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So, hence! Be thou the trumpet of our wrath,
And fullen presage of your own decay.-
An honourable conduct let him have ;-
Pembroke, look to’t: Farewell, Chatillon.

[Exeunt Chatillon and PEMBROKE.
Eli. What now, my son ? have I not ever said,
How that ambitious Constance would not cease,
Till she had kindled France, and all the world,
Upon the right and party of her son ?
This might have been prevented, and made whole,
With very easy arguments of love;
Which now the manage? of two kingdoms must
With fearful bloody issue arbitrate.

K. John. Our strong possession, and our right,

for us.

Eli. Your strong possession, much more than

your right; Or else it must go wrong with you, and me: So much my conscience whispers in your car ; Which none but heaven, and you, and I, shall hear.

6

sullen presage--) By the epithet fullen, which cannot be applied to a trumpet, it is plain that our author's imagination had now suggested a new idea. It is as if he had said, be a trumpet to alarm with our invasion, be a bird of ill omen to croak out the prognoftick of your own ruin. JOHNSON,

I do not see why the epithet jullen may not be applied to a trumpet, with as much propricty as to a bell. In our author's Henry IV. P. II. we find

“ Sounds ever after as a fullen bell—," MALONE. That here are two ideas, is evident; but the second of them has not been luckily explained. The fullen presage of your own decay, means, the difinal paling bell, that announces your own approaching disolution. STEEVENS. 1- -the

manage—] i. c. conduct, administration. So, in K. Richard II :

for the rebels
Expedient manage must be made, my liege."

STEEVENS.

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Enter the Sheriff of Northamptonshire, who whif

pers Essex.:

Essex. My liege, here is the strangest contro

versy,
Come from the country to be judg’d by you,
That e'er I heard: Shall I produce the men?

K. John. Let them approach.- [Exit Sheriff.
Our abbies, and our priories, shall pay

Re-enter Sheriff, with Robert FAULCONBRIDGE,

and PHILIP, bis bastard brother.'

This expedition's charge.—What men are you?

& Enter the sheriff of Northamptonshire, &c.] This stage direction I have taken from the old quarto. STEEVENS.

9 — and Philip, his baftard brother.] Though Shakspeare adopted this character of Philip Faulconbridge from the old play, it is not improper to mention that it is compounded of two distinct personages.

Matthew Paris says:-“ Sub illius temporis curriculo, Falcafius de Brente, Neufterienfis, et fpurius ex parte matris, atque Bastardus, qui in vili jumento manticato ad Regis paulo ante clientelam descenderat, &c.

Matthew Paris, in his History of the Monks of St. Albans, calls him Falco, but in his General History, Falcapus de Brente, as above. Holinihed says,

That Richard I. had a natural son named Philip, who in the year following killed the Viscount De Limoges to revenge the death of his father.” Steevens.

Perhaps the following passage in the Continuation of Harding's Chronicle, 1543,

fol. 24, b. ad ann. 1472, induced the author of the old play to affix the name of Faulconbridge to King Richard's natural son, who is only mentioned in our histories by the name of Philip: "-one Faulconbridge, therle of Kent, his baftarde, a stoute-harted man."

Who the mother of Philip was, is not ascertained. It is said that she was a lady of Poictou, and that King Richard belowed upon her son a lordship in that province.

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BASt. Your faithful subject I, a gentleman,
Born in Northamptonshire ; and eldest son,
As I suppose, to Robert Faulconbridge;
A soldier, by the honour-giving hand
Of Coeur-de-lion knighted in the field.

K. John. What art thou?
Rob. The fon and heir to that same Faulcon-

bridge. K. John. Is that the elder, and art thou the heir? You came not of one mother then, it seems.

Bast. Most certain of one mother, mighty king, That is well known; and, as I think, one father : But, for the certain knowledge of that truth, I put you o'er to heaven, and to my mother; of that I doubt, as all men's children may.” Eli. Out on thee, rude man! thou dost shame

thy mother, And wound her honour with this diffidence.

Bast. I, madam ? no, I have no reason for it; That is my brother's plea, and none of mine; The which if he can prove, 'a pops me out

In expanding the character of the Bastard, Shakspeare seems to have proceeded on the following Night hint in the original play:

“ Next them, a bastard of the king's deceas'd,

A kardie wild-head, rough, and venturous." Malone. a But, for the certain knowledge of that truth, I put you o'er to heaven, and to

my

mother; Of that I doubt, as all men's children may.] The resemblance between this sentiment, and that of Telemachus in the first Book of the Odysey, is apparent. The passage is thus translated by Chapman:

My mother, certaine, fayes I am his sonne;
I know not; nor was ever simply knowne,

By any child, the sure truth of his fire.”
Mr. Pope has observed that the like sentiment is found in Euripides,
Menander, and Aristotle. Shakspeare expresses the fame doubt in
fcreral of his other plays. STEZVENS.

At least from fair five hundred pound a year:
Heaven guard my mother's honour, and my

land! K. John. A good blunt fellow :-Why, being

younger born,
Doth he lay claim to thine inheritance?

Bast. I know not why, except to get the land.
But once he slander'd me with bastardy:
But whe'r? I be as true begot, or no,
That still I lay upon my mother's head;
But, that I am as well begot, my liege,
(Fair fall the bones that took the pains for me!)
Compare our faces, and be judge yourself.
If old fir Robert did beget us both,
And were our father, and this son like him;
O old fir Robert, father, on my knee
I give heaven thanks, I was not like to thee.
K. John. Why, what a madcap hath heaven lent

us here!
Eli. He hath a trick of Caur-de-lion's face,

3 But whe'r-] Whe'r for whether. So, in The Comedy of Errors : « Good fir, fay whe'r you'll answer me, or no.

Steevens. - He hath a trick of Cæur-de-lion's face,] The trick, or tricking, is the same as the tracing of a drawing, meaning that peculiarity of face which may be sufficiently shown by the flightelt outline. This expression is used by Heywood and Rowley in their comedy called Fortune by Land and Sea : Her face, ihe trick of her eye, her leer.” The following passage in Ben Jonson's Every Man out of bis Humour, proves the phrase to be borrowed from delineation :

You can blazon the rest, Signior? “ O ay, I have it in writing here o'purpose; it cost me two shillings the tricking: So again, in Cynthia's Revels:

-the parish-buckets with his name at length trick'd upon them." STEEVENS,

By a trick, in this place, is meant some peculiarity of look or motion. So, Helen, in All's well rhat ends well, says, speaking of Bertram :

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The accent of his tongue affecteth him:
Do you not read some tokens of my son
In the large composition of this man?
K. John. Mine eye hath well examined his

parts, And finds them perfect Richard.—Sirrah, speak, What doth move you to claim your brother's land?

Bast. Because he hath a half-face, like my father With that half-face would he have all my land: A half-faced groat five hundred pound a year!

'Twas pretty, though a plague,
“ To see him every hour; to fit and draw
“ His arched brows, &c.
“ In our heart's table; heart too capable

Of every line and trick of his sweet favour."
And Glofter, in K. Lear says,

“ The trick of that voice I do well remember.” M. Mason, Our author often uses this phrase, and generally in the sense of a peculiar air or cast of countenance or feature. So, in K. Henry VI. Part I: “ That thou art my son, I have partly thy mother's word, partly my own opinion; but chiefly a villainous trick of thine eye,

" MALONE. 4 With that half-face-] The old copy-with half that face. But why with half that face? There is no question but the poet wrote, as I hare restored the text: With that half-face Mr. Pope, perhaps, will be angry with me for discovering an anachronism of our poet's in the next line, where he alludes to a coin not struck till the year 1504, in the reign of King Henry VII. viz. a groat, which, as well as the half groat, bore but half faces impressed. Vide Stowe's Survey of London, p. 47. Holinsbed, Camden's Remains, &c. The poet sneers at the meagre sharp visage of the elder brother, by comparing him to a filver groat, that bore the King's face in profile, so showed but half the face: the groats of all our Kings of England, and indeed all their other coins of silver, one or two only excepted, had a full face crowned; till Henry VII. at the time above mentioned, coined groats and half-groats, as also some shillings, with half faces, i. e. faces in profile, as all our coin has now. The first groats of King Henry VIII. were like those of his father; though afterwards he returned to the broad faces again. These groats, with the impression in profile, are undoubtedly here alluded to: though, as I said, the poet is knowingly guilty of an anachronism in it: for in the time of King John there were so groats at all;

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