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There's toys abroad ; : anon I'll tell thee more.
[Exit Gurney. Madam, I was not old fir Robert's fon; Sir Robert might have eat his part Upon Good-friday, and ne'er broke his fast: 4 Sir Robert could do well; Marry, (to confess!)S Could he get me? Sir Robert could not do it; We know his handiwork :—Therefore, good mo
ther, To whom am I beholden for these limbs ? Sir Robert never holp to make this leg. Ladr F. Haft thou conspired with thy brother
too, That for thine own gain should'st defend mine ho
nour? What means this scorn, thou most untoward knave?
From the sound of the sparrow's chirping, Catullus in his Elegy on Lesbia's Sparrow, has formed a verb:
“ Sed circumsiliens modo huc, modo illuc,
“ Ad folam dominam ufque pipilabat,” Holt White, 3 There's toys abroad; &c.] i. e. rumours, idle reports. So, in Ben Jonson's Sejanus :
Toys, mere toys, “ What wisdom's in the streets." Again, in a poftfcript of a letter from the Countess of Essex to Dr. Forman, in relation to the trial of Anne Turner for the murder of Sir Tho. Overbury : " they may tell my father and mother, and fill their ears full of toys." State Trials, Vol. I. p. 322.
STEEVENS. might have eat his part in me Upon Good-friday, and ne'er broke his faft:] This thought occurs in Heywood's Dialogues upon Proverbs, 1562 :
his parte on good Fridaie eate,
(to confess!)] Mr, M. Mafon regards the adverb to, as an error of the press: but I rather think, to confess, means—to come to confession. “ But, to come to a fair confeffion now, (fays the Bastard,) could he have been the instrument of my production?"
BAST. Knight, knight, good mother,---Bafilisco
like: 6 What! I am dubb'd; I have it on my shoulder. But, mother, I am not fir Robert's fon; I have disclaim'd fir Robert, and my land; Legitimation, name, and all is gone: Then, good my mother, let me know my father ; Some proper man, I hope; Who was it, mother? Lapr F. Haft thou denied thyself a Faulcon
bridge Bast. As faithfully as I deny the devil.
6 Knight, knight, good mother,--Bafilifco-like :] Thus muft this passage be pointed; and to come at the humour of it, I must clear up an old circumstance of stage-history. Faulconbridge's words here carry a concealed piece of fatire on a stupid drama of that age, printed in 1599, and called Soliman and Perfeda. In this piece there is a character of a bragging cowardly knight, called Bafilisco. His pretension to valour is so blown, and seen through, that Piston, a buffoon-servant in the play, jumps upon his back, and will not disengage him, till he makes 'Bafilifco fwear upon his dudgeon dagger to the contents, and in the terms he dictates to him; as, for, instance : “ Baf. O, I swear, I swear.
Pift. By the contents of this blade, " Baf. By the contents of this blade, • Pift. I, the aforesaid Bafilifco, “ Baf. I, the aforesaid Bafilifco,-knight, good fellow, knight.
" Pift. Knave, good fellow, knave, knave. So that it is clear, our poet is sneering at this play; and makes Philip, when his mother calls him knave, throw off that reproach by humorously laying claim to his new dignity of knighthood; as Basilisco arrogantly infifts on his title of knight in the passage above quoted. The old play is an execrable bad one; and, I suppose, was sufficiently exploded in the representation: which might make this circumstance so well known, as to become the butt for a stagefarcasm. THEOBALD.
The character of Bafilisco is mentioned in Nash's Have with jou to Saffron Walden, &c. printed in the year 1596.
LADY F. King Richard Cour-de-lion was thy
father; By long and vehement suit I was seduc'd To make room for him in my husband's bed: Heaven lay not my transgression to my charge! Thou art the issue of my dear offence, Which was so strongly urg'd, past my defence.
Bast. Now, by this light, were I to get again, Madam, I would not wish a better father. Some fins 8 do bear their privilege on earth, And so doth yours; your fault was not your folly: Needs must you lay your heart at his dispose,Subjécted tribute to commanding love, Against whose fury and unmatched force The awless lion could not wage the fight, Nor keep his princely heart from Richard's hand. He, that perforce robs lions of their hearts, May easily win a woman's. Ay, my mother, With all my heart I thank thee for my father! Who lives and dares but say, thou didst not well When I was got, I'll send his soul to hell.
· Thou art -] Old copy-That art. Corrected by Mr. Rowe,
Malone. 8 Some fins] There are fins, that whatever be determined of them above, are not much censured on earth. Johnson. 9 Needs must you lay your heart at his dispose,
Against whole fury und unmatched force
The awless lion could not wage the fight, &c.] Shakspeare here alludes to the old metrical romance of Richard Caur-de-lion, wherein this once celebrated monarch is related to have acquired his distinguishing appellation, by having plucked out a lion's heart to whose fury he was exposed by the Duke of Austria, for having Nain his son with blow of his fift. From this ancient romance the story has crept into some of our old chronicles: but the original passage may be seen at large in the introduction to the third volume of Reliques of ancient English Poetry. PERCY.
Come, lady, I will show thee to my kin;
And they shall say, when Richard me begot,
France. Before the walls of Angiers.
Forces; on the other, Philip, King of France,
Lew. Before Angiers well met, brave Austria.
· Richard, that robba &c.] So, Raftal, in his Chronicle: “ It is fayd that a lyon was put to kynge Richard, beynge in prison, to have devoured him, and when the lyon was gapynge he
his arme in his mouth, and pulled the lyon by the harte so hard that he flewe the lyon, and therefore some say he is called Rycharde Cure de Lyon; but some say he is called Cure de Lyon, because of his boldness and hardy stomake." Grey.
I have an old black-lettered history of lord Fauconbridge, whence Shakspeare might pick up this circumstance. FARMER.
In Heywood's Downfall of Robert Earl of Huntington, 1601, there is a long description of this fabulous atchievement.
The fame story is told by Knighton, inter Decem Scriptores, and by Fabian, who calls it a fable. It probably took its rise from, Hugh de Neville, one of Richard's followers, having killed a lion, when they were in the Holy Land: a circumstance recorded by Matthew Paris. Malone.
3 By this brave duke came early to his grave:] The old play led Shakspeare into this error of ascribing to the Duke of Auitria the
And, for amends to his posterity,
death, The rather, that you give his offspring life, Shadowing their right under your wings of war:
death of Richard, who lost his life at the fiege of Chaluz, long after he had been ransomed out of Austria's power, ' STEEVENS.
The producing Auftria on the scene is also contrary to the truth of history, into which anachronism our author was led by the old play. Leopold Duke of Austria, by whom Richard I. had been thrown in prison in 1193, died in consequence of a fall from his horse in 1195 fome years before the commencement of the present play.
The original cause of the enmity between Richard the First, and the Duke of Austria, was, according to Fabian, that Richard "tooke from a knighte of the Duke of Ofriche the faid Duke's banner, and in despite of the faid duke, trade it under foote, and did unto it all the spite he might.” Harding says, in his Chronicle, that the cause of quarrel was Richard's taking down the Duke of Auftria's arms and banner, which he had set up above those of the King of France and the King of Jerusalem. The affront was given, when they lay before Acre in Palestine. This circumstance is alluded to in the old King John, where the Baftard, after killing Austria, says,
“ And as my father triumph'd in thy spoils,
“ And trod thine ensigns underneath his feet,'' &c. Other hiftorians say, that the Duke fufpected Richard to have been concerned in the assassination of his kinsman, the Marquis of Montferrat, who was stabbed in Tyre, foon after he had been elected King of Jerusalem; but this was a calumny, propagated by Richard's enemies for political purposes. MALONE.
* At our importance -] At our importunity. JOHNSON. So, in Twelfth Night:
Maria writ “ The letter at Sir Toby's great importance." STEEVENS.