The Speeches at Prince Henry’s Barriers (1610)

Edited by David Lindley

Introduction

The Barriers, held on 6 January 1610 in the Banqueting House, Whitehall, provided the first occasion for the fifteen-year-old Prince Henry to display his martial ambitions formally in public. It marked the beginning of a crucial year in which he was to be created Prince of Wales in June (an event celebrated by Samuel Daniel’s Tethys’ Festival), and the following Christmas to make his first appearance as a masquer in Oberon.

Henry had had some difficulty in persuading his father to accede to his desire to stage the event at all, according to the Venetian ambassador (CSPV, 11, 401), though the reasons for the King’s reluctance are not clear. After his consent was achieved, however, the event was prepared for in customary fashion, as Sir Charles Cornwallis records, by a challenge issued at Christmastide on the Prince’s behalf ‘by some appointed . . . strangely attired, accompanied with drums and trumpets in the Chamber of Presence’. They claimed ‘that Meliades, their noble master, boiling with an earnest desire to try the valour of his young years in foreign countries, and to know where virtue triumphed most, had sent them abroad to espy the same, who after their long travels in all countries and return, showing how nowhere in any continent, save the Fortunate Isles of Great Britain, they had found his wishes; which ministering matter of exceeding joy to their young Meliades . . . was the cause that he had now sent to present the first fruits of his chivalry at His Majesty’s feet’ (Cornwallis, Life and Death of Prince Henry, 1641, 12, 13–4). The exact text of the ‘two speeches’ in which the challenge was issued is not preserved, though they clearly anticipated the presentation of the Prince in Jonson’s text, which acted as a prelude to the barriers themselves, a contest on foot in which combatants fought across a barrier erected down the centre of the hall (as they had in Hymenaei). The Prince was accompanied by six lords, and each fought against eight defendants at push of pike and the sword. The proceedings ‘began before ten a clock at night, and continued there until the next morning’ (Stow, Annals, 1615, 897). The Prince ‘to the great wonder of the beholders did admirably fight his part, giving and receiving that night 32 pushes of pikes, and about 360 strokes of swords, which is scarce credible in so young years, enough to assure the world that Great Britain’s brave Henry aspired to immortality’ (Cornwallis, 15).

As a record of the occasion, the printed text is short on detail. There is no description of the elaborate settings Jones devised, though fortunately two designs do survive, and are reproduced here, and in Orgel and Strong, 1.159–67. They were innovatory in providing a perspectival set for the initial speeches in a martial entertainment, and their syncretic combination of classical and medieval motifs complemented Jonson’s text, and was crucial to the work’s overall statement, as Peacock (1987) has demonstrated. Jonson also offers no clear account of the action – exactly how Arthur appeared ‘above’, and where the ‘defenders’ were concealed is not described. From Edmund Howes’s account, however, we learn that the defenders occupied a ‘delicate and pleasant place’ at the lower end of the hall, distinct from the ‘sumptuous pavilion’ to which the Lady takes the Prince and his supporters, located ‘on the right hand’ of the hall (Stow, Annals, 1615, 897). One costume design also survives for Merlin.

The martial theme of the Barriers had a pointed resonance at a time of high political tension in Europe, as the dispute over the succession to the tiny German state Julich-Cleves, pitting Catholic against Protestant claimants, threatened to lead to pan-European war. This exacerbated Jonson’s difficulty in negotiating between the heroic and warlike statement that the Prince wished to make and the pacific policies of James. Merlin’s long speech (158–359) represents a distinctly equivocal fusion of a heroic past with temperate political advice for the present. Given Jonson’s stated antipathy to Arthurian material (see EMO, 2.3.135–6 and n., 4.3.187 and n.; New Inn, 1.6.124–8; Und. 43) it seems likely that he was responding to the Prince’s instructions in the selection of the Lady of the Lake, Arthur, and Merlin as his principal speakers. He is very careful, however, to distance himself from the romance tradition, insisting that ‘it is not since as then’ (166), and replacing the fables of ‘giants, dwarfs or monsters’ with exemplary historical figures.

This is the first of the Whitehall entertainments not to appear in quarto, and was printed in F1, probably from Jonson’s holograph or a transcript of it.

 

THE SPEECHES AT PRINCE HENRY’S BARRIERS

The   LADY OF THE LAKE, first   discovered.

LADY

A silence, calm as are my waters, meet

Your  raised attentions, whilst my  silver  feet

Touch on the richer shore, and to  this seat

 Vow my  new duties and mine old  repeat. 5

Lest any yet should doubt, or might mistake

What nymph I am,  behold the ample lake

 Of which I am styled; and near it  Merlin’s tomb,

Grave of his  cunning, as  of mine the womb.

By this  it will not ask me to proclaim 10

More of myself, whose actions and whose name

Were so  full feigned in British Arthur’s court,

No more than it will fit me to report

  What hath before been trusted to  our squire

Of me,  my knight, his fate, and my desire 15

To meet, if not  prevent, his destiny

And style him to the court of  Britany,

Now when the island hath regained her fame

Entire and perfect, in the  ancient name,

And that a monarch  equal good and great, 20

Wise, temperate, just, and stout  claims Arthur’s seat.

Did I say equal? Oh, too prodigal wrong

Of my  o’er-thirsty and  unequal tongue!

How brighter far than when our Arthur lived

Are all the glories of this place revived! 25

What riches  do I see; what beauties here!

What awe! What love! What reverence, joy, and fear!

What ornaments of   counsel as of court!

All that is high and great, or can  comport

Unto the style of majesty, that knows 30

No rival but itself, this place here shows.

 Only the House of Chivalry (howe’er

The  inner parts and store be full, yet here,

In that which  gentry should sustain) decayed,

Or rather ruined seems;  her buildings laid 35

Flat with the earth, that were the pride of time,

And did the barbarous  Memphian heaps  out-climb;

Those obelisks and columns  broke and down

 That struck the stars, and raised the British crown

To be a constellation; shields and swords 40

Cobwebbed and rusty; not a helm affords

A spark of lustre, which were wont to give

Light to the world, and made the nation live,

 When in a day of honour fire was smit

To have put out  Vulcan’s and have lasted yet. 45

Oh, when this edifice stood great and high,

That  in the carcass hath such majesty,

Whose very skeleton boasts so much worth,

What grace, what glories, did it then send forth?

When to the structure went more noble names 50

Than the  Ephesian temple lost in flames;

When every stone was laid by virtuous hands;

And standing so – oh, that it yet not stands! –

More  truth of architecture there was blazed

Than lived in all the ignorant  Goths have razed. 55

There  porticos were built, and seats for knights

That  watched for all adventures, days and nights,

 The   niches filled with statues to invite

Young valours forth, by their old forms to fight;

With  arcs triumphal for their actions done, 60

Out-striding the  Colossus of the sun,

And  trophies reared of spoilèd enemies,

Whose tops pierced through the clouds and hit the skies.

ARTHUR     (discovered as a star above) [carrying a shield.]

ARTHUR

And thither hath thy voice pierced. Stand not mazed; 65

 Thy eyes have here on greater glories gazed

And not been frighted. I thy  Arthur am

 Translated to a  star, and of that  frame

Or constellation that was called  of me

So long before,  as showing what I should be: 70

Arcturus, once thy king, and now thy star.

Such  the rewards of all good princes are.

Nor let it trouble thy  design, fair dame,

That I am  present to it with  my flame

And influence, since the times are now  devolved 75

That  Merlin’s mystic prophecies are  absolved

In Britain’s name, the  union of this isle;

 And claim both of my sceptre and my style.

 Fair fall his virtue, that doth fill that throne

In which I joy to find myself   so outshone; 80

 And for the greater, wish men should him take,

As it is nobler to restore than make.

Proceed in thy great work; bring forth  thy knight

Preservèd for his times, that by the might

And magic of his arm he may restore 85

These ruined seats of virtue, and build more.

Let him be famous, as was  Tristram, Tor,

Lanc’lot, and all our list of knighthood, or

Who were before, or have been since.  His name

Strike upon heaven, and there stick his fame! 90

 Beyond the paths and searches of the sun

Let him  tempt fate; and when a world is won,

Submit it duly to this state and throne,

Till time, and  utmost stay, make that his own.

 But first receive this shield, wherein is wrought 95

The truth that he must follow, and (being taught

The ways from heaven) ought not to be despised.

It is a piece was by the  Fates devised

To arm his  maiden valour, and to show

 Defensive arms th’offensive should forego. 100

Endow him with it, Lady of the Lake.

And for the other  mysteries here, awake

The learnèd Merlin;  when thou shut’st him there,

Thou buriedst valour too, for  letters rear

The deeds of honour high, and make them live. 105

If then thou seek to restore prowess, give

His spirit freedom; then present thy knight;

For arms and arts sustain each others’ right.

LADY

My error I acknowledge, though too late

To expiate it. There’s no resisting fate. 110

Arise, great soul! Fame by  surreption got

May  stead us for the time, but lasteth not.

  [Thunder.]

Oh, do not rise with storm and rage. Forgive

Repented wrongs.  I’m cause thou now shalt live

Eternally; for, being depressed a while, 115

Want makes us know the price of what we  avile.

MERLIN

  (Arising out of the tomb) I neither storm, nor rage; ’tis Earth; blame her

That feels these motions when great spirits stir.

She is affrighted, and now chid by heaven,

Whilst we walk calmly on, upright and even. 120

Call forth the fair  Meliadus, thy knight;

They are  his Fates that make the elements fight,

And these  but usual  throes, when time sends forth

A wonder or a spectacle of worth.

 At common births the world feels nothing new; 125

At these she shakes; mankind lives in a few.

LADY

The heavens, the Fates, and  thy peculiar stars,

Meliadus, show thee, and  conclude all jars.

  MELIADUS and his   six assistants here discovered.

MERLIN

 Ay, now the spheres are in their tunes again. 130

What place is this so bright that doth remain

Yet undemolished, or but late built? Oh,

I  read it now:  Saint George’s portico!

The supreme head of all the world, where now

Knighthood lives honoured with a crownèd brow. 135

A noble scene, and fit to show him in

That must of all world’s fame the garland win.

LADY

Does he not sit like  Mars, or one that had

The better of him, in his armour clad?

And those his six assistants,  as the pride 140

Of the old Grecian heroes had not died?

Or like  Apollo, raised to the world’s view,

The minute after he the Python slew?

MERLIN

 ’Tis all too little, Lady, you can speak.

 My thought grows great of him, and fain would  break. 145

Invite him forth, and  guide him to his tent,

That I may read this shield his fates present.

LADY

[To Meliadus] Glory of knights, and hope of all the earth,

Come forth! Your  fostress bids, who from your birth

Hath bred you to this hour, and for this throne. 150

This is the field to make your virtue known.

[To Merlin] If he were now ( he says) to vow his fires

Of faith, of love, of service, then  his squires

Had uttered nothing for him; but he hopes

In the  first tender of himself his  scopes 155

Were so well  read as it were no decor’m

Where truth is studied, there to practise  form.

MERLIN

No, let his actions speak him, and this shield

 Let down from heaven, that to his youth will yield

 Such copy of  incitement – not the deeds 160

Of antique knights, to catch their fellows’ steeds,

Or ladies’  palfreys rescue from the force

Of a  fell giant,  or some score to unhorse.

These were bold stories of our Arthur’s age,

But here are other acts; another stage 165

And scene appears; it is not since as then:

No giants, dwarfs, or monsters here, but men.

His arts must be to govern, and give laws

To peace no less than arms.  His fate here draws

An empire with it, and describes each state 170

Preceding there that he should imitate.

[To Meliadus] First, fair Meliadus, hath  she wrought an isle,

The  happiest of the earth –  which to your style

In time must add – and in it placèd high

Britain,  the only name made Caesar fly. 175

Within the  nearer parts, as apt and due

To your first  speculation, you may view

The eye of justice shooting through the land,

Like a bright planet strengthened by the hand

Of  first, and warlike Edward; then th’increase 180

Of trades and tillage under laws and peace,

Begun by him, but settled and  promoved

By the  third hero of his name, who loved

To set his own a-work, and not to see

The  fatness of his land a portion be 185

For strangers. This was he erected first

The trade of clothing, by which art were nursed

Whole millions to his service, and relieved

So many poor,  as since  they have believed

The  golden fleece, and need no  foreign mine, 190

If industry at home do not decline.

To prove which true, observe what treasure here

The wise and  seventh Henry  heaped each year,

To be the strength and sinews of a war,

 When Mars should thunder, or his peace but jar. 195

And here how the  eighth Henry, his brave son,

 Built forts, made general musters, trained youth on

In exercise of arms, and girt his coast

With strength; to which (whose fame no tongue can boast

Up to her worth, though all best tongues be glad 200

To name her still) did great  Eliza add

A wall of shipping, and became thereby

The aid or  fear of all the nations  nigh.

 These, worthiest prince, are set you near to read,

That civil arts the martial must precede; 205

That laws and trade bring honours in and gain,

And arms defensive a safe peace maintain.

But when your fate shall call you forth t’assure

Your virtue more, though not to make  secure,

 View here what  great examples she hath placed. 210

First, two brave Briton heroes, that were graced

To fight  their Saviour’s battles, and did bring

Destruction on the faithless; one a king,

 Richard, surnamèd with the lion’s heart.

The other, Edward, and the first, whose part, 215

Then being but prince, it was to lead these wars

In the age after, but  with better stars.

For here though Coeur de Lion like a storm

Pour on the Saracens, and doth perform

Deeds past an angel, armed with wrath and fire, 220

Ploughing whole armies up with zealous ire,

And wallèd cities, while he doth defend

 That cause that should all wars begin and end;

 Yet when with pride, and for  humane respect

The Austrian colours he doth here  deject 225

With too much scorn, behold at length how Fate

Makes him a wretched prisoner to that state,

And leaves him as a mark of Fortune’s spite,

When princes  tempt their stars beyond their light;

 Whilst upright Edward shines no less than he 230

Under the wings of golden victory,

Nor lets out no less rivers of the blood

Of infidels, but makes the field a flood,

And marches through it with  Saint George’s cross,

 Like Israel’s host, to the Egyptians’ loss, 235

Through the Red Sea, the earth beneath him cold

And quaking such an enemy to behold.

For which, his tempered zeal, see Providence

Flying in here, and arms him with defence

Against th’ assassinate made upon his life 240

 By a foul wretch, from whom he wrests the knife,

And gives him a just hire; which yet remains

A warning to great chiefs to keep their  trains

About ’em  still, and not to  privacy

Admit a hand that may use treachery. 245

 Nearer than these, not for the same high cause,

Yet for the  next – what was his right by laws

Of nations due –  doth fight that Mars of men,

The  Black Prince Edward, ’gainst the French, who then

At   Crécy field had no more years than you. 250

Here his glad father has him in the view

As he is ent’ring in the school of war,

And pours all blessings on him from afar

 That wishes can; whilst he, that close of day,

Like a young lion newly taught to prey, 255

 Invades the herds – so fled the French – and tears

From the Bohemian crown the plume he wears,

Which after for his crest he did preserve

To his father’s use, with this fit word,  I serve.

But here at  Poitiers he was Mars indeed. 260

Never did valour with more  stream succeed

Than he had there. He flowed out like a sea

Upon their troops, and left their arms no way;

Or like a fire carried with high winds

Now broad and spreading, by and by it finds 265

 A vent upright, to look which way to burn,

Then shoots along again, or round doth turn,

Till in the circling  spoil it hath embraced

All that stood nigh,  or in the reach to waste.

Such was his rage that day; but then forgot 270

Soon as his sword was sheathed; it lasted not

After the King, the  Dauphin, and French peers,

By yielding to him,  wisely quit their fears,

Whom he did use with such humanity,

 As they complained not of captivity, 275

But here to England without shame came in.

To be his captives was the  next to win.

Yet  rests the other  thunderbolt of war,

 Harry the fifth, to whom  in face you are

So like, as Fate would have you so in worth, 280

Illustrious prince.  This virtue ne’er came forth

But Fame flew greater for him than she did

For other mortals; Fate herself did bid

To save his life;  the time it reached unto,

War knew not how to  give’m enough to do. 285

His very name  made head against his foes.

And  here at  Agincourt where first  it rose,

It there hangs still a comet over France,

Striking their malice blind that dare advance

A thought against it, lightened by your flame 290

That shall succeed him both in deeds and name.

I could report more actions yet of weight

Out of  this orb, as here of  eighty-eight

Against the proud Armada, styled by Spain

The Invincible, that covered all  the main, 295

 As if whole islands had broke loose and swam,

Or half of Norway with her fir trees came

To join the  continents, it was so great;

Yet by the  auspice of Eliza  beat,

 That dear beloved of heaven, whom to preserve 300

The winds were called to fight, and storms to serve.

One  tumour drowned another, billows strove

To out-swell ambition, water air out-drove,

Though  she not wanted, on that glorious day,

An ever-honoured  Howard to display 305

Saint George’s ensign; and of that  high race

 A second, both which plied the fight and chase,

And sent first bullets,  then a fleet of fire

Then shot themselves like  ordnance, and a  tire

Of ships  for pieces, through the enemy’s  moon, 310

That waned before it grew; and now they soon

Are rent,  spoiled, scattered, tossed with all  disease,

And for their  thirst of Britain drink the seas.

The fish were never better fed than then,

Although at first they feared the blood of men 315

 Had changed their element; and  Neptune shook

As if  the Thunderer had his palace took.

So here in Wales, Low Countries, France, and Spain,

You may behold both on the land and main

The  conquests got, the spoils, the trophies reared 320

By British kings, and such as noblest  heard

Of all the nation,  which may make t’invite

Your valour upon need, but not t’incite

Your neighbour princes; give them all their due,

And be prepared if they will trouble you. 325

 He doth but scourge himself, his sword that draws

Without a purse, a counsel, and a cause.

But all these spurs to virtue, seeds of praise

Must yield to  this that comes. Here’s one will raise

Your glory more, and so above the rest, 330

As if the acts of all mankind were  pressed

In his example. Here are kingdoms mixed

And nations joined, a strength of empire fixed

 Conterminate with heaven.  The golden vein

Of Saturn’s age is here broke out again. 335

 Henry but joined the roses that  ensigned

Particular families, but  this hath joined

The rose and thistle, and in them combined

A union that shall never be  declined.

 Ireland, that more in title than in fact 340

Before was conquered, is his  laurel’s act.

The wall of shipping by Eliza made,

Decayed – as all things subject are to fade –

 He hath new built, or so restored, that men

For noble  use  prefer it afore then: 345

Royal and mighty James, whose name shall set

A goal for all posterity to sweat

In running at, by actions hard and high.

This is the height at which  your thoughts must fly.

 He knows both how to govern, how to  save, 350

What subjects, what  their contraries should have,

What can be done by power, and what by love,

What should to mercy, what to justice move.

All arts he  can, and  from the hand of Fate

Hath he enforced the making his own date. 355

Within his  proper virtue hath he placed

His guards ’gainst Fortune, and there fixèd fast

The  wheel of chance, about which kings are hurled,

And whose  outrageous raptures fill the world.

LADY

Ay, this is he, Meliadus, whom you 360

Must only serve, and give yourself unto;

And by your diligent practice to obey

So wise a master, learn the  art of sway.

 Merlin, advance the shield upon his tent.

[Merlin descends into the hall, taking the shield.] 365

And now prepare, fair knight, to  prove th’event

Of your bold challenge. Be your virtue steeled,

And  let your drum give note you keep the field.

[Drum sounds.]

Is this the land of Britain, so renowned 370

For deeds of arms, or are their hearings drowned

That none do answer?

[CHIVALRY is discovered in her  cave.]

MERLIN

Stay, methinks I see

A person in yond cave. Who should that be?

I know her  ensigns now: ’tis  Chivalry, 375

Possessed with sleep, dead as a  lethargy.

If any charm will wake her, ’tis the name

Of our Meliadus. I’ll use his fame.

[To Chivalry] Lady, Meliadus,  lord of the isles,

Princely Meliadus, and whom Fate now styles 380

The faire Meliadus, hath hung his shield

Upon his tent, and here  doth keep the field,

According to his bold and princely word,

And  wants employment for his pike and sword.

CHIVALRY

Were it from death, that name would wake me. Say 385

Which is the knight? Oh, I could gaze a day

Upon his armour that hath so revived

My spirits, and tells me that I  am long lived

In his appearance. Break, you rusty doors

That have so long been shut, and from the shores 390

Of all the world come knighthood like a flood

Upon  these lists, to make the field here good,

And your own honours, that are now called forth

 Against the wish of men to prove your worth.

 THE BARRIERS 395

After which Merlin speaks [to the combatants].

MERLIN

Nay, stay your valour; ’tis a wisdom high

In princes to use fortune reverently.

He that in deeds of arms obeys his  blood

Doth often tempt his destiny beyond good. 400

Look on this throne, and in his  temper view

The light of all that must have grace in you:

His equal justice, upright fortitude

And  settled prudence, with that peace endued

Of face, as mind, always himself and  even. 405

 So Hercules and good men bear up heaven.

I dare not speak his virtues for the fear

Of flattering him, they come so high and near

To wonders; yet thus much I prophesy

Of him and his. All ears yourselves apply. 410

You, and your  other you, great King and Queen,

Have yet the least of your bright fortune seen,

Which shall rise brighter every hour with time,

 And in your pleasure quite forget the crime

Of change; your age’s night shall be her noon. 415

 And this young knight, that now puts forth so soon

Into the world, shall in your names achieve

More garlands for this state, and shall relieve

Your cares in government; while that  young lord

Shall second him in arms, and shake a sword 420

And lance against the foes of God and you.

 Nor shall less joy your royal hopes pursue

In that most  princely maid, whose  form might call

The world to war, and make it hazard all

 His valour for her beauty; she shall be 425

Mother of nations,  and her princes see

Rivals almost to these; whilst you sit high

And, led by them, behold your Britain  fly

Beyond the line, when what the seas before

Did bound, shall to the sky then stretch his shore.  430

1 lady of the lake In Arthurian legends she was known as Vivien, Nineve, Nimue, and other variants. There are actually several different Ladies of the Lake, though their stories are frequently mingled. In one version she was the protectress of King Arthur, and gave him the sword Excalibur. She was also beloved of Merlin, who taught her his secrets; she then tricked him into a tomb where she imprisoned him. In other legends she was the foster-mother of Meliadus, who became her lover – a story whose conclusion Jonson diplomatically ignores. Where Jonson obtained his material is not clear. The story has its origin in the thirteenth-century Les prophécies de Merlin, but there are many other romance sources. The relationship of the Lady and Merlin, for example, appears in Malory; and Peacock (1987) suggests that the model for the heroic Meliadus may have been La triumphante . . . histoire des haultz et chevalereux faictz darmes du trepuissant . . . prince Meliadus (Paris, 1535). See also M. C. Williams (1977).
1 discovered Presumably a curtain dropped to reveal painted shutters depicting the decayed house of Chivalry. Downstage left in Jones’s design for the first scene is what appears to be the Lady’s ‘cave’. In the drawing of the second setting the feature is significantly revised (as the cave of Chivalry), and this suggests that it was painted on the shutters, rather than a separate structure, and the Lady was revealed standing before it. (It is, however, possible that the Jones drawings represent first ideas which may have been adapted in the final set.)
3 raised heightened.
3 silver feet The Homeric epithet for Thetis, a sea-divinity (see Beauty, 240 and n.).
3 feet] F2; fee F1
4 this seat (1) this place (2) the royal throne.
5 Vow The subject of the verb is, presumably, an implied ‘I’.
5 new duties To Prince Henry.
5 repeat tell again.
7 behold . . . lake Peacock (1987), 181, interprets Jones’s drawing as showing ‘the actual waters of the lake from which the Lady is supposed to appear’, with weeds fringing the foreground to indicate the shore.
8 Of . . . styled From which I take my name.
8 Merlin’s tomb On the opposite side of the stage from the Lady’s cave. See 117n. below.
9 cunning magic arts.
9 of . . . womb The Lady’s imprisonment of Merlin has enabled her to take over his role.
10 it . . . me I will not be required.
12 full feigned fully represented in literature. Jonson makes clear the Lady’s fictional nature, reflecting the increasingly widespread scepticism about the historicity of the Arthurian legends.
14 What . . . trusted The Lady is presumably referring to the information delivered in the challenge earlier presented at court (see Introduction).
14–17 ] Indented in F1
14 our squire he who delivered that challenge.
15 my knight i.e. Prince Henry.
16 prevent anticipate.
17 Britany Britain. The form is used for purposes of rhyme and metre.
19 ancient name Alluding to James’s controversial adoption by royal proclamation of the style ‘King of Great Britain’ in 1604. See Blackness, 196n., and Epigr. 14.4, where Jonson suggests that Camden’s adoption of Britannia as the title of his 1586 work had contributed to the re-establishment of the name.
20 equal equally; but perhaps recalling Latin aequus: ‘fair, equitable, just, impartial’ (OED, Equal adj. and n. 5).
21 claims . . . seat This phrase in the folio is printed as ‘claimes Arthurs Seate ’, the italicization pointing up the fact that it is an anagram of the King’s full name ‘Charles Iames Steuart’, as remarked by Camden (Remains, 1605, 171). The same anagram is deployed in Wales, 308.
23 o’er-thirsty over-eager.
23 unequal inadequate, unequal to the task of praise.
26 do I see The Lady looks towards, and compliments, the spectators.
28 counsel] F1 (counsaile)
28 counsel judgement, prudence. F1’s ‘counsaile’ could alternatively be modernized as ‘council’; the Lady praises the court’s wisdom as well as its elegance.
29 comport accord.
32 Only . . . Chivalry Alluding to the painted shutters showing ruined buildings, encrusted with vegetation. Many of the buildings in Jones’s drawings depicted well-known Roman monuments (see Peacock, 1987).
33–4 inner . . . sustain Jonson distinguishes between the inner moral values of chivalry which have been maintained by King James, and its outward manifestations which the gentry have allowed to decay.
34 gentry those of gentle rank.
35–6 her buildings . . . time It was believed that after the Roman invasion British architecture continued in the classical vein, until destroyed by the Saxons. Camden, Britain (1610), 63, writes that the Romans ‘furnished them [the British] with goodly houses and stately buildings, in such sort, that the relics and rubbish of these ruins do cause the beholders now exceedingly to admire the same’. Inigo Jones promulgated this idea in the posthumously published Stone-Heng Restored (1655).
37 Memphian heaps Egyptian pyramids. (Memphis, a city of Egypt, was often used as a synecdoche for the nation as a whole.)
37 out-climb;] Orgel; out-clime F1
38 broke broken.
39–40 That . . . constellation i.e. That pointed skyward, and raised up Britain to the worthy status of a member of the Roman empire and of a place in the celestial galaxy.
44–5 The lines probably refer not to a single, particular day, but more generally to a time when in days of honourable battle sparks were struck from armour which exceeded, and therefore ‘put out’, the sparks from Vulcan’s forge.
45 Vulcan’s Vulcan was the Roman name for Hephaestus, god of fire, metals, and metallurgy, and husband of Venus. He was often represented as a smith and armourer to the gods.
47 in the carcass even in its ruined state.
51 Ephesian temple Shrine of Artemis (Diana) at Ephesus, destroyed by an arsonist in 356 bc. Cf. Und. 43.194.
54 truth of architecture i.e. architecture according to ‘true’ classical principles.
55 Goths Used generally for the ‘barbarians’ of the dark ages.
56 porticos Covered walkways or a porch. Jonson is credited by OED with the first use of the term (Volp., 2.2.35).
57 watched looked expectantly.
58–9 The statues provided inspirational models (‘forms’) for youth to imitate.
58 niches] F1 (Nieces)
58 niches F1’s ‘Nieces’ is a variant spelling of the word (OED).
60 arcs arches.
61 Colossus . . . sun Bronze statue of Apollo, god of the sun, which stood astride the entrance to the harbour of Rhodes; one of the seven wonders of the ancient world.
62 trophies  . . . enemies Buildings erected in honour of victory, displaying the armour or other spoils from the defeated enemy (OED, Trophy n. 1).
64 discovered . . . above] F1 set in left margin beside 65–6
64 Arthur was probably concealed behind clouds above the shutters of the scene of the decayed House of Chivalry.
66 Implying the superiority of the ‘real’ glories of the court (cf. 80).
67 Arthur Peacock (1987), 173, notes that Arthur appeared as a star in a Tudor pageant of 1501 greeting Katharine of Aragon as she came to meet her future husband, Prince Arthur, and cites another precedent in the triumphal entry of Leicester to The Hague in 1586.
68 Translated Transformed.
68 star Arcturus, the brightest star in the constellation Boötes, also used as the name of the constellation itself. Jonson frequently uses the image of a star for the gifted and virtuous. Cf. Discoveries, 789–90, and his description of Shakespeare as ‘thou star of poets’ (‘To the Memory . . . Shakespeare’, 5.638-42, line 77).
68 frame structure.
69 of] F1 state 1; for F1 state 2
70 as . . . be The name of the star predates Arthur, but is taken to anticipate his greatness. (In the middle ages the star’s name became ‘Arthurus’.)
72 the rewards i.e. to be turned to stars. This conceit forms the centre of Carew’s masque for Charles I, Coelum Britannicum (1634).
73 design plan, purpose.
74 present to it here to take part in it.
74 my] F1 state 1; thy F1 state 2
75 devolved rolled on to the point.
76 Merlin’s mystic prophecies The ‘prophecies of Merlin’, found at the end of Geoffrey of Monmouth’s Historia regum Britanniae, were a collection of enigmatic sentences, often employing elaborate animal symbolism, described by Thomas (1971), 462, as ‘both obscure and flexible’ in the opportunity they offered for varied interpretation. They had a long afterlife, being invoked in a variety of political contexts throughout the middle ages and continuing to be prominent in validating the Tudor claim to the throne (it is no coincidence that Henry Ⅶ named his eldest son Arthur). They were invoked again to bolster James’s position. Jonson’s friend Robert Cotton was one of the most important collectors of manuscripts of medieval prophecies (Coote, 2000, 9).
76 absolved resolved, explained (OED, 7).
77 union . . . isle James united the kingdoms of England and Scotland in his person (though his attempts to forge a full political union foundered in the Parliament of 1607, and union was not achieved until 1707). A central subject of Hym.
78 James inherits Arthur’s rule, and his title (‘style’), King of Great Britain. James had in fact adopted this style by proclamation in 1604, much against the wishes of his English subjects.
79 Fair . . . virtue May good befall [James’s] virtue.
80 so outshone] Morley; so’outshone F1
80 so outshone F1’s ‘so’out-shone’ indicates a necessary elision.
81 Arthur desires that people will think Henry greater than he.
83 thy knight Prince Henry.
87–8 Tristram . . . Lanc’lot Knights of the Round Table.
89–90 His . . . fame May his name reach to heaven and his fame endure there forever!
91 i.e. In the region of the stars, lying beyond the sphere of the sun in the Ptolemaic universe.
92 tempt fate The term usually suggests presumptuous, ill-advised action, but here implies ‘risk the perils of capricious fortune’ (OED, Tempt, v. 2.c., first citation 1667).
94 utmost stay last stopping-place, i.e. the death of James.
95–6 But first . . . follow Arthur presumably here lowers the shield from above to the Lady. How exactly this was done is an open question, and depends, of course, on how high ‘above’ Arthur was; most probably let down on a thread or rope. The classical precedents for the decoration of the shield are Homer’s shield of Achilles (Iliad, 18, 478–608), and, especially, Virgil’s shield of Aeneas (Aeneid, 7, 626–731), both of which were represented as covered in stories.
98 Fates The Moirae or Parcae (see below, 122).
99 maiden valour martial prowess as yet untried.
100 That learning the art of defence (symbolized by the shield) should precede the use of offensive weapons. The sentiment is in line with the overall attempt of the entertainment to advocate restraint rather than the indulgence of bellicose ambition.
102 mysteries symbols (of the setting and occasion), or occult skills to be learned from teaching.
103 when . . . there i.e. when you, the Lady of the Lake, imprisoned Merlin in that tomb. (Arthur presumably gestures towards the tomb at the front of the set.)
104 letters writings.
111 surreption fraudulent misrepresentation.
112 stead sustain.
113 Thunder A noise of drums probably suggested an earthquake as Merlin rose from the tomb (perhaps continuing to 126).
114 I’m] F1 (I’am)
116 avile hold cheap or in small esteem (OED, 3).
117 MERLIN . . . tomb Orgel and Strong (1.87) tentatively suggest that an unattributed costume design representing a bearded, Homeric figure might be the sketch for Merlin (Illustration 44). If it were, it would indicate that Jonson and Jones wanted to purge the character of the moral ambivalences he carried in Arthurian legend, and recast him as a prophet and poet (M. C. Williams, 1977, 227). The tomb stood downstage right at the front of the scene, and was a sarcophagus very like that which Jones had recently designed for the tomb of Lady Cotton in Norton-in-Hales, Shropshire. The SD’s clear implication is that it was a physical structure from which Merlin emerged. In the drawing of the second scene, however, the feature is revised in form. This presumably reflects second thoughts on Jones’s part, for it is difficult to see how such a transformation of a physical object could be achieved.
117 (Arising . . . tomb)] F1 (set, without brackets, to the right of 117–18)
121 Meliadus Prince Henry’s chosen name for himself. Drummond later suggested (Teares on the Death of Meliades, 1613) that Henry adopted the name because, in the spelling Moeliades, it was an anagram of Miles a Deo, ‘Knight from God’. Cornwallis called it ‘an ancient title due to the first borne of Scotland’ (Life and Death of Prince Henry, 1641, 13) Here the figure is accommodated to the Arthurian hero.
122 his Fates In classical mythology the Moirae personified the fate of the individual, and were originally specific to each person, but later were generalized into the three fates or Parcae, who spun the thread of life. Jonson here implies the earlier sense.
123 but are but.
123 throes birth-pangs.
125–6 Cf. JC, 2.2.30–1, ‘When beggars die there are no comets seen; / The heavens themselves blaze forth the death of princes.’
127 thy peculiar stars the stars particular to you, Prince Henry – here Arcturus.
128 conclude . . . jars resolve all contentious discord.
129 The shutters parted to reveal the restored house of chivalry, in which many of the buildings which had been shown in ruins on the outer shutters were represented as rebuilt, but with a large additional structure in the centre, in which stood Henry and his associates. (See Illustration 42.)
129 six assistants They were: Duke of Lennox, Earls of Arundel and Southampton, Lord Hay, Sir Thomas Somerset, and Sir Richard Preston.
130 Alluding to the belief that the spheres of heaven emitted an unheard music, imagined as restoring order after the preceding ‘earthquake’. This line suggests that actual harmonious music may have played during the discovery of Henry and the lords.
133 read understand (unless there were some actual inscription on the set not indicated in the drawing).
133 Saint . . . portico The structure is described by Peacock (1987), 185, as ‘portico, triumphal arch and temple all in one’ (Illustration 43). It mixes medieval gothic and classical motifs. Peacock argues that it is based on a Roman original, Janus Quadrifons (see King’s Ent., 314–19), and that the mixture of styles is deliberate, explaining why Merlin is unsure whether it is new or old. St George is the patron saint of England, and was the hero of the first book of Spenser’s Faerie Queene, where he is a model of the heroic religious knight and a pattern of chivalry.
138 Mars Roman god of war.
140 as as if.
142–3 Apollo . . . slew Apollo, the sun-god, slew the Python. This serpent guarded a spring at Delphi and pronounced oracles, and Apollo set up his own sanctuary and oracle there.
144 Everything you, Lady, can say in praise of him, still falls short of his worth.
145 My thought . . . him My mind is pregnant with thoughts of Henry.
145 break reveal (what is in my mind) (OED, Break v. 22a).
146 guide . . . tent The Lady takes Prince Henry to the tent at the side of the hall from whence he and his knights will issue to participate in the barriers.
149 fostress myself, as your foster mother.
152 he says The Lady speaks on behalf of Henry, since decorum did not permit the noble masquers themselves to speak.
153–4 his . . . for him his representatives (who issued the original challenge) would not have already spoken.
155 first tender first offer of himself in the statement issued by his spokesmen (see headnote).
155 scopes aims.
156 read as understood as if.
157 form mere outward ceremony (OED, Form n. 15a).
159 Let down i.e. which has been let down.
160 Such . . . incitement such abundance of encouragement. Orgel takes ‘copy’ to mean ‘pattern, example’, which is possible, but seems tautological; the primary sense is that of OED, Copy n.1, deriving directly from the Latin copia. In its second state F1 reads ‘inticement’, almost certainly a compositorial error rather than a correction.
160 incitement] F1 state 1; inticement F1 state 2
162 palfreys small saddle-horses (rather than war-horses).
163 fell savage, terrible.
163 or . . . unhorse or unhorse some twenty opponents in tournament or battle.
169–71 His . . . imitate Henry’s ‘fate’ has inscribed the shield with the records of the ‘empire’ of Britain, and singled out those episodes most appropriate to Henry’s instruction.
172 she i.e. Henry’s fate.
173 happiest of the earth See Fort. Isles, 334.
173–4 which . . . add i.e. in time, after the death of his father, the title of King of Great Britain will be added to Henry.
175 the only . . . fly the only country that Julius Caesar attempted to subdue without success, so that he departed with his mission unfulfilled. This view of Julius Caesar’s British exploits has its origins in the classics, in Lucian and in Tacitus. The latter’s statement that ‘it may be supposed that [Caesar] rather discovered the island for his descendants than bequeathed it to them’ (Agricola, 13) was quoted by Camden (Britain, 1610), 38. It was elaborated in the middle ages by Geoffrey of Monmouth and his successors (see Nearing, 1949) and picked up also by Shakespeare in Cym., 3.1.23–30.
176 nearer parts The meaning is not clear – it might refer to the elements of the story depicted on the shield which are most pertinent to Henry, or else to the parts of the island nearest where the event takes place, i.e. England, rather than Scotland.
177 speculation view, sight.
180 first . . . Edward Edward I, born 1239, reigned 1272–1307. Jonson tactfully and deliberately does not refer to his familiar soubriquet, ‘Hammer of the Scots’, and substitutes works of peace for celebration rather than elaborating on his ‘warlike’ qualities.
182 promoved promoted, advanced.
183 third . . . name Edward Ⅲ, born 1312, reigned 1327–77. The wool trade he encouraged was the major industry of the nation for several centuries.
185 fatness fertility (OED, 1.c).
189 as since so that ever since that time.
189 they the inhabitants of Britain in general, rather than the ‘poor’.
190 golden fleece In mythology Jason and the Argonauts brought back the golden fleece from Colchis.
190 foreign mine A ‘mine’ may simply be a ‘an abundant source of supply’ (OED, Mine n. 1. c), but the phrase ‘foreign mine’ might suggest more precisely the mines of gold in the Americas. James was notably less keen on the American adventure than his son.
193 seventh Henry Henry Ⅶ, born 1457, reigned 1485–1509.
193 heaped each year Henry was notoriously thrifty. Bacon wrote: ‘of nature avowedly he coveted to accumulate treasure, and was a little poor in admiring riches’ (History of the Reign of King Henry the Seventh, ed. Levy, 1972, 241). Perhaps Jonson is making a tactful, but pointed, contrast with James’s lavishness.
195 i.e. When outright war should threaten, or his peace be but a little unsettled.
196 eighth Henry Henry Ⅷ, born 1491, reigned 1509–47.
197 Built forts Under the threat of invasion in 1539 Henry built a run of fortresses across the southern coast.
201 Eliza Elizabeth I, born 1533, reigned 1558–1603. Sir John Hawkins was responsible for building up the English fleet. Naval power was crucial in aiding the Dutch, and combating the Spanish.
203 fear object of fear.
203 nigh] F1 state 1; high F1 state 2
204–7 These lines are the core of Jonson’s advice to Henry, and represent James’s pacific policies, rather than his son’s ambitions. Henry was to receive similar cautionary advice from Samuel Daniel, both in the masque for his investiture, Tethys’ Festival, and in a verse epistle (Pitcher, 1981), and from Robert Cotton An Answer made by Command of Prince Henry (1655).
209 secure over-confident (OED, Secure a. 1).
210 View here i.e. in the images on the shield, to which, presumably, Merlin points.
210 great examples Jonson told Drummond of his intention to ‘perfect an epic poem, entitled Heroologia, of the worthies of his country roused by fame’ (Informations, 1–2).
212 their Saviour’s battles the Crusades.
214 Richard Richard I, born 1157, reigned 1189–99.
217 with . . . stars with better fortune (because of a better horoscope).
223 i.e. The cause of Christ, the best validation and goal of martial activity.
224–7 After the siege of Acre in 1191 Richard insulted the Austrian flag, and was later imprisoned for a year by Leopold of Austria as he returned from the Third Crusade.
224 humane F1’s ‘humane’ might be modernized either as ‘human’ or ‘humane’; the latter preserves the metre. The phrase, H&S note, is ‘one of Jonson’s clumsy inversions’ and ‘goes grammatically with With too much scorn ’.
225 deject throw down.
229 tempt . . . light attempt to exceed the fate set down in their stars.
230–1 As Prince of Wales, Edward I led a crusade in 1270.
234 Saint George’s cross The English flag.
235–6 Like . . . Sea Moses parted the Red Sea to allow the Israelites through; as the waters closed behind them the pursuing Egyptians were inundated (Exodus, 14.21–30).
240 assassinate attempted assassination.
241–2 from . . . hire Jonson alludes to the outcome of the Gowrie plot of 5 August 1600. Allegedly James was attacked by the younger brother of the Earl of Gowrie at Gowrie House, but by his eloquence persuaded him not to carry through his assassination attempt. There was at the time, and remains to this day, much that is uncertain about this alleged plot, but in James’s personal mythology it was rolled together with the Gunpowder Plot of 5 November 1605, as a sign of God’s protection of him.
243 trains attendants.
244 still always.
244 privacy close to their person.
246 Nearer Closer to the present.
247 next nearest in worth and importance.
248 doth . . . men that Mars of men fights.
249 Black Prince Edward 1330–76, the son of Edward Ⅲ, who died before his father.
250 Crécy] F1 (Cressey)
250 Crécy field In the battle of Crécy (26 Aug. 1346) Edward Ⅲ defeated the French army of Philippe Ⅵ. His sixteen-year-old son took a prominent part in the battle.
254 that close of day towards the end of that day of battle.
256–9 The Black Prince killed Louis of Bohemia, and tradition has it that he appropriated from him both the three feathers and the motto Ich dien (‘I serve’) which remain the insignia of the Prince of Wales.
259 I serve] F1 (I SERVE)
260 Poitiers The Battle of Poitiers (19 Sep. 1356) was won by Edward, the Black Prince, who took the French King, Jean Ⅱ, prisoner.
261 stream a series of events tending in one direction (OED, Stream, n. 6a.).
266 A vent upright A means of escaping upwards.
268 spoil devastation.
269 or . . . waste or was in the scope of its devastation.
272 Dauphin eldest son of the French King.
273 wisely . . . fears i.e. wisely surrendered, to ease their fears of death.
275 As So that.
277 next to win nearest thing to winning.
278 rests remains to be spoken of.
278 thunderbolt of war A Latin idiom, fulmen belli.
279 Harry . . . fifth Henry V, born 1386/1387, reigned 1413–22. Jonson, with help from Cotton, appears to have attempted a history of Henry’s life, which perished in the 1623 fire. Cf. Und. 43.97.
279–80 in face . . . like Roy Strong (1986, 118) notes that Prince Henry’s face ‘at the close of 1611 evolved from boyishness into a lean angularity’, and that in the images produced of him at this time he is depicted in profile, which ‘brought with it an allusion to his ancestor, the warrior Henry V’ of whom ‘all the portraits, familiar through repetitions for inclusion in the long gallery sets of kings and queens, show him in profile’. He concludes that the allusion in the masque ‘at the time would have been an obvious one’.
281–3 This . . . mortals i.e. Whenever Henry V’s martial skill was demonstrated in battle Fame celebrated him more than she did any other.
284 the time . . . unto in the time allotted by Fate for Henry’s exploits.
285 give’m] F1 (giue’him)
286 made head (1) raised a mighty army (2) advanced successfully.
287 here i.e. in this image on the shield.
287 Agincourt 25 Oct. 1415. This was the most famous victory over the French, celebrated in Shakespeare’s Henry V.
287 it Henry’s reputation, name.
293 this orb (1) the shield (of a circular shape); (2) the emblem upon it of a globe or sphere.
293 eighty-eight 1588.
295 the main the ocean.
296 Recalling Virgil, Aeneid, 8. 691–2: ‘It was as if the Isles of the Cyclades had been uprooted and were afloat on the sea.’
298 continents lands of England and Europe.
299 auspice propitious influence (OED, 3).
299 beat beaten.
300–1 The turning of the wind played an important part in the English victory over the Armada. Jonson, H&S suggest, was drawing upon Claudian, Detertio consolatu Honorii (‘On the Third Consulate of Honorius’), 96–8.
302 tumour swelling. Applied metaphorically to both wind and sea.
304 she Elizabeth.
305 Howard Charles Howard, Earl of Nottingham, lord high admiral and the commander of the English fleet.
306 high race noble family.
307 A second Thomas Howard, Nottingham’s cousin. One of the council of war in 1588, and knighted for his service. Elevated to the Earldom of Suffolk by James in 1603, and appointed lord chamberlain, his career was one of continual success until his appointment as lord treasurer in 1614. Both he and his cousin would have been in the audience. See Epigr. 67 and n.
308–9 then . . . ordnance i.e. then a number of ships, having been set on fire, were launched like cannon-fire towards the Spanish fleet, and driven down on them by the wind.
309 ordnance] F1 state 2 (ord’nance); ordinance F1 state 1
309 tire volley.
310 for pieces as cannon.
310 moon The Armada was drawn up in a crescent formation.
312 spoiled despoiled, stripped.
312 disease discomfort, disaster.
313 thirst of desire to conquer.
316 Had . . . element Had transformed the ocean from water to blood.
316 Neptune God of the sea.
317 the Thunderer Jupiter, king of the gods.
320 conquests] F1 state 1; conquest F1 state 2
321 heard were reported (OED, Hear v. 12a).
322–4 which may . . . princes which should encourage you to exercise your martial prowess when it is necessary, but not to provoke the rulers of nearby nations.
326–7 The advice echoes James’s Basilikon Doron, ‘Before ye take on war, play the wise King’s part described by Christ; foreseeing how ye may bear it out with all necessary provision: especially remember, that money is Neruus belli [sinew of war]’ (Political Writings, ed. Somerville, 1994, 33). The biblical allusion is to Luke, 14.31.
329 this that comes King James. He is the model which supersedes all the rest.
331 pressed compressed.
334 Conterminate Coextensive.
334–5 The golden . . . again Alluding to the myth of the return of the Golden Age of Saturn, frequently invoked in praise of James, as previously of Elizabeth. It forms the basis of the narrative of Gold. Age.
336 Henry . . . roses Henry Ⅶ united the white rose of the house of York and the red of Lancaster by his marriage to Elizabeth of York. The struggles between the two families, known as the Wars of the Roses, had dominated the middle years of the fifteenth century, and were dramatized in Shakespeare’s three parts of Henry Ⅵ and Richard Ⅲ.
336 ensigned were the badges of.
337–8 this . . . thistle James has joined England (the rose) and Scotland (the thistle).
339 declined weakened.
340–1 Ireland . . . conquered English rule over Ireland had always been problematic, but James had taken decisive steps to ensure control. Sir John Davies (A Discovery, 1612), 259, wrote that ‘there hath been more done in the work and reformation of this Kingdom, than in 440 years which are past since the Conquest was first attempted’. See Irish, Introduction.
341 laurel’s act deed of victory, deserving the laurel wreath.
344 He hath . . . restored The administration of the navy had in fact fallen into corruption and incompetence, and despite a commission of 1608, little was done to repair the damage. It was Henry himself, rather than his father, who was keen to see ships rebuilt, and was a patron of Phineas Pett, the shipbuilder. Walter Raleigh, in Excellent observations and notes, concerning the Royal Navy, not published until 1650, provided him with practical advice.
345 use utility, fitness for purpose.
345 prefer . . . then think it even better than it was.
349 your Addressed to Prince Henry.
350–3 This praise of James is conventional, but perhaps Jonson was consciously echoing James’s Basilikon Doron : ‘then may ye thereafter all the days of your life mix Justice with Mercy, punishing or sparing, as ye shall find the crime to have been wilfully or rashly committed’ (Political Writings, ed. Sommerville, 1994, 22).
350 save spare, pardon.
351 their contraries i.e. rebels.
354 can knows.
354–5 from . . . date He has seized from Fate the power to control the date of his own death.
356 proper own.
358 wheel of chance Fortune was conventionally depicted turning a wheel, on which monarchs rose to eminence before being tipped off. James is imagined as having stopped the wheel from turning.
359 outrageous raptures violent abductions.
363 art of sway principles and skills of government.
364 The Lady asks Merlin to take the shield down into the body of the hall, and place it on the tent provided for Henry and his fellow challengers. Pavilions or tents in which combatants rested between bouts were rare in Elizabethan tournaments, but the later pavilion for Prince Charles in the Whitehall tiltyard was similarly ‘garnished about with the Prince’s Arms and Badges’ (Young, 1987, 95). Merlin presumably returns to the front of the hall to deliver his next speech.
366 prove th’event test the consequence.
368 let . . . note The cue for sound effects, which produced no response.
373 cave Downstage left a cave is shown in Jones’s scene design. It is transformed from the Lady’s painted cave at the opening, and might (though it need not) have been an actual physical structure.
375 ensigns insignia.
375 Chivalry The female figure of Chivalry, Peacock (1987) suggests, is based on the antique relief of Weeping Dacia (a female figure symbolizing the province which was conquered by the Emperor Trajan).
376 lethargy ‘A disorder characterized by morbid drowsiness or prolonged and unnatural sleep’ (OED, 1).
379 lord . . . isles Originally a Scottish noble title, appropriated to the eldest son of the Scottish monarch.
382 doth . . . field is ready to begin the tournament.
384 wants (1) lacks; (2) desires.
388–9 am . . . appearance am given long life again by his manifesting himself.
392 these lists the space in which the tournament is to be held.
394 Against In anticipation of (OED, 19).
395 THE BARRIERS A tournament in which combatants fought with pike and sword across a rail running the length of the hall. See Hym., Introduction.
399 blood passion, anger.
401 temper moderation, temperate character. James advised his son: ‘not only in all your affections and passions, but even in your most virtuous actions, make ever moderation to be the chief ruler’ (Political Writings, ed. Sommerville, 1994, 43). Here, as throughout, Jonson is fashioning both his praise of James and his advice to Henry in terms the King would have found acceptable, and which conformed to a classical Augustan ideal.
404 settled fixed, undeviating.
405 even equable, unruffled (OED, Even a. 8).
406 In the course of the last of his ‘labours’, to fetch the golden apples of the Hesperides, Hercules was told by Prometheus that only Atlas, who held the world on his shoulders, could obtain them. Hercules therefore took Atlas’s place, but tricked him into resuming it when he returned with the apples (see Pleasure Rec., 1n.) The second part of the line metaphorically suggests that the virtuous uphold heaven.
411 other you Queen Anne.
414–15 And in beholding your son’s development you will forget the ravages of aging, since your advanced years will be the time of your greatest pleasure and good fortune.
416 And this] F1 state 1; And if this F1 state 2
419 young lord Prince Charles, nine years old at the time.
422 i.e. Your hopes will be followed by equal pleasure.
423 princely maid Princess Elizabeth, thirteen at the time of the masque. She was married three years later to Frederick, Elector Palatine.
423 form physical beauty.
425 His Its (the world’s).
426–7 and . . . these and will see her princely sons almost equal Henry and Charles in worth.
428–9 fly . . . line Orgel suggests the metaphorical ‘outdo itself’, but ‘line’ was the term used for the equator, or other circles of the earth, and the phrase implies imperial expansion, as it clearly does in John Beaumont’s ‘To the glorious memory of our late Sovereign Lord, King James’, 97–8: ‘His pow’rful edicts stretched beyond the line, / Among the Indians’. Henry, much more than his father, was an enthusiastic sponsor of American exploration.
Performers Nothing is known about the identity of the speakers of Jonson’s text. The challengers at the barriers were Prince Henry, the Duke of Lennox, the Earl of Arundel and Southampton, Lord Hay, Sir Thomas Somerset, and Sir Richard Preston. The 56 defendants included the Earl of Montgomery, Sir Thomas Darcy, and Sir Robert Gordon. See Masque Archive, Barriers, 1.