Philip Again Uses the Spurious Right (18);

1

Act II Scene 1

Angiersiscapital of province of Anjou and thus capital of the Angevin Empire which John inherited from his brother & father.

N.B. Geneological table:Enter Philip II, King of France, Lewis (Dauphin – later Louis VIII) Archduke of Austria enters (wearing King Richard’s lion skin; Constance (Prince Arthur’s mother); Prince Arthur (historically[and in TR]aged 15 – Shak. makes him a child) – N.B.Duke of Austriaimprisoned RI – but Shak. conflates him with Viscount Limoges who fatally wounded Richard with bolt from cross bow).

Philip greets Austria – tells Arthur (and audience) that Austria had killed RI (lion story & 3rd crusade) Arthur’s predecessor (nephew not blood descendant –Shak. exaggerates his claim to John’s throne). Austria has come to “make amends” for killing Arthur’s ancestor by fighting to overthrow “thy unnatural uncle” (John); Arthur acknowledges his personal weakness (“powerless hand”) – thanks Austria for supporting his own “right” to the English throne and so making amends for killing Richard by giving life to “his offspring” (In fact, Arthur was Richard’s eldest brother’s [Geoffrey] son – again the nearness of their relationship exaggerated);

Philip again uses the spurious “right” (18);

Austria undertakes not to return to his homeland until John’s territories in France and England itself “Salute thee for her king” (30). N.B. the language of “kiss” a “seal” on an “indenture” – i.e. a promise that carries legal force; his stirring ‘patriotic’ description of England (of a type popular at the time of the Armada in 1588): its legendary white cliffs

[‘Albion’ reflects lat. ‘albus’ = ‘white’]; England’s security (“spurns back … coops … hedged in … walled bulwark, still secure … confident);

Constance’s (Arthur’s mother) gratitude acknowledges her weakness (“widow” with no husband to protect her interests – parallels Lady Folconbridge) – Austria’s “strong hand” will support Arthur until he has his own “strength” to repay Austria’s service.

Austria claims heavenly sanction for a war in a “just and charitable cause” (35-36);

Philip turns to more practical matters of military strategy (“cannon … brows” –i.e. gates are the eyes, battlements the ‘brows’; “men of discipline … plots of best advantage” – florid language of laying down “royal bones … Wade …in Frenchmen’s blood” – again emphasis on Arthur’s legitimacy to rule: N.B. As son of Geoffrey, Duke of Brittany, Arthur was heir to his French lands and owed homage to the French king for some of them and some to the English king. THUS Arthur has right to Angiers but Shak. widens his claim to include England and all its territories.

Constance urges patience/restraint until demands of “embassy” have been heard [N.B. Her only ‘quiet’ speech in the play – soon calling for war when her cause destroyed by negotiation]. Ambassador Chatillon (from I.1) may bring Arthur’s “right” to these territories without shedding blood – preferable to having to “repent” for unnecessary deaths;

Philip: Amazingly (“A wonder lady!”) Chatillon arrives at that moment –asks the result of his embassy – “We coldly pause for thee …” – reacts to Constance’s accusatory “hot rash haste” – surprising change in tone: cynically turning emotions on and off – or irony aimed at Constance….?

Chatillon: Philp’s army must abandon its “paltry siege” against Angiersand prepare to attack the town to enforce King John’s angry refusal (“impatient”) to entertain their “just demands” – adverse winds delayed Chatillon’s departure from England allowing Eng. forces to prepare – now John advancing “expedient” towards Angiers – strong, confident army. [In Acts I-III Shak. stresses speed and impulsiveness];

John accompanied by Eleanor (“mother-queen”) – likened to “Ate” (goddess of discord & strife)[N.B. Antony’s funeral speech in JC: “And Caesar's spirit, ranging for revenge,// WithAteby his side come hot from hell”]; also comes Blanche (of Castile, grand-daughter of Eleanor) and “bastard” of Richard I together with many discontented, reckless young men (“unsettled humours of the land” (66)[N.B. Elizabethan gents with no employment at home flocked to foreign religious wars: in Low Countries (1572-86); France (1589-91)] – beardless youths have forfeited their inheritance rights at home to buy amour on the chance of finding honour, wealth and fame abroad (like Bastard) – acknowledges that “a braver choice of dauntless spirits….” (72-75) never graced the ships that now sail towards France;

Drumbeats announce that the English are “at hand” and so cut off leisure for further details (“more circumstance”) of their preparations;

Philip seems anxious and dispirited – “how unlooked for …” (79);

Austria – a rallying cry that “by so much (more) //We must awake our endeavour for defence” – courage increases as the need for it arises – “welcome … we are prepared”.

Enter John, Bastard, Eleanor, Blanche, Pembroke (historically served loyally H2, John & H3), Salisbury & soldiers.

John’s greetingsets the tone for the balanced political rhetoric of the scene: nominally offers “Peace …” but defiantly stresses “just … lineal … our own” – threatens “bleed France” – claims himself “God’s agent” (divine right) –“correct” often used of punishing naughty child – speaks in cataclysmic terms of driving peace out of the world (“beats his peace to heaven”);

Philip’s greeting similarly ambivalent – “Peace” to England (country and king) if he and his army return to England – France loves Eng. [N.B. how H5 tells Katherine that he is not the enemy of France – he loves it so well that he would “not part with a village of it”] – they don their armour on Eng.’s behalf – i.e. on Arthur’s behalf as king; Philip rebukes John for his irresponsibility in undermining England by denying it its lawful king (Arthur), severing the legitimate line of descent, defied a child’s right to the throne and so ‘raped’ the purity //innocence of the crown;

Young Arthur’s facial features likened to those of John’s elder brother, Geoffrey as evidence of his right to succeed. John had spoken in legal terms of “Our just and lineal entrance …” (85) – answered by Philip’s elaborate legal conceit: “abstract … brief … volume” which underlines Arthur’s legal claim – contrasts with John who may “owe …” (i.e. own) the crown but only because he “over-masterest” (i.e. takes possession by force) – remember Queen Eleanor’s observation: “You strong possession much more than your right”;

John continues the legal conceit demanding to know Philip’s authority for making these demands: “commission … articles” (i.e. list as in an indictment);

Philip righteously claims his authority from God (“supernal judge”) who provides the “commission” to look after the interests of truth and justice – “blots … stains” suggests stained conscience as well as imperfect legal documents – “warrant … impeach” – N.B. how his “chastise” (117) answers John’s “correct” (87);

(118-21) The word “usurp” carries great weight – suggests the illegal overthrow of a Prince with all the instability of a nation at war with itself – thrown backwards and forwards – draws Constance into the debate – N.B. such verbal battles symbolise the physical action taking place offstage – N.B. general use of the disrespectful “thou”;

As first the mothers and then the general bystanders are drawn into the dispute all vestige of political dignity is removed. The pathos of Arthur’s position emphasised by his being a silent observer throughout (In TR he is much involved);

Eleanor speaks recklessly out of passion – unseemly exchange of accusations of infidelity and bastardy – Constance claims that Arthur’s own father, Geoffrey, was “never so true begot. It cannot be an if thou wert his mother” (130-31) particularly ill-advised since Arthur’s lineal right would be lost if his father were illegitimate. In fact, Eleanor’s divorce from her first husband, Louise VII of France, was for her alleged infidelities – cross-referencing similar accusations against Ann Boleyn to justify her execution….?.

Austria’s call for “Peace!” seconded by Bastard – introduces a slightly farcical note: “What the devil art thou?” –regards Bastard as an upstart outsider and echoes John’s question to Bastard in I.1.55 (“What are thou”;

Bast. replies – witty, irreverent tone – insults Austria by accusing his of cowardice – hare – pluck beard of dead lions (he wears lion skin of R1). [N.B. Bast. like the Vice figure in medieval Morality plays – his irreverent tone and amusing relationship with audience – Richard III also compared with Vice and has similar relationship with audience];

Blanche contradicts Bast. – Aust. “disrobed” King Richard of his lion’s skin & well deserves to wear it;

Bast. denies – Aust. wears the skin as ludicrously as an ass wearing the clothes of Hercules – N.B. rhyming couplet;

Aust. demands to know who Bast. is– “cracker” = boaster, braggart – “abundance of superfluous breath”;

Philip demands end of squabbling – “Women and fools….” (150) – “conference” ironic – returns dialogue to the central issue of what claimed on Arthur’s behalf;

John defiant – addresses Arthur – if he submits to John he will “give thee more” than the “coward hand” (158) of France can win in battle – contrasts with Richard’s hand // lion’s heart – “Submit thee boy” (159);

Reinforced by Eleanor who calls child to her, his grandmother;

Constance mocks the “grandam” contemptuously with adopting baby talk – a kingdom exchanged for a child’s treat: “plum … cherry … fig” (insulting);

Arthur distressed –wishes for his “grave” – he is “not worth this coil” (i.e. turmoil, 265);

Eleanor blames Constance for the tears for ‘shaming’ him – Constance picks up ‘shame’ and turns it defiantly back onto her opponent: blot (133), grandam (160), slanderer (175), will (193). His grandmother’s “wrongs” cause the tears – Heaven will take them as a fee and “do him justice and revenge on you” (172) – perhaps “crystal beads” suggests rosary beads….?“Heaven” used 3 times [N.B. footnote – biblical injunction favouring “any widow or fatherless child”];

Mutual insults exchanged – Constance continues to focus on “usurp” (175) – “eldest son’s son” emphasises the lineal claim of Arthur being closer than that of John – alludes to Bible in support –Eleanor’s “sins” visited on Arthur [Exodus 20.5: “… and visit the sin of the fathers upon the children unto the third and fourth generation”];

John – “Bedlam” (i.e. ‘lunatic’);

(184-90) Constance – Eleanor is not the only sinner for whom Arthur (3rd generation) must suffer; she has begotten John, ‘her sin’ who, along with her plagues Arthur. She has aroused God’s wrath, making her and her son His scourge. Thus an innocent child is wronged, for her, by her and by her son (John) – N.B. emphasis on “plague” (x5) – alludes to Biblical plagues;

Eleanor alludes to King Richard’s “will that bars the title to thy son” (192) but its employment in this undignified wrangling robs it of any credibility – Constance turns “will” against Eleanor – it was her “wicked will” that forced Richard to name John as his successor – alludes to proverb: ‘Women will have their will’;

Philip steps in to bring this undignified exchange to an end – it shows disrespect to him (i.e. “this presence” = ‘me’) to encourage such “ill-tunèd repetitions” (197) – orders trumpet to summon citizens of Angiers to see whether they will “admit” (accept) as their king – John or Arthur.

Trumpet – citizens on walls:

“’Tis France for England” – i.e. King of France speaks for King of England (i.e. Arthur) – John is “England for itself” since he is at one with his realm – a true king needs no other spokesman;

John and Philip’s persuasive language: “loving subjects … loving men … gentle parle” – John upstages Philip by interrupting and finishing his sentence “… For our advantage” (i.e. my timely opportunity//benefit - 206)[N.B. again John’s speed of response echoes his speed in military matters noted by Chatillon];

John points out that the French trappings of war (soldiers, flags, canons) ready “to you endamagement” (209)“spit forth // Their iron indignation” [N.B. True since 37-43 shows that French troops about to bombard the town] “… bloody … merciless proceeding” (214) – i.e. the assault and capture that would follow the siege. [N.B. The idea of the city being ‘raped’ by its conquerors: The city gates, like eyes beneath the brows of the walls are closed – the city is as if asleep in its bed, unaware of the danger has been awoken by John’s approach (though it was Philip who ordered trumpets) – French would breach its walls, tear aside the clothing about its waist and ravish it];

BUT(222) at the sight of their “lawful king” whose army’s ‘painful’, “expedient march” is a “countercheck” (N.B. chess images – “peace (piece) … king … countercheck”) “to save unscratched your city’s threatened cheeks” – the French astounded// stunned with fear (“amazed”) have been forced into a “parle” now duplicitously offer instead of bullets “wrapped in “fire” “calm words folded up in smoke” (i.e. breath, a smokescreen to mask their true intentions)lying to deceive the citizens (“faithless error in your ears” - 230);

John concludes with his own charm offensive – “kind citizens” – again stresses the speed of his army’s march and their weariness (“your king … laboured spirits… Forewearied” – craves shelter // protection (“harbourage”);

(235-66) Philip’s response transfers the idea of protection (John had spoken of protecting the town) to “young Plantagenet” ( Arthur) – a duty “divinely vowed” to uphold his “right” – stresses that Arthur is son of “eldest brother” of John and is therefore “king over him” (i.e. John) – his army’s marched to uphold the “down-trodden equity” (i.e. oppressed right) – his army is “no further enemy” to the town than their Christian obligation to give “hospitable zeal” (zealous/enthusiastic assistance) to “this oppressed child” – citizens urged to show their duty to he who has a right to it(“owes it”) – in which case his army will only be threatening in appearance, like a muzzled bear – cannons only discharged harmlessly into the air (“invulnerable clouds” - 252), unhacked swords – unbruised helmets – warlike spirit (“lusty blood”) return home; the weapons that were intended to “spout against your town” will leave the citizens in peace;

BUT(258) if they foolishly disregard this “offer” (or ‘threat’) then their walls’(“roundure”) circumference will not protect them [N.B. circular fortress harder to assault than one with sharp-angled walls] not even if the English, skilled as they are in war, were to be inside (“harboured” – N.B. John had asked for “harbourage” – 234) the walls to protect them;

SO(“Then” -263)– shall the city pay homage to Arthur (“In that behalf …”) or shall “we” (Philip) can summon up his “rage”, unleash his army’s fury and march through blood to take possession of the town. [N.B. the image signals Philip’s hypocrisy – his “rage” a mood rather than an emotion that he can “signal” into being];

Citizen [Hubert….?] – enigmatic – does not deny they are “King of England’s subjects” – town held by them “in his right” – they will open their gates to “he that proves the king” (i.e. demands some test that he is genuine –prove in battle….?

John – he wears the crown (sitting tenant) and his 30,000 English soldiers give witness having followed him to France (with concealed threat….?)

Bastard’s irreverent ‘asides’ are directed to the audience – a welcome relief from the pompous posturing of the main players.

Citizens will “(with)hold the right” (of the true king - ) until they settle (“compound”) between them which is king;

John calls for God to forgive the sins of all those soldiers who will die in battle, whose souls will “fleet” (glide away) from their bodies “In dreadful trial” – as proposed in R2 to determine guilt/innocence of Bolingbroke & Mowbray;

Philip orders “Mount chevaliers” – Bastard leavens the portentous, heroic language of John & Philip with homely image of the common inn sign – Proverb: “like St. George who is ever on horseback and never rides” – addresses Austria (his father’s killer), alluding to the lion’s skin – if in his “den” at home with his “lioness” (prostitute) Bast. would cuckold him and make monster of him (ox head & horns on lion’s body) – when Austria bids him “Peace” he mockingly pretends to “tremble” at the “lion’s roar”;

Two armies exit to take up best strategic positions.

Constance & Arthur retire to France’s tent until beginning of III.2. Excursions across stage. Herald.

“After excursions” (i.e. sallies, raids) – Two Heralds –deliver parallel speeches that, in effect, cancel each other out – each claiming stunning victory but producing rhetorical stalemate (N.B. R2 – Lists Scene) just as their respective armies have done;

(300-11) French Herald – triumphalist language, glorying in “tears … mothers … sons … scattered” denigrating English soldiers (“grovelling”) – also suggestion of a bleeding Mother Earth; French “little loss … dancing banners … triumphantly … conquerors”;

(312-24) English Herald– King John “Commander –heroic language “armour silver-bright … gilt with Frenchmen’s blood … no plume” – English minimal casualties – colours retained – “jolly troop of huntsmen … lusty English … purpled hands, // Dyed … slaughter”;

(325-33) Citizen (Hubert in F1): Citizens not taken in by this psychological assault – the two armies so evenly matched that neither could be judged to have ‘won’ – reflected in balanced syntax: “blood … blood; blows … blows” etc; “One must prove greatest” before they will bestow their loyalty and acknowledge the rightful king of England BUT “While they weigh so even, // We hold our town for neither, yet for both”.