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Act IV Scene 2
John’s second coronation (historically his 4th) – Angevin kings recoronations allowed nobles to reaffirm their pledge of loyalty, especially
after crisis. Here John anticipates a crisis over Arthur’s death. His “I
hope” suggests his insecurity even as he asserts that he is “once again
crowned”;
The nobles’ replies tinged with only lightly-veiled criticism of John –
their deference sarcastic:
Pembroke believes the ceremony “superfluous” since there has been no
general unrest in the country – “The faiths of men ne’er stained with
revolt” (6);
Salis – a second coronation therefore “wasteful and ridiculous excess” –
– Salis’s speech ironically points to “excess” with his own reiteration of
comparisons (six repetitions) – “the eye of heaven” particularly pointed
since it is God’s omniscience that John fears;
Pemb – his “royal pleasure must be done” – but the ceremony vexatious
(“troublesome”) and the time “unseasonable” (i.e. unwelcome;
inappropriate - 20);
Salis – this second ceremony has distorted//disturbed the custom of a
single coronation (not unusual for Angevin dynasty but not in England)
– startles people into contemplation and questioning John’s right to the
throne – therefore counter-productive – the new “fashioned robe” (27)
sits uncomfortably on the “old form” (22);
Pemb – when a workman strives “to do better than well” (28) his overeagerness often mars the work already accomplished – in trying to hide a
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“fault” with a “patch” (continuing the ‘robe’ image) we may succeed only
in exposing the fault to additional scrutiny [N.B. “fault” used four times];
Salis points out that before this second coronation the barons had given
him their advice (“counsel”) but he had over-ruled it and therefore they
are content since their wishes go no further than the king’s royal will
allows – though “make a stand” clearly implies an element of resistance.
John tried to be assertive – he had previously explained his reasons for
the second coronation – he will give them even stronger reasons for his
decision when his fears are less (i.e. when he no longer fears losing his
throne to Arthur). In the meantime, if they will tell him what they believe
is “not well” (44) he will willingly “grant you your requests”;
Pemb – speaking on behalf of others – claims that their concerns are
chiefly for “your safety” – in pursuit of which they urge
“Th’enfranchisement of Arthur” whose imprisonment has prompted
discontented murmuring among the people and may lead them to the
dangerous question (i.e. “dangerous argument”) of why you should fear
anything; fear, as people say, only haunts those who are in the wrong
and since if you hold lawfully what at present you possess in peace (i.e.
the crown) why lock up (“mew” = confine; coop up) Arthur (“tender
kinsman”) and deny him the upbringing appropriate for a prince. So that
discontented people who are opposed to the present state of affairs shall
not have a pretext for attack we request – not for our own advantage –
but since our own wellbeing (“weal”) depends on your welfare then
release Arthur (N.B. the notion of the ‘commonweal’ depending on the
reciprocal, symbiotic relationship of king and people);
When John sees Hub enter – believing Arthur to be dead – he ‘complies’
with their request.
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While Hub whispers to John the barons speak of Hub’s role in Arthur’s
murder – Hub had shown the king’s “warrant” for the murder to “a
friend of mine” [unlikely – but some explanation is needed of the barons’
sarcasm at the beginning of the scene] and note how Hub’s demeanour
[and his physical ugliness is stressed later in the scene – N.B.
Constance’s words on ugliness to Arthur] and furtive look (“close
aspect”) betray his guilty conscience (“troubled breast”). They fear that
the deed is done.
Salis notes how the king’s complexion changes, prompted by the conflict
between his evil design and his guilty conscience; the revelation of
John’s crime compared to a boil that is on the point of bursting (“needs
but break” - 79). Pemb completes the metaphor, remarking on the “foul
corruption” (i.e. pus) of an innocent child’s death that will “issue thence”
when the boil does break.
John comes forward: although he was willing to grant the barons’
request their suit is (unfortunately) hopeless and without effect – Hub
has brought news that Arthur died last night [OED ‘tonight’ quotes R&J:
“I dreamt a dream tonight”];
Barons’ sarcasm – the idea of Arthur being near death “Before the child
himself felt he was sick” virtually an open accusation and the threat of
“This must be answered” – i.e. there will be consequences – the surface
gloss of pretended courtesy is cast aside;
John attempts to brazen it out – why scowl at him – he doesn’t possess
the “shears of destiny” that determine the end of life [i.e. The one of the
three Fates who cuts off life – Atropos] – he doesn’t have command over
how long life lasts;
Salis speaks of obvious “foul play” – it is shameful that “greatness” (i.e. a
man in authority) should make such a clumsy attempt to gloss over a
crime; may you suffer the consequences accordingly and as you have
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played foul in this affair may you fare the worse in your other intrigues
(i.e. as is deserved by someone who cheats when playing a “game” - 95);
Pemb will go with Salis and find out Arthur’s “forced grave” – i.e. a grave
brought about violently rather than at the end of a natural life’s span –
this grave is Arthur’s “inheritance” – his “little kingdom” – the “blood” –
i.e. legitimate inheritance of the whole of “this isle” is reduced to the
“three feet” he ‘inherits’ in his grave. The times (“the while”) are
rotten//corrupted (returns to the image of the boil) – such injustice
must not be endured and will “break out” – suggestion of civil
unrest//revolution in which they will all suffer the consequences.
[Exeunt]
Seeing the bitterness of the barons John “repent(s)” (103) – realises that
there can be no security (“sure foundation”) based on bloody violence
[This fulfils Pandulph’s prediction at III.4.147-48: “For he that steeps his
safety on true blood, // Shall but find bloody safety, and untrue”]
Messenger
John senses bad news from Mess’s complexion – blood drained from
cheeks – storm imagery counters the earlier sun imagery;
France has recruited a greater army than was ever before levied for any
foreign invasion – their speed the model of John’s own invasion of
France learned from John’s example – they are already arrived in
England;
John wonders at lack of “intelligence” to anticipate this – how could his
mother’s “care” be so neglectful as to be ignorant of such an army;
Mess. – her ear “stopped with dust” – died 1st April [N.B. John’s stunned
response – this is first scene in which John has appeared without her];
Constance “in a frenzy died” (122) three days previously [Constance’s
death not in TR – Holinshed has Queen Eleanor’s death in 1204 but does
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not mention Constance who in fact died in 1201 before the death of
Arthur (probably died 1203] – uncertainty of “rumour’s tongue” – the
lack of certainty in the news parallels the increasing instability of John’s
position;
John pleads with ugly (“dreadful”) Opportunity to “Withhold thy speed”
– not to pass him by until he has appeased “my discontented peers” – if
his mother is dead then his French possessions will be in a state of
confusion (“wildly” - 128) – learns that the Dauphin (Lewis) has
command of the French army. [N.B. in III.4.119-20 Pandulph had
encouraged Lewis with the thought that “when Fortune means to men
most good,// She looks upon them with a threat’ning eye” – i.e. John,
being at the summit of his good fortune must inevitable fall].
Enter Bastard & Peter (of Pomfret) [Holinshed mentions Pater, a
hermit, but Shakespeare adds ‘of Pomfret’ (i.e. Pontefract) because
Richard II was murdered in Pomfret castle as were barons opposed to
Richard III]
John is “giddy // With these ill tidings” and hopes for some good news
from Bastard since his head is “too full” of “ill news” – Bast responds
sharply and revives John’s spirits momentarily so that he is able to
“breathe again” (138), his head “Aloft the flood”;
Bast’s success “among the clergymen” can be measured by the amount of
money he has gathered from them – BUT as he travelled he found the
people full of unusual fancies, “full of idle dreams” but not knowing why.
He produces Peter as a “prophet” whose prophecies attracted “many
hundreds” of listeners and prophesying that before Ascension Day at
noon John shall “deliver up your crown”.1
Ascension Day – festival commemorating Christ’s bodily ascension into heaven (40th day of
Easter – usually a Thursday).
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John addresses Peter as “Thou idle (foolish) dreamer” – Peter assures
John that “the truth will fall out so” (154) [N.B. Remember Julius Caesar
to the Soothsayer: “He is a dreamer; let us leave him – pass” (JC, I.2) –
Hubert instructed imprison (“in safety”) Peter and hang him on that day
at noon. Hub to return – “For I must use thee” (159) Exit Hub & Peter.
Bast confirms that the French have landed – he had met Lord Bigot and
Salisbury – enraged – who, with others, were looking for the grave of
Arthur, killed the previous night at John’s incitement.
John: Bast to bring them to the court: “I have a way to win their loves
again” (169) – [this plan is never revealed – BUT could this be Magna
Carta…?];
John urges Bast to “make haste” – desperately hopes that he will have
“no subject enemies” when there is a foreign army in the land.
Bast’s “spirit of the time” = Occasion will give him extra urgency and
therefore speed;
John’s own spirit revived by Bast’s demeanour – messenger to carry
messages from Bast. “betwixt me and the peers” (179) – but briefly left
alone the impact of his mother’s death again apparent: “My mother
dead!”
Enter Hubert.
Hub brings further news that affirms Pandulph’s words to Lewis
(III.4.153-59) about natural phenomena being taken by the people as
“meteors prodigies and signs … Plainly denouncing vengeance upon
John”: “they say” - 5 moons – 4 fixed and one that did “whirl about”
(179) – clearly linked to “Young Arthur’s death” – graphic description
(188-202) of individual common people gripped by rumour and
speculation – close detail creates convincing verisimilitude: cooling irons
– tailor’s slippers on wrong feet;
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John’s anxiety returns – begins to disassociate from Arthur’s death and
pass responsibility to Hubert: “Why seek’st thou … Why urgest thou so
oft … Thy hand hath murdered him” – John had “a mighty cause // To
wish him dead” – but Hub had “no cause” to murder him” [N.B. R2 –
“Though I did wish him dead, // I hate the murderer, love him
murderèd” (V.6.39-40)] – [Again John guilty of equivocation: “I wish
…” a slippery expression – could imply command OR a simple desire
with no suggestion of resultant action]
To Hub’s “did you not provoke me?” – John again shift responsibility:
Hub one of the “slaves” who mis-interpret the moods (“humours”) of a
king as a command (“warrant”) – to take a king’s slightest hint
(“winking”) as the authority for murder, taking it upon themselves to
understand the intentions of an angry king when his state of mind is due
more to a passing whim than to deliberate consideration (i.e. line 214);
Hub produces John’s warrant and (presumably) the king’s own seal –
John parries with the observation that come the Day of Judgement the
“hand(writing) and seal // Witness against us to damnation” – unclear
whether the ‘us’ is the royal plural or whether it implies equally shared
guilt….? Probably the former as John essentially self-centred throughout
the scene. [N.B. When Macbeth ponders the consequences of murdering
King Duncan he argues that if he could be sure that there would be no
consequences “in this life” then he would be prepared to “jump (i.e.
risk/take a chance) the life to come”];
John reflects on how often our perception of an opportunity to commit
sin causes us to sin (219-20) – he blames Hub’s physical
deformity//disfigurement (“by the hand of nature marked” – N.B. ‘the
mark of Cain’ Genesis – the mark not specified but placed on Cain by
God as a sign that he is not to be killed for having killed his brother,
Abel) for singling him out as a man likely to commit a crime – and
therefore tempting John to succumb (“this murder had not come into my
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mind”) [N.B. “Quoted and signed …”2 is the equivalent of the
handwriting and seal on the warrant that authorised the murder – i.e.
Hub’s physical ugliness provides its own ‘authorisation’.]. He makes this
‘accusation’ three times in all, concluding that he merely hinted (“faintly
broke”) at Arthur’s death and Hub – to win the king’s favour – had no
qualms of conscience about murdering a prince;
Hub’s attempt at response brushed aside: if Hub had merely shaken his
head or even hesitated (“made a pause”) or cast a look of doubt as if to
ask the king to put unmistakably into words his meaning THEN John
would have been overwhelmed by shame and broken off any such
suggestion – BUT Hub had interpreted John’s “signs” and responded
with his own “signs” – i.e. neither had spoken his meaning directly –
accepting the suggestion without hesitation (“without stop” - 239);
consequently Hub’s “rude (rough/savage) hand” had committed the deed
that both of them regarded as being vile (wicked/horrible) to speak
aloud. [Dr Johnson regarded these lines as being ‘not the words of art or
policy, but the eruptions of a mind swelling with the consciousness of a
crime, and desirous of discharging its misery on another’].
John commands Hub “out of my sight” (242) – Hub’s very presence is a
persistent rebuke to John. John laments his present difficulties: nobles
“leave me” – his government challenged and defied (“braved”) – he
imagines his kingdom as a city (like Angers) with an invading army at
the gates – the chaos in the state is reflected by chaos in the king’s own
physical body (the body as microcosm) in his own internal civil war
between his conscience and “my cousin’s death” (i.e. his crime);
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OED Sign v: I. To use or affix a mark or signature, and senses relating to and deriving
from this. 1. trans. a. To put a seal upon (a letter or document) as a means of
identification or authentication; to stamp with a seal or signet; to cover with a seal.
Also fig. and intr. Now only in to sign with a seal (or signet) and similar phrases.
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Hub can do nothing about the nation’s enemies, urging him to “arm
yourself” BUT he can reconcile the king’s conscience since Arthur “is
alive” – Hub goes on purge himself of his supposed guilt for Arthur’s
murder: his hand “a maiden … innocent” – in his heart (“bosom”) he
never entertained any impulse (“motion”) towards a murderous thought;
Hub rebukes John or having “slandered” his nature, accusing him of
inhumanity in abusing his physical appearance which, whatever its
external imperfections (howsoever rude exteriorly”), nevertheless
contains a “fairer mind // Than to be the butcher of an innocent child”;
John’s delight immediately turns to the political advantage that Arthur’s
being alive will bring him, paying little heed to Arthur’s own survival –
Hub whom he has so shamefully slandered is now to be the vehicle by
which the barons are to be made “tame” and brought to “obedience”
(262); a cursory request for forgiveness for having slandered Hub’s
“feature” – John merely blinded by misplaced “rage”, seeing Hub
through bloodshot eyes that had distorted John’s perceptions of his
physicality. Abruptly prevents Hub’s response (“O, answer not!”) –
instructed to bring the “angry lords” to his private apartment with all
speed – concludes the scene urging all speed.