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Robert Faulconbridge, suppos'd Brother to the Bastard.

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11. suppos'd...Bastard] Pope,+. half...bastard. Var. '78, '85. Son of a Sir Robert Faulconbridge. Cap. et cet. (...Falconbridge Dyce, Hal. Huds. ii, Words.)

is quite correct in saying that Holinshed gives the name of Philip to Richard, Cœur de Lion's illegitimate son; the passage which Steevens quotes, in part, reads thus: "The same yere [1199] Philip, bastard sonne to. King Richard, to whome his father had given the Castell and honor of Coinacke, killed the vicount of Limoges, in revenge of his father's death' (ed. 1585; vol. iii, p. 160, col. b).— MALONE quotes a passage from the continuation of Hardyng's Chronicle, 'One Faulconbridge, therle of Kent, his bastarde, a stoute-hearted man' (fol. 24, b. ad ann., 1472), and suggests tentatively that this induced the author of the Troublesome Raigne 'to affix the name of Faulconbridge to King Richard's natural son.' He adds: 'Who the mother of Philip was is not ascertained. It is said that she was a lady of Poictou, and that King Richard bestowed upon her son a lordship in that Province. In expanding the character of the Bastard Shakespeare seems to have proceeded on the following slight hint in the original play: "Next them, a bastard of the King's deceased, A hardie wild-head, rough, and venturous." STAUNTON Considers that the latter part of this note by Malone has too long passed unchallanged. 'How far this statement is justifiable,' he adds, ‘let the reader determine after perusing only a few extracts from the earlier work. . . . We miss in the original the keen but sportive wit, the exuberant vivacity, the shrewd worldliness, and the military genius of Shakespeare's Bastard; but his arch-type in the old piece was the work of no mean hand.' -Malone's quotation from Grafton—although it refers to a later period-is certainly more to the purpose than all the passages from Paris and Wendover in regard to Foulke de Breauté or Falcasius de Brente, since it does not necessitate any violent change either in sound or spelling. We must not, however, lose sight of the fact that the mere question of the name or its invention is of but slight importance as regards Shakespeare's Faulconbridge; that name he found ready to his hand in the older play; but how the unknown author obtained it can be answered only by one far abler than the present ED.]

11. Robert Faulconbridge] MARSHALL (Irving's Sh., iii, 209): In the old play Look About You, 1600, the husband of Lady Fauconbridge is called Sir Richard Fauconbridge. That play deals very fully with the intrigue between Prince Richard and Lady Faulconbridge, so that probably there was some story or tradition on the point of which the author of Look About You and the author of the Troublesome Raigne of John both made use. [Inasmuch as there is a period of over ten years between The Troublesome Raigne and Look About You it is probable that the author of the latter comedy made use of certain characters from his predecessor's work. The style and method of Look About You clearly show it to belong to a date close to its first appearance in print, 1600.-Creizenach (p. 185) calls attention to the fact that Lady Fauconbridge is therein represented as the sister of the duke of Gloster, the hero of the piece, and that 'Robin Hood bears a prominent part in the intrigue between Richard and the Lady.'-This is, however, Robin's only appearance in such a character. Neither Ritson nor Child in their exhaustive collections of the Ballads and Legends dealing with the exploits of that Famous Hero-though they refer to this comedy-furnish any source for such

James Gurney, Servant to the Lady Faulconbridge.
Peter of Pomfret, a Prophet.

Philip, King of France.

Lewis, the Dauphin.
Arch-Duke of Austria.

13. Prophet.] Prophesier. Cap. supposed prophet. Sta.

15. Lewis, the Dauphin] Dauphin, his Son; afterwards Lewis VIII. Cap.

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Louis,... Dyce, Wh. i, Words. Lewis, the Dolphin Ktly.

16. Arch-Duke...] Duke... Cap. Lymoges. Duke... Cam. Neils.

an episode other than the imagination of the anonymous author of Look About You.-ED.]

12. James Gurney] MALONE: Our author found this name in perusing the history of King John, who not long before his victory at Mirabeau, over the French, headed by young Arthur, seized the lands and castle of Hugh Gorney, near Butevant, in Normandy.-WRIGHT: It is more probable that the name Gurney or Gourney was a familiar one to Shakespeare.

14. Philip, King of France] 'Philip II. (surnamed Augustus) ascended the throne of his father in the year 1189, and in the fifteenth year of his age. He soon gave proofs of consummate judgment; for, by his prudence, he dissolved a powerful league which had been formed among some of the greatest princes of France. He was religious, but his mind was not enfeebled by bigotry. . . . In his twenty-fifth year he made a league with Richard I. of England, founded on the most firm and cordial friendship. Those two young and warlike monarchs, inflamed with the enthusiasm of the times, resolved to make an expedition, with their united forces, to the Holy-Land, and set sail together; but some dissension having arisen between them at Sicily, it increased to a mutual distrust.... [King Philip died at Mantes] on the 25th of July, 1223, in the 58th year of his age and the 44th of his reign. He was a well-made man, but had a defect in one of his eyes. Laborious and active; undertaking nothing without deliberation, but executing what he had undertaken with celerity and ardour, he was, therefore, generally successful, and was honoured by his first historians with the surname of the Conqueror, which has been changed to the more elegant appellation of Augustus' (Sh. Illustrated, i, 83).

15. Lewis, the Dauphin] FRENCH (p. 15, foot-note): Perhaps it is too early to assign the title of 'Dauphin' to the eldest son of a French monarch at this date, as it is generally understood that it came in the next century on this wise: Humbert III, the Count-Dauphin of the Viennois, about the year 1345 bequeathed or ceded his territory to Philip of Valois [Philip VI.] on condition of his eldest son taking the title of Dauphin and the arms of the province. The style had been first assumed circa 1140 by Guy IV, Count of the Viennois, who took the dolphin for his arms from the name of the province, Dauphiny. Philip, son of Philip of Valois, is believed to be the first prince who bore the style and arms of the Dolphin, as he was called, or Delphinus.

16. Arch-Duke of Austria] See note, III, i, 44. OECHELHAUSER (Einführungen, i, 22): The Archduke of Austria is a character which the Poet found in the older play.... Decked out in the historic lion's skin of Richard he is from the crown of his head to the sole of his foot a cowardly poltroon, in whom there is not a spark of

Pandulpho, the Pope's Legate.

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17. Pandulpho] Pope. Card. or Cardinal Pandulpho Theob.+, Varr. Mal. Steev. Pandulph Cap. Sta. Cardinal Pandulph. Var. '03 et cet.

manliness or honourable feeling. Faulconbridge seems, the Archduke is, a swaggerer; the words of the former are completely concealed by his acts, with the latter it is all empty sound. The contemptuous remarks of the Bastard, who, at the first sight of him, as the murderer of his father makes him his butt, affect him as little as the still sharper tongue-lashings of Constance. By-play forms a very important part of the task of both Faulconbridge and Austria in both the scenes. Act II, scene i, and Act III, scene i. Although the whole figure of this vain poltroon is drawn in a comic style, yet the comic objective must not go beyond the bounds of ignominious derision; and assuredly it should not go so far as to make of Austria an utter clown, as one often sees on the German stage and always on the English, such was surely never the intention of the poet. Dress, manners, bearing, features, all must work naturally together, to give this figure its characteristic make-up; self-satisfied vanity particularly reflects itself in a sweet, weak smile which is constantly upon his lips.

17. Pandulpho] DAVIES (Dram. Miscellanies, i, 39): The character of Pandulph has not, as yet, been represented with that air of dignity and importance which it demands. Macklin, whose skill in acting is acknowledged to be superior to that of any man, who is the best teacher of the art, and is still, at a very advanced age, a powerful comedian as well as a good comic writer, should have refused this part; neither his person, voice, action, or deportment conveyed any idea of a great delegate from the head of the church, the spiritual monarch of Christendom. Quin, who was present at the revival of King John at Drury Lane, said Macklin was like a Cardinal who had been formerly a parish clerk. And yet, it must be owned, Macklin understood the logic of the part, if I may be allowed the expression, better than anybody. But the man who presumes to control the will of mighty monarchs should have a person which bespeaks authority, a look commanding respect, graceful action, and majestic deportment. But Colley Cibber's Pandulph was less agreeable to an audience than Macklin's; the voice of the latter, though rough, was audible. The former's pipe was ever powerless, and now, through old age, so weak that his words were rendered inarticulate. His manner of speaking was much applauded by some, and by others as greatly disliked, in the Pope's Legate, as in most of his tragic characters. The unnatural swelling of his words displeased all who preferred natural elocution to artificial cadence. The old man was continually advising Mrs Pritchard, who acted Lady Constance, to tone her words; but she, by obeying her own feelings and listening to her own judgement, gained approbation and applause; which was not the case with his son, Theophilus, who acted the Dauphin, and Mrs Bellamy, who played Lady Blanch. They, by conforming to their director's precepts, were most severely exploded. But Colley's deportment was, I think, as disgusting as his utterance. He affected a stately, magnificent tread, a supercilious aspect, with lofty and extravagant action, which he displayed by waving up and down a roll of parchment in his right hand; in short, his whole behaviour was so starchly studied that it appeared eminently insignificant, and more resembling his own Lord Foppington than a great and dignified churchman. [The part of Pandulph in Shakespeare's King John is not given in

Melun, a French Lord.

Chattilion, Ambassador from France to King John.
Elinor, Queen-Mother of England.

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20. Queen-Mother of England] Pope, +, Varr. Mother to King John. Cam. +. Widow of Henry II. Del. Widow of Henry II. and Mother of King John. Mal. et cet.

Genest's list of characters acted by Colley Cibber. The foregoing acrimonious criticism by Davies refers to Cibber's performance of the character in his own alteration of Shakespeare's play, entitled Papal Tyranny in the Reign of King John, which was produced at Covent Garden, February 15, 1745, at the close of Cibber's career. After the tenth performance on February 26th Cibber retired from the Stage. For an account of Cibber's Adaptation, see Appendix.-ED.]—H. T. HALL (Sh. Fly-Leaves, p. 180): The character of Cardinal Pandulph is not only essentially true in its relation to humanity, but it is also true to history. The Annals of the Monastery of Burton, recently published, show how thoroughly correct Shakespeare is in his delineation of this papal prelate. Haughty and arrogant, the result of his vanity and the office which he held, Shakespeare fails not to pourtray these features of his character, and he justly puts in his mouth language by which the desires of the dictatorial priest are fully developed; language which cannot fail to awaken in a discerning and patriotic audience an intense disgust and hatred of papal pride and papal intolerance.-CALVERT (p. 141): An important character in the play of King John is Cardinal Pandulph, the Pope's legate. At that period papal power was paramount. Of Pandulph Shakespeare avails himself to represent a typical priest, that is, a man who assumes that he is empowered by Heaven to be the exclusive infallible expounder and interpreter of heavenly things, to guide and rule the spirituality of other men, an assumption which, concentrating in itself the guilt of usurpation with the iniquity of despotism, is a blasphemy towards God and an offense and an insult to man.-DEIGHTON (Introd., p. xxvi.): Pandulph is a hard, unlovely character; but he is what his profession made him, and we cannot altogether refuse a kind of admiration to the stern consistency of purpose with which, in the service of the church, he sweeps away all obstacles, even though among his weapons unblushing casuistry and chicane are those most frequently used.

19. Chattilion] For the accentuation of this name, see note I, i, 6.

20. Elinor] Mrs JAMESON (ii, 233): Elinor of Guienne and Blanche of Castile, who form part of the group around Constance, are sketches merely, but they are strictly historical portraits, and full of truth and spirit. At the period when Shakespeare has brought these three women on the scene together, Elinor of Guienne (the daughter of the last Duke of Guienne and Aquitaine, and like Constance, the heiress of a sovereign dutchy) was near the close of her long, various, and unquiet life—she was nearly seventy; and as in early youth her violent passions had overborne both principle and policy, so in her old age we see the same character only modified by time: her strong intellect and love of power, unbridled by conscience or principle, surviving when other passions were extinguished, and rendered more dangerous by a degree of subtlety and self-command to which her youth had

Constance, Mother to Arthur.

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been a stranger.-STUBBS (Preface to Historical Collections of Walter of Coventry, vol. ii, p. xxviii.): Few women have had less justice done them in history than Eleanor. I do not speak of her moral qualities: although probably her faults have been exaggerated, she can hardly be said to shine as a virtuous woman or a good wife; but of her remarkable political power and her great influence not only in her husband's states, but in Europe generally; of her great energy, not less conspicuous than her husband's, both in early youth and in extreme old age, there can be no question. In an age of short-lived heroes one scarcely realises the length of her adventurous life or the great area of her wanderings. Fifty years before this [the first year of John's reign] she had gone on crusade, and by her undisguised flirtations had spread confusion and dismay and discord in the noblest host that ever went to the East. Her divorce [in 1154] had overthrown the balance of power in two kingdoms, producing in one of them a disruption which it required four hundred years of warfare to remedy. Her quarrel with her second husband [Henry II.] long retarded the reforming schemes of his great administrative genius, and consigned her to fourteen years of captivity. Yet those fourteen years appear but a short period in her long life. Henry's death brought her from prison to supreme power. As Richard's representative in England she repressed the ambition of John and thwarted the designs of Philip; she found time and strength at seventy to journey to Messina with a wife for her son, to Rome on an embassy, and to Germany with the ransom that her energy had helped to accumulate. After a few years of rest she is again on foot at Richard's death. To her inspiration John owed his throne; her influence excluded, no doubt, the unhappy, misguided Arthur, she herself took command of the forces that reduced his friends in Anjou to submission; she travelled to Spain to fetch the grand-daughter whose marriage was to be a pledge of peace between France and England. She outlived, it would seem, the grandchild who had outraged her. She lived long enough to see Philip's first attacks on Normandy; from her death-bed she was writing to the barons to keep them in their allegiance, and her death at the age of eighty-two was followed by the subversion of all the continental projects of her husband. But her own dominions in great part remained to her son's son, as if her mighty shade were able to defend them at least from the hated offspring of Lewis VII. [For a more complete study of the historic character of Elinor, see Miss STRICKLAND'S Queens of England, vol. i, pp. 287-358, and vol. ii, pp. 1-69.—ED.]

21. Constance] F. GENTLEMAN (ap. BELL's ed., p. 14): Constance should be an amiable appearance, possessed of features to describe settled sorrow and wild despair, with notes of voice answerable to such affecting sensations.-CORSON (p. 165): The Play [of King John] on its political side quite ignores the facts of history. So, on the personal side, there is an ignoring, to a greater or less degree, of the characters as represented by history of some of the dramatis persona; and this is especially so in the case of Constance and Arthur, who must be estimated independently of history and almost as purely fictitious. We must not inquire of history what manner of woman Constance was-we must consider exclusively what she is in the play. And the same may be said of Arthur. Again, as I read the play, I see a purpose throughout to intensify the injustice, and crime, and baseness of John's usurpation through the characters given to Constance and Arthur.

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