she was three years old, as a hostage for her father. Afterwards, by contracting her in marriage to his third son, Geoffrey Plantagenet, he ensured, as he thought, the possession of the duchy of Bretagne to his own posterity.

From this time we hear no more of the weak, unhappy Conan, who, retiring from a fruitless contest, hid himself in some obscure retreat: even the date of his death is unknown. Meanwhile Henry openly claimed the duchy in behalf of his son Geoffrey and the Lady Constance; and their claims not being immediately acknowledged, he invaded Bretagne with a large army, laid waste the country, bribed or forced some of the barons into submission, murdered or imprisoned others, and, by the most treacherous and barbarous policy, contrived to keep possession of the country he had thus seized. However, in order to satisfy the Bretons, who were attached to the race of their ancient sovereigns, and to give some color to his usurpation, he caused Geoffrey and Constance to be solemnly crowned at Rennes, as Duke and Duchess of Bretagne. This was in the year 1169 when Constance was five, and Prince Geoffrey about eight, years old. His father, Henry, continued to rule, or rather to ravage and oppress, the country in their name for about fourteen years, during which period we do not hear of Constance. She appears to have been kept in a species of constraint as a hostage rather than a sovereign; while her husband Geoffrey, as he grew up to manhood, was too much engaged in keeping the Bretons in order, and disputing his rights with his father, to think about the completion of his union with Constance, although his sole title to the dukedom was properly and legally in right of his wife. At length, in 1182, the nuptials were formally celebrated, Constance being then in her nineteenth year. At the same time, she was recognized as Duchess of Bretagne _de son chef_, (that is, in her own right,) by two acts of legislation, which are still preserved among the records of Bretagne, and bear her own seal and signature.

Those domestic feuds which embittered the whole life of Henry II., and at length broke his heart, are well known. Of all his sons, who were in continual rebellion against him, Geoffrey was the most undutiful, and the most formidable: he had all the pride of the Plantagenets,--all the warlike accomplishments of his two elder brothers, Henry and Richard; and was the only one who could compete with his father in talent, eloquence, and dissimulation. No sooner was he the husband of Constance, and in possession of the throne of Bretagne, than he openly opposed his father; in other words, he maintained the honor and interests of his wife and her unhappy country against the cruelties and oppression of the English plunderers.[82] About three years after his marriage, he was invited to Paris for the purpose of concluding a league, offensive and defensive, with the French king: in this journey he was accompanied by the Duchess Constance, and they were received and entertained with royal magnificence. Geoffrey, who excelled in all chivalrous accomplishments, distinguished himself in the tournaments which were celebrated on the occasion; but unfortunately, after an encounter with a French knight, celebrated for his prowess, he was accidentally flung from his horse, and trampled to death in the lists before he could be extricated.