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 .
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,
., 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., .) 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.