KING JOHN AND MATILDA. A TRAGEDY [PUBLISHED 1655]. BY ROBERT DAVENPORT [FLOURISHED 1623]. ACTED IN 1651 John, not being able to bring Matilda, the chaste daughter of the old Baron Fitzwater, to compliance with his wishes, causes her to be poisoned in a nunnery. SCENE. JOHN. The Barons: they being as yet ignorant of the murder, and having just come to composition with the King after tedious wars. Matilda's hearse is brought in by HUBERT. John. Hubert, interpret this apparition. A sad-writ Tragedy, so feelingly Languaged, and cast; with such a crafty cruelty Would weep to lay their ears to, and (admiring Told thee thou hadst a daughter. Oh, look here! Barons. Matilda! Fitzw. By the lab'ring soul of a much-injured man, It is my child Matilda!? Bruce. Sweet niece! Leic. Chaste soul! 3 John. Do I stir, Chester? Good Oxford, do I move? stand I not still To watch when the griev'd friends of wrong'd Matilda 1 Fitzwater: son of water. A striking instance of the compatibility of the serious pun with the expression of the profoundest sorrows. Grief, as well as joy, finds ease in thus playing with a word. Old John of Gaunt in Shakspeare thus descants on his name: "Gaunt, and gaunt indeed; " to a long string of conceits, which no one has ever yet felt as ridiculous ["Richard II.," Act ii., Sc. 7, line 72]. The poet Wither thus, in a mournful review of the declining estate of his family, says with deepest nature: The very name of Wither shows decay. 2[Two lines omitted.] 3 [One line.] Will with a thousand stabs turn me to dust, Hub. Unmatch'd Matilda ; Celestial soldier, that kept a fort of chastity 'Gainst all temptations. Truth crowns your reed : Fitzw. Not to be a Queen, And steal true tears so sweetly from all these Shall touch the soul, and at once pierce and please. [Peruses the motto and emblems on the hearse. "To Piety and Purity "—and "Lilies mix'd with Roses" How well you have apparell'd woe! this Pendant, To Piety and Purity directed, Insinuates a chaste soul in a clean body, Virtue's white Virgin, Chastity's red Martyr! To make our griefs ingenious. Let all be dumb, Chest. His very soul speaks sorrow. Oxf. And it becomes him sweetly. John. Hail Maid and Martyr! lo on thy breast, Devotion's altar, chaste Truth's nest, I offer (as my guilt imposes) Thy merit's laurel, Lilies and Roses; Lilies, intimating plain Thy immaculate life, stuck with no stain ; Roses red and sweet, to tell How sweet red sacrifices smell. Hang round then, as you walk about this hearse, Fitzw. Bring Persian silks, to deck her monument ; John. Corinthian ivory, her shape to praise : Fitzw. And write in gold upon it, In this breast Virtue sate mistress, Passion but a guest. John. Virtue is sweet; and, since griefs bitter be, Strew her with roses, and give rue to me. 1 Bruce. My noble brother, I h' lost a wife and son 1; Fitzw. Do any thing; Do all things that are honourable; and the Great King John. Back unto Dunmow Abbey. There we'll pay Song. Matilda, now go take thy bed 5 Rest there, chaste soul, fix'd in thy proper sphere, [Act v., Sc. 3.6] This scene has much passion and poetry in it, if I mistake not. The last words of Fitzwater are an instance of noble temperament; but to understand him, the character throughout of this mad, merry, feeling, insensible-seeming lord, should 1 Also cruelly slain by the poisoning John. 2i.e., of peace; which this monstrous act of John's in this play comes to counteract, in the same way as the discovered death of Prince Arthur is like to break the composition of the King with his Barons in Shakspeare's play. The Dauphin of France, whom they had called in, as in Shakspeare's play. [Four lines omitted.] "["Rest thou" (Bullen).] [Davenport, ed. Bullen, 189o. For other extracts from Davenport see pp. 444 and 586.] be read. That the venomous John could have even counterfeited repentance so well, is out of nature; but, supposing the possibility, nothing is truer than the way in which it is managed. These old play-wrights invested their bad characters with notions of good, which could by no possibility have coexisted with their actions. Without a soul of goodness in himself, how could Shakspeare's Richard the Third have lit upon those sweet phrases and inducements by which he attempts to win over the dowager queen to let him wed her daughter? It is not Nature's nature, but Imagination's substituted nature, which does almost as well in a fiction. BY JOHN THE PARLIAMENT OF BEES. A MASQUE.1 Ulania, a female Bee, confesses her passion for Meletus, who loves Arethusa. not a village Fly, nor meadow Bee, That trafficks daily on the neighbouring plain, And (like my champions) mann'd me out, and home: As we have sate at work, both of one Rose,3 (Although not so poetical as he) Yet in his full invention quick and ripe, In summer evenings, on his well-tuned pipe, Upon a woodbine blossom in the sun, (Our hive being clean-swept, and our day's work done), 1 [Divided into twelve "Characters or "Colloquies."] 2 Whether this singular production, in which the characters are all Bees, was ever acted, I have no information to determine. It is at least as capable of representation as we can conceive the "Birds" of Aristophanes to have been. 3 Prettily pilfered from the sweet passage in the Midsummer Night's Dream, where Helena recounts to Hermia their school-days' friendship : We Hermia, like two artificial gods, VOL. IV.-26 [Act iii., Sc. 2, line 203.] Would play me twenty several tunes; yet I He labours and toils, Extracts more honey out of barren soils Than twenty lazy Drones. I have heard my Father, Lose half the Swarm than him. If a Bee, poor or weak, A wing or leg against a twig; alive, Or dead, he'll bring into the Master's Hive Our Bees could scarce keep wing; then fell such rain, And fly to garrison: yet still He stood, And 'gainst the whole swarm made his party good; I have seen him write such amorous moving lines And wept and sigh'd to think that he should be [Ch. vi.] Porrex, Vice Roy of Bees under King Oberon, describes his large prerogative. To Us (who, warranted by Oberon's love, Write Ourself Master Bee), both field and grove, 1[Two lines omitted.] 2[Day's Works, ed. Bullen, 1881.] |