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The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [3545]

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Falconbridge wherever it was possible, gave him the end of every act (except the third), and created from a rude and inconsistent sketch a character as strong as complete and as original as even he ever drew. Throughout a series of scenes not otherwise very closely connected, this wonderful real type of faulty combative, not ignoble manhood, is developed, a support and addition to the scenes in which he has least to say, a great power where he is prominent."

Had Mr. Rose endeavoured briefly to describe the character of Sir John Perrot, he could not have done so more aptly.

Shakespeare in recasting The Troublesome Raigne of King John did not endeavour to dramatise either the character or reign of that King, but purposely followed the story of the earlier dramatist, having the same personal point in view. The author of The Troublesome Raigne of King John intentionally subordinated or distorted the actual facts of history in order to match his dramatic characterisation to the personality of Perrot, and its action to well-known incidents of Perrot's career in France and England. A palpable instance of this is exhibited in Falconbridge's soliloquy in Scene i., when questioned by the King before the Court regarding his paternity. Here the old author reflects a story of Perrot's youth which his biographers state was frequently related by Perrot to his friends. Soon after the accession of Edward VI., Perrot having by his extravagance become deeply involved in debt purposely placed himself in the path of the King's daily walk and, hearing his footsteps and pretending not to know of his presence, indulged in a soliloquy complaining of his misfortunes and lamenting his lack of wisdom and bemoaning the nonage of his half-brother the King, who in endeavouring to help him would probably be overruled by the Lord Protector and the Lords of the Council. He also debated aloud with himself other means of retrieving his fortune, such as retiring from the Court into the country or betaking himself to the wars. His anonymous biographer of 1592 wrote:

"As he was thus sadly debating the Matter unto hymselfe, the Kinge came behynd hym, and overheard most of that which he sayd, who at length stepped before him, and asked him, How now Perrott (quoth the Kinge) what is the matter that you make this great Moane? To whom Sir John Perrott answered, And it lyke your Majestie, I did not thinck that your Highness had byn there. Yes, said the Kinge, we heard you well inough: And have you spent your Livinge in our Service, and is the Kinge so younge, and under Government, that he cannot give you any Thinge in Recompence of your Service? Spie out somewhat, and you shall see whether the Kinge hath not Power to bestow it on you. Then he most humbly thanked his Majestie and shortly after founde out a Concealment, which as soon as he sought, the Kinge bestowed it on hym, wherewith he paid the most part of his Debtes; and for always after he became a better Husband. This story Sir John Perrott would sometimes recounte unto his Frends, acknowledging it a greate Blessinge of God, that had given him Grace in Time to look into his decaying Estate."

Comparison of this biographical incident with the following passage from The Troublesome Raigne not only reveals the source of the dramatist's inspiration but also accounts for a scene that has appeared peculiar to many critics.

K. John. Ask Philip whose son he is.

Essex. Philip, who was thy father?

Philip. Mass, my lord, and that's a question: and you had not taken some pains with her before, I should have desired you to ask my mother.

K. John.. Say, who was thy father?

Philip. Faith, my lord, to answer you sure, he is my father that was nearest my mother when I was gotten; and him I think to be Sir Robert Falconbridge.

K. John. Essex, for fashion's sake demand again: And so an end to this contention.

Robert. Was ever man thus wrong'd as Robert is?

Essex. Philip! Speak, I say; who was thy father?

K. John. Young man, how now? what! art thou in a trance?

Q. Elinor. Philip, awake! The man is in a dream.

Philip.

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